Critical appriciation of sita by toru dutt?
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Among the early English writers of Indian Renaissance who gave independent outlook, right direction, original subjects, the name of Toru Dutt stands first. Her best work has depth of human motives and emotions and an abiding faith in Indian values. Besides writing in French and English, she turned to Sanskrit literature to get the sacred touch of India's Muse and introduced to the world about her splendour beauty and rich treasure-house of ancient wisdom. It was a matter of deep sorrow that she died so early when her talent was blossoming under the vast auspicious knowledge of Indian myths, legends and folklores. She fascinates us for her personal life as well as due to her creative genius. Like Bronte sisters and Keats, her family, too, became a victim of consumption and she died in the prime of her youth, only at 21. Before her sad and slow death, she lost her elder brother Abju aged only 14 and sister Aru only at 20. Edmund Gosse writes, "It is wonderful to grasp of a girl who at the age of twenty one had produced so much of lasting worth."1 The great Indian critic Amar Nath Jha also writes ," There is every reason to believe that in intellectual power Toru Dutt was one of the most remarkable women that ever lived."2 She belonged to a very rich, respectable and intellectual family of Calcutta. Her father Govin Chunder Dutt was a cultured man steeped into the deep knowledge of the West and the East. Her mother was also a woman of very modest and loving disposition and from her mouth the young Toru had listened the immortal stories of ancient Indian heroes and heroines. The other family members too were highly learned and pursuing the great tradition of music and literature. Toru's father embraced Christianity and afterwards left Calcutta and settled at Nice, in the south-east of France. Here Toru and her sister learnt their first lessons in French and soon they excelled in this language and used it effectively and proficiently for their literary leanings. Their first literary fruit came out with the title Sheaf Gleaned in French Fields with admiring maturity and depth. Of the 165 pieces, 8 were by Aru and remaining by Toru. Though it was a translation from French to English, but it was marked by a great original genius as Toru's selection and rejection has made it almost a new creative work. No wonder, Edmund Goss read it with 'surprise and almost rapture'. He declared, "If modern French literature were entirely lost, it might not be found impossible to reconstruct a great number of poems from this Indian version."5 Keeping and maintaining the original rhythm, sense and meaning, Toru's translation has almost touched the beauty and glory of newly creative work, pouring her bleeding heart out of the family tragedy in willingly chosen works of French Romantics. Here, in them, she gave free play to her soaring imagination, unchecked and unbounded, loneliness, dejection, ardours and agonies of life. Likewise, her French novel 'Le Journal de Mademoiselle d'Arvers' which was published posthumously, has captured the eyes of the public both at home and abroad. She has captivated the music of French language and life./p/
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