others style. It is C. Satyananda whorevealed that the language innovations inArundhati Roy's work were done fifty yearsago by Enid Blyton and The God of SmallThings was no better than an imitationof Toni Morrison's Beloved.In discourse analysis, let us go backto the same passage referred to by RajiNarasimhan : "He didn't know that insome places... Worse things kepthappening." She did deconstruct thisparagraph into three sections and came toa conclusion that it left behind a semanticsfor the natural poetry of free expression.Whether we get the beauteous constructof semantics and poetic fervour from <strong>Hindi</strong>translation? (Raji Narasimhan, 2013, 139)The paragraph is full of finite noun clausesintroduced by the subordinator that followthe main clause verb. They function assubjects, direct objects, or compliments ofthe main predicate. The <strong>Hindi</strong> syntaxhaving complex structure began with 'Usepata nahin tha ...', and the rest of thesyntactical arrangement is in support ofthe same main clause subordinating withthe word ki. viz. 'Ki jab niji uthal-puthalek raashtra ki vishaal, prachand, chakkarkhati,eid lagaati, haasyaspad, unmath,asangat, saarvajanik uthal-puthal ki, sadakkinaarebani, samaadhi par pahunchti tokuch ghatit hotaa. Ki vah badaa devta garmhava ki taraf chikhta aur sijade men sirjhukane ki maang karta.' (Neelabh, 2008,32). The deviation that can be mentionedhere is in the tense of the verb, in thosesubordinate clauses, which distanced thewhole sense of the TL. Main verb is putin simple past as that of the original, butthen Neelabh changed the latter phrasesin conditional past, that deviated the senseof TL text. But it is made clear with thebeginning of each adjectival phrase withthe conjunction ki. Raji also made it clearthat 'scrambling up the language is aprominent feature of Roy's prose style andform. But the scramble you come up with,alas, is devoid of the method gone intoRoy's creative scramble.' (ibid, 140). Thereaders in <strong>Hindi</strong> can also reach the sameconclusion. Three sub-clauses are there inthe original paragraph, without muchsemantic variations — 'that somethinghappened' / 'worse things had happened' /'things kept happening.' So beginning withthe past and continuing with the perfectand going to the eternal present the wholesequence of narration is taking the readerto strengthen the character of Larry, thehusband of Rahel to look into the thirdworld citizen in tears always, and thatbecomes the predicted ending of therelation between that couple. Towards theend of the paragraph, the novelist madeit literal : 'In the country that she (Rahel)came from, poised forever between theterror of war and horror of peace, worsethings kept happening.' (Arundhati, 2002,19)It is Arundhati the novelist who utteredthat 'I don't see a great difference betweenThe God of Small Things and my nonfiction.In fact, I keep saying, fiction isthe truest thing there ever was... The Godof Small Things is a book which connectsthe very smallest things to the very biggest.'fgndi •April-June 2013 :: 137
The novelist was translating her own lifeinto this fiction. The experiences at thevillage Aymanan in the district of Kottayamin Kerala seem to have left a lastingimpression on Arundhati. Novel completedon April 6, 1996, with four years' time.She told Vir Sangvi, the editor of Sunday :'I just started putting down what was goingon in my head... It was all just comingout of me, like smoke I suppose, and Ikept putting it down.' As observed byArundhati's critic that her novel is not animitation of some western model, but hasbehind her a long and rich tradition ofsocially committed writing in Indo-Angliannovels. It is relevant here, therefore to havea look at this tradition and discover herroots.On translating some of the folk versesand lyrics in the original, Priya could easilyomit the English version, where sometimesthe author had given simultaneousMalayalam and its translation in English.Like the one Kuttappen's appeal to an overripeguava (Arundhati, 207). For thetranslator in Malayalam, Priya could chooseonly those lines as in original Malayalamwithout caring for the re-renderings ofArundhati. Will it be more liberty on theauthor to surpass her? <strong>Hindi</strong> translator hadto transform both languages into target —'Paa pera-pera-perakka (Mr. gugga-gug-gugguava)Ends parambil thooralley (Don't shitherein my compound); correspondingly —Paa pera-pera-perakka (Shri am-am-amamruda)Ende parambil thooralley (yahanmere hate men mat hag dena) (Neelabh,225). Here the translator had takenphonetic adaptation to utter the <strong>Hindi</strong>world for gua — amrud. He did it witha vowel ending — amruda, in the first line,but the same is not opted for the cominglines, that which are of different endingsin original. Again the adaptations for someaspirated consonants in <strong>Hindi</strong> are notscientific as those used in Malayalam script.Arundhati herself scribed those tabus —thoorikko/thooralle with the beginningdental consonant as aspirated, but in realpronunciation of that is non-aspirated.Transliteration of that into <strong>Hindi</strong> did thesame adaptation of making that intoaspirated dental consonant. Similar problemlies in pronouncing the word gua = perakkaand compound = parambu. The allophonesra and ra (as in Raphel) in <strong>Hindi</strong>intonations are not specified. But inMalayalam those two are distinct. Priyacould differentiate them in her TL, butNeelabh was helpless (as Arundhati toowas). Arundhati did this with some of theproper nouns also like the names ofEsthappen, Kuttappen, or compound propername coined like Esthapappychachen,Veluthapappychachen etc. Here again thetranslator went in tune with the novelist,but quite aware of the demarcation betweenthose phonetic adaptations in MalayalamSmt. Priya did coin the exact word. Takingfor granted the ending three consonantsas that of the original, in their translationsNeelabh opted the same phoneme e(spelled as in air). Hence, those words rerenderedin <strong>Hindi</strong> as Kuttappen, Esthappen,Veluthapappychachen etc. School rhymes arealso finding its place in Arundhati's138 :: April-June 2013fgndi •
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A Journal ofMahatma GandhiAntarrash
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LANGUAGEArundhati Roy in Indian Lan
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all is not well with the world. Ult
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After tallying the anubhavas mentio
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sustenance. If it fights shy of phi
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progression from Shringararasabhasa
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glamour and fame, I always looked a
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grandmother. Scolded for stealing t
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of his episodes and characters from
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The short story Najum (astrology) b
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India, Indianness and BuddhaDev Bos
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Buddha Dev Bose's writings on Tagor
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development of the idea of a worldl
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defies the set patterns of known li
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The Concerns of CriticismShambhunat
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On the basis of feudal thinking the
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etween the interests of different s
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silent about Hazari Prasad Diwedi.
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Imperialism. The imperialists had c
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conventional reformers to evaluatet
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expansion of knowledge emotions are
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unprincipled propaganda takes place
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drowning with shame or pride in it.
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made criticism a pure literary subj
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It is a great paradox that in an ag
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how much they are mixing with it. M
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peculiar way of protest against not
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Radha Worship in Hindi LiteratureL.
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valuable ornaments and clothes. His
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literature in general and Hindi lit
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Not only this the hunger which I go
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3. We the Janvadi PoetsWe are write
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5. A FarmerThis time paddy crophas
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isolated, lonely and stained with p
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3. A COFFIN AND A BOTTLEIn this roo
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The omnipresence of your super imag
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As I look at the black and white pr
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But when I touched the door of the
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7. LIFEThat day when I entereda mag
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2. TEA WITH DONNEGood Morning, dear
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4. HI, KRISHNA!Hi, Krishna!What’r
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Malbe Ka MalikMohan RakeshJai Ratan
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