Assertion of Indianness in Amish Tripathi’s Trilogy

Assertion of Indianness in Amish Tripathis TrilogyIn the present times, with expanding globalisation, the sphere is getting closer. Prospects for Indian writings in English, in this scenario, charter as well as expanded. English is gaining popularity and the same has become a means of speaking of upper and middle class Indians. Indian writings in English be not tho popular among these classes of Indians but atomic number 18 also being read across the world. Contemporary Indian writers who write in English try their topper to show themselves as much rooted as possible in Indian Culture and assert their Indianness.In this paper, well analyse Amish Tripathis shiva trilogy to explore his assertion of Indianness. Amish Tripathi is known for his mythological fiction writing in the era when other(a) writers mostly highlight contemporary family values, moral values, customs, culture and many other aspects to emphasize Indianness in their writing, Amish Tripathi has chosen mytholog y to assert the Indianness. In this study, we will also look at Tripathis views regarding Indianness and see how far has he succeeded in take a firm stand Indianness in his trilogy.Before we move ahead it is necessary to understand the concept of Indianness. India is a trim of co-existing multiple cultures and traditions. U.S. Rukhaiyar and Amar Nath Prasad in Studies in Indian Poetry in English state that Indianness is a extra, individualistic life-attitude and mode of perception (149). They further quote Prof. V.K. Gokak who describes Indianness as a composite aw beness in the matter of race, milieu, language and religion (149). Thus, Indianness can be considered as the summation of diverse cultures of India and ideology and ideals which composes India.Amish Tripathis first-class honours degree book of the trilogy, The Immortals of Meluha was published in 2010 amounted by The Secret of the Nagas in 2011 and The ban of Vayuputras in 2013. Tripathi appears to be a devotee of Shiva (S. Pandit). Although, during his youth he was an atheist but he returned to faith, when started writing these books (S. Babbar). He became religious to the point to regard religion as a trope to define Indianness. Tripathi defines Indianness in Verve as followsThe Indianness of India lies in our religiosity. I wouldnt restrict it to any particular religion, since we keep up practically every religion in the world existing within India. It is our attitude towards religion. Simply put, our deep religiosity defines the Indianness of India.Now, if his turning religious is only for getting a wider readership in India where majority of people are religious or if he truly felt it, is something we dont know. But, certainly his trilogy occurs as a persuading text for our not-much-caring-about-religion youth to attract them to become religious.His first book begins at Mansarovar Lake in Tibet in 1900 BC where Shiva is the mind of a state cal guide Gunas. The bosh begins when Shiva along with his tribe decides to move to Meluha, an organised (read more cultured and prosperous) kingdom with facilities and comfort, to avoid attacks from a neighbouring tribe called Pakratis. Shiva meets the immortal Meluhans that follow the path set out by Ram and call themselves Suryavanshis. Soon on an occasion, Shiva drinks Somras that gives Shiva a blue throat. There was a presage that Suryavanshis believed in. According to which the blue throated one, the Neelkantha will gain them victory over their rivals, Chandravanshis who have hired evil assassins, the Nagas to attack and conquer Meluha. Shiva, in that respect, also meets a better-looking girl named Sati and marries her. Sati is kidnapped by a Naga in front of Shiva. As a result, Shiva soon learns that Chandravanshis are not the real evil and marches to the land of Nagas in search of evil in The Secret of the Nagas. That land of Nagas is shown as occupied by de make beings. During his quest he meets Kali, sister of h is wife Sati and Ganesh, the first son of Sati. In The Oath of Vayuputras Shiva gets to know about the ill effects of Somras. It has ca mapd reduction in the water level of Saraswati River and the waste formed during the contrive of Somras was put in the Tsangpo River, which has caused plague in a place called Branga. Also, the birth deformities of Nagas were caused by it. After learning that Meluha is the heart of producing Somras, Shiv attacks Meluha. He acquires Pashupatiastra from Vayuputras, a tribe led by previous Mahadev, Rudra that avowed to support Neelkantha, and destroys Devagiri, the capital of Meluha.Amish Tripathi makes use of the ancient Indian mythology of Shiva, but blends it with fiction. According to A Glossary of Literary Terms by M. H. Abrams and Geoffrey Galt Harpham, mythology is a system of hereditary stories of ancient origin which were once believed to be true by a particular cultural group, and which served to explain why the world is as it is and things happen as they do, to provide a rationale for social customs and observances, and to establish the rules by which people conduct their lives. Mythology may be considered to be history by a few people, but one could argue that it is fiction and therefore there is no single version of mythology. It is generally deformed and turned according to ones belief.Indian Mythology, in the same steering, provides a way of life for Indians. Tripathi refers to the mythology of Shiva that can be found in the epic called Shivpuran. Encyclopaedia Britannica provides glimpses of Shivas stature in Hindu or Indian culture asShiva, (Sanskrit Auspicious One)one of the main(prenominal) deities of Hinduism, whom Shaivas worship as the supreme god (Shaivism). Among his common epithets are Shambhu (Benign), Shankara (Beneficent), Mahesha (Great Lord), and Mahadeva (Great God)Shiva is represented in a variety of forms in a pacific mood with his consort Parvati and son Skanda, as the cosmic dancer (Nataraja ), as a naked ascetic, as a mendicant beggar, as a yogi, and as the androgynous union of Shiva and his consort in one body, half-male and half-female (Ardhanarishvara). As Bhairava, he is often envisioned as a Dalit (formerly called an untouchable) and accompanied by a dog. He is both the great ascetic and the master of fertility, and he is the master of both poison and medicine, by means of his ambivalent power over snakes. As Lord of Beasts (Pashupati), he is the benevolent herdsmanor, at times, the merciless slaughterer of the beasts that are the world souls in his care.Tripathi takes up traditional Indian mythology, which is regarded as factual history by some especially religious ones and as fiction by others, and creates his own fiction. The story that Tripathi weaves is such(prenominal) that it includes major characters and steadyts related to Shiva in the ancient Indian mythology but modifies the traditional narrative. The actions, the narrative, signs and codes of tradi tional mythology are changed to the extent that they are reduced to names, vague references and symbols, piece of music the poetic abilities of the author are hampered by religious sentiments (Eric M. Gurevitch).Shiva although embodies the same power and same status but the manner in which events associated with him takes place are altered. Ganesh, traditionally believed to be Shivas own son is shown here as a child bore by Sati, Shivas wife, introductory to their marriage. So what we can see is that Tripathi plays with traditional mythology that we know about.Also, Tripathi has shown his characters not as Gods but as humans. Shiva, Sati, Kali, Ganesh, Kartik, they are all there in human presumptive form unlike their projection in Vedas and Puranas where they had supernatural powers. Shiva is the chief of a Tibetan tribe and others also have human forms. However, these humans that Tripathi depicts are too perfect for being a human. For example, Shiva is always morally correct. Hi s kind with Sati is never shown as a relationship of passion that a human being might have. Therefore, we can say that the values that a traditional Shiva possess are not violated by Tripathi. He is a God-like person. Thus, we see a fine balance of Tripathis own imagination and traditional ancient Indian mythology.Since Mythology, on its own, has no rigid boundaries and could be moulded or transformed up to any stretch of imagination of writer himself, these novels provide an alternate mythology for the Indian reader. However, for a non- Indian reader who is not well present with traditional mythology of India, this trilogy can serve as the only mythology of India.Tripathi in his novels has also tried to amalgamate ancient Indian mythology with recent history and contemporary reality. The relationship between Meluha, the land of Suryavanshis and Swadeep, the kingdom of Chandravanshis reminds the readers of the relationship between India and Pakistan. Chandravanshis constantly atta cked Suryavanshis which is reminiscent of terrorist attacks by Pakistan (Eric .M. Gurevitch). Also, Pakistanis uphold the symbol of moon which again cerebrate it to the Chandravanshis, where Chandra means moon. Although, Tripathi by cover that Chandravanshis are not the real evil is highlighting that Pakistanis may be misunderstood by Indians.One can also say that the tensions between Meluhans and Nagas replicates the tension between India and China or Indian government and the Northeastern Tribes of India. Naga is an actual tribe in northeast India. The Nagas in the story are neglected, feared and looked at as enemy because of their abnormality. Kali and Ganesha were abandoned by Meluhans because they had an extra pair of hands and an animal head. Kali and Ganesh attacks Meluhans to assert their independence and to nock their identity. It resembles the strife that we constantly see between north-east Indians and rest of Indians because of their Mongoloid looks that are uncommon outside north-east India. Tripathi also brings in International tensions in his fiction. The picture of Meluhans producing toxic Somras that causes deformities in Nagas reminds us of World War II, where USA dropped Atom Bombs upon Japan that causes various deformities in Japanese of radiation affected areas work on date.Another aspect that makes his mythological fiction in tune with contemporary world is the introduction of scientific dimension. When Shiva reaches Meluha for the first time he sees that Meluhans use modern equipment like showers etc. They also excel in medicine. And apart from this, they are advanced enough to produce Somras which is told to be a chemical compound, which if taken in undiluted form can be poisonous. Also, the two Asrtras, Brahmastra and Pashupatiastra mentioned in the books can be seen as a product of modern science. The Pashupatiastra is a rocket (possibly nuclear fission missile) of Pashupati (another name of Lord Shiva in traditional Hindu Mytho logy), used to destroy specific targeted area, darn the Brahmastra is a missile (possibly nuclear fusion missile) of Brahma which does not have a controlled effect. (Sreedharan 778)It is clear that Tripathi indulges in all the above aspects as he is aspiring for larger readership. New generations that are inclined towards science and the older ones that still holds on to mythology, both are attracted towards this amalgam that Tripathi has created. With this, he is reviving interest of young generation, which is overshadowed by scientific reasoning, in mythology by justifying mythology through science and warfare technology. This combination of science and mythology that Tripathi uses, makes his novels and the ideas that he infuses in them as more acceptable to the reader.Despite above, one cannot ignore his clamorous argument that he is trying to show in his Trilogy about Indianness that well see later in this paper.Furthermore, Tripathi also showcases Indian values, traditions and customs efficiently. Throughout the series, we see that there is commitment in each and every relationship portrayed. The relationship between Shiva and Sati is a strong bond which is not broken even when Shiva gets to know about Ganesha. Sati and Shiva both are equally respectful to each other. Similarly, Shiva is a true friend. He doesnt let his do as a chief come between him and Bhadra. He always wonders Why does he keeps forgetting that he has been my closest friend since childhood? My becoming the chief hasnt really changed anything. (The Immortals of Meluha 13) Apart from this Indian salutation of Namaste is constantly used in the books along with the gesture of bowing down and touching somebodys feet out of respect.Though Tripathi claims to assert Indianness through his trilogy, one needs to understand his notion of Indianness and his literary practice, which could be disappointing for some readers. Even though he expressed his version of Indianness in Verve referred above where he seems to believe that Indianness is defined by religiosity and all the religions evoke the idea of Indianness, but while writing this Trilogy, he completely ignored all other religions but Hinduism. This fact emphasizes that to become more Indian, Hinduism is the only way. Hinduism might be a way of life for majority of Indians, but Indian culture cannot be defined in terms of Hinduism only. Indian culture is a diverse cultural and is formed by different communities having different faiths. Also, what about those citizens of India that are non- religious. Are they not true Indians? By giving himself to a single faith, despite his claim of multiplicity of religious faith, Tripathi seems to be propagating Hinduism. Except this, he takes all the right steps as he blends in all the other elements to make his trilogy acceptable for most readers spreading across all the age groups and nations.Thus, though it seems that Tripathi has been able to assert his version of Indianness b y resorting to mythology, where he relates it to contemporary reality and also by showing traditions and customs practiced in India. But he definitely could not provide true idea of Indianness which embodies the idea of unity in diversity. He appears to believe that if one wants to be more Indian, then one should embrace his or her religiosity. According to this statement, he clearly seems to neglect the group of non- believers in India. However, even if we ignore the fact that he has neglected the group of non-believers in his ideology of Indianness, he by not involving other religious beliefs, has not been able to instrument his ideology successfully in his works till date. Despite this approach, Tripathi has succeeded in garnering commercial success but he also apparently has succeeded in propagating Hinduism.Moreover, it is principal(prenominal) to see that while writing this Trilogy, he has considered Hindu mythology as Indian mythology, which could possibly be because Hindui sm is originated from India, while other religions like Christianity and Islam did not. Religions like Buddhism, Jainism or Sikhism have their roots in some way or the other in Hinduism. However, his considering Hindu mythology as Indian mythology led to ignoring all the other mythologies of India, even that of autochthonic tribal communities of India. He has neglected the diversity of Indian culture. And that is why it is difficult to say that Tripathi has been able to assert Indianness successfully and justly.We can still hope that he might include all those categories of so far neglected people in his upcoming works and will be able to present a more justified, true and acceptable picture of Indianness because Tripathis novels have a huge readership including young generation across the world. His representation of Indianness in a truer manner will help these readers to get a better and near to truth picture of India.Works CitedAbrams, M.H., Geoffrey Galt Harpham. A Glossary of Literary Terms. 10th ed. Delhi Cengage Learning India Pvt Ltd, 2012. Print.Babbar, Sonakshi. committal to writing changed me from an atheist to a Shiva bhakt Amish Tripathi. Hindustan Times 10 September 2011. Print.Gurevitch, Eric .M. Implausible Deniability Reading Amish Tripathis Shiva Trilogy Eric Gurevitch. Kafila. 28 April 2014. Web. 20 Oct. 2014.Pandit, Shruti. My books are Shivas blessings. The Times of India 12 June 2012. Print.Rukhaiyar, U.S., and Amar Nath Prasad. Studies in Indian Poetry in English. New Delhi Sarup Sons, 2002. Print.Shiva. Encyclopaedia Britannica. n.d. Web. 31 Oct. 2014.Sreedharan, M.S. Bharatiya Vigyan Manjusha. New Delhi Publications Division, Ministry of Information and Broadcasting, Government of India, 2005. Print.Tripathi, Amish. The Immortals of Meluha. Chennai Westland Ltd, 2010. Print.. The Secret of the Nagas. Chennai Westland Ltd, 2011. Print.. The Oath of Vayuputras. Chennai Westland Ltd, 2013. Print. The Indianness of India. Verve Volume 20, Issue 8, August 2012. Web. 20 Oct. 2014.