Write short note on:

a)   Forms of Hind Swaraj

Hind Swaraj is written in the form of a dialogue between the “ Anthology and the Editor”, who is the author himself, with the Anthology serving as a model for the kind of enraged youthful man whom Gandhi encountered in London and wanted to change. Gandhi uses the dialogic system in order to produce a book that “ can be put in the hands of a child.”

  This dialogue is substantially a fiat, a record of Gandhiji’s conversations with London’s “ deceived” chauvinists. Plato’s manner, whose jottings he'd studied with great attention and admiration, must have impressed the youthful Gandhi. Gandhiji makes it straight right from the launch that, although he holds the ideas stated in Hind Swaraj, he has only tried to follow in the steps of Tolstoy, Ruskin, Thoreau, Emerson, and other authors, as well as the masters of Indian gospel, in a humble manner. Gandhiji states at the morning. This brief book, Hind Swaraj, contains the major generalities that arose from Gandhiji’s South African gests, and is really one of his most important workshop. Gandhi, the Young Crusader, visited London in 1907 to rally support for Indians in South Africa. The Indian Students Association asked him to speak when he was in London. He accepted the assignation and arrived at the designated position, but his host wasn't there. Gandhiji donated to wash dishes and drop veggies after refections, just like the rest of the youthful pupils. They were all pleased with this freshman, whom they had noway met ahead. The joe who had called Gandhiji also arrived, and everyone was stunned when he revealed that the foreigner drawing the dishes was none other than the evening’s speaker. Indeed after being introduced to the organisers, Gandhiji progressed to wash the dishes. This is Gandhi in his purest form. That conference included a number of revolutionaries who were studying in England at the time. The conference was attended by Virendranath Chattopadhyaya, among others. The Chair was enthralled byB.C. Pal. Because the gathering coincided with the jubilee of Vijyadashmi or Dussehra, Gandhiji gave a lecture about the Ramayana. In reality, it was Lord Rama’s tale that sparked a discussion about verity and falsehoods, violence andnon-violence. Following this, throughout his nearly three-week stay in London, Gandhiji had multitudinous casual hassles with revolutionaries, during which he'd lengthy and passionate debates with them about the use of violence to achieve tone- rule or Swaraj. Still, the primary reason he'd travelled to London remained unfulfilled. For, despite his stylish sweats during his three-week stay in England, Gandhiji was unhappy to return empty-handed, having failed to get justice for Indians in South Africa from British politicians. As he sat in his cabin on board the ’S.S. Kildonan Castle,’his mind was swamped with significant issues presented by the violent partisans during the addresses. Pranjivan Mehta, a close friend, scarfed at his ideas about Swaraj Civilization and the use of violence. Gandhiji said that he penned the whole “ Hind Swaraj” to give his friend Pranjivan Mehta his point of view on these issues. Hind Swaraj

b)  Women in Kanthapura

Women in Kanthapura  Raja Rao’s famed new “ Kanthapura” (1938) chronicles the development of a Gandhian nationalist movement in a little South Indian vill named Kanthapura. The tale is told by Achakka, an senior Brahmin lady who knows all there's to know about everyone in her community. She tells the tale in the form of a sthala-purana, which is a traditional history of a village, its occupants, gods, and customs. Women in Kanthapura

c)   The Harikatha Element

The Harikatha Element  Raja Rao’s famed new “ Kanthapura” (1938) chronicles the development of a Gandhian nationalist movement in a little South Indian vill named Kanthapura. The tale is told by Achakka, an senior Brahmin lady who knows all there's to know about everyone in her community. She tells the tale in the form of a sthala-purana, which is a traditional history of a village, its occupants, gods, and customs.

d)  The Title of Midnight’s Children

 

The title of Midnight’s Children comes from the hour of India’s independence, August 15, 1947. In Rushdie’s book, all the children born at the same time come the children of the period “ Sired, you understand, by history.” And the childrens represent “ the loftiest of bents of which men have ever pictured”. The Harikatha Element

e)   Roopa’s role in Tara

 

The Title of Midnight’s Children Mahesh Dattani constantly takes as his subject the complicated dynamics of the ultramodern civic family. His characters struggle for some kind of freedom and happiness under the weight of tradition. Cultural constructions of gender, and repressed desire. The Title of Midnight’s Children  Their dramatizations are played out on multi position seats where interior and surface come one, and geographical locales are collapsed in short, his settings are as fractured as the families who inhabit them.

 In his plays, Dattani takes on what he calls the “ unnoticeable issues” of Indian society. In an interview, Dattani says, you can talk about feminism, because I a way that's accepted. But you ca n’t talk about gay issues because that isn't Indian, does n’t be then. You can’ talk about a middle class housewife featuring about having coitus with the chef or actually having coitus life-that is n’t Indian either that's combative indeed if it's Indian.