memory - "Koo-koo kokum theevandi /Kooki paayum theevandi/ Rapakal odumtheevandi/Thalarnnu nilkum theevandi."The explanations in the brackets are allthe more evident in the depiction ofpopular Malayalam folk as well as filmsongs. The discourteous-sounding lines ofthe boat song that Estha sings in the picklefactory are rendered alternately in the nativelanguage and in English :Enda da korangaxha, chandi ithrathenjadu? (Hey Mr. Monkey man, why'syour bum so red?)... (ibid, 196 & 211-12). Later, the same technique is used bythe paralyzed Kuttappen while shoutingrepeatedly in his desperation : Pa pera-perapera-perakka(Mr. gugga-gug-gug-guava,)Ende parambil thooralley. (Don't shit herein my compound.) (ibid, 206). Fordepicting a song from 'President's Goldmedal winning film Chemmeen the samebracketed illustration is applied by theauthor, (ibid, 219-20). Arundhati uses thetechnique of brackets in The God of SmallThings to explain her own point of view,to make the narration effective and to showthe innermost feelings of the characters.The former translator Priya is free fromthe brackets that carried explanations bythe author. (Priya, 235). She could alsotake liberty in transcribing the folk songs,or film songs in Malayalam as if Arundhatidid it in one language.In stylistics, what is referred asdeviation, distortion etc., can be observedin Arundhati. On some occasion thisresearcher has to mention that there isfaulty spelling and notion of Arundhatiwhile describing the Kathakali and somefolk rituals of Kerala. But deliberately whenthe author had used faulty spelling on somewords like — Amayrika= America;Angshios= anxious; Verrry= very; Hell-oh=hello; Orlways = Always; Mint = Minuteetc. This can be taken as occasions if aprejudiced man and woman who try tocreate the Occidental Culture by learningEnglish. Neelabh tried similar constructionsin <strong>Hindi</strong>, whereas Priya did somealterations in phonemes with colloquialusage of Malayalam. Both of the translatorsdid free rendering to avoid such emphaticusages.Repetition of determiners, prepositions,negatives etc., are also common in theoriginal : "One corner for cooking, one forclothes, one for bedding rolls, one for dyingin."; "Past floating yellow limes...Past greenmangoes...Past glass casks of vinegar withcorks...Past shelves of pectin andpreservatives...Past trays of bittergourd...Past gunny bags... Past mounds offresh green peppercorns..."; "No milesstones marked its progress, No trees grewalong it, No mists rolled over it, No birdscircled it."Apart from these repetitions, Royuses variety of repetitions. For example :'In the lobby, the orange drinks werewaiting, the lemon drinks were waiting,the melty chocolates were waiting, TheComing Soon! Posters were waiting'...Shutup or Getout. Getout or Shutup.";"Went where they went, stopped wherethey stopped.""Nothing mattered much. Nothingmuch mattered." From the second to thefgndi •April-June 2013 :: 139
13th paragraph, Arundhati used the samesyllable P to begin with (Arundhati, 193-4), but none of the translators could adaptthis style of the original. But, the translatorsalso have their own versions that insidethose referred paragraphs, there are somewords in repetitions or alliterations, whichmake some musical re-rendering of theoriginal.In the subtitle 'Kochuthomban', thereis a recreation of cultural milieu of Keralaby depicting the 'kathakali.' The novelistmentioned two stories — one of 'Karnasapadham' (Karna's Oath) and other'Duryodhanavadham' (killing ofDuryodhan). Neelabh by mistake misspellsthe former as 'Karnasabdam' (Neelabh,234) which literally means the Oath ofKarna, may be by mistake of giving stresson the latter phrase in the compound word—Sapadham as Sapdam (replacingunaspirated d to aspirated dh). Hence thewrong transliteration appeared in <strong>Hindi</strong>.We have to make the novelist moreauthentic to define the latter story, whereshe had taken 'Duryodhanavadham' as —the death of Duryodhana and his brotherDushasana, but in practice nowhere in stagethe killing of Duryodhana took place, theversion will be complete after killingDushasana, his brother. Kathakali is atraditional art-form of Kerala depicting theMahabharata into stage-play observing thenatyasastra techniques.We can take the discourse of the funeralof Sophie Mol- ‘...Earth to earth, ashes toashes, dust to dust' (Arundhati, 7) whichderives from the English burial service. Thetext of that service is adapted from thebiblical text, genesis 3:19 (King JamesVersion). Arundhati depicted the last riteperformed by the sad priests' voices muffledwith mud and wood. Towards the end thenarrator tells that 'Her funeral killed her.The Epitaph on Mol's tombstone is alsoin italics. 'Dust to dust to dus to dus to dus'.On her tombstone it said A Sunbeam LentTo Us Too Briefly.' Both the target textshad their own transformations to this. Theconnotation that Neelabh's readers in<strong>Hindi</strong> after reading the tombstone will belittle impressed as it is human to lose her- Atyalp Kaal Ke Liye Hamen Mill EkSuryakiran'. (Neelabh, 19). Priya did afaithful rendering here by translating thisidiom literally — njangalkukshananerattekku katamayikittiya orusuryarashmi' (Priya, 23) If the word 'Lent'is carefully omitted from the originaldiction, then the suggestion of creatorcreatedrelationship will be totally lost.Hence from the believer's point, nuanceof the original that human being is beinglent by the Almighty, got lost in <strong>Hindi</strong>but retained in Malayalam. In addition,Priya kept the original English diction untranslated,to make the effect of theoriginal.There are some other occasions, wherethe Malayalam translator is devoid ofcarrying the bi-lingual interpretation ofphrases used by SL text, since Arundhaticoined most of them by her mothertongue. Contexts like describing eachalphabet in the word POLICE, the <strong>Hindi</strong>translator had to transcribe them both in140 :: 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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'Everything else has changed but no
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