Indian Literature Story - Definition, Review, Importance | Essay

Indian Literature Story - Definition, Review, Importance | Essay

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Indian Literature Story - Definition, Review, Importance, Meaning, Example | Essay

Indian Literature Story - Definition, Review, Importance | Essay
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Dear reader, in this article today, I have told you about the all facts of literature and literature. In this article, I have emphasized almost everything.

When you read this article, you will get a solution for every question that arises in your mind. 

Here are the names of some topics on which this article has been written :- Indian Literature Story, Definition, Review, Importance, Meaning, Example.

This literature has been written in such a way that when you read this article, you will be completely absorbed in it.

Understand Indian Literature - What does it mean to me?

➽ As Io was born in a Hindu Indian family, my own responses to literature have been marked by variety and diversity.

The earliest literary creations which took my ears and heart captive in my early boyhood were the music and magic and the directness of appeal of the poems of Tulsidas, Surdas, Meera, and Kabir.

The stories of the Mahabharata gripped my juvenile heart and mind. Then as I learnt Urdu, the stories of Premchand had an irresistible fascination for me.

Numerous folk-songs and folk-poetry such as the Alha Ballad captivated me and plunged me into depths within depths of thought and emotions.

In my early youth Bankim Chandra Chatterji's novel Vishvriksha (The Poison Tree) had an irresistible appeal.

The 'Bande Mataram' (National Song Of India) song has been throughout my life, since my youth, a 'mantra' or an incantation, which made criticism seem impertinent.

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➽ Before I stepped into the first years of my youth, Persian, Urdu and English literary creations had begun to be familiar reading for me.

My literary creed and faith were yet uncritical and largely in-discriminating. But even then, rightly or wrongly, I felt that some famous books rubbed me the wrong way, or that somehow I could not stand them.

One such book which simultaneously attracted and repelled me was Saadi's Gulistan (Flower Garden) which by the beauty and the miracle of its naturalness and charm of style simply floored me.

But subconsciously I felt that the justly world-famous brief stories of this book were written by a certain Mr. Worldly-Wise who was also a man of genius.

Why be so clever, so careful, so prudent, so circumspect ? In other words, so wordly-wise ? Why not allow a few follies and foibles and a few human weaknesses to save you or absolve you from the charge of perfection ? I felt that to be nothing but right was to be wrong.

➽ During my early young age the poetry of the Urdu poet Daagh was all the rage. This poetry is marked by such wit, such uncommon powers of repartee, irony, sarcasm and cynicism that it could not but antagonize you.

It seemed to be an insult to human innocence and simplicity of heart. It almost hurt me. At this time an English poem which touched the tenderest chords of my heart was Gray's Elegy.

Several years later the Urdu verse-rendering of this poem appeared to me to equal and rival its English original.

Lanepoole's Aurangzeb by its effortless but nevertheless marked and unmistakable prose-rhythm, its elegance and choice diction of its style, had such an all-conquering effect on me that only two or three readings enabled me to learn and reproduce almost the whole book by heart.

I had begun now to be uncommonly perceptive of and sensitive to the audible appeal and charm of style. One of the boos prescribed for us was Stevenson's Virginibus Pueresque. The essays in this book seemed to have frequent passages which had a rare charm.

But at the same time I could not escape the feeling that they were marked by a labored formality, a quality of almost all Victorian prose. Carlyle, Ruskin, Macaulay, Newman and the other Victorian giants generally wrote a prose lacking in quietness and ease.

➽ Eloquence is all right, claptrap too has a place. but silently and imperceptibly I felt that what Lord Morley calls the quiet style was the best thing in literature.

Literature, specially prose literature, is in frequent danger of making a noise. Let prose not become over-vocal, which is only another name for vociferousness. Over-emphasis, even in Carlyle and Ruskin, betrays weakness.

The Authorized Version of the Bible is one of the finest examples of the quiet style where simplicity and homeliness touch the stars. In the course of my studies, I discovered that the earliest and the greatest prose writer was Plato.

Plato is the master of the quiet style. His sentence never violate the rules and conditions of easy natural level-headed, equable and unruffled.

➽ I felt from the days of my early youth that a genuine love of literature could only pay dividends if a lover literature was keenly interested not only in literature but in all subjects of central importance to human life, such as higher logic, all schools and varieties of philosophy, economics, political science. When I first read Bergson's Creative Evolution,

Then felt I like some watcher of the skies
When a new planet swims into his ken.

➽ My studies touched on all these subjects and the allied subjects. i felt that literature was not like a wheel revolving in the void. The whole field of human culture gave birth to literature.

➽ The secret of style was a question which fascinated me from the start and continued to do so throughout my life.

I felt that while the sciences and the entire 'literature of knowledge' were marked by exactness, the 'literature of power' was marked by accuracy.

Exactness meant measurement of the extend, accuracy meant capturing the secret and the truth of the unextended. The next problem of style was alighting upon what is known as the bon mot, i.e. the word, the only word, the inevitable word and phrase.

Such words and phrases had to be selected from and out of the day-to-day speech of the common people of all classes, from the living speech of the people; they have to be in widest commonalty spread.

Literature is brilliant illiteracy. It is more communal than all the external paraphernalia and the externals of the life of a community. Literature, both for an individual and for a community, was a voyage of self-discovery.

➽ My studies happened to prove lucky for me. The great English novelists, the great philosophers and thinkers, Burke and Bacon, Sir Thomas Browne and other masters of English and continental prose and poetry, as also the great makers of Persian prose and poetry, combined to create my mental make-up.

But all through, my nostalgia or home-sickness for the tone and temper and for the nectared accent of Sanskrit literature through translations and through my familiarity with and direct knowledge of about a thousand Sanskrit or Sanskrit-derived words and phrases, remained.

Most other literature of the highest order were, I felt, life-like but literature of Hindu culture was life-giving. I felt that the best Hindu literature and the best in Hindu culture enable me to remain.

True to the kindred points of heaven and home.

➽ A central and perennial problem for human civilization was the achievement of the ease, the balance, the affirmation, the harmony, the blessedness of the feeling of at-homeness, oneness and kinship with Nature.

Hindu culture taught the secret of discovering this feeling, this experience and this self-fulfillment. The poetry of Wordsworth, and as a rich supplement, the poetry of Keats revealted to me that secret of Hindu culture.

No God, no prophet, no mosque, where for the first time any prophet worshipped an authority-exercising God or any kind or variety of theological theism, could equal in sacredness, sanctity or divinity, the Earth, its rivers and mountains, the procession of its seasons and the living creatures of the earth.

➽ The word God had been made a dreadful thing by semantic thought which would have finished long ago had it not been ballasted and balanced by mysticism and mystical experiences.

I also discovered that for the most part non-Hindu mysticism was a world-excluding and nature-excluding line of thought.

The ultimate reality is not only immanent in nature, it was incarnate as nature. Nature and life were not the 'Jalwa' or the light of something other than nature.

Nature was its own 'Jalwa' and its own light. It was both earthly and divine, sensuous and super-sensuous.

It is divinity incarnate. We have not been created to become God's most obedient servants and slavish worshipers.

We have been created to realize our own divinity. Swami Vivekananda addressed several audiences by calling them 'children of immortal bliss'.

➽ But this experience which the best poetry gave me is not the whole story of literature. It opens up vista after vista, vision after vision of the phenomenal world. it is the story of nature, of all forms of life with its bewildering variety, of all thoughts, all passions, all delights.

It creates within us by innumerable methods and examples, a sense of order and harmony. Literature teaches and makes us feel in the deepest core of our being that man has not been born for exclusive attachment to any 'Millat' or denomination.

There is only one true religion, the religion of humanity. To a Hindu every man in any part of the world belonging to any race or religion was the flesh of his flesh and the bone of his bone.

Our Shastras do not speak of any particular 'Deen' (creed) or "mazhab' (religion), any particular Millat or 'Sampradaya', but of Dharma, certainly not Hindu dharma.

➽ Literature has meant to me that sublime paganism of Hindu thinkers which refuses to divide men into those who will be saved and those who are doomed for ever.

The doctrine of Karma is entirely independent of race, creed, religion, metaphysical belief, theology or particularism of any other kind.

There is no Creator or ruler of the universe. The universe is a self-created event. The progress of my discourse on what literature has meant to me has landed me on metaphysics.

I shall conclude by saying that literature is the most secular and the most spiritual force in life. In Scott's novel the Reds run away with all the prizes, in Milton's Paradise Lost Satan attains a divine stature.

Such instances can be multiplied. To me literature has meant one thing and one thing only, the discovery of goodness and of blessedness.

Beauty is the discovery  and the perception of the truth that the universe and everything in the universe can give us the finest, the richest, the highest and the most illuminated aesthetic satisfaction.

'Beauty is Truth, Truth Beauty' - that is allYe know on earth, and all ye need to know.

Tat twam asi (Thou art That) having found which, as the Upanishads say, all is found.

(You Were Reading : Indian Literature Story - Definition, Review, Importance, Meaning, Example | Essay)

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