ThAct: The new poets, Three prose writers & Conclusion

 This blog task is given by Prakruti ma'am.

                       

1. Critical Note on a Poem by Nissim Ezekiel – “Night of the Scorpion”

Nissim Ezekiel’s Night of the Scorpion is one of his most anthologized poems, reflecting his deep engagement with Indian rural life, superstition, and familial bonds. The poem narrates the incident of his mother being stung by a scorpion, and the collective village response to it.

Ezekiel critically portrays the villagers chanting mantras and offering superstitious explanations – that the pain will purge sins or protect future generations. While the villagers symbolize tradition and blind faith, Ezekiel himself, with a modern, rational outlook, observes the event with irony. The father, who tries “every curse and blessing, powder, mixture, herb and hybrid,” represents modern science, yet even he becomes part of the futile ritual.

The climax arrives with the mother’s quiet acceptance: “Thank God the scorpion picked on me / And spared my children.” This line shifts the focus from superstition to maternal sacrifice. The poem thus balances satire on superstition with empathy towards human endurance. Stylistically, Ezekiel uses free verse, colloquial diction, and irony to weave realism with symbolic meaning. It becomes not only a portrait of rural India but also a universal statement about faith, suffering, and selflessness.

2. Critical Note on Kamala Das’ An Introduction

Kamala Das’s autobiographical poem An Introduction is a bold assertion of female identity and individuality in a patriarchal society. The poem reflects her confessional mode of writing, where personal becomes political.

She begins by situating herself in the Indian political context, mentioning Nehru, but soon shifts to her private struggle with language, identity, and gender. The rejection of the rigid roles assigned to women—wife, mother, sexual object—forms the central tension of the poem. Her statement “I speak three languages, write in two, dream in one” highlights both linguistic richness and alienation.

Das challenges gender norms by openly admitting her sexual desires and relationships, asserting the right to be flawed, passionate, and unapologetically herself. She critiques societal attempts to confine women into stereotypes and declares: “I am sinner, I am saint. I am the beloved and the betrayed.”

Critically, the poem is significant for Indian feminist writing in English. It redefines “introduction” not as compliance with tradition but as resistance. Through confessional voice, fragmented structure, and emotive power, Kamala Das articulates female subjectivity in a way that was revolutionary in post-Independence Indian literature.

3. S. Radhakrishnan’s Perspective on Hinduism

Radhakrishnan saw Hinduism not as a fixed dogma but as a dynamic, spiritual tradition open to evolution. He emphasized that Hinduism is not merely ritualistic or mythological, but essentially a philosophy of life.

For him, Hinduism is founded on the principle of Sanatana Dharma—the eternal law—which promotes tolerance, universality, and inner spiritual experience. He rejected the colonial portrayal of Hinduism as backward superstition and reinterpreted it as a rational, ethical, and universal faith.

He highlighted concepts like Advaita Vedanta (non-dualism), where the divine and human are united. Unlike rigid religions, Hinduism allows plural paths—devotion (bhakti), knowledge (jnana), and action (karma). He also stressed that Hinduism adapts itself to time and context, remaining relevant across ages.

Thus, for Radhakrishnan, Hinduism is not static but a living, tolerant, spiritual philosophy that nurtures both individual freedom and universal brotherhood.

4. According to Radhakrishnan, What is the Function of Philosophy?

Radhakrishnan believed that philosophy is not abstract speculation but a practical guide to life. Its function is twofold:

Interpretation of Experience: Philosophy helps interpret human life, religion, morality, and spiritual experience in rational terms. It seeks to harmonize reason with faith.Integration of Knowledge: Unlike science which focuses on parts, philosophy synthesizes knowledge into a holistic vision of existence.

Ethical and Spiritual Guidance: Philosophy, for Radhakrishnan, leads to self-realization and liberation (moksha). It should help individuals live meaningfully, not merely theorize.Cultural Bridge: He also viewed philosophy as a mediator between Eastern spirituality and Western rationality.

Thus, philosophy is essentially a quest for truth and wisdom that uplifts both individual and society.

5. Raghunathan’s Views on Change in Educational/Academic and Political Contexts

Raghunathan argues that while change is easy to demand, it is dangerous if it is abrupt, superficial, or poorly planned. At the same time, stagnation is equally harmful, as it leads to irrelevance.

In Education/Academia: He suggests reforms that move beyond rote learning and colonial models of education. Critical thinking, creativity, and practical problem-solving must replace mechanical examination systems. Education should also be linked to employment and social needs.

In Politics: Raghunathan emphasizes the need for ethical leadership, accountability, and transparency. Change should not destabilize democracy but strengthen it by curbing corruption, promoting inclusivity, and ensuring policy continuity.

Balanced Change: For him, the right approach is gradual, well-considered reforms that respect tradition while addressing contemporary needs.

Thus, his perspective highlights change as a necessary but delicate process, especially in institutions that shape society.

6. The Autobiography of an Unknown Indian as ‘More of a National than Personal History’

Nirad C. Chaudhuri’s The Autobiography of an Unknown Indian (1951) is ostensibly a personal memoir but extends far beyond individual life. Chaudhuri records his upbringing in Bengal during colonial rule, but his narrative becomes a microcosm of India’s cultural, political, and intellectual transitions.

He documents the clash between Western education and Indian traditions, the rise of nationalism, and the dilemmas of colonial modernity. While speaking of his personal choices—his fascination with English literature, his skepticism about Gandhian politics—Chaudhuri indirectly narrates India’s larger colonial encounter.

The work’s historical dimension lies in its portrayal of social reform, cultural hybridization, and political awakening of India in the first half of the 20th century. Critics have even accused him of being overly sympathetic to British rule, but that too reflects the complexity of colonial subjectivity.

Therefore, the autobiography becomes a layered text: while personal in form, it offers an invaluable national history of India’s colonial consciousness and modern identity crisis.

7. Changing Trends in Post-Independence Indian Writing in English

Post-Independence Indian Writing in English (after 1947) has witnessed dynamic transformations:

Early Phase (1947–1960s): Writers like Mulk Raj Anand, R.K. Narayan, and Raja Rao continued to focus on social realism, village life, and Gandhian ideals.

Experimental Phase (1960s–1980s): Poets like Nissim Ezekiel and Kamala Das brought urban themes, confessional tone, and modernist style. Novelists like Anita Desai explored psychological depth, alienation, and identity crises.

Global/Contemporary Phase (1980s onwards): With Salman Rushdie’s Midnight’s Children (1981), magic realism and postmodern narrative entered Indian writing. Writers like Amitav Ghosh, Arundhati Roy, Vikram Seth, and Jhumpa Lahiri gained international recognition. Themes expanded to diaspora, globalization, subaltern identity, feminism, and historical re-visioning.

21st Century: Digital literature, Dalit narratives, queer voices, and eco-literature emerged as major trends. Indian English writing is now global in scope yet rooted in cultural hybridity.

Thus, the trajectory reflects a movement from colonial hangover to confident global assertion, making Indian Writing in English one of the richest literary traditions today