” History of Indian Regional Cinema”.

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                         NAME:GOHIL  BINKALBA NAREDRASHINH

COURSE: M.A ENGLISH

SEMESTER: 4

BATCH: 2016-2018

ENROLMENT NO-  2069108420170010

SUBMITTED TO – Dr. Dilip Barad
SMT .S.B.GARDI

DEPARTMENT OF ENGLISH

MAHARAJA KRISHNAKUMARSINHJI BHAVNAGER UNIVERSITY

EMAIL ID –BinkalbaGohil1995@Gmail.Com

              PARER NO- 15 Mass Communication and Media Studies.

             TOPIC:” History of Indian Regional Cinema”.

                                                         

Introduction:

                         India is home to one of the largest film industries in the world. Every year thousands of movies are produced in India. Indian film industry comprises of Hindi films, regional movies and art cinema. The Indian film industry is supported mainly by a vast film-going Indian public, though Indian films have been gaining increasing popularity in the rest of the world, especially in countries with large numbers of emigrant Indians. 

                         India is a large country where many languages are spoken. Many of the larger languages support their own film industry. Some of the popular regional film industries in India are Bengali, Tamil, Telugu, Kannada, Malayalam and Punjabi. The Hindi/Urdu film industry, based in Mumbai, formerly Bombay, is called Bollywood. Similar neologisms have been coined for the Tamil film industry Kollywood and the Telugu film industry. Tollygunge is metonym for the Bengali film industry, long centered in the Tollygunge district of Kolkata. The Bengali language industry is notable as having nurtured the director Satyajit Ray, an internationally renowned filmmaker and a winner of many awards. 

                        The Bollywood industry is the largest in terms of films produced and box office receipts, just as Urdu/Hindi speakers outnumber speakers of other Indian languages. Many workers in other regional industries, once established, generally move to Bollywood for greater spotlight or opportunity. An interesting example of this phenomenon is the famous music director A.R. Rahman. He started his career in Tamil film industry and later moved to the Bollywood.

                    Here we discuses Indian Regional Cinema is that,  

Gujarati Cinema

Hindi Cinema

Bhojpuri Cinema

Bengali Cinema.                             

                                                                     

               

                           Let’s explain first Gujarati Cinema, Gujarati cinema, informally referred to as Dhollywood or Gollywood, is the Gujarati Language film industry. It is one of the major regional and vernacular film industries of the cinema of India having produced more than one thousand films since its inception. During the silent film era, many individuals in the industry were Gujarat is. The language-associated industry dates back to 1932, when the first Gujarati talkie, Narsinh Mehta was released. Until the independence of India in 1947, only twelve Gujarati films were produced.

                         There was a spurt in film production in the 1940s focused on saint, satior dacoit stories as well as mythology and folktales. In 1950s–1960s, the trend continued with the addition of films on literary works. In the 1970s, the Government of Gujarat announced a tax exemption and subsidies which resulted in an increase in the number of films, but the quality declined.

                        After flourishing through the 1960s–1980s, the industry saw a decline through 2000 when the number of new films dropped below twenty. The Gujarat state government announced a tax exemption again in 2005 which lasted till 2017. The industry has been partially revived in the 2010s due first to rural demand, and later to an influx of new technology and urban subjects in films. The state government announced a policy of incentives in 2016.

                           Even before the advent of talkies there were several silent films closely related to the Gujarati people and their culture, and many directors, producers and actors who were Gujarati and Parsi Between 1913 and 1931 there were twenty leading film company and studios owned by Gujaratis—mostly in Bombay (now Mumbai)—and at least forty-four leading Gujarati directors.

Post-independence (1946–1970)

                         After the independence of India in 1947, there was a surge in the production of Gujarati films. Twenty-six films were produced in 1948 alone. Between 1946 and 1952, seventy-four films were produced including twenty-seven films related to saint, sati or dacoit stories. These stories were designed to appeal to rural audiences familiar with such subjects. Several films produced during this period were associated with myths or folktales people were familiar.

                    The scripts and stories of the Gujarati films include relationship and family oriented subjects, as well as human aspirations and Indian family culture. There were a large number of films based on mythological narratives and folklore produced in the early years of Gujarati cinema. The lives of popular saints and satis of Gujarat, like Narsinh Mehta and Gangasati, were made into films. They were targeted at rural audiences familiar with the subjects. The early filmmakers also included subjects dealing with social reforms. There were social films associated with family life and marriage such as Gunsundari and Kariyavar.

                  The historical, social and religious subjects dominated through 1940s and 1950s. Several Gujarati films were adapted from Gujarati novels such as Kashi no Dikro. There was a spurt again in the 1970s for saint/sati films. In 1980s and 90s, the films were influenced by the Hindi cinema and several action and romance films were produced. In the early 2000s, films were targeted chiefly at rural audiences demanding local narratives with local linguistic style. Following 2005, urban subjects were introduced leading to a revival of Gujarati cinema. In recent times, films which are more relevant to audiences are being produced

Meghdhanushya (2013) was the first Gujarati film focused on the LGBT community.

Hindi Cinema:

                            Cinema/movie has always been one of the greatest sources of entertainment since ages. The movies that released earlier are far more different than modern movies we see today. We the youngsters of today are more interested in action and rom-com movies.. But have we wondered how earlier movies used to be and how did films origin in India???No?? Then let’s have a flashback of our glorious 100 years of Indian cinema. Through this journey we will see the different aspects of cinema from its origin till modern day cinema... 1950- George Eastman discovered film in New York.

                        Camera was invented by William Frizgin William Frizgin is known “Father of Cinema”First movie was charge of dragons by lumiere brothers. Mahadev Patwardhan discovered art of films in 1885 First exhibition of films was by Lumiere brothers in Bombay in 1896. The great train robbery was the first movie with a story, David Grifith produced this movie. The era of cinema began Savedada’s short film on wrestling.  Dadasaheb Phalke is known as father of Indian cinema.  Satyavadi Raja Harishchandra was first silent cinema.  Aredeshir Iirani released first Indian talking film Alam Ara on 14 march 1931.

 Pre -Independence Post –

                           Independence Early 20’s 1930’s. The thirties is recognized as the decade of social protest in the history of Indian Cinema  Three big banners - Prabhat, Bombay Talkies and New Theatres 1940’s  It had some bold themes  By the late 1940s, films were being made in various Indian languages with religion being the dominant theme. 1950’s Late 50’s saw the Golden Age of music. Achut Kanya Kisan Kanya Sheela Sita Bibaha S.D. Burman Mediocre films made to please the distributors. Malayalam cinema derived much of its strength from literature 1960-1970 Changing social norms and changing economies influenced movies and the companies that made them.

                     Masala films were the demand of the time. 1970-1980 The new cinema movement continued with full spirit in the next decade  90’s was a mixed genre of romantic, thrillers, action and comedy films. 1980-1990 This eras is known as “THE NEW MILLENNIUM”. Today Indian Cinema ,especially, Hindi cinema is not only popular in India but in parts of the Middle East, Pakistan, UK and virtually every other place where Indians live.

                  Films like Lagaan, Salaam Bombay and Monsoon Wedding put a stamp of confirmation that Bollywood had etched itself on the global podium. The time from 1950 to 1960 is regarded as golden era of Indian cinema. Some of the most critically acclaimed films of all times were produced during this period. The transition to color and the consequent preference for escapist entertainment and greater reliance on stars brought about a complete change in the film industry.

                  The year 1931 proved to be a landmark in film industry Talkies had same effect as they did in western countries and in no time they replaced silent films with a great speed.  Advent of films also led to inclusion of music.  J.J Madan’s Indrasabha {1932} featured total 71 songs.  The first colour film was made by ardeshir irani.It was named as Kisan Kanya (peasant girl).  Best known as the co-founder of the Bombay Talkies in 1934, along with Rajnarayan Dube and Devika Rani. He was married to actress  Devika Rani Chaudhuri (1908- 1994).  Ray directed 36 films, including feature films, documentaries and shorts.

                 He was also a fiction writer, publisher, illustrator, calligrapher, music composer, graphic designer and film critic.  Ray received many major awards in his career, including 32 Indian National Film Awards, a number of awards at international film festivals and award ceremonies. He directed his first film, "Netaji Palkar" in 1927. In 1929, he founded the Prabhat Film Company along with Vishnupant Damle, K.R. Dhaiber, S. Fatelal and S.B. Kulkarni, which made Ayodhyecha Raja, the first Marathi language film in 1932 under his direction.[ Jamshetdji Framji Madan Dadasahed Phalke  Raghupathi Venkaiah  Naidu Aredeshir Iraniv ShyamBengal Yashraj Chopra Known as the “First Lady of the Indian screen” She founded the Bombay Talkies film studio in the 1930s with her husband and became a mentor for upcoming actresses.

                                                               

                    Achoot Kanya (1936) is an interesting film of hers to watch for its technical structure. Was one of the early superstars in Indian cinema and India's first female film director. She established Fatima Films which later became known as Victoria-Fatima Films in 1928. Were an early singer, music composer, actress and filmmaker of Bollywood She was the first female music director in the Indian film industry, followed by Saraswati Devi,Madhubala , Nargis Dutt Mumtaz Meena Kumari,  Nutan  Vyjayanthimala,  Sharmila Tagore,  Shabana Azmi ,  Smita Patil,  Zeenat Aman, Sridevi  Madhuri Dixit ,Juhi Chawla,  Kajol, Aishwarya Rai Bachchan, Kareena Kapoor, Khan,  Priyanka Chopra, Deepika Padukone,  Katrina , Kaif Sonam Kapoor,  Lata Mangeshkar, Asha Bhosle,  Ekta Kapoor,  Farah Khan,  Gauri Khan, Zoya Aktar Reema Katgi  Kiran Rao,  Gauri Shinde.

                The cinema is the cheapest and the most popular form of amusement. Cinema is a universal teacher. It educates the people in different branches of learning. Social pictures throw light on social evils; these films ripen our eyes and create in us an urge for improvement. Most of the modern Indian movies ignore higher ideals. Bad films leave a very vitiating effect on the minds of youth. They give rise to different kinds of crimes. Indians during colonial rule brought equipment from Europe. Indian cinema’s early contacts with other regions became visible with its films making early inroads into the soviet union, middle east, south East Asia and China. Mainstream film stars like Rajnikanth and Raj Kapoor gained international fame across Asia. Parallel film makers like Satyajit ray achieved worldwide popularity, his films gaining success among European, American and Asian audiences. Danny boyle’s Oscar winning movie slumdog millionaire (2008) was also inspired by Indian films. Indian cinema was also recognised at American academy awards .Films like mother India (1957), salaam Bombay (1988) and lagan (2001) were nominated for academy awards for best foreign language film. Adhishree Neurgaonkar - 104 a Batul Kanchwala - 94 B Harmeet Kaur Saini - 123 B Krathikeya Kuckian – 138 A Prajakta S. Patange - 105 A Saily R. Chavan - 122 B Shardul Walke – 111.

 Bhojpuri Indian cinema:

                             Bhojpuri, often considered a dialect of Hindi, originates in western Bihar and eastern Uttar Pradesh in northern India. Speakers of it and its creoles are found in many parts of the world.

                         Including the United States, the United Kingdom, Fiji, Guyana, Mauritius, Africa, Suriname, and Trinidad and Tobago, and the Netherlands. During the late 1800s and early 1900s, many colonizers faced labour shortages due to the abolition of slavery; thus, they imported many Indians, many from Bhojpuri-speaking regions, as indentured servants to labor on plantations. Today, some 200 million people in the West Indies, Oceania, and South America speak Bhojpuri as a native or second language.

Bengali Cinema:

                                  The Bengali cinema has been dominated for over three decades now by Satyajit Ray, Mrinal Sen , Tapan Sinha and Ritwik Ghatak . Ghatak died in 1976 and Satyajit Ray in 1992. Talented young film makers who have joined the ranks of the ‘parallel’ cinema in recent years include Purnendu Pattrea , Buddhadeb Dasgupta , Nitish Mukherjee , Gautam Chakraborty , Aparna Sen , Sandip Ray and Rituparno Ghosh . But since all of them work at their art like lone wolves there no ‘movement’ worth the name to provide them the support that comes from a cooperative effort. The result is that their films win laurels abroad, but can find few exhibitors at home. The Nandan Film Centre in Calcutta has now come to their rescue. The Centre has exhibition and documentation facilities, conducts seminars and workshops which draw film makers from all over the country. The cinema of West Bengal refers to the Tollygunge – based Bengali film industry in Kolkata, West Bengal, and India. The origins of the nickname Tollywood, a Portmanteau of the words Tollygunge and Hollywood, dates back to 1932. The industry is known for producing many of Indian cinema’s most critically acclaimed Parallel cinema art films, with several of its filmmakers gaining international acclaim, most notably Satyajit Ray.

                     

Conclusion:

                       Indian cinema is world – famous for the staggering amount of films it produces: the number is constantly on the increase, and recent sources estimate that a total output of some 800 films a year are made in different cities including Madrass , Bangalore , Calcutta and Hyderabad . Of this astonishing number, those films made in Bombay, in a seamless blend of Hindi and Urdu, have the widest distribution within India and Internationally. The two sister languages are spoken in six northern states and understood by over 500 million people on the Indian sub – continent alone – reason enough for Hindi and Urdu to be chosen  Indian languages to become the languages of Indian Popular cinema.

Thank You...........

             

Works Cited

bhojpuri Cinema. 26 3 2018. 1 4 2018 <https://en.wikipedia.org/wiki/Bhojpuri_cinema>.

Gujarati Cinema. 20 3 2018. 2 4 2018 <https://en.wikipedia.org/wiki/Gujarati_cinema>.

Paul, Sanchita. History of Indian Cinema. 2 2 2018. 2 4 2018 <https://www.mapsofindia.com/my-india/history/history-of-indian-cinema>.

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What is the symbolic meaning of ‘Death ‘in the Swamp Dweller”.

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NAME:GOHIL  BINKALBA NAREDRASHINH

COURSE: M.A ENGLISH

SEMESTER: 4

BATCH: 2016-2018

ENROLMENT NO-  2069108420170010

SUBMITTED TO – Dr. Dilip Barad
SMT .S.B.GARDI

DEPARTMENT OF ENGLISH

MAHARAJA KRISHNAKUMARSINHJI BHAVNAGER UNIVERSITY

EMAIL ID –BinkalbaGohil1995@Gmail.Com

              PARER NO- 14 African literature.

             TOPIC:” What is the symbolic meaning of ‘Death ‘in the Swamp Dweller”.

                                                                

Introduction:

                          Soyinka excelled himself in the use of 'Symbolism' in his plays. The plays like The Swamp Dwellers; the Swamp Dwellers are rich in its symbolic value. Polar opposites are placed in juxtaposition with each other; drought and flood, scarcity and surfeit, corruption and juxtaposition, arrogance and humility and above all frustration and hope. The swamp as the setting is suggestive of dirt, or mire, in the literal sense as well as figurative.

                         The reverie Swamp suggestive of the Niger Delta is nature's own mire, with loose mud, spelling ruin and very rarely productive. In addition some poisons chemical compounds; 'oils' as they are referred to, ooze out at times, rendering its products not edible. "The play deals with sudden wealth and its impact on relationship in a hither- to subsistence economy"

 How symbolical’ Death’ represent by Wole Soyinka in the play ‘Swamp Dweller’?

                                                              

                              There is no physical death in it but there is death of relations in it. Just like that death is being used in it. Relationship between mother and son is death. Because when Alu is believes in the custom of the swamps. She thinks that the river bed is the ideal bridal bed. She has more concern for Awuchike who is in the city. She has anxiety for his safety. Alu has twin sons.  She worries that one of them has died. Makuri protests that he is not dead. He has just moved to the city.The myth is that one twin will call the other to follow him in death – or in this case, to the city. A connection is made between the swamp and the city.  Gonushi’s son left for the city and he went the same way as Awuchiki.

                           Her anxiety makes her shoot questions. Her questions make Makuri think of her as a fussy neurotic wife. She is hospitable like Makuri. Her reaction to the words of Kadiye shows her to be a traditionalist. Though she is outspoken, she is not for change. Alu’s understanding of the world is very limited. Igwezu’s words about his brother Awuchike set her anxiety at rest. All said, Alu is a loving and a loveable mother.

                              Makuri also He represents the of tradition in the play. His affection for his wife is unsentimental. He is more intelligent than his wife. Igwezu exposes Kadiye’s corrupt practice. Makuri feels offended over it. He is afraid of facing the wrath of the villagers. Soyinka through Makuri emphasizes the importance and the value of marital ties between husband and wife. He does not have delusions about the character of Awuchike. Nor does he have it in him to console Igwezu who has come back betrayed by his wife Desala.

                            Igwezu is bitter against Kadiye. Yet, he says it is better that he comes so that he would explain a few points. On being repeatedly questioned Igwezu informs that his brother lives that he is well, in fact "healthier than you or I. And a thousand times as wealthy". All the same, Awuchike, is dead to his parents, and to his parental home; it is better not to raise his ghost. He asks his mother whether she does not want to hear about his wife 'the simple and unspoilt child' whom she had wooed on her son's behalf. He added, much to the shock of the father, that his brother Awuchikc has managed to win over Desala. He wonders whether all women are taken in so easily with wealth. Makuri proudly replies that all women are not the same, and Alu his wife, was different.
                  
                              The swamp dweller the play is comparatively short of all of wole soyinka play.  If relates a story of a poor family residing in Niger Delta region. When the play opens we find Makuri and Alu waiting for their beloved younger son igwazu. They fear that their younger son igwazu  should not go missing like their elder son Awuchicke ,  who had gone to the city  some 10 year ago both the brothers had left the village to seek their fortune in the City.

                             The swamped Dweller play by wole soyinka deals with many themes like poverty, religious conspiracy, village, Relationship Death.  Basically death in relation so Soyinka has created characters in contrast to each other. By this relationship emerge settings also is symbols of tradition and modernity. Plays setting are Nigerian village and city one is symbol of tradition and other is modernity.

                            Swamp dwellers live in village they are poor and the superstition they cannot think on their own. So corrupt Priest like kadiye makes use of them he's here villages by Serpent of the Swamp. He says that he can control The Serpent if they will give him money and grain their crops will be good. People do what he says for villages city is place of corruption. This is the picture of traditional village in opposite City represent in modernity igwazu. The younger son of alu and makuri goes to city to earn some money and experiences there he loses job His wife and all.

                           The elder brother awuchike was already in the city he had forgotten his family money was all for him. So there is relation death found on that way. Thus village and city standard for and there is conflict between them.

                          Two brothers also a symbol of death and they are totally different from each other. So they are also example of conflict between tradition and modernity igwazu who is younger son and take care of his parents as traditionally it has been done he also goes to city like or auwchike but he does not change from there also he helps his family.

                       In opposite of him out auwchike represent a modern man. He had leaved the village 10 years ago and now was totally different for more than men, money is everything. Auwchike is wealthy now and he does not think about his parent. he married with his younger brother's wife desala. When both had came to city so he has no morality these two brothers also are examples of conflict between tradition and modernity.

                     There is character of blind beggar also he is a modern thinker. His thoughts are advanced and different from the villages. He also is a symbol of modernity when he comes to village and finds kadiye.  Is corrupt ways of earning money he tries to stop people believing in him. But people do not believe him, even makuri belive him wrong.

                                                                       

Conclusion:

             Here in the thought play representation of Death very symbolically. We can’t find physically any characters died, In all, the play itself is a symbol of the rots in the society. The rottenness of the era which is part of the origins of poverty is presented in more physical terms by the ugly sight of the swamp where the masses dwell.

(soyinka)

Works Cited

soyinka, wole. SOYINKA'S use o symbolism. 1 4 2018 <http://shodhganga.inflibnet.ac.in/bitstream/10603/103269/10/10_chapter-iv.pdf>.

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” Character study of Balram Halwai”.

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NAME:GOHIL  BINKALBA NAREDRASHINH

COURSE: M.A ENGLISH

SEMESTER: 4

BATCH: 2016-2018

ENROLMENT NO-  2069108420170010

SUBMITTED TO – Dr. Dilip Barad
SMT .S.B.GARDI

DEPARTMENT OF ENGLISH

MAHARAJA KRISHNAKUMARSINHJI BHAVNAGER UNIVERSITY

EMAIL ID –BinkalbaGohil1995@Gmail.Com

              PARER NO-13   The New literature.

             TOPIC:” Character study of Balram Halwai”. 

                                                           

                                                             

Introduction:

                             Aravind Adiga in his debut novel The White Tiger, which earned him Man Booker Prize 2008, is considered one of the most powerful books of the present decades. The book represents the brutal truths and realistic picture of India.

                         According to Adiga, “This novel had been the fruit of his labours as a reporter in India” Balram Halwai in Indian society by raising the essential issues like social inequalities and injustice based on the class, caste and religion. Also describes how Adiga illustrates the discrimination among rich and poor and how rich dominating the poor and they came out of the “Rooster Coop” in defence, either by murdering their masters or betrayal of one’s family.

                         Balram likes Chinese’s freedom and individual liberty. He knows that British tried a lot to make Chinese their servants, but they never succeed. This is the main reason that Balram appreciates China and narrates his life to

  Journey of Balram  Halwai  Rage to  riches:

                                                                             

                     Person goes there because of they wanted to money. Balram How to reach where he is so that confessional mode telling the process because they done several wrong things.

Balram himself say I am half back of India a person with an incomplete understanding. who sees the world is incomplete. We do not get 360 degree viewpoint of everything only single dimension of happening. and so it loose stone we can break that half baked individual cannot have 360 degree of view.

                    He calls himself heartbreak but he himself tells it becomes very strong loose stone. in the narrative with perhaps Adiga has beautifully put inside. Adidas says I am not saying but it is bal ram’s point of view Balram is half baked Indian he is not anther angel to looking everything look from his. Balram represent patriarchy male identity of India and then how it looked towards other female also.

                         Balram does not use the name Balram Halawi, when he introduces himself to the Chinese Prime Minister. But he uses a nickname, the ‘White Tiger’. This becomes his grand narrative; the way he identifies himself. However, this nickname, this identification with a tiger, is not his original invention; but comes from his school as a reward for his ability to read. Thus he awarded the title of a white tiger for his distinction.

                    Sometimes, he believes that he is the representative of ordinary men from the dominated classes, and at the other time, he believes that he is the exception to them; he is a white tiger, a unique animal among his species. On the other hand, Balram’s father did not know the difference between animal and lower class, and Balram knows that, but he does not excuse him. This is the first movement of Balram towards Ashok’s class: he believes that his father raised him to live like an animal, and never realise that they are living as such. Because he does not recognise that he is a human being and his life is different than that of animals, he deserves better.

                      When Balram is in Laxmangarh he is living in darkness, begins his journey without a name; his family called him “Munna” or “boy”. In fact, a school teacher has to name him, later, a local official decides on his date of birth in order to facilitate the stealing of his vote. But in Bangalore and Delhi, he comes in light. Here everything is supposed to be perfect, with its big hotels, multi-storey buildings, call centres, mall, and high tech area etc. whereas, India lives in villages and all the city glamour are due to the disintegration of village life.

                    After experiencing with both rural and urban India, Balram concludes that there are only two castes in modern India. The traditional importance of caste has been increasingly replaced by that of class. Balram points out: In the old days, there were one thousand castes and destinies in India. These days, there are just two castes: Men with Big Bellies, and Men with Small Bellies. And only two destinies: eat—or get eaten up”

                    The final incident changes the Balram’s life to a greater extent, in which Ashok’s wife accidentally killed a nameless poor person on the road. His brutal master Ashok suggests that Balram takes the fall for the crime so that they have free from all the charges and insults. But this incident forces Balram into an even deeper turmoil of despair and anger.

                     This anger rises at its peak when Balram finally does kill his master by the roadside, proclaims immediately that now he is a free man. Davis Mike observed, “If the poor are victims of poverty, that poverty also makes them criminals, in part as a result of the illegality of unplanned, slum housing and the criminal networks which allow the poor to defend themselves”

                    Adiga’s book The White Tiger deals with precisely the morality and effects of the actions displayed in this passage.  It is a powerful idea and a controversial one that murder and other immoral actions can be justified by extreme circumstances like poverty. 

                      Balram realises himself that he would be exploited to do so in which his master did not see him as a part of the family. At last Balram asserts “the greatest thing to come out of this country in the ten thousand years of its history is the ‘Rooster Coop” Masters blackmail their servants to send money home and forced them to do things what they want. Adiga also explores the very way in which masters control their servants and protect themselves from murder is the threat of violence against the servant’s family.

                          As a result, poor people are the trap in the rooster coop and do not resist to be destroyed by the big bellies. Balram compares small bellies with roosters in old Delhi, behind Jama Masjid, where they are stuffed tightly as the roosters in the coop smell blood from above. They see the organs of their brothers lying around them. They know they’re next. Yet they do not rebel. They do not try to get out of the coop.

                        The same thing happens with the human in this country. They are enslaved in their own minds and consider it their birthright to live and die for their masters in everlasting subjugation. Consequently, he is able to justify his action that suppresses instinctive feelings of loyalty to his master and responsibility to family’s death.

                        According to Adiga, caste system determines a person’s social and economic status. Balram inherited caste is ‘Halwai’ or ‘sweet maker’ which is considered as men with small bellies and that makes him far away from the opportunity to succeed. Thus the only way to break this irreversible cycle, one must take drastic action which in Balram’s case is to murder his master and take his money as well as identity. In fact, it’s a dark book as Balram compromises with wrong to cross over to the bright side.

                      Balram’s family members also become terrible victims of their landlord’s exploitation. Balram also suffers such exploitation, dropped from the school and ask to work in a tea stall to pay off his father’s debt to their landlord. Thus Adiga draws our attention to the severe poverty that exists in India.

                    According to Balram, the darkness represents those areas of rural India where education and electricity are inadequate, and where villagers crosstalk about local elections “like eunuchs discussing the Kama Sutra, which is proved to be true, when a rickshaw-puller decided to cast his vote and was brutally murdered. Actually the main difference between “Darkness” and “Light” is that in “Light,” people are free to cast their own vote but according to Balram in “Darkness” people are not free by themselves to give their vote: “I am India’s most faithful voter and I still have not seen the inside of a voting booth”

Conclusion:

                       To conclude it can be said that The White Tiger is a story about the predicament of Balram Halwai who narrates his story from “darkness to light,” “rags to riches,” transforming from a village tea shop boy into a Bangalore entrepreneur. His spring up from a poor village boy to a successful entrepreneur is not at all easy but hard-hitting struggle to unconstrained from brutal society.

                      At the end of the novel, Balram makes a prediction that at last, his life is totally free from white man. Adiga indirectly advocates changes in the social, economic and political system by abolishing individual vices, social evils and disintegrating system. All the issues raised by Adiga are prevalent in the whole chapter and are to be understood with their complexity and addressed properly by the protagonist Balram.

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Works Cited

DEVI, RAJNI and RAJNII DEVI. Internatinal for english Language Literature and Humanities. 7 2017. 13 3 2018 <http://ijellh.com/OJS/index.php/OJS/article/view/2112>.

 Haitham, Hind. Lehigh University. 1 9 2013. 13 3 2018 <https://preserve.lehigh.edu/cgi/viewcontent.cgi?article=2499&context=etd>.