Far from the madding crowd by Thomas Hardy

Far from the madding crowd

Far from the madding crowd is Thomas Hardy's fourth novel and his first major literary success. It is his first great achievement as a novelist. It originally appeared anonymously as a monthly serial in 'Cornhill Magazine' where it gained a wide readership. The novel is often considered to be The masterpiece by him. Like his other novel, 'Far from the madding crowd' introduces the pastoral world, the world of farmers and shepherds. This novel was published in 1879. It is the first novel to be set in Hardy's fictional country of 'Wessex' in rural southwest England.

Title

This is a little longer title by Hardy 'Far from the madding crowd' but it is a symbolic title. Hardy believes that the pastoral world is pure, peaceful and governed by nature and therefore away from evils of city life. In chapter number 22 he writes;

"God was probably present in the country and the devil had gone with the world to the town"

However, some critics do not agree with this concept of the title. They argue that even the world presented here is not free from crime or abuse. The source of this title can be found in Thomas Gray's famous poem elegy written in country churchyard Hardy choose the title from this poem the line;

"Far from the madding crowd ignoble strife"

Theme

This novel deals in themes of love, honor, and betrayal against a backdrop of the seemingly idyllic but often harsh realities of a farming community in Victorian England. It describes the farmer Bathsheba Everdene her life and relationship especially with her lonely neighbor William Boldwood, the faithful shepherd Gabriel oak and the thriftless soldier Sergeant Troy. The novel also shows the influence of nature on human life, particularly on the agricultural world.

Plot construction

By profession, Hardy was an Architecture and therefor his plot are well kitt. "Far from the madding crowd" has a powerful plot construction. The novel designs into 57 chapters and each chapter is a given chapterate title.

For example

Chapter number 34 "Home again"

Most of the chapters developed the story while in some chapters, the story is very slow, but Hardy describes the lifestyle, the culture of the rustic world.

Locale

Hardy is commented to be unvictorian novelist in the Victorian era mainly because the local, the place where his stories develop in is the rustic world. It is a world depends upon nature and not affected by the evils of Industrialisation. Far from the madding crowd also manifests the life of 'Wessex people' the people connected directly or indirectly with agriculture. Most of the action takes place in Weatherbury a town located in the Wessex region. Hardy is interested in persons as well as place and local life. The place has a very significant place in his novels. In Far from the madding crowd, all activities take place in the same region, the Wessex.

Characterization

Far from the madding crowd introduces a large group of characters, both major and minor, male and female all belonging to the agriculture world. The novel is governed by a woman Bathsheba another significant female character is Fenny Robin. Important male character or Gabriel oak, sergeant Troy, and Boldwood. The minor character of the novel is Poorarass, Coggan, Liddy, Pennyways, Maryann and many others. The characters in the novel live a simple life with the harmony of Nature.

Style

Style refers to the technique of narrating the right word for the right place. Hardy seems very effective in the matter of style. He displays a minute description of the landscape, activities of the farmer and pastoral world. He also makes fine use of the flashback technique in the novel.

To wind up

Far from the madding crowd mega-success showing the life of the rustic world. Symbolic title, well-knit plot, rich gallery of character and many other aspects make the novel more appealing.

Character of Manolin

Character of Manolin

Prepared by: Dhaval Diyora

Roll No: 05

Paper – 10 : The American Literature

M.A (English):  Sem -3

Enrollment No: 2069108420190013

 Batch:  2018-20

 Email: d.d.diyora@gmail.com

 Submitted to: Smt .S. B Gardi, Department of English, 

MK Bhavnagar University.

Topic: Character of Manolin

A companion to Santiago.

Manolin is the second human character playing the role of an assistant in the sea-drama. Though he appears only in the beginning and towards the fag end of the novel, he casts his shadow throughout the story. He is seen nowhere after saying "good luck" to his master on the morning of eighty-fifth day until the old man comes back prized with the skeleton of a giant fish, but he is remembered day in and day out by his master so long as he is far out in the sea battling all alone with the Marlin. The boy is an unfailing companion to the old man in his lean and lonely hours. His is the only human face that Santiago sees in the mornings and the evenings. When the old man is disappointed, the boy inspires confidence in him. When he is tired, he entertains him with beer and hot coffee. When he is hungry, he brings a pot of vellow rice with fish. When he sleeps, the boy sits by watching him. round the clock. When he falls sick, he nurses him round the clock. When he feels lonely, he gives him company. The boy, in fact, shares, the old man's household chores and tries to make him as much comfortable as he can by keeping everything in order in his shack. He virtually fills the vacuum of his master's life within the limits as imposed upon by his means and parents.

A tender-hearted boy.

Manolin is a simple, pure and tender-hearted boy. His heart bubbles over with the milk of human compassion. When the old man is miserable, he feels pity for him When he sees the hands of his master bleeding, he cries with pain and brings "stuff from the drug store". When he sees the old man unloading the skiff in the evening, he rushes to share his burden and make him as light as he can. When he sees his master bare-footed and in a patched shirt, he is saddened. He feels that he "must get him another shirt and a jacket for the winter and some sort of shoes and another blanket." When he finds the old fisherman without a wash, he brings for him water, soap and a good towel, and brushes him up.

A devoted disciple.

As a devoted disciple, Manolin has unflinching faith in his master. He has been with him since he was five years and he remembers everything from the time they met together. So he knows what his master is like. Though he is restrained from going shaken and he does not desert him. He is so innocent that he does not conceal the made me leave, I am a boy and I must obey him." out to the sea with Santiago, his faith is not t from his master. He tells him : "It was papa made me leave, I am a boy and I must obey him.

He has a sense of profound respect and reverence for his master. He is prepared to leave his present master and go with Santiago again. When Santiago urges him to remain with the lucky boat, he tells him:

"I would like to go. If I cannot fish with you, I would like to serve in some way.

He accepts the natural superiority of Santiago over his second master. Though Santiago is not able to catch any fish for eightyfour days, his faith in and reverence for him does not diminish. He rather encourages him saying : "But remember how you went eightyseven days without fish and then we caught big ones every day for three weeks."

His readiness to learn.

If Santiago wants to transmit his knowledge and experience to the boy as completely and fast as he can, the latter is also ready to learn it as quickly as he can.

The old man wants to take the boy far out in the sea but he cannot do it for it will hurt the feelings of Manolin's parents. He tells the boy, "If you were my boy I'd take you out and gambles. However, Manolin is prepared to go far out and help him even without deserting his second master. He says to him : 

"I'll try to get him to work far out. Then if you hook something truly big, we can come to your aid."

But this is not acceptable to the old man. When he is in the sea battling with the fish, he has a novel and grand experience of fishing, which he wants to share with the boy. But unfortunately, the boy is not there. There are certain things which can be taught only by demonstration in the height of the action. This rare moment comes on the eighty-fifth day far out in the sea, where the boy is not present. His master wishes the boy to be there several times but he is unlucky. When his master returns with a big prize, he learns what he has missed for not being in his company. He says to the old man: 

"You must get well fast for there is much that I can learn and you can teach me everything."

His child-like curiosity.

He is not only interested in fishing but also in those things which can bait a child. He loves to listen to the stories of the lions of Africa from his master. He is also interested in the baseball matches and wants to know the latest position of the teams. So he gives his master the old newspaper which he reads like fiction. He also invests money on buying lottery coupons. He says to the old man :

"Do you think we should buy a terminal of the lottery with eighty-five? Tomorrow is the eighty-fifth day."

Thus, Manolin is an excellent specimen of a faithful and devoted disciple ready to sacrifice all for knowledge and service of his the master who is, indeed, an an enlightened one.

Their human relationship.

The boy, in fact, provides warmth and sustenance to him when he needs it most. When it is credit that the old man needs, the boy miserable, the boy, being tenderhearted, feels for him. When he sees the hands of his master bleeding, he cries with pain and brings "stuff from the drug store". When the old man comes back secures it for him. When the old man is completely exhausted, the boy assists him in unloading the skiff. When he sees the old man bare-footed and in a patched shirt, he is saddened and feels that he "must get him another shirt and a jacket for the winter and some sort of shoes and another blanket. When he sees him unclean, he brings for him water, soap and good towel.

Their teacher-taught relationship.

The relationship that exists between them is really that of a disciple and a teacher. The service that the boy renders to his master is out of his love, faith and reverence for him. He holds his master in the highest esteem. "The old man had taught the boy to fish and the boy loved him." When the old man is not able to take any fish for eightyfive days, he leaves him not because he doubts his ability as a teacher but because of his parental compulsions.

He tells his master:

"It was papa made me leave. I am a boy and I must I."
The old man replies to him : "I remember, I know you did not leave me because you doubted"

Thus, the disciple-master relationship is established beyond doubt with a playing upon the words doubt and faith. The boy is ready to go with him again against the wishes of his father because his master is the best fisherman in the world. He tells him:

"There are many good fishermen and some great ones. But there is only you."

Thus, the boy is a true and devoted disciple. He has profound respect and reverence for his teacher. As a disciple, he is completely absorbed in learning the knack of fishing from his master.

Works Cited

R.N.Sinh. The old man and the sea. 1999.

Translater- Ravindra Thakor. Aparajey. Amdavad: Nirav Madrasi, 1991.

Depiction of women characters in Kanthapura.

Depiction of women characters in Kanthapura.

Prepared by: Dhaval Diyora

Roll No: 05

Paper – 4: Indian Writing in English

M.A (English):  Sem -1

Enrollment No : 2069108420190013

 Batch:  2018-20

 Email: d.d.diyora@gmail.com

 Submitted to: Smt .S. B Gardi, Department of English, MK Bhavnagar University.

Topic: Depiction of women characters in Kanthapura.

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Characterization in Kanthapura

                As the purpose of the novel was to depict a mass-movement and its impact, a highly individualized characterization would have deflected attention from such a depiction. Thus the characters in the novel are not sharply and distinctly individualized. The emphasis is more on themes and ideas rather than on people. Characterization takes a secondary place in Kanthapura, yet it is not without significant and fine characterization.

Women Characters in Kanthapura

                The women characters have been skillfully delineated by Raja Rao. There is a great variety of them in the novel. At the foremost we have Rangamma. She is one of the few educated women in the village. She reads the newspapers herself and thus keeps herself and others acquainted with the day to day developments elsewhere. She knows many things of the general interest of the plants that weep, of the monkeys that were the men we have become, of the worms, thin as dust, worms that get into your blood and give you dysentery and plague and cholera. She told us, too, about the stars which are so far that some have poured their lights into the blue space long before you were born or your father was born...She is a lady who is deferent, soft-voiced, gentle-gestured". She is never be fooled by Bhatta. She helps Moorthy literally, although she does not seem to share his belief that pariahs and Brahmins are all equal. After meeting Sankar, Rangamma develops into a fine leader and speaker. She is able to fill the void created by the death of her father who used to expound the Vedantic texts at Harikatha meetings. It is she who plays the major part in organizing the women of Kanthapura into a Sevika Sangh. She is practical-minded, for when she comes to know that some husbands are complaining that they are not receiving proper attention at home because their wives are away to participate in drill she at once takes proper measures and explains to the Sevikas that they must not neglect their household duties.

                 Next comes Ratna. She is a child widow, who has been powerfully a woman as a matter of shame and inferiority. She is much criticized for her unconventional ways, but she does not care for such criticism. She chooses her own path, and influenced by modern ideas and who does not regard being sticks to it with firmness and determination. She takes keen interest in the Gandhian movement, and is a source of inspiration and help to Moorthy When Jayaramachar, the Harikatha-man is arrested, she conducts the Harikathas. After Rangamma's death, she reads out the newspapers and other publicity material of the Congress for the benefit of the Kanthapurians. When Moorthy is arrested, she carries on his work and serves as the leader. She organizes the women volunteer corps and imparts to the Sevikas the necessary training. She displays great courage and resourcefulness in the face of government repression and police action. She is dishonored, beaten up and sent to jail as a consequence. But she suffers all patiently and unflinchingly When Gandhi goes to England for the Round Table Conference, reaches settlement with the Redman's government and the movement is withdrawn Ratna is disappointed like countless other freedom fighters in India. She goes over to Bombay, and through her letters, we learn of her great admiration for Nehru, "the equal distributionist.

                Achakka, the narrator, though she is never sharply individualized, is revealed by her manner of narration and her comments on persons and events. In the novel, her function is representative and her strength lies in being anonymous. She is just one of the many women of Kanthapura who responded to the call of the Mahatma conveyed through Moorthy. Her faith in the Goddess Kenchamma, her respect for the local scholar Rangamma, her unquestioned affection for Moorthy and her trust in him, all these feelings she shares with other women of the village.

                However, Achakka is a woman with a balanced mind, sound common sense, and the gift of shrewd and intelligent observation. Her personality colors the whole non-cooperation movement, the brave resistance of the people and their consequent suffering. One of the simplest women in the village is poor Narsamma, mother of Moorthy. She cannot understand the ideals dear to her son, but who only knows that she did nothing to deserve the calamity of ex-communication that befalls her family. She is the most pathetic character in the novel.

A Typical Malicious Woman

                Through the character of Waterfall Venkamma, Raja Rao brings out the pettiness, the jealousy, the triviality and orthodoxy of women. Venkamma is a woman of a petty, jealous nature. She cannot bear to see others prosperous or successful. The sight of the happiness of others arouses her wrath and she rails and rails against them. There is no end to her spite, jealousy, and vindictiveness. She is jealous of Rangamma because she has a much larger house and constantly rails against her. She would like to put lizard poison into her food and thus cause her death.

                She is also against Moorthy, because he refused to marry her second daughter. She nurses this grudge against him, and does her best to have her views, she has no sympathy with the Gandhi-movement. She, therefore, sides with Bhatta and the Swami. It is she who spreads the rumor that Moorthy is to be excommunicated. In this way, she causes his mother much pain which ultimately derives her to death. She also hates Ratna for her progressive views and constantly hurls abuses at her. She rails and rails against everybody and thus justifies the nick-name the novelist has given to her.

                However, it is only against her meanness, frivolousness, and conservatism that the character of Ratna shines out Women Presented as Shakti'

Women Presented as Shakti

                In Kanthapura, Raja Rao presents women as various forms of shakti. According to Uma Parameswaran, "Voluble, with an infinite capacity for love and for passing malice, quick to spark into enthusiasm and into cynicism the women of Kanthapura are more human than those created by Raja Rao else-where. They become women at certain times but there is no incongruity between their actions and the author's claim. One realizes that the immanent Shakti rises in every woman at certain pivotal points of life.

                 A typical Indian woman is coy, delicate and submissive, she is also firm as a rock, great in suffering. Shakti rises in them, and each of them is enthused at the proper time. Psychologically prepared for the titanic encounter, they got much inspiration from other examples. It is to be noted that in the last phase of peaceful resistance it is Ratna, a woman, who takes over from Moorthy and leads the Satyagrahis

                "Different forms of Shakti are manifested through the women of Kanthapura. Shakti's indomitable spirit possesses them in their Satyagraha non-violent struggle) against the British government. When the police ill-treat them with their sticks and boots, the women think, move, and act as one for they are more distinct and pervasive in the devotional aspect. Woman as the Eternal Devotee, Shakti kneeling in rapt adoration in front of Siva, reveals herself through them as they listen to Jayaramachar retelling epic stories and to Ramakrishnayya reading passages from the Scriptures. The most touching example of their edifying faith is the narrator's musing on the ruins Kanthapura. She dreams of a happy ending to a modern Ramayana where Rama (Gandhi) will return from his exile (visit to England) with Sita (India) who had been captured by Ravana (the British) and as he returns to Ayodhya Delhi) Bharata (Nehru) who has been reigning as regent, will welcome him and there will be celestial flowers showered upon his aerial chariot."

Reference:

https://shodhganga.inflibnet.ac.in/bitstream/10603/12582/8/08_chapter%205.pdf

https://englishsummary.com/role-women-kanthapura-raja-rao/

https://www.arcjournals.org/pdfs/ijsell/v4-i7/5.pdf

Gulliver’s Travels as Children’s Literature.

Gulliver’s Travels as Children’s Literature.

Paper-2 : The Neo-Classical Literature

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Guliver's travels as a children's literature from Dhaval Diyora