BEGC
BEGC-134
Reading the Novel
TMA 01/2024-25
Max. Marks: 100
Section A
1. Write short notes in about 200 words each:
i) Narrative Modes
ii) Novel of the Diaspora
iii )Origins of the Novel
iv) Literary Trends in 18th and 19th
i) Narrative Modes
Narrative modes are the
different techniques and strategies used by writers to tell a story. They
determine how events, characters, and emotions are presented to the reader.
Broadly, there are several modes: first-person
narration, where the narrator is a character in the story and
speaks with an “I” perspective, offering intimacy but also subjectivity; third-person narration,
which can be omniscient (all-knowing) or limited (focused on one character’s
viewpoint); and second-person
narration, which directly addresses the reader as “you.”
Another important distinction is between showing
and telling—“showing” dramatizes events through action and
dialogue, while “telling” summarizes or explains them. Writers may also use
techniques like stream of consciousness, epistolary style, or unreliable
narrators to experiment with voice and perspective. Narrative modes enrich
literature by shaping readers’ engagement, controlling pace, and highlighting
different dimensions of truth and subjectivity in storytelling.
ii) Novel of the Diaspora
A novel of the diaspora
explores the experiences of people who live away from their homeland, often due
to migration, exile, or displacement. These novels capture the struggles of
identity, belonging, nostalgia, cultural hybridity, and the challenges of
adapting to a new environment. Common themes include alienation, discrimination,
generational conflicts, and memory of the homeland. For
example, authors like Salman Rushdie (Midnight’s
Children), Jhumpa Lahiri (The
Namesake), and Bharati Mukherjee vividly portray the complexities
of diasporic life. Diasporic novels are significant because they give voice to
migrant communities and articulate the tensions between tradition and
modernity, homeland and host-land. They reflect globalization, transnational
connections, and the blending of cultures. Ultimately, diaspora fiction
questions fixed notions of identity, showing that it is fluid, negotiated, and
shaped by multiple cultural influences.
iii) Origins of the Novel
The origin of the novel as
a literary form is traced to the 17th and 18th centuries in Europe,
particularly in England. Earlier forms like epics, romances, and allegories
were imaginative and heroic, but the novel distinguished itself by focusing on realistic characters, everyday life,
and social contexts. Writers like Daniel Defoe (Robinson Crusoe, 1719) and Samuel Richardson (Pamela, 1740) are
considered pioneers, as they introduced prose narratives grounded in realism,
psychology, and moral dilemmas. The rise of the middle class, increased
literacy, printing technology, and circulating libraries created a readership
eager for stories about ordinary people. The novel was also shaped by
philosophical ideas of individualism and empiricism. Thus, the novel became the
most popular literary genre of modern times, offering social commentary,
psychological depth, and entertainment, evolving later into varied forms such
as realist, historical, and experimental novels.
iv) Literary Trends in 18th and 19th Centuries
The 18th and 19th centuries
were formative periods in literature, marked by dynamic shifts in style,
themes, and readership. In the 18th
century, dominant trends included neoclassicism, which
emphasized order, rationality, and imitation of classical models, as seen in
writers like Alexander Pope. The
rise of the novel was a major development, with Defoe,
Richardson, and Fielding addressing social and moral issues. The Age of Enlightenment
promoted reason, science, and progress.
The 19th century, by
contrast, witnessed the flourishing of Romanticism,
emphasizing imagination, emotion, and nature (Wordsworth, Coleridge, Shelley,
Keats). Later, Victorian
literature in England (Dickens, Eliot, the Brontës) reflected
realism, social reform, and moral concerns. The century also saw Realism and Naturalism
in France (Balzac, Zola) and Transcendentalism
in America (Emerson, Thoreau). By the late 19th century, literature moved
toward modernist
experimentation. Thus, the two centuries together laid the
foundation of modern literary traditions.
Section B
Century England Answer the following in about
600 words each:
1. Critically comment on the nineteenth
century which may be helpful in understanding The Awakening by Kate Chopin.
Introduction
The nineteenth century was a period of profound social, cultural, and
political change in Europe and America. It was also an age of contradictions—on
the one hand, industrialization and liberal ideals promoted progress and
modernity; on the other, rigid social structures, patriarchy, and moral
conservatism limited individual freedoms, especially for women. Kate Chopin’s
novel The Awakening (1899) must be read against this backdrop. The
book portrays a woman’s struggle for autonomy, sexual freedom, and self-expression
in a society dominated by Victorian morality and gender expectations. To
understand the novel’s radical message, one must critically examine the
nineteenth-century context.
1. The Victorian and Patriarchal
Society
The nineteenth century was dominated by patriarchal norms. Women were
legally and socially defined by their roles as wives and mothers. The Victorian
“ideal woman” was self-sacrificing, domestic, and morally pure. Women were
expected to submit to male authority, whether of father or husband. Against
this rigid framework, Chopin presents Edna Pontellier, the protagonist, who
resists the confinement of marriage and motherhood. Her longing for
independence directly challenges nineteenth-century conventions. The tension
between societal expectations and personal desire mirrors the broader conflict
of the period between tradition and modernity.
2. The Woman Question and Early
Feminism
The “woman question” became a heated debate in the nineteenth century,
especially in America and England. Campaigns for women’s suffrage, property
rights, and education gained momentum. Writers like John Stuart Mill (The
Subjection of Women, 1869) argued for gender equality, while women
reformers challenged restrictive roles. Kate Chopin’s The Awakening
reflects these feminist currents. Edna’s dissatisfaction with her prescribed
role as a “mother-woman” illustrates the growing consciousness among women
about their individuality. Chopin’s novel, though criticized in its time,
foreshadowed the feminist literary tradition that would flourish in the
twentieth century.
3. Sexuality and Repression
Nineteenth-century society treated female sexuality as taboo. Respectable
women were not supposed to acknowledge sexual desires; sexual expression was
often associated with immorality or prostitution. Chopin’s Edna, however,
experiences sexual awakening and emotional desires beyond her marriage, which
was shocking to contemporary readers. The novel thus critiques the sexual
double standards of the nineteenth century—where men enjoyed relative freedom,
but women’s bodies and desires were tightly controlled. The controversy
surrounding the novel’s publication highlights how society was unprepared for
such candid portrayals of female sexuality.
4. Social Class and Creole Culture
The Awakening is set in Louisiana, within the Creole society of the
American South. The nineteenth century in America was marked by cultural
diversity, class divisions, and racial hierarchies. Creole women, in
particular, were expected to embody grace, charm, and submissiveness. Edna, an
outsider from Kentucky, struggles to conform to these norms. Her rebellion
against Creole expectations reflects broader nineteenth-century tensions
between regional traditions and emerging modern identities. The novel also hints
at class privilege—Edna’s ability to seek independence is tied to her economic
status, something unavailable to poorer women.
5. Industrialization, Modernity,
and Individualism
The nineteenth century was also the age of industrialization and capitalism,
which fostered ideas of individualism and self-determination.
While men benefitted from these freedoms in professional and political spheres,
women remained confined. Chopin shows Edna’s yearning to live for herself—to
paint, to love freely, and to choose her destiny. This individualist spirit
aligns with nineteenth-century modernity but clashes with the gendered
restrictions of her society. In this way, The Awakening becomes both a
product of and a protest against its time.
6. Reception and Censorship
When The Awakening was published in 1899, it faced harsh criticism.
Reviewers condemned it as immoral and indecent because it portrayed a woman
seeking fulfillment outside marriage. This response reflects the rigid moral
codes of the nineteenth century, which resisted open discussion of women’s
desires and rights. Chopin was socially ostracized, and the novel was neglected
for decades until feminist critics in the twentieth century reclaimed it as a
pioneering work.
Conclusion
The nineteenth century was an age of transition—between tradition and
modernity, patriarchy and feminism, repression and awakening. Kate Chopin’s The
Awakening can only be fully appreciated when placed against this backdrop.
The novel critiques the suffocating gender roles, challenges sexual taboos, and
anticipates feminist struggles of the future. Edna’s tragic end is symbolic of
the limited choices available to women in the nineteenth century—freedom often
came at the cost of isolation or destruction. Thus, the novel serves both as a
mirror of its time and as a radical critique that remains relevant in
understanding women’s quest for autonomy.
2. Give a detailed comment on the style used
by Chinua Achebe in Things.
Introduction
Chinua Achebe’s Things Fall Apart (1958) is a landmark in African
literature. Written as a response to colonial depictions of Africa, Achebe’s
style is a deliberate attempt to represent African society with dignity,
realism, and authenticity. His narrative choices, language, and cultural
references together create a unique style that bridges oral traditions with
modern novelistic techniques. The style of the novel is not only artistic but
also political, as it challenges Eurocentric representations and establishes a
distinctly African voice in English literature.
1. Simple and Direct Language
One of the most striking features of Achebe’s style is his use of clear,
simple, and direct English. Unlike many modernist writers of the mid-20th
century who favored complexity and obscurity, Achebe employs straightforward
prose. This stylistic choice makes the novel accessible to both African and
international audiences. The simplicity reflects the oral storytelling
tradition of the Igbo people, where clarity is valued to ensure that communal messages
are understood by all.
2. Integration of Igbo Oral
Tradition
Achebe draws heavily from Igbo oral culture—its proverbs, folktales, and
idioms. Proverbs, in particular, are a hallmark of his style. For example, the
saying “Proverbs are the palm-oil with which words are eaten” captures
both the cultural reliance on metaphorical speech and Achebe’s stylistic
blending of African imagery with English narrative. Folktales narrated by
characters, such as the story of the tortoise and the birds, enrich the text
with cultural depth while serving thematic functions. This integration of oral
tradition makes the style authentically African despite being written in
English.
3. Use of English Infused with
African Rhythms
Achebe uses the English language but reshapes it with African rhythms,
idioms, and syntax. He frequently incorporates Igbo words (e.g., chi, obi,
egwugwu) without translation, allowing them to retain their cultural
meaning. Context helps readers infer their significance. This technique resists
the dominance of colonial English and asserts the legitimacy of African
linguistic patterns. Achebe’s English thus becomes a hybrid language—global in
accessibility yet rooted in local culture.
4. Realism and Ethnographic Detail
The narrative style is realistic, with meticulous descriptions of Igbo
customs, rituals, and daily life. From marriage ceremonies to wrestling
matches, Achebe presents detailed ethnographic accounts that immerse the reader
in the pre-colonial world. The style avoids romanticization and instead depicts
both strengths and flaws of Igbo society. This realism counters colonial
stereotypes of Africa as “primitive” or “savage.” By presenting Igbo society as
complex and human, Achebe’s style humanizes African culture.
5. Symbolism and Imagery
Achebe’s style is rich in symbolism. Nature imagery—yam as a symbol of
masculinity and wealth, fire as a symbol of Okonkwo’s temper, locusts as a
metaphor for colonial invasion—deepens the narrative meaning. These symbols are
culturally rooted yet universally understandable, allowing readers to
appreciate the story at multiple levels. His style thus combines descriptive
realism with symbolic resonance.
6. Narrative Tone and Structure
Achebe employs a detached, almost ethnographic narrator, which allows
readers to view Igbo society from both within and outside. The tone is
generally calm and balanced, avoiding overt authorial judgment. This
objectivity strengthens the authenticity of the narrative. Structurally, the
novel is divided into three parts—pre-colonial Igbo life, the arrival of
Europeans, and the disintegration of Igbo culture. The gradual shift in tone mirrors
the collapse of the community, showcasing Achebe’s control over narrative
pacing.
7. Irony and Tragedy
Achebe’s style often relies on irony. For example, Okonkwo, who embodies
traditional masculinity and resists change, becomes the tragic victim of both
his rigidity and the forces of colonialism. The ironic contrast between
Okonkwo’s strength and his downfall underscores the tragic dimensions of the
novel. Achebe’s understated style makes the tragedy more powerful, leaving
readers to reflect on its inevitability.
8. Political Purpose in Style
Achebe’s stylistic choices are inseparable from his political aims. By
writing in English yet infusing it with Igbo cultural patterns, Achebe creates
a counter-discourse to colonial narratives. His style reclaims African identity
and demonstrates that African stories can be told authentically without relying
on Western models. Thus, style itself becomes an act of resistance and cultural
affirmation.
Conclusion
The style of Things Fall Apart is a unique blend of simplicity,
cultural authenticity, realism, and symbolic richness. Achebe adapts English to
carry the weight of African traditions, infuses it with oral storytelling
techniques, and crafts a narrative tone that is both ethnographic and deeply
human. His stylistic innovations not only give voice to African culture but
also redefine the possibilities of the English novel. Through style, Achebe
achieves his larger goal: to “teach his readers that their past, with all its
imperfections, was not one long night of savagery.”
3. Analyse critically the socio- political
structure in Paraja, giving suitable examples from the text.
Introduction
Gopinath Mohanty’s Paraja (originally in Odia, 1945) is one of the
most powerful Indian novels that highlights the life of tribal people in
Odisha. Unlike mainstream Indian literature that often overlooked marginalized
voices, Mohanty gives dignity and depth to the Paraja tribe, presenting their
joys, struggles, and socio-political realities with authenticity. The novel is
not merely a story of one family but an exploration of how traditional tribal
structures intersect with exploitative colonial and feudal systems.
Understanding the socio-political structure in Paraja is crucial for
analyzing how external forces disrupt indigenous harmony.
1. Tribal Social Structure
At the heart of the novel is the tribal community of the Parajas, who live
close to nature and follow simple agricultural practices. Their social
structure is collective and egalitarian in spirit—decisions
are taken through communal gatherings, customs regulate behavior, and kinship
ties ensure mutual support. Land is central to their identity, not just as
economic property but as cultural heritage. This structure emphasizes co-existence
with nature, community solidarity, and traditional rituals.
2. Role of Customs and Traditions
The socio-political life of the Paraja community is deeply tied to customs
and oral traditions. Festivals, marriage rituals, and seasonal agricultural
practices form the backbone of their identity. However, these customs also
impose hierarchies—for instance, rules about bride-price and kinship often
restrict individual freedom. In the novel, Sukru Jani, the head of the family,
struggles to arrange marriages for his daughters under these traditional
expectations. Thus, while customs preserve identity, they also create
vulnerabilities when confronted with external exploitation.
3. The Panchayat and Local
Governance
In the absence of modern political institutions, tribal governance is
conducted through the panchayat or village council. Elders mediate
disputes and enforce customary law. This creates a decentralized but highly
respected authority system. Yet, the novel shows that this indigenous system is
gradually undermined by colonial administration, revenue officials, and feudal
landlords, who impose laws alien to tribal culture. The weakening of the tribal
political system is central to the tragedy of the novel.
4. Exploitation by Moneylenders
and Landlords
One of the key socio-political themes in Paraja is the encroachment
of feudal and capitalist forces. Moneylenders (sahukars) and
landlords manipulate the simplicity of the tribals, trapping them in cycles of
debt. Sukru Jani mortgages his land under pressure, and eventually, his family
faces ruin. This exploitation represents a larger colonial socio-political
structure, where tribals, lacking legal literacy, lose both their land and
autonomy. Thus, Mohanty exposes the intersection of economic
exploitation and political subjugation.
5. Colonial Legal System and
Alienation
The colonial administration introduces a legal and revenue system that the
tribals neither understand nor control. Courts, police, and revenue officers
operate with corruption and partiality, favoring landlords and moneylenders.
For the Parajas, justice is inaccessible. The alienation caused by these
foreign institutions weakens tribal solidarity and erodes their faith in
justice. This reflects how the colonial socio-political structure
systematically marginalized indigenous communities.
6. Gender and Social Hierarchy
While tribal society in Paraja is relatively egalitarian compared
to caste-based Hindu society, gender roles are still restrictive. Women are
burdened with household labor and are commodified in marriage negotiations.
Sukru Jani’s daughters face not only poverty but also social vulnerability.
Their plight reveals how tribal women suffered doubly—from traditional
patriarchy and from external economic pressures.
7. Conflict between Tradition and
Modernity
A central socio-political conflict in Paraja lies in the clash
between traditional self-sufficient tribal systems and the modern
exploitative structures introduced by colonial and feudal authorities.
The tribals’ inability to navigate bureaucratic and economic complexities makes
them victims of change. Mohanty portrays this conflict as a tragedy of
innocence crushed by exploitation, where the simple and communal way of life is
destroyed by greed and corruption.
8. Symbolism of Land and
Dispossession
Land in Paraja is symbolic of identity, security, and cultural
continuity. The dispossession of Sukru Jani’s family represents not just
economic loss but also political disempowerment. Once land is lost, the family
loses dignity, agency, and voice in the community. This dispossession becomes a
metaphor for the broader socio-political marginalization of tribal communities
under colonialism and feudalism.
Conclusion
The socio-political structure in Paraja is a complex interplay of
tradition and exploitation. On one hand, tribal life is rooted in community,
custom, and egalitarian principles; on the other, it is vulnerable to external
domination by landlords, moneylenders, and colonial administration. Mohanty
critiques this injustice with deep empathy, showing how the Parajas, despite
their resilience, are overwhelmed by forces beyond their control. The novel
thus becomes a powerful socio-political document, illustrating how indigenous
systems collapse under the weight of exploitation and alienation. By presenting
the tribals’ struggle, Paraja compels readers to reflect on issues of
justice, equality, and the survival of marginalized communities.
4. Attempt a detailed note on Africa’s first
contact with the outside world in the context of Chinua Achebe’s Things Fall
Apart.
Introduction
Chinua Achebe’s Things Fall Apart (1958) is one of the earliest
African novels in English to present African life from an insider’s
perspective. It is set in pre-colonial Nigeria and then moves to the arrival of
European missionaries and administrators. Through the fictional Igbo community
of Umuofia, Achebe dramatizes Africa’s first significant contact with the
outside world—particularly European colonizers. This contact, at first cultural
and religious, gradually expands into political and economic domination.
Achebe’s narrative allows readers to see how a self-sufficient, vibrant African
society is disrupted by colonial encounters.
1. Pre-Contact Igbo Society
Before Europeans arrive, Umuofia represents a well-structured Igbo
community. Social life is organized through kinship, village assemblies,
rituals, and religious practices. Justice is dispensed by elders and the egwugwu
(ancestral spirits). Agriculture, especially yam cultivation, provides economic
stability. Religion, traditions, and festivals bind the community. Achebe
emphasizes this pre-contact harmony to challenge colonial stereotypes that
Africa was “primitive” and without civilization. This depiction is essential to
understand the dramatic impact of the first outside contact.
2. The Arrival of Christianity
The first form of contact with the outside world is religious.
Missionaries arrive, led by Mr. Brown and later Reverend Smith, preaching
Christianity. At first, they are dismissed by villagers as irrelevant or even
amusing. However, their approach—especially Mr. Brown’s tolerance—attracts
marginalized groups such as twins (previously abandoned due to cultural
beliefs), outcasts, and individuals dissatisfied with Igbo traditions. This
demonstrates how new ideas appealed to those alienated within traditional
society. Christianity thus becomes the wedge through which European influence
begins to penetrate.
3. Clash of Worldviews
The encounter between Christianity and Igbo religion creates a profound
cultural conflict. Igbo society is polytheistic, with strong belief in gods, ancestors,
and the chi (personal spirit). Christianity’s monotheism challenges
these practices, leading to internal divisions. Achebe shows how religion
becomes a tool of transformation—at first spiritual, but soon political. The
violent conflict between the converts and the egwugwu dramatizes this
clash, symbolizing the broader cultural breakdown.
4. Political and Administrative
Intrusion
Following the missionaries, British colonial administrators arrive. They
introduce alien systems of governance—courts, police, and district
commissioners. These institutions undermine indigenous structures of authority,
replacing communal decision-making with centralized, foreign control. The Igbo
elders and egwugwu lose their authority, while converts loyal to the
colonizers gain power. This shift represents Africa’s first encounter with colonial
political domination, where traditional sovereignty is eroded.
5. Economic Contact and Disruption
Colonial contact also brings economic changes. The introduction of trade,
cash crops, and taxation alters traditional subsistence patterns. In Things
Fall Apart, Achebe hints at these transformations—missionaries build
churches, schools, and trading posts that integrate the Igbo economy into the
colonial system. These changes not only shift economic power but also weaken
communal solidarity, as individuals begin to pursue wealth in new ways.
6. Symbolism of “First Contact”
Achebe presents Africa’s first contact with the outside world as both seductive
and destructive. Christianity initially appears as a source of hope
for marginalized groups, but it ultimately destabilizes the community. The
novel shows that this first contact is not simply cultural exchange; it is a
process of colonial subjugation. Okonkwo’s suicide at the end
symbolizes the destruction of indigenous identity under the pressure of foreign
domination.
7. Achebe’s Critical Perspective
Achebe’s style ensures that readers see the complexity of first contact. He
neither romanticizes Igbo society as flawless nor demonizes Christianity
outright. Instead, he reveals the tragic consequences of
misunderstanding and cultural arrogance. The British fail to appreciate the
richness of Igbo traditions, while the Igbo are unprepared for the cunning
strategies of colonialism. First contact, therefore, becomes a story of
disintegration—of individuals, families, and entire communities.
Conclusion
Africa’s first contact with the outside world, as depicted in Things
Fall Apart, marks the beginning of profound cultural, religious,
political, and economic changes. What begins as missionary work soon develops
into full-fledged colonial control, leading to the collapse of traditional
authority and values. Achebe’s novel critiques this encounter, showing it as a
process of dislocation and loss, while also acknowledging internal weaknesses
that made Igbo society vulnerable. By situating Africa’s first contact within a
lived, human story, Achebe ensures that the history of colonization is seen not
as abstract politics but as the tragedy of real communities.
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