Paper no:- 04 .INDIAN WRITING IN ENGLISH

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DEPARTMENT OF ENGLISH

(Maharaja Krishnakumarsinhji Bhavnagar University)

Name :-         chintavan n bhungani

Semester:-      M.A SEM 1

Roll no:-         06

Paper no:-   04 .INDIAN WRITING IN ENGLISH

Enrollment no:-    PG15101006

Email id:-          cnbhungani7484@gmail.com

Bloge id:-         chintavanbhungani201517.blog.spot.com

Topic:- INDIAN WRITING IN ENGLISH 

Kodaganallur Ramaswami Srinivasa Iyengar (1908–1999) popularly known as K. R. Srinivasa Iyengar was an Indian writer in English, former Vice Chancellor ofAndhra University. He was given the prestigious Sahitya Academy Fellowshipin 1985.

                                                                                                                                            INTRODUCTION:-

The phrase „Indo-Anglian‟ was used to describe the original creative writing in English by the Indians. It is the literature written by the Indians whose mother-tongue is not English. According to K.R.S. Ingra  there are three types of Indian writers in English, first those who have acquired their entire education in English schools and universities. Secondly, Indians who have settled abroad but are constantly in touch with the changing surrounding and traditions of their country of adoption, and finally, Indians who have acquired English as a second language. Consequently, largenumber of Indians were greatly moved by the genuine desire to present before the western readers authentic pictures of life in India through theirNumerous writings.

The Novel was AS the most forceful and convincing of all the genres of literature in recent years. Becauseit has been widely accepted as the most appropriate form for the exploration of experiences and ideas in today’s World. Now day’s people have no time for reading epic or long novella that’s why novel form very popular inliterature after renaissance. The Indian English Novel has passed through several stages before reaching present position where it gained a standing on par with its counterparts in the West. The evolution of Indian fiction in English may be broadly divided into four stages. It was in Bengal that a literary renaissance first manifested itself, but almost immediately afterwards its traces could be seen in Madras, Bombay and other more educated parts of India. The first stage includes the works of Bunkum Chandra Chattered, Toru Dust, RomeshChander Dust, B.R.Rajan,T.Ramakrishna and others.

                                                                       

Bankim ChandraChatterjee‟s Rajmohan’s Wife (1864) was the first English novel written by an Indian. His works brought a certain space and stature to Indian novels in English.

The period after the First World War has been considered the second period. In the first decade after the war, S.K. Ventaramani, Shankar Ram andA.S.P. Ayer was the novelists who came to the fore. After them comes the emergence of the great „Trio‟- Mulk Raj Anand, R.K.Narayan and Raja Rao.Who are considered as the finest painters of Indian sensibilities. They tried to revive the ancient tradition of the Epics and Puranas of India.

The three major writers together are called the major „trio‟ who produced epoch-making pieces of English fiction writing. The Post-Independence Era which is the third phase has a two-fold effect on Indian writing in English. The radical changes like poverty, hunger, death, diseased., which were brought about by the Partition of the country, on the one hand made the writers dream about a finer future and on the other hand widened their vision, sharpened their self-examining faculty. Thereby provided fertile soil for many novelists to flourish and a considerable number of novels were produced. Some prominent writers of this period are-BhabaniBhattacharya, Manohar Malgonkar, Kushwant Singh, Sudhin Ghosh, G.V.

Desani, Ananthanarayanan, J. Menon Marath and others.

Another important feature of this period was the growth of Indian women novelists. The chief figures are like  RuthPawar Jhabvala, KamalaMarkandaya, Nayantara Sahgal and Anita Desai.

Ø TYPES AND THEME OF NOVEL:-

The growth of Indian English Novel is remarkable. The number of new novelists, both men and women, has increased in an unprecedented scale. The range of themes, forms and sub-genres in Indian English Novel is very vast. As far as the genres within Novel is concerned, there are political novel, Novel of Social Realism, Novel of Magic Realism, The Partition Novel, Novel of Diaspora, Historical Novel, Regional Novel, the Children’s Fiction, the Campus Novel and others. Like many sub-genres of Novel, Campus Novel is originated from the west. The number of novels dealing with academic themes is adequate that they can form a corpus

Toru Dust, SarojiniNaidu and Sri Aurobindo wrote in English and not in Bengali. They usedEnglish to represent the Indian culture and spirit. In this connection, the

remarks of Randolph Quirk and Raja Rao, are of worth quoting. According to Quirk, English is not the private property of the Englishmen. Similarly, Raja

Rao says in the Preface of his novel Kanthapura (1938, rpt. 1971: 5)

 “One has to convey in a language that is not one's own, the spirit that is one’s own.”

It seems that the mother-tongue did not impede their way in writing in English. Commenting on the use of English by the Indians as the medium of writing and expression, James H. Cousins (1918: 179) says, “… If they (Indians) are compelled as an alternative to writing in their own mother-tongue, let it be not Anglo-Indian, but Indo-Anglian, Indian in spirit, Indian in thought, Indian in emotion, Indian in imagery and English only in words….” In this regard, R. K.Narayan, as pointed out by K.R.S. Iyengar (1973: 30) says: “… I am able to confirm, after nearly thirty years of writing, that English has served my purpose admirably.” This is how with a rich contribution to prose, poetry, novel and drama, these writers have made Indo-Anglican literature as matter of pride to Indians and a source of admiration to the foreigners.

v MAJOR WRITER’S OF INDIAN ENGLISH NOVEL’S:-

·        Bankim ChandraChatterjee:-

I am not very sure why it was particularly named after Matangini, Rajmohan’s wife. But, it is an interesting read, talking about the plot. Rajmohan is one of the aids of Mathur Ghose who plans to attack his cousin Madhav Ghose. Matangini overhears Rajmohan discussing his plans to attack Madhav’s house with his friends Bhiku and Sardar. She is worried as she has a great deal of affection for Madhav and his wife Hema, who happens to be Matangini’s own sister. Concerned, she ventures out to Madhav’s home and informs him the situation, thus saving them from an attack planned at that very moment. She is welcomed by a furious Rajmohan as she returns home. Rajmohan rushes forward to kill her. At that very moment, Bhiku and Sardar arrive. In the brief interlude, Matangini escapes from the house. By the quirk of fate, she ends up taking shelter in Mathur Ghose’s house, which is nearer to Rajmohan’s house. Dramatically, she disappears when she is sent back to her husband, on his request.Madhav is held captive by the person who eyes his property.

·        Mulk Raj Anand:-

Mulk Raj Anand is humanist and a novelist with apurpose. He writes from his personal experience and the experiences of real people. For Mulk Raj Anand (2000: 65), the novel is “the creative weapon for attaining humanness – it is the weapon of humanism.” He writes basically about the lower class life. Widely read novelist Anand is influenced by Charles Dickens, H. G. Wells and Tolstoy in both form and characterization. He followed the ancient Indian tradition of story-telling, but his approach to themes and events, is of a social realist. Therefore, his novels are the novels of protest and social realism. Anand is influenced by the two ideologies – the Western Marxism and the Eastern Gandhism.

                            Anand‟s early novels, Coolie (1936), Two Leaves and a Bud (1937),Village (1939), Across the Black Waters (1940) The Sword and the Sickle (1942) andThe Big Heart (1942) justify this point, as Anand has brought in them the lower-class down-trodden people such as the scavengers, the coolies, the leatherworkers, and the untouchables who form the bulk of Indian society. His novel Untouchableis a classic experimentation in respect of theme and technique. It represents a day from morning till evening in the life of a sweeper boy named

Bakha who is in the words of E. M. Forster (1981: 9) “a real individual, lovable

Thwarted, sometimes grand, sometimes weak, and thoroughly Indian.”

·        R. K. Narayan

R. K. Narayan, on the other hand, is the novelist of middleclass sensibility. He is a natural story-teller in his novels from Swami and Friends (1935) to The Painter of Signs (1976). His novels The Bachelor of Arts (1937), The Dark Room (1938), The English Teacher (1945) and Mr.Sampath (1949) brilliantly and realistically describe the South-Indian life. William Walsh (1983: 250) says that R. K. Narayan’s writing is “a distinctive blend of Western technique and Eastern material.” The world of R. K. Narayan’s novels is Malgudi, an imaginary South-Indian town. In the words of Alan Warner (1961: 190)Narayan “writes admirably plain English.” His is a very simple and straightforward style of narration.

·        TORU DUTT

Tour Dust was often called the Keats of the Indo-English literature for more than one reason - her meteoric rise on and disappearance from the literary firmament, as also for the quality of her poetry. Toru died, like John Keats, of consumption and the end came slow and sad.

   Toru Dutt’s literary achievements lay more in her poetic works than in her prose writings. Her poetry is meagre, consisting of A Sheaf Gleaned in French Fields and Ancient Ballads and Legends of Hindustan. But she "compels attention" as KRS Iyengar puts it. Her poetry has sensitive descriptions, lyricism and vigour. Her only work to be published during her lifetime was A Sheaf, an unassuming volume in its overall get-up.

·        RAJA RAO:-

Raja Rao (8 November 1908 – 8 July 2006) was an Indian writer of English language novels and short stories, whose works are deeply rooted in Hinduism.The Serpent and the Rope (1960), a semi-autobiographical novel recounting a search for spiritual truth in Europe and India, established him as one of the finest Indian prose stylists and won him the Sahitya Akademi Award in 1964.

                     Raja Rao’s first novel Kanthapura (1938) is the story of a village in south India named Kanthapura. The novel is narrated in the form of a ‘sthalapurana’ by an old woman of the village, Achakka. Kanthapura is a traditional caste ridden Indian village which is away from all modern ways of living. Dominant castes like Brahmins are privileged to get the best region of the village whereas Sudras, Pariahs are marginalized. The village is believed to have protected by a local deity called Kenchamma. Though casteist, the village has got a long nourished traditions of festivals in which all castes interact and the villagers are united.so in this novel we can see the Indian culture and theme of feminism, castes.

. AND HIS OTHER MAJOR WORKS LIKE, Kanthapura, the Serpent and the Rope, and the Cat and Shakespeare,

CONCLUSION:-

                         So here we detailed discuss about Indianwriting English background, writer and major theme, style of Indiannovels. Indian novels are one the most important part of Indian writing in  English literature because Indian writer written new style and theme of India with his experience of India that’s why indo- Anglian writer was so popular . 
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