Chapter 7
NARATIVE TECHNIQUE AND
LANGUAGE
Chapter 7
NARATIVE TECHNIQUE AND LANGUAGE
(1)
Introduction:“The creative act is a secret one. To make it public, to scrutinize it in the cold
light of reason is to commit an act of violence, possibly murder.”1 It is to explore and
articulate this dark unreasonable and unpredictable act of creation. Gita Mehta’s
novels are transparent and predictable like other works of post independence women
novelists. She uses traditional plot-structure in terms of exposition, conflict and
resolution. She seems to be involved in the exploration of socio-political ideology.
In ‘A River Sutra’, her lack of complexity, and well organized propelling narrations
have provided sustenance to her craft of fiction. Like her earlier books ‘Karma Cola’
and ‘Raj’, her concern in ‘A River Sutra’ is to unravel the deep feelings of the inner
cognizance of man. “As quickly as we read, it melts and shifts in the memory.”2 Asit
Chandmal writes that in ‘A River Sutra’ Gita Mehta has created “a new language of
literature”. The choice of her characters contribute to upkeep the sanctity of the river.
Gita Mehta chooses the first person narration in each story which helps us to get into
very skin of the characters from the Jain Monk seeking to “free himself of the fetters
of worldly desire through the vows of poverty, celibacy and nonviolence” to the
musician who learnt about “the soul of the ragas, of its rasa which gave it life and
the melodies of the sex ragas that sustain the harmonies of living things.” Gita Mehta
uses an easy conversational style of writing. She explores the themes without
providing the answers. “She exhibits no feminist leanings as she provides no answers
and passes no Judgment. The authorial voice is conspicuously absent throughout the
novel.”3
In ‘Raj’, we find spic narrative style which is relevant to the princely Indian
references. A work should always be relevant to the time, place and atmosphere.
This narrative style of ‘Raj’ is not visible is ‘A River Sutra’. In it, we see lyrical
fluidity of language and narration. In a work, when language continues to be the
same without proper change, the writer is regarded unsuccessful in his narration and
he is called unworthy. The lyrical fluidity of language and appealing narration of ‘A
River Sutra’ is best exemplified in the musician’s story. The girl’s physical ugliness
which hides the beauty of her music is poignantly related. She reaches to Narmada
to “meditate on the waters of the Narmada, the symbol of Shiva’s penance until she
has cured herself of her attachment to what has passed and can become again the
Ragini to every raga.”4 ‘A River Sutra’ reminds us of the south Indian temples—
corded with a myriad sculptured figures—each an independent entity and yet part of
a unified whole. The novel echoes the view that “a novel is more a way of travelling
than a point of arrival, more an invitation to wander than secure niche, and more
akin to the way a man enters and meanders through this world than to an assured
resting place in the afterlife.”5
On account of its content and also narrative style, ‘A River Sutra’ may appear
to be a didactic work and it receives wide praise and high admiration from the critics.
For example Stella Sandal remarks. ‘A River Sutra’ is a very didactic book. By virtue
of her genius, Mehta seems to consider herself an expert with a mission to educate
her Western readers about Indian classical music, poetry and religion. Unfortunately,
the varied snippets of information are no better than a first year introductory course
on Indian culture taught by an enthusiastic westerner enamoured of the fictitious
mystical India…But she betrays her ignorance too often to maintain even a
superficial aura of expertise.”6 The critics criticized Gita Mehta for her incorrect
translations of words. Mehta’s is a case of talent gone waste. Mehta has a talent for
satire and a sharp eye for details which she is wasting in this novel. Instead of writing
about the social circle which she knows well and attempting to become a serious
writer of the type perhaps best exemplified by Henry James and Edith Wharton, she
has so far preferred to dole out light entertainment as a professional Indian woman
on the New York Cocktail Circuit. That is a great pity, because she has the
intelligence and perception which, if used with proper discrimination, could make
her into a serious writer, at least of caliber of Joseph Hergesheimer, who topped the
bestseller lists in the 1920s.7 The novel, ‘River Sutra’ is in the best Indian tradition
and can be placed alongside of Raja Rao’s ‘Serpent and the Rope.’ The patronizing
and pontifical tone of the critic makes the matters worse. As for the normal or
didactic element in Mehta’s novel, all good novels present what Mathew Arnold
calls ‘the criticism of life.’ As Hudson puts it aptly, “every novel, no matter how
trivial, may be said to rest upon a certain view of the world, the incorporate or
connote various general principals, and thus to present a rough general philosophy
of life.”8 The moral significance of ‘A River Sutra’ ensues from Gita Mehta’s insight
into human motives and passions and the novel provides ripe wisdom to the readers.
‘A River Sutra’ is written on the ancient Indian tradition story of telling. It
does not have the structure of a novel in the modern sense. In the novel, the author
is capable to present a multiplicity of viewpoints which goes a long way in helping
her unfold the intricate reality of life. ‘A River Sutra’ owes much of its variety than
vitality to have more than one narrator. The chief narrator and Tariq Mia are the two
characters that the novelist projects in her point of view. Gita Mehta introduces
tribals who are more threatening than Tariq Mia’s tale of murder and suicide. Their
women’s catlike faces with triangular tattoo marks high on each cheekbone, remind
us of India’s traditional society.
‘Karma Gola’ does not underline the anguish or rootlessness of an expatriate
writer. Gita Mehta’s views are objective—more like a Westerner’s—and they
characterize her vision and portrayal of India. For all the irony and satire, the work
pulsate with human concern. For example, when the guru, in the ashram in the
western India, confides to a correspondent of Time that “My followers have not time.
So I give them instant salvation. I turn them into neo-sanyasins”, there is tinge of
sadness about the cultural decadence. “However sardonic and sometimes even
swiftian Gita Mehta’s invective never deviates into cynicism.” Gita Mehta’s
portrayal of East-West encounter in contemporary times beats all previous accounts
of the subject through sheer force, vividness, originality. “Although leveled
“nonfiction” the book reads stranger than fiction, gives the double entendre and terse
vigor that marks its style.” The book is divided under tell tale sub-title such as
“Reinventing the wheel”, “Karma Crackers,” Tricks and Treats,” “The odds and the
Gods”, and so on. In each story, we find the scene marked by artistry and vigour.
Unlike Jhabvala, Gita Mehta in her work of nonfiction, sharply intrudes into her
scenes. In her description, she provides ample opportunities to come out with biting
remarks. In every scene, we realize a roving observer through which remarks are
made. Gita Mehta is capable to deal with a panoramic vision both of space and time.
She scans history with a rare insight and it enables us to figure out the disorderly
trends.
Gita Mehta’s novels are predictable and transparent. She uses the traditional
plot structure in terms of exposition, conflict and East-West encounter. She does not
portray the self-conscious story. In ‘Raj’ she explores the socio-political ideology.
Jaya, in ‘Raj’, recites the four arms of kingship, “A king must tend his people. He
must provide for their welfare. He must be implacable in dispensing justice. A king
must intrigue with other powers for the welfare of his state.”9 In her novels, Gita
Mehta engages herself in the exploration of the human social environment, religious,
moral and cultural values. She does exhibit much interest in the external reality or
absolute truth existing outside the human situation. She tires to find the truth in the
dreams and wills of the people. Gita Mehta’s novels remind the readers of the three
words that ‘Sartre’ emphasizes while discussing the human condition—anguish,
abandonment and despair. Gita Mehta portrays the real picture of the society in
which characters are given the opportunity to make their choices and lead a life of
commitment and responsibility.
(2)
Satire:- Gita Mehta, in her novels, tries to seek and remove social evils and
takes the help of irony and satire. She attacks on religious gurus who mislead the
Indians as well as foreigners, coming to them in the hope of acquiring spirituality.
Every creative artist adopts an effective mode to give expression to the felt
experiences. In ‘Raj’ Gita Mehta uses satire when she portrays East-West encounter
and man-women relation in the unique Indian social structure. She depicts the
psychological state of lonely women and gives voice to their long suppressed
silence. She expresses her angry protest. She erodes the age old wisdom contained
in saying, proverbs, stories, myths and beliefs. She expresses her anger through the
mode of satire, irony and sarcasm. In ‘Raj’, we find the plight of Indian women and
sick social structure when Maharani Jay Singh and Jaya are forced to lead a very
miserable life. The religious sayings, anecdotes’ words of wisdom uttered by old
people, expressed through various rituals, religious rites and customs, emphasize the
acceptance of woman’s traditional role. She uses very sharp tools to probe very deep
thoughts, ideas and beliefs. Gita Mehta’s satire is visible when she represents Jaya’s
Westernized husband ignoring his new wedded wife at first night. “All day she
stayed secluded in her bed chamber, weeping that Prince Pratap had preferred to
spend his first night in the City Palace with Maharaja Victor and his guests rather
than with his new wife.”10
Gita Mehta attacks on romantic view of Indians when she presents a
maidservant commenting, “You are not a bad child, Bai-sa. But young girls do not
ask total strangers why they do not like to look at naked women sporting with men.
The pictures on the zenana walls are about pleasure, Bai-sa. Foreigners do not
discuss such things. It is said the Angrez do not even enjoy pleasure. They only like
power.”11 She also attacks on Indian view for western way of life when Jaya as a
child comments, “They can’t wash their feet and their faces in the same water.”
Further she concludes, “She doubted that Tikka could be taught anything by people
who batched in dirty water and had stiff legs.”12
In ‘Karma Cola’ also Geeta Mehta takes the help of satire and sarcasm to
make us cautious of the hypocritical activities of the Indian gurus. According to the
assurance of a guru, if someone meditates for half an hour without blinking of eyes,
he may watch the activities of his previous life. A devotee says, “It made me know
I have done the right thing coming to India and staying in this ashram for four years.
Wearing these dumb orange dresses.”13 A guru in the ashram confesses, “My
followers have no time. So I give them instant salvation.” When the Parsi woman
wanted to know the view of female guru for the vulgar activities of a Sikh devotee,
she explained, “If he wants to be near the girl, that’s beautiful. He will be made a
member of the ashram at the evening devotions when Swami initiates the new
devotees.”14 At another place a sweeper narrates that the guru’s “shakti is so strong
that it goes through the walls.”
(3)
Images:- A study of Gita Mehta’s novels shows a tendency on her part to
conceive experience and project it in terms of metaphors and symbols. In her novels,
we find many objects and images through which she tries to pour her experience.
She uses a variety of images skillfully. These images provide vividness to the stories
she describes, the characters, she portrays and the events she narrates. She uses the
condensed and sharpened images so skillfully that her art becomes close to that of a
painter or a cinematographer.
In the novel ‘A River Sutra’, we find the use of highly evocative language.
With the help of images, she makes the expression very powerful. The elemental
sweep and erotic undertone is wide spread in her work. For example “the water of
Narmada sparkle like the anklets encircling a woman’s foot”15 and “like a woman
indolently, stretching her limbs as she oiled herself with scented oils, her long black
hair loosened and her eyes outlined in collyrium.”16 The serpent images have been
used again and again. The Pre-aryan world is believed to have been peopled by a
mysterious race’ “half human, half serpent,”17 Nitin Bose’s massive bed carved with
serpents on the headboard. Rima’s teeth pierces Nitin’s skin “like the sudden
striking of a snake” and she hisses her pleasure against his throat, making him
imagine that he “still held a creature half serpent in his arms.” 18 According to
Christian mythology serpent is not a good omen. It represents the loss of heavenly
bliss. Freud comments that the serpent represents repressed sexual urge. Gita Mehta
uses serpent images in the novel in order to increase the erotic impulse running as
an undercurrent throughout it. “The language and images used by Mehta aptly
reinforce her basic orientation in the novel.” With the help of his mode of expression,
her novels tend to focus on the inner worlds of her characters. Gita Mehta is highly
interested in the inner psyche of her characters. At several places, it seems that Gita
Mehta is successful in integrating the inner and outer worlds in which her characters
live. At some places, images look contrived and farfetched. Sometimes images seem
without relevance to the emotions felt or the situation described.
Gita Mehta shows great happiness in describing the rural phenomenon. A
passage from ‘Raj’ will show the competence with which she can handle such
images. “Throughout Rajputana it was known the Maharaja of Balmer awaited the
birth of his first child. Families in search of a season’s work, other story tellers and
tinkers and acrobats, called to the bards, ‘Do you go to Balmer for the birth?
Learning it was so, they grabbed sleepy bullocks by their vermillion-painted horns
and shouted ‘Hut! Hut!’ urging the animals onto the road.”19 Novelists keen eyes has
captured the miserable condition of widowhood in the royal family. At the death of
the Maharaja Jai Singh, the Maharani “Knelt and removed her diamond anklets,
throwing them on the floor under the bed. She loosened her long hair from its thick
plat and unfastened the jewelled collar of matrimony that had enclosed her neck
since she had become a bride at the age of thirteen. Jaya saw white marks around her
mother’s throat where the collar had protected the skin from the sun as her mother
reached up and with slow deliberation rubbed the red tilak of marriage off her
forehead... When Jaya brought the scissors, the Maharani lifted handfuls of heavy
hair and cut it off close to her scalp, until the floor around her was carpeted with her
hair.”20 Gita Mehta’s use of imagery is worth seeing when she portrays the pleasant
and cheerful surrounding at the time when Jaya is lost in playing polo on the
horseback. “Perspiration rolled down Jaya’s body, soaking her clothes until the thin
linen shirt clung to her body. Each time she spurred her horse into a gallop, her heavy
hair which she repeatedly wound onto the top of her head fell like a blanket over her
shoulders, but in her anxiety to play well, she was unaware of Osborne’s eyes on her
as she pushed her hair away from the breasts thrusting against her sweat soaked
clothes.”21 Gita Mehta’s use of imagery is praiseworthy when she describes the real
picture of tribals, “Everyday more tribals attached themselves to the Maharaja’s
procession. Some times the tribal men went hunting for deer. When they returned,
they skinned off the pelts with their long knives, and Jaya watched the tribal women
turn the slaughtered animals on spits in ditches dug during the night, before slinging
the cooked carcasses onto poles to carry on their naked shoulders.”22 Gita Mehta in
‘Karma Cola’, narrates miserable life in narrow streets of Benaras: “After about forty
minutes of walking, dodging past beggars, ignoring the hawkers, avoiding the red
spittle of the shopkeepers, the girl beckoned me to cross an overflowing gutter. She
led the way up two worn stone steps and into a low doorway. I followed her through
a small dark room, past a courtyard crowded with women and children, up a narrow
staircase and into a chamber that gave the immediate impression of being a
saddlebag.”23 Gita Mehta describes the fascinating scene of an Indian beach and uses
the irony which is very pleasing and amusing. “Calingute Beach was also used as a
shortcut by little Indian Christian schoolgirls, led by novitiates hiding behind cowls
and veils, to get to the convent on the other side of the beach for their daily catechism
lessons. Imagine the shock of the tiny demoiselles, under the basilisk gaze of their
stern duennas, when they came upon the following scene of merriment, hundreds of
naked bodies, of every hue and national orgin, coupling in the sand.” 24
(4)
Symbols:- In ‘A River Sutra’, Gita Mehta’s use of symbols increases the
interest of the readers. The daughter of the musician comments on her father’s music,
“If I practiced for ten lifetimes, I could not reproduce that careless water fall of sound
and sshh... listen closely.”25 and at other place, “The sun appeared above the Vindhya
Hills, a fiery ball of light leeching the color from the water.” 26 Her use of
personification is apt to increase the grace of her work. While describing the beauty
of the Narmada the novelist says. “The stream took on the form of a woman—the
most dangerous of her kind: a beautiful virgin innocently tempting even ascetics to
pursue her.”27 Describing the mythological belief about Kama, the authoress says,
“Kama might suddenly draw
his sugarcane bow, known as the Exciter of
Madness.”28
(5)
Myths:- Gita Mehta belongs to the new generation of writers whose novels
seem remarkably mature with complex use of myths. Gita Mehta is aware of the fact
that myths, through “manipulating a continuous parallel between contemporaneity
and antiquity”29 enable us to gain a correct prospective on our own times. Mehta
uses myths subtly to evoke deeper meanings. In ‘A River Sutra’, Gita Mehta quotes
the origin of music saying, “Then Shiva shook his drum. Everything started to
tremble with the longing to exist/The universe erupted into being as Shiva danced.
The six mighty ragas, the pillars of all music, were born from the expression on
Shiva’s face, and through their vibrations the universe was brought into existence.”
At another places in the book Mehta reveals the origin of music saying. “Goddess
Parvati who performed all those great penances/until Shiva retuned her love. Don’t
you think it is only proper that such great love should give birth to music.” 30
According to another myth the river Narmada is regarded “our holiest pilgrimage
sites worshipped as the daughter of the god Shiva.”31 In ‘Karma Cola’, Mehta
represents the monkey as one of the major deities. She says that Goa had not only
beaches and jungles but also “a monkey as one of its major deities, the God
Hanuman. The hippies did not know that Hanuman is worshipped as the custodian
of Honor.”32 At another place in ‘Karma Cola’ Mehta declares that “Mother Kali
shows the strength of the female.” In ‘Raj’ also Mehta includes mythical comments
at many places. Quoting the Laws of Manu, the Maharaja asks, “Is it not said in the
Laws of Manu that a man without dharma may not presume to govern.”33
(6)
Fantasy:- In almost all of Gita Mehta’s novels, we find interaction between
the real and the fantastic when she projects two or more different perspectives.
Fantasy is used at different levels—at the level of incident and imagination and also
at a purely lingual level. The use of fantasy is visible in various ways, as
hallucination and nightmare, as wishful thinking and personal aspiration and as a
private world characterized by an obsession or a psychological fear or confined in
some other way. Gita Mehta uses fantasy not only for creating an alternate reality
but also for contrasting the two or more visions of reality projected in a particular
work of fiction.
It is important to attempt a definition of the fantastic at the outset. “The word
fantastic is defined variously, as existing only in imagination, unreal, perversely or
irrationally imagined, pertaining to fantasy, extravagantly odd in behaviour,
eccentric quaint or grotesque in design or conception.”34 Fantasy is described as
hallucination or imagination. In the case of fantasy, it is quite true to say that the
fantastic is unreal. It does not exist in fact but it must be recognized that fantasy has
its basis in reality which constitutes the take-off point for all fantastic elaboration. It
is an actual desire, fear or obsession which finds expression in various ways.
In ‘A River Sutra’, fantasy is used to expose the twilight on the water surface
which resembles the floating lamps. “With twilight, the water at Mahadeo starts
flickering with tiny flames as if catching fire from the hundreds of clay lamps being
floated downstream for the evening devotions.”35 Fantasy is used to describe the
sorrow of Jain Monk when he was amidst the crowd with shaved head. “Each time
I wrench my hand away from my scalp, the crowd screams as if sharing my agony.” 36
The narrator considers the monk’s face as a photographic image. “I find I can not
concentrate, seeing the monk’s intense eyes above the white mask covering his
mouth as clearly as if a photographic image is being projected onto the darkness.”37
The Narmada is supposed as a woman in the Narmada leaping headlong through the
distant marble rocks, the spraying waterfalls refracting the first rays of sun into arcs
of color as if the river were a woman adorning herself with jewels.”38 In ‘Raj’ also
Gita Mehta uses fantasy when she describes various happening in India to be a game
of cricket. “The large head shook in despair. And yet by the end of this year, we are
expected to attend the Round Table Conference in London like gentlemen, as if what
is happening in India were only a game of cricket.”39
At some places, Gita Mehta writes a paragraph of single sentence and makes
the narrative complicated for the readers. She tries to exhibit her genius and skill of
writing. With the help of long sentences, she throws impression on the readers. Such
a long sentence is visible in ‘Raj’ When Mehta portrays Maharaja Pratap as a good
natured and liberal politician. “Whenever the nationalists tired of arguing with those
rulers who will resist reforms…and Jaya knew everyone forgave him for the hours
he spent circling Delhi in his new aircraft instead of exhausting himself with political
negotiations.”40
(7)
Flash Back:- At many places in her novels, Gita Mehta adopts an extra-
ordinary technique and informs the readers what is going to occur in the future.
Without informing us the real incident straightly, she gives us hints by which readers
can guess what is going to happen ahead. Just before his death, Maharaja Jai Singh
consoles Jaya and reveals his secret, “Jai Singh painfully raised his head. ‘I have
informed the council that you are to become ruler of the Balmer, Bai-sa.’ He handed
her the anklet. ‘Raja Man Singh must rule as Regent until you come of age, but after
that… He sank back onto his pillow with a sigh of exhaustion. ‘Guard the honor of
the people. Bai-sa. Complete the reform I have begun.”41 When Jaya’s brother Tikka
took his last breath in the battle and his dead body was taken back to Balmer, Mehta
describes, “The slow thud of the nagara drums sounded above the elephant gates, Jai
Singh leaned on the old Raj Guru for support as the Balmer lancers advanced
towards him …in front of them trotted Tikka’s riderless horse, a piece of homespun
cotton covering its back muscles.”42
In the beginning of many chapters in ‘Raj’, Gita Mehta quotes the statements
of prominent personalities so that she may establish relation between the statement
and the narrative described in the chapter. The quoted statement is always relevant
to the topic. In this way, Mehta increases the interest of the readers. Actually the
statement is quoted as a formula and in the chapter given under it, Mehta explains
the formula in a very impressive way. For example in chapter-56, Gita Mehta quotes
the statement of Jawaharlal Nehru and in the Chapter below it, she narrates the
similar occurrences, “We have not the training for organized violence, and
individual or sporadic violence is confession of despair…then I have no doubt that
it will adopt them. “Violence is bad but slavery is far worse.”43
In her novels, Gita Mehta provides verse at several places which increases the
impression to the extreme point. The verses located by Mehta are figurative and
contain myths, entertainment, melody and rhythm. They are apt to the description
and highly instructive. They are capable to arouse our emotion and curiosity . They
help to maintain our interest to the end of the novel. We are forced to complete the
novel continually without any break. One of the most impressive and inspiring verse
in ‘A River Sutra’ says. “Om is the three words. Om is the three fires./Om is the
three gods./Vishnu, Brahma, Shiva.” In ‘Raj’ the eunuchs sing very romantic song
during the ceremony in Balmer. “For so long the great warrior/Has tried to enter the
magic garden/To speak of love to the lovely woman,/ But she will only let him
knock/knock/knock/At her gate/”44
Manusmriti is known as “Manava Dharamasastra” and it is hailed as the
earliest and the most authoritative book presenting the Hindu life and culture. It
speaks not only of the dependence of women, in all the stages of her life, on her
father, husband and son but denies her equal status with men and independence in
any action. But during the last thirty years, we find a vigorous development in
thinking about women and their role in society. Feminism has become a highly
important issue in the contemporary thoughts. Now we have women writers writing
in English from the nineteenth century onwards. These writers have proved that they
are imaginative and are at par with women writers of the West.
But Gita Mehta, in her novels, delineated the thoughts and ideas which are
contrary to the concept of ‘Manusmriti’ in the reference of women. In Raj, she
introduces us with the main character Jaya who is brought up in Balmer, a tiny
kingdom in Rajasthan. At the age of five, Jaya Kills the first tiger in the company of
his father. At twelve, she is trained in the art of personal decoration. Under her
father’s command, she is trained in riding, shooting, hunting, tent-pegging and
playing polo by Major Vir Singh. The Raj Guru teaches her the four arms of kingship
: Saam, Daam, Dand, Bhed. But Jaya’s mother is afraid that she is made into a son
and she is forced to imbibe the traditional virtues and values. So Jaya tosses between
tradition and modernity all through the book. In the case of ‘Karma Cola’ also, we
find the reflection of a feminine view point. The distinctive qualities of its content
and style belong to a woman’s perspective. It depicts the unisexual trends of today’s
world. In the book, Gita Mehta writes for the rights of women for full equality and
independence. In ‘A River Sutra’ also, we may find the description of feminist
approach.
(8)
Style:- While portraying different stories, Gita Mehta uses different styles to
make them impressive and perceptible. An author is recognized by his or her style.
Powerful and lucid expression makes a narration new otherwise nothing is new.
When an author revels his or her thoughts in a unique style, they seem to be new and
fess. In different novels, Gita Mehta uses different style. Her technique as a process
of discovery, largely depends on simple plot elements that lead to complex
situations. In ‘A River Sutra’ she tries to discover the secret of music. “Once there
was a great musician who boasted all the time that he could play better than anyone
else. One day the notes of the scale turned into seven nymphs and walked past as he
was playing. Suddenly one nymph fell to the ground, dead. The musician was
playing his instrument so violently that he strangled the note in his strings. He
murdered the nymph with his pride.”45
Gita Mehta discovers the secret of smearing ash on the body of a Naga Baba.
“When he rubbed the mixture on her arms, she found mosquitoes never bit.” Dr.
Mitra in ‘A River Sutra’ discloses, “On the top of all that mythology, there’s the
river’s astrology. Her holiness is believed to dispel the malevolent effect of Saturn.”
Gita Mehta provides music for the construction of the plots in ‘A River Sutra’
and Raj. In ‘A River Sutra’, Tariq Mia sent for his gramophone and he gently
polished the vinyl disc with his sleeve while the students cranked the gramophone
and fixed a new steel needle into the ancient arm. A high voice pierced the morning
silence, “I prostrate my head to your drawn sword./O, the wonder of your
kindness./O the wonder of my submission.”46 We find the clarity of the voice so
extraordinary that the audiences are lost in it’s melody and sentiment. “Do not reveal
the Truth in a world where/blasphemy prevails./O wonderous Source of Mystery./O
Knower of Secrets.” The music of the gramophone creates a strange atmosphere for
the novel, especially when we know the listeners of this music are appreciative.
“Every now and then a spectator, moved by the music, handed the sheikh money,
which he received as an offering to God before placing it near the table drums
sending their throbbing beat into the night.”47 In ‘Raj’ also, we find the similar
description when the musician’s sweet voice lifted in the night. “She takes no
pleasure in the palace courtyards,/She avoids the parks,/She turns her back on her
painted playmates, Her gossamer veil burns her fingers/With the heat of her
desire...”48
Gita Mehta uses elegant style when she gives detailed description of social,
political and intellectual values, Gita Mehta describes the miserable condition of
concubines in the royal house. “Kuki-bai led Jaya into a small stone-walled cell with
a wooden cot in a corner. “This is where I live.’ Jaya leaned against the damp wall,
remembering, Kuki-bai’s painted chambers in the zenana, the silver bed and the tiny
bells tinkling in the breeze that blew through the vetiver screens. Kuku-bai sat down
heavily on the wooden cot, pulling her small painted feet under her... But we are just
lot of inconvenient old women now, Bai-sa, waiting to die so that our progressive
Maharaja can draw the curtain over history.”49 In ‘A River Sutra’, Mehta describes
Dr. Mitra’s attitude towards the pilgrims. “He maintains that he encounters more
interesting patients here than he could hope to find in Delhi or Bombay, and
whenever he describes a pilgrim brought to him with only one third of a body or
some particularly horrifying form of elephantiasis, his eyes shine with excitement as
if he is describing a work of art.”50 Mehta describes the origin of the Narmada with
its destination in a very elegant style. “At the mouth of the River, on the Arabian
Sea, the pilgrims must don white clothing out of respect for Shiva’s asceticism
before walking eight hundred kilometers to the river’s source at Amarkantak.” 51At
another place the musician’s daughter described the beauty and still of a young
disciple of his father. “To my surprise I saw a young man sitting below my father’s
platform playing the veena... I stared in wonder at his slanting eyes, at his black hair
falling softly to the strong line of his neck, at the muscled arm as his fingers moved
across the frets of his instrument... When I opened my eyes I still saw him, and it
was as if ten thousand honeybees had stung my heart at once.”52
When Gita Mehta is involved in describing very gloomy and heart rendering
events, her style deepens to paint the real picture of the happening. When the
Maharani of Balmer watches Tikka’s ashes carried by Major Vir Singh, her grief
finally broke through her “your father and his senseless, hopeless rebellions against
the Angrez!’ She screamed, beating Jaya’s shoulders with her fist. “He has killed my
son/your father has killed my son!”53
The style of Gita Mehta is always lucid and perceptible. The reader never feels
any difficulty to understand the narration. She is always cautious for the unity of
time and space. At different occasions, she uses different style. In her works, she
provides the description which is relevant to the contemporary time and space. If a
novelist is unable to maintain the unity of time and space, he or she can not be
regarded a successful novelist. Her style changes according to context, occasion and
character. Her description always corresponds to characters. It is interesting,
perceptible and instructive. It is always capable to portray the real picture of the
contemporary society. The readers can easily understand the vice and virtue, merit
and demerit, reality and artificiality of different human values depicted in her works.
(9)
Language:-
The language of a work must correspond to the spirit of the
narration. The language is forced to change according to the occasions represented
in the work. The language is a media by which we convey our ideas and thoughts to
others. Without language a man is dumb. Gita Mehta’s language proceeds tickling
and seeking something in a spontaneous way. At different places, we notice that she
succeeds to convey more facts by using less words. By reading a single sentence,
readers are capable to make a whole concept. In ‘Karma Cola’, Gita Mehta
interviews a western inmate of the ashram and it reveals her skill: “What are you
doing in India?” “I am being.” “Pardon?” “Being.”54 Gita Mehta’s descriptions are
capable to create similar sentiments in the heart of readers. When she describes
heroic event, readers are filled with the sentiment of heroism and when she narrates
the romantic context, readers are always filled with romantic sentiment. Her
language is always appealing which is capable to convey the genuine intention of
the narrative. Her language creates the realization of love, mercy, bravery etc
according to her wish. The language changes according to the spirit of the narrative
without any effort. She manages the words as if she were preparing garlands to make
the narrative graceful.
Mehta uses the language which is relevant to the role of characters. Besides
it, her language is relevant to the opportunities and references found at the time of
creation of the work. Her language is too impressive which flows according to her
instruction. To portray the theme, she uses less words but they prove to be so
impressive that readers can easily be introduced about her intention. Language seems
helpless before Gita Mehta. Language is forced to dance according to her wish. She
changes her language according to the need of the story. If a writer finds himself or
herself unable to change the language according to the need of the story, he or she
can not be a worthy writer. Although she uses less words, they are capable to reveal
the matter soundly. The economy of words and impression of narration make the
description vivid and easily conceived. In ‘A River Sutra’ and ‘Karma Cola’, we
find the economy of words and intensity of thoughts in so ample measure that the
readers don’t feel any difficulty to understand the feelings and teachings of the
writer. In these books “only essential words are used, often there is no complete
sentence structure.”55 Gita Mehta’s characters are an unlikely assortment of
paradoxes, tensions and confusions, with each one attempting to discover and
interiorize the truth of his being in his own unique way. To depict the feelings of
different types of characters, Gita Mehta uses the language of various types.
(10) Figurative Sentences:- Gita Mehta uses figurative sentence in so
abundant measure that her works are appreciated for having grace and splendor. At
different places, she uses simile, metaphor, personification, apostrophe and
onomatopoeia figure of speech. The use of simile is praiseworthy when a brighteyed concubine sang mischievously: “See, her body is as hot/As a tava heated on the
coals./Poor man, he is only cold dough,/But he will rise like fresh bread/Between
her thighs.”56 At another places, the purdah ladies, in Balmer house, commented at
the arrival of the Maharajah of Dungra. “They may be dripping with pearls, but look
at the size of their back-sides. Just like a pair of buffaloes!”57 Her use of
personification can be seen at various places. “Spring was heating into summer when
Prince Pratap returned from Delhi.” The use of oxymoron is also very attractive.
“And India acquired another willing convert to the philosophy of the meaningfully
meaningless.”58 He use of Simile is scattered throughout the novel. The daughter of
the music teacher comments: “you see, despair is an emotion, and the emotion were
like shoals of brilliant fish swimming through his melodies.”59 The monk explains,
“Many men die before they learn the desire for freedom lies deep within them like a
dammed river waiting to be released.”60 She also uses metaphor at various occasions
“Sometimes Master Mohan tried to escape his wife’s taunts... when the golden bowl
of his voice has shattered and with it his life.”61 Her use of Apostrophe proves to be
a boon in order to increase the erotic impression. When Master Mohan heard the
high voice sing, he felt tears welling in his eyes.
“I prostrate my head to the blade of your sword.
O, the wonder of your guidance.
O, the wonder of my submission.”62
At another place Imrat sings :
Do not turn in loathing from me.
O Beloved, can you not see
Only love disfigures me?”63
(11) Idioms and Phrases:- At many places, Gita Mehta uses idioms, phrases,
phrasal verbs in order to make the narrative more graceful and popular. They enable
the description to impress the readers deeply and highly. Her idiomatic narration is
praiseworthy. “Never before had the void been pursued with such optimism and such
razzle dazzle.”64 At another place, she describes, “I know an Indian boy who used to
listen to rock and roll.”65 At another place, we find her using the idiomatic language.
“But whatever their claims to profundity, the mumbo jumbo looks like good old
fashioned fascism to the insider.”66 Other idiomatic words she uses in ‘Raj’ are: by
the way, to remove every stone etc.
(12) Diction:(i)
Words from Foreign Language:- At many places in her works, Gita Mehta
uses many words from foreign languages. They are often uttered by westerners
coming to India. They make the narrative authentic and impressive. The words from
foreign language are very often from French. They are: ‘Je suis femme de chambre’,
‘de rigueur’, ‘commeil faut’, ‘Allez’, ‘vers libres satyrs’, ‘de largesse’, ‘deja vu’,
‘Haute couture’, ‘le vrai bourgeoise’ etc.
(ii)
Hindi words:- At several places, Gita Mehta uses Hindi words to increase
the interest of the readers. These words are : ‘Bande Mataram’, Dum Maro Dum etc.
She uses some words in a very impressive way such as : That what you are. Mu…
m m m m m… e e e e e e. In ‘Raj’, while describing the proceeding of royal court,
she changes the traditional way of expression in order to depict the real picture. At
the arrival of the Maharaja Jai Singh, the heralds shouted, “There approaches/ The
provider of grain/The protector of people/The source of Bounty/Maharaja Ji/ Jai
Singh Ji/ Defender of the Goddess/Ruler of Balmer.”67 During the political
description, she portrays Indian people shouting slogans, “British today! Hai! Hai!
British today! Shame! Shame!”68 Her style of narration enables us to understand the
real condition of a widow. When the Maharani of Balmer became widow, we find
her being accused by saying, “Widow/Unclean/Unholy.”
(13) Dialogues:- Her conversational style is very fascinating and appealing when
the narrator asks the Jain Monk.
“Why must you shave your heads?”
“To avoid human vanity.”
“Do you cover your mouths for the same reason?”
“No. These masks prevent us from killing some blameless insects by
sudden in halation.”69
In ‘Raj’ also, her dialogues are very interesting and attacking when Jaya, in
her childhood go to an Angrez house with her mother. She seems very curious to
know about the bathroom. Jaya pointed at the bathtub.
“Is that for washing clothes?”
x
x
x
x
x
“But how do they change the water?
“The container is filled and then the Angrez wash themselves.”
“They can’t wash their feet and their faces in the same water. Where do
they wash their feet? In those other things? Those white chairs without handles?”70
In ‘Karma Cola’, Gita Mehta introduces the dialogue between a French
counsel and a member of crematorium which is unique and surprising :
“Are you the French Counsel”
“Qui, Yes, it is me’, I said.”
“There is a dead body of a dead child lying in front of our gates. What
shall we do with it?”
“Why don’t you burn it”
“Not this one. There is a paper pinned to the body, addressed to you”
x
x
x
x
“What kind of world do we live in? Where parents sell the dead bodies of their
own children for cash.”71
Gita Mehta’s novels are, thus, bound by what may be called contradictory
framework both in theme and technique. Her novels are the reflection of Indian
society, politics and character. In her novels she presents religious, social, moral and
cultural values. She is describer and explainer of different issues found in the society.
She juxtaposes her various experiences for the readers by using different techniques
and styles. Gita Mehta’s experiments with traditional and modern materials and
impressive techniques give her a distinct position among the Indo-English novelists.
References
1-
R.K. Dhawan, (ed) Indian Women Novelists Set-I-Vol-2. P.-214.
2-
Percy Lubbock, The Craft of Fiction (New Delhi, B.I. 1954, rpt. 1983)
P.-1.
3-
R.K. Dhawan, (ed) Indian Women Novelists Set-III-Vol-4. P.-144.
4-
Gita Mehta, A River Sutra. P.-225.
5-
John Halperin (ed). The Theory of the Novel, (London : OUP, 1074)
P.-64.
6-
R.S. Pathak, (ed) Indian Fiction of the Nineties. P.-106.
7-
Ibid,
8-
W.H. Hudson, An Introduction to the Study of Literature, London : George
G Harrap, 1944) P.0163.
9-
Gita Mehta, Raj. P.-91.
10-
Gita Mehta, Raj. P.-187.
11-
Gita Mehta, Raj. P.-74.
12-
Ibid. P.-56.
13-
Gita Mehta, Karma Cola. P.-40.
14-
Gita Mehta, Karma Cola. P.-146.
15-
Gita Mehta, A River Sutra. P.-96.
16-
Ibid, P.-139.
17-
Ibid, P.-119.
18-
Ibid, P.-125.
19-
Gita Mehta, Raj. P.-9.
20-
Gita Mehta, Raj. P.-158.
21-
Ibid, P.-222-223.
22-
Gita Mehta, Raj. P.-284.
23-
Gita Mehta, Karma Cola. P.-72.
24-
Gita Mehta, Karma Cola. P.-90.
25-
Gita Mehta, A River Sutra. P.-203.
26-
Ibid, P.-140.
27-
Ibid, P.-8.
28-
Ibid, P.-93.
29-
R.S. Pathak, (ed) Indian Fiction of the Nineties, “from Order and Myth by
Eliot.”P.-75.
30-
Gita Mehta, A River Sutra. P.-195.
31-
Ibid, P.-2.
32-
Gita Mehta, A River Sutra. P.-89.
33-
Gita Mehta, Raj. P.-135.
34-
R.K. Dhawan, Indian women novelists. Set-I, Vol-2. P.-69.
35-
Gita Mehta, A River Sutra. P.-4.
36-
Ibid, P.-40.
37-
Ibid, P.-42.
38-
Ibid, P.-139.
39-
Gita Mehta, Raj. P.-376.
40-
Ibid. P.-346.
41-
Gita Mehta, Raj. P.-157.
42-
Ibid, P.-156.
43-
Gita Mehta, Raj. P.-379.
44-
Gita Mehta, Raj. P.-107.
45-
Gita Mehta, A River Sutra. P.-209.
46-
Ibid, P.-49.
47-
Gita Mehta, A River Sutra. P.-59.
48-
Gita Mehta, Raj. P.-108.
49-
Gita Mehta, Raj. P.-255.
50-
Gita Mehta, A River Sutra. P.-151.
51-
Gita Mehta, A River Sutra. P.-7-8.
52-
Ibid, P.-217.
53-
Gita Mehta, Raj. P.-156.
54-
Gita Mehta, Karma Cola. P.-34.
55-
Swami Brabhavananada, Patajali Yoga Sutra, Madras, Sri Ram Krishna
Math, 1953 P.-3.
56-
Gita Mehta, Raj. P.-106.
57-
Ibid, P.-141.
58-
Gita Mehta, Karma Cola. P.-17.
59-
Gita Mehta, A River Sutra. P.-202.
60-
Ibid, P.-31.
61-
Ibid, P.-56.
62-
Ibid, P.-63.
63-
Ibid, P.-71.
64-
Ibid, P.-6.
65-
Gita Mehta, Karma Cola. P.-7.
66-
Ibid, P.-165.
67-
Gita Mehta, Raj. P.-141.
68-
Ibid, P.-348.
69-
Gita Mehta, A River Sutra. P.-11.
70-
Gita Mehta, Raj. P.-56.
71-
Gita Mehta, Karma Cola. P.-132.