Roll No: – 52
Study: –
M.A Sem 1
Year: – 2017 – 2019
Paper No:
– 4.
Topic: – Role
of women in Kanthapura and Fakir of juhngheera
Submitted
to: – Dept. of English, Maharaja Krishnakumarsinhji Bhavnagr University,
Bhavnagar.
Introduction
The novel kanthapura
was published in 1938, Its written by Raj Rao. This is the story about Mahatma
Gandhi’s struggle for independence from
British came to a small and typical village, kanthapura. explain in his original foreword there is no
village in India that mean, that has no a rich legendary history of its own in which some famous
figure of history and myth has made an appearance.
Raja rao’s Kanthapura is a subtle study of the immense
change that the gandhian movement of the thirties brought into the life of the Indian woman and yet didn’t let her cross
the conventions to so-called feminine boundaries the novel traces the
psychologically revolution that accompanied the emergence of the woman from within the
twin incarnations of the devil and the dasi that has reioned the imagination of
the patriarchy since age.
·
About Raja Rao
Raja Rao (8 nov 1908 - 8 july 2006)
Raj rao was an Indian
writer of English literature novels and short story, whose works are deeply
rooted in metaphysics. His father H.V.Krishnaswami taught kannada, the native
language of Karnataka. Rao was educated at a muslim school, The Madarsa in
Hyderabad. Rao studied for his degree at nizam’s collage.
·
Roll of woman in kanthapura
The woman has always
been the unacknowledged and indiscernible core of the Indian society without
which its patriarchy would fall apart never allowed a voice in the seminal
aspects of life. The woman yet defines its traditional and cultural boundaries.
Political mass movements in any country ,
the real problem for the woman in political struggle. Some critics suggest that
gandhi’s non-cooperation movement was feminist in nature and also it adopted
attributes such as passivity and activities such as spinning, traditionally
considered to be feminine in nature it is true that the gandhian movement had a
considerable role to play in bringing the woman out of purdah woman mad a
significant part of the satyagrahis and many assumed the role of leaders in the
movement. Thus we find the Gandhi of kanthapura, moorthy selecting rangamma as
one of the members of the congress panchayat committee for the congress is for
the weak and lowly
The
women leaders in Kanthapura are both educated widows, Rangamma
and Ratna. Rangamma acts as a source of information, knowledge and inspiration
to the village women. Apart from telling them about other galaxies on the one
hand and the equal rights that women share with the men in a far-away country
on the other, Rangamma is a regular subscriber to newspapers from the city— theTai-nadu, Vishwakarnataka, Deshabanddhu, and Jayabharatha. These papers
supply the villagers with the latest developments in the revolutionary struggle
in the other parts of the country and later as to the trial and judgment of
Moorthy and his fellow satyagrahis. Rangamma is the one who tells the women
about Laxmibai and trains them to resist the lathi blows of the police
passively. She modulates the deep core religious zeal in the women and adds a
nationalist dimension to it, ‘…we shall fight the police for Kenchamma’s sake,
and if the rapture of devotion is in you, the lathi will
Grow
as soft as butter and as supple as a silken thread, and you will hymn out the
name of the Mahatma.’
On
the other end there is Ratna. Initially, she is detested by the village women
along with the evil Bhatta, for walking about the streets like a boy, wearing
her hair to the left “like a concubine”, and wearing her jewellery —and all
this being a widow. Ratna’s retort when accosted for this is remarkable,
Such instances abound histories of
other colonized countries as well. A visitor to Trinidad noted the case of a
European estate manager who had seven Indian women, “being with child, all by
him.” The royal commission of 1871 in Guiana, whose members were sympathetic to
planters, stated: “It is not uncommon for overseers, and even managers, to form
temporary connections with Coolie women, and in every case with the worst
possible consequences to the good order and harmony of the estate.” It is
meaningful to notice here that the exploitation of Indian women is viewed
mainly in terms of its effects upon production, and not really on the women or
families involved.
This gross violation was also given a
boost by the many representations of the female native figure in Western
Literature and Art which perpetuated the myth of the erotically charged female.
The primitive exoticism and siren - like attraction of Ayesha in H. Rider
Haggard’s prejudice-strewn 1887 novel She is noteworthy. Another remarkable instance is
found in Anne McClintock’s book Imperial Leather(1995), where she
studies the links between colonialism, domestic arrangements and sexual labour
in South Africa and elsewhere in the nineteenth century. She opens with an
astounding reading of the map in Rider Haggard’s King Solomon’s Mines (1885).
McClintock argues that if the map is inverted, it looks like the form of a
woman’s body, the coveted mines to which the journeying men are heading being
suddenly to be located in the pubic area of this topological map-woman. She
goes on to make the surprising assertion that “Haggard’s map thereby hints at a
hidden order underlying industrial modernity: the conquest of the sexual and
labour power of colonized women.” It is perhaps only with the ultimate independence
in 1947 that the Skeffington estate women workers were released from their
oppression, only to be caught in a wider web spun by their own countrymen. Kanthapura is
a path breaking work in many ways, as its critics widely agree. But to me, it
is Raja Rao’s sensitive and realistic portrayal of the emergence of the modern
Indian woman, a part of whom we carry within ourselves even today, which has
made the novel worth remembering.
· About Fakir of juhngheera
The fakir of juhngheera is a long poem written by derozio.
He was novelist and poet most of the his work in found to Indian culture , religious, rule and regulation etc… his
writing in see to voice of against to society. The fakir of juhngheera a study
in the narrative art. In his poem dealswith the theme of patriotism,
nature,love. The central theme of the fakir of juhngeera is the ignoble and in
human practice of “sati” in the contemporary orthodox Indian society
·
Roll of woman in fakir of juhngheera
In this poem woman character, Nuleeni
described as victim, widow of her husband, victim by society, victim of sati
pratha, helpless, mentally dead, Death of her beauty and charm, death of her
love [ Fakir ] and she became second widow of her lover fakir.
Fakeer and
Nuleeni are two star crossed lovers like Romeo and Juliet. In Shakespeare's
Romeo and Juliet were the children of two enemies whose love brought the tragic
end. Here, in 'The Fakeer of Jungheera'. Fakeer is the follower of Islam.
Fakeer means saint a person who has renounced the world but here he loves a
lady Nuleeni who is married and also an uppercaste Female. Nuleeni was married
to a Brahmin. Her husband dies in an early youth.
Naleeni the
beloved of Fakeer never loved her husband. In the days of never loved her
husband. In the days of Henry Derozio Indian subcontinent was cought by many
evils like 'Sati Pratha' killing girl child by boiling the still born baby in
the hot pot of milk etc… Nuleeni belonged to a conservative Hindu society in
the nineteenth century. She was pure and beautiful she doesn't went to
end her life behind a person whom she never loved.
Nuleeni was brought to the spot where her husband is to be cremated. Women were
singing songs praising sati. They sang of going to heaven but poor Nuleeni was
lost in the thoughts of Fakeer. She refuses to die on the funeral pure of her
husband and esapes with the bandit faker to his cave in Jungheera to a life
from death; She escaped death but she starts a life of forbidden love though
frightened by violent social norms she believes that her lover's courage and
her anfailing love will finally make them victorious. Her fair and beautiful
face brightens the dark social setting of the poem and mitigates the bold
audacity of the Fakeer who snatches her from the midst of a group of mourning
upper caste Hindu at the Funeral.
· Conclusion
The
secular and universal ideas that Derozio espoused in his poetry do not go well
with the separatist and divisionary politics of modern India. These are
some of the revisionist consequences of modernity. However the 'modes of social
life' that emerged in the early nineteenth century in response to modernity in
India now take us 'beyond modernity' into the information age. If India must
shine it must do so within its own traditions and Derozio occupies a central
place in it. The poet through the impossible and bold story of love, affair between Hindu upper-class widow and a
Muslim lower class Fakeer reflected and criticized the evils of Indian Society.
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