AMALGAMATION OF FOLKLORE AND CONTEMPORARY ISSUES IN GIRISH KARNAD'S
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Research Journal of English Language and Literature (RJELAL)
A Peer Reviewed (Refereed) International Journal Vol.7.Issue 1. 2019
Impact Factor 6.8992 (ICI) http://www.rjelal.com; (Jan-Mar)
Email:editorrjelal@gmail.com ISSN:2395-2636 (P); 2321-3108(O)
RESEARCH ARTICLE
AMALGAMATION OF FOLKLORE AND CONTEMPORARY ISSUES IN GIRISH KARNAD’S
HAYAVADANA AND SALMAN RUSHDIE’S MIDNIGHT’S CHILDREN
Dr. M. RAMESHWOR SINGH1, Dr. Y. PRABHABATI DEVI2
1
Assistant Professor, D.M. College of Arts, DMU, Imphal, Manipur
2
ACTO, KVK, Chandel, Manipur
doi: https://doi.org/10.33329/rjelal.7119.57
ABSTRACT
Folklore is the expressive body of culture shared by a particular group of people
which encompasses the traditions common to that culture, sub-culture or group,
including both tangible material culture and intangible oral traditions such as tales,
proverbs, and jokes, customary lore, the forms and rituals of celebrations such as
weddings, dances, the traditional beliefs, popular myths, customs, stories of a
community or beliefs relating to a particular place, or group of people. Each one of
Dr. M. RAMESHWOR SINGH these, either in isolation or combination, is considered a folklore artifact. It also
encompasses the transmission of these artifacts from one region to another or from
one generation to the next. These traditions are transmitted along informally from
one individual to another either through verbal instruction, imitation, repetition or
demonstration. This informal knowledge is used to confirm and reinforce the
identity of the group. According to William Bascom, an American folklorist,
anthropologist and museum director, in the human society folklore performs five
basic functions such as – amusement, validating culture, education, maintaining
conformity to the accepted patterns of behavior and instrument of social and
political change. Besides, folklore, even though it is considered to be a domain of
social sciences, has a close proximity with literature. In most of the societies, we
found the elements of oneness in folklore and literature. During the ancient and the
medieval period most of the literary elements were based on artifacts of folklore
and in those periods oral literatures were converted and preserved in written form.
Literary writers imported many of these folklore artifacts in literature and they tried
to add local colour, design and traditional metaphors in their composition. Oral
traditions in the form of myths, legends, folktales, folk songs, riddles, proverbs and
idioms, either in original or in changed forms are abundantly used in literature. The
present papers attempts to trace out some of these elements in fusion form which
are utilized in literature to analyze contemporary issues like identity crisis,
existential dilemma, longing for fulfillment, sense of estrangement etc. It also
attempts to figure out the educative values of folklore in discussing and
understanding the complex human nature.
Key words: Culture, folklore, tradition, identity, literature, contemporary issues.
.
57 Dr. M. RAMESHWOR SINGH, Dr. Y. PRABHABATI DEVIResearch Journal of English Language and Literature (RJELAL)
A Peer Reviewed (Refereed) International Journal Vol.7.Issue 1. 2019
Impact Factor 6.8992 (ICI) http://www.rjelal.com; (Jan-Mar)
Email:editorrjelal@gmail.com ISSN:2395-2636 (P); 2321-3108(O)
INTRODUCTION folklore cannot be fruitful and perfect without the
study of its culture. In culture one finds one’s
Folklore is the expressive body of culture
intellect and sense of refinement released and in
shared by a particular group of people which
folklore creative ideas are expressed and shaped
encompasses the traditions common to that culture,
and one’s aesthetic impulse takes a form.
sub-culture or group. They include both tangible
material culture and intangible oral traditions such It was William Thoms who coined the term
as tales, proverbs, and jokes, customary lore, the folklore in 1846 in English to replace popular
forms and rituals of celebrations such as weddings, antiquities and popular literature. The manners,
dances, the traditional beliefs, popular myths, customs, observances, superstitions, ballads,
customs, stories of a community or beliefs relating proverbs and so on were part of folklore as viewed
to a particular place, or group of people. Each one of by Thoms. Going into the literary meaning of
these, either in isolation or combination, is folklore, we identify folk and lore as two distinct
considered a folklore artifact. It also encompasses aspects. The folk identifies with the specific
the transmission of these artifacts from one region community whether it is tribal or non-tribal and lore
to another or from one generation to the next. specifies the collective knowledge or wisdom on a
These traditions are transmitted along informally particular subject. Lore is also often associated with
from one individual to another either through verbal myth. It has been stipulated by the scholars that
instruction, imitation, repetition or demonstration. folklore depends mainly on oral traditions and there
This informal knowledge is used to confirm and are little margins for their recreation or change in
reinforce the identity of the group. developing society. However, when we look at the
developing societies today we observed that
A. Taylor, an eminent American folklorist,
although the basic genesis of folklore may not
has defined folklore as the material that is handed
change but its manifestation and interpretations
on by tradition either by word of mouth or by
may see perceptible and imperceptible changes.
custom and practice. It may be folk songs, folktales,
riddles, proverbs or other materials preserved in Folklore basically has three important
words. While elaborating folklore M. Islam says that characteristics: the body of knowledge, the mode of
folklore is the outcome of the human mind imbibed thought and mind of art which is drawn as
with creative feelings. Since ancient time two reflections from culture. The process of diffusion,
faculties of human mind have been responsible for invention, acceptance or rejection and integration
the creation, preservation and transmission of are as much the part of folklore as of the culture in
folklore. These are creative idea and urge of totality. Just as culture presents the integrated
aesthetic and artistic impulse. The lore or traditional growth and development with the change, similarly
learning was inspired by these two to help creation folklore entails the practices or traditions in terms of
of folklore (M. Islam, 1985:13). Oxford University forms and functions or inter-relations with other
dictionary has looked upon culture as the aspects of culture, experiencing the growth and
intellectual side of civilization. Edward Taylor defines change which may be institutionalized over a period
culture as that complex whole which includes of time. Folklore also functions as a bridge between
knowledge, belief, art, morals, law, custom and any two cultures through its transmission from one
other capabilities and habits acquired by men as culture to another. Geographical conditions,
member of society. If culture is the product of the linguistic position and social interest based on
intellectual faculty of man, folklore is the result of commonality of livelihood influence the emergence
his creativity and impulsive love for beauty and and perpetuation of folklore. The elements of
knowledge. There is a strong intimate undercurrent folklore are, therefore, not altered from an
between folklore and culture. Man nourishes culture individual decision but they are transmitted to the
through folklore. Folklore is, therefore, a product of next generation by a community interest of group
culture, a component part of culture. Since folklore identity. The community or the group may play an
finds its expression through culture, the study of important role in perpetuation of the folklore but
58 Dr. M. RAMESHWOR SINGH, Dr. Y. PRABHABATI DEVIResearch Journal of English Language and Literature (RJELAL)
A Peer Reviewed (Refereed) International Journal Vol.7.Issue 1. 2019
Impact Factor 6.8992 (ICI) http://www.rjelal.com; (Jan-Mar)
Email:editorrjelal@gmail.com ISSN:2395-2636 (P); 2321-3108(O)
this commonality of sharing emerges from individual their composition. Oral traditions in the form of
creation, which is accepted by the group as a whole. myths, legends, folktales, folk songs, riddles,
There is a continuum in knowledge and a learning proverbs and idioms, either in original or in changed
process of folklore for future generations. A forms are abundantly used in literature.
community or group of people in a particular setting
ELEMENTS OF FOLKLORE IN LITERATURE AND
plays an important role in creation, transmission and
CONTEMPORARY ISSUES:
sometimes transformation of some of the elements
of folklore. Folk literature is a constituent of folk tales,
which include myths, legends, fairy tales, animal
Folklore encompasses the customs,
fables, riddles, proverbs, ballads, chants, songs etc.
knowledge systems, games, beliefs, practices,
This dimension of folklore exists in literate and non-
literature, performing and non-performing arts,
literate societies. Folklore is the product of a special
which include dance, music, theatre, drama,
form of verbal art. Literature is also a verbal art, and
painting, sculpture, making of crafts with several
for this reason a closer connection exists between
materials, festivals, rituals etc. The process of
folklore and literature. Literature and folklore
transmission of knowledge through sustenance,
overlap partially in their poetic genres. There are
reshaping, renewal, creation of variants contained in
genres specific to literature and to folklore, and
all the artifacts of folklore has been a continuous
therefore both folklore and literature can be
phenomenon since the human civilization appeared
classified by genres. One of the most important
on this earth. Since transmission of folklore is a time
differences between literature and folklore is that
sustained process we have to look into several
literary works invariably have authors. Folk
theories of folklore given by various scholars.
literature, on the contrary, never has an author. If
Modern scholars have embraced methodologies
we go into the history of Indian classical literature,
such as aesthetics and literary, comparative,
Vedas were also included in the category of folk
nationalistic, anthropological, psychoanalytical and
literature because they were the knowledge
structural.
transmitted from one generation to another through
According to William Bascom, an American speaking and hearing. It was much later in history
folklorist, anthropologist and museum director, in that Vedas were written down. All the elements of
the human society folklore performs five basic learning that are passed through speaking and
functions such as – amusement, validating culture, hearing are part of the oral tradition belonging to
education, maintaining conformity to the accepted folk literature, which is transmitted from generation
patterns of behavior and instrument of social and to generation in a society. These oral traditions may
political change. Vladimir Propp, a famous Russian be documented in writing as in the case of the
folklorist says that problems of folklore are acquiring Vedas or may continue to be passed on orally
more and more importance nowadays. None of the through narratives, without a written record. Hence,
discipline of humanities, be it ethnographic, historic, there is closely integrated relationship between the
linguistic or the history of literature, can do without oral and written literature.
folklore. Besides, folklore, even though it is
For many years it has been an accepted
considered to be a domain of social sciences, has a
worldview that literature is transmitted through
close proximity with literature. In most of the
writing and folklore by oral transmission. Until now
societies, we found the elements of oneness in
this dimension has been considered to be purely
folklore and literature. During the ancient and the
technical. However, it captures the innermost
medieval period most of the literary elements were
difference between the functioning of literature and
based on artifacts of folklore and in those periods
folklore. The written words provide boundaries to
oral literatures were converted and preserved in
the spoken words. Oral narration may undergo few
written form. Literary writers imported many of
unrecorded changes over a period of time without
these folklore artifacts in literature and they tried to
much notice, but a literary work, once it has been
add local colour, design and traditional metaphors in
59 Dr. M. RAMESHWOR SINGH, Dr. Y. PRABHABATI DEVIResearch Journal of English Language and Literature (RJELAL)
A Peer Reviewed (Refereed) International Journal Vol.7.Issue 1. 2019
Impact Factor 6.8992 (ICI) http://www.rjelal.com; (Jan-Mar)
Email:editorrjelal@gmail.com ISSN:2395-2636 (P); 2321-3108(O)
published, no longer has it changed. It exists only they belong to no specific author. They have a social
when two agents are present: the author and the or collective authorship. The most remarkable
reader. The mediating link between them is a book, characteristic of myth is its normative nature. It sets
manuscript, or performance. A literary work is down rules which specifically apply to the moral
immutable, but the reader always changes. Aristotle realm.
was read by the ancient Greeks, the Arabs, and the
Contemporary Indian drama in English
Humanists, and we also read him, but all read and
translation has made bold innovations and fruitful
understand him differently. True readers always
experiments in terms of both thematic concerns and
read creatively. A work of literature can bring them
technical virtuosities. It has been increasingly
joy, inspire them, or fill them with indignation. They
turning to history, legend, myth and folklore,
may wish to interfere in the heroes’ fortune, reward
tapping their springs of vitality and vocal cords of
or punish them, change their tragic fate to a happy
popularity with splendid results. Girish Karnad,
one, or put a triumphant villain to death. But the
Mohan Rakesh, Badal Sirkar and Vijay Tendulkar
readers, no matter how deeply they are aroused by
have remained the most representative of the
a work of literature, are unable and not allowed to
contemporary Indian drama not only in Kannada,
introduce any changes to suit their own personal
Bengali, Marathi and Hindi respectively but also on
tastes, whims and fancies or the views of their age.
the pan Indian level. Among the major Indian
Literature, which is born of folklore, soon dramatists mentioned above, Girish Karnad has
abandons the mother that reared it. Literature is the been regarded as the leading dramatist so far as the
product of another form of consciousness. This does use of myth and history is concerned and his plays
not mean that literature is realized through vividly represent this trend. In all his plays there are
individuals isolated from their environment. It mythical, historical or legendary elements with
means that the individual represent this modern approach.
environment and their people but do it in their own
In his play Hayavadana, Karnad reinforces
individual unique, personal way. In the power strata
the central problem of human existence in a world
creative art continues to exist on the old basis,
of tangled relationships. Originally, it was written in
sometimes in interaction with the art of the ruling
Kannada and later on translated into English. The
class. Characters in narrative folklore and literature
dramatist skillfully uses the principles and theme of
are quite different. In literature they are unique
Indian mythology, folk tales and folk theatre
individuals; they typify a period or social milieu,
conventions – use of masks, curtains, dolls, the story
generalize the features of many people and reflect a
within a story, use of image of Kali, Ganesha, Rudra
great number of prototypes, but remains
etc. to create an allegorical significance and a bizarre
individuals. They have their own names and possess
world of incomplete individuals, indifferent gods,
their own personalities. The following discussion
dolls that speak and children who cannot, a world
may specify some domains of inter-textual context
which appears to be indifferent to the desires and
of folklore and literature.
frustrations, joys and sorrows of human beings. The
MYTHICAL ELEMENTS, FOLKLORE AND symbolic core of Hayavadana comprises the
CONTEMPORARY ISSUES IN GIRISH KARNAD’S philosophic crisis of estrangement between mind
HAYAVADANA: and body. Like its predecessor Tughlaq, Hayavadana
too is thoroughly modern in outlook and spirit.
Generally a myth is a tale or narrative with
Karnad here goes back in time to make a very
a symbolic meaning. Human, non-human and super-
relevant social commentary. Here the only
human characters appear in myths. The presence of
inspiration is not history but mythology and folklore.
these super-human agencies endows myth with a
Here he explores all the modern concerns through
numinous character. As these characters are
the lens of the eternal emotion of love. Through
transcendent, they raise awe and fear in us. Myths
folktale and myth Karnad gives us an insight into the
are considered to be pre-historical and therefore
issues of modern life in entirely new ways. Hence,
60 Dr. M. RAMESHWOR SINGH, Dr. Y. PRABHABATI DEVIResearch Journal of English Language and Literature (RJELAL)
A Peer Reviewed (Refereed) International Journal Vol.7.Issue 1. 2019
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Hayavadana is traditional yet modern. Vanashree translation of the Sanskrit Vetal Panchavimsati
Tripathy feels that “Karnad’s confabulaton of the which forms part of Kshemendra’s Brihat Katha
classics with the folktales of the transposed heads Manjari and Somadeva’s Kathasaritsagara to the
and the story of a half-man, half-horse, playfully point of a man’s eternal quest for self-realization.
dilutes the prototypical themes (Shakuntalam and The theme also reveals the Upanishad’s principle
Mrichhakatikam), where the ideal balance between that visualizes the human body as a symbol of
duty and passion is restored. Hayavadana, in organic relationship of the parts to the whole. The
exploring the realm of love: erotic man-woman, issue of transposition of heads is the significant issue
male bonding, parent-child, offers us insight into the in this play. Karnad dramatically exposes the
desires, hopes, fulfillment and frustration it breeds”. incompleteness of the human being by referring to
some of the stylized actions.
The plot of Hayavadana is derived from
Somdeva’s Brihadkatha Saritsagar, an ancient Karnad employs his mythological tale to
collection of stories in Sanskrit. The central episode show modern man’s efforts towards achieving a
in the play, the story of Devadatta, Padmini and sense of completeness, and a search of human
Kapila is based on a tale from Vetala identity in a world of tangled human relationship.
Panchavimshika, but Karnad borrowed it through The confusion of identities in the main plot of
Thomas Mann’s novel Transposed Heads, a mock- Devadatta-Padmini-Kapila story reveals ambiguous
heroic transcription of the original Sanskrit tales. nature of human personality. After their heads are
However, the sub-plot – horse-man’s search for transposed Devadatta and Kapila do not retain their
completeness, is Karnad’s creative invention. original selves. Thus, they lose themselves. Padmini,
Hayavadana is a play of the ‘mad dance of who after the exchange of heads, thinks that she has
incompleteness’ and search of identity in a world of the best of both the worlds, slowly reaches
tangled relationships. Devadatta, the intellectual, disillusionment. The play seems to suggest that if
and Kapila, the man of physicality, are intimate perfection or completeness means fusion of two
friends who represents two extreme opposites – polarities, such completeness is not possible. The
one Appolonian and another Dionysian tendency. In myth has been reinterpreted and has been used to
the play, Devadatta marries Padmini and Padmini present a very modern problem of tangled
and Kapila are attracted to each other. The two relationships in the contemporary society. It blends
friends kill themselves. In a highly comic scene, the modernist ideas of identity and completeness
Padmini transposes their heads, giving Devadatta with folklore and myth effortlessly. Hayavadana
Kapila’s body and vice-versa. It results in a confusion presents a universal and very real emotional
of identities which reveals the ambiguous nature of dynamics that lie close under the whimsical surface
human personality. When the situation gets of the plot: friendship and jealousy, self-possession
complicated, they fight a duel and kill themselves and self-doubt, and most importantly, love.
again. Padmini performs sati. Through this plot Hayavadana is unique in the sense that it
Karnad delves deep into the traditional myths to encompasses all the aspects of life and experience.
spell out modern man’s anguish and dilemmas. All three spheres of existence – divine, human and
animal encompassed and Karnad looks at the
In Hayavadana, Karnad re-shapes an
problems of each with a sympathetic and discerning
ancient Indian myth from Vetal Panchavimsati to
eye.
point to man’s eternal quest for completeness, or
self-realization. With its highly stylized action and In this play, the central figure is a woman,
mimicry, especially the scene at the temple of Kali Padmini. Selfishness and sensuality find expression
and the sword fight between Devadatta and Kapila in her insatiable desire for both brain and body,
in the second act. Karnad invests the play with a which are symbolized by Devadatta and Kapila
significance, which brings out the emptiness of the respectively. Married to Devadatta, Padmini craves
incomplete human being. The play is a re-shaping of for the ‘muscle’ and ‘body’ of Kapila. In the myth
an ancient Indian myth from Thomas Mann’s and in the play as well the craving is explicit; it runs
61 Dr. M. RAMESHWOR SINGH, Dr. Y. PRABHABATI DEVIResearch Journal of English Language and Literature (RJELAL)
A Peer Reviewed (Refereed) International Journal Vol.7.Issue 1. 2019
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Email:editorrjelal@gmail.com ISSN:2395-2636 (P); 2321-3108(O)
an undercurrent in Padmini’s subconscious mind. the past as well as its relevance to an understanding
The happenings in the Kali temple where she of the contemporary world.
transposes the heads of Devadatta and Kapila,
FANTASY, MYTHOLOGY AND MAGIC REALISM IN
reveal her subconscious desire. Padmini’s
SALMAN RUSHDIE’S MIDNIGHT’S CHILDREN:
predicament is the predicament of a modern
emancipated woman in our society who is torn Fantasy is an inseparable element of
between two polarities – a woman who loves her folklore and magic realism. In fact, it has always
husband but at the same time is also attracted been an important part of literature. Without
towards someone else for a different aspect of his fantasy, literature is unimaginable. The great epics
personality. Padmini’s act, though unintentional, is like – The Ramayana, The Mahabharata, The
indicative of the incomplete human being’s silent Odyssey, The Iliad, The Aeneid, Beowulf, Khamba-
quest for completeness. Thoibi Sheireng etc. are all fantasies. Rushdie has
used fantasy as a literary device in Midnight’s
One of the significant skills of Karnad while
Children. He has mixed and woven fantasy to the
dealing with myth is the transformation of religious
very fabric and texture of his novel. From the very
myths into the non-religious ones. He transforms
beginning, the fantastic nature of the novel becomes
the religious myths to question as well as critique
evident when the narrator, Saleem Sinai, informs
those myths. He makes certain changes in the
about his birth in the following words:
names of the characters for he wanted the names
not to be the reflection of the ancient myth entirely; I was born in the city of Bombay….once
he wanted the names to be generic. The presence of upon a time. No that won’t do, there is no
the goddess Kali presents the religious sentiment of getting away from the date, I was born in
the Indian society. It also focuses on the cultural and Doctor Narlikar’s nursing home on August
psychological interpretations of the goddess Kali to 15, 1947. And the time? The time matters,
be the representative of a deity as well as a too. Well, then: at night. No its important
destroyer and preserver. In this play divine to be more…On the stroke of midnight, as a
intervention unfolds the central theme, the matter of fact. Clock-hands, joined palms in
incompleteness of the human beings and the same respectful greetings as I came. Oh, spell it,
man’s quest to achieve completion. Karnad develops spell it out: at the precise instant of India’s
various folk conventions like music, chorus, and the arrival at independence, I trembled forth
amalgamation of human and non-human worlds in into the world. (Midnight’s Children: 3).
order to permit a simultaneous presentation of With this fairytale type of narration, the
alternative points of view. Interestingly, the main narrator alerts the readers that fantasy awaits them
and the sub-plot of Hayavadana deal with the ahead. Thus, Saleem and the new state of India
moral, psychological and philosophical aspect of the become symbolic counter parts: both are born on
problem raising more important issues relating to th
15 August, 1947 along with one thousand other
the human existence. children born in the first hour of independence.
Indian society is conservative and They turn out to have miraculous powers of
traditional and an individual is still governed by transmutation, flight, prophecy, wizardry, etc. Every
societal roles and norms that ensure a continuity child born between midnight and 1.00 am is
and survival of its cultural norms. As Eric Fromm endowed with some special power. The closer to
writes, “We are what we believe in and where we midnight their births are, the greater are their gifts.
live in”. Karnad makes use of myths, mythologies This is really something very much fantastic
and folklore as his source of plays, not for the interwoven with the thematic structure of the novel.
glorification of the chosen myths but to relate the It has been presented elaborately by the novelist.
myths to the present and the past beliefs found in Even the narrator is not certain about the mystery
these myths. Karnad provides us with a glimpse of behind this phenomenon of magical gifts to the
newly born midnight children. It has been one of the
62 Dr. M. RAMESHWOR SINGH, Dr. Y. PRABHABATI DEVIResearch Journal of English Language and Literature (RJELAL)
A Peer Reviewed (Refereed) International Journal Vol.7.Issue 1. 2019
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best examples of co-mingling of extra-ordinary with unfortunates. The narrator throws light on this fact
the mundane which instantly puts the novel into the by the following statement:
category of magic realism. The narrator also sites
Midnight has many children; the offspring
some more examples of other midnight children’s
of independence were not all human.
gifts which are really noteworthy to get overall
Violence, corruption, poverty, generals,
impact of fantasy. They are:
chaos, greed and pepper pots….(ibid: 291).
i. A pair of twin sisters in Orissa possesses the
At the age of nine years, Saleem realizes
ability of making everyone who sees them
about his telepathic powers – a miraculous gift of
fall hopelessly and often suicidally in love
the midnight. When he complains his parents about
with them.
hearing voices in his head, his father hits him in the
ii. A boy from Kerala has got the ability of ear. Thus, his ‘stupid cracks’ are literalized into
stepping into mirrors and re-emerging physical cracks. Then after, Saleem begins to enjoy
through any reflective surface. his special power secretly. To begin with, he cheats
at school by reading the thoughts of his teachers
iii. A Goanese girl can multiply fish, and a
and in that way he begins to score good marks.
werewolf from the Nilgiri Hills, and then a
Gradually, he moves further and farther. Thus, here
boy in Vindhyas can increase or reduce his
through the lens of magic realism and Saleem as his
size at will.
mouthpiece, the writer discloses the bitter reality of
iv. From Kashmir, a blue eyed child can change the nation. The narrator also shares unhappy
his/her sex by immersing in water. information that all the one thousand midnight
v. Outside Calcutta, a sharp tongued girl children do not survive. In fact, 420 out of them die
whose words have the power of inflicting on account of malnutrition, disease and misfortunes
physical wound to others. of everyday life. Here, the novelist points out that
the number of death – 420 has been the number
vi. A boy can eat metals and a girl whose associated with fraud, deception, and trickery. After
fingers are so green that she can grow prize the death of 420 midnight’s children, only 581
aubergines in Thar desert. continue to exist with their miraculous gifts. Here
vii. A boy from Lucknow has mastered the lost again, the number of survived children – 581 has
art of alchemy, and a washerman’s symbolic importance. It so happens that there is 581
daughter from Madras, can fly higher than seats in India’s Lower House of Parliament, the Lok
any bird simply by closing her eyes. Sabha. These 581 remain as a parliament in Saleem’s
brain. Thus, Midnight Children’s Conference takes
viii. A Benarsi silversmith’s son is bestowed
on a symbolic importance. Saleem uses his magical
with the gift of travelling in time and thus
power to organize this conference where all the
prophesying the future as well as clarifying
midnight’s children get connected to talk, discuss,
the past.
quarrel in myriad languages. Saleem is the
ix. Besides, to Shiva the midnight’s hour had spokesperson of these children whom he unites in
given the gift of war and to Saleem, the the parliament of his mind. The Midnight Children’s
narrator, was bestowed the greatest talent Conference is a metaphor of heterogeneous Indian
of all- the ability to look into the hearts and society, its very essence of multiplicity. In many
minds of man. ways, it reflects the issues faced by India in its early
statehood concerning the cultural, linguistic,
Apart from these, there are also some
religious and political differences.
midnight’s children born in the last seconds of the
hour. They are not gifted with anything noteworthy, Myth is an idea or story that many people
instead they are little more than circus freaks and believe, but which is not true. The very concept of
the Midnight’s Children being born with miraculous
63 Dr. M. RAMESHWOR SINGH, Dr. Y. PRABHABATI DEVIResearch Journal of English Language and Literature (RJELAL)
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powers is a myth. The important characters in India’ born out of the emergency, personified by
Midnight’s Children – Saleem, Shiva and Parvati are Adam Sinai:
all names derived from mythology. Sinai is
We, the children of independence, rushed
associated with Mount Sinai, Lord Shiva is the Indian
wildly and too fast into our future; he,
mythological God of destruction and Parvati, his
Emergency-born, will be already more
wife. Saleem’s sister, Zamila, is nicknamed ‘Brass
cautious, biding his time; but when he acts,
Monkey’ which reminds us of Hanuman whose tail
he will be impossible to resist. Already he is
of setting fire to Lanka, the capital of Ravana. It finds
stronger, harder and more resolute than I;
a comic parallel in the brass monkey’s habit of
when he sleeps, his eyeballs are immobile
setting fire to shoes. Shiva is an example of
beneath their lids. Adam Sinai, child of
mythological history and alter ego of Saleem. The
knees and nose, does not surrender to
reference to the alter ego also reminds us of the two
dreams (ibid: 594).
brothers from the epic Ramayana, Ravana and
Vibhishana, who stand opposite in the war in which The use of myth is persistent in the novel
Rama kills Ravana. Here Saleem’s intention of linking that Rushdie uses this technique in ironic and playful
Shiva not only with God but also with epic hero is manner for recording his narrative in mythical terms
evident. Unlike Lord Shiva who destroys evils, that surfaces in his meta-fictional observations.
Midnight Children’s Shiva destroys good and he is Using Hindu myth as the most satisfactory mode of
determined to destroy Saleem. Rushdie uses the expressing ideas about the contemporary reality and
word Kali Yuga to refer to the present era as an the world, Rushdie has enriched realism. He has
epoch of evil. The motif of betrayal constantly created the alternative version of reality to
appears in the novel. Amina, Pia, Leela Sabarmathi, delineate all that is invisible, suppressed, unsaid and
Parvati, Vanita and Indira Gandhi are guilty of unofficial.
betrayal. All these failures are seen in relation to the Midnight’s Children is profusely loaded
epic Ramayana, which exalts the virtues of loyalty. with the essential features of magic realism. A new
Another reference to mythology can be trend of writing is initiated with publication of this
found in the text where Saleem gets lost in the novel. The novel is stuffed with the elements of
Sunderbans in Bangladesh and becomes Buddha. sexual frankness, unconventional narrative
This lost period in Saleem’s case can be considered technique, excellent blending of history, political
enlightenment. The jungle can also refer to the allegory, fantasy, linguistic inventiveness, fusion of
Muslim paradise. From another perspective, realism and fantasy and contemporary socio-
Saleem’s sojourn in the Sunderbans jungle is like the political critique. The concept of fragmentation is
period of exile of Pandavas in the Mahabharata. also celebrated in the novel.
Shiva’s trials to trace out Saleem resemble the CONCLUSION
efforts of Kauravas to search the Pandavas before
the allotted time and consign them to a further The main purpose of folklore is to convey a
period of exile. moral lesson or present useful information and
everyday life lessons in an easy way for the common
Rushdie has also made use of prophesies people to understand. Folktales sugarcoat the
which are basically connected with the realm of lessons of hard life in order to give the audience
mythology. Amina Sinai goes to a soothsayer named pointers about how they should deal with it. It is one
Ramram Seth to know about the future of her of the best mediums to pass on living culture or
unborn son, Saleem. It is highly fantastic and traditions to future generations. Nowadays many
confusing reflecting the novel’s mode of writing. A forms of folk literature have been transformed into
similar prophesy is made by Saleem himself for his books and manuscripts, which we see in the forms
own son, who is not his son, in what can also be of novels, histories, dramas, stories, lyric poems and
seen as optimistic foretelling of the fate of the ‘New sermons. Folk literature is not merely a carrier of
64 Dr. M. RAMESHWOR SINGH, Dr. Y. PRABHABATI DEVIResearch Journal of English Language and Literature (RJELAL)
A Peer Reviewed (Refereed) International Journal Vol.7.Issue 1. 2019
Impact Factor 6.8992 (ICI) http://www.rjelal.com; (Jan-Mar)
Email:editorrjelal@gmail.com ISSN:2395-2636 (P); 2321-3108(O)
cultural values; rather it is also an expression of self- Naik, M.K., ed. Critical Essays on Indian Writing in
reflection. It serves as a platform to hold high moral English. Dharwar: Karnataka University,
ground without any relevance to the present day 1968.
reality. Instead, writers use it as a commentary or Ray, Mohit. ‘Hayavadana: A study of Karnad’s use of
satire on current political and social reality. In the Source Texts and Folk Form’. In Indian
modern academic world, folklores and folktales are Writing in English, Rama Kundu, ed. New
studied to understand ancient literature and Delhi: Atlantic, 2003.
civilization and also the contemporary human issues. Rushdie, Salman. Midnight’s Children. London:
Vintage Books, 2006.
The current renaissance of the study of
Steward, Julian H. Theory of Culture change, Illinois:
folklore and literature, representing perhaps a
University of Illinois Press, 1955.
desire to reinsert humanities into an increasingly
Taylor, Archer. Folklore and the student of
social scientific approach to folkloristics, has
literature, The Pacific Spectator, Vol. 2,
produced a variety of papers and publications. But it
1948.
has not as yet dealt overtly with the explicit reasons
Tripathy, Vanashree. “Hayavadana: Towards Forging
for the study per se, though some justification is
an Indian Theatre” in Three Plays of Girish
surely implicit in motivating the various studies
Karnad: A Study in Poetics and Culture. New
which have been made. Nonetheless, the question
Delhi: Prestige Books, 2004.
should be both raised and answered: why study
folklore and literature? Both folklore and literature
A brief profile of the corresponding Author: Dr. M.
are parts of culture, produced or created by cultural
Rameshwor Singh, M.A. English, M.Phil., Ph.D.,
beings. Their study expands our knowledge of its
UGC(NET) is an Assistant Professor, teaching English
makers and possessors, their creative processes and
Literature and Linguistics to the Undergraduate and
strategies. The study of the two related cultural
Post-Graduate students in the P.G. Department of
phenomena, in tandem or simultaneously, points
English, D.M. College of Arts, Dhanamanjuri
out their shared roots in a cultural tradition which
University, Imphal, Manipur. His area of
provides not only content, but style, structure and
specialization is ELT (Sociolinguistics). He has
strategy, and forces us to look at the literary
published four reference/text books entitled
redactor and oral redactor as standing in similar
‘General Linguistics and History of English
relationships to the received cultural traditions. The
Language’; ‘Applied Sociolinguistics: Language
comparison of the two – folklore as oral literature
Education in the Multilingual Context’; ‘Glossary of
and written literature – raises, if not answers, some
Linguistic Terms’; and ‘Introduction to Linguistics’.
important questions about creativity, change,
He has also published more than a dozen research
communication, thus suggesting the ultimate value
papers on various topics in the reputed International
of the study of folklore and literature.
and National Journals and also participated and
REFERENCES presented papers in numerous academic seminars,
Barthes, Roland. Mythologies. New York: Hill and conferences, symposiums, workshops and training
Wang, 1972. courses.
Channa, S. Understanding Society, Culture and
Change, New Delhi: Blaze Publishers, 1994.
Devi, P. Indira. Salman Rushdie and Magic Realism.
New Delhi: Research India Press, 2011.
Islam, Mazhrul. Folklore: The Pulse of the people of
India, New Delhi: Concept, 1985.
Karnard, Girish. Hayavadana. Chennai: OUP, 1997.
65 Dr. M. RAMESHWOR SINGH, Dr. Y. PRABHABATI DEVIYou can also read
