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www.the-criterion.com The Criterion: An International Journal in English ISSN 0976-8165 He takes over the responsibility not as a family head but as a mother to her aunt and sister Amala who are shattered by the loss of their sister Monisha. He consoles them - “At intervals Nirode said ‘Go and sleep Amla, go to sleep. I’ll stay and his aunt he would say, ’Go to bed aunt you must have some rest’.He seemed unable to remain still and silent, he was filled with an immense care of the world that made him reach out, again and again to touch Amla’s cold hands when he saw it shake.”(248) Therefore in almost all these above discussed cases men have set themselves and the family free of the gender stereotypes of patriarchal role within the family. Women certainly have taken the centre stage in almost all the narratives of Anita Desai but through her male characters the writer tries to review the conventional stereotyped notions and places gender roles at a equal level. Responsibility is always a collective effort and is one of the most essential ingredients of a happy household. Therefore whether it is a male or a female, the problems need a peaceful and permanent solution and if the family comprises of individuals it is these individuals who are to take up the challenges that the family confronts. The distributions of power in the family has to be balanced a scheme which equalizes the power, position and status of every individual. When efforts are made to reach out to people by leaving and coming out of one’s comfort zone and create space for each other family flourishes and the individuals who constitute it get a better life. Works Cited: Linda Thompson and Alexis J. Walker, “The place of Feminism in Family Studies”, Journal of Marriage and Family,Vol 57, 1995, p. 849. Anita Desai. Where Shall we go this Summmer?, Orient Paperbacks, 1982. Anita Desai,Cry the Peacock, Delhi: Orient paperbacks, 1985. Anita Desai,Voices in the City,Delhi: Oriiet paperbacks,1965. Vol. II. Issue. III 60 September 2011
www.the-criterion.com The Criterion: An International Journal in English ISSN 0976-8165 Love as a Synaesthetic Experience in R. Parthasarathy’s Rough Passage Joyanta Dangar ‘Synaesthesia’ is supposed to be the most complex but effective form of what is called ‘sensuousness’ in art and literature. Besides, synaesthesia is a medical condition, and it has nothing to do with I. A. Richards’s concept of “synthesis”, nor with the processes of perception explored in Gestalt psychology. Rajagopal Parthasarathy (b. 1934) is one of the most successful modern Indian poets writing in English to use the device with great ingenuity. In fact, Parthasarathy’s fondness for the tool leads him to create a synaesthetic language itself for expressing the predicament of a modern man torn between home and abroad. Above all, employment of synaesthesia helps the poet re-define love --- love as a synaesthetic experience that relives him for the time being of the pangs of being exiled, though it is not eternal joy or everlasting love.] A poem ought to, in effect, try to arrest the flow of language, to anaesthetize it, to petrify it, to fossilize it. Ultimately, it is the reader who breathes life into the poem, awakening it from its enforced sleep in the language. --- Parthasarathy (11) Whenever I read the oft-quoted line by Robert Burns: “O my love’s like a red, red rose”, I can hear a tribal beating his kettledrum accompanied by cymbals in a distant valley where the people feed on red petals, despite my disclaimer that I, despite my love for synesthesia, am not a synaesthete. ‘Synaesthesia’ is supposed to be the most complex but effective form of what is called ‘sensuousness’ in art and literature. Etymologically, the word is a combination of ‘syn’ (together), from New Latin and ‘esthesia’, from Greek aisthesis (sensation or perception). Chris Baldick defines synaesthesia as “a blending or confusion of different kinds of sense impression, in which one type of sensation is referred to in terms more appropriate to another. Common synaesthetic expressions include the descriptions of colours as ‘loud’ or ‘warm’ and of sounds as ‘smooth’. This effect was cultivated consciously by the French Symbolists, but is often found in earlier poetry, notably in Keats” (1259). Besides, synaesthesia is a medical condition, and it has nothing to do with I. A. Richards’s concept of “synthesis”, nor with the processes of perception explored in Gestalt psychology. Diane Ackerman, a poet from Illinois observes in her seminal work A Natural History of the Senses (the section entitled “Synesthesia”): [……………………………………………] Those who experience intense synesthesia naturally on a regular basis are rare -- only about one in every five hundred thousand people - - neurologist Richard Cytowic “traces the phenomenon to the limbic system, the most primitive part of the brain, calling synesthetes "living cognitive fossils," because they may be people whose limbic system is not entirely governed by the much more sophisticated (and more recently evolved) cortex”. As he says, "synesthesia ... may be a memory of how early mammals saw, heard, smelled, tasted and touched." Vol. II. Issue. III 61 September 2011
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