Friday, September 24, 2010

Rajmohan's Wife : Indian Dilemma and Bankimchandra Chatopadhyay

Literature is one which we read and one which we live. What matter if it is in Telgu? Punjabi? Gujrati? Latin? French? Hindi ? or English? And what matter if it is not in any language but Ellipsis? We watch the theater of Silence and mime ... don't we? We convey our feelings to our loved ones in words but sometimes we just let it be or show them . So how far it affects whether an author writes at full length or just gives a sign ...  ultimately the author's aim should be accomplished. One such an attempt made by Bankimchandra Chattopadhyay in his first debut novel in English , Rajmohan's Wife , can be called an unsuccessful success .Unsuccessful in attracting readers of his time but successful in accomplishing of author's aim through it.

The novel was serialized in 1864 in the weekly periodical , the Indian Field , edited by kishori Chandra Mitra. It is notable that he begun his literary career through English novel but then after abandoning English language for fiction,  he wrote fourteen novels in Bangla , among the most famous are - Durgeshnandini , Anandamath and Rajsingha. It is well known that Bankimchandra ji was the prominent literary figure of nineteenth century India. Who can forget his song in Anandamath - Vande Matram - which became our National Song after Independence. We can also not forget him for the realism he brought in literature through his novels. And for this particular feature Rajmohan's Wife becomes a very important study. 

As we know that Bankimchandra ji was one of seven in the first batch of graduates from newly established Calcutta University , he was well known with English literature as well as Sanskrit literature. In  this novel while he is directly influenced by Victorian novels which portray social realities with the aim of reformation , he is also unconsciously overpowered by Sanskrit poetic literature due to which he gives a romantic and poetic description of feminine beauty as in Sanskrit it is called "nakh shikh varnan".  Thus the novel is blend of many outer influences as well as his own unconscious. 

I had been always fond of Bengali novels for they present a different Indian world. For example if you read Sharatchandra chatterji's novel - Devdas , Parineeta , Viraj Bahu , Charitraheen etc. they are all great stories of love , loss , morality , sin and so on and so forth. Rajmohan's wife is not different from them but as it precedes them and still the Real World  seems so real we are full of wonder and appreciation for the bravery of novelist. 

My first impression of this novel was peculiar. Actually you don't realize,  when you began reading the novel and when it has finished. I suppose it is the biggest drawback of the novel . The author seems to be bored and burdened and ends abruptly though from the initial lengthy introductions of families and character it seems he had planned to write a long novel. Another problem is that of Deviation of Register , it is a technical term in English Literature which suggests that author deviates from the norms of register (mixing of dialects) . For example , Rajmohan speaking in the old English - "deceive me not . Canst thou?" "Thou" an archaic word is not expected from moder man in speech. Also Bankim time and again refers to English things or places to insert Englishness in his novel for it seems he wrote for English people of his time .For instance , a Bengali village girl refers to a destroyed Biblical city "Jericho" which is something weird. But lets digest all his faults because the novel is not all compact of weirdness it has substance and it has weight and it has many more things to remember - among which one is the strong character of Matangini , the heroine of the novel.

 It is noticeable that though Bankim follows unconsciously the style and pattern of Victorian literature he gives his female characters a unique distinction and especially to heroine -  a Strong and firm character that is rarely found in any Victorian novel . In most Victorian novels females were portrayed as submissive and passive , they did not possess unique qualities of their own . On the contrary . Matingini is brave and even braver than the hero himself - Madhav. She confesses her love for her sister's husband - Madhav. While Madhav also loves , he asks Matangini to forget him , he is even shy to express his love for her. We are told that Madhav appreciates Matangini's braveness and pure and firm character but no where we see him appreciating her in public. Surely women are more firm and determined in Bankim's novels than men. Most men are corrupt and loose - characters and women are sufferer. Whatever reality Bankim shows and sympathizes with women's fate and miseries , he is not that bold to give justice to women . He deliberately makes them say that they are sinners and they are bad and so they must suffer. Matangini at the end suffers  as her creator is in dilemma that what to do with her fate and he ends abruptly. Dilemma is the keyword of Victorian Literature - dilemma between Faith and Reason and it is also prominent in this novel. And here the dilemma is between author's inborn Hindu Samskara and his consciousness of rigidness of  Hindu society . He is well aware of bad practices of polygamy of Kulin Brahmin boys and also of corrupt characters  of rich males. But he is not able to answer the question he himself puts up - Why women is not master of her own destiny? The ready made solution is - she has to suffer which he has given. 

But the character of Matangini stands alone and shines in spite of her disappearance into cruel fate and even the attitude of other female characters like Kanak and Tara can not be forgotten.... in fact the whole novel can not be forgotten for its a beautiful example of early Indian English novel - it has distinct Indianness wrapped in a simple fresh English language.

- Ojasi Mehta
MA English 

4 comments:

  1. a very good analysis is posted by you.i m greatful and impressed,congratulations
    sushmita

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  2. Thank you :) I am glad you liked it.

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  3. A Note on the Use of Language in Bankim Chandra Chatterjee’s Novels

    Any good novel is always full of a pace which contributes to the liveliness of both the character and the story itself. Bankim Chandra’s greatest tool in achieving this pace was his language. Generally speaking, his novels are written in the standard or literary Bengali, known as the sadhubhasa. And this sadhubhasa is characterised by the unmistakable presence of the words of Sanskrit origin, lengthy compound-words in the Sanskrit fashion, lengthy syntax, etc. True, Bankim’s language shows these symptoms of a ‘standard’ Bengali indubitably, but this is not the end. He uses words of Arabic and Persian origin to a great extent (if not equally). Often he does not even hesitate to use words, phrases and expressions which are altogether colloquial. All these have a motley effect on the reader’s mind. Normally when we read a piece written in Sanskritised Bengali we hardly expect to become one with the theme or the characters. This is because of the deep chasm lying between the language of reality – the language we speak and the language of fiction – the language we write. In his novels, often the beauty of nature or a nostalgic and romantic episode or description is expressed by Bankim in this grandiose sadhubhasa. But when the author wants his readers to take a trip to the world of conflicts that sway the characters or the story itself both within and without his sentences become often shorter in length, more direct, closer to the colloquial pattern. However, even in such sentences the verb-form is always retained in the sadhu, which lends a musical and poetic effect to these apparently banal constructions. Many of Bankim’s novels have quite a simple or thin storyline or plot, but its mirth is not marred because of the extremely powerful and balanced language in which it is embedded. Again in such works as Radharani, it is the movement of the language which alone contributes to the characters’ being on the move. The conflicting, unseemly character of the Babu class in Bishabriksha (The Poison Tree) is underlined by the mixed language, and such English expressions as ‘Hurrah! Three Cheers for Heera!’ The keynote of political tension in Anandamath is brought out by the contrasting use of ‘Hare Murare’ cry of the Santans and ‘Hurrah’ of the English soldiers and the blow of their cannons. The latter is expressed by the author with the help of the onomatopoeia – ‘gudum, gudum, gudum’. Bankim’s naming of the individual chapters of his novels is also noted for their linguistic originality and they are often derived from Sanskrit philosophical literature (as in Bishbriksha, Mrinalini, etc.) or everyday speech. Their often perfunctory appearance helps realise the immediacy of the theme better. So it is the dialectics of words-as-sound and such innovative linguistic ‘deviations’ in Bankim Chandra Chatterjee’s novels which underlines, reinforces and sustains the dialectics of thought and ideas. And this ultimately endorses Bankim’s literary craftsmanship of the highest order.

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  4. WRITEEN VERY BEAUTIFULLY

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