Novels of Raja Rao:A Linguistic Analysis

Part I Introduction
1)Background 2)Theme 3)Scope 4)Objectives

Part II Raja Rao Life and Works Part III Linguistic Analysis
1)Phonology 2)Morphology 3)Syntax 4)Stylistics 5)Socio-linguistics

Part IV)Findings Part V )Conclusion

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Part I
INTRODUCTION
1.1The History of Indian English Novel
1Although the 1930s is generally seen as the take off decade for the Insian novel in English,we can trace its genealogy quite far back into the previous century.Given the Indian apathy towards the preservations of documents from the past and the high rate of paper disintegration in the Indian climate ,a good proportion of the books that were published then have perished beyond trace .Despite this ,what remains in some of the old libraries of the country is far from negligible.1 Though there was a controversy regarding the beginning of the novel it was ultimately agreed that the Indian English novel emerged as a form of literature in the second half of the nineteenth century.the novels of the period were influenced by political ,social and ideological aspects which were caused by the Gandhian movement. 2 An Indian writer in English is a product of an encounter between the multilingual heterogengual heterogeneous Inhabitants of a nation-state. The encounter admittedly carried the stigma of colonial subjugation and exaploitation, against which there surfaced the gradual resistance of a people inspired by the recently acquired idea of nationalism. Since the oppressors came from Europe and the oppressed belonged to Asia, there has appeared, as a matter of course, a full blown mythology of East-West confrontation.2 1 Illustrated History of Indian Literature in English ,Edited by Arvind Krishna Mehrotra ,Permanent Black,D-28 Oxford Apartments , 11,I.P.Extension,Delhi.110092 -2003 2 The Novels Of Raja Rao, Theme of Quest,by Esha Dey,Prestige Books,3/28East patel Nagar ,New Delhi -1992
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Chronologically ,K S Venkataramani (1891-1951) is the earliest novelists of the period.His first novel was Murugan,The Tiller.Subsequently the other novelists emerged among them are the great Trio-Mulk Raj Anand ,R K Narayan and Raja Rao.

MULK RAJ ANAND

The historic event in the Indian English fiction was the emergence of the great trio in the 1930s they are Mulk Raj Anand R.K. Narayan and Raja Rao .The first novel of these well known writers were published in 1935, 1935.and 1938, respectively. Through their idiosyncracies they have written novels in Indian English . The most prolific among these great novelists was Mulk Raja Anand who was born in a coppersmith family and ill- educated because western culture was taught at the cost of Indian tradition. Though Anand is a tireless traveler he has close nexus with many literary and cultural associations in India and abroad. Besides being a writer he is engaged himself in social work. Most of the novels of Anand are about underprivileged and peasants. E.g Untouchable, Coolie, Two Leaves and a Bud deal with the plight of the underprivileged in India where as his triology- the village 1939, Across the Black waters ( 1941), and The Sword and the Sickle (1942) deal with a Protagonist who is a peasant .

R.K.NARAYAN
Rashipuram Krishnaswamy Narayan If Anands novels have human touch R.K. Narayanas novels are ironic Sympathetic and deal with imagination and realism he was a Tamilian but spent most of his life in Mysore since he was a son of a school teacher even he worked as a a school teacher and then as a newspaper correspondent later took up writing as his career. He has been considered as a mass writer where as Rao has been considered as a class writer. Most of R.K. Narayanas novels rotate around an imaginary place called Malgudi. His first novel is Swamy and Friends. It tells us the story of a School boy. His novel The Bachelor of Arts (1937) is about the story of Chandan, a sensitive youth caught in a conflict between the westernideas of love and marriage instilled into him by his education and the traditional social set up in which he lives. Narayan wrote great works after independence thus he became major writer after reaching maturity.There isa good humoured irony in his three novels the Financial expert1952, The Guide 1958, and The Man Eater of Malgudi.

RAJA RAO
Born in a Brahmin Family Rao was not only educated in india ut also in Europe so his education and writings have both Indian and European influences.Rao had attachment to Indian philosophy, it can be seen in his writings .He Went to France to study about western philosophy and mysticism, he spent most of his life abroad especially in France and the United States before his death , His novel Kanthapura is well known for its classic foreword which can help others to develop a variety of Indian English. Actually it is a herculean task to write an Indian tale in an alien tongue .Here Rao faced a problem while writing Kanthapura. i.e whether language is subardinate to culture or culture is subordinate to language ultimately resolved this dichotomy by indegenising English language thus by making language subordinate to culture .Though he adopted western novel form but the novel is in epic tradition because the narrative technique is like that. In Kanthapura Moorthy is the hero of the novel who brings gradually Gandhism to Kanthapura. In Kanthapura people were influenced by Gandhi so it is like retelling of the story of Gandhiji which is written in his autobiography My Experiments With Truth. 3 Raja Rao together with Mulk Raj Anand and R K Narayan each in his own way contributed to the appearance of a new literary style ,a new mode of expressing the reality of India through the English medium.3
3 Akademi Awarded Novels in English :Millennium Responses ,Edtd by Mithilesh K Pandey ,Sarup &Sons ,New Delhi -110002

1.2 THEME OF THE STUDY

Every Writer is a product of his age because he depicts in his Novels whatever has been observed by him in the society. If he wants to observe something it takes him a lot of time for he has to observe it for a long time hence Raja Rao also observed the society keenly since his childhood thats why he is able to write such a famous novel as Kanthapura. So childhood and youth play a vital role in the work of Raja Rao especially in Kanthapura. Similarly environment also plays a pivotal role in every writers life because he is child of that environment and representative of that environment as well. If society is the nerve center of some novelists man is the nerve center of society because man is the most important part of the society. It is the human beings that form the society. Without human beings there is no society. Since man is social animal he plays a vital role in the society. We can consider man as a social being. Because he lives in the society, he will be aware of social conditions around him. Though everyone is a part of society only a few people think and observe the society. Raja Rao is one of them. Raja Rao has portrayed society well in his novels and also he has written about Culture, Customs, Traditions and Social aspects. Since Raja Rao was born and brought up in a village he knew the Culture well, because he writes about hair cutting ceremony, seventh month ceremony, nuptial ceremony, obsequial dinner, caste system like indicates Brahmin quarter, pariah quarter. He also writes about superstitions and also Kannada and English proverbs. His keen observation that he takes part in every ceremony, function etc. Every writer holds mirror to the society of his times similarly Raja Rao has also depicted the society of his youthful days. How far the remote villages were affected by freedom struggle in general
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and Kanthapura in particular what all the freedom fighters had to tolerate how for they were suffering.

1.3 SCOPE OF THE STUDY

The present study aims at focusing on linguistic analysis of Raja Raos novels. It is about an Indian novelist who went to France & studied French & taught philosophy & wrote some works in Indianised English or nativised English . He crossed the barriers of language in writing novels before independence & also he introduced Indian English to the world . The present study attempts to make survey of linguistic analysis in the sense, phonological, morphological, syntactic, semantic & stylistic analysis & sociolinguistics. As there are varities of English, like, Russian English, Japanese English & Chinese English etc. Rao has also tried to popularize variety of Indian English. Hence, the need to undertake the present study Though his novels & short stories vary in themes but we can observe some similarities in the novels. One common thing is that being settled in France he wrote about India. The short stories are about Indians. Though, I have taken up 3 novels of Raja Rao for the study the focus is mainly on Kanthapura. Because being in France he has written about Indian freedom struggle. Raos work focuses on historical, Political, Social & cultural conditions of contemporary India. During his times the writers were confronted with a wide range of problems like language problem, identity problem but most of them wrote about freedom struggle i.e influence of freedom struggle on the Indians.

Most of the novelists before Independence focused on Freedom struggle, caste system etc. & tried to overcome identity crisis. Through these novels we get the social & political scene of the country .And the influence of freedom fighters like Gandhiji on the villagers. Kanthapura takes its readers on a voyage to India & a remote village which was influenced by freedom struggle. Because people were tired of the British rule, most of Raos contemporary writers have written about freedom struggle from their standpoint, so, it would be better to have a glance at writers own social background. A novel focuses on the personality of the characters ,so, we can say that this is a major form of literature. Since the people of the times were anticipating freedom & Socio Political change in the life of the people many writers at that time wrote about freedom struggle. In the present study an attempt is made to study the linguistic analysis of Raja Raos novels particularly Kanthapura. The Serpent and the Rope & The Cat and Shakespeare. Through Kanthapura Raja Rao has tried to develop a variety of Indian English like American English or Canadian English.

1.4 Raja Raos Use of English

Raja Rao has used English in such a way that westerners can understand how Indians think ,feel and speak. Prof. V Y Kantak has written that Raja Raos use of English has made us regain our faith in the Indians creative use of English. His English seems to spring from the Indian scene ,the Indian manner of gesture and speech ,absorbs it, and yet suffers no distortion. Word ,phrase or sentence structure ,the shifts and the modulations all grow from that root. And it is English ,Chaste English,not borrowed or applied but taking the shape of new material. The fluent, simple prose has a harmony which is the fruit of complete interpretation of matter and manner. In Kanthapura he has used peasants speech .Whenever they get angry peasants use abusive and vulgar language .So Rao has used it more judiciously than that of Mulk Raj Anand . Rao has used peasants speech because he wanted to express peasants sensibility. Rao has used Indian imagery ,proverbs and idioms .In his similes he has used the names of familiar animals .Sometimes he has used Indian words directly in English. He has used English as if it is his mother tongue so it speaks of his mastery of English . Indian writers in English use various methods to create Indian atmosphere .One of the methods is that they translate literally the speech of the characters so they try to bring Indianness .As a result one can feel that it is Indian novel and an Indian character is speaking to another Indian character .If they are used judiciously it is good .e.g.Mulk Raj Anand translates Punjabi words proverbs and even abuses but Anand has overdone it .Similarly Raja Rao has also translated some Indian words ,proverbs and abuses as well. Every Indo -Anglian writer has tried to express Indian sensibility through a suitable medium so Rao has developed Indian English like American English ,Canadian English or even Australian English. Instead of using other forms of be i e . is and are in present tense he has used be The sorrow of woman be indeed the barrenness of man What wonderful animals be in our land All brides be Benares born Rao has used English like his mother tongue it shows his mastery over thelanguage.

1.5 Objectives of the study

The objectives of the study areTo identify how an Indian that too a Kannadiga has written novels effectively in an alien language To identify the use of an alian language suiting it to Indian culture To identify how the writer has indianised English To identify the presentation of Indian sensibility in a foreign tongue To know how Indian culture,customs,traditions and superstitions are presented through these novels To study the style of Raja Raos novels To identify socio-linguistic and linguistic intricacies of the author To identify syntactic structures To know how idioms have been coined to suit the Indian context To identify the various ways how Indians have intentionally or unintentionally customized English to better suit their needs and discuss some of the problems which Indians face or experience in English in different settings

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PART II
RAJA RAOS LIFE AND WORKS
2.1. RAJA RAOS LIFE :
Raja Rao comes from a very old Indian Brahmin family. He was born in 1909 in the village of HeHassan, in Mysore. His father was a professor of canaresse in Hyderabad. After having matriculated from Hyderabad he went to Aligarh for higher education. There he was lucky enough to come in contact with Prof. Dickinson. He inspired Raja Rao to study French language and literature. He took his B.A degree from Nizam College, Hyderabad. He was awarded Government scholarship by Hyderabad University, and on this scholarship he went to France to continue his study of French literature there. First he studied for Doctorate degree at the University of Sorbonne under the supervision of eminent scholar as professor Cazamian, a name familiar to all students of English literature.thoghhe studied French literature all his publications in book form have been in English. He lived in France from 1928 to 1939 returned to India on outbreak of World War II in 1940 and again went to France in 1946 and lived there till 1956. There he married an American actress Katherine now called, Katherine Rao, and he has a son by her. It was in France thousands of miles away from India, that his Novel Kanthapura 1938 was written and though the collection of stories entitled The Cow of the Barricades was published in 1947, most of the stories contained in it were also written in France. He had settled in the USA and would teach Indian Philosophy both Buddhist and Vedantic at the University of Texas. Raja Rao is the Pride of India though he is better appreciated abroad than in his own country. He lost his mother at the age of four and it left lasting impression on
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known

and

him. The absence of a mother and orphanhood are recurring themes in his works. He was influenced by his grandfather with whom he stayed in Hassan and Harihalli. Since Raja Raosmothertongue was Kannada his first published work was in Kannada later on he switched over to writing in English . The short stories he wrote in the 1930s and early 40s have been collected in the Cow of the Barricades and other stories (1947). As a college student he drew inspiration from Gandhis My Experiments With Truth which appeared in Young Indian as a serial, and later he was involved in Gandhis Quit India Movement in 1942. Raja Rao`s works are deeply rooted in Hinduism. His the Serpent and the Rope is a semi autobiographical novel which tells of a search for spiritual truth in . He married Camille Mouly who taught French at Montpellier in 1931 . The marriage broke down in 1939 and it is depicted in his novel the Serpent and the Rope . His first stories were published in French and English. He contributed four Kannada articles for Jaya Karnataka an influencial journal. 1It may be noticed that Raja Rao was not just bi-lingual but multilingual.He began writing in Kannada for the periodical Jayakarnataka published in Dharwar.At the opposite end is his writing in French.He was appointed to the editorial board of the Mercure De France in Paris and he held that post for several years,where he published the French version of his story A Client.1 He edited with Iqball singh, Changing India, an anthology of modern Indian thought from Ram Mohan Roy to Jawaharlal Nehru. Then he co 4 A :The Journal of Indian Writing in English
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Europe and India .Because of this novel he has been

considered as one of the finest Indian stylists.

edited with Ahmad Ali a journal from Bombay called ` Tomorrow`. He took active part in the formation of cultural organisation . `Sri Vidya Samiti`, to revive the values of ancient Indian civilisation but this organisation failed shortly after inception. He was associated with Chetana, a cultural society in Bombay for the propagation of thought and values. Kanthapura deals with the impact of Gandhi`s teaching on non violent resistance against the British. The story is seen from the perspective of a small Mysore village in South India. Rao has borrowed the style and structure from Indian vernacular tales and folk epic. The influence of Gandhism can be seen in the short story collection `The Cow of the Barricades`1947 also. He published Gandhi`s biography . Great Indian way, A life of Mahatma Gandhi. He received the prestigious International Neustadt prize for literature. The Serpent in the title refers to illusion and the Rope to reality. Indian

2.2

RAJA RAOS WORKS :

Raja Rao proved himself to be unique stylist because of his first novels (Kanthapura) puranic quality. 2The project on Raja Rao was undertaken during the seventies when the major works of all the Indian writers in English born in the first quarter of this century had already been written, appreciated and and tabled as Incontrovertible evidence of Indianness from its modest beginning in the preceding century, the subcontinents creative effort in English has been for quite some time deeply involved in the question of national identity Seeking expression in an alien medium. The historical background of European colonization naturally forced such concentration of nationalism, which, however useful in the politics of the period, gave rise to a maze of problems in Every branch of intellectual and creative activity , producing a singular crisis in the
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Hindu psyche exacerbated by an almost universal notion of a permanent divide between East and West.2 He wrote in his preface to Kanthapura that since we are not native speakers of English we cannot write like the English. We should not. We cannot write only as Indians. We have grown to look at the world as part of us. That is why instead of writing in Standard English he wrote in simple English, which can be read and understood even by a common man. The story is told by a Brahmin widow, the story reflects the struggle between the good and the evil, here, personified Gandhi Gandhians on the one hand and Britishers on the other. Kanthapura British and is

a peaceful village. It is the educated youth who revolted against the authority, which is the result of inspiration of Gandhi. They fought for the upliftment of the Harijans. The villagers were pacifists but the arrest of the Gandhisman that is Moorthy, non-violent hero, caused trouble. This police violence led to shameful deeds and silent heroism. The non-violent hero, Moorthy, is jailed pacifist natured villagers turn to and Gandhians are driven depicted how even the if their peace is violence out of the village. In this novel the novelist has

disturbed.Suffering of the poor, moral myopia of the middle classes. The Serpent and The Rope is the second novel of Raja Rao, which was published two decades after the publication of Kanthapura. It is autobiographical novel in which he has written about a student named Rama who goes to France to pursue his higher studies, and about his love affair and marriage with his beloved and spiritual quest. The novel problems of Indian intellectual caught between the conveys well the

past and the present, the east and west.

2 THE NOVELS OF RAJA RAO :Foreword ,The theme of quest byEsha Dey Prestige Books 3/28 East Patel Nagar New Delhi. p-7
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. Since the Cat and Shakespeare is a puzzling thing rather in the form of a novel the writer himself called it ametaphysical comedy. The story deals with an extra marital affair of a revenue office clerk, his philosopher neighbour Govindan Nair and the problems and pains, red tapism that makes the acquisition of ration card a herculean task. One of the critics described it that it is in Upanishadic style. Padmanabhan Iyer, the central character of the novel Comrade Kirillov, takes the name Kirillov after becoming a communist, marries a Czech woman and lives in the west for 20 years. We can notice the strong pull of Indian roots. Irenes cousin had told her that since Kirillov was an Indian, his Indianhood would break through every communist chain. An Indian may go where he likes, but his soul will ultimately pull him back to India and between an Indian and a westerner there can never be a union of souls. Irene realizes it at last. The novel has its clear affiliations with The Serpent and The Rope Taken together Raja Raos writings present a rich experience of Indian life at many levels and he is certainly a major Indo-Anglian novelist.All of Raja Raos novels explore philosophical concepts.

2.2.1.

KANTHAPURA :
Kanthapura is the first novel of Raja Rao. The impact of

Gandhi and freedom movement on a remote village is depicted in this novel. It is a narrative novel. The narrator of this novel is an elderly woman, widow, who narrates the story in an Indian style. Like his short stories we can find blending of truth and imagination, poetry and strangeness, history and legend in Kanthapura.Kanthapura is remarkable in many ways; the narrator is a grandmother ( usually Grandmothers are
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well known for telling stories in India ). She tells the story of Indian freedom movement in which she had taken part. We can notice the spontaneity and Indianness and feminine tone in her story. She is typical Indian Grandmother. While reading novel we come across many humorous statements also. No village in India is free from superstitions even Kanthapura is not an exception to it. She uses many Gods and Goddess names. Here Gandhi is compared to Rama and Britisher (Police Inspector) is compared to a soldier in Ravans army. Satyagrah is divine Krishna himself in Kamsa's prison! In this novel even the trivial things gain importance because they will be glorified. We can find racism in this novel by this we come to know about caste consciousness. The political revolution is also portrayed in this novel very well.

Raja Rao explains in his foreword why English is chosen medium and how his style is unconventional because of his attempt to adapt in English the idiom, the rhythm, the tone the total distinctness of vernacular ( In this context Kannada speech). By bringing the intricacies of the narration, Rao has introduced a new dialect. We can say that the Novel Kanthapura is a triumph of new dialect Rao has tried to give the English the native Kannada (Rural) speech sounds. Kanthapura is a typical novel not only as for as characters are concerned but also as for as rhythm of speech diction, phrasing, intonation and speech manners are concerned. This is not Babu English, this is not the English of the sophisticated Indians who meet in an exclusive club in Mumbai, Kolkata or New Delhi. This is simple natural speech of rural folk transmitted in English: it is as though one sees a familiar landscape through coloured glasses. The colouring the strangeness is unavoidable but it doesnt alter the essential truth of the things seen or the movements observed. The telling has not been easy , admits Raja Rao, and continues:

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3One has to convey in a language that is not ones own the spirit that is ones own. One has to convey the various shades and omissions of a certain thought movement that looks maltreated in an alien language. I use the word Alien yet English is not really an Alien language to us. It is the language of our intellectual make up like Sanskrit or Persian was before but not of our emotional make up. We are all indistinctively bilingual many of us writing in our own language and in English. We cannot write like the English. We should not. We cannot write only as Indians we have grown to look at the large world as part of us-------3(KP) After language the next problem is that of style. The tempo of Indian life must be infused into our English expression. Even as the tempo of American or Irish life has gone into the making of theirs.4* We in India think quickly, we talk quickly and when we move we move quickly -------- we tell one interminable tale--------*4 In Kanthapura it is depicted that even remote villages were influenced by freedom struggle. Most part of the novel deals with Gandhi Purana. Gandhi is a role model to Moorthy, because, Moorthy is staunch follower of Gandhiji. The reign of redmen ( Britishers ) is resisted by the Satyagrahis. Because of Dandimarch by Gandhi and his followers the country was engaged in passive resistance of Alien authority. The people did not follow salt laws instead they started to manufacture salt in open defiance of the Government, forest laws were broken, toddy shops were picketed. What happened in Kanthapura is not unique exception but the way of narrating the story by the Grandmother is important, because, it gives the historical

3&4 KANTAPURA SECOND EDITION OXFORD UNIVERSITY PRESS YMCA LIBRARY BUILDING JAI SINGH ROAD NEW DELHI-110001 17

background of the novel there are rhythmic chains of names that too Indian and typical Kannada names (Rachanna, Chandranna and Madanna; Sampanna and Vaidyanna, Satamma and Rangamma and Puttamma and Seethamma ) you will find rigid caste system, superstitions firm faith of villagers in goddess and the courage of the villagers because they were not afraid of going to jail and undergo punishment. Since the story is told by an old woman we can notice thefeminine touches and mannerisms.The Grandmother has told the story breathlessly like paragraphs. Moorthy is Gandhiman he is satyagrahi at the same time there is a bureaucrat Bade khan the police who tries to oppress the riot but people are not afraid of him because they say; What is a policeman before a Gandhiman? Tell me does a boar stand before a lion or a jackal before an elephant? Like Shylock in Shakespeares drama The Merchant of Venice, here is Bhatta who is notorious for charging high rate of interest. He is a hypocrite because he looks like an orthodox Brahmin but his deeds are bad or cruel he is cunning. There is Rangegouda symbol of Village headman who named to be sensible person. Moorthy obeyed him always. Besides river Himavathy there is goddess Kenchamma who always protected the villagers who had been considered as the guardian of Kanthapura. Beyond the hill there is Arabian Sea. Kanthapura is in every sense a typical Indian village because the streets are divided on the basis of the people who lived on those streets. There is a Brahmin street, Pariah quarter, a potters quarter, a weavers quarter, a Sudra quarter. There is skeffington coffee estate, which is symbol of the impact of industrialization. Most of the people of Kanthapura have nicknames like waterfall Venkammma, Nose- Scratching-Nanjamma, Corner-House Moorthy etc. Gandhiji is a legendary figure for the villagers.
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any other old woman because there are many lengthy

For the people of Kanthapura Gandhi is like God. He cannot tolerate foreign rule. He is ready to sacrifice his life for the sake of his country. Besides Moorthy the supporters of revolution in Kanthapura are Rangamma, Rangegouda and the girl Ratna and then ultimately people of Kanthapura throng to the streets irrespective of their caste, creed, religion etc. When the police start to arrest the revolutionaries some people go to neighboring village Kashipura to take shelter. Some people dont hesitate to spend allotted span of time in jail. After the Gandhi Irvin pact the revolutionaries are released. Gandhis trip to England to attend the second Round Table conference; was believed that he had gone to get them swaraj. They say the Mahatma will go to Redmens country and he will get us swaraj --- And we shall all be happy. And Rama will come back from exile. Sita will be with him for Ravana will be slain and Sita freed, and he will come back with Sita on his right in a chariot of the air, and brother Bharata will go to meet them with the worshipped sandals of the Master on his head. As they enter Ayodhya there will be rain of flowers.

Like Bharata we worship the sandals of the Brother saint. He has described the Kartik, Festival of Lights in a peculiar manner: 5Kartik has come to Kanthapura ------with the glow of lights and the impressed footsteps of the wandering gods: white lights from clay trays and red lights from copper stands and diamond lights that glow from the bowers of entrance leaves: light that glow from Banana trunks and mango twigs, yellow lights behind white leaves, and green light behind yellow leaves, and white lights behind green leaves and night dark through the shadowed streets, and
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hissing over bellied

boulders and hurrying through dallying drains night cuts through

the

Brahmin street and the Pariah street and the Potters` street and the weavers street and flapping through the shooting across the broken fields, dies quietly into the river and gods walk by lighted streets Kartik is a month of gods.5(KP) 6*Like Mulk Raj Anand Rao also boldly translates Indian words, phrases, expletives and idioms in this case from his native Kannada into English and style.*6(KP)
5)KANTAPURA SECOND EDITION OXFORD UNIVERSITY PRESS YMCA LIBRARY BUILDING JAI SINGH ROAD NEW DELHI-110001 6)A HISTORY OF INDIAN ENGLISH LITERATURE M K NAIK SAHITYA AKADEMI RABINDRA BHAVAN,35,FEROZSHAH ROAD NEW DELHI-110001

uniformly brings a touch of a poet to his

2.2.2 THE SERPENT AND THE ROPE :

If Kanthapura of Raja Rao is compared to the Ramayana, The Serpent and The Rope should be compared to the Mahabharat. If the storyteller in Kanthapura is a Brahmin widow who is a minor character Rama (Ramaswamy) is the storyteller in The Serpent and The Rope who is highly educated & central character of the novel. Even Rama is a south Indian Brahmin the eldest son of professor of mathematics at Hyderabad: he can proudly trace his lineage back to Madhwacharya (Vidyaranya) and far back indeed to sage Yagnavalkya of the Upanishad Age. It is an autobiographical novel. In this novel Ramaswamy a postgraduate in history and also narrator of the story goes to France with a government scholarship to pursue a course of research in European history. In France, he falls in love with a history teacher who was a year senior to him her
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name is Madeleine. In the novel he describes her beauty: 7*Her hair was gold, and her skin for an Indian was like the unearthed Marble with which we built our winter palaces. Cool, with which lake about one, and the peacon strunting in the garden below. The seventh hour of music would come, and all the palace would see itself lit-----*7 Madeleine was like the palace of Amber seen in moonlight. He marries her and a child is born to them whom they first called Krishna and later Pierrie; but the child dies of bronchopneumonia within a year of his birth. Then,we will be introduced to her uncle Charles and aunt Zoubie and her half sister Catherine as well as two other younger men, George and Lizo. This novel is a blend of western and eastern culture. Madeleine like Rama is also interested in philosophy and religion, and often there are philosophical discussions between the two.
7)THE SERPENT AND THE ROPE RAJA RAO 1960 PRINTE IN GREAT BRITTIN BY COX AND WYMAN LTD LONDON FAKENHAM,AND READING AND PUBLISHERS BY JOHN MURRAY(PUBLISHERS LTD

When Rama was in Europe his father dies. So he returns to Benarus with his little mother (his father`s third wife) and his baby brother Sridhar. And attends last rites of his father. All roads in India lead to holy Benarus. Benarus is eternal. There the dead do neither die nor the living live. The dead come down to play on the bank of the Ganges, and the living who move about and even offer rice balls to the manes live in the illusion of a vast night and a bright city. Description of the riverGanges can be noticed.Ganges the perennial river falling on Shivas head from heaven and flowing across Bharat to the sea; Devi Sureshwari Bhagavathi Gange --- Saviour of the three worlds of restless waves.

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Clear is thy water circling upon the head of Shiva.Then goes to Allahabad to meet his fathers old friend and stay there for some time. There he meets Pratapsingh who was betrothed to marry Savitri the young western educated daughter of Raja of Surajpur. He was fascinated by her. Then Rama goes back to France to complete his work. George is frequent visitor to his house and similarly Catherine Madeleines sister. George falls in love with her (Catherine) and marries her. Rama visits Cambridge in connection with his research work and comes in close contact with Savitri. After his work at Cambridge is over he comes to London and stay there for sometime to study in the London Museum and other libraries, Savitri visits him in his apartment and one morning she comes with coconut and kumkum(vermilian ) performs aarti, touches his feet and thus takes him to be her lord and master with god as their witness. Rama gives her the toe ring, which, little mother had given to him for Madeleine but which were still in his possession. Savitri is ready to elope with him but he advises her to the contrary. Like a dutiful Hindu girl she must go back to her home and marry the person destined for her. Savitri eventually marries Pratapsingh and it is hoped she was a good wife to him.

After a couple of days his sisters (Sarojas) marriage was fixed and he comes to India to supervise the arrangement. He attends Sarojas marriage and expected to return to France but his health does not permit him. In the meanwhile his wife Madeleine gives birth to her second child. Her life is saved but her second child too dies. This is the second shock received by Madeleine and it changes the whole course of her future life. However they continue to live together for sometime more. Then he goes to London. He falls ill there and is hospitalized and one of his lungs has to be taken out. Savitri, who was in London visits him oftenly. After sometime he divorces to Madeleine.
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Then keep on visiting George Catherine. He had great love for their child Vera. He visits them occasionally. However, ambiguity marks the end of the novel, for, it is not clear whether he actually returns to India or his attachment to Vera keeps him back in Paris. The Serpent and The Rope is Raja Raos most elaborate and most philosophical work. It has a strikingly individual tone a curious mixture of Indian tenderness and French clarity.

2.2.3 THE CAT AND SHAKESPEARE :

This is the third novel of Raja Rao and the novelist has subtitled it A philosophical comedy. It is marked by much crudity and absurdity. It is the tale of two friends Govindan Nair and Rama Krishna Pai. There are numerous digressions and much that is entirely superfluous. Govindan Nair is a poor clerk in the rationing office getting only Rs. 45 a month. Krishna Pai is also a clerk and they live in adjoining houses in Trivendrum. When Pai falls sick he is well looked after by Govindan Nair and his son Sridhan. Pai loves Shanta, a school teacher, and he has immoral relation with her. Govindan is charged with corruption and fraudulent practices. His boss Boothlinga Iyer dies of heart failure as a cat jumps suddenly on his baldhead. When Govindan Nair is tried in the court he brings the cat in the court of law. He throws the whole blame on Boothlinga Iyer saying that what he did was under orders from his boss who was then dead. This is how Govindan Nair defends himself. My Lord, I was saying: One day after the whole office was empty and Boothlinga Iyer was alone he said: Govindan Nair stay there. I have a job for you. And he produced the Benarus Pot that he had hidden deeply in the sample rice sack. There was one sack always in office. So he produced the Benarus pot and said: Go to Matthalinga Nayak and in the third house right by the temple Mantap there must be a widow called Mennakshiamma. Please hand over this one hundred and nine rupees to her. That is all there is in it. The cat
23

creates a diversion in the court by jumping here and there and Boothlinga Iyers signature is revealed under another signature. As the judge is handling the paper over a sunbeam from the ceiling falls on the paper and that is how under the light the signature of Boothlinga is revealed. This proved Govindan Nairs innocence. The another comments Normally the story should have stopped there. But is life normal? Is the cat in the court normal? Is death normal? Is Shanta's life with me normal (she is not married to me and such a wife)? And such a married spouse (and living far away where the Dutch once landed and she keeping Vithal and telling him: your father is no father. Your real father is the sun. Worship him. Are the wars normal ? And the one plus one that makes two is that normal, tell me ? What then is normal ? My new baby is normal. He feeds on his mothers breasts and for the rest he sleeps or cries. Usha looks after him as if it were her own child. So Pai in the end lives with Shanta his mistress and his wife Saroja lives in a village with her son.

2.2.4. COMRADE KIRILLOV

Raja Raos most recent novel has a curious publishing history. Originally written in English ( perhaps a rather early work) it was first published in French in 1965 and the English version represents the revised text. A long short story rather than a novel the book reads like an extended character sketch. Kirillov is actually Padmanabha Iyer an Indian intellectual, his Russian appellation being after the dedicated fanatic by that name in Dostoevsky`s possessed Kirillovs self description is: Anonymous my name, logic my religion, communism my mother land. Set in the nineteen thirties and forties in London the novel mainly comprises the garrulous Kirillovs opinion on Communism, the British the war, the Indian freedom struggle etc. all viewed through expectedly bright red spectacle. He marries Irene a Czech girl, who shares his convictions and on her death leaves for Moscow, landing in Pecking when the novel ends. The
24

narrator for the most part, is R, who is later identified with Raja Rao himself. (There is a delightful piece of self-debunking on p.118) Kirillov is viewed with good-humored irony as a professed communist who is yet very much Indian at heart. Part of the narration is by experts from Irenes diary but they dont seem to add much by way of a different perspective. There are suggestions of the East West theme of the Serpent and the Rope in the picture of the Kirillov Irene relationship and the persistent irony in the earlier part recalls the comic vein in the Cat and Shakespeare, but it is clear that in Comrade Kirillov Rao has little new to say. Kirillov hardly emerges as a living figure, because the putative complexity of his character is only reported but not realized in effective fictional terms through meaningful incident or symbolic presentation. In this novel Brahmin is the central character. In this novel the novelist suggests that being a brahmin Kirillov gives importance to materialistic life than spiritual life. It is the foreign ideology that is Marxism which swept away in it except irony. his happiness and contentment. The Novel. But there is nothing new novel has the significant title A New

2.2.5 THE CHESS MASTER AND HIS MOVES

It is not different from other novels. It is also vedantic novel like other novels. As for as technique and characters are concerned it applied to this novel also. The novel is a linear is similar to the Serpent and the Rope the criticism of the Serpent and the Rope can be progression of the plot and thereis a lot of repeatation of the same idea. In this regard the novel is similar to T.S. Eliot`s Waste Land. The Major topics of discussion among the characters are significance of life, communism, as a metaphysical entity,the meaning of being an
25

Indian,Gandhian ideas,Nehru`s India,identity of a Brahmin in the modern world male female sensibilities true marriage,the limitation of language etc.

2.3. Short Stories of Raja Rao

Raja Rao was not only a novelist Raja Rao was but a short story writer .Because he has many short stories to his credit .The Cow of The Barricades (1947) is the earliest collection of short stories .The collection of the short stories which are written after 1947 have been entitled The Policeman and The Rose and Other Stories,1978. To be precise Raja Raos short stories have been categorized into two groups which belong to two periods of his career. Though Raja Rao has written many short stories his novels have overshadowed them.

2.3.1 EARLY STORIES

Javni 2.3.1.1
Javni and Akkayya reveal sociological concern of the writer. Javni is a great short story by Raja Rao.It is about a loyal servant who accepts situations in life as they come and serves her and employers with devotion love. Her simplicity ,goodness and godliness are described in this

short story. Though it has no plot or romance or adventure the story creates interest among the readers which tells us the sad tale of a south Indian girl of lower class. It not only tells us the sad tale of the lower class girl of south India but also depicts the happy domestic life of educated Indians of middle class.

2.3.1.2Akkayya
26

Akkayya is also a deeply moving story like Javni It tells us

about the

heroic figure i.e. Akkayya she is a symbol of Indian womanhood. It tells us the story of a young widow who had to depend upon her brother after the death of her old aged husband.Since she was dependent on her brother she had to do all the household chores & look after children without selfishness. In her childhood Akkayya was a pretty & intelligent girl. At the age of five she used to discuss with her father religious scriptures. She was fond of children. She was lucky for she was offered orphan children whom she treated like her own until her death.

2.3.1.3 THE LITTLE GRAM SHOP

It is the story of middle class womans misery who suffers a lot. It portrays the brutality & degradation of the husband of the middle class woman. It is the story of a proprietor of gram shop. Motilal ,who is a Gujarati Bania ill treats his wife, beats her frequently and makes life cumbersome for her. She suffers silently. This is the plight of many Indian women. She cant go anywhere her mother is dead. Bad luck follows Motilal because his son, Chota elopes with a woman as a result brings disgrace to his father. In the end, Chotas mistress presiding over the gram shop and lives with another man. In this short story the writer has depicted the sad story of three generations from grandfather to grandson.We find the curse on the family, Motilals grandfather distributed his property among his ten concubines.Motilal himself died in an accident because of his greed for money; and Motilal's son Chota suffers a lot Chotas mistress who had eloped with another man presides over the shop and Chota loses his father, mother and wife .We are not informed at the end whether Chota was dead or alive.

2.3.1.4 NARSIGA
27

It is story about a small, illiterate, orphan who was influenced by freedom struggle. In this story the boy mythicises-Mahatma Gandhi as Rama, the Ramayana and the alien ruler as Ravana. He is of divine hero of the

staunch follower of Mahatma Gandhi. He wished to be at the feet Gandhi like Hanuman who will be at the feet of Rama.

2.3.1.5 THE COW OF THE BARRICADES

As for as theme is concerned it resembles Narsiga but is more powerful in expression. It deals with Indias freedom struggle in poetical & Gandhism & Gandhi is in the Mythical terms. The theme is

background. In this story also we find a character like Moorthy who fights for non-violence & meditates to avert the bloodshed. There is a row between the people and the soldiers then the Gouri a compassionate cow intervenes and moves on the barricades between the two. Then the soldiers see tears in the eyes of Gouri and pathetic condition of Gouri & shout out, Victory to the head. Gouri is the symbol of India. She will be reborn so it is the story about the spiritual regeneration of India. mahatmas Mahatma Gandhi ki jai; and joined the crowd. But their chief red man see this and fire at Gouri it hit Gouri's

2.3. 1.6 NIMKA

We find mingling of both fact and fancy in both the stories i.e The Cow of The Barricades and Nimka.Gandhi is compared to Rama and glorified and the Englishmen are compared to Ravan.Like Kanthapura we find the mythical technique in this story also. Nimka is a story which tells us about the coming of age of Raja Rao and his maturity as a writer and thinker. In it the writer reveals sociological concerns. It is about the very sad story of a young Russian waitress in a
28

restaurant though paid less she was a princess to her student admirers from the Sorbonne ;she loved an Indian but couldnt marry; loved a Frenchman and deceived him and married a Russian widower who was twenty years older than her he gave her a son Boris. When Hitler occupied France the husband lost all his money on horses and ran away from her. At the end she loses her mother and his son does not return to take her to Russia.At last she sells her necklace which she had saved against all odds.

2.3.1.7 THE POLICE MAN AND THE ROSE

The Policeman and the Rose has called is a pure fiction and Rao has sub titled it as A True Story;Raja Rao has used symbolism in a complex and confusing wayin this story. According to him every living man is considered as a policeman and even in his previous life he was policeman so there is vagueness and ambiguity ,even obscurity about the policeman, hence, the readers are baffled and perplexed till they come to know that probably the policeman symbolizes the law of karma.

Raja Rao gave birth to the novel which contains precise ideological reconstruction of India and philosophical and cultural aspect. C.D. Narasimhaiah finds India in microcosm. Raja Rao is a classical, religious and philosophical novelist.Raja Rao is a metaphysical poet and novelist where as Narayan is only a novelist. His novel kanthapura depicts complex culture and Indian portrayal of pre-independent village. Indian English writers obviously work under a kind of creative tention with which writers writing in their native languages are not confronted.Besides the tight rope walking on the linguistic front, difficult choice: Indian English writers have to contend with another
29

writing for a foreign as well as native Indian clientele, the

former

requiring them to explain uniquely Indian thoughts and situations, the latter treating such explanation of the obvious as inartistic and an excrescence, placing the writer on the horns of a uniquely situational dilemma. The Indian Englishwriter has to choose his own blend of tradition both Indian and English and individual talent, the capability to synthesize them and forge his experience into a unique artistic amalgam meeting the dual requirements an in enviable and exacting requirement incontrovertibly.

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2.3.2

Raja Rao: The Kannada Phase

Raj Rao emerged a major writer of fiction after publishing his second novel The Serpent and the Rope The Times Literary supplement called him Indias greatest novelist .Since Raja Rao lived in Europe an outsider may think that he was an English writer but he was born in Karnataka,it means his roots are in Karnataka .Though he used to write prose and verse in his student days when he was in Hyderabad. Some of his writings are in Kannada. The Client a story included in his collection the Cow of the Barricades is a translation of a story originally written in Kannada. Rao was a great admirer of Romain Rolland. He had thought of translating his works into his own mother tongue Kannada, His works go far beyond Karnataka and Kannada language since he has rich experience and linguistic sources. By Kanthapura we come to know that it is his fullest expression of Kannada phase. Not only Kanthapura but also some of the stories in the Cow of the Barricades like Javni & Akkayya are also expressions of the same phase. Though Rao had written in Kannada his horizon had already widened. Evolving the style of his own Rao has used resources of Indian languages like Hindi, Sanskrit and Kannada .He has used some words directly and some Kannada words in translation. Eg Bhattare and Ramannore etc . He uses Kannada words and expressions directly e.g Budumekayi,Dasara Haavu ,Ayyappa ,Ayyayyo,Hele,Hele etc.He has translated Kannada words, abuses in translated form.(little mother,carcass) The articles which were published in one of the oldest
31

and influential journals of the day are as follows. 1) A Pilgrimage to Europe 2) Europe and Ourselves 3) Expiation of a Heretic (a poem) 4) Romain Rolland,the Great sage These articles give us biographical picture of the author .They provide us about the facts of his early life and his personality. Rao has expressed his devotion to Karnataka both in Expiation and in a Pilgrimage to Europe. The cold wind is blowing from the Alps , The emerald waters are sparkling in Leman, In the cloudless sky the moon is full of mirth. Out there, it is all sweetness, beauty, But , here, inside, its all desolate. Sad Alas , fallen again am I. Tell me, O God, tell me where Ive sinned, Tell me, O God ! Memories . . . All kinds if fears . . . . The mountains are dancing Around me.

The morning cock crows at last And the cow calls its young one to her. But it is not the fragrance of Champaka. Only the aroma of a rose.
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In his Europe and Ourselves he appreciates great writers of Karnataka & says that they deserve popularity in the west also he says Kanaka must have a place beside Keats, Pampa should have converse with Pope The books Shrinivasa & Kailsam are no where inferior to the books of Romain Rollands books. It shows that he was proud of Kannada writers and Kannada literature.

2.3.2.1

Prizes and Awards

Raja Rao has been liked by his readers and critics because of his new style.His works have brought him many prizes,awards among them are Indian governmentsPudman Bhushan and Sahitya academy awards and the prestigious Neustst International prize for Literature.

33

PART III. LINGUISTIC ANALYSIS 3.1Phonological Analysis

3.1.1 Examples of Contoids p p p S p b b b t t t t Bilabial V/ stop Bilabial V/ stop Bilabial V/ stop Bilabial Vd stop Bilabial Vd stop Bilabial Vd stop Bilabial Vd stop Dental v/ fricative Dental v/ fricative Dental v/ fricative Dental v/ fricative Dental v/ fricative Dental v/ fricative Dental vd fricative Word initial Province Kanthapura Bring Rumble Alambe Talassana Puttur Death Deshbandhu Talassana This mother Vidya sidda Medial Kanthapura Steep Final

t Retroflex v/ stop d Retroflex vd stop Retroflex v/ stop Velar vd stop Velar vd stop Velar vd stop Velar vd stop Labio Dental v/ fricative Labio Dental vd fricative Alveolar v/ fricative Alveolar vd fricative Alveolar vd fricative Palato alveolar v/ affricative Palato alveolar v/ affricative Palato alveolar v/ affricative

Bhattare Laddu Bhattare Khandas / darkness Ask / God Fought Veda See Change Shankar
34

Figure Defence Never Mosquito peasant peasant Village Session

Half Have Case

Ekadashi

Palato alveolar v/ affricative Palato alveolar v/ affricative Glottal v/ fricative Glottal v/ fricative Bilabial vd Nasal Dental vd Nasal Alveolar vd Nasal Retroflex vd Nasal Palatal vd Nasal Velar vd Nasal Glottal v/ fricative Glottal v/ fricative Lagteral vd refroflex Bilabial vd trill Bilabial vd trill Alveolar vd trill Palatal vd trill

Happy Happy Meal Name

Ramkrishnayya Ramkrishnayya Behold Behold Swami Money Lingam Behold Behold Patwari Patwari Tamarind

Dim Pin Change

Happy Happy Went Went Rush Jungle

Glottal v/ fricative

Here al the v/ stops except + possess three allophones word initially they are pronounced as aspirated word medially as unaspirated word finally as unreleased.

3.1.2 Examples of VOCOID

i. High Front unrounded short vocoid i: High Front unrounded long vocoid I Higher Low Front unrounded short vocoid e Mid Front unrounded short vocoid E Lower mid Front unrounded short vocoid Lower mid Front unrounded short vocoid Lower High Front unrounded short vocoid X Higher Low back rounded long vocoid Low Central unrounded short vocoid Low central open long vocoid mid mid backrounded Inquilab Eat If Yellow Ekadashi Ekadashi Vakil Weakness village leg veda veda Arathi See every Bhattare Bhattare Bhattare

Add Avidya Arathi

palace charka dal puran Karwar

35

long vocoid Lower mid back rounded short vocoid Higher mid back rounded short vocoid Lower mid backunrounded short vocoid

3.1.3 HETROGENIC CONSONANT CLUSTERS

Pr Br Tr Dr Dw Kr Kh Gr Gh kh Gh Mr Sp St Sm Sr Sr Wr Ph Bh Th Dh Th Kl Ks Gl Nr St Sth Sk
36

Sn Sw Hr Kt Ft Ks Tr Dy Tk Fl Sl Ld Hl Hm Dr Jh

3.1.4 HOMOGENIC CONSONANT CLUSTERS

Pp Bb Tt Dd Tt Dd Kk Gg Ff Vv Ss Zz Ss Zz Hh Mm Nn Nn Nn Nn Ll !! Ww Rr Yy 37

Jj

3.1.3 EXAMPLES OF HETEROGENIOUS CONSONANT CLUSTERS Word initial Medial Final

pr br dr kr gr kh gh mr sp st sm sr sr wr ph bh th dh th kl ks gl nr st sth sk sn sw hr

Product Bring Krishna Greet Kheer Ghats Spleen State Smaller Province Bhatta Thing Dharma Clever Glance Sthalapurana Skeffington Swan -

Disapproved Rudrakshi Across Pornography Respectable Plaster Jyotibhavan Kanthapura Kamadhenu Conclude Discuss Sneeze Saraswati -

Sadra Imamkhan Against Deshabandhu Gurgle Ask -

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3.2 INTONATION
English is one of the musical languages of the world .Because of intonation it has got musical quality. Intonation is nothing but the scientific study of pitch change.Pitch means the frequency of the vibration of the vocal cords.Pitch change is nothing but change in the frequency of the vibration of vocal cords.Sometimes when we speak the frequency decreases then we get the Falling Tone. If the frequency increases we get Rising Tone .If the frequency neither decreases nor increases then we get Static Tone.

Sentenece stress
The musical quality of English is no doubt the result of stress .But the rules of sentence stress are not so rigid as the word stress are. In the case of sentence stress all the words have been classified into two categories content words and structure words. Content words-noun , adjective ,verb ,adverb(stressed) Structure words- pronoun ,article, preposition ,auxiliary, conjunction etc. (unstressed) The golden rule of sentence stress is that all the content words are stressed and all the structure words are unstressed. But this rule is not absolute in the sense that there is some scope for violation of this rule i.e based on the intention of the speaker and the meaning he wants to convey. An individual speaker may stress any word of his choice including the structure words .But it should be noted that every time the meaning also changes when stress changes. English is rightly considered to be the link language of the whole world .It is the lingua franqa of todays civilized world i.e besides being spoken in the native countries like England ,America ,Australia and Canada English is also spoken in almost all parts of the world. But the English language found in other countries is different from the English found in other parts of the world. This is so because the speakers of English in other countries are influenced by their mothe r tongue.The influence of mother tongue is usually too strong to be shrugged easily.Therefore we have different varieties of English being spoken across the world for instance Japanese English ,Russian English, Italian English and Indian English. There is no difference between native English and the English found in the other countries as for as spelling and rules of grammar are concerned but style and pronunciation are certainly different. That there is a variety called Indian English is also due to the some reason though
39

the phrase Indian English exists certainty there is no such thing called in reality. But there are other varieties such as Malayali English, Hindi English, Bangalore English, Marathi English.In other words India being a country with vast linguistic diversity there are different varities of English in each region because a particular speaker having one mother tongue tends to get a unique style of English so there is no Indian English.

3.2.1Example . INTONATION Static Tone

have I have to go and cook You look like panchali herself This is the story Jayaramachar told us. You need pay nothing sister It is yours sister

Falling Tone
Yes learned Moorthappa Whats the mtter ? What are you doing with your mster ? Meanwhile las ! Savitramma dies. You shall not set your feet in Rangegoudar house again ! Oh, is it Bhattare ? But, who will officiate ?

Rising Tone
What ? Really, you mean it will cost me nothing. Mahatma Gandhi ki jail Mahatma Gandhi ki jai ! How long ? What for, Moorthy ?

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3.3 MORPHOLOGY
3.3.1 NOUN MORPHOLOGY Proper nouns : Names of characters, Since, the novel Kanthapura is about Indian Freedom Struggle, the writer has used Indian names of villages. They are very much Indian and that too Kannada names. The influence of freedom struggle had affected these places. Many people from these places took part in freedom struggle. Kanthapura Borehalli Bebbur Kanthur Siddapur Karwar Kashipur Tippur Subbur Gods & Goddessess Names -Since India is known for its rich culture and heritage Indians worship idols of many gods and goddesses. So the writer has used the names of many gods and goddesses in this novel. The most important among them is Kenchamma who is worshipped by the people of Kanthapura and they have faith in Kenchamma. She is worshiped at every occasion in that village. She is their protector.Raja Rao has not used the names of the gods of other religions. Kenchsamma Parvati Himavathy
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Anjanayya Bhima Ganga Jumna Saraswati Krishna Names of places- In the names of places he has used hybrid compounds one English word and one Indian word. It is typical style of Raja Rao. It can be observed in the following examples. Kenchamma Grove Parvati well Mother Himavathy Bebbur Hill Kanthur Hill Shivas Gorge Beda Ghats . Proper Noun-The writer has used proper nouns also in the novel. They are typical Kannada names . Badekhan Gangadhar Venku Ranganna Boranna Sampanna Chandrayya Timmayya Raghurayya Nanjayya Moorthy Ratana
42

Kittu Ramu Dore Subbu Usha Rani Laxmibai Tantia Topi Kamaladevi Sarojini Naidu Subbachetty Mota Tippa Vasudev Govinda Ganga Jamuna Saraswsati Seetaramu Names Indicating Relationship The peculiarity of Raja Rao in using the names is that the names have become descriptive. The name of one character is described in relation to other character. Chennayys daughter Madi Child Prahlad Mother Himavathy Post Masters Seetaramu Devarus son Subbu Master Devarayya Weavers elder Siddayya Madannas children Satannas wife Rangappas wife Laxmamma
43

Venkammas daughter Post Master Suryanarayans wife Akkamma Agent Nanjundias wife Channamma Subbachettis Putti Timmayyas son Bhima Dores wife Sundri Motannas young Son Sidda Ramayyas Radhamma (Appa) it means father in Kannada Some names end with Appa. These names are familiar so such names are christened in Karnataka.It is respectable word to address men. Rangappa Dasappa Seenappa (Anna) it means elder brother in Kannada. To address some characters with respect such names are used. Rachanna Madsanna Vaidyanna Siddanna Names that end with (amma ) Amma means mother in Kannada. These names are familiar to the Kannadigas so such names are christened in Karnataka. It is respectable word to address women. Kenchamma Rangamma
44

Lingamma Venkamma Akkamma Subbamma Chennamma Ratnamma Papamma Sunkamma Veeramma Rajamma Gouramma Vedamma Sharadamma Rachamma Radhamma Betel Laxmamma Rachamma Kanakamma Seetamma Kamalamma Names that end with Ayya In Karnataka priests possess such names. The writer has used these names in order to make known to the people that even priests had participated in freedom struggle. Channayya Ramkrishnayya Devaayya Ramayya Siddayya Chennayya Anjanayya Tippayya
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The Cat and Shakespeare

Indian names of persons the writer has used Indian names in the novel the Cat and Shakespeare. Though the title of the novel is in English he has used names of Kannada characters in the novel. Indian Names Kamalabhavan-A building named after Kamala Usha, Tangamma-Mixture of younger and mother Suroja, Vithal Shrinivas Pai of Chalai Bazar Sundari Ramu Shankar Iyer Shridhar Modhu Narayan Pandit Vaidyan-Scholar Vaidyan Mr Shivashankar Psillai Kunni Krishna Menon Abraham Velayudhan Nair Laxmi Manigan Lakshamma Shridhar Meenaxiamma-Addressed with respect Shanta Names of the places -Though the story takes place in India the writer has used not only Indian names of places but also European names. Trivandrum
46

Pattanur Brahmins hotel Alwaye Jyotibhavan-Building named after Jyoti Bombay Chalai Bazar Emakulam Poolimood Chidambar temple Vithal Das ward Govindan Nair ward Pandya waterfull Puttenchantai Kollayathur Village Sethu Pallea Bridge Benghazi Uzhavezhapuram Elayathur Railway Station Chalai Nagarcoil The district of Ummathur Udase-Karpuram London New York Paris Delhi Valanthoor Kolayathur

INDIAN NAMES OF PLACES

Since Raja Rao was born and brought up in India Raja Rao
47

has used Indian names of places.And the story takes place in India. Mathunga Bombay Vindhyas Jumna Ghat Murdabad Basavangudi Mussoorie Kanchenhalli Ganges Bridge Siddapura Hardwar Himaganga Rishikesh Bandol Nigatpur Kanthapura Hardatpur Balapur Delhi Manduodih Himalayas Seethapura Rampur Balapura Dalhousie ChandrapurForest Parbhani Ooty Surajpur Kodaikanal
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Pakistan Madurai Kanyakumari Fathe - pur - sikri Kailas Benares Trichinopoly Manamadurai Dehra Dun Lucknow Allahabad Anandbhavan Golconda Hariharapura Harishchandra Ghat Bridge Hyderabad Ramnagarh Badrinath EUROPEAN NAMES OF PLACES May be because the writer was living in France when he wrote this novel he has used European names of places. University of Caen Versailles Meaux Hudson Naples Paris Persia Cambridge Monte Carlo England Sardinia Saintonge
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Cairo London

Indian Names in the Serpent and the Ropes

Human

Male Characters Panini Sridhara Ramakrishnayya Vivekananda Grandfather Kittanna Ranganna Emperor Akbar Ramakrishna Madhavaswamy Rishi Stableman Chowdayya Somsundarayya Manjappa Dushasana Gangadharayya Buddha Sundar (Name of horse) Tulsidas Venkataraman Dharma Raja

Female Characters Vishalakshi Bhrathrihari Chandramma Aunt Seethamma Atchakka Lakshamma Aunt Lakshamma Gouri (Raos mother) Saroja Chandramma Sukumari Savithri Kapila Pushpavathi Rani Saheba Ambadevi (goddess) Parvathi Seema Rama-sita Shakuntala
50

Names of Rivers Ganga Himavthi Brahmaputra Jumna Kalindnandin Ravi Names of Flowers Rose Jasmine Sesame Crocuses Violets Narsisus Champak

Kabir Ramanand saint Kaumudi Damodhar Gupta Pratap Singh Raju Sahi Krishna (Pierre) Sundarayy Pandit Nehru Ravi varma Gargi Yagnyavalkya Shiva Nandi(vehicle of shiva) Sri Shankar Vikram Walkeshwar temple Venkatsubbayya Buddhist Nagasena Greek king Manander Uncle seetharamu Dr Sunadarm Kitta Grand father Kittanna Vithal Krishna-Govinda

Subbakka Aunt sata Rangi Sundarayya Sankamma Pushpa Bharthihari Madhuri Sankri Ramadev Rukmin Varuna Sharifa Bhagirathi Gowrie Maheshwari Cauvery Anandi Nanjamma Mayadevi

Channakeshav (The god of beautiful hair) Modis venkataramayya son in law Belur Krishnappas third son
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Madhavaswamys Shri Ramakrishna Somasundarasyya Shivoham Vivekananda Sanjeevayya Aurobindo Ramachandrayya Dayananda Piper Siddayya Sankara Kalidasa Shiva Vishnu Mahammed Lingegouda Karna Nandi Dharmaraja Satyakama Ganesha Lokamitra Kumara Jagannath Bhatta Anand Eight-pillered house Nanjudaiah
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Ramappa Virupaksha Bhattas Vassita(M child) Timma Brahma Prajapati Ravi padmavati Mithra Akbar Indra Altamash Harishchandra Ravana Satrugnya Shankara narayan Iyer Hanuman Nanja Jainendrakumar Subbu Ramayya Sundarappa Bodhayya Cartwheel Shivaramanna Timma Kitta Putta Botman Kalappa GrandmotherRangamma KingVirabhadra the great Vishweshwar Ramakrishna Bhatta Alur Sri Kantha Sastri
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Priest Ranganath Mango tope Siddanna Bailiff Subbayya Shambho Shankara Appoo Nair Dr Bhimsen Joshi Ramanujan Shamoo Subbu Laxmana M Belguin Rajsaheb of Tehrigarnwal Mohammed Ali Dr Ruppart Captain Shamsundar Babar Humayun Bhisma Karna Dharmaraj Coomarswamy Linga Shastri

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EUROPEAN CHARACTERS IN THE SERPENT AND THE ROPE

Male characters characters

Stalin Koisoleil Bossuet Pierre (son of the author) Henry IV Euler Helene Don castillero y Abavez Paul valery Matame Roussellin Ulysses Achille Gide Clandel Lezo St Ambrose Palladius Montaigne Robert Fern Alyosha Karamazov Staritz Zossima Father Zenobias Leon Henri Portichaut Leonardo
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Female
Demeter Penelope Madame patensier Madame la patronne Madame Ferrol Catherine Zoubieda Zoubie Isobel Marie Miss Rathor Jane Austen Virginia woolf Julietta Phoebe

Karl Marx St Anne Esclarmonde St John Lenin Monsieur Robert Dr. Norman coleman Mephestopheles Blanche Michael swantson Napoleon Hitler Dostoevsky Kingsley martin Churchill Jim Harry Saint Louis Peter Black Rousseau Peguy Jeanne d Arc Thackeray Jeremy Bentham Paul Valery Stephen Old Ivan Pavlovitch King Hal Alyosha lanales Falstaff Wordsworth
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Henry the fifth Shelley G.M.Hopkins Stalin Victor Hugo Zarathustra Lamertine Father Zossima Euler Aberald Monsieur le Pasteur

Indian Names Of Places

Since Raja Rao was born and brought up in India Raja Rao has used Indian names of places. Mathunga Bombay Vindhyas Jumna Ghat Murdabad Basavangudi Mussoorie Kanchenhalli Ganges Bridge Siddapura Hardwar Himaganga Rishikesh Bandol
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Nigatpur Kanthapura Hardatpur Balapur Delhi Manduodih Himalayas Seethapura Rampur Balapura Dalhousie ChandrapurForest Parbhani Ooty Surajpur Kodaikanal Pakistan Madurai Kanyakumari Fathe - pur - sikri Kailas Benares Trichinopoly Manamadurai Dehra Dun Lucknow Allahabad Anandbhavan Golconda Hariharapura Harishchandra Ghat Bridge Hyderabad
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Ramnagarh Badrinath

European Names Of Places

May be because the writer was living in France when he wrote this novel he has used European names of places. University of Caen Versailles Meaux Hudson Naples Paris Persia Cambridge Monte Carlo England Sardinia Saintonge Cairo London

Indian Names in the Serpent and the Rope

Human

Male Characters Panini Rivers Sridhara Ramakrishnayya

Female Characters Vishalakshi Bhrathrihari Chandramma

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Names of Ganga

Hemavthi Vivekananda Brahmaputra Grandfather Kittanna Ranganna Emperor Akbar Ramakrishna Madhavaswamy Rishi Stableman Chowdayya Somsundarayya Manjappa Dushasana Gangadharayya Buddha Sundar (Name of horse) Tulsidas Venkataraman Dharma Raja Kabir Ramanand saint Kaumudi Damodhar Gupta Pratap Singh Concubine Raju Sahi Krishna (Pierre) Sundarayy Pandit Nehru Ravi varma Gargi Atchakka Lakshamm Aunt Lakshamm Gouri (Raos mother) Saroja Chandramma Sukumari Savithri Kapila Pushpavathi Rani Saheba Ambadevi (goddess) Parvathi Seema Rama-sita Shakuntala Subbakka Aunt sata Rangi Sundarayya Sankamma Pushpa Bharthihari Madhuri Sankri Ramadev Rukmin Varuna Sharifa Bhagirathi
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Aunt Sethamma Jumna Kalindnandin Ravi Names of Flowers Rose Jasmine Sesame Crocuses Violets Narsisus Champak

Yagnyavalkya Shiva Nandi(vehicle of shiva) Sri Shankar Vikram Walkeshwar temple Venkatsubbayya Buddhist Nagasena Greek king Manander Uncle seetharamu Dr Sunadarm Kitta Grand father Kittanna Vithal Krishna-Govinda

Gowrie Maheshwari Cauvery Anandi Nanjamma Mayadevi

Channakeshav (The god of beautiful hair) Modi venkataramayya son in law Belur Krishnappas third son Madhavaswamy Shri Ramakrishna Somasundarayya Shivoham Vivekananda Sanjeevayya Aurobindo Ramachandrayya Dayananda Piper Siddayya
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Sankara Kalidasa Shiva Vishnu Mahammed Lingegouda Karna Nandi Dharmaraja Satyakama Ganesha Lokamitra Kumara Jagannath Bhatta Anand Eight-pillered house Nanjudaiah Ramappa Virupaksha Bhatta Funeral feast Vassita(M child) Timma Brahma Prajapati Ravi padmavati Mithra Akbar Indra
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Altamash Harishchandra Ravana Satrugnya Shankara narayan Iyer Hanuman Nanja Jainendrakumar Subbu Ramayya Sundarappa Bodhayya Cartwheel Shivaramanna Timma Kitta Putta Botman Kalappa GrandmotherRangamma KingVirabhadra the great Vishweshwar Ramakrishna Bhatta Alur Sri Kantha Sastri Priest Ranganath Mango tope Siddanna Bailiff Subbayya Shambho Shankara Appoo Nair Dr Bhimsen Joshi Ramanujan Shamoo Subbu Lakxmana
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M Belguin Rajsaheb of Tehrigarnwl Mohammed Ali Dr Ruppart Captain Shamsundar Babar Humayun Bhisma Karna Dharmaraj Coomarswamy Linga Shastri

ISMS USED IN THE SERPENT AND THE ROPE Every ism is a movement. Even Raja Rao has used many isms in his Novel the Serpent and the Rope. Judaism Taoism Buddhism Confucianism Marxism Hinduism Hitlerism Stalinism Leninism Trotskyism Anarcho-Synsicalism Brahminism Lexical Items that are markedly Kannada
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Description of Kannada words used in The Serpent and the Rope

Tulasi- |tUlasI| A kind of tree which will be planted in front of the house. It is considered to be holy for the Hindus. It is worshipped. And it is offered to idols of Gods & goddesses. Its leaves are used as medicine. Since the story is Indian and that too it is about the people of Karnataka, the writer has used it in the novel. It shows Indian culture. Linga- It is also worshipped. It is believed that it is incarnation of Shiva. It shows the belief of Indians in the worship of gods and goddesses. There is a belief that if the Hindus visit all the twelve Jyotirlingas their life will be sanctified and purified. Ayyappa- It is a Kannada interjection which is used to express shock. It speaks of deep penetration of the mother tongue i.e. Kannada language in the writer. Ayyayyo- It is also a Kannada interjection which is used to express shock. Even this shows how far the writer was influenced by his mother tongue. Guru- It stands for teacher. He is respected very much in Indian culture. It is believed that in India guru is the builder of the nation. To quote saint Kabirdas. If we make the whole earth paper and the whole trees pens and the water of all the seven seas ink we cannot finish writing in praise of the guru. Kunkum- A kind of religious mark which will be red in colour. It is very important for women. If two women meet they exchange applying Kunkum to each other. After the death of the husband the woman cannot wear Kunkum. It means widows are not allowed to wear Kunkum . It is believed that if women wear thick kunkum it gives long life to her husband. Arthi- A kind of lamp lighted with ground nut oil or ghee which is performed to god and even to people in case of some occasions. It is believed that arthi is sacred. Agni- It means fire. The writer has used the word agni instead of fire because it has religious and cultural value. In case of certain occasions like fair, people walk holy fire to fulfill their promises.
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Tali- It is a golden ornament tied to the bride by the bride groom after which they become husband and wife. It is believed that tali is sacred for the wife and it symbolizes patience. The tali is removed after a woman becomes widow. Dhir- It means a courageous & victorious person. May be because of his mother tongue is Kannada he has used this word. Japa- It means penance. It is practised to achieve something in this life like making miracles. Satwic- It means an innocent person. Sadhaka- An achiever, one who has succeeded in life. He will be appreciated by the society. He will become role model to some people. Some people achieve success by doing penance some by hard work. Avatar- It means incarnation. In this novel Raja Rao has mentioned the incarnation of God, and Vishnu. b) Other Lexical items that are markedly kannada Lexical Items that are markedly Kannada

3.2.2. Raja Rao has used Kannada words as they are used in Kannada without any change
Sthala purana zamindar bhatta shankara jayanti Harikatha Harijana Tainadu Vishwakarnataka Deshabandhu Jayabharata Alambe Champa Neema pat, pat, pat thoti house maya vada h'e Chenna cried Rangegouda
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Ahimsa Mandap Kartik Vakil Satyagrahi gandhi maidan rajadaksina dharma sutras vedant sutras magh vidya avidya veda and purana Arathi satyanarayana puja sajji harikatha Maistri Chakra 20 khandas ekasdashi day Bhattare Kunkum Prayaschitt Dasara havu thoo ! thoo! Thoo! sevika sangh Vaisakh hobli rohini star darbar turban amrutha mahal hoyla hoyla Rudrakshi hle hle ! hi

3.2.3. SINCE HINDI IS LINGUAFRANCA OF INDIA WE CAN SEE THE INFLUENCE OF HINDI IN THIS NOVEL. laddu bazar kurta badmash
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dal soup bengal gram khir inquilab zindabad

Names of Flowers Rose Jasmine Sesame Crocuses Violets Narsisus Champaka Names of Rivers Ganga Himavathy Brahmaputra Jumna Kalindnandin Ravi

Eatables:Fruits, food Stuffs andVegetables

Custord apples Bengal gram Cucumber Garlic Rice Rasam Chutney Coconut
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Coriander leaf Wheat Sugarcane Prasad Tamarind Brinjal Mustard Carrots Oranges Sugar Potato Onion Pepper Cows flesh Pine fruit Milk Honey Gigot Jam Milk Coffee Beef Cauliflower Beetroot Tomatoes Spinich Watermelon Snake gourd Bitter gourd Payasam Tamarind chutney Brinjalcurry Paprika Cardmom Papaya Moonguavas Betelnuts Khir Saffron Almond Pappadams Blackpepper

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3.3 Syntax in Raja Raos Kanthapura

Rao was born in Karnataka and his mother tongue was Kannada .He was familiar with Kannada syntactic structures and also English syntactic Structures. Since it is difficult to portray Indian way of life in English syntactic structures he has experimented with Kannada and English syntactic structures and found way to express his feelings through those structures. There are structural differences between Kannada and English language .Though he wrote this novel in France he had not forgotten Kannada because we can observe Kannada syntactic structure at the beginning of the novel Kanthapura itself. Here Rao has tried to reproduce Kannada language spoken in the area through this syntactic structure in the novel Kanthapura. We find Kannada sentence structures used in English because verb precedes the subject. In some sentences there will be adj+verb+sub. Ordinary Kannada sentences are translated into English the purpose of the writer is to retain flavour of South Indian speech that too Kannada speech.
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Karnataka

Rao has used the word and at the beginning of the sentences to keep the continuity of the narration. He translates Kannada expressionsinto English literally.Deliberately he has done it. e.g .The coffee has just gone down my throat. Instead of saying I have just drunk coffee he uses Kannada expression. e.g. He sat for the examination Instead of saying Pratap appeared for the examination Kannada sentence structure is used. He violates grammatical rules to express the relation of some people. e.g Madannas wifes sister and her two months old brat spin and practice ahimsa. e.g. He is my wife's elder brother's wife's brother-in-law. Because strictly speaking double apostrophes are not used in a sentence in English. The writer has used the conjunction and many times in some paragraphs. He has coined some idioms which are equivalent to English idioms .It speaks of his command of English. Rao translates Kannada proverbs into English literally in the novel Kanthapura. We can observe the use of present participle ing form in some lengthy sentences .It indicates typical narration of the story by the old woman. As Brunton has said the writer has used hurried clauses in the novel Kanthapura.The writer has written them as the grandmother narrated the story breathlessly. Since the old woman was the story breathlessly Rao has used lengthy sentences and lengthy paragraphss
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 Yes, sister. But they buy foreign yarn, & foreign yarn is bought with our money, and all this money goes across the oceans. Our gold should be in our country. And our cotton should be in our country. imagine, sister, says he, seating himself, you grow rice in the fields. Then you have mill agents that come from Sholapur & Bombay & offer you very tempting rates. They pay you nineteen rupees a khanda of paddy instead of eighteen rupees eight annas, as Gold- Bangle Somanna or Mota Madanna would pay. They will even pay you nineteen rupees & two annas, if you will sell more than twenty khandas. Then they take it away & put it into huge mills brought from their own country & run by their own men- and when the rice is husked & washed & is nothing but pulp, they sell it to Banya Ramanlal or Chotalal, who send it by train to Banya Bapanlal & Motilal & Bapanlal & Motilal send it to the Tippur Fair, & Subbachetty & Ramachetty will cart twenty sacks of it home. And then you have no rice before harvests, & theres your granddaughters marriage, for example, or your second daughter is pregnant & the whole village is to be invited for the Seventh- month ceremony. You go to Subbachetty & say, He Chetty , have you fine rice? Why, I have fine white rice, says he, & shows you rice white & small as pearls, all husked & washed in the city. And you say, This looks beautiful rice, & you pay one rupee for every three & half seers. Now tell me, Nanjamma, how much does Husking Rangi ask from you for every twenty measures of paddy? Well, if I say Yes, what then? And then you sow, and your harvest is grand this year. And more people come from Bombay & Sholapur. And they bring bigger carts and larger money-sacks. Then pay twenty rupees a khanda this year. If I keep my rice it is all such a bother measuring it out to Rangi & measuring it back from her & quarrelling over her measures And there are the worms & the Bhattas interest. And, who knows, ago. So you go to the agent & say, all right. I can give you forty- four khandas. And, as he opens his bag & counts out rupee after rupee, in the backyard they are already saying, Three. Hm Four. Hm Five, & The Gods extra. Hm, their gaping sacks before them. Night comes & our granary is empty as a mourning house. Then , the next morning, Husking Rangi meets you on your way to the river, & says. Let Dasara come, Rangi. Weve still last years rice. We havent swallowed it all, you say. But Rangi knows the truth, & when the rainy season comes & theres little rice to eat, she will pass by your door & spit three times at you in the name of her children. Then she too will go to work on the fields with her husband. And so two work on a field that hardly needed one, and the children will go foodless. And the next harvests agents will come & bring veritable motor lorries, such as they have in the Skeffington Coffee Estate, and they will take away all your rice & you will have to go to Subbachetty & buy perhaps the very rice that grew in your field, & at four seers a rupee too. The city people bring with them clothes & sugar & bangles that they
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manufacture in their own country , & you will buy clothes & sugar & bangles. You will give away this money & that money & you will even go to Bhatta for a loan, for the peacock- blue sari they bring just goes with Lakshmi, & Lakshmi is to be married soon. They bring soaps & perfumes & thus they buy your rice & sell their wares. You get poorer & poorer, & the pariahs begin to starve, & one day all but the pebbles of the Himavathy, & drink her waters saying, Rama Krishna, RamaKrishna! Sister that is how it is. Bhatta was the only one who would have nothing to do with these Gandhi-bhajans. what is all this city-chatter about? he would say ; weve had enough trouble in the city. And we do not want any such annoyances here To tell you the truth, Bhatta began all this after his last visit to the city. Before that he used to sit with us and sing with us, and sometimes, when Moorthy was late in coming, he would go and get the white khadi-bound My Experiments with Truth and ask Seenu to read it & explain it himself. Then suddenly he went to the city. Business took him there, he said. You see, he had always papers to get registered- a mortgage bond, a sales sheet, a promissory bond for this reason & that reason he was always going to the city. After all, when it was the other party that paid the cart fare, what did it matter to him to go to the city? A day in the city is always a pleasant thing. And nowadays, they even said, he had begun to lend out money there. Advocate Seenappa, you know, had appointed him manager of the Haunted-Tamarind-Tree field, & we all knew in what straits that de-bauchee was now. So Bhatta began to loan out one hundred & two hundred & three hundred rupees. Then came the district Elections, & Chandrasekhrayya said Two thousand for it & so he had it, & that is how Chandrasekharayya is now President of the Tamlapur Taluk. And then there was the Kotyahalli widow, who lived with her widowed mother. It was Bhatta that managed her lands, & she was involved with her husbands brother. That meant money. Money meant Bhatta- always smiling, always ready, always friendly. Bhatta was a fine fellow for all that. With his smiles & his holy ashes, we said he would one day own the whole village. I swear, he would have done had not the stream run the way it did. Rangamma, you are as a sister to me, & I am no butchers son to hurt you. I know you are not a soul to believe in all this pariah business. But I only want to put you on your guard against Moorthy & these city boys. I see no fault in khadi & all that. But it is this pariah business that has been heavy on my soul Our Rangamma is no village kid. It is not for nothing she got papers from the city, tai-nadu, vishwa Karnataka, Deshabhandu, & Jayabharatha, & she knows so many, mar thing too of the plants that weep, of the monkeys that were the men we have become, of the worms, trun-as-dust
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worms that get into your blood & give you dysentery 7 plague & cholera. She told us, too, about the stares that are so far that some have poured their light into the blue space long before you were born, long before you were born or your father was born or your grandfather was born; & just as a day of Brahma is a million million years of ours, the day of the stars is a million million times our day,& each star has a sun & each sun has a moon , & each moon has an earth, & some there are that have two moons, & some three & out there between the folds of the milky way, she told us, out there is just a chink, & you put your eyes to a great tube & see another world with sun & moon & stars, all bright & floating in the diamond dust of God. And that gave us a shiver, I tell you, that we would not sit alone in the kitchen that night or the night after and she told us too, how in the far off countries there were air vehicles that move, that veritably move in the air, & how men sit in them & go from town to town;& she spoke to us,too, of the speech that goes across the air; & she told us, mind you, she assured us-you could sit here & listen to what they are saying in every house in London & Bombay & Burma. But there was one thing she spoke of again &again- &, to tell you the truth, it was after the day the sandal merchant of the North came to sell us his wares & had slept on her veranda & had told her of the great country across the mountains, the country beyond Kabul & Bukhara & Lahore, the country of the hammer &sickle & electricity- it was then onwards that she began to speak of this country, far, far away; a great country, ten times as big as say Mysore, & there in that country there were Women who worked like men, night & day; men & women who worked night & day, & when they felt tired, they went & spent their holiday in a palace- no money for the railway, no money for the palace- & when the women were going to have a child, they had two months & three months holiday, & when the children were still young they were given milk by the Government , & when they were grown up they were sent free to school, & when they grew older still they went to the Universities free,too,and when they went still more grown-up ,they got a job and they got a home to live in and they took a wife to live with and they had many children and they lived on happily ever after. And she told us so many marvelous things about that country; & mind you, she said that there were neither all men are equal every one equal to very other and there were neither the rich nor the poor Pariah Ramakka, who heard of it one day, said, So in that country pariaha & Bhahmins are the same, & there are no people to give paddy to be husked & no people to do it strange country, Mother. But Rangamma simply said, My paper says nothing about that, & continued measuring the unhusked rice. Oh , she told us so many, many interesting things- & all came from these white & blue papers,sister! The SKEFFINGTON Coffee Estate rises beyond the Bebbur Mound over the Bears Hill, hanging over Tippur & Subbur & Kantur, it swings round the elephant Valley, & rising to shoulder the Snow Mountains &
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the Beda Ghats, it dips sheer into the Himavathy, & follows on from the Balepur Toll-gate corner to the Kenchamma hill, where it turns again & skirts Bhattas Devils fields & Range Gowdas coconut garden, & at the Tippur stream it rises again & is lost amidst the jungle growths of the Horse-head Hill. Nobody knows how large it is or when it was founded; but they all say it is at least ten thousand acres wide, & some people in Kanthapura can still remember having heard of the Hunter Sahib who used his hunter & his hand to reap the first fruits of his plantation; & then it began to grow from the Bears Hill to Kantur Hill, & more & more coolies came from beneath the Ghats, & from the Bears Hill & Kantur it touched the Snow Mountains, & more & more coolies came; & then it became bigger & bigger, till it touched all the hills around our village, & still more & more coolies came-coolies from below the Ghats that talked Tamil or Telugu & who brought with them their old men & their children & their widowed women armies of coolies marched past the Kenchamma Temple, half- naked, starving, spitting, weeping, vomiting, coughing, shivering, squeaking, shouting, moaning coolies coolies after coolies passed by the Kenchamma Temple, the maistri before them, while the children clung to their mothers breasts, the old men to their sons arms, & bundles hung over shoulder & arm & arm & shoulder & head; & they marched on past the kenchamma Temple & up to the Skeffington Coffee Estate coolies from below the Ghats, coolies, young men, old women, children, baskets, bundles, pots, coolies passed on- & winding through the twists of the Estate path- by the Buxom- papal bend, over the Devils Ravine Bridge, by the Parvatiwell Corner- they marched up. The maistri before them, the maistri that had gone to their village next to their village, & to the village next to that, & that is far away, a days journey by road & a nights journey by train & a day again in it, & then along the Godavarys banks, by road & by lane & by footpath, there he came & offered a four-anna bit for a man & a two anna bit for a woman, & they all said, Is there rice there ? & he said,There is nothing but rice around us ; & they all said, That is a fine country, for here, year after year, we have had neither rain nor canal- water, & our masters have left for the city ; & so he gave them a white rupee for each & they said, This is a very fine man, & they all assembled at night, & Ramanna the elder said, Now we will go, a four- anna bit for a man & a two-anna bit for a woman, & they all said, There, theres rice ; & the pots become empty of water & the sacks began to grow fat with clothes, & the pots on their heads & the clothes in their arms, they marched on & on by the Godavary, by path & by lane & by road; & the trains came & they got into them, & the maistri bought them a handful of popped rice for each & a little salted gram for each, & he smiled so that they all said, It will be fine there, a four- anna bit for a man & a two-anna bit for a women, & the maistri said, You will just pick up coffee seeds, just pick them up as you pick up pebbles by the river.-Is that all, maistri?-Of course, what else? And the Sahib there, he is a fine man, a generous man75

you will see.; & the trains moved on with the coolies, men women, children; then plains came with dust & desert & then mountains rose before them, blue mountains, & the trains sneezed & wheezed & snorted & moved on; & the coolies all came out at Karwar & marched on, by the road & street & footpath, & they passed this way beneath hanging mountains, & that way over towering peaks, &the streamlets hissed over their shoulders & purred beneath their feet, & they said there were tigers & elephants & bears in the jungles, & when the children cried, the mothers said, Ill leave you here with the tigers; but if you dont cry, Ill take you over the mountains where you can have milk like water- just like water, & the child stopped crying; & the nearer they came, & the child stopped crying ; & the nearer they came, the harder become the road & the stiffer the maistri, & when they had all passed by the Kenchamma hill, the young men, old men, old women, children & mothers, the maistri stood at the back, & when they had all passed by the Estate entrance, one by one, he banged the gate behind him & they all walked up, coolie after coolie walked up they walked up to the Skeffington bungalow. And the next morning they rise with the sun, & the men begin to dig pits & to hew wood & women to pluck weeds & to kill vermin; & when the sun rises high, & one rests ones axe for a while to open the tobacco- pouch, or one rests ones basket to open the betel- bag, there he is the maistri, there behind some jack, & he says, He, there! What are you waiting for? Nobodys marriage procession is passing. Do you hear? & when you do not pick up your axe or put your hand to a coffee plant, he rushes down the hill, crunching the autumn leaves beneath him, & up there by the bamboo cluster the red face of the Sahib peeps out, they all swing their arms this way & that & the axes a queak on the tree & the scissors on the leaves. But when the talkative Papamma opens her Ramayana & speaks of the leaks in the roofs & leaks in the measures & leaks in the morals, theres a crunch of feet again, but it dies away into the silence only to rise on the top of the other shoulder of the hill. Lakkamma cries out, He,He, He, a snake! A huge snake! A cobra! And rushes away to hide behind a tree. And they all leave their work & come to see if there is a snake & what he looks like. But he has disappeared into the bamboo bush; & Pariah Siddayya, who has been in these estates for ten years & more, says never mind, explains that cobras never harm anyone unless you poke your fuel chip at them; & seating himself on a fallen log, he tells you about the Dasara havu that is so clever that he got into the sahibs drawer & lay there curled up, & how, the other day, when the sahib goes to the bathroom, a lamp in his hand, & opens the drawer to take out some soap, what does he see but our Maharaja, nice & clean & shining with with his eyes glittering in the lamplight, & the sahib, he closes the drawer as calmly as a prince; but by the time he is back with his pistol, our Maharaja has given him the slip. And the Sahib opens towel after towel to greet the Maharaja, but the Maharaja has gone on his
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nuptial ceremony & he will never be found.

3.4Syntactic Analysis
The nationalists did not neglect indigenous languages had connection with the past which the Despite the nationalist language maintain. because they

nationalists wanted to

elite used English, they followed

one common nation. For eg.

to reach their ideas to other corners of the

Bankim employed Bengali.

For ex : We can find unitary identity in defining nationalism in Raja Rao`s Kanthapura. Raja with both kind of the Indian Rao conducts a kind of experiment produce a against that Kannada and English syntax structures to syntax which portrays the Indian way of life sensibility expressed in be foreign tongue bilingual. Because we find

values of the west in Kanthapura.The contradiction

contributes to our analysis Kanthapura the

of his novel Kanthapura. To understand

reader should
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localism in the novel Kanthapura.

We find Kannada syntactic structure from the beginning itself in the novel. Here the writer has tried by means of sentence structures to reproduce the Kannada language spoken in the area of Karnataka. Eg :High on the Ghats is it, high up the steep moutains that face cool Arabian seas , up the Malabar coast is it,up Mangalore and Puttur and many a center of cardamom and coffee, rice and sugarcane. It shows how far he was influenced by Kannada. This is a Kannada sentence in English though the structure is Kannada. Here we find the reversal of word order,because the verb precedes the subject in two clauses verb is not used so it suggests a typical sentence structure of Kannada. To quote one more example Kenchamma is our goddess,Great and bounteous is she(5) Karthik has come to Kanthapura, Sisters Karthik has come with the glow of lights and the unpressed foot steps of the wandering gods ; White lights from clay trays and Red lights from copper stands and diamond lights that glow from the bowers of entrance-leaves ; lights that glow from banana trunks and mango twigs,yellow light behind white leaves and white light behind green leaves ; and the night curls through the shadowed streets,and hissing over bellied boulders and hurrying through dallying drains night curls through the Brahmin street and the Pariah street (p.no.118) We are in the big field. Where is Ratna ? Where is Venkteshia`s wife Lakshamma? And Nose -scratching Nanjamma ? And Seethamma and Vedamma and Chinamma and all ? `How are you, Madamma ?`I ask. And there is confusion that men grip men and men crush men and men bite men men tear men, and moans on moans rise and groans
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the

and groans die out, while the ambulance men are still at work and men are bandaged, and shots after shots ring out and man after man falls like an empty sack, and the women take up the lamentation (P.no. 250) sssAnd crouching, we creep back through the village lane, behind lantana and aloe and cactus , looking at the Bebbur mound,where the Gandhi flag is still flying beneath the full bosomed moon and the Canal bund beyond which 3000 men are shrieking and slaying,weeping, wounding,groaning ,crawling ,swooning ,omiting,bellowing , raving ,gasping....... (251) Rao has used the word `and ` at the beginning of the sentences to keep the continuity of the narration and to make language internal and to express the feeling the timelyness of existence. He has used puranic narration to dehistoricize the historical movement in the back ground In the first example Raja Rao brings parallelism between the rivers of India and its people. In this Raja Rao has depicted the connection of the India`s various cities and their different events into single experience. We can say that it is imagined not real the co existance of rivers and cities indicates the oneness between `Indians` In the second example we find various characters like Ratna ,

Lakshamma, Nanjamma , Seethamma and Vedamma though there is chaos it increases the effect of the presence of many people. In the third example of men gripping men shows that there was hostility between the villagers and the rulers. In order to appeal to his readers Rao has turned the historical environment of 1920 and 1930 into a glorious past but when Rao
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writes the Serpent and the Rope, he brings romance and forgets about history and nationalism. It should be rememberd that Puranas have always infuenced the historical novels in India. In his experiment with language (English) Rao had expressed the inner domain of cultural identity but he has kept the colonisers out. The allusions from the epics and the Puranas have enabled the novelist the pre British past. I had read Kanthapura before I could register for Ph D. Since the language impressed me a lot I decided to study it from linguistic point of view. Even the characters in the novel are very much Indian and that too Kannadigas.Raja Rao has depicted the impact of freedom on a remote south Indian village like historian and narrated the story in a typical Indian style. Rao has written not only about his own people but also about European people but he has written about Indian culture,customs ,and traditions in very peculiar manner.While reading Kanthapura the readers feel that they are Indians and that too Kannadigas .So he has brought Indianness in his writings. His observation and presentation is quite different. Since he was an orthodox brahmin he had read some religious books and epics and books on philosophy .That is why his works are philosophical.And also we can notice Indian culture customs and traditions in his novels. Though he is not a native speaker of English he plays the game with language. ''We know what language is ,and we also know that it varies according to circumstances .Linguistics is the science of describing language and showing how it works;stylistics is that part of linguistics which concentrates on variation in the use of language ,often,but not exclusively ,with special attention to the most conscious and complex uses of language in literature.'' Native speakers use figurative language to make good impression.They are used to it .Raja Rao though not a native speaker has
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used figurative language based on local idioms. We can observe the change of the pattern of sentences and order of words constructing sentences in a different way. Nevertheless the sentences are meaningful. E.g. He has described his village, Kanthapura high on the Ghats is it, high up the steep mountains that face the cool Arabian seas, up the Malabar Coast is it, up Manglore and puttur and many a centre of cardamom and coffee, rice and sugarcane; (P-1 KP). Though the writer has not used the usual pattern of the sentence structures they are meaningful and it speaks of his mastery of the medium. Some expressions sound wordy but they are attractive and catch attention of the readers. I will not die of it, will I? And Rangamma says this and seenu says that theres no end to this song., They turn now to the left and now to the right, He has said this and that, The peasants went into the ripening fields and led water here and led water there, This girl and that -By this paddy field and that, and they would lift this hand show that way and lift that hand and show this way -and he was turning to this side and saying something, and turning to that side and saying something -yet will say we have lost this, you will say we have lost that We dont know why the writer has used the conjunction and
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repeatedly but it interests the readers. By this we come to know that Raja Rao was a fluent talker. e.g. - Then the police Inspector saunters up to the skeffington gate and he opens it and one coolie and two coolies and three coolies come out, The word concubine may be the favourite word for the writer. Because he has not only used it in Kanthapura but also in The Serpent and The Rope. e.g. -then there is such a battle of oaths son of concubine- son of a widow- I will sleep with your wife- you donkeys husband. -stop this concubine show - Concubine Chinna still remains in Kanthapura to lift her leg to her new customers. All the examples are from the novel Kanthapura

Syntax IC Analysis
Analysis of immediate constituents . It is done to investigate grammatical systems in greater detail .And also to avoid ambiguity and arbitrariness so that there will not be vague statements.It is done to study individual morphemes and their meanings of a foreign language.

Names of the people based on their Professions

1)

Barrister Shastri

Barrister Priest Potter

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Shastri Rangappa Siddayya

2) Priest Rangappa
3)

Potter Siddayya

4)

Corn people

Corn

people

5) Puffed Rice people

Puffed Bengal

Rice gram

people people

6) Bengal gram people

7) Bangle sellers

Bangle Butter Bettel Cattle Oil Shop

sell milk leaf sell

ers people people ers women

8) Buttermilk people

9) Bettel leaf people

10) Cattle sellers 11) Oil women 12)Shop keeper Subbachetty 13) Concubine Chinna 14)Agent Nanjundaiah 15)Advocate Seenappa 16) Carpenter Kenchayya 17)Cardmom field Ramachandra

keeper Concubine Agent Advocate Carpenter Cardmom

Subbachetty Chinna Nanjundaiah Seenappa Kenchayya

field Ramachandra

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Names of the people based on their habits 1)Waterfall Venkamma 2)Nose scratching Nanjamma Nose Water scratch fall ing Venkamma Nanjamma

Identifying people based on their residence

1Corner house Moorthy 2)Temple Rangappa Corner Temple house Moorthy Rangappa

3)Kanthenhalli Patel Chandrayyas house Kanthenhalli Patel Chandrayya

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house

4)Jodidar Seetaramahias house 5)Post office Suryanarayana

Jodidar Post

Seetaramahias office

house Suryanarayana

Names of the people based on their appearance

Ten headed Ravana One eyed Linga Bearded man Old Narasamma Bentlgged Ten One Beard Old head eye ed d ed Narasamma leg ged Chandrayya Ravana Linga man

Chandrayya Bent

Fire tailed Hanuman

Fire

tail

ed

Hanuman

One eye Dasappa

One

eye

Dasappa

NAMES INDICATING RELATIONSHIPS 1)Pandit Venkateshia s daughter-in-law Laxmi

2)Gap toothed son in-law of the nuptial ceremony Gap tooth ed son in-law of the nuptial s ceremony wife Satamma

3)Subbachettys wife Satamma

Subbachetty
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4)Ratnammas husband Shamu

Ratnamma

husband

Shamu

5)Agent Nanjundaiahs wife Subbamma Agent Nanjundaiah s wife Subbamma

6)Priest Rangappas wife Lakshamma Priest Rangappas Kotwal wife Kirita Lakshamma s son

7)Kotwal Kiritas son

8)Temple Vishwanaths son Shamu Temple Vishwanath s son Shamu

9)Left Handed Madhannas son Chenna Left Hand ed Madhanna s son Chenna

10)Beadle Timmayyas son Bhima Beadle Timmayya s son Bhima

11)Concubine Siddis daughter Mohini Concubine Siddi s daughter Mohini

12)Madhannas wifes sister and her two months old brat Madhanna s wife s sister and her two months old brat

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3.4 Stylistic Analysis of Kanthapura,The Serpent and The Rope and The Cat and Shakespeare
Stylistics is that part of linguistics which concentrates on variation in the use of language often but not exclusively with special attention to the most conscious and complex uses of language in literature, and she says, 'We ask you to come', and Moorthy says, ' I shall write to the Congress and if they use of language. It enables us to study the various language features systematically. Stylistics is link between literature and language. Through stylistics we can bring to the notice of the readers the linguistic characteristics of the literary work by observing language features minutely. Linguistics comprises phonology, morphology, syntax and semantics. The literary aspect comprises the publication of the text and type of speech of the characters based on their culture, age, gender, social status, qualification, experience etc. So the stylistic analysis depends upon the functions of language and how it is used to suit the context. We expect the language to fit the circumstance. Every writer is a product of his age. He knows what is expected by the
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society in the sense readers. Every writer adopts his own style (idiosyncrasy) so Raja Rao is not an exception to it. He has adopted his own style. Though he was educated in France he has adopted Indian style that too his own style in writing novels. He did not think of style as a problem he adopted his own style and succeeded. He did not imitate English writers. 1Unlike Mulk Raj Anand Raja Rao is an insider outside ,an India obsessed expatriate.He has a unique literary character in so far as heis symbolistic,poetic and metaphysical and differs in this respectfrom the rest of the Indian writers of fiction in English.1

1P-142 Problems of the Indian Creative writer in English by C.Paul Verghese The narration in Kanthapura is in English but the style is Kannada. Because the narrator is a Kannadiga. Since the story of Kanthapura has taken place in Karnataka we can see the influence of Kannada in the novel. 2The theoretical affiliations of the modern fiction writers in Engish in India tend to undermine the native culturewhich they often glossover for cultural pretentions. It is in this context that Raja Raos fictional techniques stand out as emanating from an uninhibited propensity to relocate the cultural identity ,by undertaking a metaphysical quest that often leads to the rediscovery of the primal energy.2 In his novels Kanthapura and the Cat and Shakespeare, the writer has used Kannada words directly and has translated some idioms (to nip in the bud) (to crush in seed), a cock and bull story (a crow and sparrow story) and proverbs (a bird in hand is worth two in the bush) (sinner may go to the sea but water will touch his knees). He has Indianized some idioms. Since language is rooted in culture he has coined some words to suit the Indian culture. Raja Rao has adopted narrative technique. He has violated some rules of grammar just to suit the language to the Indian context. Through his novels he
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has tried to tell something about Indian culture, customs and traditions. He has used some superstitions also in his novels. By this we come to know how superstitious Indians are especially Kannadigas. Since some people address the people according to their appearance. It is depicted in his novel Kanthapura. Names have become descriptive. We find songs also in both the novels Kanthapura and The Cat and Shakespeare. They are written to pray to god or goddess or to praise people. It is very difficult to express one's sensibility in other language but Raja Rao has done it. He has used some Hindi words, Ram Ram, Laddu, Sanskrit words, Jeeva. Another distinguishing feature of Raja Rao's style is that he has used the word spit many times. It is used to express one's anger, hatred for something or to abuse the thing or to show the police atrocities then or emphatic disapproval of something sometimes the expression does not indicate much of abuse -' 2 P-141 Makers of Indian English Literature by C D Narasinhaiah Jayaramachar looks just as though he were going to spit out, and we never saw him again'. Sometimes the act of spitting is actually there as a curse or as a mark of anger, hatred or as a punishment. Waterfall Venkamma spat into the street while abusing Moorthy. She spat at the door of Moorthy's house and walked away. Standing on the village gate, Narsamma spat once towards the east and once towards the west, once towards the south, once towards the north, then spitting again thrice at the pariah huts, where the dogs began to raise a howl, she ran. The Maistri howled and spat at Madanna's widow Sankamma. Siddayya curses the rain and draws away his hookah and spits the southwest. When nobody turns towards Rachanna her reaction is: Thoo, Thoo, Thoo'. Venkamma meets Rangamma and looking away she spits behind her. Ramakrishnayya comes when policemen are there and spits across the courtyard. Waterfall Venkamma spits on the house and remarks: 'Oh, This widow has now begun to live openly with her men'. Vasudev says that in the estate Bade Khan spits and beats everyone and Rangamma imagines: 'Bade Khan after Bade Khans, short, bearded, lip-smaking, smoking, spitting and booted Bade Khan'. When the Mahatma takes a handful of salt and his
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followers break the law

the police have been shown dragging them and

spitting on them. The man on the top spit down on Moti Khan in the toddy grove. Venkamma called these people the toddy people and spat on them. When Ratna is given a kick in the back she cries out, 'Oh you dogs' and the Police Inspector spits in her face. The policemen beat Puttanna's father because he had spat on the false Patel. Incidentally, the policemen have been repeatedly shown kicking the freedom fighters and spitting on them and also in their mouths. When Rachanna's wife can bear the sight of the police atrocities no more she spits once, twice, thrice towards the Bebbur Mound, and once, twice, thrice at the village gate. In Maddur also 'the policemen rushed to the smite these people and they spat and they kicked and they crushed and they banged'. Significantly, the novel closes with narrator praying to Kenchamma and Siva to protect them and then she spat three times to the west and three times to the south. Among all the novels written in English by Indian writers Raja Rao's Kanthapura is quite distinctive because it has original colour the style is quite interesting though which he has expressed his thought and feeling. It is to be remembered that this novel was written long back which is an early novel in English by Indian. Of course it is a model for the later writers. The novel has extraordinary look because he has used expressions including abuses interestingly. Though English has its own vocabulary its own idiom its own morphology and perhaps its own syntax also but the water has desired many things from the vernacular. It will be a strange to experience for a native speaker of English to read the novel Kanthapura inspite of the writer has used English expressions in his novel Raja Rao has taken liberty to use the language according to his convenience. The writer has tried to express Indian sensibility, the flavour of Indian life the Indianness. As Kantak has pointed out that transformation of language has taken place in Raja Rao's short story, .Javni, but this statement is applicable to Kanthapura also. The native speaker will be surprised and will have novel experience to read the abuses. It cannot be ruled out that Indo-Anglian writing is being taught at foreign Universities notwithstanding it is comparatively limited and local. If one reads
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the novel Kanthapura with sociological approach it would provide a lot of information because it depicts contemporary society. A reader learns a lot about India linguistically and culturally from this novel than from a book of history S. Nagarajan said that though Raja Rao has not written in one of the languages of the constitution his novels are Indian because he has progressively evolved for himself a definition of India which gives a certain unity of purpose to all his works. Raja Rao though not a native speaker of English he has written novels in English. It was an interesting experience for Raja Rao. 3Kanthapura proves to be a milestone in combating the colonial complex and winning respect for the Indian Indian in form and content . 3 P-45-46 Indian Novelists in English,Critical Perspectives ,Amarnath Prasad ,Sarup and Sons New Delhi-11000 hence it becomes a potent weapon for creative use of English for the expression of a truly Indian sensibility.3 He is the first English writer who wrote about freedom struggle. Raja Raos revolutionary ideas regarding the theme , purpose and style of writing are indeed noteworthy. Raja Rao occupies unique place in the history of Indian English Literature. He has referred to his personal life in his novels. He creates native atmosphere in his writing especially in Kanthapura. The repeated use of different words with the same meaning shows the novelists concentration of a particular theme or idea. Raja are Raos coinage of words (clusters ), is not random but very intelligent, proper, selective and intuitional. His lines though come lengthy beautiful combination of thrill & rhythm. His prose style is also unique. Notwithstanding being lengthy, descriptive and repetitive his sentences have a tilt (force ) and appeal to the readers heart directly. His passionate devotion is expressed without any Linguistic hindrance. He did not hesitate to borrow from different sources. He knew how to adopt them to his convinience. The use of Hindi
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words is testimony to his Hindi learning. Raja Rao has employed some stylistic devices in order to present Indian lifen a peculiar way as for as characters and speech are concerned, in Indian language.We neither frontshift our auxiliaries nor employ a dummy do-type tense carrying verb. Their intonation and context determine the nature of most sentence patterns their devices are question formation, tag questions, use of connectives in speech, awkward sentence constructions Tag question :tag questions are used by Indians to seek an assurance from listener whether whatever they say is absolutely right. The use of connectives Since Indians are fond of using lengthy sentences even Raja Rao used lengthy sentences by using many connectives. Awkward sentences - Some of Raja Raos characters however educated they may be they have not been able to come out of the grip of mother tongue. It means since they were influenced by the mother tongue Raja Rao has used awkward sentences in his writing to suit them with the Ideas of the speaker. Since Raja Rao had rustic background it can be observed in his novels in which he portrays rustic characters in a peculiar manner the language of some of the characters sounds old compared to normal English language. The people of Kanthapura had a strong faith in goddess Kenchamma it was believed that if anybody is suffering from smallpox or influenza if he or she vows to Goddess the next morning he or she will be all right. The authors own self is projected in the character of Moorthy the people had believed that he was their Gandhi he was a leader he respected elders and addressed them with respect for example he calls pariah Rachanna brother Rachanna Rangegouda speaks with the voice of authority he says If you are the sons of your fathers do what this learned poet(m)says This novel reveals how a village offers opportunity for observing human nature in all diversity Bhatta despises Pariah women it can be observed in the following sentence you can offer me a kings daughter but never will I sell my soul to Pariah The tale of freedom struggle is breathlessly narrated by an old woman fascinatingly in the age old tradition of story telling. The pariah woman addresses Bhatta as learned Maharaja it indicates her respectful words to Bhatta when she had gone to him for loan.
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Though Raja Rao is narrating a known story that is history of freedom struggle in Kanthapura he is not narrating it from his perspective but from the stand point of an illiterate old woman. She tells the story in a cohesive manner. She starts the story with following words, Our village I dont think you have ever heard about it, Kanthapura is its name and it is in the province of Kara. The description of the village through picturisation is so vivid that the reader feels as if he is traveller passing through that village. High on the ghats, is it high Up the steep mountains that Force the cool Arabian seas ,up The Malabar coast,is it,up Mangalore And Puttur and many a centre Of cordmom and coffee,rice And sugarcane. Roads,narrow, Dusty,rut-covered roads, Wind through forests of teak And of jack, of . Ho says Subbachetty heho and the bulls shiver and start. Here Subbachettys addressing of the bulls is described. When they were agitating for political freedom and spiritual liberation Moorthy explains to them how one man cannot do everything. He uses equivalent Indian idiom instead of using English idiom that is migration of one fowl does not make summer. He says , A cock does not make morning, Nor a singleman a revolution , But we will build a thousand pillared temple,a temple more firm than any that hath been builded, and each one of you be ye pillars in it ,. India will then 1live in a temple of our learning . The writer has used ' I tell you which is idiosyncrasy of the writer in both the novels'. Eg,
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I tell you Ramakrishna Pai there is nothing like becoming rich. But a mother, I tell you, without mother the world is not. I tell you god will build you a house of three stories - note, please. I say three stories - here, just where you sit. "As true as The Hindu, I tell you I will help you to build the house". I tell you humbly I cannot, nothing sister. I tell you the congress gives it free '. I tell you, he was not a bad man Bhatta'. Never, I tell you, has a cobra bitten an innocent man. The nouns father and daughter have been used repeatedly in the following paragraph. "Father, where "Daughter, he has gone to build a house". "Father, where shall we go? " Daughter, where there is a house." "Father, what is death?" "Daughter, it's like the clock tower if the secretariat. It chimes time." "Father what is life?" " Daughter, it is where no flame can burn" Father where is that?" "Father where is that? " Daughter, I do not know. Ask Govindan Nair." "Feather, what is marriage?" "Daughter, it is when I give you to god." "Father, when will you give me to god?" Daughter, tomorrow." Raja Rao had command /of English because he was educated in France. Because he wants to express Indian sensibility he violates grammatical rules of English. He uses apostrophe twice or thrice in the same sentence which is permitted in Indian English e.g. He is my wife's elder brother's wife's brother-in-law. Because the word cousin does not convey the precise nature of the relationship and because Indian relationships do not stop with cousins and brothers and sisters-in-law. The drunkard Dhirappa's brother's son Maistri.
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has Shridhar gone?"

Raja Rao has coined some new idioms which are equivalent to English idioms. The writer's intention is to bring Indianness in his writing. Instead of using the English idiom 'nip in the bud' RajaRao perhaps because of its aesthetically offensive imagery in the Indian context uses the Indian idiom 'Crush in the seed' and 'crow and sparrow story' instead of 'cock and bull story' (for unbelievable story). The writer has repeatedly used 'and' in some paragraphs the following sentence is just an example in which he has used and many times. Eg: There are cries and shrieks and moans and groans, and men fly to the left and to the right and they howl and they yell and they fall and they rise, too, to fly, but the soldiers have seen us, and one of the them rushes towards us, and we are felled and twisted, we are felled and we are kicked, we are felled and the bayonets waved over our faces - and a long time passes before we wake and we find Satamma fainted beside us, and Madamma and, I who were soaking in a ditch, crawl past her. Raja Rao translates Kannada proverbs into English literally in this novel Kanthapura. So the words are English but the organization is Indian. It is peasants' sensibility expressed in English, e.g. The sinner may go to the ocean but water will touch only his knees. It reminds us of Lady Macbeths words which she utters in the end of the play. She says, Oh, all the perfumes of Arabia will not sweeten this little hand. It shows her repentance. We can observe the use of present participle 'ing' form which has been used repeatedly in the following sentences. Coolies from below the Ghats that talked Tamil or Telugu and who brought with them their old men and their children and their widowed women armies of coolies marched past the Kenchamma temple, half naked, starving, spitting, weeping, vomiting, coughing, shivering, squeaking, shouting, moaning coolies after coolies passed by the
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Kenchamma Temple. Men are shrieking and staying, weeping, wounding, groaning, crawling, swooning, vomiting, bellowing, moaning, raving, gasping. . . As Brunton has said the writer has used hurried clauses in this novel. The writer has written them as the grandmother narrated. and he says, 'we are against all tyrants', and he says. 'Why, then, come to our village, son, and free us from this childless monster', and Moorthy says, 'we shall see'say "Yes", ' I shall come', and then old Lakshmanna, who is a very clever woman, she says, 'Let us garland you,' and Moorthy cries out 'No, no', but she says this and that, and garland him and says, 'you are my Lord, and though I saw you like a rat on your mother's lap, I knew you'd do great deeds and bring a good name to the Himavathy'. This novel fulfills the expectation that a novel in English by an Indian author must be Indian peculiarly and essentially. By reading this novel people come to know about the speech patterns of Indians using English and the way Indians speak and think. In brief one gets the clear sense of south India in this novel. We find Indianism not only in Raja Raos writings even Rudyard Kipling used to translate literally the speech of the Indian characters into English, As Narasimhaiah has observed: Here is a distinctive Indian sensibility, a peasant sensibility, to be precise, and expressed in the English language. The words are English but the organization is Indian. Raja Rao proves his command of English (the medium) by writing this novel in an alien language successfully while reading Kanthapura.I have come across some remarkable aspects of style in the novel . In my ph.D thesis I have tried to throw light on some stylistic aspects as I have observed. 4Raja Rao has given full scope to to his characters toestablish their identities as social beings and as typical members of Indian society by involving them in actions ,situations and experiences,which are
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valid in the Indian contexts. 4 We- find poetic quality in this novel because the novelist has written many verses praising Goddess Kenchamma and God. It can be observed in the following folk song how far important Goddess Kenchamma to the people of Kanthapura was. (P-Viii) Foreword. [1] Song. 1. Kenchamma, Kenchamma, Goddess benign and bounteous, Mother of earth, blood of life, Harvest-queen, rain-crowned, Kenchamma, Kenchamma, 4 Perspectives on Indian English Literature ,Indian Writing in English ,A critical study Edited by K A Agarwal ,Atlantic publishers and distributers B-12 Vishal Enclave .opp Rajouri Garden New Delhi..-110027-p-153Goddess benign and bounteous, Kenchamma is considered to be the center of the village and makes everything meaningful. There was a belief that a marriage, a funeral, sickness, death, ploughing, harvesting, arrests, release- all were watched over by Kenchamma. There may be small- pox or influenza around, but you make a vow to the goddess, the next morning you wake up and you find the fever has left you; Didnt she kill the demon? Foreword (Viii). who killed their children and molested their wives? So she will continue to protect them against wind, rain or any distress.Here goddess Kenchamma is praised. Though some of the freedom fighters were illiterate they had an art of composing songs contextually, they have sung those songs and they are effective. This novel has poetic qualities. The talent of the people who took part in freedom struggle is brought here . 2. Laugh laugh laugh away
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The king of Heaven is coming, He, the King of Heaven is coming, Say, Bodhayya The king of Heaven is coming, The people sing this song to express their euphoria . The people are encouraging their companions to be happy.The participants of the struggle are praised so there is no similarity in the poems. 3. Goddess, Goddess, Goddess Kenchamma, The Mother-in law has wicked eyes, And the sister-in-law has hungry stomach, Betel-nuts never become stone, And a virgin will never become pregnant, Red is the earth around the Goddess, For thou hast slain the Red-Demon. Goddess, Goddess, The Mother-in law has wicked eyes, The betel-nuts never become stone. We find the alliteration in the first line. It is sung by a group of women who wanted Goddess Kenchamma to destroy the government and protect them as she had protected them from the demon. It shows that they are fed up with the government. And they have firm belief in Kenchamma. Here the mother-in-law has wicked eyes means, she gets angry, because, the British government is not good. May be the government is not providing ration to the people so they say that the sister-in-law has hungry stomach. Betel-nuts never become stone. Every thing cannot be changed. If a virgin becomes pregnant she will lose her virginity. Goddess Kenchamma has slain red demon so the earth around the
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Goddess is red. Same lines are repeated in the second stanza.again this poem is in praise of goddess Kenchamma. 4. At least a toddy pot, sister, At least a toddy leaf, sister, Well go to Borannas Toddy grove Well go to Borannas Toddy growth, And procession back at least toddy leaf, sister, When Puttanna and others had decided to march towards Toddy grove Boranna made a song and beating their feet they sang it. They want to have at least a Toddy pot , at least a Toddy leaf. They want to go to Borannas Toddy grove.This is a quite different song because it is about toddy. 5. The Toddy tree is a crooked tree, And the Toddy milk a scorpion milk, And who is it that uses the scorpion milk, sister? And who uses the scorpion milk, sister? Why, the wandering witches of the marshes; Say sister, Say the wandering witches of the marshes And the witch has a turban and a lathi stick, O King, O King , why wont you come? It is sung by the people of Maddur. They advised the drunkards not to drink alcohol in the name of Mahatma. If they drink definitely they invite sin upon themselves and their community. They created the song and sang it. It shows their concern for the people of Maddur and especially for drunkards. Since Toddy tree is a Crooked tree its milk is like Scorpion milk it means poisonous. They ask some women in general whether anybody drinks scorpion milk. Here wandering witches of the marshes refers to
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the police and the witch has a turban and lathi stick. They are afraid that the police may come and arrest them so they give a call to their King that is Mahatma so that they can be saved.There is description of toddyhere too. 6. There is one Government, sister, There is one Government, sister, And that is the Government of Mahatma. The people sing this song saying that there is one government that is the government of Mahatma. They sing it as if they have got freedom. It shows that they are fed up with police atrocities. The word sister is used here it shows their close affinity with the women.This song praises Mahatma Gandhi and their belief in Gandhiji. 7. Hell never come again, Hell never come again, Hell never come again, Moorthappa, The god of death has sent for him, Buffalo and rope and all, They stole him from us, they lassoed him at night, Hes gone, Hes gone, Hes gone, Moorthappa. This is a song of six lines the first stanza is a Couplet and the second is a Quatrain. Moorthy had told the people of Kanthapura to ring the sanctum bell and blow conch to start their protest. When they decided to start a march against the government the sanctum bell did not ring, nor the conch blow. So they got disheartened and thought that Moorthy was arrested the previous night. So they lament for the arrest of Moorthy and sing this song. In the first stanza they have repeated the sentence ,he will never come again, thrice. They think that the God of death had sent for him ( Moorthy) it means they were going to hang Moorthy. Instead
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of saying they (the Police) arrested him and hand cuffed at night they say they stole him from us, they lassoed him at night. 8. Shiva Shiva of the Meru mount, Shiva Shiva of the Ganges-head, Shiva Shiva of the Crescent moon, Shiva Shiva of the Crematorium-dance, Shiva Shiva of the unillusioned heart, Shiva Shiva Siva Some people were missing from the group, so, the people searched for them but they did not find them so they decided to light sacred flame and started to sing this song. They chanted the name of Shiva and described him as he is of the meru mount, of the Ganges head, of the crescent moon, of the Crematoriumdance, of the unillusioned heart. So, in various ways they praised him. 9. O lift the flag high , Lift it high like in 1857 again, And the Lakshmi of Jhansi, And Moghal of Delhi, Will be ours again People who are fighting for freedom sing this song. They take inspiration from great freedom fighters of 1857 mutiny like Lakshmi of Jhansi and the Moghals of Delhi and say that they will support for their struggle for independence though they are dead. It shows that Lakshmi of Jhansi and Moghals of Delhi are immortal. 11. O, fire, O soul, Give us the spark of God eternal, That friend to friend and friend to foe, One shall we stand before HIM.

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It is a Quatrain. The boys sing this song. They want to stand united forgetting their enmity so they seek the spark of eternal God. They want to stand one before HIM (God) 12.And the flame of Jatin, And the fire of Bhagath, And the love of Mahatma in all, O, lift the flag high, lift the flag high, This is the revolution. At last the revolution starts at that time people sing this song. They take inspiration from Jatin, Bhagathsingh and MahatmaGandhi. Here they tell their supporters to lift the flag high t Raja Rao use many devices to give the realistic picture of the village. First one he uses songs sung by the villagers. Secondly he uses nick names of the village life in the novel Kanthapura. o show that the revolution has started. These great freedom fighters are glorified. Rao uses Harikantha tradition in Kanthapura to instigate rural people to participate in freedom struggle. To some extent orthodoxy is also followed in the novel Kanthapura, because Badekhan was muslim he was not given accommodation .And also may be he was the representative of the British . Being a Mohammedan he could Stay neither in the potters street nor in the Sudra street and you do not of course expect him to live in the Brahimin street

Indegenisation Of English
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It is the nationalist elite who extended the national character to the language of state administration which enable only works in English to assume the status of national literature while the regional languages occupied a less national character. Though the intelligentsia gave importance to English language they did not neglect regional language and it enabled them to be comfortably bilingual. Bilingualism was a trait (and still is )of these intelligentsia who practised these linguistic variations to suit different circumstances. Though English was used widely in India it did not jeopardise or displace regional languages instead it created awareness among the people of India to identify the country on the basis of language. The spread of English education helped the Indians to understand the politics of the colonial rule. The nationalists did not neglect indigenous languages because they had connection with the past which the nationalists wanted to maintain. Despite the nationalist elite used English, they followed one common language to reach their ideas to other corners of the nation. For eg. Bankim employed Bengali. For ex : We can find unitary identity in defining nationalism Raja Rao`s Kanthapura. Raja Rao conducts a kind of experiment with both Kannada and English syntax structures to produce a kind of syntax which portrays the Indian way of life against the values of the west in Kanthapura.The contradiction that Indian sensibility expressed in foreign tongue contributes to our analysis of his novel Kanthapura. To understand Kanthapura the reader should be bilingual. Because we find localism in the novel Kanthapura. We find the Indianisation of the foreign language and the style of writing in a new technique which is the mixture of the English and the Indian.And also we find the gradual developmet of the occulturation of English and the formation of multicultural identities in the second section of the foreword. We cannot write like the English. We should not .We cannot write only as Indians. We have grown to look at the large world as part of us. Our method of expression therefore has to be a
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dialect which will some day prove to be as distinctive and colorful as the Irish or the American. Time alone will justify it . Rao`s use of English as a medium of story telling speaks of Rao`s discovery of India within multicultural experience . His `The Cow of the Barricades `forms a transitional period of the development of his style. These short stories contain Kannnada thoughts into English prose. We find Kannada syntactic structure from the beginning itself in the novel. Here the writer has tried by means of sentence structures to reproduce the Kannada language spoken in the area of Karnataka. Eg :High on the Ghats is it, high up the steep moutains that face the cool Arabian seas ,up the Malabar coast is it,up Mangalore and Puttur and many a center of cardamom and coffee, rice and sugarcane. It shows how far he was influenced by Kannada. This is a Kannada sentence in English though the structure is Kannada. Here we find the reversal of word order,because the verb precedes the subject in two clauses verb is not used so it suggests a typical sentence structure of Kannada. To quote one more example Kenchamma is our goddess,Great and bounteous is she(s) We had local rhythms in the sentence if we translate it into Kannnada or vice versa. It reveals local rythyms in English. Gemill has conducted this linguistic experiment with the following result eg ; Kenchamma our God Great she that asked for giving one she. We can find the fundamental pattern of Kannada sentence in the second clause of the original sentence eg. Adjective-verb-subject.The writer recreates ordinary spoken Kannada in English writing .ordinary Kannada syntax is labouriously recreated into English.May be the purpose of the writer to translate Kannada sentences into English is to retain the flavour of south Indian speech though it is written in English. There are various examples of literal translation of Kannada into
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the English language. If they are categorized the first is that of Kannada expressions which can be understood with ease and which do not need explanation or situational reference. The sentence itself can reveal the meaning. In the following examples there is close association of Kannada and English. They are alike in both Kannada and English. He goes from village to village to slay the serpent of the foreign rule (22) So you are a traitor to your salt givers(28) Otherwise brahmanism is as good as kitchen ashes (45) I am no butcher`s son to hurt you(45) . Our Rangamma is no village kid (46). Rangamma stood by the door,helpless as a calf(59). O Maharaja we are the lickers of your feet(70). Tell me does a boar stand before a lion or a jackal before an elephant? (84 I said to him, Mahatma is holy man and I was not with jackal but with the deer. (100-101) We shall eat mud and nothing but mud (101) Some phrases though they are translated into English they cannot be understood by other readers who are not familiar with the Indian culture.But these can be understood by Indian readers. Though it is emotional import of English speech.For example Purnayya has a grown up daughter who will come home soon(37)A girl`s attainment of puberty. The youngest is always a holy bull, they say don't they?(51)(In some villages after a rich man dies a bull bearing his name,is let loose in the village.It moves around freely and without fear,and is fed by everyone ) I shall offer them a jolly good blessing - ceremony in the choicest of words(56) Here the meaning is ironic and indicates the anger. He walked to preach the Don`t touch the government campaign (99) It shows the boycott of the government by Gandhi and his followers . This is all Ramayana and Mahabharata ;Such things never happen in our times (172) Besides being sacred to the Hindus the two epics contain fantastic and ideal stories . `Oh no more of this panchayat we ask you again, disperse, and do not force us to fire`(240) (A panchayat is a self governing body of the village. This has nothing to do with the context it is a needless and purposeless argument. ) The writer uses such expressions to enable the readers to understand
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completely. Every squirrel has his day (112) This phrase is used by Bhatta to say that Moorthy was gentle and small. The writer has replaced the phrase every dog has his own day. In India even the people of agricultural family will be aware of it. Since Swamy is worried about the pariah movement he wants to crush it in its seed,before its cactus-roots have spread far and wide(44) The writer has deliberately avoided the substitute `to nip in the bud because it appears more original and culturally different expression. Your voice is not a sparrow voice in your village (44) (Sparrow voice stands for powerful person. May be this expression is not translated one from Kannada into English. It might be writer`s own creation ) You cannot put wooden tongues to men.(49) (No one can stop people from gossipping)But this stomach that has borne eight children cannot forget it .(164) It speaks of experience and wisdom of a person. And they get a coconut and betel - leaf good bye (190) (It is a traditional way of leave taking .In some areas like Davangere the invitees will be offered betel-leaf and coconut at the time of marriage ) The writer has presented curses and abuses in such a way that they can be understood by non- Kannada and even a non -Indian reader as if they are derogatory. For eg. If her parents are poor, let them set fire to their dhoti and sari and die . See whether those concubines are planting well (124) Ah! you will eat blood and mud I said you widow and here you are ! (119) May my limbs get paralysed and my tongue dumb and my progeny forever destroyed (103-04) These examples are contextual the First sentence is an abuse from a vindicative neighbour ,and the second is curse from the master to a servant. The third is addressed to women only, while the fourth surprisingly to oneself. Here we come to know the clear relationship between the addresser and addressee in all the examples. So we can classify them in terms of
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religion ,caste , or social status. (Shankar) Though he is a Kannadiga whenever he met a man in the street he would never say How are you? Instead he would use northern manner to wish people.He would say Ram Ram(143) .Hindi is our national language. It is important to note that the dilemma of writing an Indian novel in English exists already in Lal Behari Day`s novel Govind Samant: according to Day the nativization of a foreign language is a stylistic predicament for any non-native writer of English. Because his authentic account is obstructed by his Bengali peasants who speak better English than even uneducated English peasants. But we don`t find Day`s defects in nativising English language by Rao because his peasants speak neither the Queen`s English nor the provincial English dialects of English peasants.Ifcompared to Narayan he manages to make his people speak as they would speak if English were their language,Where as Raja Roa succeeds in making his characters speak as they would speak if English were Kannada itself. Rao owes his success of characterisation precisely to the way in which he has dealt with language . Though Raja Rao has found many words and collocations they can be viewed as deviations from standard English. Such eviations can be considered as nativisation of English or Indianizing English. He has used reduplication of words as in hot, hot coffee or different, different things. We find Hybridisation of such as Lathi charge, Upanishadik, Hari katha-manPariah- quarter,Sudrastreet,or Brahminhood in order to manifest culture or context bound elements and with an intention to depict distinctive Indian character. Though Rao has Indianized English we don`t find violation of grammatical Rules but he has violated the rules of usage here and there. Kantak says that Raja Rao has used the words which have alliterative quality and rhythm. He quotes two examples The 1st example is that of the rain which poured and plundered all the fields (145) on the day Ramkrishnayya died. To depict the clash between the British soldiers and the satyagrahis, Rao refers to the soldiers grunting and grovelling at us, baynots thrust forward (247). Rao has deviated from standard English to produce a distinctive and colourful ` thought movement` though he hastaken liberty it becomes meaningful. It is difficult to conceive of the `pouring of torrential rain plundering becomes significant because heavy rainfall is personified in act of looting.
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The western readers will not be familiar with the Indian collocations though they are addressed in English language for these deviations used contextually and they are not used outside the context in India. But the comparison of the breasts with mangoes is not contextual one and deviant it will be familiar to the native speakers of English.Because they will be acquainted with the conjunction `mangobreast`. Though the novel Kanthapura was written in France, the writer has thought out the story in English . Indianness is used to highlight cultural context of India in general and Karnataka in particular. Since the reader should be a bilingual it findsout that India was as colonial state. But in Macaulay`s words ``some class of people were Indian in blood and colour but English in taste,in opinions, in morals and in intellect. The bilingual intelligentsia was prominent because they were the link between the rulers and the ruled. Being bilingual help the intelligentsia to develop nationalism and participate in freedom struggle. Thus,Raja Rao forms a nationalist community. Achakka the narrator of the story is `The aunt who tells such` nice` stories (255) because the tale of the village which was destructed would have been horrifying not` nice `, if it was told by any other person. Moorthy the protagonist of the novel is glorified and the dramatic character of the grand mother is portrayed here.To represent reality Raja Rao has used technique of mixing the oral and written .In this novel (Kanthapura) RajaRao has tried to portray the photography of Kanthapura.it can be observed by knowing the names of places as follows:The Kenchamma Hill, the Skeffington Coffee Estate,The Temple of Kanthapurishwari and the River Himavathy which represent land scape,life, history, people,ideas,and ideals.But he has not depicted in detail the hidden quality of nature. He has presented Kenchamma Hill as the Red Kenchmma hill. It means he has used animate feature of the land scape. Like Bhagavat purana even Kanthapura has descriptions of nature eg. of Karthik : for

Karthik has come to Kanthapura, Sisters Karthik has come with the glow of lights and the unpressed foot steps of the wandering gods ; White lights from clay trays and Red lights from copper stands and daimond lights that glow from the bowers of entrance-leaves ; lights that glow from banana trunks and mango twigs,yellow light behind
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white leaves and white light behind green leaves ; and the night curls through the shadowed streets, and hissing over bellied boulderand hurrying through dallying drains night curls through the Brahmin street and the Pariah street (p.no.118) The present civil disobedience movement is connected with the past legends; They say the Mahatma will go to the Red Men`s Country and he will get us Swaraj . He brings us Swaraj, the Mahatma. And we shall be happy.And Rama will come back from exile and Sita will be with him,for Ravana will be slain and Sita freed,and he will come with Sita on his right in a chariot of the air. (P.no.257) The attending of round table conference by Gandhi is mythicised like Heroes and Heroines of the epics .He (Gandhi) can be compared to goddess Kenchamma who killed a Demon to protect Kanthapura . We can compare Rama , Kenchamma and Gandhi in the context of the novel in which all the three have fought with the evil for the ultimate good. There is the combination of the political movement and the mythical analogy. The merge with the Hindu god that is Rama who is believed to be incarnation of Vishnu.Because of this we get puranic style of story telling. Though the novel has historical back ground Rao keeps alive a romantic iconography. Kanthpura can be called a puranic text. Basically a purana would be a book of origins or a kind of Hindu genesis. It is by the puranic nature of the stories which can be achieved by mixing gods and men. The word `rush` is used repeatedly in the chapter which describes the march of Satyanarayan puja by the villagers . The word `rush` is used repeatedly by the villagers during their march of the Satyanarayan puja. The police rush at them. The villagers rush down the aloelad and they rush again behind Bhatta`s sugarcanes. And we say `let us rush behind the Bhatta`s sugarcanes there`. They cannot catch us for if they come to row we will slip into another
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and stumble and rise again and we hold our children and the night blind and depth and rise again, and our eyes fixed on the soldiers. We rush towards Bhatta`s sugarcane field ....... and we huddle behind the sugarcane reeds and we like along the sugarcane ditches and we peep across the dark watery fields and the children begin to say, ,I am afraid ,` we say, `wait a moment,wait,and it will over soon (P.No. 241) In the foreword Raja Rao says, `we , In India think quickly,we talk quickly, and when we move quickly. There must be something in the sun of India that makes us rush and tumbled and run on and our paths are paths interminable.(P.no.6) Here Raja Rao generalises the nature of Indians the very style of the narration of the grand mother links the past memories with the present narration. Because of the mingling of the past and the present we find the internal continuum of time. It can be observed in the following sentence in which Rao uses punctuation marks frequently. He has used punctuation marks repeatedly to link many events. And it is the same by the Ganges and the Jumna and the Godavari,by Indus and by Kaveri, in Agra and Ankola,Lucknow and Maunpuri,in Madras ,Patna and Lahore, in Calcutta , Peshawar and Puri , in Poona and in Benares -every where ; and millions and millions of our brothers and sisters have gone to prison. We are in the big field. Where is Ratna ? Where is Venkteshia`s wife Lakshamma? And Nose -scratching Nanjamma?And Seethamma and Vedamma and Chinamma and all? `How are you, Madamma ?`I ask. And there is confusion that men grip men and men crush men and men bite men men tear men, and moans on moans rise and groans and groans die out, while the ambulance men are still at work and men are bandaged, and shots after shots ring out and man after man falls like an empty sack, and the women take up the lamentation (P.no. 250) And crouching, we creep back through the village lane, behind lantana and aloe and cactus, looking at the Bebbur mound,where the Gandhi flag is still flying beneath the full bosomed moon and the Canal bund beyond which 3000 men are shrieking and slaying,weeping,
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wounding,groaning ,crawling ,swooning ,omiting,bellowing , raving ,gasping....... (251) Rao has used the word `and `at the beginning of the sentences to keep the continuity of the narration and to make language internal and to express the feeling the timelyness of existence. He has used puranic narration to dehistoricize the historical movement in the back ground In the first example Raja Rao brings parallelism between the rivers of India and its people. In this Raja Rao has depicted the connection of the India`s various cities and their different events into single experience. We can say that it is imagined not real the co - existance of rivers and cities indicates the oneness between `Indians` In the second example we find various characters like Ratna ,Lakshamma ,Nanjamma ,Seethamma and Vedamma though there is chaos it increases the effect of the presence of many people. In the third example of men gripping men shows that there was hostility between the villagers and the rulers. In order to appeal to his readers Rao has turned the historical environment of 1920 and 1930 into a glorious past but when Rao writes the Serpent and the Rope, he brings romance and forgets about historys and nationalism. It should be rememberd that Puranas have always infuenced the historical novels in India. In his experiment with language (English) Rao had expressed the inner domain of cultural identity but he has kept the colonisers out. The allusions from the epics and the Puranas have enabled the novelist the pre British past.

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Stylistic Rope

Analysis

of

The

Serpent

and

the

$Raja Rao Mythicises contemporaty reality. He uses numerous stories drawn form Indian mythology, history and folklore to evoke the the centel concept of illusion and reality in the novel. These myths are the collective consciousness of the Indian wife, all Merge in the one cental , Indian myth , the European myths of Triston and Isenlt, Elose and Abelard and innumerable ethers also become an European myth.$ $ C D Narasimhaiah, Raja Rao (Arnold- Heinemann India, New Dethi.P.112.

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There is blend of the element of Indian & western forms of story

telling.
He uses Puranic style of narrating story because there is blend of

history ,literature , Philosophy and religion..

There is a difference between ancient puranas and The Serpent and

the Rope because ancient are objective The Serpent and the Rope of is subjective. He has used Latin & French Words & names (European names). $$ Referring to the Novel ,M K Naik observes with all its limitations . The Serpent and the Rope remains an achievement. By virtue of its range and depth, fictional standard its philosophical profundity and symbolic richness its lyrical beauty and descriptive power and its daring experimentation with form and style are of the stuff classics are made of.$$ $$ M.K. Naik, Raja Rao ( Ttwayne publis hers Ins, Newyoury Raja Rao tried to experiment with the form of fiction by suiting it to the expression of sensibility Raja Rao is not a prolific writer like Narayana or Mulka Raj Anand but he has contributed some elements to the Indian English Fiction. Which were not there earlier. An epic breadth of vision , a metaphysical rigor and Philosophic depth, a symbolic richness a lyrical fervor and an assention Indianess of style . M.K.Naik Raja 1972) P.145S Rao ( Twayne publishers Inc . New Yark , 1972).P 113

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The Stylistic Analysis of The Cat and Shakespeare

The story begins with the first person narration. e.g. I have a small white house here with a courtyard. The narrator uses the phrase to speak the truth . It is used to bring cohesiveness and localism he has used this phrase.And also to stress Something. e.g I am a quiet man and to speak the truth, I dont yet know what it is to mean husband Saraswath Brahmin in Kerala will be bilingual. It is justified with the following example. But then for a Saraswath Brahmin like me Malayalam or English is all the same. Strange syntactic structure is used it speaks of his command over English language also. Govindan Nair never says come and go. he
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will always say : Gentleman, may I invite myself there I will I be permitted into your presence ? That is ever the way with him in English or in Malayalam. He uses soft spoken words. Rao uses the phrase. I tell you. Probably to give stress to something. He says. It can be observed in the following sentence. I tell you, Ramakrishna Pai, theres nothing like become rich I tell you ,without mother the word is not , I tell you God will build you a house of three stories- note, please, I say three stories- here just where you sit We can observe verbose in some contexts. E.g. .I ask you, does the waterfall ever change ? Rao has used idioms equivalent to local idioms To Fight evil , you must use evil it is equivalent to the local idiom you should remove thorn from another thorn. Rao has used small sentences with infinitive e.g water is our best protector against sin. To smell is sin.To do is sin To gulp is sin. To purge is bounty .To die is fanciful. Reality is when you die really. To say that Shanta had all womanly characters Ramakrishna Pai says and Shanta is not just a woman, she is woman. Ramakrishna Pai says. I am a Brahmin Shanta is not ashamed to be woman. I am afraid to be a man. In the above sentence according to Rao a woman has to be ashamed to be woman. But being a man Ramakrishna Pai had Shy nature. It is not clear why Rao thinks so. Rao has highlighted pregnancy in both the novels i.e. Kanthapura and The Cat and Shakespeare. In Kanthapura Rao speaks about seventh month ceremony in The Cat and Shakespeare also he speaks about pregnancy .He brings sociolinguistics in this context . Shanta is carrying four months.I can just see the rise in her belly from where I lie. The conjuction because is used repeatedly to bring out comparison but the comparison in the third and fourth sentences is different . you are bad because I am.You are good because I am. The sun is because
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I see. You cannot suffer because you are the British bubo The first two sentences tell about the character of the narrator .But the third sentence is unique, in the sense that ,it is no where related to the character of the narrator. The fourth sentence is also quite different in the sense that other than the British suffer. The cigarette vendors, the wada seller, the coolies ,the jhataka and bandi walas outside will all have a logic with the train system. Rao has used local words Kannada words in English though they have equivalent words in English they are used to bring localism so that the novel will be different from other novels. The tree says, good morning as the soldiers say to one another. Rao has used figurative language so here we can notice personification in his novel The Cat and Shakespeare. Rao has used offer in one sentence and wh question in the other sentence and the answer by the narrator himself.It can be seen in the following exampleShall I build a house for Usha ? Who will give the money ? I ask myself as true as the Hindu I tell You I will help u to build the house Rao has used some old English words also. Eg: Lord,how beautiful thou hast made woman ! He translates Kannada idiom and uses equivalent idiom in English. This shows is command of English. Life is riddle that can be solved with a riddle. You can remove a thorn with another thorn, you solve one problem with another problem. In one context,in this novel Rao has used all the three tenses. e.g I knew at once he was right. He was right. He is right. He will ever be right.

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SOCIOLINGUISTICS
It is very difficult to understand the literary landscape of India without understanding various aspects like religious faiths and innumerable languages large and small. And also culture of the country. *India is a country of continental proportions with bewildering divirsities of race , religion and language.From time immemorial this land has been the meetjng place of races ,religions and civilizations .The
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different races and civilizations that met on her soil have fought and fraternized.With varying degrees of significance India has absorbed all of them into her blood to give a great vitality to her culture.This is the reason why this culture ,one of the oldest in the world ,still survives while most of her contemporaries have ceased to exist.She has not only survived but maintained a steady stream of cultural life which never dried up completely even in the most inhospitable political summer.It is true that during the course of this long history conflicting cultures have struggled for supremacy.But ultimately she has adapted them to her own likeness,giving in the process , a new dimension to her own cultural identity and ethos.* **Coolies from below the ghats that talked Tamil or Telugu and who brought with them their old men and their children and their widowed women armies of Coolies marched past the Kanchamma temple , half naked, stariving, spitting, weeping, vomiting, congling, shivering, squeaking, shouting, moaning, coolies- collies after coolies passed by the Kenchamma Temple , the maistry before Them, while the children clung to their mothers breasts the oldmen to their sons; armsand boundless and over arm and shoulder and arm and arm arm and shoulders and head.** *p-1Facets of Indian Literature,by K M George,(AG)Karimpumannil publishers Trivandrum-695003 ***It is a novel written entirely in a manner that is the authors own: it has because of theskilled adaptation of the English language to incorporate the idiom and rhythm of the regionad language and because of its theme and local colour, the texture of the novel written in an Indian language a rare feat in English.*** **Raja Raos Kanthapura oxford university press, madras 1963. ***C. Pual verghese, The probles of th Indian creative wtiter in
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English ( somiya publications Pvt Ltd Bombay, 1971) P. 146.

Way of talking
When Moorthy went to his mother she pushed him away and told him he should never show himself again, not until he had sought prayaschitta from the swami himself- 57 Well, well one has to close ones eyes and ears, or else the food will not down ones throat these days P-60. Left a palm width of poison on the ground P-70 He ho- the husbands call their wives P-74 The sky became blue as a marriage hall They cried for water and water and watrer,-P-76.
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 Fever on fever came

Chit of 19 Wench of 17. You always want to pollute the food of Brahmins with your evil

tongues- P.82. you have the tongue to ask that too ?

And Rangamma says this & Seenu says that there is no end to this song

Water fall Venkamma said to Moorthy, ie wait! Wait! When you come out of counting this counting of beads I shall give you a fine welcome with my broom stick . Holding his breath he says to himself I shall have even my enemies
Rangegouda addresses Moorthy as Moortappa. He wanted me to be his

dogs tail- Rangegouda said Bhatta had gone to Rangegouda and when Bhattas name is mentioned . If every bloke eats mud,. I too, shall eat mud Rachanna says I have seen your elders you son of my concubine.

He he do you think that we are going to be silent because of your beards and batons ?

He beat me if you have the courage ! And Rangegouda says something to Mada and Mada says something to Rachanna & says something in the ear of every one l instead of whisper Police inspector gets angry at this that he gives a slap on Moorthys face. Rachanna shouts come brother come We too are Gandhimen beat us as much as you like Between truth and me none shall come. The Redmans judges they are not your uncles grandsons In 1921 and never had touched the shadow of an advocate . He wears gold cased rudrakshi beads at his neck Ten headed Ravana. They came to protect us. Our bones & our dharma. (religion) (128) Gandhi & Gandhi who cannot pronounce even a Gayatri. I have known what they do.
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One cannot stitch up the mouths of others so let them say what they like his wife Usha was a god, like woman.. 139. Swear before me I am not the criminal! Dasi is very ill father, but her word is my word and my word his her word Subbachetty 140. Subbachetty says to Dasi angrily stop this concubine show. And in public Shankar had asked pardon of Rehman khan who not Make an affidavit for Surannas Dasanna when Sankar had time he divided the class into two & gave a lesson to the late comes.

And he also made the whole family fast. And then comes the roar of waterfall Venkamma does it or does it not my daughter? Hele hele what are you doing with our master? (Typical Kannada language used here) Police says he shut up H H do you think that we are going to be silent because of your beards and batons? He beat me if you have the courage! Dasi is very ill, father, but her word is my word and my word is hers. (He uses the word Dasi for servant).

Subbachetty says to Dasi angrily stop this concubine show. And in public Sankar had asked pardon of Rahman Khan who got six months too.

And he also made whole the family fast. Tears had come into her eyes. He he the rains have sunk into the earth and gap toothed Siddayya

drives his stick into the earth and says why she has gone four fingers deep. And priest Rangappa says with his gruff voice

Abuses
Rao uses Indianness directlyin his use of language instead of translating them he has translated Kannada abuses into English
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probably he has translated them to bring effectiveness and uniqueness to his writing.For some abuses he could get equivalent English words nevertheless he has translated them.His intention is to bring regionalism, so, he has violated grammatical rules also because he has tried to write English novel like Kannada novel.He uses these to bring the effect of Kannada.Instead of using the word bastard he uses the phrase Son of concubine. -Son of concubine

-Son of a widow -You donkeys husband -You ass, -you pig -You devil -You bearded monkey -You Pariah dog -You polluted widows -You son of my concubine -Oh you prostitute of winds widow hadnt --even a bandicoot to call her own.

-And it is not her father that built it (the house)and that shaven - you had better go to the Big Field and see whether those sons of concubines are planting well. - a traitor to your salt givers -the licker of your feet -brahminism is as good as kitchen ashes -I am no butchers son to hurt you -they had better eat mud and drown themselves in the river -he will get a jolly fine marriage welcome with my broo-mstick -not till I have poured my shoe water through hi throat -Oh, you bearded monkey
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 -And I shall not close my eyes till that dog has eaten filth(Rangegouda says about Badekhan) (Range Gowda says )ofcourse ofcourse.And this Range Gowda has a golden tongue and a leather tongue ,and what is uttered by the golden tongue is golden and sure,and what is uttered by the leather tongue is for the thief and concubine. -If you are the sons of your fathers -(Venkamma says to herself ) you widows ,you will not lick the remnant leaves in the dust- bin you polluted widows. -(then comes the roar of waterfall Venkamma)Ah,you will eat blood and mud I saidyou widow. (Venkamma to Pandit Venkateshias daughter-in-law ,Laxmi ,who takes her lantern and rushes to Venkamma saying And what is it Venkamma ?)Oh,daughter of the mother-in-law ,what is it but that this Pariah polluter has had royal visit ? -(Rangammas mother)Oh sinners ,sinners ,to have this in our old age. -you sons of my woman they are not your uncles grandsons -If this Governments people were really sons of their father -Oh,when you strike a cow you will fall into the hell of hells and suffer a million and eight tortures and be born an ass. -May this Government be destroyed -Oh,Goddess destroy this Government -You rat of a woman -you sons of my woman -Oh you polluted ones Ah,you have come ,mybitch,your husband is in prison we have slept the sleep of asses -may your house be destroyed .
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 may your wife die childlessI will sleep with your motherAnd the lamentations begin and lathis strike and the shrieking die down. -we rushed to see who these bitches could be -(the soldiers say) I say the filds are bought ,you pigs. Communities *The sociological factor of caste divisions on the lines of Manu Dharma Shastra is prevalent in Kanthapura as in any other village in India.* Pariahs Potters Weavers Brahmins *P-17 Social Cultural aspects of Life in the selected novels of Raja Rao, byA Sudhakar Rao Atlantic publishers and Distributors B-2 Vishal Enclave .

Food habits

Ragi Paste- gV another and then another.

Slowly lifting the tumbler up to his lips, he drank one gulp. Then Moorthy to Rangamma Give me a little salted water. There is river water in this pot

Clothing

Rangamma said to Ratna, sit in the courtyard my daughter and watch But as Moorthy does not move she puts her hand into her clothes basket & taking out a wet roll of sari she holds it over his head & squeezes it P.89.

And people say well venkamma is going to have a rich son- in law broad and filigree banaras saari
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Comes Rangamma a shawl thrown over her shoulders. Patel is seen coming on his horse, his filigree shall thrown over his shoulders his darbar turban on his head

Rituals
Mastri said that he hadnt one hundred and eight tongues, Ill fast three days in the temple Rangamma what for Moorthy ? P 86. Moorthy said Gayatri (chanted Gayatri) thrice thousand and eight times.-P.88 sup. She (Ratna) sat be side the bull and began to pray. God, God, she Side keep him strong and virtuous and may rise out of this holier and greater God, I shall offer ten coconuts and a kunkum worship Holding holy thread he says Hari-om- Hari om

Nuptial Ceremony-

Moorthy says. I have just taken coffee. Lingamma but interrupts and says, touch it. Moorthappa touch it only as though it were offered to the Gods, & we shall be sanctified . Indian Sensibility Expressed in Kanthapura May the goddess bless the girl. (Indian sensibility expressed here) If not what should we have seen before we closed our eyes? Moorthy always says Truth, truth and truth and how many of us did go to prison in 1921 and never had touched the shadow of an advocate. (Indian sensibility is expressed here) Demon came to eat our babes (babies) and rape our daughters. What can I do for you Sankaru? One cannot stich up the mouths of others. So let them say what they like. (Indian sensibility and their belief in the existence of demon) They cried for water and water and water.p75
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We wept and we prayed and we vowed and we fasted and may be gods would hear our feeble voices. Who would hear us if not they?p-123 INDIAN SENSIBILITY IN THE SERPENT AND THE ROPE. Raja Rao has expressed Indian sensibility in foreign tongue it can be observed in the Serpent and The Rope also. Grandfather went into the bathroom, had his evening bath- he loved it to be very hot, and Aunt Seethamma had always to serve him potful after potful and he rubbed himself till his body shone as the young of a banana tree. It seemed that even if my fathers death had served for nothing else, it would serve to bring Pratap and Savithri together. We in the south were more sober and very distant. We lived by tradition shameful though it might look we did not mind quoting Shankaracharya in law courts or marrying our girls in the old way, even if they had gone abroad. The elder brother still commanded respect. A bad son may sometime be born, but a bad mother never. Little mother was very sensitive to sanscrit hymns, being herself brought up the granddaughter of a learned Bhatta. Orthodoxy of the little mother is described here. Beyond was the burning ghat, of course, and a little further away little mother and I sat by the sea and spoke of family affairs. She was worried about Saroja and Sukumari. One was seventeen years of age and the other fourteen. Little mother blew her nose, and I said I am your son. It is for you to say and for me to obey. Sometimes as I trudged my heavy-breathing way upwards she would shout and say, Rama Rama like cow calling to calf at the fall of dusk, when the lamps are just being lit. His wife was influenced by Indian culture this can be seen in the following paragraphs. When we reached home I said, Look, heres Shivas bull at
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our door! And I showed her the huge flat stone that lay like a squat Nandi at the edge of our garden. True, how very like a bull he is you thought of Shiva and so here is Nandi, she said, with unconvinced assurance And she plucked some grass and gave it to him, saying, Now, Bull, eat! And from then on Madeleine never passed by the door of the garden without either touching the huge lump of the bull, or caressing him & saying, Here, Bull, here is your feed today. Some times coming from market she would lay a flower You Indians seem full of wonderful gestures, she said, without bitterness but with certain objectivity. We are a sentimental people, I said. We weep for everything. I (Rama) assured Madeleine that Indians were a very tolerant people, and the barbarities of Madeleine, amuse Savithri more than hurt her. Months later, Madeleine said to me that Savithri was just as she had imagined an Indian woman should be, gentle, simple, and very silent. I acted, no doubt, from my Indian instinct, for in India every woman who is not your wife or your concubine is your sister. Savithri was shy, very shy. Her touch was simple and had no name. She spoke as though she were covering her head with her sari, and throwing the palow more amply over her breast. The night is so auspicious, and to morrow is Gokulasthami, when Lord Krishna will be born. We shall fast, and we shall worship, and I shall think of you, my Lord. I would not touch them with my left foot, those fat, mustached fools, and those. Death and birth mean different things to different peoples of the earth; to me Madeleines presence would have meant the daughter-inlaw coming home, the division of family responsibility; I almost felt if she came father could not die, he would not die. How, when the first daughter
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in-law came home, could the father die? Her breast seemed to swell with love, as we say in my own land. Now that the holidays are soon coming I have little work Zoubie was a great lady, once divorced, for her husband had run off with someone much younger. I cannot make a pankha-boy obey, for I cannot understand why anyone should obey anyone. They should do their duty, their dharma. This is true obedience. But now I was seven years older, and the weight of the family was perhaps on me. What could you do with Tante zoubies tongueit was like that you cant stitch it with a gunny bag needle; I once said to Madeline. Quoting on Indian saying. Two days later there came a beautiful letter from Madeleine. She had a terrible dreams the first few days of serpents and elephants and of India, and she was saying to me, Take me away from here, away to Grandmother!, And when she went to Arras, it was not the same house, nor dressed as an Indian soldier. If Kanthpura deals with the influence of freedom struggle on a remote village. The Serpent and the Rope deals with the theme east west confrontation. Pushpavathi did not care for her studies anyway and she longed for a large family and a good mother-in-law. Prataps mother actually liked the second daughter, but the first was the girl Pratap chose, and on the auspicious star, with coconut and kunkum, Savithri was officially engaged to Pratap. Auspicious, so auspicious with kunkum, coco-nut and choli piece, bangles on the arm the necklace of black beads- is life. If a European says he comes by such and such a plane he would come by it if he missed his connection he would sleep in a hotel, and come by the next but this Indian haphazardness, like the towels in the bathrooms that
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lay everywhere about, was exasperating to Madeleine.( Indianness ) A funeral is a costly business, said Madeleine knowingly. I am happy I shall die in India. You will burn me, wont you, Rama ? But not by the Ganges, for I hate the thought of the dogs that wait to gobble you before you are burnt fully. I (Rama) will burn you on the Himavathy. I said, Like me did Grandfather. I shall pile up pieces of sandalwood one over the other, and I shall sing a special hymn for you. It will be called hymn to the Goddess of the Golden skin She (Grandmother) gave Madeleine a chain that her father had had made when she was engaged and which was to be given at Madeleines engagement. Take it my child be happy. I am old, and one never knows what can happen to an old thing of eighty seven.

INDIAN SENSIBILITY IN THE CAT & SHAKESPEARE I am quiet man and to speak the truth. I dont yet know what it is to mean husband. My lineage smells of chilly and cardamom and tamarind as my wifes does of coconut. Vithal would have to go to school next year ,I was saying to myself one vacant morning . But then for a Saraswat Brahmin like me Malayalam or English is all the same. He himself call it. The kitten is being carried by the cat some who are lucky ( like your hunter ) will one day know it. Others live hearing ( meow meow ) I like being the kitten. And how about you sir ? he would say. Then he would spread his fat legs on my bench, open his paws, produce some betel leaf or tobacco for a cheap cigarette, if that could be found but this almost never before me. For, he knows, I hate lighted tobacco and munching his munch and massaging his limbs he opens his discovers. I tell you Ramakrishna Pai, theres nothing like
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becoming rich. Do our wives adore us if we can produce a car even a toy car for the baby. Females have one virtue. They adore gilt. My wife is from a grand family. But I am a poor clerk like you of course, I did brilliant things when I was young I was handsome and allthat mother used to tell me and I rode a BSA bicyle. I wore gray flannels and went to the college Tennis club. For [ I do know of girls. Then some big man thought I was going to be a big man . And that the wife came into existance. My father- in-law lives of his estates and says Hey, clerk, what about my daughter? Pai says this- One must build a house if one has to have a house, I say to myself. Well plant a bilva tree by it. Shanta will look at me, whispering words, How beautiful it is to be pregnant, why not always pregnant and four months carrying ? you can play with bilva leave , and like the hunter, you can go on dropping them on the silence below, Shiva will appear. I envy women that they bear children, The coffee has just gone down my throat .I have just drunk coffee Usha is five years old. She is not ten. You can open the school register and see. Govt or no govt who is there to come and see ? On each grain of rice is writ the name of he wholl eat it. If the ration department were under the police, there would be no corruption. I usually wash my face and feet Usha is the cause of Shridhars fever, is as simple for him as the buffalo is the mother of the gray white calf suckling at her udder. His daughter asks Govindan Nair, Father what is marriage?

Superstitions
But Rachannas wife quickly sweeps a corner, and spreadsfor him a wattle mat, but, Moorthy confused blurts out, No, no, no and he looks
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this side and that. Holding holy thread he says Hari Om! Hari Om! Moorthy says I have just taken coffee, Lingamma but she interrupts him and says touch it Moorthappa touch it only as though it were offered to the gods and we shall be sanctified. He had eagle mark on his hand and never did snake harm him.p-72 You always want to pollute the food of Brahmins with your evil tongues.p82 Nobody will prevent them from becoming Brahmins, even sages in their next lives.p129

If every bloke (informal for a man) eats mud. I too, shall eat mud. The laws of god are not made one for Rangegouda and one for Puttegouda. (it is superstition)We wept and we prayed and we vowed and we fasted and may be god would hear your feeble voices who would hear us if not they?

PROBLEMS OF INDIAN WRITERS IN ENGLISH

LANGUAGE : AS A PROBLEM

English is a foreign language. We are foreigners to it. The deep penetration of English speaks of the British legacy. Since English is an alien language Indian writers face some problems and it is quite natural. Indian writers in English have achieved a lot notwithstanding difficulties. Indian writers in English have always faced difficulties. The first difficulty of Indian writers in English is that the medium of expression. The Indian writer in English must be able to use his chosen medium accurately, it means, he has to use grammar correctly and has to use appropriate idiom. As Raja Rao himself pointed out in his preface to his novel Kanthapura English is not a foreign tongue, in India but it is only the language of intellectual 131

makeup not of our emotional make-up. His suggestion is that the Indian writer in English should learn to write Indian English and not 'Babu English' i.e. the English of Oxford and Cambridge educated Englishmen. Though we use Indian vocabulary the syntax should be of English. Since language is rooted in culture Indian writers in English face language problem because they may not get equivalent words in English so sometimes they have to coin new words. Their (Indian Writers) writings should have rhythm of English. It is very difficult to express Indian sensibility in foreign tongue, nevertheless, Some eminent Indian writers in English like J. Nehru, Tagore, Gandhiji, R.K. Narayan, Mulk, Raj Anand have overcome problems and achieved international reputation Raja Rao is also one among them. PROBLEM OF NATIONAL & REGIONAL PREJUDICES: Another problem is that prejudices against English. The people are under the wrong impression that since English is a foreign language it is very difficult for the Indians to write creatively in English, presumably Indo-Anglian literature would also be of inferior worth. Such prejudices have diverted any talented writers attention towords regional languages. Though they have ability to produce good writings in English they have, not been able to do it. In the name of Indianness some writers are turning towards regional languages only. SUCH PREJUDICES IMPLY: that the people think that only those who write in regional languages have a monopoly of the levels of experience and even readers respond to it. that those who write in English have neither artistic ability nor integrity of the kind so easily taken for granted in the other writers and worst of all. that their readers are no more than herd of gullible sheep who can swallow any stuff. Narasimhaih says such ill mannered generalizations will hurt the feelings of our writers who have achieved greatness whether in English or regional languages.It is natural that the mindset of the people of any region is that they do not take pride in writing outside one's own state one's small village, caste, family or oriented as we are, any good that may accrue to anyone else than oneself National pride is a virtue in relation to parochialism. * THE SHADOW OF ENGLISH WRITERS. The third obstacle that Indian writers in English face is the imitation of English writers. It is very difficult for any writer to come out of the influence of English literary 132

tradition says C. Paul Verghese. Even the poets of other countries like the USA, Australia and Canada cannot come out of the influence of English poetic tradition. Neither American nor Australian poetry can be distinguished from English poetry as for as the style and language is concerned. An Indian poet in English like the Australian or the American poet cannot ignore English poetic traditions. He may not consciously imitate them, but is unconsciously influenced by the English poetic norms. If an Indian wants to write poems in English he cannot follow Indian poetic tradition. What is important is that the Indian poets, use of English should be adequate for him to express his personality or his experience, in acceptable literary traditions only the writers who know about English poetic traditions and his poetic experience can achieve this Sarojini Naidu could achieve this greatness because she acted upon Edmand Gosses advice to cultivate Indianness- "to reveal the heart of India"- in her theme and treatment and not try to imitate the English classics mechanically. SOME OTHER DIFFICULTIES:

Indian writer had to face many other difficulties because some publisher were indifferent, unwilling to publish their works. Because of the conservative and unadventurous nature of the Indian publishers and risky investments the writers had to persuade them then they would accept Indo-Anglian works with great caution. Then there is the dearth of literary criticism, literary criticism will help in producing standard literature and for the recommendation of the works to the reading public. Indo Anglian literature has suffered on both these counts. Even standard works have tended to remain depressed because of lack of any significant tradition of literary criticism; and the reading public has been in a dilemma that which works to read and which works to reject as poor or worthless. Because of the lack of guidance the reading public is turning towards English literature instead of Indo-Anglian literature. It is observed that the reading public is under wrong impression that Indian writers in English are not worth much time or energy. However in recent times popular periodicals like The Illustrated Weekly of India and The Literary Miscellany of the workshop school of poets, have rendered valuable service in this connection. *Indian English writers work obviously work under a kind of creative tension with which writers writing in their native languages are not confronted.Besides the tight rope walking on the linguistic front,Indian English writers have to contend with another difficult choice :writing for a foreign as well as native
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clientele ,the former require them to explain uniquely Indian thoughts and situations,the latter treating such explanation ofbthe obvious as inartistic and an excrescence ,placing the writer on the horns of a uniquely a situational dilemma.* *p-1&2 Indian writings in English vol 2,ed by Manmohan K Bhatnagar ,atlantic publishers and distributers,B-2 Vishal Enclave New Delhi -110027 ,copyright 1996 **The Indian English writer has to choose his own blend of tradition-both Indian and English and individual talent,the capability to synthesize them and forge his experience into a unique artistic amalgam meeting the dual requirements-an inevitable and exacting requirement incontrovertibly.** P-2 Ibid

It is not known whether a similar questionnaire was ever sent to ***MeenakhiMukherjee;s chapter ;The problem of style in The Twice Born Fiction (1971). Are some examples of such discussions. The problems of authenticity, in the case of fiction writers, was Two-fold; (a) they were writing in a Language that was not their own,and (b) they were writing in English about people who do not normally speak or think in English. The first problem was not as important as the second because, if a writer was not at home in English he or she would not attempt creative writing in English at all. The second problem was more real and serious but the general view was that the novelist had solved it by means of experiments in style. These experiments could be classified under three heads: 1.The introduction of words from the Indian Ianguages through transliteration (e.g. koi. hai?,nahin, burra sahib,etc.). 2.Experiments in diction and imagery through Iiteral translation from the Indian languages (e.g.a rain of flowers always the same RammayaMay
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she have a hundred male issues a rich whispering like a crowd at evening worship- all from Raja Rao;s The cow of the Barricades). 3.Exaperiments in syntax (fashioning English syntax on the syntactic lines of lndian languages ). E.g He had one servant, two servants (Raja Rao in The Cow of the Barricades). The point to note about these linguistic features is that they were all part of these fiction writers ; attempt to lndianise English or in other words to evolve an lndian English to suit their purposes. They were mostly innovations by the writers themselves and not transcripts of actual lndian English speech or writing .Even if we do not accept the view that these innovations were assertions of identity on the part of the colonial or post colonial subject , we must at any rate grant that they were techniques adopted by the writers for artistic purposes , to achieve authenticity either for the entire narration (as for example in the case of khanthapura ) or fore individual characters (as in the case of Anand and many others). ln any case , to repeat the point made earlier , such uses of lndian English do not nessarily reflect actual lndian English usage. The stylistic divide l wish to consider in this paper is different from the Ones discussed above . one definition of style could be that it is the exploitation of different existing varieties of the languages in question. It follows then that theIndian creative writer has at his or her disposal the multiple layers or varieties of lndian English with all their social and cultural moorings and that these provide the writer the opportunity not only to individualise characters but more importantly , to delineate social class distinctions as well as the desire,fulfilledor frustrated, to achieve mobility . I venture to say that this particular , linguistic fact the existence of different layers or kinds of lndian English has not been exploited in a significant way or to a considerable extent by lndian ficition writers in English.*** ***English and The Indian Short Story Essays in Criticism,Edited by Mohan Ramanan,P Shailaja ,Orient Longman ,p-54-55 First Published2000***

CRITICS ON RAJA RAO

Kanthapura unlike coolie brings into focus the Indian culture, customs, traditions, religious system and above all mentality of the told by a grandmother in the traditional way. in the novel we come to know villagers. It is a story

The action takes place in a village

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about superstition of the ancient times Gandhiji is considered as a god as

well as a politician who marches towards the saltpans. Moorthy is considered as the manifestation of god and also non-violent excited young leader the policeman is the symbol of evil. The novel throws light on actualities, village life and spirituality. William Walsh

Raja Rao gives the name Kanthapura to a South Indian village of his novel this village which is located high on the ghats it is on the steep mountains that face the cool Arabian sea up the Malabar coast .. This novel tells us how the people of the village who were like stagnant water started to take active part like flowing river in the freedom movement become perfect until the moment was suppressed. H. M. Williams If Anand reflects humanism like Gandhi ( his sympathy with powerless and the casteless ) Raja Rao reflects religious consciousness, his essential Hinduism. After his Graduation he left for France for his higher studies and returned to India searching for peace. He has used English and French. He is the most ambitious and brilliant Indo Anglian novelist of the twentieth century. H. M. Williams Compared to Raja Raos Kanthapura and Narayans Bachelor of Arts and The English Teacher we find different approaches in their portraying British characters. Rao chooses a talkative old village woman to narrate the story of the villagers fight against the colonizers. In this novel we come to know about the struggle of the Indians against vices like violence and greed, the racial discrimination and selfishness of colonialism. If we consider Kanthapura as a contribution to Indo English literature the
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presentation of British characters differ from one another because he does not take into consideration man in general and Indian man in particular. We find shift in emphasis in Narayans novel also. However there is quite difference between him and Raja Rao. Dieter Riememschneider We find rebellion spirit in the characters of Raja Rao specially in Kanthapura. Because Moorthy in Kanthapura and Ramaswamy in the Serpent and the Rope revolutionary characters, Moorthy was orthodox respected by the people very much but he enters the loyalties that take place in the young Brahamin and

house of an untouchable family and accepts the tumbler of milk to drink. It indicates the conflicting Brahmins mind. R. Shepherd Raja Rao is not a committed writer like Mulk Raj Anand nor is he a care free, humorous talent like R. K. Narayan. He is rather poetic, metaphysical Lawrentian. His Kanthapura is located in South India and the story is told in the traditional way by a grand mother. It is convinced us that how for people of even remote village were influenced by Gandhiji. It is Moorthy who leads the struggle. It brings to light many aspects of Raja Raos life and work which were not known so far. It contains some of the real people and incidents in Raja Raos life. Some of the characters like Savithri in the Serpent and the Rope and comrade Kirillov, are drawn from real life. It deals with Raja Raos personal and professional life including the story of how the Serpent and the Rope was published, The essay tells us how Raja Rao became unique through his art and genius which enable him to write novels in English in a new way. By this essay we come to know that the people around him had been influenced his spirituality and humanity. In all three parts of the essay the personality of Raja Rao is depicted. Harish Trivedi His (Raos) education was not only the blend of the east and
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the west but also of the north and the south within India.Kanthapura is Gandhian nationalism and deals with political radicalism. The maya is misunderstood to be reality ie rope a serpent.It is a metaphor of the Shankaracharyas advait philosophy. Raja Rao showed how to write Kannada in English and Sanskrit in English. His novels are not everybodys cup of tea .He was not only a metaphysics but also interested in rasa and leela.A kannada writer who did not write in Karnataka. DrU.R.Ananthamurthy He was a great story teller .Since he was not a native speaker of English Susan felt his writing in English artificial ,so, he translated vachanas into English first. Raos characters speak Konkani where as in Karanths Somandudi characters are from Tulu and they speak Tulu.This is a new way of looking at language in India. Javni is an extra ordinary essay.When you read Kanthapura you will feel that it is transformed from Kannada. Makrand Paranjape RajaRao is one of the great writers of the 20th century. Not only writing is sadhana as Ananthmurthy said but also reading him is a sadhana. Physically he lived in France but spiritually he was in India. India is not a desha it is darshan. Writing itself was a sadhana for Raja Rao R amanShrinivasan He was an orthodox Brahmin. He was hesitating to enter into the house of his uncle, when hisuncle was performing pooja because he had married a French lady. But his uncle allowed him to enter the house and observe the pooja. His day began with meditation. He was worried that great war may start in the middle east. Alastair Niven: Raja Raos Royalism in the Serpent and the Rope: The Lure of Monarchy in the Pursuit of Perfection. One finds kings and queens in every part of The Serpent and The Rope. His parents are India itself .He has personified the country. Rao was the product of the politics of the 1930. Rao writes about
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Kings and Queens emblematically and

realistically. Stefano Mercanti

We find magic casement in Raja Raos works also like in Keats poems. Keats poems are fed on myths. Even if you want to bring westerners that Indians have no sense of for a public man like fact of history home you cannot bring it unless it is mythologized. Hence Indians are accused by history. It is ironical that some of the better historians look at history as myth just in order to enhance its value while Jawaharlal Nehru even myth becomes history. The name Kanthapura itself has grown out of Kantha meaning Romantic wife in Sanskrit poetry but tested in the fire of Gandhians movement when it got transferred into Kashipura the other name for holy Benarus. The mythifications are tributes to the novelist celebration of feminine principle.

Findings
1)For the first time a comprehensive linguistic analysis of Raja Raos novels has been done. 2)His novels have uniqueness of philosophy &Indianness inspite of British and other literatures . 3)We find deliberate use of the influence of mothertongue in some of his novels 4)These novels have a lot of literature to do linguistic and stylistic analysis .
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5)The characters in Kanthapura are unique 6)the coinage of some idioms and translations of some Kannada words ,names &abuses are noteworthy 7)His novels have poetic quality 8)The influence of philosophy and Brahminism is considerable 9)Names have become descriptive 10)Raja Raos style is unique in the sense he has tried to develop a variety of Indian English 11)Inspite of living in a foreign country he has tried to bring local colour in some of his novels 12)He has tried to glorify Indian culture by suiting language to culture 13)Lengthy paragraphs are noticeable especiallyin Kanthapura 14)Though hehas written some poems (songs) he has not followed any prosody because they were created contextually and sung by the people who participated in freedom struggle 15)Though Raja Rao lived abroad he was Indian in temperament and sensibility.

Conclusion
I had read Kanthapura before I could register for P.hd .since the used in this novel impressed me I decided to study it from linguistic point of view.My guide Dr Rajeshwari Maheshwariaih was kind enough to to consent to guide me on this topic.The characters in the novel are very much Indian that too Kannadigas .Raja Rao has depicted the impact of freedom struggle on remote south Indian village like a historian and narrated the story in a typical Indian style . Rao has not only written about his own people but also about European people.But he has written about Indian culture ,customs and traditions in a very peculiar manner .While reading Kanthapura we feel that e are Indians and that too Kannadigas so much effectively he has
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brought Indianness in his writing.His observation and presentation are quite different .Since he was born in an ancient orthodox brahminmfamily he had read some religious books and epics and books on philosophy that is why some of his works are philosophical .And also we can notice English language. Indian culture ,customs and traditions in his novels.Though he is not native speaker of English ,he plays game with

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1)KANTAPURA SECOND EDITION OXFORD UNIVERSITY PRESS YMCA LIBRARY BUILDING JAI SINGH ROAD NEW DELHI-110001 2)THE CAT AND SHAKESPEARE A TALE OF MODERN INDIA ORIENT PAPREBACKS A DIVISION OF VISION BOOKS PVT LTDNEW DELHI 3)THE SERPENT AND THE ROPE RAJA RAO 1960 PRINTE IN GREAT BRITTIN BY COX AND WYMAN LTD 141

LONDON FAKENHAM,AND READING AND PUBLISHERS BY JOHN MURRAY(PUBLISHERS LTD 4)A HISTORY OF INDIAN ENGLISH LITERATURE M K NAIK SAHITYA AKADEMI RABINDRA BHAVAN,35,FEROZSHAH ROAD NEW DELHI-110001 5)A COURSE IN MODERN LINGUISTICS CHARLES F HOCKETT PROFESSOR OF LINGUISTICS AND ANTHROPOLOGY CORNEL UNIVERSITY OXFORD AND IBH PUBLISHING CO.PVT LTD NEW DELHI KOLKATA 6)SDPOKEN ENGLISH A MANNUAL OF SPEECH AND PHONETICS SECOND EDITION R K BANSAL AND J B HARRISON ORIENT LONGMAN PRIVATE LIMITED 1/24 ASAF ALI ROAD NEW DELHI 110002 7)STYLISTICS BY G .W. TURNER PENGUIN BOOKS LTD HARMONDSWORTH ,MIDDLESEX ENGLAND PENGUIN BOOKS INC 7110AMBASSADOR ROAD, BALTIMORE ,MARYLAND 21207,USA 8)RAJA RAO THE SERPENT AND THE ROPE S.S. MATHUR PUBLISHED BY :LAXMI NARAIN AGARWAL EDUCATIONAL PUBLISHERS ANUPAM PLAZA I,BLOCK NO 50 SANJAY PLACE,AGRA-282002 9)RAJA RAO THE SERPENT AND THE ROPE RAMA BROTHERS INDIA PVT LTD EDUCATIONAL PUBLISHERS JANAK PLAZA,2021,BANK STREET KAROL BAGH,NEW DELHI-110005 10)STYLISTICS BY G.W.TURNER EDITOR JOURNAL OF THE KARNATAK UNIVERSITY HUMANITIES 142

11)THE FIRST WORKSHOP LITERARY READER EDITED BY P LAL A WRITERS WORKSHOP PUBLICATION

12)Critical Response to Indian English Literature Dr. Basavaraj Naikar Shanti Prakashan Rohtak Delhi Ahmedabad 13)A Biannual of Creative and Critical Indian Writing in English The Journal of Indian Writing in English Volume 35 Jan 2007 14)Indian Writings in English Volume II Edited by Manmohan K Bhatnagar Atlantic Publishers & distributors B-2, Vishal Enclave New Delhi110027 copyright The publishers 1996 15)Indian Fiction in English Edited by p. Mallikarjun Rao M, Rajeshwar Atlantic publishers & Distribuntors O- 23,939 172798 16)Makers of Indian English Literature C D Narasimaiah 17)Facets of Indian Literature K M George Karimpumannil Publishers By A Sudhakar Rao Trivendrum 695003 18)Social Cultural Aspects of Life in the Selected Novels of Raja Rao Atlantic Publisher & Distributor B- 2 vishal Enclave opp Rajouri Garden * Indian English Novel: Text 7 context by Dr Gajendrakumar MA (pat) Ph.D (Pat) Dept of English Rajendra college Jai Prakash University, Chapra Bihar , India Sarup & sons New Delhi 110002 Contemporary Indian English Novel by B.D Sharma S K Sharma Published by Anamika Publishers & Distributors (P) Ltd, 46971321 A Ansari Road Daryaganj, New Delhi 110002 Type set by Vaz Brothers Delhi and Printed at Tarun offset Delhi *English Studies in India Widening Horizons C D Narasimhaiah 0-9 P-2 174787 *Readers in Indo -Anglian Literature Perspective and Retrospective Volume -1
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*Tradition and Modernity in A Indo Anglian Literature M Subba Rao Kanishka Publishers Distributors New Delhi-110002 *The Novels of Raja Rao The Theme of Quest Esha Dey Published by Prestige Books 3/28 East Patel Nagar New Delhi 110008 In association with Indian Society for commonwealth studies New Delhi. Akademi Awarded Novels in English Millennium Responses Edited by: Mithilesh K Panday Sarup & Sons New Delhi 110002 Problems of The Indian Creative writer in English c. paul Verghese. Somaiya Publications PVT LTD Bombay

And sal me add to the In the cut and Shakespeare also he speaks about pregnancy .He brings socioling wish is in this context .

Shanta is carrying four months.I can just see the rise in her belly from where I lie. The conjuction because is used repentedly to bring out compresion but the compretion in the third and fourth sentences is different you are bad because I am you are good because I am. The sun is because I see you cannot sufer because you are the British bubo The first to sentences tel about the character of the narrator .But the third sentences is unique in the sense that it is no whear related to be the character of the narrater the for forth sentences is also quite different in the sence that over then the british suffer The cigarette vendors the wada seller the coolies the jahataka and bandi walas on tride will all have a logic with the train system A rao has used local words kannada words in English though they have equivalent words in English they are used to bring localism so that the novel I will be different from other novels Thwe tree says good morning has the soldiers say to one another Rao has used figeurate language to he we can notice personification in his novel the cat and shakespear Rao has used offer in one sentence and which questions in the other sentences and the answer by the narrator himself it can be seen in the following ex Shall I build a house for usha ? who will give the money ? I ask myself as true as the hindu I tell u I will help u to build the house Rao has used some old English words also. Eg: lord,how beautiful thou hast made woman ! Rao translates kannada idiom and uses equivalent idiom in English. This shows is 144

command of English. Life is riddle that can solved with a riddle. You can remove a thorn with another thorn you solve one problem with another problem. In one context Rao has used all the three tenses. I knew at once he was right. He was right. He is right. He will ever be right. .

In the cut and Shakespeare also he speaks about pregnancy .He brings socioling wish is in this context . Shanta is carrying four months.I can just see the rise in her belly from where I lie. The conjuction because is used repentedly to bring out compresion but the compretion in the third and fourth sentences is different you are bad because I am you are good because I am. The sun is because I see you cannot sufer because you are the British bubo The first to sentences tel about the character of the narrator .But the third sentences is unique in the sense that it is no whear related to be the character of the narrater the for forth sentences is also quite different in the sence that over then the british suffer The cigarette vendors the wada seller the coolies the jahataka and bandi walas on tride will all have a logic with the train system A rao has used local words kannada words in English though they have equivalent words in English they are used to bring localism so that the novel I will be different from other novels Thwe tree says good morning has the soldiers say to one another Rao has used figeurate language to he we can notice personification in his novel the cat and shakespear Rao has used offer in one sentence and which questions in the other sentences and the answer by the narrator himself it can be seen in the following ex Shall I build a house for usha ? who will give the money ? I ask myself as true as the hindu I tell u I will help u to build the house Rao has used some old English words also. Eg: lord,how beautiful thou hast made woman ! Rao translates kannada idiom and uses equivalent idiom in English. This shows is command of English. Life is riddle that can solved with a riddle. You can remove a thorn with another thorn you solve one problem with another problem. In one context Rao has used all the three tenses. I knew at once he was right. He was right. He is right. He will ever be right. Classification
145

146

147

148

149

of Contoids Bilabial Stops Fricatives c, j Affricates Nasals Trills Laterals Semiconsonants W M N l ! y n P, b f, v Labiodental T, d t, d s, z Dental Alveola r t, d Retrofle Palatal x k, g h Velar Pharynxgeal

150

American phonetic chart: vocoids

Advancement of the tongue Shape of the lips Un

Front

Central

Back

Rounded

Un rounded

Rounded

Un rounded t U

Rounded

rounded High Lower High Higher mid E Mean mid Lower mid Higher low Low E I i e

I /

/a

151

Speech sounds

Active Articulators

Passive Articulators

Sound Produced

Name of the sound

Lower lip

Upper teeth

P, b, m, v

Bilabial

Lower lip

Upper teeth Upper teeth

f, v

Labio dental Dental

Apex

t, n, l Alveolar

Apex Apex Front Dorsum

Alveolum Hard palate

t,d,n t,d,n,l

Retroflex

Hard palate Velum

C,j,n K,g,n

Palatal Velar

Pharynx ---

---

Pharyngeal

Larynx

Pulicks

Laryngeal

152

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