Why the Novel Matters - D. H. Lawrence

Why the Novel Matters

D. H. Lawrence’s critical essay ‘Why the novel matters’ was published in the collection titled Phoenix in the year 1936. In this essay Lawrence speaks about the importance of the novel and tries to establish the superiority of the novelist above other professions.

In an attempt to illustrate the importance of the novel Lawrence explains the importance of life and the living man. He says that the whole living man, the man alive, is more important than his thoughts, ideas, his mind, or his stomach or liver or kidney or any other parts of his body. Lawrence says that this is what scientists and philosophers fail to understand. According to Lawrence a novel shows life and its characters are nothing but man alive. The novelist understands the importance of life and the man alive. Therefore the novelist is better than the scientist or the philosopher.

Lawrence begins the essay by commenting upon the saying ‘a sound mind in a sound body’. He calls it a funny superstition that people think of themselves as a body with a soul in it. He questions why one thinks of one’s hand as something subordinate to the mind that operates it. The hand has a life of its own. It has knowledge and can think and act for itself. The hand is as much a part of the living man as the mind. The pen held by the hand however is not alive. A man alive extends only to his fingertips. Lawrence says that whatever in a man is alive constitutes the man alive. The hand, skin, freckles, blood and bones are very much alive and part of the man alive. The living body therefore must not be compared to inanimate objects like tin cans or clay vessels.

Lawrence in this essay tries to explain why the novelist is better than the philosopher or the scientist and in order to do so he explains the importance of the man alive. According to Lawrence the novelist possesses an intricate understanding of the man alive more fully than a parson, a philosopher, or a scientist. The parson speaks about souls in heaven and the afterlife. But for the novelist heaven is in the palm of his hand and the tip of his nose which are alive. The novelist is not concerned about life after death. He is wholly concerned about life at present and with the man alive. The philosopher speaks about infinite knowledge possessed by the pure spirit.  But for the novelist there is no knowledge beyond what the living body can perceive. For philosophers nothing but thoughts is important. These thoughts Lawrence says are nothing but ‘tremulations on the ether’. They are not alive. They are like radio signals floating in the air which are meaningless until they reach the receiver – a radio device that decodes the signals into a meaningful message. Similarly when thoughts are received by a man alive they become meaningful and can alter the man’s life. But the thoughts nevertheless are not alive. It is only because the man alive receives them that they become alive. Only a man alive can be stimulated by thoughts. Thus the living body is more important than the message conveyed by thoughts.

According to Lawrence nothing is more important than life. Living things are more valuable than dead objects. A living dog is better than a dead lion but a living lion is better than a living dog. Lawrence says that scientists and philosophers find it difficult to accept the value of the living. For the philosopher nothing but thoughts matter. For the scientist a living man is of no use. He only wants a dead man whom he dissects and observes under the microscope. For a scientist a man is a heart, a liver, a kidney, a gland or a tissue. But for the novelist the only thing that matters is a whole living man. Lawrence refuses to believe that he is a body or a soul or a brain or a nervous system. He considers himself to be a complete whole made up of all these parts, a whole that is greater and more significant than the individual parts. And for this reason he is a novelist and he considers himself superior to the saint, the scientist or the philosopher.   

Having established the importance of the man alive and the novelist Lawrence proceeds to explain the significance of the novel. Lawrence calls the novel a book of life. According to him books are like thoughts - nothing but ‘tremulations on the ether’. They are meaningful only when a man alive receives them. But he says that the tremulations of a novel are more powerful than any other book and it can make a whole man alive tremble. This means that the novel has the capacity to influence a man more effectively than any other book.  For example the ideals of Plato makes the ideal being in a man tremble. Similarly the sermons or the Ten Commandments affect only a part of a man alive. But a novel is capable of shaking the whole of a man alive. This is because a novel deals in nothing else but man alive. In this regard Lawrence calls the Bible a ‘great confused novel’.  All its characters – Adam, Eve, Sarai, Abraham, Isaac – including God are nothing but man alive. For Lawrence, the Bible, Homer and Shakespeare are all great novels because they communicate to the reader. Their wholeness affects the whole of man alive. They do not stimulate growth in a particular direction but shake the whole man alive into new life.

According to Lawrence the strength and appeal of a novel lies in the dynamic nature of its characters which reflects the importance of constant change in the life of a man alive. Nothing is constant and if something is forced to remain constant it loses its value and power along with the passing of time. There are no absolutes. There is only a constant flow and change and even change is not absolute. A man today is different from what he was yesterday and tomorrow he will be different from what he is today. A man loves a woman because of the constant change in her. It is the change that startles and defies and keeps a man and woman in love with each other. Loving an unchanging person is like loving an inanimate object like a pepper pot. But even amidst change one needs to maintain one’s integrity. However Lawrence says that putting a finger on one individual trait makes one as fixed as a lamp post. It seems as if a man has made up an idea about himself and is trying to trim himself down to fit into it. Lawrence says that one can learn about the importance of change from a novel. In a novel the characters do nothing but live. But if they begin to act according to a fixed pattern – always remaining good or bad – the novel loses its life force. Similarly a man in his life must live and not try to follow a pattern or else he becomes a dead man in life. Lawrence however says that it is difficult to define what is living. Different men have different ideas about what they mean by living in life. Some go to seek God while others seek money, wine, and women, yet others seek votes and political reforms. In this Lawrence says that the novel is a guide which helps to differentiate between a man alive and a man who is dead in life. A man may eat his dinner like a man alive or merely chew his dinner as a dead man in life. A man alive shoots his enemy but a dead man in life throws bombs at people who are neither his friends nor foes.

Finally Lawrence says that the most important thing is to be a whole man alive and the novel provides guidance in this matter. A novel helps a man to see when a man is alive and when he is dead in life. The novel helps to develop an instinct for life. This is because the novel does not advocate a right path or a wrong path. The concept of right and wrong vary according to circumstances. A novel portrays this unpredictable and varying nature of life making the reader realize that life itself is the reason for Why The Novel Matters| D.H. Lawrence | Summary and

Analysis

D. H. Lawrence’s critical essay ‘Why the novel matters’ was published in the collection titled Phoenix in the year 1936. In this essay Lawrence speaks about the importance of the novel and tries to establish the superiority of the novelist above other professions.

In an attempt to illustrate the importance of the novel Lawrence explains the importance of life and the living man. He says that the whole living man, the man alive, is more important than his thoughts, ideas, his mind, or his stomach or liver or kidney or any other parts of his body. Lawrence says that this is what scientists and philosophers fail to understand. According to Lawrence a novel shows life and its characters are nothing but man alive. The novelist understands the importance of life and the man alive. Therefore the novelist is better than the scientist or the philosopher.

Lawrence begins the essay by commenting upon the saying ‘a sound mind in a sound body’. He calls it a funny superstition that people think of themselves as a body with a soul in it. He questions why one thinks of one’s hand as something subordinate to the mind that operates it. The hand has a life of its own. It has knowledge and can think and act for itself. The hand is as much a part of the living man as the mind. The pen held by the hand however is not alive. A man alive extends only to his fingertips. Lawrence says that whatever in a man is alive constitutes the man alive. The hand, skin, freckles, blood and bones are very much alive and part of the man alive. The living body therefore must not be compared to inanimate objects like tin cans or clay vessels.

Lawrence in this essay tries to explain why the novelist is better than the philosopher or the scientist and in order to do so he explains the importance of the man alive. According to Lawrence the novelist possesses an intricate understanding of the man alive more fully than a parson, a philosopher, or a scientist. The parson speaks about souls in heaven and the afterlife. But for the novelist heaven is in the palm of his hand and the tip of his nose which are alive. The novelist is not concerned about life after death. He is wholly concerned about life at present and with the man alive. The philosopher speaks about infinite knowledge possessed by the pure spirit.  But for the novelist there is no knowledge beyond what the living body can perceive. For philosophers nothing but thoughts is important. These thoughts Lawrence says are nothing but ‘tremulations on the ether’. They are not alive. They are like radio signals floating in the air which are meaningless until they reach the receiver – a radio device that decodes the signals into a meaningful message. Similarly when thoughts are received by a man alive they become meaningful and can alter the man’s life. But the thoughts nevertheless are not alive. It is only because the man alive receives them that they become alive. Only a man alive can be stimulated by thoughts. Thus the living body is more important than the message conveyed by thoughts.

According to Lawrence nothing is more important than life. Living things are more valuable than dead objects. A living dog is better than a dead lion but a living lion is better than a living dog. Lawrence says that scientists and philosophers find it difficult to accept the value of the living. For the philosopher nothing but thoughts matter. For the scientist a living man is of no use. He only wants a dead man whom he dissects and observes under the microscope. For a scientist a man is a heart, a liver, a kidney, a gland or a tissue. But for the novelist the only thing that matters is a whole living man. Lawrence refuses to believe that he is a body or a soul or a brain or a nervous system. He considers himself to be a complete whole made up of all these parts, a whole that is greater and more significant than the individual parts. And for this reason he is a novelist and he considers himself superior to the saint, the scientist or the philosopher.  

Having established the importance of the man alive and the novelist Lawrence proceeds to explain the significance of the novel. Lawrence calls the novel a book of life. According to him books are like thoughts - nothing but ‘tremulations on the ether’. They are meaningful only when a man alive receives them. But he says that the tremulations of a novel are more powerful than any other book and it can make a whole man alive tremble. This means that the novel has the capacity to influence a man more effectively than any other book.  For example the ideals of Plato makes the ideal being in a man tremble. Similarly the sermons or the Ten Commandments affect only a part of a man alive. But a novel is capable of shaking the whole of a man alive. This is because a novel deals in nothing else but man alive. In this regard Lawrence calls the Bible a ‘great confused novel’.  All its characters – Adam, Eve, Sarai, Abraham, Isaac – including God are nothing but man alive. For Lawrence, the Bible, Homer and Shakespeare are all great novels because they communicate to the reader. Their wholeness affects the whole of man alive. They do not stimulate growth in a particular direction but shake the whole man alive into new life.

According to Lawrence the strength and appeal of a novel lies in the dynamic nature of its characters which reflects the importance of constant change in the life of a man alive. Nothing is constant and if something is forced to remain constant it loses its value and power along with the passing of time. There are no absolutes. There is only a constant flow and change and even change is not absolute. A man today is different from what he was yesterday and tomorrow he will be different from what he is today. A man loves a woman because of the constant change in her. It is the change that startles and defies and keeps a man and woman in love with each other. Loving an unchanging person is like loving an inanimate object like a pepper pot. But even amidst change one needs to maintain one’s integrity. However Lawrence says that putting a finger on one individual trait makes one as fixed as a lamp post. It seems as if a man has made up an idea about himself and is trying to trim himself down to fit into it. Lawrence says that one can learn about the importance of change from a novel. In a novel the characters do nothing but live. But if they begin to act according to a fixed pattern – always remaining good or bad – the novel loses its life force. Similarly a man in his life must live and not try to follow a pattern or else he becomes a dead man in life. Lawrence however says that it is difficult to define what is living. Different men have different ideas about what they mean by living in life. Some go to seek God while others seek money, wine, and women, yet others seek votes and political reforms. In this Lawrence says that the novel is a guide which helps to differentiate between a man alive and a man who is dead in life. A man may eat his dinner like a man alive or merely chew his dinner as a dead man in life. A man alive shoots his enemy but a dead man in life throws bombs at people who are neither his friends nor foes.

Finally Lawrence says that the most important thing is to be a whole man alive and the novel provides guidance in this matter. A novel helps a man to see when a man is alive and when he is dead in life. The novel helps to develop an instinct for life. This is because the novel does not advocate a right path or a wrong path. The concept of right and wrong vary according to circumstances. A novel portrays this unpredictable and varying nature of life making the reader realize that life itself is the reason for living. The end result of the novel is the whole man alive.  Thus Lawrence asserts that the novel is a book that can touch the life of a whole man alive and that is why the novel matters. living. The end result of the novel is the whole man alive.  Thus Lawrence asserts that the novel is a book that can touch the life of a whole man alive and that is why the novel matters. 

UENL 207 General English II MCQ

Elements of Composition By Ramanujan

Elements of Composition By Ramanujan

A. K. Ramanujan was not only an enlightened poet, but also a philologist, a folklorist, a translator, a scholar and a playwright. Well-versed with the languages of Kannada and English, Ramanujan had done a fair amount of research in the languages of Tamil, Telugu and Sanskrit. A firm believer in a non-standardized and local form of Indian literature, he wrote a compilation of his poems in his book “The Collected Poems” and was posthumously awarded for it as well.

Introduction to Elements of Composition:

“Elements of Composition” is a poem that skims through the life of the poet in small events that are placed according to the timeline that his life follows. It is an ode to the life that we all live; of how we all are just composed of elements that give rise to our birth and later, on our demise, become one with those same elements that spouted our existence. The poet touches upon different components of memories, from nostalgia, to affection and later of an overall experience, all revolving around the concept of the “Tree of Life”, which believes humanity to be closely interlinked with nature. 

Setting of Elements of Composition:

Ramanujan, who was known for encouraging local and experimental creation of literature, narrates this poem to support an unconventional truth about how life is not limited by time or by form and keeps changing constantly to hold the circle of life together. The lines “self-tangled in love and work” and scary dreams, capable of eyes that can see” talk about the play of emotions that bind the individual with its journey in life. A nature of constant change is also vital in the life of a being, described by Ramanujan in the lines “Only by moving constantly, the constancy of things” and further goes on to describe events in his life that involved this change, like the changing of his uncle’s fingers while he narrated stories to him in their shadows, or like the changed expression of panic on his sister’s face moments before she is about to get married. He further narrates that as he passes through life, he takes what he finds and also leaves back affections, seeds and skeletons only to return to his natural composition, that is, the earth’s soil from which he had first sprouted.

Summary of Elements of Composition:

Ramanujan’s poem revolves around the theme of the “Tree of Life” and is also an ode to the process of life and evolution itself. Ramanujan talks about the vital nature of change in the journey of life and goes on to describe instances in his lifetime that transformed through time. He begins his poem with his creation through the elements around him and ends with his statement of diminishing his existence with his reunion with those same elements, thus watering the hypothetical “Tree of Life”.

Critical Analysis of Elements of Composition:

The poet describes his firm belief in the circle that life follows, illustrates these views beautifully through events and situations from his life that support his conception. He involves the reader into his world of amalgamation where nothing is constant. He provides insights through instances in his life that makes this poem an honest review and thus brings the reader up-close and personal to his thinking. The poem describes emotions and memories as lessons and simple joys that life has to offer and truly asks of the reader to treat life like the God given gift that it is believed to be.

Central Idea of Elements of Composition:

This poem written by A. K. Ramanujan is an ode to the concept of the “Tree of Life” and how life begins with the death of another. The poet talks about events from his life that kept changing, much like his belief about life “only by moving constantly” lies the “constancy of things”. He believes that he himself, like every other individual and organism, is made up of the elements that surround him and will later decompose only to become one with it.

Tone of Elements of Composition:

The poem begins with Ramanujan describing his creation as a “self-tangled” amalgamation of not only the 5 elements that Hindu mythology believes in but also the elements listed down in the periodic tables used by scientists. He further narrates about the ever changing nature of life and how only if we ourselves keeping moving and changing with it, do we see the “constancy of things”. He then goes on to describe events from his life, like the changed expressions of his sister when she realises moments before her wedding about how her life will change forever and of how the riots in Nairobi has changed the way the residents live there. He later says that he passes through these events as they pass through them and on his demise, he shall decompose and become one with the same elements that once created him.

Conclusion:

Elements of Composition is a poem by Ramanujan that celebrates God’s art of composing organisms and the concept of the “Circle of Life” to show how beautiful and naturally connected the components around us can be. The phenomenon of old life decomposing to give rise to new life is illustrated perfectly with vivid experiences that also portray change as an equally important component of life. Ramanujan has crafted this poem skilfully to show the beauty of life along with the connection of an organism with its surrounding elements to play a major role in not just birth and death but also the entire purpose of evolution.

The Lotus - Toru Dutt

Sonnet-The Lotus

Love came to Flora asking for a flower

That would of flowers be undisputed queen,

The lily and the rose, long, long had been

Rivals for that high honour. Bards of power

Had sung their claims. “The rose can never tower

Like the pale lily with her Juno mien”-

“But is the lily lovelier?” Thus between

Flower-factions rang the strife in Psyche’s bower.

  “Give me a flower delicious as the rose

And stately as the lily in her pride”-

“But of what colour?”- “Rose-red,” Love first chose,

Then prayed, -“No, lily-white,-or, both provide”;

  And Flora gave the lotus, “rose-red” dyed,

And “lily-white,”- the queenliest flower that blows.

                                                                ~Toru Dutt

Explication of “The Lotus”

               Toru Dutt was an educated young woman who had traveled to Britain and France during her childhood.  British literature and culture influenced her and is demonstrated in various work by Toru, including “The Lotus”.  In the poem, Toru presents the idea that the lotus is the most beautiful of all flowers in order to establish superiority of the Hindu religion over other world religions.

“The Lotus”, begins with a conflict between the rose and the lily flower.  The goddess of love, Aphrodite, approached the flower goddess, Flora to create a flower who would undisputedly be the queenliest of all flowers.  Both the lily and the rose, used their “bards of power” in their fight over the queenliest flower title.  Bards is associated with Gaelic spiritual power traditions of England, Scotland and Ireland.  Toru uses Greek and Roman mythology as support for her Hindu beliefs and to establish her stand.   The rose is described as never reaching the level of the lily flower, because the lily has a strong willed demeanor.

               In line 8 of the poem, we reach the climax where all the flower groups form cliques in a bitter conflict within the soul’s essence.  The goddess Flora is given a task of creating a flower as “delicious as the rose” and “stately as the lily in her pride” (Dutt, 82)    Lines 9-14 of the poem, describes the solution to the problem of finding the queenliest flower of all.   Toru has Flora create a flower that is both red as a rose and white as a lily.  As a result, Flora creates a flower with the characteristics of a rose and a lily combined and created the beautiful lotus flower.

               Why did Toru chose the lotus flower as the queenliest of all flowers?  The lotus is a national symbol of India and the Hindu faith.  The overall theme of the poem is the pride of India’s culture and Hindu religion. The idea of Hindu being the ultimate religion of the world is the main focus of “The Lotus”.   Hinduism is polytheistic in nature and beliefs are practiced through idol worship.  The idols can be human, animal or natural, such as the Sun God. Each idol has a form of symbolism, which represents knowledge, wealth, and strength among a few things (Mullatti)  Toru wanted to acknowledge her Indian background for others to understand her love for her native country India.  Although she had traveled and received her education abroad during her childhood, she still believes India to be her home.   Indian tradition explains the lotus flower springs not from the earth but from the surface of the water and will remain pure and unblemished, not matter the impurity of the water.  The purity of the lotus expresses the idea of supernatural birth and the appearance of the first created entity from the ancient waters of chaos, thus the lotus is observed as the medium of the Hindu creator Narayana and his second being God Brahma (Mitra & Kaporr, 126).    Toru uses the idea of Greek and Roman goddesses to create a western understanding of Hinduism and its divine faith of the lotus.

               Toru had an ability to excel in her writing at a young age and is one of the most famous Indo-Anglican poets of India.  She mastered “The Lotus” in a Petrarchan style by separating the poem into two divisions, the Octave and the Sestet.  Toru was able to present the problem of searching for the queenliest flower in the octave, which was composed of the first 8 lines and resolved the issue by creating the lotus in the sestet, which consists of the last 6 lines.  She uses the rose and the lily in the poem to describe the West and the East.  The “lily” is a representation of the white race and the “rose” depicting the reddish skin tone of the eastern race, such as her native India.  Thus the poem “The Lotus” indicates a fusion between the West and East (Dutt, 82).  Although Toru herself was raised as a Christian with western ideology, she was able to relate herself back to her Eastern roots of India in the sonnet.  The lotus is a representation of Toru and her cultural encounters living in Western Europe (Dutt, 82).  She interlaces her Western experience and education in order to create herself as her beautiful native Indian lotus flower.

A Devoted Son - Anita Desai

A Devoted Son

                       - Anita Desai

When the results appeared in the morning papers, Rakesh scanned them barefoot and in his pajamas, at the garden gate, then went up the steps to the verandah where his father sat sipping his morning tea and bowed down to touch his feet.

“A first division, son?” his father asked, beaming, reaching for the papers.

“At the top of the list, papa,” Rakesh murmured, as if awed. “First in the country.”

Bedlam broke loose then. The family whooped and danced. The whole day long visitors streamed into the small yellow house at the end of the road to congratulate the parents of this Wunderkind, to slap Rakesh on the back and fill the house and garden with the sounds and colors of a festival. There were garlands and halwa, party clothes and gifts (enough fountain pens to last years, even a watch or two), nerves and temper and joy, all in a multi-coloured whirl of pride and great shining vistas newly opened: Rakesh was the first son in the family to receive an education, so much had been sacrificed in order to send him to school and then medical college, and at last the fruits of their sacrifice had arrived, golden and glorious.

To everyone who came to him to say “Mubarak, Varmaji, your son has brought you glory,” the father said, “Yes, and do you know what is the first thing he did when he saw the results this morning? He came and touched my feet. He bowed down and touched my feet.” This moved many of the women in the crowd so much that they were seen to raise the ends of their saris and dab at their tears while the men reached out for the betel-leaves and sweetmeats that were offered around on trays and shook their heads in wonder and approval of such exemplary filial behavior. “One does not often see such behavior in sons anymore,” they all agreed, a little enviously perhaps. Leaving the house, some of the women said, sniffing, “At least on such an occasion they might have served pure ghee sweets,” and some of the men said, “Don’t you think old Varma was giving himself airs? He needn’t think we don’t remember that he comes from the vegetable market himself, his father used to sell vegetables, and he has never seen the inside of a school.” But there was more envy than rancor in their voices and it was, of course, inevitable—not every son in that shabby little colony at the edge of the city was destined to shine as Rakesh shone, and who knew that better than the parents themselves?

And that was only the beginning, the first step in a great, sweeping ascent to the radiant heights of fame and fortune. The thesis he wrote for his M.D. brought Rakesh still greater glory, if only in select medical circles. He won a scholarship. He went to the USA (that was what his father learnt to call it and taught the whole family to say—not America, which was what the ignorant neighbours called it, but, with a grand familiarity, “the USA”) where he pursued his career in the most prestigious of all hospitals and won encomiums from his American colleagues which were relayed to his admiring and glowing family. What was more, he came back, he actually returned to that small yellow house in the once-new but increasingly shabby colony, right at the end of the road where the rubbish vans tipped out their stinking contents for pigs to nose in and rag-pickers to build their shacks on, all steaming and smoking just outside the neat wire fences and well tended gardens. To this Rakesh returned and the first thing he did on entering the house was to slip out of the embraces of his sisters and brothers and bow down and touch his father’s feet.

As for his mother, she gloated chiefly over the strange fact that he had not married in America, had not brought home a foreign wife as all her neighbours had warned her he would, for wasn’t that what all Indian boys went abroad for? Instead he agreed, almost without argument, to marry a girl she had picked out for him in her own village, the daughter of a childhood friend, a plump and uneducated girl, it was true, but so old-fashioned, so placid, so complaisant that she slipped into the household and settled in like a charm, seemingly too lazy and too good-natured to even try and make Rakesh leave home and set up independently, as any other girl might have done. What was more, she was pretty—really pretty, in a plump, pudding way that only gave way to fat—soft, spreading fat, like warm wax—after the birth of their first baby, a son, and then what did it matter?

For some years Rakesh worked in the city hospital, quickly rising to the top of the administrative organization, and was made a director before he left to set up his own clinic. He took his parents in his car—a new, sky-blue Ambassador with a rear window full of stickers and charms revolving on strings—to see the clinic when it was built, and the large sign-board over the door on which his name was printed in letters of red, with a row of degrees and qualifications to follow it like so many little black slaves of the regent. Thereafter his fame seemed to grow just a little dimmer—or maybe it was only that everyone in town had grown accustomed to it at last—but it was also the beginning of his fortune for he now became known not only as the best but also the richest doctor in town.

However, all this was not accomplished in the wink of an eye. Naturally not. It was the achievement of a lifetime and it took up Rakesh’s whole life. At the time he set up his clinic his father had grown into an old man and retired from his post at the kerosene dealer’s depot at which he had worked for forty years, and his mother died soon after, giving up the ghost with a sigh that sounded positively happy, for it was her own son who ministered to her in her last illness and who sat pressing her feet at the last moment—such a son as few women had borne.

For it had to be admitted—and the most unsuccessful and most rancorous of neighbours eventually did so—that Rakesh was not only a devoted son and a miraculously good-natured man who contrived somehow to obey his parents and humour his wife and show concern equally for his children and his patients, but there was actually a brain inside this beautifully polished and formed body of good manners and kind nature and, in between ministering to his family and playing host to many friends and coaxing them all into feeling happy and grateful and content, he had actually trained his hands as well and emerged an excellent doctor, a really fine surgeon. How one man—and a man born to illiterate parents, his father having worked for a kerosene dealer and his mother having spent her life in a kitchen—had achieved, combined and conducted such a medley of virtues, no one could fathom , but all acknowledged his talent and skill.

It was a strange fact, however, that talent and skill, if displayed for too long, cease to dazzle. It came to pass that the most admiring of all eyes eventually faded and no longer blinked at his glory. Having retired from work and having lost his wife, the old father very quickly went to pieces, as they say. He developed so many complaints and fell ill so frequently and with such mysterious diseases that even his son could no longer make out when it was something of significance and when it was merely a peevish whim. He sat huddled on his string bed most of the day and developed an exasperating habit of stretching out suddenly and lying absolutely still, allowing the whole family to fly around him in a flap, wailing and weeping, and then suddenly sitting up, stiff and gaunt, and spitting out a big gob of betel-juice as if to mock their behavior.

He did this once too often: there had been a big party in the house, a birthday party for the youngest son, and the celebrations had to be suddenly hushed, covered up and hustled out of the way when the daughter-in-law discovered, or thought she discovered, that the old man, stretched out from end to end of his string bed, had lost his pulse; the party broke up, dissolved, even turned into a band of mourners, when the old man sat up and the distraught daughter-in-law received a gob of red spittle right on the hem of her organza sari. After that no one much cared if he sat up cross-legged on his bed, hawking and spitting, or lay down flat and turned grey as a corpse. Except, of course, for that pearl amongst pearls, his son Rakesh.

It was Rakesh who brought him his morning tea, not in one of the china cups from which the rest of the family drank, but in the old man’s favorite brass tumbler, and sat at the edge of his bed, comfortable and relaxed with the string of his pajamas dangling out from under his fine lawn night-shirt, and discussed or, rather, read out the morning news to his father. It made no difference to him that his father made no response apart from spitting. It was Rakesh, too, who, on returning from the clinic in the evening, persuaded the old man to come out of his room, as bare and desolate as a cell, and take the evening air out in the garden, beautifully arranging the pillows and bolsters on the divan in the corner of the open verandah. On summer nights he saw to it that the servants carried out the old man’s bed onto the lawn and himself helped his father down the steps and onto the bed, soothing him and settling him down for a night under the stars.

All this was very gratifying for the old man. What was not so gratifying was that he even undertook to supervise his father’s diet. One day when the father was really sick, having ordered his daughter-in-law to make him a dish of soojie halwa and eaten it with a saucerful of cream, Rakesh marched into the room, not with his usual respectful step but with the confident and rather contemptuous stride of the famous doctor, and declared, “No more halwa for you, papa. We must be sensible, at your age. If you must have something sweet, Veena will cook you a little cheer, that’s light, just a little rice and milk. But nothing fried, nothing rich. We can’t have this happening again.”

The old man who had been lying stretched out on his bed, weak and feeble after a day’s illness, gave a start at the very sound, the tone of these words. He opened his eyes—rather, they fell open with shock—and he stared at his son with disbelief that darkened quickly to reproach. A son who actually refused his father the food he craved? No, it was unheard of, it was incredible. But Rakesh had turned his back to him and was cleaning up the litter of bottles and packets on the medicine shelf and did not notice while Veena slipped silently out of the room with a little smirk that only the old man saw, and hated.

Halwa was only the first item to be crossed off the old man’s diet. One delicacy after the other went—everything fried to begin with, then everything sweet, and eventually everything, everything that the old man enjoyed.

The meals that arrived for him on the shining stainless steel tray twice a day were frugal to say the least—dry bread, boiled lentils, boiled vegetables and, if there were a bit of chicken or fish, that was boiled too. If he called for another helping—in a cracked voice that quavered theatrically—Rakesh himself would come to the door, gaze at him sadly and shake his head, saying, “Now, papa, we must be careful, we can’t risk another illness, you know,” and although the daughter-in-law kept tactfully out of the way, the old man could just see her smirk sliding merrily through the air. He tried to bribe his grandchildren into buying him sweets (and how he missed his wife now, that generous, indulgent and illiterate cook), whispering, “Here’s fifty paise,” as he stuffed the coins into a tight, hot fist. “Run down to the shop at the crossroads and buy me thirty paise worth of jalebis, and you can spend the remaining twenty paise on yourself. Eh? Understand? Will you do that?” He got away with it once or twice but then was found out, the conspirator was scolded by his father and smacked by his mother and Rakesh came storming into the room, almost tearing his hair as he shouted through compressed lips, “Now papa, are you trying to turn my little son into a liar? Quite apart from spoiling your own stomach, you are spoiling him as well—you are encouraging him to lie to his own parents. You should have heard the lies he told his mother when she saw him bringing back those jalebis wrapped up in filthy newspaper. I don’t allow anyone in my house to buy sweets in the bazaar, papa, surely you know that. There’s cholera in the city, typhoid, gastroenteritis—I see these cases daily in the hospital, how can I allow my own family to run such risks?” The old man sighed and lay down in the corpse position. But that worried no one any longer.

There was only one pleasure left in the old man now (his son’s early morning visits and readings from the newspaper could no longer be called that) and those were visits from elderly neighbours. These were not frequent as his contemporaries were mostly as decrepit and helpless as he and few could walk the length of the road to visit him anymore. Old Bhatia, next door, however, who was still spry enough to refuse, adamantly, to bathe in the tiled bathroom indoors and to insist on carrying out his brass mug and towel, in all seasons and usually at impossible hours, into the yard and bathe noisily under the garden tap, would look over the hedge to see if Varma were out on his verandah and would call to him and talk while he wrapped his dhoti about him and dried the sparse hair on his head, shivering with enjoyable exaggeration. Of course these conversations, bawled across the hedge by two rather deaf old men conscious of having their entire households overhearing them, were not very satisfactory but Bhatia occasionally came out of his yard, walked down the bit of road and came in at Varma’s gate to collapse onto the stone plinth built under the temple tree. If Rakesh was at home he would help his father down the steps into the garden and arrange him on his night bed under the tree and leave the two old men to chew betel-leaves and discuss the ills of their individual bodies with combined passion.

“At least you have a doctor in the house to look after you,” sighed Bhatia, having vividly described his martyrdom to piles.

“Look after me?” cried Varma, his voice cracking like an ancient clay jar. “He—he does not even give me enough to eat.”

“What?” said Bhatia, the white hairs in his ears twitching. “Doesn’t give you enough to eat? Your own son?”

“My own son. If I ask him for one more piece of bread, he says no, papa, I weighed out the eat myself and I can’t allow you to have more than two hundred grams of cereal a day. He weighs the food he gives me, Bhatia—he has scales to weigh it on. That is what it has come to.”

“Never,” murmured Bhatia in disbelief. “Is it possible, even in this evil age, for a son to refuse his father food?”

“Let me tell you,” Varma whispered eagerly. “Today the family was having fried fish—I could smell it. I called to my daughter-in-law to bring me a piece. She came to the door and said no. . . .”

“Said no?” It was Bhatia’s voice that cracked. A drongo shot out of the tree and sped away. “No?”

“No, she said no, Rakesh has ordered her to give me nothing fried. No butter, he says, no oil. . . .”

“No butter? No oil? How does he expect his father to live?”

Old Varma nodded with melancholy triumph. “That is how he treats me—after I have brought him up, given him an education, made him a great doctor. Great doctor! This is the way great doctors treat their fathers, Bhatia,” for the son’s sterling personality and character now underwent a curious sea change. Outwardly all might be the same but the interpretation had altered: his masterly efficiency was nothing but cold heartlessness, his authority was only tyranny in disguise.

There was cold comfort in complaining to neighbours and, on such a miserable diet, Varma found himself slipping, weakening and soon becoming a genuinely sick man. Powders and pills and mixtures were not only brought in when dealing with a crisis like an upset stomach but became a regular part of his diet—became his diet, complained Varma, supplanting the natural foods he craved. There were pills to regulate his bowel movements, pills to bring down his blood pressure, pills to deal with his arthritis and, eventually, pills to keep his heart beating. In between there were panicky rushes to the hospital, some humiliating experience with the stomach pump and enema, which left him frightened and helpless. He cried easily, shrivelling up on his bed, but if he complained of a pain or even a vague, grey fear in the night, Rakesh would simply open another bottle of pills and force him to take one. “I have my duty to you papa,” he said when his father begged to be let off.

“Let me be,” Varma begged, turning his face away from the pills on the outstretched hand. “Let me die. It would be better. I do not want to live only to eat your medicines.”

“Papa, be reasonable.”

“I leave that to you,” the father cried with sudden spirit. “Leave me alone, let me die now, I cannot live like this.”

“Lying all day on his pillows, fed every few hours by his daughter-in-law’s own hand, visited by every member of his family daily—and then he says he does not want to live ‘like this,’” Rakesh was heard to say, laughing, to someone outside the door.

“Deprived of food,” screamed the old man on the bed, “his wishes ignored, taunted by his daughter-in-law, laughed at by his grandchildren—that is how I live.” But he was very old and weak and all anyone heard was an incoherent croak, some expressive grunts and cries of genuine pain. Only once, when old Bhatia had come to see him and they sat together under the temple tree, they heard him cry, “God is calling me—and they won’t let me go.”

The quantities of vitamins and tonics he was made to take were not altogether useless. They kept him alive and even gave him a kind of strength that made him hang on long after he ceased to wish to hang on. It was as though he were straining at a rope, trying to break it, and it would not break, it was still strong. He only hurt himself, trying.

In the evening, that summer, the servants would come into his cell, grip his bed, one at each end, and carry it out to the verandah, there sitting it down with a thump that jarred every tooth in his head. In answer to his agonized complaints they said the doctor sahib had told them he must take the evening air and the evening air they would make him take—thump. Then Veena, that smiling, hypocritical pudding in a rustling sari, would appear and pile up the pillows under his head till he was propped up stiffly into a sitting position that made his head swim and his back ache.

“Let me lie down,” he begged. “I can’t sit up any more.”

“Try, papa, Rakesh said you can if you try,” she said, and drifted away to the other end of the verandah where her transistor radio vibrated to the lovesick tunes from the cinema that she listened to all day.

So there he sat, like some stiff corpse, terrified, gazing out on the lawn where his grandsons played cricket, in danger of getting one of their hard-spun balls in his eye, and at the gate that opened onto the dusty and rubbish-heaped lane but still bore, proudly, a newly touched-up signboard that bore his son’s name and qualifications, his own name having vanished from the gate long ago.

At last the sky-blue Ambassador arrived, the cricket game broke up in haste, the car drove in smartly and the doctor, the great doctor, all in white, stepped out. Someone ran up to take his bag from him, others to escort him up the steps. “Will you have tea?” his wife called, turning down the transistor set. “Or a Coca-Cola? Shall I fry you some samosas?” But he did not reply or even glance in her direction. Ever a devoted son, he went first to the corner where his father sat gazing, stricken, at some undefined spot in the dusty yellow air that swam before him. He did not turn his head to look at his son. But he stopped gobbling air with his uncontrolled lips and set his jaw as hard as a sick and very old man could set it.

“Papa,” his son said, tenderly, sitting down on the edge of the bed and reaching out to press his feet.

Old Varma tucked his feet under him, out of the way, and continued to gaze stubbornly into the yellow air of the summer evening.

“Papa, I’m home.”

Varma’s hand jerked suddenly, in a sharp, derisive movement, but he did not speak.

“How are you feeling, papa?”

Then Varma turned and looked at his son. His face was so out of control and all in pieces that the multitude of expressions that crossed it could not make up a whole and convey to the famous man exactly what his father thought of him, his skill, and his art.

“I’m dying,” he croaked. “Let me die, I tell you.”

“Papa, you’re joking,” his son smiled at him, lovingly. “I’ve brought you a new tonic to make you feel better. You must take it, it will make you feel stronger again. Here it is. Promise me you will take it regularly, papa.”

Varma’s mouth worked as hard as though he still had a gob of betel in it (his supply of betel had been cut off years ago). Then he spat out some words, as sharp and bitter as poison, into his son’s face. “Keep your tonic—I want none—I want none—I won’t take any more of—of your medicines. None. Never,” and he swept the bottle out of his son’s hand with a wave of his own, suddenly grand, suddenly effective.

His son jumped, for the bottle was smashed and thick brown syrup had splashed up, staining his white trousers. His wife let out a cry and came running. All around the old man was hubbub once again, noise, attention.

He gave one push to the pillows at his back and dislodged them so he could sink down on his back, quite flat again. He closed his eyes and pointed his chin at the ceiling, like some dire prophet, groaning, “God is calling me—now let me go.”

Summary

Introduction

            Anita Desai is a famous Indian writer.  She has written many novels in English.  Almost all her stories talks about ordinary Indian life and characters.  A Devoted Son is a short story about the relationship between a father and a son.

Rakesh’s Achievements

            Rakesh is the protagonist of the story.  His father’s name is Varma.  The story opens announcing Rakesh’s achievement as the first rank holder in medical studies at national level.  His father feels proud of his son.  He shares with others the fact that Rakesh touched his feet as soon as he saw the results in the paper.  The neighbours celebrate this occasion.  Rakesh moves to U.S. and does his higher education there.  He gets back to India to the same old house, situated in a dirty locality.  He comes to India and falls in his father’s feet.  This surprises the father and the neighbours.  Rakesh’s mother feels happy because Rakesh does not come with a white girl.  Rakesh then worked in a city hospital, grew well in the administrative organization and he left the hospital as a director and built his own hospital.  He took his parents to his clinic in a blue ambassador.  His name spread all over the place and he became famous and rich.

Rakesh’s Old Father

            Rakesh’s mother dies peacefully when her son does her an operation.  After her death, Varma becomes lonely and sick.  He acts strangely.  Sometimes he sits erect, sometimes he lays flat without any movements, and suddenly he rises up and spits beetle juice.  In spite of all indifferent activities, Rakesh read newspaper to his father in all mornings took him to the garden in the evenings and made him sleep in the lawn during summer nights.

Treatment Given by Dr. Rakesh

            Varma becomes old and Dr. Rakesh prescribes him more medicines.  He asks his father not to eat halwa and other sweets.  He orders his wife to give him tasteless food.  He wishes his father to live a long life with him.  He takes care of his father.  He is devoted to his father and his health.  He behaves strict to his father in diet.  He cuts almost all food items.  The father becomes much older and then medicines become his only food.  Rakesh takes care of his father to the best possible.

The Reactions of the Old Man

            Varma hates to see his devoted son as a doctor.  He does not like Rakesh ordering and restricting his diet.  He wishes to eat lots or at least eat the food that he loves most.  He persuades his daughter-in-law and his grand children to get him some sweet but Rakesh objects that.  This heightens his anger.  He complains about his son’s behavior of not providing food to his father to his neighbour friends.  Varma feels totally upset with his son’s attitudes towards his diet.  By the end of the story, he dies with a sad soul.  He does not part Rakesh happily as his mother does.


Summary 2

“A Devoted Son” is a short story by Anita Desai. The story appears in the collection, Games at Twilight and Other Stories. Desai’s collection of stories was published in 1978 by Vintage and received widespread popular praise. The stories, including “A Devoted Son,” reflect contemporary urban life in India and the characters are from all walks of life. Desai has been shortlisted for the Booker Prize three times and she served as the Emerita John E. Buchard Professor of Humanities at the Massachusetts Institute of Technology. Her daughter, Kiran Desai, is a Booker Prize winner.

“The Devoted Son” centres around Dr. Rakesh. He comes from a poor Indian village. His father, Varma, works as a vegetable vendor, and spent many years dreaming of having an educated son. Rakesh is the first in the family to get any education. When Rakesh finishes his medical examinations with top marks—the highest in the country—this is cause for celebration.

Varma tells everyone who’ll listen about Rakesh’s grades and how it means he can go to medical school in America. Neighbours come to pay their respects and wish them well, but some townsfolk worry this will make Rakesh conceited and forget where he comes from. Varma isn’t worried about this, however—he’s proud to have a son known now by everyone.

Rakesh spends a lot of time in America finishing his degree. He completes it with ease and has job offers at prestigious US hospitals. Awards he wins are sent back to his family for them to keep and admire. It’s Rakesh’s way of keeping in touch with them until he can return home.

Although Rakesh loves America and is admired by his colleagues for his aptitude, he loves his family more. He always planned on returning home, and this hasn’t changed. As soon as he has enough experience and money behind him, he returns home with the intention of working in his hometown.

His parents, however, aren’t so happy with his life choices. They don’t understand why he wants to come home and leave all this behind. They also don’t understand why he chooses to marry a village girl with no education—Varma believes he should have bigger dreams. This is the first real sign of conflict within the family unit. Rakesh refuses to listen to his parents, and he marries the girl.

He then starts working at the city hospital, which is quite different from the hospitals he’s used to working in. Rakesh, however, wants to work here and make a difference in his town. He quickly rises to the position of director, to the awe and joy of his entire family. Through all of this, Rakesh never seems conceited or ungrateful. There’s always a sense that he remembers who he is, and that he won’t let this go. When he has a son of his own, his life is complete.

Sadly, it’s not long before this that his mother passes away. Varma takes it especially hard. Rakesh is pleased he at least made her proud before she died, but he worries for his father and how he’ll cope. Now that Rakesh has a family of his own, he doesn’t have as much time to dedicate to Varma, but he does what he can as his father’s health declines. He doesn’t want to lose any time he has left with him, and he puts his medical skills to good use.

Rakesh imposes a ban on sweets for Varma, to look after his stomach. However, Varma tries to get them through Rakesh’s son, which enrages Rakesh. He worries that his father will make his grandson less honourable than Rakesh. Tensions rise between father and son, and Rakesh starts resenting how much time he spends looking after him—although he keeps doing it. For example, when everyone fears Varma is near death, they postpone a birthday party, only for Varma to be entirely fine. Rakesh wonders if he’s doing it deliberately for attention.

However, Rakesh doesn’t give up on his father—instead, he becomes more devoted to him. He wants his son to have a good relationship with Varma, just as he did as a boy. Varma tells Rakesh and his wife that he doesn’t like them, but even then, Rakesh looks out for him. As relationships deteriorate, Rakesh must choose whether to stay devoted to his father or leave him to die on his own.

Rakesh chooses to help his father. Desai’s message here is that we’re all faced with similar choices eventually, and we shouldn’t forget to look after our elders the way they once looked after us. Although Rakesh can’t make his father better, and he’s struggling to keep his own life under control, he doesn’t abandon him. He shows Varma the same faith once shown to him when he wanted to become a doctor. When Rakesh must finally let Varma go, right at the end, he knows he did all he could for him.