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Esteemed patrons, you may recall that Father’s Day gets celebrated on the third Sunday of every month of June. It manifests as a sporadic event that, to the detriment of fathers, does not adequately recognize their rightful place in our lives. Perhaps, this terrible reality stems from the fathers themselves, who, misguided by their own inadequacies, fail to embrace their pivotal role in their offspring’s lives. This woeful state of affairs tragically relegates countless fathers to a rather unjust oblivion, depriving them of the heartfelt admiration that they so richly deserve.On this propitious occasion, I invite you to join me in honouring the esteemed progenitors of our race by embarking upon a transcendental sojourn among the multidimensional fatherly exemplars who grace the literary canon that I happen to be somewhat familiar with.

In Our Vernacular

Allow me to commence with the riches of my mother tongue: literary jewels on paternal relationships in Bengali literature.

1. Firstly, dear readers, let me draw your attention to Rabindranath Tagore’s “Kabuliwala,” for it masterfully celebrates the profound bond between a father and daughter. Rahmat, the protagonist, is estranged from his daughter because of his professional commitments, but he gradually finds solace in Mini, a young Indian girl he encounters. Through its tender narration, “Kabuliwala” deftly explores Rahmat’s connection with Mini, as documented (in first person) by Mini’s biological father.

2. Another Tagore masterpiece that deserves mention is “Khokababur Protyabartan,” (“The Return of the Kid”) which tells the tale of a father’s sacrifice in replacing his child as his master’s son after the latter drowned in water. He does so out of his tremendous sense of duty and loyalty towards his master

3. “Yoggeshwarer Yagna,” (“The Offerings of Yoggeshwar”) is another literary gem from Tagore’s treasury. It delves into a father’s anxiety regarding his daughter’s marriage and the eventual resolution of his tribulations.

4. Furthermore, it would be remiss of me not to mention Sarat Chandra Chattopadhyay’s “Mahesh,” which beautifully presents the tender connection shared between a father and his daughter, although the story primarily revolves around the bond between a human and an animal.

5. Lastly, one should not forget Upendrakishore Roychowdhury’s “Adventures of Goopy and Bagha,” where a subtle fatherly figure emerges in the form of the ghost king. Though the story does not explicitly delve into the father-ward relationship, the king of ghosts offers unwavering support to the protagonists, embodying the essence of a father – to proffer guidance, care, and love during times when it is most imperative.

I confess that what I have covered here is but a minuscule fragment from the vast oceanic expanse of Bengali literature which beautifully bestows accolades upon the patriarchs who are undoubtedly the quintessential protagonists of any narrative.

In English Language

English literature, too, sketches out numerous father-ward relationships deserving of exploration on Father’s Day. Countless literary works illustrate the profound bond between a father and his ward showcased ingeniously by their creators.

Some of the noteworthy examples, my discerning readers, include:

1. The venerable Shakespeare’s opus magnum, Hamlet, lends itself to a peculiar intergenerational dynamic in the familial sphere, where the titular ‘Prince of Denmark’ attains the realisation that the passing of his father was an act of corporeal malevolence, perpetrated by his own mother and dear uncle. Fuelled by an unbridled sense of filial devotion to his patriarch, he makes a covenant to exact just retribution. One of my innumerable preferences is when the knightly Hamlet emits the immortal line – “He was a man. Take him for all in all, I shall not look upon his like again”.

2. Jane Austen’s “Pride and Prejudice” portrays the paternal figure of Mr. Bennet exuding an endearing tenderness towards his family, particularly his daughters, effectively representing the epitome of a responsible father within any household.

3. Upon perusing P.G. Wodehouse’s sagacious and witty “Blandings Castle” chronicles, one cannot help but admire the touching rapport between Freddy and his paternal figure– none other than the woolly-headed Lord Emsworth. Though at first, his lordship’s distaste for his offspring may seem unjustified, an explanation, documented in Wodehouse’s literary oeuvre, lays bare the reasoning thus:

Unlike the male codfish which, suddenly finding itself the parent of three million five hundred thousand little codfish, cheerfully resolves to love them all, the British aristocracy is apt to look with a somewhat jaundiced eye on its younger sons.

Nevertheless, in a display of magnanimous character, the nobleman strives zealously to extricate Freddy from the ramifications of his follies.

Wodehouse presents to us a wide range of paternal figures. Bingo Little feels proud when Algernon Aubrey Little tops a bonny baby contest. Blumenfeld Senior depends upon his kid to vet his upcoming theatrical productions before unleashing them upon the unsuspecting public. At the other end of the spectrum, we find a hapless Sir Roderick Glossop who, upon refusing to part with a sum of ten shillings by way of protection money to his soon-to-be stepson Seabury, gets treated to a tumble down a staircase duly covered with butter. To Mr. Pett, never at his ease with boys, Ogden Ford is a constant irritant. He dislikes his stepson’s personality, and he more than suspects him of stealing his cigarettes. He is frustrated at his own inability to be able to catch him in the act. 

4. The literary figment by the great Margaret Mitchell, in her monumental masterpiece ‘Gone With The Wind’: a character of singular fortitude and paternal instinct, Gerald O’ Hara, an Irishman of rough-hewn exterior, loud of voice and manner, with a penchant for tippling and carousing, yet despite his brusque proclivities, provides a glimpse into the tenderest of fathers, as he moulds his daughter Scarlet into a force to be reckoned with, a lioness amongst men. Truly, Mitchell’s creation of Gerald is a nuanced and complex portrayal of an individual who, despite his faults, remains a loveable figure, endearing himself to the readers as he enchants his daughter with tales and kisses her goodnight.

5. In “The Godfather,” Mario Puzo masterfully depicts the intricate father-son bond of Vito Corleone and his four children. Vito lavishes his love on his eldest, Sonny, imparting his business know-how with hopes of a successful succession. He dutifully protects his other sons – Freddy and Michael – with equal fervour. He approves of Michael’s pursuit of education which aligns with his own lifelong aspiration. Vito also cares deeply for his daughter Connie, readily coming to her aid. As family head, Vito staunchly defends his children whenever they are in peril.

6. The creation of Harper Lee, ‘To Kill a Mockingbird’, chronicles the life of a patriarch who sets an arduous benchmark for fatherhood. The eminent Atticus Finch, with his lofty principles, intrepid spirits, august demeanour, staunch fidelity, and altruistic benevolence, stands tall as an embodiment of the ideal father figure, capable of instilling awe and admiration in any progeny. Indeed, he epitomizes what every child could possibly fantasize about their dream daddy.

7. In Alistair MacLean’s “Fear is the Key,” Talbot, the father, tormented by the untimely death of his son, embarks on a vengeful quest against those responsible.

8. Robin Cook’s “Fever” chronicles Charles Martel’s desperate struggle to save his daughter from the clutches of acute leukaemia, vividly capturing the depth of their relationship.

By no stretch of imagination can these honourable mentions considered to be exhaustive. As is the case with all the languages of the world, the Anglo-Saxon dialect affords innumerable variants in its portrayal of paternal figures. One bows in reverence to all the literary geniuses who have immortalized fathers by depicting them empathically for posterity.

In Other Languages

Whilst one may contend that this is perhaps not the most suitable juncture, I am strongly compelled to discuss yet another aspect of a father’s impact on his offspring’s life and offer a word of caution.

My understanding of foreign literature (excluding English) is limited. However, I find a remarkable book that explores a troubled father-son relationship.

Henrik Ibsen’s Norwegian play “Ghosts”, written in 1881, shows how a father can negatively affect his son’s life. In the story, Oswald suffers because of his father’s past mistakes, which lead to bad consequences.

Honestly, I have not read much foreign literature besides English works. But I do aspire to change that and explore more of the many amazing books available to us. Like the stories mentioned before, we are bound to find innumerable tales of brave fathers that would keep inspiring future generations for a long time.

Fathers in Indian Epics

In the vast and rich tapestry of the Indian literary tradition, the two epics that stand out like sparkling jewels are the Ramayana and the Mahabharata. These ancient works of art are not only a testament to the prodigious creative imagination of the Indian psyche but also a poignant portrayal of the sublime bonds between family members.

1. If I am to think of the Ramayana, my consciousness about father’s agony for his child is prominent with the image of Dasharatha, the father of Rama, whose life was plunged into an abyss of sorrow and despair when his own transgressions resulted in the exile of his beloved son. The heartrending portrayal of Dasharatha’s plight, as he withers away in unceasing agony, is a testament to the towering genius of Valmiki.

2. In a similar vein, the Mahabharata is a sublime exposition of familial relations. One of the main characters is that of Dhritarashtra, the blind king, whose blind love for his own sons leads to disastrous consequences not only for the Kuru clan but also for the society at large. When crushed by the weight of his unutterable grief arising out of the loss of all his sons in the ill-fated war between the Pandavas and the Kauravas, he intends to crush his nephew Bheema with his bare hands. Lord Krishna, however, manages to save the day by letting him instead crush an iron statue of the nephew. This is a vivid portrayal that invokes both pity and admiration for the old king.

Yet another key character, Arjuna, the mighty warrior, laments the death of his teenage son Abhimanyu by a group of cunning warriors on the Kauravas’ side. Overcome by grief, he vows either to kill Jayadrath by the time the sun sets the next day, or, if unsuccessful, to immolate himself thereafter. Here also, Lord Krishna intervenes by means of a celestial trick, thereby saving Arjuna’s life and avoiding an eventual loss in the war for the Pandavas.

Henceforth, it can be declared with utmost conviction that the oeuvres of literature not only eulogize sundry acts of valour and divinity but do so with great intensity, capturing a father’s unmistakable predilection towards his offspring.  

To Conclude

To most of us, fathers happen to be role models. When they are emotionally present, we, the kids, become more resilient and confident. When they listen to our woes and setbacks with affirmation and empathy, we get an inner resilience. When they apologize, they show us the value of humility, courage, and emotional accountability. A hug, irrespective of how grown up we are, boosts our morale no end. 

In summation, fathers, my splendid patrons, shoulder the weight of numerous literary masterpieces. On a day exclusively dedicated to celebrating fathers, let us extend our warmest admiration to all of them anywhere on this planet. Let us unreservedly acknowledge their invaluable contributions to the lives of their beloved children, thus affirming their truly splendid and invaluable roles. 

(Reviewed and somewhat spruced up by yours truly!)

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Oh, Woman, Woman, I said to myself, not for the first time, feeling that the sooner that sex was suppressed, the better it would be for all of us.

(Bertie Wooster)

Jane Abbott

We run into her in Summer Moonshine. A girl of spirited nature, she is courageous herself and is an admirer of courage in others. She is fair minded and does not like reneging on her promises. She is a small, slim and pretty girl of twenty, with fair hair and a boyish jauntiness of carriage. Often, in her cornflower-blue eyes, there is a tender light which comes into the eyes of women when they are dealing with a refractory child or a misguided parent.

Her conscious but perplexed soul is torn between two love interests. The manner in which she goes about making up her mind is a quality for many of us to emulate. Analytics and mindfulness does not help her; a heartful approach to problem solving alone does.

Jill Mariner

We get introduced to her in Jill the Reckless. She is portrayed as a sweet-natured and wealthy young woman who, at the opening, is engaged to a knighted Member of Parliament, Sir Derek Underhill. Her journey through life is depicted as one through financial disaster, an adventure with a parrot, a policeman and the colourful proletariat, a broken engagement, an awkward stay with some grasping relatives, employment as a chorus girl, and the eventual finding of true love.

Lavender Briggs

Secretary to Lord Emsworth in Service With a Smile, Miss Briggs is a tall young girl, with a cold, haughty eye, harlequin glasses, and what her former employer Lord Tilbury describes as hair like seaweed. She becomes the bane of Emsworth’s life with her haughty efficiency. Requiring capital to start her own typing business, her schemes to acquire it by stealing the Empress gets her fired from her job, but her friendship with Uncle Fred sees her through.

Her character has hidden depths. If you happen to know of any teetotal bar, do please convey the details to her; she would much appreciate the kind gesture.

Whereas Lord Emsworth considers Miss Briggs to be worse than Rupert Baxter, Galahad Threepwood, as of Galahad at Blandings, believes that she may not have been as intolerable as Rupert Baxter, but she had come very close to achieving that difficult feat.

Rosie M Banks

Rosie M. Banks is a fictional romance novelist. A tall, lissome girl with soft, soulful brown eyes and a nice figure, she is devoted to her Pekingese dogs, owning as many as six at one time.

She is the author of works such as: All for LoveA Red, Red Summer RoseMadcap MyrtleOnly a Factory GirlThe Courtship of Lord StrathmorlickThe Woman Who Braved AllMervyn Keene, Clubman‘Twas Once in MayBy Honour Bound; and A Kiss at Twilight. She also wrote the Christmas story “Tiny Fingers”.

According to Jeeves, her books make for a very light, attractive reading. But Bertie describes her writing as some of the most pronounced and widely-read tripe ever put on the market.

She is a fine husband-tamer. Bingo Little, who, in his bachelor days, kept coming under the spell of as many as six females, gets transformed into a highly devoted husband in his post-nuptials phase of life. When it comes to keeping his lady-love happy and contented, there is little that he leaves to chance. When his sporting spirits make him blow up a month’s allowance on an animal which refuses to live up to his expectations, he even takes up the onerous task of tutoring someone like Thos. He quietly bears the dietary deprivations and disparaging remarks in the presence of Laura Pyke, Rosie’s school chum.

 Sally Nicholas 

She is described as a small, trim, wisp of a girl with the tiniest hands and feet, the friendliest of smiles, and a dimple that comes and goes in the curve of her rounded chin. Her eyes are a bright hazel; her hair a soft mass of brown. She has an air of distinction and carried her youth like a banner.

A democratic girl, pomposity is a quality which she thoroughly dislikes, even if it is her brother who is the guilty party. She works in NY as a taxi dancer and vigorously pursues her theatrical ambitions. A role model, indeed, for business leaders and start-up founders of our times. (Adventures of Sally)

Dr Sally Smith  

She is an American general practitioner in medicine, with abiding interest in golf. Her skills at the game impress even someone like the nerve specialist Sir Hugo Drake.

When Bill nervously confesses his feelings for her, he gets a rather unemotional response. Sally says she still has not met the right man. Sally continues to turn down Bill until she sees him do some paperwork for his dairy farm. Seeing that he does in fact work, she ends up falling for him.

She is described as a small girl and as being extremely pretty.

Sue Brown

A chorus girl, Sue is the daughter of Dolly Henderson. A tiny girl, mostly large eyes and a wide smile, she has a dancer’s figure and catches the eye of many a man, including Percy Pilbeam and in the past Monty Bodkin, to whom she was engaged for a spell, but when we first meet her in Summer Lightning, she has been fiancée to Ronnie Fish for some nine months.

Galahad Threepwood, who adored her mother in his youth, has a fatherly affection for her, and aids her considerably in her hopes of marrying Ronnie; although his sister Julia at one point accuses Gally of being her actual father, in fact Dolly Henderson married Jack Cotterleigh, an Irish Guardsman, while Gally was in South Africa. After her mother’s death, they moved to America for a time.

 

Veronica Wedge

The daughter of Lady Hermione and Colonel Wedge is a spectacularly attractive girl, a fact which never ceases to amaze her doting father and attracts many a fashion photographer whenever she appears in public. She has a direct way about her, and invariably follows her parents’ instructions to the letter, even when it comes to falling in love. Her extreme beauty is matched by her extreme simplicity of mind, a fact which does not put off Tipton Plimsoll when he meets her shortly before her twenty-third birthday, in Full Moon.

Tipton cashes in on her love for jewelry, eventually persuading her to elope to a registry office in the climax of Galahad at Blandings. 

 

Of Female Empowerment

Staunch advocates of gender parity will be pleased to note that Wodehouse has created women characters which not only call the shots in their men’s lives but also pursue their own career interests with a single-minded devotion, alacrity and aplomb. They make a wide range of career choices and make a success of the same.

Of course, his men do make unkindly comments about women. But they also recognize women’s enablement of the human race going. In any case, Wodehouse is not like Nietzsche, who warns the better sort of reader not to venture out among the ladies without a stick or a whip. Some clans may drag their women about by the hair, but Wodehouse’s gentlemen are far too inhibited. So far from going after women with whips, they can’t even go back on incautious engagements—a man’s word is his bond, and it wouldn’t do for a preux chevalier to refuse an offer made by someone from the tribe of the delicately nurtured. Nor do they believe in bandying about the name of any woman. Even if they are aware that they happen to be merely a stop-gap arrangement in the scheme of things of someone like Bobby Wickham, who, by quoting their despicable candidature to their discerning parents, merely wish them to approve the alliance really intended. We end up realizing that Wodehouse agrees with Macbeth’s witches, at least when they say that fair may be foul: he presents men as sorely tried by the fair sex.

Even conscientious men, duly frocked in the service of the Lord, find that women are apt to bring them as close to the peril of being defrocked as would be humanely possible. Stiffy Byng tries to get her man to pinch a policeman’s helmet to even a private score.

Women are not like gentle­men, who have a code in these things:

She was fully aware that she was doing something which even by female standards was raw, but she didn’t care. The whole fact of the matter is that all this modern emancipation of women has resulted in their getting it up their noses and not giving a damn what they do.

A Unique Therapeutic Proposition

In a way, there is much in common between Wodehouse’s works and those of Jane Austen. Both happen to follow strict codes. Both play out as movies rated under the category ‘U’, thereby making them a family affair. Sex is taboo.

In Plumsville, friendly romps and jocular embraces are taken a jaundiced view of. Impersonation and white lies dished out in the course of a boat ride meet with approval; So do the pinching of umbrellas, policemen’s helmets, scarabs, silver cow creamers and such members of the animal kingdom as cats, dogs and pigs. Bunging in a policeman into a cooling stream is not scoffed at. One is forever living in a world which is essentially decent, uplifting and far away from the kind of trials and tribulations one faces in real life. Practical jokes do get played, albeit within limits.

Plum’s works happen to be an effective balm for a weary and wounded soul. Women of all kinds, irrespective of their Goofiness Quotient, contribute in no small measure towards building this unique therapeutic property of his works.

(Related Posts:

Some More Shades of Women in Plumsville 3.0

Different Shades of Women in Plumsville 2.0 (Aunts and Seniors)

https://ashokbhatia.wordpress.com/2014/04/12/different-shades-of-women-in-plumsville

https://ashokbhatia.wordpress.com/2014/10/30/of-bertie-goofy-females-and-the-wooster-clan

https://honoriaplum.com/2017/02/20/money-in-the-bank-review-by-john-lagrue

https://ashokbhatia.wordpress.com/2020/02/14/some-tips-on-the-art-and-science-of-courtship-from-rupert-psmith)

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The literary canvas of the works of P G Wodehouse is vast, drawing upon the works of several other literary figures we admire.

Here is a blog post from Plumtopia which connects our favourite author’s work to the narratives dished out by Jane Austen.

Honoria Plum's avatarPlumtopia

pgw

“Bertie, it is imperative that you marry.”

“But, dash it all…”

“Yes! You should be breeding children to…”

“No, really, I say, please!” I said, blushing richly. Aunt Agatha belongs to two or three of these women’s clubs, and she keeps forgetting she isn’t in the smoking-room.”

The Inimitable Jeeves

Once again, Plumtopia is celebrating the romances of P.G. Wodehouse to commemorate the anniversary of his death on St Valentine’s Day 1975.

This year’s topic is the romances of Bertie Wooster. It’s a potentially controversial subject because Bertie is best known — celebrated even– as one of literature’s bachelors. Despite numerous engagements and entanglements, he always manages to slip the wedding knot.

Bertie’s romances, if we can call them that, are mostly unwanted entanglements brought about by Aunt Agatha’s efforts to marry him off, and his own chivalric code.

In Right Ho, Jeeves, Bertie makes it clear that…

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