Friday, March 31, 2023

 Hello readers! This blog is written in response to a Thinking activity assigned by Dilip Barad, Department of English, MKBU. Here, In this blog I'm trying to interpret the play "Breath" by Samuel Beckett.



Samuel Beckett, one of the most prominent playwrights of the twentieth century, wrote a thirty-second playlet for the stage that does not include actors, text, characters or drama but only stage directions. Breath (1969) is the focus and the only theatrical text examined in this study, which demonstrates how the piece became emblematic of the interdisciplinary exchanges that occur in Beckett's later writings, and of the cross-fertilisation of the theater with the visual arts. 

As Samuel Beckett’s writing progressed through the ’60s, it became even more minimal, despairing, and bleak. It was as if he was paring away as much as he could to see if the theater was left standing. Jonathan Crow mentioned how Beckett’s 1969 play Breath, for instance, “runs just a minute long and features just the sound of breathing.” There is a bit more to it than that. Not a lot more, but yes, more. Here’s the play’s script;

Curtain up

1. Faint light on stage littered with miscellaneous rubbish. Hold for about five seconds.

2. Faint brief cry and immediately inspiration and slow increase of light together reaching maximum together in about ten seconds. Silence and hold about five seconds.

3. Expiration and slow decrease of light together reaching minimum together (light as in I) in about ten seconds and immediately cry as before. Silence and hold for about five seconds.

Beckett adds some notes:

  • Rubbish - No verticals, all scattered and lying.
  • Cry - Instant of recorded vagitus. Important that two cries be identical, switching on and off strictly synchronized light and breath.
  • Breath -  Amplified recording.
  • Maximum light - Not bright. If 0 = dark and 10 = bright, light should move from about 3 to 6 and back.





War Poetry

 Hello readers! This blog is written in response to a Thinking activity assigned by the Department of English, MKBU. In this blog I am going to write about the movie "Tango Charlie". This movie also explores the theme of war.

Bollywood has produced a number of jingoistic war epics over the years, but very few have bothered to delve into the mind of the soldier himself. Director Mani Shankar makes an effort to redress the balance with Tango Charlie, an interesting study of Indian terrorism, violence, and valor. Seen through the eyes of introspective military man Tarun Chauhan (Bobby Deol), it follows one man's journey from young army recruit to war-hardened fighter - a trip that's also worth taking by the viewer. The movie is set in the backdrop of the insurgency in Northeast India and portrays the struggles of Indian soldiers as they fight against the militants. The movie stars Ajay Devgn, Bobby Deol, and Sanjay Dutt in lead roles. This movie was banned for release in Assam for allegedly defaming the Bodo community of Northeast India.


What is War Poetry?

War poetry is a form of poetry that focuses on the experience of war, either from a soldier's perspective or from a civilian's point of view. War poetry can cover a variety of themes, such as the horrors of war, the emotional toll it takes on those involved, the impact on families and loved ones, and the political and social contexts of war. War poets often use vivid imagery, powerful language, and poetic techniques such as metaphors and similes to convey the brutality and tragedy of war. Many war poets have first-hand experience of conflict and draw on their own personal experiences to inform their work. 

Some famous examples of war poets include Wilfred Owen, Siegfried Sassoon, Rupert Brooke, and Emily Dickinson. War poetry can provide insight into the human cost of conflict and the lasting impact it has on individuals and society as a whole. The art of war poetry has been around for centuries, and it has captured the emotions, experiences, and the brutal realities of war. It has allowed poets to express their feelings towards war in different ways, some through personal experiences or the experiences of others. On the other hand, war films have also become a popular medium to depict the horrors of war and the sacrifices of those who fought for their country.



Tango Charlie:

Directed by Mani Shankar

Written by Mani Shankar

Produced by Nitin Manmohan

Cast:

  • Bobby Deol as BSF Soldier Sepoy Tarun Chauhan 
  • Ajay Devgan as BSF Soldier Hawaldar Mohammad Ali 
  • Sudesh Berry as BSF Soldier Bhiku
  • Shahbaz Khan as BSF Soldier Dev Dixit
  • Rajesh Khera as BSF Soldier Constable Sangram Singh
  • Suresh Ghera as Manipur BSF Officer
  • Sanjay Dutt as Squadron Leader Vikram Rathore
  • Suniel Shetty as Flight Lieutenant Shezad Khan
  • Tanisha as Lachchi Narayan / Lachchi Tarun Chauhan

Tango Charlie is a 2005 Indian Hindi-language war film written and directed by Mani Shankar and cinematography is by T. Surendra Reddy. The movie revolves around the character of Tarun Chauhan, who joins the Indian Army with the intention of serving his country. He is posted in the Northeast region of India, where he faces the harsh realities of the insurgency. He befriends a local girl, Shyamoli, and learns about the complexities of the region and the conflict. The film starts with a photo-surveillance mission, near the border, by two air force officers Flight Lieutenant Shezad Khan (Sunil Shetty) and Squadron Leader Vikram Rathore (Sanjay Dutt) in a helicopter. 

Tarun is a simple man whose first assignment is to flush out Bodo militants, led by debutant Kelly Dorji, from the dense jungles of Manipur. He is surprised by the knowledge that killing is necessary to win wars. The action and fighting scenes in the jungle are very well shot and the movie initially flows at an acceptable pace. But then we enter Tarun's private life where he goes back to his village and falls in love with Laachi (Tanishaa). Here on, the movie drifts a bit and slows down, and all the buildup at the start goes down the drain.



The diary reading then, is played out in a series of flashbacks, detailing for us the life of the rescued man Sepoy Tarun Chauhan (Bobby Deol) also known as Tango charlie. Tarun is a soldier in the Border Security force, and his first mission is in Eastern India, under the leadership of Havaldar Mohammed Ali (Ajay Devgan) fighting the Bodos. Tarun faces war and the loss of innocence as he realizes its futility. He however displays bravery, and integrity, and continues his missions in other parts of India. Interspersed with all this are the romantic love stories of Tarun and Ali. Lachi (Tanishaa) is the English-speaking, bubbly daughter of the village pharmacist (Tiku Talsania), and a Computer engineer herself. Tarun is besotted with her in spite of the fact that her father will not agree to pay a dowry, much to the chagrin of Tarun’s father.



The most bizarre scene in the movie is when Ali leads a team of BSF officers to guard a landlord in a remote district of West Bengal. The landlord's daughter, Shyamoli (Nandana Sen) is to be married, but he is under threats from terrorists and the BSF is deployed at his house. After operations in remote villages of Andhra Pradesh and in the riot-hit areas of Gujarat, and the romantic scenes in between, the action shifts to Kargil, which also happens to be the climax scene. Ali dies after a grueling battle while successfully defending a bridge, while Tarun goes after the escaping enemy and manages to kill the 50 - odd terrorists near the border single - handedly.

The movie explores the themes of loyalty, duty, and sacrifice. It portrays the emotional and psychological impact of war on soldiers and their families. The movie also highlights the need for understanding and empathy in resolving conflicts. Throughout the movie, Tarun and his fellow soldiers face numerous challenges, including ambushes by militants and the emotional toll of being away from their families for long periods of time. The movie also highlights the impact of war on civilians, including Shyamoli and her family, who are caught in the crossfire. One of the central themes of "Tango Charlie" is the idea of duty and sacrifice. The movie portrays the soldiers as individuals who are willing to risk their lives for their country and their fellow citizens, even when faced with great danger. The movie also explores the emotional and psychological toll of war on soldiers and their families, highlighting the need for support and understanding.

"REAL SOLDIERS ARE NOT BORN, BUT BRED"

Adding a new and much needed dimension to the traditional Indian war epic, Tango Charlie is a brave attempt at examining war and what it means to different people. Above all it presents the idea that real soldiers are not born, but bred. 

Another important theme in the movie is the idea of empathy and understanding. The movie portrays the conflict in the Northeast region as a complex issue, with no easy solutions. The soldiers are shown trying to understand the motivations and perspectives of the militants, in an effort to find a peaceful resolution to the conflict. Every character in the movie has a purpose. And all actors play their parts extremely well, though Ajay Devgan and Bobby Deol rise above them all. 



The message of war and peace in "Tango Charlie" is complex and nuanced, and the movie portrays both the horrors of war and the hope for peace. On one hand, the movie depicts the harsh realities of war and the toll it takes on soldiers and civilians alike. The soldiers are shown facing brutal attacks by militants, and the emotional and psychological toll of being away from their families for long periods of time is also depicted. The movie shows how war can lead to loss of life and destruction, and how it can perpetuate cycles of violence and conflict. On the other hand, the movie also highlights the importance of understanding and empathy in resolving conflicts. The soldiers are shown trying to understand the motivations and perspectives of the militants, in an effort to find a peaceful resolution to the conflict. The character of Shyamoli, a local girl who befriends Tarun, represents the hope for peace and reconciliation between the warring parties. Through her character, the movie suggests that it is possible to find common ground and work towards a peaceful resolution to conflicts. The movie highlights the horrors of war while also offering hope for a peaceful resolution to conflicts. It suggests that understanding and empathy can play an important role in resolving conflicts, and that it is important to strive towards peace even in the midst of violence and conflict.

Soldiers have fallen on the battlefield without really knowing why they were fighting, and for what. Absurdly, wars are always fought in the name of peace. Whatever the compelling reason to fight, it is ultimately the soldiers on both sides who die - in some strange land, in some horrible way, with no one really to mourn for them, except for their immediate family, or perhaps a posthumous investiture ceremony. The main protagonists of Tango Charlie represent these brave fighters who are ready to sacrifice their lives for the sake of our safety and security without any expectation of any award or reward. 

Conclusion:

Tango CharlieThe movie tries to glimpse into the life of soldiers, and the sacrifices they make. Overall, "Tango Charlie" is a powerful and moving film that explores the complexities of war and the sacrifices made by soldiers and their families. It offers a nuanced and thoughtful portrayal of the conflict in the Northeast region of India and highlights the need for empathy and understanding in resolving conflicts.

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Assignment Paper No - 110

Name: - Insiyafatema Alvani 

Roll No: - 11

Semester: - 2 (Batch 2022-24)

Enrolment number: - 4069206420220001

Paper No: - 110

Paper name: - History of English Literature – From 1900 to 2000

Paper code: - 22403

Topic: - Wilfred Owen as a Soldier and Poet 

Submitted to: - Smt. S. B. Gardi Department of English, Maharaja Krishnakumarsinhji Bhavnagar University

Email Address: insiyafatemaalvani@gmail.com


Wilfred Owen as a Soldier and Poet 


About Wilfred Owen:

Born 18 March 1893

Died 4 November 1918



Wilfred Owen is widely regarded as one of Britain’s greatest war poets. Writing from the perspective of his intense personal experience of the front line, his poems, including ‘Anthem for Doomed Youth’ and ‘Dulce et Decorum Est’, bring to life the physical and mental trauma of combat. Owen’s aim was to tell the truth about what he called ‘the pity of War’. Born into a middle-class family in 1893 near Oswestry, Shropshire, Owen was the eldest of three. His father, Tom Owen, was a railway clerk and his mother, Susan, was from a fervently religious family. In 1915, Owen enlisted in the army and in December 1916 was sent to France, joining the 2nd Manchester Regiment on the Somme. Within two weeks of his arrival he was commanding a platoon on the front line. In the midst of heavy gunfire, he waded for miles through trenches two feet deep in water with the constant threat of gas attacks. The brutal reality of war had a profound effect on him, as he recounted in letters to his mother. His poems ‘The Sentry’ and ‘Exposure’ record specific ordeals of this time. Virtually he is unknown as a poet in his lifetime; most of Owen’s poems were published after his death. Aware that his work could do nothing to help his own generation, he succeeded in warning the next, his poetic legacy having a major impact on attitudes to war.

Education:

He began attending technical school as a day boy. In September 1911 he was enrolled at London University. From October 1911 to summer 1913, he was at Dunsden Vicarage, Oxfordshire as pupil and lay assistant to the reverend Herbert Wigan. In August 1913 he was assigned as English tutor at the Berlitz School of languages, Bordeaux. In July 1914, he left Berlitz School, became tutor to two boys in a catholic family in Bordeaux. In September 1915, he returned to England and was commissioned in the Manchester regiment on October 22. On December 29, 1916, he sailed to France on active service, attached to Lancashire Fusiliers. On March 19, 1917 he was sent to the 13 casualty clearing station. 



Death and legacy

In September 1918, Owen returned to the front during the final stages of the war. He fought a fierce battle and was awarded the Military Cross for his bravery. He was killed, at the age of 25, while leading his men across the Sambre and Oise Canal near Ors, on 4 November.

Owen as a War Poet:

The major themes in Owen's poetry of war that explicitly dominate his poems are included in the subject of war itself, pity, tragic death, horrors and protest against war. Subjects in his poetry are obviously shown in his famous speech "My subject is War, and the pity of War...”.

However, each literary piece has its themes which revolve around the war and its aftermaths. Owen was talented in composing his war poems, for he added unique artistic methods that his poems were characterized by. For instance, the poet expresses a distinguished outlook in using his poetry as a testimony. He utters the realities of the calamitous events of war; such narration seeks to give the real picture of the evilness of war and warn people implicitly, and sometimes explicitly, against war. Sometimes, the poet depends on using the child-like strategy to describe his emotion. He inserts child-like sketches in some letters that were sent to his brother Harold. He in a smart but painful attempt wants to evolve body parts into child-like sketches or even in a verbal witticism. Another characteristic about the poet is that he uses some classic works as references in his poems. Owen employed some of the Homeric classic myths in his poem 'Strange Meeting'.

The imagination of Owen is saturated with horrors and bloody war pictures. The war experience launched his imagination and completely captivated his mind. His imagination is so active to respond and create a sense of responsibility towards various public categories all around the world. According to C. Day Lewis, a revolution and a force in Owen's mind inspires him to choose his subject of war precisely. It seems that the life, background, and family, alongside the military service have had the largest impact on developing his imagination. There are different aspects in Owen's poetry. Spiritually, his poetry can be understood in terms of warning, and protesting against war. Several of his poems reflect the nature of divinity and morality. Kendall says: “There is a conception of a 'whole edifice' in Owen's plans for 'Disabled and Other Poems', but …was obliged to note 'how very different all his poems are from each other”. In general, the aspects of social, political, emotional and imaginative scope are tackled in narrative, descriptive, and didactic terms of Owen's war poetry.

Owen as a Soldier in WWI:



Wilfred Edward Owen is an English soldier- poet. Owen returned to his battalion early in April. In May he was sent again to the 13 casualty clearing station, and from there to 41 stationary hospital. In June, he went into No. 1 General Hospital, from which he was returned to England, arriving at the Welsh Hospital, Netley, about June 18. On June 26, 1917 he was evacuated to Craiglockhart War Hospital, Edinburgh. In November 1917, he was discharged from Craiglockhart: posted to northern Cavalry Barracks, Scarborough. In August 1918, he returned to France for active service and in October he was awarded the Military Cross.

During Owen's life, only four of his poems were published, while his celebrity was posthumous. The authenticity and grandeur in the language of his poems, the blending of harsh realism with a sensation, and the portrayal of horrors, proved that Owen is a remarkable poet and his poetry is mature as well. It was not a gradual development that made his work mature, but a kind of revolution in mind that enabled him to recognize his subject clearly: “war and the pity of war”. This subject inspired Owen to write his poems that contributed to a radical change of citizens' attitudes towards the war: not to think of war as anything but evil. There were different experiences and circumstances that had an impact on developing Owen's talent in writing poetry. Seemingly, the tour in trenches during his military activities produced the emotional and spiritual aspects. Owen also was in admiration of the English poet, Keats, who influenced his writing verse in a pseudo- Keatsian manner. Owen's father was a man of adventurous spirit, whereas his mother was raised in a Calvinistic religious doctrine, emphasizing the omnipotence of God and the salvation of the elect by God's grace only, and a rigidly Victorian atmosphere. It was believed that this contradictory nature of his parents was behind the tensions between opposites that often create a poet, and develop his mind. Furthermore, the cultured atmosphere in Owen's home had a strong impact on the rapid development of his writings. During his military service he was writing letters to his family, showing his childish feelings to his mother, and the sense of responsibility toward his sister and younger brothers. Owen's sense of responsibility for his younger members of the family and for his widowed mother embodied his feeling as a soldier and poet towards his men and towards all soldiers on the front. 

While working in Dunsden for a little wage, he was conducting several tours among the rural slums there and was reared hard against some facts of life: misery, ailment, and poverty. This experience must have rang the bells in his mind, and seemingly left a pragmatic impression which obliged him to look at the real world. He had reported in detail that he felt depressed about his future and had no specific conviction as to what he should do with his talent. When war broke out, Owen was living in a rural society. At the beginning, Owen opposed the war in a violent and deadly serious manner. He had been barely influenced by the war and his firm belief was that the war is a severe annoyance of private life. But after the first witness of a real case of an injured soldier in Bordeaux Hospital, he in a ruthless and sharp tone recounted the actualities of war. Then he was enlisted in the military service, and Literary Endeavour 

The military expressions impacted his language in terms of sharpness and toughness which mostly featured his writings. According to Kendall, Owen used poetry as a way of therapy. Owen's war poetry resides 'in the pity,' he referred to pity, for friend and foe alike, at a point where the real experience should have overcome any other kind of literary celebration, such as glories, heroism, and patriotism. He reinforced this vision in that the best war poetry is a combination of bitterness and nostalgia as it was seen arising out of the grand disillusionment of the First World War.

Owen here struggles with the paradoxical notion of sense experience: on the one hand, it is intensely private and stubbornly resists translation, and on the other hand, for it to be shared and communicated, it has to create a retrospective narrative. The first experience that happened to Owen with 'the actualities of war' was in a hospital in France. He wrote a letter to his brother Harold characterized by realism, pity and writing as testimony. At the same time, there was a full involvement of the body in pain formulated into child-like sketches or verbal witticism. However, the rich diversity in Owen's imagination, drawn back to Owen's pre-war letters were saturated with depictions of illness and pain. Owen's war poetry which is widely attributed to the actualities of trench life, in large, formed the 'modern memory' of the war. The vivid images of darkness, guns, mud, rain, gas, bullets, shells, barbed wire, rats, lice, cold, and trenches enriched the modern war poetry. 

'Dulce et Decorum Est':



'Dulce et Decorum Est', is one of Owen's major poems. Harold Bloom notes that the first draft of “Dulce et Decorum Est” was composed in October, 1917 at Craiglockhart Hospital. It was published posthumously in 1920. The title is an ironic allusion to a line taken from a Latin poem for the Roman poet Horace, “Dulce et Decorum Est Pro Patria Mori”, which means it is sweet and fitting to die for one's country. Owen wrote the poem as a response to the patriotic poetess Jessie Pope whose recruiting poems encouraging many young men to fight in the futile war. Ironically, Owen referred to Jessie Pope in line 25 using the term 'My Friend', but how come to be a friend while her poetic works performed as an enemy toward humankind. The poem is known as 'a gas poem' in which Owen employed both senses of experience and language in their extreme limits. Although the phrase 'gas poem' does not fully convey the aspects of poetic and thematic issues, the desperate moments during and after the gas attack weep through the whole lines of the poem. Bloom thinks that, “Owen's goal from such a title is to attack the concept that sacrifice is sacred, and to destroy the glamorized decency of the war”. In 'Dulce et Decorum Est', Owen in a scenic way, infers the details of the instant and direct effects of a gas attack.

"Gas! GAS! Quick, boys!—An ecstasy of fumbling

Fitting the clumsy helmets just in time,

But someone still was yelling out and stumbling

And flound’ring like a man in fire or lime"

Moving from the bloodied feet to the bloodied mouth of the soldier, he discussed different main points in the subject of war: night march, a gas attack, and traumatic neurosis. The soldiers were fatigued and exhausted by the battle, so they withdrew from the front lines to the back lines of the battle to have a short break and to rearrange themselves before going back to the battle field. They were extremely tired to the limit that they did not feel the falling down of the bombs, and did not hear the explosion sound of Endeavour the gas projectiles dropped behind them. They tried to put gas masks on quickly, but one soldier had not enough energy and was late to put the mask on in time. Owen kept a helpless and powerless observer from behind the saving panels of the mask to the situation in which the man had no ability to breathe in a sea of gas. What is the value of a life restricted in trivial and cheap-price mask panels? Those panels represent the distance between life and death. However, the brutal vision of a soldier agony of dying through the gas haunted the poet in all his dreams.   



 Owen apparently wanted from 'Dulce et Decorum Est' poem to warn the public of the lie that "it is a sweet and fitting to die for one's country", since Owen himself was wholly convinced it was a lie. The initial fourteen lines describe the set of circumstances and the situation in which the soldier found himself. The other fourteen lines display the effects of what happened and Owen's serious thoughts and his echoes on them. However, the last four lines warn the reader to avoid similar suffering and misery in the future. With awareness or familiarity gained from the sad experience of that soldier who died in a gas attack, Owen sends a message to the whole world that

"My friend, you would not tell with such high zest

To children ardent for some desperate glory,

The old Lie: Dulce et decorum est

Pro patria mori"

Owen did not save any effort in portraying the terror of the gas attack. In a genius dramatic outlook, he employed his harsh commentating knowledge flavored with both tones and cadences in using a reportage, direct description, and documentary portrayal by which he made the distance between the miserable scene of the gas attack and the reach of reader's imagination so close. What made the opening of 'Dulce et Decorum Est' so exceptional is that in the first line of the first stanza, Owen takes us directly to the field yard. The scene is vivid and live, and brings the body into the field of vision against the surreal backdrop of the gas flares and the sound of the 'Five-nines'.

Conclusion:

The singular bond that ties all the poems discussed earlier is Owen’s attitude to war. Through his poetry, Owen has given a voice to protest against war that desolated the life of people over a long time. He inserted the techniques of irony, rhetorical questions, sarcasm, and sometimes the direct denunciation to reveal his rejection of war, in particular, the war he witnessed: the First World War. Apparently, his first-hand experience in the trenches as a soldier had a critical role in developing his poetic talent. His poetic writing depicted the real painful side of life. Owen accused the politicians who were, in his opinion, the reason for the bloody armed struggles in the world. He conveyed an exceptional message to those who thought that the war is merely a title of heroics and glory. He made them see the other evil side of the war. At the same time, he warned them against contributing in the emergence of wars by one way or another. He bore his responsibility toward this case and overtly announced that it is not a kind of pride to die for the country. He hoped that the war would stop in the future but he died before. In the preface of his posthumously published Poems, he pledges that his aim is to capture not the glory of war but the unmentioned or desperately overlooked ‘pity’ inherent in it.

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References -

Muttalib , Fuad Abdul. “(PDF) War Poetry: Wilfred Owen as a Soldier and Poet - Researchgate.” ResearchGate , July 2019, https://www.researchgate.net/publication/335207784_WAR_POETRY_WILFRED_OWEN_AS_A_SOLDIER_AND_POET. 

Stallworthy, Jon. "Owen, Wilfred Edward Salter (1893–1918), poet." Oxford Dictionary of National Biography. 01. Oxford University Press. Date of access 31 Mar. 2023, <https://www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-37828>






Assignment Paper No - 109

Name: - Insiyafatema Alvani 

Roll No: - 11

Semester: - 2 (Batch 2022-24)

Enrolment number: - 4069206420220001

Paper No: - 109

Paper name: - Literary Theory & Criticism and Indian Aesthetics 

Paper code: - 22402

Topic: - Introduction of Dhvani Theory and Example from Movie 

Submitted to: - Smt. S. B. Gardi Department of English, Maharaja Krishnakumarsinhji Bhavnagar University

Email Address: insiyafatemaalvani@gmail.com


Introduction of Dhvani Theory and Example from Movie 



Indian Aesthetics:

Aesthetics is concerned with the concept of beauty. Hence it is known as saundaryaṡāstra or lāvaṇyaṡāstra. Rasānubhava or disinterested contemplation of beauty is the basic characteristic of all aesthetic experiences. The real perception of beauty is what distinguishes an aesthetic experience from all other experiences. There are various schools of thoughts in Indian Aesthetics.

  • Rasa Theory given by Bharata - Natyashastra 
  • Dhvani Theory given by Anandavardhana - Dhvanyaloka 
  • Alamkara Theory given by Bhamaha - Kavyalankara 
  • Riti Theory given by Vamana - Kavyalamkarasutrvrtti 
  • Vakrokti Theory given by Kuntaka - Vakroktijivita
  • Aucitya Theory given by Ksemendra - Aucityavicaracarca 


Introduction to Anandavardhana and his Dhvanyaloka :



Anandavardhana, an expert in Sanskrit and Prakrit language was a court poet and literary critic during the reign of King Avantivarman. He belonged to the 9th century CE. He was honored with the title of Rajanak for his literary and philosophical works. Anandavardhana was mostly famous for his six major works namely epic, narrative work, Lakshana Granth, Darshana Grantha, Buddhist book and a poem. In short, the Sanskrit Mahakavya - Arjuncarita, a narrative work - Visamabanalila, the Lakshana Grantha - Dhvanyaloka, the Darshana Grantha - Tattvaloka, Buddhist philosophical book - Dharmottara Virti, and a poem - 'Devisataka', etc. are some of the significant works that are at the credit of Anandavardhana. Dhvanyaloka - the Lakshana Grantha was written by Anandavardhana in the 9th Century. The book became the trendsetter in Indian literary criticism as it turned the focus of literary criticism from the external artistic elements of poetry to the internal structure and inner beauty of poetry. This colossal book includes four Udyotas with Karikas and Vrittis. There are a lot of arguments regarding the title of the book and the author of the Karikas and Vrittis. Many critics thought that the whole book was not written by Anandavardhana. According to them, only Vrittis were written by Anandavardhana. Regardless of all kinds of arguments, the thematic concern and critical analysis of inner beauty of poetry the book made Anandavardhana very famous in Indian literary criticism. The book begins with the meaning and definitions of Dhvani. The second part of this book discusses the types of Dhvani. It also sheds light on figures of speech and Guna-Dosha in poetry. Next to it, Anandvardhana put forth his views of types of poetry, suggestiveness and the concept of Auchitya. 

Dhvani Virodhi Vaada:

Dhvani-against Arguments or Dhvani Virodhi Vaadas and Anandavardhana’s reply to them from the first section of Dhvanyaloka. Many learned men rejected the idea of Dhvani on the basis of three major points: non-existence of Dhvani, non-separation from figures of speech and the non-explanatory entity. The ancient critics have critically analyzed poetry considering the artistic elements such as figures of speech, rhyme, metrical pattern, stanza pattern, etc and didn’t mention Dhvani in their study. Hence, the Dhvani-against critics believe that Dhvani doesn’t exist. For many other critics Dhvani is not different from figures of speech (Alamkara). Some critics say Dhvani is indescribable. No one can explain the term “Dhvani” exactly as its essence remains beyond the scope of words. According to these critics, there is a big difference in the taste of sugarcane, milk and jaggery, but it cannot be explained exactly. In the same manner, it is impossible to describe the idea of Dhvani. 

Anandavardhana explains the nature of suggestion (Dhvani) to clarify these above misunderstandings about the notion of Dhvani. For the counter argument of non-existence of Dhvani, Anandvardhana replies that according to the learned men of earlier generations the soul of poetry is suggestion (Kavyaashi Atma Dhvani). Anandavardhana acknowledges that he is not saying something new about Dhvani as the principle of suggestion was observed by the celebrated poets of the ancient time. Anandavardhana clearly shows the difference between the suggestion and indication. He says that figures of speech, the Lakshyartha and the conventional meaning itself offers suggested meaning and hence, there is difference between indication and suggestion. According to Anandavardhana, figures of speech offer common usage meaning whereas Dhvani offers a meaning that has a charm and something speciality. In Anandavardhana’s views, that poetry in which the conventional meaning renders itself to the secondary position or the conventional word renders its meaning secondary and suggests the intended or implied meaning is termed as Dhvani or Suggestive poetry. Anandavardhana provides a solid reply to Dhvani-Against Arguments (Dhvani-Virodhi Vaadas)  and establishes his theory of Dhvani in Dhvanyaloka. 

Dhvani is the Soul of Poetry:

Anandavardhana opines that Dhvani is the soul of poetry. Word Dhvani is derived from the root dhvan means to suggest. Definition of dhvani is given as the suggested sense which gives pleasure (रमणीयव्यङ्ग्यार्थ:।). For him, Dhvani is nothing but a suggestion or a suggested meaning. All types of meaning or any meaning cannot be labeled as the soul of poetry. He put forth some criteria or certain attributions and if the meaning achieves these attributions, only those meanings are known as the soul of poetry. According to Anandavardhana, the meaning which wins the admiration of sensitive critics, the meaning that has supreme quality, the meaning that has Rasadhvani qualities, the meaning that appeals to human sentiment and to the heart and mind is the soul of poetry. While defining the term, Anandavardhana says that the poetry in which the conventional or the literal meaning remains at secondary or subordinate position and it suggests the indicated or implied meaning is termed as Dhvani or suggestive poetry. Here, he highlights that the suggested meaning is the soul of poetry. In short, Anandvardhana accepting the importance of sentiment (Rasa), figures of speech (Alamkara) and poetic qualities and defects, strongly affirms that Dhvani is the soul of poetry. 

Types of Dhvani: 

Considering the nature, the medium and the process of suggestion, Anandavardhana categorizes Dhvani into different types;



He also gives suggestions with intended literar importance. In Vastu Dhvani the suggested idea is the fact, in Alamkara Dhvani the fact is idealized through an image or figures of speech and in Rasa Dhvani, the sentiment or emotion (Rasa) is suggested. Suggestion with unintended literal import is a Lakshana-born Dhvani in which the literal meaning is not intended. Suggestion with intended literal import is also known as the suggestion through the primary meaning. It is an Abidha-born Dhvani in which the conventional meaning or the literal meaning is intended.

Types of Poetry: 

Anandavardhana classifies poetry into three broad categories considering the prominence, subordination and negligence of suggestion in poetry.

  • Dhvani Kavya
  • Gunibhuta Vyangakavya
  • Chitra Kavya

If suggestion is prominent in poetry, it becomes suggestive poetry or Dhvani Kavya. If suggestion has a secondary place in poetry, it becomes Gunibhuta Vyangakavya. If suggestion is negligible, it becomes portrait-like poetry. In short, according to Anandavardhana Dhvani Kavya, Gunibhuta Vyanga Kavya and Chitra Kavya are three major types of poetry. In Dhvani Kavya, suggestion is the principal method that offers special meaning. In Gunibhuta Vyang Kavya, the literal meaning has the important place and in Chitra Kavya, the ornate description or the figurative description has the important place. 

Study of Cinema from an Indian Aesthetic Perspective:



A discussion on films based on the ancient Indian aesthetic principles will show that drama is closest in nature to films. Drama has to be rehearsed and its destiny is the stage. Films though have a different life, unlike on stage, the actors in a film do not have to emote everything all at once, their act can be done in bits and pieces. Films have to be recorded, edited, background music and playback music have to be synchronized, only then they can be shown to the audience. Of course, it is a given that drama and films both are used to convey, within a stipulated time, some message to society. Drama too has the same characteristics, world over at all times. In the Indian context, drama has been called the best form of poetics. 

The great Sanskrit poet Kālidāsa has expressed his view in the beginning of his play Mālavikāgnimitra that drama is such a medium that, on a single platform, fulfills the desires of all the people gathered irrespective of their varied interests. Cinema has to be understood in the context of poetics, dramatics and aesthetics. Both poetics and dramatics are explained within aesthetics. In the Indian philosophical system, aesthetics and truth do not oppose each other. In a traditional discussion, if truth is scrutinized then we can see that virtue or the right path and pursuit of the worldly pleasing path both are questioned. Our sacred texts, i.e. the Vedas and the Upaniṣads, are the right path chosen to learn the truth, whereas poetics is akin to the pursuit of the worldly pleasing path. The great poet Jaishankar Prasad has said that poetics is the imaginative experience of the soul, it has nothing to do with any kind of analysis or inference or science. The thinking power of the soul accepts the virtuous path to the truth in its original and elegant form in its exceptional state and in poetics this conviction is the true realization. The following verses in the epic work Nāṭyaśāstra, written by Bharata Muni, explain the utility of drama:

"Drama teaches the glory of duty to those who have forgotten their duty, it guides us on the path to find love, to the ill-tempered and uncouth, it shows how punishment can improve them, to the disciplined it shows how to live in regulation, cowards are taught how to be brave, the brave are shown the virtues of energy and enthusiasm, a person who is unwise is given wisdom and the intelligent are made further wise. The ones who are burdened with sorrow are taught how to be stable in their grief, those who are waylaid are taught discipline and the poor are shown the means to a livelihood".

Movie 'Lunch Box Can be analyzed from Dhvani point of view.

Directed by Ritesh Batra

Written by Ritesh Batra

Producers: 

  • Anurag Kashyap      
  • Guneet Monga
  • Arun Rangachari

Release date: 20 September 2013 (India)



In Mumbai, Ila is a young wife seeking her husband Rajeev's attention. She tries to put romance back into her marriage by cooking delicious lunches for him. It has become her routine to cook delicious food for husband after he leaves for the office in the morning. Coincidentally, a lunchbox used to reach Saajan (Irfan) , a lonely person who is on the verge of retirement. Little mistake of dabbawalas is responsible for the exchange of lunchboxes and also for the extra-ordinary friendship of Ila and Saajan. Friendship of both started with a note sent by Ila after seeing no feedback from her husband about the lunchbox. Thus, there began a communication between two strangers. They share their regrets, memories, and liking through letters in the lunchbox. Though Ila understood the mistaken delivery of lunchbox doesn’t venture to rectify the same. In fact, she enjoys this new relationship where she gets little space for her day to day sharing.

Ila’s unhappy marriage is not vividly shown on the screen but it is suggested in film by very symbolic expressions. Ila’s husband is least bothered about the lunchbox she gives. It is left to the viewer to create an image about her husband on their own. Viewers may understand this as the busy schedule of Ila’s husband which is not allowing him to give attention towards his personal life at all. One more suggestive element is present in the film where Ila could smell some perfume on her husband’s shirt. It gives only a suggestion that her husband might be having some extra-marital affair. End of the film is not explicit at all. It is left completely on viewers. Ila’s father dies with lung cancer, her mother confesses how she faded up with her married life. Ila then decides to search for Saajan but she learns that he is retired and moved for Nasik. She writes a letter that she is leaving for Bhutan with her daughter. Saajan who was on the train towards Nasik changes his mind and goes in search of Ila. Ila is waiting for her daughter to pick her up from school and about to leave for Bhutan.



Here the film doesn’t clarify whether both of them meet or otherwise. If they meet what they talk, whether Saajan accompanies Ila with her journey to Bhutan or Ila refuses his company after seeing him or Ila returns to her married life. Was their emotion of love developed between Ila and Saajan or they were considering each other simply friends or just a relation between two strangers giving them emotional satisfaction. All these are suggested meanings through the ‘end’ shown in the movie.

There is no main rasa (angi rasa) in the movie as such. There are just sprinkles or hints, suggestions of rasa. It is not nourished by vibhava(causes), Uddipana (excitants) anubhava etc. but there are many vyabhichari bhavas which are beautifully delineated as well as suggested through different episodes on a subtle level. There are vibhava (causes) present in the form of Ila and Saajan. Uddipana(excitants) can be stated as Ila’s unhappy marriage and Saajan’s loneliness. Initial exchange of lunchbox is also one of the uddipanas. Anubhav are presented through their expressions of responding to letters, appreciating food in the lunchbox and also continuation of mistakes of exchange. Film is based on vyabhichari like shanka (doubt), dainya, chinta, chapalata, avega, vishada, autsukya, vitaraka etc. presented through the character of Ila.

• Ila is doubtful about dedication of her husband after smelling his clothes (shanka and vitaraka)

• Ila is upset thinking her husband is having extra-marital affair (dainya, vaishada)

• Ila is having hopeful about Saajan, it creates curiosity in her mind to meet him (autsukya)

Vyabhichari bhavas get nourished through the character of Deshpande aunty and Ila’s mother. Both ladies are trapped in their own lives to lead unhappy lives. These characters through their behavior engrave negativity on Ila’s mind about married life in a very subtle way. Deshpande aunty and her mother are uddipan which nourish all vyabhichari bhavas. Character of Deshpande aunty is only built through her voice and the viewer imagines the entire personality by that. Dainya, chinta, avega, vishada, autsukya etc. are presented through the character of Saajan.

• Saajan is most of the time seen lonely in the office as well as in the home (dainya, vishada)

• Saajan is curious to start new life with Ila (autsukya)

• Saajan is very excited and quick to meet Ila in cafe and also when Ila is about to leave for Bhutan (autsukya, chapalata, avega)

These are all examples of Bhava Dhvani. Film is not meant for delineation of prominent rasa or subsidiary rasas but presents an unusual treat of vyabhichari bhavas to viewers. Film focuses on very routine object known as lunchbox in very unusual way

Conclusion: 

Dhvanyaloka propounds Anandvardhana’s theory of suggestion in four sections through Karikas and Vrittis. While writing about Dhvani, or the nature of suggestion, Anandavardhana has explained a number of concepts such as Dhvani as aesthetic principle, suggestion is supreme quality of poetry, suggestion adds beauty to literal meaning, three types of poetry, varieties of suggestion and the idea of coincidence (Auchitya). Film "Lunch Box" is a very good example which shows Dhavani Theory and focuses on very routine objects in a very unusual way.

Words - 2,454

Images - 5

Video - 1

References -

Gawde, Dr. Shakuntala. “HomeLunch Box- from the Perspective of Dhvani Theory.” Dr Shakuntala Gawde, 22 Dec. 2018, https://www.shakuntalagawde.com/2018/05/19/lunch-box-from-the-perspective-of-dhvani-theory/. 

Kulkarni, Mr. Digambar S. “Dhvanyaloka by Anandavardhana: A Critical Reading of the Theory ... - JETIR.” Jetir.org, Mar. 2018, https://www.jetir.org/papers/JETIR1803326.pdf. 

Sridhar, Aparna. “World Cinema Can Be Discussed within the Framework of Indian Aesthetics: Prachand Praveer.” Center for Soft Power, 19 Mar. 2021, https://www.csp.indica.in/world-cinema-can-be-discussed-within-the-framework-of-indian-aesthetics-prachand-praveer/. 




Assignment Paper No - 108

Name: - Insiyafatema Alvani 

Roll No: - 11

Semester: - 2 (Batch 2022-24)

Enrolment number: - 4069206420220001

Paper No: - 108

Paper name: - The American Literature 

Paper code: - 22401

Topic: - Influence of Indian Philosophy on Transcendentalism 

Submitted to: - Smt. S. B. Gardi Department of English, Maharaja Krishnakumarsinhji Bhavnagar University

Email Address: insiyafatemaalvani@gmail.com


Influence of Indian Philosophy on Transcendentalism 



What is Transcendentalism ?

Transcendentalism is an American literary, philosophical, religious, and political movement of the early nineteenth century, centered around Ralph Waldo Emerson and was heavily influenced by German philosophers such as Johann Wolfgang von Goethe and Immanuel Kant, along with English writers like William Wordsworth and Samuel Taylor Coleridge. Transcendentalists espoused four main philosophical points. Simply stated, these were the ideas of: 

  • Self Reliance
  • Individual Conscience 
  • Intuition Over Reason
  • Unity of All Things in Nature

In other words, individual men and women can be their own authority on knowledge through the use of their own intuition and conscience. The Transcendentalist Movement was centered in New England and included a number of prominent individuals including Ralph Waldo Emerson, George Ripley, Henry David Thoreau, Bronson Alcott, and Margaret Fuller. They formed a club called The Transcendental Club, which met to discuss a number of new ideas. In addition, they published a periodical that they called "The Dial" along with their individual writings.

The Origin of Transcendentalism:

Transcendentalism has its origins in New England of the early 1800s and the birth of Unitarianism. It was born from a debate between “New Light” theologians, who believed that religion should focus on an emotional experience, and “Old Light” opponents, who valued reason in their religious approach.

These “Old Lights” became known first as “liberal Christians” and then as Unitarians, and were defined by the belief that there was no trinity of father, son and holy ghost as in traditional Christian belief, and that Jesus Christ was a mortal. Thinkers in the movement embraced ideas brought forth by philosophers Immanuel Kant and Georg Wilhelm Friedrich Hegel, poet Samuel Taylor Coleridge, ancient Indian scripture known as the Vedas and religious founder Emanuel Swedenborg.

Transcendentalists advocated the idea of a personal knowledge of God, believing that no intermediary was needed for spiritual insight. They embraced idealism, focusing on nature and opposing materialism. By the 1830s, literature began to appear that bound the Transcendentalist ideas together in a cohesive way and marked the beginnings of a more organized movement.

Major Transcendentalist Values:



The transcendentalism movement arose as a result of a reaction to Unitarianism as well as the Age of Reason. Both centered on reason as the main source of knowledge, but transcendentalists rejected that notion. Some of the transcendentalist beliefs are:

  • Humans are inherently good
  • Society and its institutions such as organized religion and politics are corrupting. Instead of being part of them, humans should strive to be independent and self-reliant
  • Spirituality should come from the self, not organized religion
  • Insight and experience are more important than logic
  • Nature is beautiful, should be deeply appreciated, and shouldn’t be altered by humans

The transcendentalist movement encompassed many beliefs, but these all fit into their three main values of individualism, idealism, and the divinity of nature.

Individualism:

Perhaps the most important transcendentalist value was the importance of the individual. They saw the individual as pure, and they believed that society and its institutions corrupted this purity. Transcendentalists highly valued the concept of thinking for oneself and believed people were best when they were independent and could think for themselves. Only then could individuals come together and form ideal communities.

Idealism:

The focus on idealism comes from Romanticism, a slightly earlier movement. Instead of valuing logic and learned knowledge as many educated people at the time did, transcendentalists placed great importance on imagination, intuition and creativity. They saw the values of the Age of Reason as controlling and confining, and they wanted to bring back a more “ideal” and enjoyable way of living.

Divinity of Nature:

Transcendentalists didn’t believe in organized religion, but they were very spiritual. Instead of believing in the divinity of religious figures, they saw nature as sacred and divine. They believed it was crucial for humans to have a close relationship with nature, the same way religious leaders preach about the importance of having a close relationship with God. Transcendentalists saw nature as perfect as it was; humans shouldn’t try to change or improve.

Key Figures in Transcendentalist Movement:



Ralph Waldo Emerson:

Emerson is the key figure in transcendentalism. He brought together many of the original transcendentalists and his writing from the foundation of many of the movement's beliefs. The day before he published his essay "Nature" he invited a group of his friends to join the "Transcendentalist Club" a meeting of like-minded individuals to discuss their beliefs. He continued to host club meetings, write essays, and give speeches to promote transcendentalism. Some of his most important transcendentalist essays include “The Over-Soul,” “Self-Reliance,” “The American Scholar", "Divinity School Address".

Henry David Thoreau:

The second-most important transcendentalist, Thoreau was a friend of Emerson’s who is best known for his book Walden. Walden is focused on the benefits of individualism, simple living and close contact with and observation of nature. Thoreau also frequently opposed the government and its actions, most notably in his essay "Civil Disobedience ".

Margaret Fuller:

Margaret Fuller was perhaps the leading female transcendentalist. A well-known journalist and ardent supporter of women’s rights, she helped cofound The Dial, the key transcendentalist journal, with Emerson, which helped cement her place in the movement and spread the ideas of transcendentalism to a wider audience. An essay she wrote for the journal was later published as the book "Woman in the Nineteenth Century", one of the earliest feminist works in the United States. She believed in the importance of the individual, but often felt that other transcendentalists, namely Emerson, focused too much on individualism at the expense of social reform.

Frederic Henry Hedge:

Frederic Henry Hedge met Emerson when both were students at Harvard Divinity School. Hedge was studying to become a Unitarian minister, and he had already spent several years studying music and literature in Germany. Emerson invited him to join the first meeting of the Transcendental Club (originally called Hedge’s Club, after him), and he attended meetings for several years. He wrote some of the earliest pieces later categorized as Transcendentalist works, but he later became somewhat alienated from the group and refused to write pieces for The Dial.

Transcendentalism and Romanticism:

Transcendentalism is also related with English moment Romanticism. It began throughout the expanse of Europe as Romanticism in the early Eighteenth century, traveled across the Atlantic with Emerson, and combined with his study of Indian philosophy, Neoplatonism and Kantianism, appeared in the form of Transcendentalism in America. Despite being a consequence of all these factors, it was largely the global success of Romanticism that both influenced American authors and primed European and American readers and critics for American transcendentalist literature. Another central point within the movement is associated with the attitude towards nature. The idea of such power pervades Emerson’s Nature, where he writes of nature as “obedient” to spirit and counsels each of us to “Build.. your own world.” Wordsworth has his more receptive mode as well, in which he calls for “a heart that watches and receives'' in 'The Tables Turned', and we find Emerson’s receptive mode from Nature onward, as when he recounts an ecstatic experience in the woods: “I become a transparent eyeball. I am nothing; I see all; The currents of the universal being circulate through me.”

In the literary field, with the arrival of writers like Emerson, Hawthorne, Fuller and Thoreau, New England underwent a religious reformation and intellectual awakening that paralleled Elizabethan England. It is for this reason that the period, inspired by the romantic impulse, is often termed as the American Renaissance. This term however is only applicable for the quantitative parallel and not contextual one. Contextually, the period is identified as American Romanticism. Like its English counterpart, Transcendentalism liberated the restrictions imposed by earlier literary philosophies. Naturally, a similar consequence of this new philosophy was seen in the new American writings as well. Moving away from the conservative and religious approach in writing, that was particularly seen in the figure of Jonathan Edwards, nearly all subsequent writers of the Nineteenth century New Englanders adopted the liberal religious views. Reuben Post Halleck in his work History of American Literature Quotes, “The mission of all the great New England writers of this age was to make individuals freer, more cultivated, more self-reliant, more kindly, more spiritual”.

Influence of Indian Philosophy on Transcendentalism:

India and its philosophical ideas have been an active contributor in the world’s quest for meaning and truth. The wide variety of Indian literature, namely the Vedas, the Upanishads, the Darsanas, the Dharmashastras, the Puranas, the epics, and the literary classics, encapsulate all of human life and its experience which further the cause of the said quest. Western scholars have, therefore, always been preoccupied in dissecting the knowledge that form a part of the aforementioned texts. Apart from Indian thinkers like Raja Rammohan Roy, Swami Vivekanada and Sri Aurobindo, a host of scholars from the West have made efforts in the said direction. English scholars had always been interested in dissecting the spiritual knowledge that India possessed. Therefore, right after the British acquisition of India, a number of writers began studying and publishing works that were either inspired from Indian philosophy or were their direct translations. Amongst these scholars, Charles Wilkins and H. T. Colebrooke published several works. Wilkins is known for his English translation of Hitopadesa of Veeshnoosarma and Bhagavadgita, the latter being the first ever English translation of the revered text. Thoreau imbibed this practice from Emerson, who was an avid reader of Vedantic writings. Horton identifies that “Emerson’s favorite of all Vedantic writings was the Bhagvadgita which he read and loaned to his friends until it was worn out”.  Even Swami Vivekananda observes the same in a lecture given at the Shakespeare Club in California of February 1, 1900: “If you want to know the source of Emerson’s inspiration, it is in this book, The Gita. He went to see Carlyle, and Carlyle gave him a present of the Gita; and that little book is responsible for the Concord Movement” (Vivekananda). 



Between July 1842 and January 1843, Emerson, along with Thoreau, also published extracts from Manusmriti And Hitopadesha In their Transcendental organ, The Dial. Thoreau’s acquaintance with Indian philosophy began during his Harvard years, where along with the study of Greek classics he also began reading “scriptures from the East”. This happened even before he met Emerson. Upon meeting and living with Emerson, Thoreau’s ideas and views were re-confirmed and realigned in the very direction. In his later Journals, Thoreau reports that he was reading the works of Wilson on January 24, 1856 and the Upanishads on September 30, 1857. 



Emerson and Indian Thoughts:  

Transcendentalism was the first American intellectual movement that showed true interests in Eastern philosophy. Emerson started to read about Indian philosophy and mythology in The Edinburgh Review between 1820 and 1825. His interest in Indian thought grew when he was a young Harvard graduate, and it continued until the end of his writing career. We see its evidence in many of his essays, poems, letters, and journal entries. For example, the concept of Brahma plays a central role in his works and ideas. He is also very much interested in the Bhagavad Gita. Some of his essays such as “Self-Reliance” deal with a theme that is very much similar to the concept of karma. 

The Bhagavad Gita:



Emerson was particularly struck by the teachings of Bhagavad Gita, “the first of books,” as he once called it. He wrote about the Gita that “In England the Understanding rules & materialistic truth, the becoming, the fit, the discreet, the brave, the advantageous But they could not produce such a book as the Bhagavat Geeta”. The Gita is an ancient Sanskrit text composed of verses embellished with many literary devices such as allegory, metaphor, and allusion. It is a record of conversations between Bhagavan or God, in the form of Krishna, and Arjuna, a human. Arjuna is a kshatriya warrior of the Pandava family and Krishna is his cousin and the driver of his chariot. In the battle field, Arjuna sees many of his relatives in the opposing force and, being overcome by pity, he refuses to fight. Krishna then tries to make him realize the importance of fighting. He also reminds him of his obligation to follow his dharma or duty and to ignore his personal feelings. Krishna sends this message to mankind through Arjuna, as does Christ through his twelve disciples. Krishna says: “Though unborn, for the Atman [soul] is eternal, though Lord of all beings, yet using my own nature, I come into existence using my own maya.” 

Krishna sends himself through human beings to save people from adharma, ruin of morality and justice. He says, “For whenever there is a decaying of dharma, and a rising up of adharma, then I send Myself forth”. This idea resonates with Emerson’s emphasis on intuition and conscience. In the essay “Over-Soul,” he writes that we, as individual souls, are part of the Greater or Over-Soul. We do not have to go to church to be united with the Over-Soul because our intuition can illuminate our spiritual world like the flashes of light. In a letter to William Emerson, written on May 24, 1831, Emerson wrote,

“I have been reading 7 or 8 lectures of Cousin—in the first of three volumes of his philosophy. A master of history, an epic he makes of man & of the world—& excels all men in giving effect, yea, éclat to a metaphysical theory. Have you not read it? tis good reading—well worth the time—clients or no clients.”.  Ralph L. Rusk, the editor of Letters, comments that “this reading of Victor Cousin’s first volume, Cours de philosophie, 1828, was particularly significant because it was this book which gave Emerson his first taste for the Bhagavad Gita". Thus, Emerson’s letters along with his essays and journals indicate that the Bhagavad Gita was a great source of knowledge and inspiration for him.

The Law of Karma:

In Sanskrit, karma means action or work. In the Upanishads and Vedic traditions, karma signifies “the results or consequences of action” and, more distinctively, “the unwanted, to-be-avoided-at-all-costs results or fruits of action.” The results of disobedience bring future suffering and pain. The Vedas, the Upanishads, and the Bhagavad Gita all mention that disobeyers must face grave consequences. Thus, the law of karma is a device to link up actions and their consequences of this life and of the next. The Svetasvatara Upanisad states two important doctrines about karma: (1) “According to its actions, the embodied self chooses repeatedly various forms in various conditions in the next life,” and (2) “according to its own qualities and acts, the embodied self chooses the kinds of forms, large and small, that it will take on”. Therefore, it is the self that chooses the form it wants to be. What is remarkable here is to note that every self gets what it wants and what it deserves. Moreover, the law of karma works automatically because there is no god, according to the above mentioned laws, who can give each self rewards or punishments. 

Franklin Edgerton comments on this automatic karmic law: “It is man’s relation to propriety or morality, dharma, which alone determines. For more than two thousand years, it appears that almost all Hindus have regarded transmigration, determined by “karma,” as an axiomatic fact. ‘By good deed one becomes what is good; by evil deed, evil'. In this sense, it seems to be clear that the karmic laws work according to the deeds or actions of individuals, not by the choice of any gods. In line with this conception of the karmic laws, Emerson emphasizes the good deeds of people. In “Self-Reliance,” he urges his readers not to depend on good luck. He concludes that: A political victory, a rise of rents, the recovery of your sick or the return of your absent friend, or some other favorable event raises your spirits, and you think good days are preparing for you. Do not believe it. Nothing can bring you peace but yourself. Nothing can bring you peace but the triumph of principles  

Here, Emerson’s notion of self-reliance is very close to the karmic laws. We can choose whatever we want to be; everything is determined by our actions or karma. We have freedom of choice and we can achieve the godly qualities that we already have within ourselves; or, we can choose to be devilish by our own karma. Nevertheless, Emerson is sometimes disturbed because he sees two sides of things—oftentimes two opposing sides. In “The Conduct of Life,” he presents a virtue of necessity, and believes that it is the art of living to suspend the oppositions and contradictions in mind. Although he recognizes the potent force of Fate, he wants his readers to believe in freewill. If both Fate and freewill are real, we have to conquer both. But, Emerson asks rhetorically: “How shall a man escape from his ancestors?” Nature is responsible for this notion of heredity because Nature, Emerson believes, brings us both disasters and delights. So, how can we accept the delights that Nature brings and avoid the disasters? There is no short answer to this question, as Emerson argues in “Compensation” that “To empty here, you must condense there.” However, one answer to this problem seems to be clear when Emerson, in “The Conduct of Life,” says that “If we must accept Fate we are not less compelled to affirm liberty.” Thus, Emerson’s concept of liberty or freewill goes hand in hand with the idea of karma because according to both concepts, we can re/construct our fate by our actions. However, he is sometimes troubled because he can see not only two sides of things, but also an inherent contradiction in the concepts of good and evil. In “Compensation,” he seems to accept the existence of evil when he assures his readers that God has created everything for the best. Nonetheless, Emerson continues to be perplexed by the riddle of two-sidedness of things. In one of his bleak statements, he writes that “There is a crack in everything God has made”. He uses the term “polarity” to describe this unevenness in nature.  

Conclusion:

Thus, the Indian philosophical and religious concepts and teachings had a great influence on Emerson’s intellectual works. Throughout his journals, he praises this book and claims that Europe was not able to produce a book like Gita. The laws of karma emphasize the actions of individuals and freedom of choice. In “The Conduct of Life” and “Self-Reliance,” Emerson exploits the concept of karma, and urges his readers to be responsible for their own deeds.

Words: 3,100

Images - 6

References -

Anwar Ahmed. “(PDF) Emerson′s Passion for Indian Thought - Researchgate.” ResearchGate , Jan. 2013, https://www.researchgate.net/publication/270369804_Emerson's_Passion_for_Indian_Thought. 

Joshi, Shubham. “A Study of the Influence of English Romanticism and Indian Philosophy on Henry David Thoreau and His Work Walden.” Contemporary Literary Review India, Feb. 2022, https://www.literaryjournal.in/index.php/clri/article/view/1041. 

Sarikas, Christine. “What Is Transcendentalism? Understanding the Movement.” What Is Transcendentalism? Understanding the Movement, 23 July 2019, https://blog.prepscholar.com/transcendentalism-definition-movement.