CHAPTER-I I I

MYTHS AND LEGENDS

Myths and legends are traditional stories of unknown origin handed

down from time immemorial. They "relate the events, conditions and deeds

of Gods or superhuman beings that are outside ordinary human life and yet L

basic to it" (Encyclopaedia Britanjca Concise) Such myths and legends

vary from place to place since they reflect the culture and ideology of the

people of a region and are related to their religious beliefs and rituals.

Myths serve to explain the nature of existence and human condition. They

are the profound expressions of the varied experiences, basic emotions,

inner desires, feelings and thoughts of human beings. As Colin Falck points

out:

Myth and mythic mode of apprehension of reality seems in

actual historical and pre historical fact to be a universal stage

through which the developing human linguistic consciousness

passes and the mythic mode of awareness can perhaps be

best understood as another aspect or dimension of the

corporally based awareness of our own powers and agency

(1 989: 11 6).

There is a constant attempt on the part of the modern man to

compare his plight with that of the mythical past or his action or behavior

with that of the superhuman heroes of the myths. The mythical characters get

an identity by their deed. (like Dharmaputra for truth, Sita for chastity and

Duryodana for jealousy and so on.) Myths are generally didactic in nature and

provide us with norms and codes of behaviour. They influence our thought

and action and connect the past and the present. The function of myth, to

put it in the words of Malinowsky, is to "strengthen tradition and endow it with

a greater value and prestige by tracing it back to a higher, better, more

supernatural reality of initial events" (1948: 146).

Creative writers employ myth to illustrate or substantiate their argument

and to convey their ideas effectively. Myth, according to Northrop Frye, is

"one extreme of literary design" while naturalism is the other (1971: 136).

Myth is, naturally, one of the several devices used by a literary artist to give

shape to his ideas. John B.Alphonso Karkala using the phrase of Carl Jung

says:

The myth in the form of a dramatic short hand carries with it such

potency as to structure most compelling meaning drawn from the

inner most collective unconscious of the people or the cumulative

experience of cultural tradition without requiring much

verbalization (1 980: 68).

Mythical analogies thus help the writers to communicate their ideas skillfully

with economy of diction.

It is surprising that the use of myth in Indo-English Literature started

only in the 1930s with writers like Raja Rao, R.K.Narayan, Sudhin Ghose

etc. Shiv Niranjan, in his Novelist as sadhaka writes: "The consciousness

of myth as a powerful creative mode has been rather slow in Indo-English

fiction, even though in a country like India with so vast a store of myth, the d

author is well equipped withirich area of mythical references to the current

situations" (1985: 120). P. Lal regrets the scarcity of myth in Indo-English

Literature. According to him, "The only possible revival will take place if

one's own myth-values and structures are studied and loved and absorbed

and used with creative and critical imagination" (1 979: 16).

The mythical references employed by a writer reveal to a great

extent, his cultural and traditional consciousness. The study of myth in

Indo-English writing means also a study of Hindu philosophy and theology,

since as Chitra Sankaran observes, " there is no defining line between the

chaotic world of mythology and the precise schools of philosophy that led to

the emergence of a rich pluralistic culture" (1 993: 4).

Rooted in the Indian qultural tradition and influenced by the Great

Hindu myths of the past, Raja Rao and L.S.Ramamirtham employ myths

frequently and even their casual similes have mythical references and

allusions. In Raja Rao's Kanthapura, Gandhiji is compared to Rama,

Krishna and Harischandra. In his The Chess Master and his Moves,

Jayalakshmi compares Sivarama to Lakshman. In The Serpent and the

Rope, Madeline says that she'll be a good "Vassita': Such references to

archetypal figures are plenty in L.S.Ramamirtham too. When a character

eats a lot he is referred to as "BakasuraJJ When one is wicked, he is a

"KarkodakaJ', the handsome sons are "Arjunas" and so on. Such frequent

allusions show how myths are so much a part of our consciousness.

Meenakshi Mukherjee in her Twice Born Fiction writes about the

three forms of myth found in Raja Rao's works: The Puranic myths which

are easily communicable to all Indian readers, the localized myths which do

not have a pan-Indian appeal but appeal only to people of a region and

rites and rituals, which do not form part of myth but provide a frame of

reference (1971: 138-139). All these three types of myth can be found in

L.S.Ramamirthamls works also. Both of them have, in fact followed even

the pattern and style of myths in their works. Raja Rao in his foreward to

Kanthapura writes that he has tried to follow the style of the puranas:

The Mahabharata has 24,478 verses and the Ramayana

48,000. Puranas there are endless and innumerable. We have

neither punctuation nor the treacherous 'ats' and 'ons' to bother

us. We tell one interminable tale. Episode follows episode and

when our thoughts stop our breath stops and we move on to

another thought. This was and still is the ordinary style of our

story telling. I have tried to follow it in this story (K: 6).

In Kanthapura and in some of his short stories like the "Companions"

and "The True Story of Kanakpala" and the story of Bhim the parrot he has

followed the style of myth. In "The True Story of Kanakapala" he begins the

story in the puranic style:

But the story I'm going to tell you is the story of a serpent,

when he is a friend. It was recounted to me one monsoon

evening last June, by old Venkamma, Plantation Subbiah's

sick mother. May those who read this be beloved of Naga,

King of Serpents, Destroyer of ills (PR: 2-3).

His "Companions" is another story which is also in the mythical style and

has the characteristics of myth. It is about a strange companionship

between Moti Khan and a snake, which insists that Moti Khan should try

to find God. It remains with him all through his life. One day he has a

vision and Sheik Chisti blesses him with "eyes to discern God" (PR: 34)

after which he marries. The snake dies three days after the death of Moti

Khan and is buried beside his tomb. After narrating the story of the

companions the writer describes the rituals that followed their death and thus

gives both the characters a mythical status:

When the serpent was offered the camphor Moti Khan had the

incense. And when illness comes to town with music and flags

and torches we go and we fall in front of the papal- platform and

we fall prostrate before the Dargah, and right through the night a

wind rises and blows away the foul humours of the village. And

when the children cry you say, Moti Khan will cure you, my

treasure', and they are cured (PR: 35).

And he connects the myth to the present by the statement. "Between Agra

and Fathepur Sikri you may still find the little tomb and the pipal" (PR: 35) and

makes it appear realistic.

In On the Ganga Ghat, he narrates how the sparrows tried to hide Sita

from a demon when she was bathing in a river. Rama, hearing this story from

the sparrows blessed the sparrows that they'll never be eaten by vulture. The

writer after this narration, comments that the privileged sparrows on the

Ganga ghat are bold and proud, thus giving a mythical quality to the story.

These stories as Meenakshi Mukherjee points out, are "made of the

elements of a folk legend or myth or a dream, a vision, a curse, a quest and

finally something tangible (a tomb or temple) a testimony of the truth of

legend" (1 967: 69).

This influence of mythical style is seen in The Serpent and the Rope

and The Chess Master and his Moves as well. Paul Sharad observes that

Raja Rao in The Serpent and the Rope has used myth as a technique:

Raja Rao's prose seems to me to be bound up in the

construction of a mythic aura around Rama, whose

'autobiography' is being narrated. This 'project' serves to

exonerate him from those human failings, which might spoil his

final conversion to the teachings of his Guru (2000: 109).

In The Serpent and the Rope and The Chess Master and his Moves,

myth has been used as a digressional technique. As K.Ratna Sheila Mani

rightly observes:

The conscious use of myth in Raja Rao is seen in the

digressional method of story telling of which he is the

outstanding exponent. This method is perhaps the oldest

device in narrative literature. Weaving in stories within a story,

or pausing to narrate a parable, to drive home a point are

characteristic devices of the Panchatantra, the Vishnupurana,

the Mahabharata, the Ramayana as well as the Bible and the

Greek epics, where episode follows episode in a meandering

fashion (2000: 54-55).

Raja Rao employs a mythical style in most of his works.

L.S.Ramamirtham, when asked about the stream of consciousness

technique in his novels expresses an opinion, similar to Raja Rao's. He

says, "The stream of consciousness technique is new for the westerners,

but old for us. Our Vedas and meditations are in the stream of

consciousness technique" (MPT: 1 39).

Though he uses the stream of consciousness technique, he

particularly uses the mythical style in his "Janani" and "Rama Tarmam". In

"Jananl' he uses the Avatara myth, but here Goddess Parvathi is born as a

human being not to destroy any demon and save human beings but to

experience life on this earth. He begins the story in the mythical style.

Para'sakti, desirous of being born as a human being is floating in the sky

trying to find a place where a janma will occur and finding one she talks

with that soul which is about to get into the body:

"Hey Jeeva, you leave this place. I will be born in this body."

"DGvi, thou who art the personification of Truth, why should you

have a desire like this? We are, on the other hand longing to

become one with you, crossing all these miseries" (Aval: 123).

His ''Rzma Tarmam" is a reinterpretation of some of the incidents

from Ramayana from the writer's point of view. He presents the story

through the consciousness of Hanuman, who is old and is recollecting

those events.

The influence of the various Hindu myths, the Vedic myths regarding

cosmogony, myths of creation, protection, and destruction and the concept

of Avatara and the influence of Ramayana and Mahabharata can be seen

in their works.

While discussing Raja Rao's use of myth Karkala observes :

A matrix containing such mythical references from the ancient

and the heroic past may be able to draw considerable meaning

from the cultural experiences of that region. In other words, by

his introductory statement Raja Rao is giving an indication as to

the nature of the matrix of his tale and how it will telescope the

cultural experience of over five thousand years in the Indian

sub-continent, while telling the story of modern lndia through

the happenings in a living village (1980: 77).

His pan-Indian myths include The Siva-Parvathy myth, The Radha-

Krishna myth, Satyavan-Savitri myth, the conversations between Krishna

and Arjuna, the story of lndra and Vala and so on.

Raja Rao in his Kanthapura narrates the story of how the

uneducated people in a small village in South India are taught the struggle

for freedom. The story is narrated in the form of a puranic tale to give it an

appearance of a mythical parable. Raja Rao compares the Indian war of

lndependence to Rama-Ravana Yuddha. Gandhiji is portrayed as an

avatara of God. The Bhagvata Jayaramachar while narrating the story of

lndependence follows the pattern of Avatara myths and says that Valmiki,

the sage asks Brahma to send a God to defeat the British and Brahma

sends Shiva, who is born as Mohandas in a family in Gujarat. Raja Rao,

mythicises the contemporary event by giving it the form and appearance of

a myth. In the novel in several places Gandhiji is compared to mythical

characters who stood for truth and honour and had the courage to fight evil.

Jayaramchar compares Gandhi to Krishna: "You remember how Krishna

when he was but a babe of four had begun to fight against demons and

had killed the serpent kali. So too our Mohandas began to fight against the

enemies of our country" (K: 17-1 8).

By comparing this war to the legendary war, the present to the past,

Raja Rao carefully integrates the mythical and the contemporary to elevate

the contemporary to the level of myth. He equals Gandhi to God and

creates in the mind of the people an awareness of their political right. The

comparison of Gandhi with the mythical characters known for honesty

and courage would convince the religiously conscious people of

Kanthapura, that the Independence Movement is another battle like the

archetypal wars between good and evil and that they should stand on

the side of Gandhi.

In The Serpent and the Rope, a metaphysical novel, myths serve to

convey the philosophical notions of the writer. Rama is a student of history

writing a dissertation for a French University. Rama's spiritual aspiration

and his quest for self realization is the main theme of the novel. Raja Rao,

as Chitra Sankaran points out:

Has attempted to write in The Serpent and the Rope, a novel

in which metaphysical discussions and the psychological

development of characters are closely integrated. Any

commentary on the book must therefore pay careful attention

to the philosophical and the mythological elements in the

work (I 993: 93).

Being educated, he finds a number of mythical parallels for his situations.

Rama quotes mythical stories to give expression to his love, his quest and

to convey his philosophy of life. He explains non-dualism, dualism,

Buddhism, albigensian heresy etc., in his discussions and quotes from a

number of myths and legends. The various myths that the writer has

employed reveal the writer's mastery of the Hindu mythology.

Raja Rao frequently alludes to Siva-Pawathi myths in his novels.

The myth of the heavenly couple protecting mankind, Siva coming to the

Ganges to wash his mendicant bowl, Siva's dance of destruction recur in

them. In The Serpent and the Rope, Rama thinks of Kailas the heavenly

abode of Siva and Parvathi and how from there they protect mankind:

Somewhere over against the sky should Kailas stand and

Siva and Parvathi besport themselves therein, for the joy of

mankind. Nandi, the vehicle, the disciple of Siva, the bull

without blemish would wander round the world, hearing the

sorrows of this vast countryside hearing of painful birth and

death, of litigation, quarrel and paupery. Pawathi would

know of it for Nandi would not dare tell his master in speech

and Parvathi would plead with Siva, that orphan, beggar and

widow should have the splendour of life given unto him

(TSTR: 37).

In The Chess Master and his Moves, Sivarama thinks of Siva's dance, the

dance of annihilation: "I loved the mathematics of Siva, he who dances on

the matter to reduce the world to naught" TCMM: 21). In On the Ganga

Ghat, in the first story, driver Moti Ram describes Siva's dance in the

crematorium:

To the drummer night is like a drum. One hears the beats. YOU

know that's why Lord Shiva has the drum in his hand. He

dances in the crematorium, you remember. To beat a leather

instrument with God-given hands is easy. But to beat the drum

that Shiva's silence become sound could only be the gift of

Mother Pawathi (OGG: 16).

Similar mythical references may be found in L.S.Ramamirthamls

works also. He thinks of Sakti as omnipotent. According to him, "All living

creatures are her children. The whole world is protected by her" (MPT: 51).

In his short stories too, there are many allusions from the Siva-Pawathi

myth. He thinks of Annapiirna' when he sees fresh rice just ground and

alludes to the myth of Siva begging Annapiirna" for food. He asks and She

gives. He appreciates the beauty of this imagination. In his "Twanl' the

narrator states about Siva's consumption of poison. While discussing the

female aspects in man and masculine aspects in woman, the writer

mentions the 'Arthanariswara'- concept.

Both the writers quote profusely from the great legends the

Ramayana and the Mahabharata. Raja Rao refers to the incidents and

characters in these legends. In The Serpent and the Rope, Rama mentions

Karna, Uttara, Dussasana in different contexts. Often he refers to the life of

Rama and the relationship between Sita and Rama as illustrations. In the

same way, in L.S.Ramamirtham too, the reader comes across a number of

anecdotes from the Ramayana and the Nlahabharata. He refers to

'Arjuna's Agnatavasa: Bhishma's loneliness', 'Panchali's laughter',

'Karna's generosity' and to many other events and characters from the

great legends. The Radha-Krishna myth, the Siva-Parvati myth that recur

in The Serpent and the Rope and The Chess Master and his Moves show

how the man-woman relationship described in these two myths has

impressed the writer.

Apart from these Pan-Indian myths, both the writers have

employed local myths too. In Kanthapura, Achakka narrates the

Stalapurana of Kanthapura. She tells about Kenchamma, the deity of

Kanthapura, who killed a demon and saved the people of Kanthapura.

She narrates the past incidents in a persuasive tone by giving evidence;

linking the past and the present, describing the present situation as a

consequence of the past, which gives it the appearance of a veritable

fact. "...and she waged such a battle and she fought so many nights that

the blood soaked and soaked into the earth and that is why the

Kenchamma Hill all red. If not, tell me sister, why should it be red only

from the Tippur stream upwards ..." (K: 2).

In The Serpent and the Rope Rama tells the story of Budumakaye.

By bringing in this local myth the writer succeeds in adding a fable like

quality to the story of Rama and Savithri. He compares his Savithri to

the legendary Savitri, thereby justifying Rama's interest in her. In

Comrade Kirillov, the narrator tells the story of Kanyakumari to Kirillov's son

Kamal, when they are on a pilgrimage to South India. His short stories,

"Companions", "The True Story of Kanakpala" and the story of Bhim, the

parrot are all patterned in the form of local myths. The use of local myths

and descriptions of rituals not only reveal the traditional and cultural

consciousness of the writer but are effective in giving a real picture of the

characters and the background. The rituals like the celebration of the

festival of Karthika, Ganesh Jayanthi mentioned in Kanthapura, the

celebration of Navarathri and the Mangala Gauri day ment i~ned in The

Chess Master and his Moves and the description of death rites,

obsequial dinner and rituals connected with that - all these reflect upon

the religious consciousness, superstitions and other beliefs of the

people and also throw light on their social life.

In L.S.RamamirthamYs short stories and novels also there are local

myths. But again in L.S.Ramamirtham there are only a few references to

local myths and that too mostly as similes. In ApitZ he mentions

'Animan!avyal. He compares ail human beings to 'Aqiman!avyal, (who was

mistaken to be a thief and persecuted by a king) since they suffer for no

fault of theirs. In another place, he compares the disappointment of a

character to the disappointment of Akasti5, the sage. Akasti8 who is eagar

to see the rnar;a ge of ~ T n a k ~ i and Lord Siva is sent to Potikai mountain by

Lord giva, on the day of marriage. Lord Siva requested him to do so in

order to balance the earth that began to tilt on one side because of the

crowd (Devas and human beings) that assembled to see the divine

marriage. In his Cinta Nati, he alludes to the cankappalakai. When he

was praised by the writer Putumaippittan,he said he felt elated as though

he was accepted by the cankappalakai. This has a reference to the

cankam period. The legend has it that the book that is to be judged was

kept on a plank floating on the tank. If the work was acceptable the plank

would have the book. Otherwise the book would sink. It could be

understood that an Academy acted as a censor committee and judged

the merit of a work (Dikshitar, 1930: 12-1 3).

In the same way, in L.S.Ramamirtham's works also there are

descriptions of festivals, like Diwali or Navaratri and also descriptions of

rites and rituals like observing Maunavrata', Ap i~ekZ etc. These details

throw light on the culture of the characters. Most often, he writes about

Brahmin families and gives a realistic picture of their life by giving an

account of festivals and rituals. As Raja Rao mentions the local deity of his

place of birth, L.S.Ramamirtham also refers to Lalgudi, his native place and

Perunthiru the goddess of the place. The description of the deity, and the

rituals in the temple indicate their faith in the local deities.

Both the writers think in terms of myths and employ them with

exceptional skill. The comparison of the past and present, the mythical and

real help these writers view the contemporary situation in a larger

perspective.

In The Serpent and the Rope, Rama compares Gandhi to Krishna,

thereby giving a picture of the Hindu-Muslim fight, and Gandhi's stance in

the issue. He says, "Krishna fought against Bhishma by giving Bhisma

courage. "Mahatma Gandhi fought against the Muslims by fighting for

them. He died a Hindu Martyr for an Indian cause. He died for Truth"

(TSTR: 102). A number of such illustrations could be cited from his works.

In Comrade Kirillov, R says that Padmanabha would soon get disillusioned

with Marxism: "Go, Go, Mara, Krillov would say, I know of your doings.

Marx has been suppressed by hagiography and Lenin is in his tomb. Go,

Go, many mouthed, many armed you multiple monster Mara" (CK: 92).

Padmanabha would think, that as Buddha overcame Mara, the demonic

force of temptation, he would overcome the temptation of Marxism. He

compares Marxism with Mara. He associates it with a negative force and

thus gives a clear picture of the contemporary situation from his point of

view.

In The Chess Master and his Moves, the mythical is explained in

terms of contemporary and through that a metaphysical notion is explained:

But to the Hindu there is the other war, the war of wisdom

against ignorance, the Kurukshetra, where the Kauravas ... are

fighting against the Pandavas ... The blind had the empire. For

aught Dharmaraja cared he would have given the whole

empire, as Gandhiji was willing to give Jinnah India, if he

wanted-yes, the whole of it. The Pandavas were interested in

the Truth, so was Gandhiji (TCMM: 113).

In many of L.S.Ramamirthamls short stories also, such use of myth

can be seen. L.S.Ramamirtham compares the predicament of a married

couple and the death of their child in the story "Aravanl'to the sacrifice of

Aravgn in the Mahabharata. The poor couple that moves to town with the

baby does not find a job. The wife in order to provide her husband and

baby accepts the job of feeding the child of a rich woman who does not

lactate. But her own child dies for want of milk. The husband who is

remorseful about the death of his child and his own helplessness, joins the

army. The woman's sacrifice becomes meaningless like the sacrifice of

Aravan before the Kurukshetra war. ~ r a v z n was sacrified for the victory of

~gndavas. But there was only death and ruin on both sides. The myth of

Aravan serves here to explain the nature of existence and the role of fate,

which render our actions meaningless.

A similar use of myth is to be found in another short story

"UttarZyanam" also. Here, the writer presents in a lighter vein, the

predicament of an old man. Bhishma, according to the writer had the

courage to follow the path of truth but had no courage to question the

unjust ones around him. He was not able to convince them. The father in

this story has no courage to check his sons and daughter when they

disobey him. Having built the house in a remote part of Madras, he incurs

the anger of every member of the family. They criticize and blame him for

all their inconveniences. They show their protest in different ways. They

stay out, stay long, and return late, if they have work outside. The father

who is alone at home falls on a bed of thorns when he climbs on a ladder

and is not able to get up. He is awaiting the arrival of his wife and children

to help him out. "Should I be here till Santhi and Harini come? Even if they

come can they take me inside? If they cannot should I be like this the

whole night ... Is this my Uttarayanam?" (Purru: 50). He thinks of Bhishma's

loneliness when he was lying on the bed of arrows, all alone in the battle

field waiting for uttarSyanam, waiting for his death. It is not just a

comparison of the condition of Bhishma and the father but it is also an

observation of how situations get repeated, how the younger generations

do not respect the principles the elders valued and how the elders fail to

convince them.

In his "En piriyamulla . . cinGkitanukku" (To my dear friend), there is a re

telling of the myth of Savitri. The writer has expressed his belief in the will

power and the power of meditation. As the chaste women of the past, by

their will power rescued their husbands from death, so does Anu, the

central character of the story. The myth is suggestive since the writer only

uses those words used by Savitri, (Patim tehil patim tehi, patim tehi) to

show that Anu has the same strength and force.

His "Menakal' (Menaka) is another short story where the writer talks

about temptation or forces, which destroy our self-control. The narrator in

this story desires to observe 'mouna vratz' during the nine days of

"Navarstri". But his wife, his sons and his daughter each in one way tempt

him to talk. His son breaks the news that he has taken some amount from

the father's account by forging his signature. His wife has made nice

dishes and wants to know if he would eat. 'Menaka'here has taken several

forms. And finally the father angrily breaks his vow. Mgnaks is the divine

damsel in the Hindu mythology known for her successful temptation of the

saint Viswamitra.

In his story titled "MZyarn5nJ' (Illusive Deer) he tries to present the

story of a disillusioned boy whose father had extra-marital relationship with

the cook of the family. The boy interested in the cook's daughter later

realizes to his shock that the girl is his half-sister. The writer conveys

through the title, the illusive nature of things we pursue. Rama follows the

illusive deer only to get cheated and deprived of Sita. In the same way the

boy who has great respect and admiration for his father gets disillusioned.

Being philosophical both the writers have used myths as concrete

illustrations for the metaphysical and philosophical ideas they want to

convey. A difficult concept has been made easy to comprehend by the

introduction of mythical allusions, as in the following illustration given by

Rama in The Serpent and the Rope: "Rama is the river of life, the

movement towards self- liberation, the affirmation of one's true

existence. Ravana is negation, is the earth, the fact. But the earth is

made for dissolution, so he who holds the earth in bondage, he who

possesses in the real sense works against life" (TSTR: 184).

Rama explains the concept of illusion and reality with the help of

an episode from Mahabharata. Dussasana walked into a mirror thinking

that it was path in the park. Rama says that only by breaking the glass

that is illusion can one realize reality. Again in another discussion, to

explain the concept, that the impersonal alone is right Rama gives the

example of the mythical Rama's action of sending his wife Sita to the

forest, hearing the words of a washerman. Rama carries out the action

with a sense of detachment, in spite of his love for Sita, and in spite of

his faith in her purity. Again, when Siva explains to Jayalakshmi that

there is no world without woman, he conveys the idea by referring to the

life of Rama. He says, "When Srirama banished Sita to exile, he made a

solid Gold statue of her as you know, and ruled the kingdom in her name

and in his own. Without woman, J, as you know there is no kingdom. No

world" (TCMM: 83). He also conveys the abstract notion that the Truth is

non-dual through the Satyavan-Savitri myth in his novels.

In another place, Sivarama, while explaining the difference between

Gnana and Agnana, he conveys his idea by showing the difference

between Krishna and Arjuna:

"When one is steeped in Agnana, the unreal is taken as the real

" ... and Agnana?"

"Brings in the conflict. The unreal is taken as real so action

becomes important1'.

" and in Gnana?"

"Like Krishna you are the charioteer. Looking at the world you

see the fight. Where action is inaction and inaction is action-

that is where Arjuna had to be to win" (TCMM: 113).

A similar use of myth can be seen in L.S.Ramamirthamls short story,

"Janani". By following the mythical pattern of story telling, by using the

Avatara myth he gives it a symbolic significance. Goddess Parvathi, is born

on earth and experiences human life. After a lot of suffering and pain, she

is about to die. God tells Janani that she has to join Him. Here the writer

conveys the Advaitic notion that the Jeevatma and Paramatma are one and

the same. In "RZmatarmam" also he conveys his notions about right and

wrong by analyzing the situations and the reaction of the characters in the

Ramayana.

Both the writers employ myth to give expression to their various

feelings. In The Serpent and the Rope, Rama quotes mythical stories to

express his love. Rama says that woman needs man's worship and that

only through a woman, man comes to know the world and he feels that

men should be like Siva: "We should be Siva that woman be dissolved and

with her the world. For the world is not meant for denial but for dissolution"

(TSTR: 174).

A number of myths and legends, Indian and European, find place in

the novel. Satyavan-Savitri, Radha-Krishna, Shiva-Parvathi, lseult and

Tristan only to mention a few. The Radha-Krishna myth and the Siva-

Parvathi myth that recur in The Serpent and the Rope elevates the

relationship of Rama and Savitri to spiritual heights. Rama feels that his

relationship with Savitri enabled him to realize the self. He also imagines

Savitri to be the legendary bride, who is won by him solving riddles and

puzzles. At the same time he realizes that he could not marry her because

she is engaged to Pratap. Here Raja Rao skillfully combines the two myths

already introduced by him to convey Rama's feeling and his helpless

situation:

Trying to solve the puzzle of history like some hero in a fable, I

had won a bride. A princess had come out of the budumakaye

but the moment I had entered the world of seven sisters, the

prime minister's son had led a revolution in the palace, had

imprisoned the other six and put us two under arrest. Kingmark

of Tintigel awaited his Isolde. I would have to give her to him

but having drunk the potion of Granwal, I would meet her by

brooks and forests. I would be torn by dragons but some day

would lie in the forest the sword between us (TSTR: 198).

These mythological analogies give a touch of grace and divinity to

their relationship. In the same way in The Chess Master and his Moves

Jayalakshmi conveys her admiration for Sivarama by comparing him to

Lakshmana:

'In the wilderness of the world', she said after a long very long

silence her face still twitching in pain, 'in that jungle that

Dhandakaranya called Calcutta, where there were

Surpanakas and Marichis, you, you came, not like Srirama,

but like Lakshmana, a monk following the holy couple in the

forest, walking, as the text say, behind the foot steps of

Rama and Sita, putting every foot in between these, for fear

your foot should touch the imprints of those thrice sacred feet'

(TCMM: 127).

However, when myths are combined with the historical and the

metaphysical it leads to complexity and obscurity and the reader finds

them to be obstacles in the way of getting at the central point. After

telling the story of Dharma's dog that followed him to heaven, Sivarama

interprets it in the following manner:

... So heaven is non-duality. The dog is the object that made

non-duality not possible. In fact we must get a commentary

on Mahabharata and I am sure this is how it will explain the

whole event. Man's ascent in himself, is the Himalaya. Gods

are the many helpers. Nehru, I am told, has built a mountain

road to Badrinath. And I suppose, and I laughed, the new

helpers are the petrol pumps. Anyway even the petrol pumps

are helpful. you go up (TCMM: 271).

In L.S.Ramamirtham, on the other hand, there are no such

combinations of myths, nor are they combined with the metaphysical and

the historical. Even where the myths are combined, it is only to reinforce

the same idea. In KaJuku (The Eagle) when Ampi describes the beauty

of Bala, he is eloquent and quotes abundantly from the myths.

'Lakshmi emerged from the sea of milk.

Akash Ganga went down into Siva's hair.

Krishnai emerged from Yagna kunta (Ka: 133).

In his CintZ Nati (The River of Thought) when the author gratefully

recollects the help of the friend, Venkatraman, he compares him to Guha.

In the same book ,in the first story he narrates the incident of his

thoughtless accusation of his mother, of telling a lie and how shocked she

was on hearing that. The mother implores the son not to repeat that word

to her. Recollecting this sadly, he compares the incident with the cruel

shock given to Dasarada by Kaikeyi and comments that the same events

keep repeating.

That Raja Rao is deeply influenced by Buddha's renunciation and his

efforts to control the mind may be seen in the recurrence of Buddhist myths

in his works. In The Serpent and the Rope, Comrade Kirillov, and The

Chess Master and his Moves, Buddha's renunciation is a symbol of the

quest for the Absoulte. In The Serpent and the Rope, Rama says,

"Kapilavasthu is the true home of mankind: Each one of us has a Kanthaka

at his door. Dare we leave the child by the mother with his head under her

curled hand" (TSTR: 289-290). In Comrade Kjrillov the narrator compares

Marxism to Mara and Kirillov to Buddha and the narrator who would help

Kirillov to overcome the illusion of Marxism in turn is compared to

Kanthaka. In The Chess Master and his Moves again, there is a reference

to Buddha's renunciation:

'Are you ready for Kanthaka', she said as if in great deliberation,

her voice husky and clear.

'He who is ready like Gautama, I said, does not know he is ready'

(TCMM: 126-1 27).

Here through the myth of Buddha, who renounced the world without

any hesitation, Sivarama explains to Jayalakshmi that the act of

renunciation takes place all on a sudden. Madeleine (TSTR) after the

death of the second child writes to Rama, that she'll be a good Vasitta.

Buddha teaches Vasitta that sorrow is a part of life and that there is no

family that has not experienced sorrow. Vasitta learns to accept sorrow.

Madeleine's comparision of herself with Vasitta thus becomes very

significant.

Thus in Raja Rao's works the reader is exposed to Buddhist myths

and a number of myths belonging to different regions also. In

L.S.Ramamirtham on the other hand one can find numerous Hindu myths

and occasionally a few Greco-Roman myths.

In his PS~ka[al he refers to the myth of Prometheus, who brought

fire in a bamboo shoot and gifted it to humanity. Likewise the spark of

talent that is in us is a gift from our ancestors. In Apiti he compares the

heroine who dies on the foot of Siva to Jesus Christ. Ampi feels that

Cakku probably did not want to betray her feelings and hence she

should have chosen death. He asks, "did you do it thinking that you bear

the cross of your misery?" (ApitZ: 78). In his CintZ Nati, he refers to

Pandora's box. But for these references he has not gone out of the realm of

Hindu mythology. They do not form a part of his consciousness as the

myths of his land do.

Both Raja Rao and L.S.Ramamirtham are innovative in their use of

myth. A very original use of myth can be found in The Chess Master and

his Moves where Siva says, "one and zero are like Parvathi and Siva. She

becomes him. From the union is born Ganapathy, Lord of numbers,

therefore objects. Hence the world came to be. Hence by acknowledging

him you return to reality" (TCMM: 73).

L.S.Ramamirtham has used the myth of extracting ambrosia from

the sea of milk in many different senses, in his autobiography. He

begins his autobiography describing the process of churning the sea of

milk. Though both Asuras and Devas churned, the ambrosia was

shared only among the Devas. It is said that the Asuras were not given

a share because they were evil. The writer cannot understand the justice

of this action and comments that from then on till now justice is only like

the sharing of ambrosia. The same myth is differently used when he

says that he will keep churning so that the writer and the reader can

share the experiences. He also says that the activity of churning should

continue because it proves and gives meaning to our existence.

In some of their works, myths are used as symbols. In RajaRao's The

Cat and Shakespeare, which is a symbolic novel Guru takes the place of

God. Buddha's renunciation and Kanthaka recur in his novels and are

symbols for the movement from 'Agnana' (ignorance) to 'Gnana'

(wisdom). The Siva - Parvathi myth and The Radha-Krishna myth that recur in

The Serpent and the Rope and The Chess Master and his Moves are symbols

for ideal union and perfect harmony. In L.S,Ramamirthamls P u ~ u the

protagonist is a wicked character. He derives pleasure in hurting others.

He is compared to the snake which is the archetype of evil and cunning.

To conclude, Raja Rao is exposed to various myths belonging to

different regions and uses them very widely and in a complex manner to

convey the most abstract notions in his works. L.S.Ramamirthamls use of

myth, on the other hand, is limited in the sense that he does not employ

Greco-Roman myths except in a few occasions. He does not combine many

myths and even when he combines two or more myths, the second myth

reinforces the idea presented by the first one.

*****

CHAPTER-IV

FAMILY AND SOCIETY

Society is the sum total of formal relationships in which

associating individuals are bound together. - Giddings.

As the family goes, so goes the nation and so goes the whole

world in which we live. - Pope John Paul I1

Family is the basic unit of society. A family consists of members

related by blood as well as by marriage. A nuclear family is a small family

where the father, mother and their immediate off springs live. An extended

family includes grand parents, their off springs, daughters-in-law and grand

children. Communities are bigger units of society. The members of the

same community share a common culture. Family structures and role

relationships differ from community to community. Each community has its

own needs and its cultural notions depending upon the geographical

position, their living atmosphere and experience.

The family structure and the role relationship in the Indian society are

for a major part, according to the prescription of the Smritis, the ancient

law-codes of Hindus, since a majority of Indians are Hindus. Many Hindu

law givers have from time to time modified the codes of behaviour, to suit

the social needs of the time. Manu, Yagnyavalkya, Parasara are some of