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【正文】 ally Indian theme and it is present throughout the novel. In this Gandhian freedom struggle, the ladies of the Kanthapura play a key role. The author has painted them as energetic forms of Shakti. It can be said that Indian women are solid as rock, and they can easily bear the pain. Shakti(energy) rises in them, and each of them is inspired at a particular time. One noticeable thing in the novel is that in the last phase of nonviolent struggle, it is a lady named Ratna, who takes over from Moorthy and leads the movement. ? The language of the novel is flooded with the Indian phrases, Indian similes and rustic color. ? You can find so many sentences in the novel that are exactly translated from Kannada into English. Sometimes, there is breaking up of the English syntax to express emotional disturbances and feelings. Many words are taken from local Indian languages. The author has used them ?as they are‘. He didn‘t feel it necessary to translate them into English ? . ? In the novel, you can get words likeAhimsa, Dhoti, Harikatha, Mandap etc. Raja Rao has repeatedly used village proverbs, and folklores according to his requirement. For example, ? (1) Every squirrel has his day, ? (2) our hearts beat like the wings of bats, ? (3) and yet he was as honest as an elephant, ? Likewise, you can found so many proverbs and sayings from the language of illiterate people in the novel. For example: ? (1) The policemen are not your uncle‘s sons, ? (2) the first daughter milks the cow when the mother is ill, ? (3) saw you like a rat on your mother‘s lap, ? (4) there is neither man nor mosquito in Kanthapura (5) you cannot straighten a dog‘s tail, ? (6) land, lust and wifely loyalty go badly together. ? Sometimes Raja Rao doesn‘t hesitate to use a rude and offensive language of the villagers. He uses this type of language when it is necessary ? ―When a non native English writer, such as Rao, chooses this specific genre rather than one that is traditional to his own culture, the epic, for instance, and further chooses this genre in a second language, he takes upon himself the burden of synthesizing the projections of both cultures. Out of these circumstances, Rao has fed what I consider a truly exemplary style in South Asian fact in World has above to show how the spirit of one culture can be possessed by and municated in another language.‖(Parthasarathy 9) ? ? ―I am a man of silence. And words emerge from that silence with light, of light, and light is sacred. One wonders that there is the word at all—sabdaand one asks oneself, where did it e from? How does it arise?…. The word seems to e first as an impulsion from nowhere, and then as a prehension, and it bees less and less esoterictill it begins to be concrete… ? The writer or the poet is he who seeks back the mon word to its origin of silence, that the manifested word bees light…where does the word dissolve and bee meaning? Meaning itself, of course, is beyond the sound of the word, which es to one only as an image in the brain, but that which sees the image in the brain (says our great sage of the eight century, Sri Sankara) nobody has ever seen. Thus the word ing of light is seen eventually by light…‖(Paranjape )
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