An introduction to Hindi and Urdu
An introduction to Hindi and Urdu
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印地语和乌尔都语简介
DOI：
10.2307/2054339
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发表时间：
1980
期刊：
影响因子：
--
通讯作者：
Michael C. Shapiro
中科院分区：
文献类型：
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作者：
Michael C. Shapiro
扫地工人被资本主义制度和英国统治造成的扭曲所摧毁。Cowasjee向我们展示了这两部小说，尽管由于拙劣的写作和阿南德的夸张和歇斯底里的情感主义而存在严重缺陷，但对于一个年轻的、多少受到过创伤的作家来说，仍然是令人惊叹的成就。《两片叶子和一朵花蕾》（Two Leaves and a Bud）是一部控诉英国在阿萨姆邦茶园的作品，读起来就像是低劣的《汤姆叔叔的小屋》（Uncle Tom’s Cabin）和d·h·劳伦斯（D. H. Lawrence）的可怕仿作之间可怕的强婚，还夹杂着e·m·福斯特（E. M. Forster）的一些东西。Cowasjee引用《大心》和《路》作为阿南德作家生涯奇怪衰落的标志（阿南德在1947年后作为新印度的“象征”而成名）。1948年，阿南德写了《一位印度王子的私生活》，这部引人入胜的心理小说巧妙地融合了弗洛伊德和马克思的见解，阿南德吸取了这些见解，并将其融入自己的思想。Cowasjee还发现“旁遮普三部曲”是阿南德成熟作品中最令人满意的，尽管它们肯定无法与《贱民》和《苦力》相提并论。三部曲实际上是阿南德的自传《七个夏天》和《早晨的脸》的前奏，这是他早年生活的前两卷，正如科瓦吉所言，阿南德在其中揭示了他所有作品的基本主题，即“英雄主义往往在于认识到自己不英勇的一面”（第190页）。Cowasjee提出了阿南德小说令人惊讶的不平衡的一些原因，除了他沉迷于粗糙的宣传，尖锐的抨击和预言性的哀叹。他写得粗心而匆忙，但在他早期的作品中——在英国写作和出版——他的手稿被明智而富有同情心的编辑编辑、删节和“改进”——在后来的作品中，由于爱国原因在印度出版，这是一个严重的缺失。在他最好的状态下，阿南德可以写出《苦力》的最后一句话；他最糟糕的作品是《两片叶子和一朵花蕾》。令人遗憾的是，印度最伟大的创意作家之一，他用诗歌和激情洋溢着社会现实主义，逐渐让位于公众人物阿南德。然而，在整个三十年代，他一直是穷人和受压迫者痛苦而雄辩的声音。
the sweeper—is destroyed by the capitalist system and the distortions produced by British rule. Cowasjee shows how these two novels, though seriously flawed by bad writing and Anand's hyperbole and hysterical emotionalism, are still stunning achievements for a young and somewhat traumatized writer. Nothing can redeem Two Leaves and a Bud, an indictment of the British tea plantations of Assam, which reads like a dreadful shotgun marriage between an inferior Uncle Tom's Cabin and a ghastly pastiche of D. H. Lawrence, with bits of E. M. Forster thrown in for good measure. Cowasjee cites The Big Heart and The Road as indicators of the strange decline in Anand's career as a writer (which followed his rise to fame as a "symbol" of the new India after 1947). But the paralysis that was perhaps induced by Anand's role as spokesman for Nehru's "human Empire" lifted when he wrote Private Life of an Indian Prince in 1948, a fascinating psychological novel which skillfully blended insights from both Freud and Marx that Anand had absorbed and made his own. Cowasjee also finds the "Punjab Trilogy" the most satisfying of Anand's mature works, though they surely fail to match the breathtaking sweep of Untouchable and Coolie. The trilogy was in fact a prelude to the autobiography that Anand turned to with Seven Summers and Morning Face, the first two volumes of the continuing story of his early life in which, as Cowasjee suggests, Anand reveals the essential theme of all his work, that "heroism often lies in the realization of the unheroic in oneself" (p. 190). Cowasjee suggests some of the reasons for the surprising unevenness of Anand's fiction apart from his addiction to crude propaganda, shrill inveighing, and prophetic lamentation. He wrote carelessly and hastily, but in his early work—written and published in England—his manuscripts were edited, pruned, and "improved" by judicious and sympathetic editors—a serious lack in the later works, published for patriotic reasons in India. At his best, Anand could pen the superb final sentence of Coolie; at his worst the appalling kitsch of Two Leaves and a Bud. It is a shame that one of India's greatest creative writers, who suffused social realism with poetry and passion, has gradually given way to Anand the Public Figure. Yet throughout the thirties his was the bitter, eloquent voice of the poor and the oppressed.