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www.the-criterion.com The Criterion: An International Journal in English ISSN 0976-8165 by crowds in safari parks, men and women in houses like matchboxes working in factories that are like prisons.” (154). To the end it can be said that The Village by the Sea is an interesting text for ecoreaders. In it, Anita Desai stands out as a socialist, environmentalist, and eco-friend. Works Cited: Desai, Anita (1982). The Village by the Sea. New Delhi: Allied Publishers Pvt. Ltd. (All textual citations are given parenthetically in the body of the text.) Glotfelty, Cheryll. (1996). “Introduction”. The Ecocriticism Reader: Landsmarks in Literary Ecology. ed. by Glotfelty and Harold Fromm. Athens and London: University of Georgia Press. pp. xv-xxxvii. Kerridge, Richard. (2006). “Environmentalism and ecocriticism.” Literary Theory and Criticism. ed. by Patricia Waugh. Oxford: Oxford University Press. pp. 530-543. Rueckert, William. (1996). “Literature and Ecology: An Experiment in Ecocriticism”. in The Ecocriticism Reader: Landsmarks in Literary Ecology ed. by Glotfelty and Harold Fromm. Athens and London: University of Georgia Press, repr. pp. 105-23. Vol. II. Issue. III 174 September 2011
www.the-criterion.com The Criterion: An International Journal in English ISSN 0976-8165 Mulk Raj Anand’s Humanistic and Bold Portrayal of His Protagonists Rajni Tiwari Dr. Mulk Raj Anand, through his rare prolificity, bold experimentation and aesthetic sensibility, has made immense contribution to Indian as well as world literature in English. His choice of unconventional subjects and characters has been determined by his Dickensian humanistic philosophy. He set up new trends by introducing negative hero/anti—hero in his novels. His fictional world is peopled by characters from various strata of society- from the lowest to the highest rungs in the hierarchy. Anand has revealed exceptional, psychological insight in the portrayal of these characters who “once were real men and women” and are not mere phantoms of fantasy. However, his otherwise authentic and objective delineation of character is superb which the chief requisite of a work of art is. This paper presents a confrontation and interaction between Anand’s métier as an artist as a compelling demand of his humanistic creed. Not that humanism is, in any way, contrary to art. It will not be far from truth to assert that all is, at bottom, humanistic even though not expressly “a criticism of life”. The greatness of an artist lies in synthesing art and reality. When he handles reality imaginatively and presents it artistically, the result is great aesthetic delight both for the reader and the artist but it is when humanism obsesses the mind of the artist so strongly that he is ready to make out sub serviant to his philosophy, that the artist’s failure starts. The present study discusses the oscillation of Anand between his integrity as an artist and his enthusiasm as a reformist. Mulk Raj Anand, the most prolific and the most widely criticized Indo-Anglican novelist, feels that characters in his novels have been the motivating force- rather the chief cause- behind the writing of his novels. In Anand’s novel, it was not the action that decided the choice of characters in his novels. The action instead, was chosen according to the characters he decided to write about. His characters are mostly people who once were ‘men and women’. Anand, in his childhood and youth had been intimate with them. He had himself shared their feelings, thoughts, action reactions, troubles and joys. And he had studied their emotions from such close quarters that he could easily identify himself with them. Anand’s complete identification with his characters accounts for the remarkable authenticity in their portrayal. The choice of characters in a novel is determined to a large extent, by the exigencies of the period in which the novel is written and by the writer’s own interest, wims, and idiosyncrasies. That is why there is a noticeable change in the concept of hero from time to time. Tom Jones, Moll Flanders and Huckleberry Finn of the early and middle eighteenth century with its love for travelling and adventures gave place to Emma, Elizabeth, and Mr. Bingely enjoying the unperturbed, easy and comfortable life of upper middle class society of the decade of the same century. They, in their own term were replaced by David Copperfield, Oliver Twist, and Nicholas Nickel by fighting the naked and hard facts of life in the nineteenth century. In the morden age with its complenities and interest in psychology, Virginia Woolf and James Joyce rang the knell of the traditional hero and introduced heroes sans heroic qualities. About Indo- Anglian fiction, Williams aptly remarks that “it too seems to have begun with unheroic”. Infact, Vol. II. Issue. III 175 September 2011
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