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The most tremendous additives of Desais fashion in short tales are childhood memories and the haunting emotions surging out of a romantic coronary heart. In view of Iyengar, As we remain mesmorised by Anita Desais verbal artistry and her uncanny evocation of atmosphere ,her tale unfalteringly glides by and we anxiety a rendition of the veil of the realm of personal experience and achieve the desired finale of acceptance.4
Tha accompanist stands for pure love and selfless service. When the ustad requested him, Do you play? These words contain a feeling of security and relief, love and affection which were absence in his life. As a matter of truth, love is above money, mainly the cloth gains and achievements. About the facility of love, Coleridge has rightly adopted:
The oft-quoted lines explain that for years he was playing the tanpura for the ustad Rahim Khan but did not get any recognition. The awareness was grabbed by the ustad and some of these years Bhaiya was hidden behind him on the stage without any recognize of his presence. In view of his friends he should have a life of obscurity and establish himself as a full fledged musician that can bring to him more fame and more money than the few pennies given by the ustad for playing the tanpura. These suggestions went unheared and the accompanist bridled the horses (the senses).Desais protagonists are not as weak as Marlowes who come under the influence of corrupted folk like Mephistophilis .Desais accompanist knows the art of satisfaction within his limited means.(Contentment is happiness.) His friends enticed the accompanist for coming out of his ustads group and he should establish himself as an independent musician of a more worthy instrument than the tanpura but he realized the good glory of his ustads group and got spiritual wealth through this group. He remarks, When I first met my Ustad,I was a boy of fifteen-a silly, backward boy as my father had often told me I was. At his fathers education he delivered the tanpura to ustad Rahim Khan. Delivering it to ustad he noticed greatness in his face, the calm and wisdom and kindness of a special leader and robotically intented to deliver his entire life into his hands along with the tanpura. Later on the words Play for me uttered by the ustad made him stunned and delivered changes in his life. In truth, these words were new-life giver to him as they created him, created his life, gave it form and distinction and purpose. The accompanist adds, It was the moment of my birth and he was the 2 my father and my mother to me.
Ours is a word formed and described and enclosed not so a lot by music, notwithstanding, a by a human relationship on cast ground level-the relationship of love.
The love for music and ustad Rahim Khan changed the entirety in his life and he gave up all his childhood pleasures and pranks. All fell away from me ,all disappeared in the shadows on the other side. Ustad took the place of his mother s sweet halwa ,the cinema heroines, the street beauties ,marbles and stolen money. Ustad Rahim Khans group delivered several changes in his life and gave birth to him as Bhaiya, the tanpura player. All his attractions regarding playing with the mischievous boys of mohalla and going to cinema disappeared. All his follies and stupidities or dangerous habits disappeared for ever .Music has taken their place and develop into the goal of his life.He is fully chuffed with this goal. Thus he devoted his entire life to ustad and have develop into his true friend and accompanist because he was nothing. It was Ustad Rahim Khan who noticed me, hiding awkwardly in the shadows of an empty hall with a tanpura in my hands and known as me to come to him and showed me what to do with my life. I owe the entirety to him, my very life to him. Thus he decided to remain royal in an analogous place giving the ustad the base material on which he would compose his music.
Desais The Accompanist elaborates the beautiful relationship between Guru and Shishy and proves it more important than other relationships-mother and son, father and son, brother and sister, husband and wife etc. The accompanist has robust likeness for the sweets made by his mother instead of her. How I loved my mothers sweetmeats, too a lot more. What her picture he has in his life is clear in further statement, I did the non-descript ,mumbling ,bald woman who made them.. She never came to life for me. She lived some obscure, indoor life, unhealthy and curtained, undemanding and uninviting. He considers her as a glorious cook. His father had been a tricky taskmaster who would religiously get up him in the early hours of morning and exercising him in music. He obligatory his son to develop into a musician not an instrument maker. With this view he gave him instructions in playing the Tanpura, Harmonium, Sitar and the Tabla and taught him all ragas and raginis by testing his knowledge with persistent thinking. It was the time when he was crazy for cinemas and playing marbles and had not so a lot likening for music. But when he was caught in a situation , he stood up to it. When his brain was washed by his friends, he began to doubt his father and recalled him by saying, My father had taught me to play some of these units and disciplined me seriously ,but he had never praised me or urged I may perhaps develop into a front-rank musician. I had learnt to play units as the son of a carpenterBut I had practiced on these units and played the ragas he taught me to play without thinking of it as an art or of myself as an artist. Perhaps I was a silly, backward boy .My father always said so. Such attitude towards his father the accompanist has .Stealing the shares of his brother and sister proves him unkindly ,irresponsible ,unsociable and naughty boy. Now he is married and has develop into the man of the area but has no pastime in his married life whilst in his childhood he was crazy for the street beauties and the cinema heroines and put himself in the place of their screen lovers. He considers that he married for his mothers pleasure, I even married. That is, my mother managed to marry me off to some neighbour;s daughter of whom she was fond. The girl lived with her. I seldom visited her. I can barely remember her name, her face. Whenever he gets the chance to go home for several days to relaxation, he goals of cutting short these holidays and returning to his house in the city to practice.
Our intellect has relatively different waves of thoughts which generally deviate us from our correct path and we begin to doubt on our doings and develop into sad as the accompanist appears whispering, Had I wasted my life? As the emotions of repentance enter the intellect of the person, he mends his short comings, his intellect becomes pure and purged and then he realizes extreme love. The accompanist confesses, Only once I was shaken out my contentment, my complacency. I am ashamed to reveal it to you. It was so silly of me . Further he holds the view:
The emotions of the accompanist to ustad Rahim Khan are expressed in the above line. He feels that he always plays the notes given by the ustad repeadly and he builds his music on the background provided by him. Thus he feels he is a special accompanist. Above all he never expects anything and never tries to compete in the performance with him. He never seeks the awareness of the viewers ,their awareness is often on the ustad ,whenever his ustad suffers with the hacking cough in a concert ,he always asks the accompanist to prepare the opium to quieten it, these points make him a special friend as well.
Ajit and Bhola ,Bhaiyas childhood friends appear in the story as Mephistophilis in Marlowes Dr. Faustus, whose group is to corrupt ,mislead and caution and dissuades Dr .Faustus from his correct path. They visited the accompanist almost two decades and provoked him to come out of the shadows of his grasp Rahim khan and create his own identity by being a soloist. They stated:
Anita Desai, short listed three times for the Booker Prize and honoured by the Padam Shri for her literary specialty, is one of the vital literary luminaries of the fashionable Indian fiction writing in English and a prolific post colonial writer who like Virginia Woolf deals with the psychology of intellect and goes deep into the coronary heart of her characters to expose their inner emotions and dig out the hidden questions that spring at the coronary heart of their coronary heart and ,for this reason, she appears travelling with the modernist sensibilities of T.S. Eliot and Faulkner. The author of the highly acclaimed novel Fire On The Mountain and six other novels, has shown her craftsmanship even in the shorter fiction i.e., short tales reasonably than her novels. It is true that she reveals the short story form a lot less satisfying1 than the novel ,yet she assists in keeping on writing story as she started writing it as early as her college days.2 In her short tales her fashion exhibits to even more advantage than in her novels. Her short tales are witty, evocative, tender and perceptive and perfect in revealing her skill and dexterity in handling this genre. Not only her novels but her short tales also are the good exposure of her psychological perspect.
It is attractive to acknowledge that Desai has beautifully presented the inner conflicts of the accompanist and also his victory over them. In truth, she believes in dealing with the intellect and the soul of a personality ,his inner workings and hidden and silent thoughts reasonably than his outer appearances .Similiarly, The Accompanist has a fine fusion of emotions and form and proves itself a great example of Desais art and craftsmanship since her main group as a fiction writer is to expose the truth. Thus the story accentuates the importance of selfless love, devotion, willpower and gratitude in human relationship.
References: All the references of Desais The Accompanist in Games at Twilight and Other Stories, New Delhi, Allied, and London: Heinemann,1078.
I safeguard I am his true accompanist, indeed his true friend.
Desais The Accompanist, an extract of Games At Twlight (1978) delineates the emotional state of a tanpura player who, in this story, proves a special shishy and a special accompanist and is known as Bhaiya or the accompanist. The story is woven in the thread of true human relationship between ustad Rahim Khan,a former classical musician and Bhaiya ,the tanpura player who accompanies him in his performance having the quality of love and devotion.
The idea discussed in the above line describes the relationship between the accompanist and the ustad. The accompanist feels that their relationship is not just thanks to the music they played together, instead it was thanks to story human ties. The relationship developed thanks to the inspiration and assistance he obtained from the ustad who had framed his destiny it was further strengthened thanks to his love and devotion to the man he admired the most in his life.
Childhood memories are also recollected by the accompanist when his trust was shaken out thanks to the provoking of his childhood friends. He cried continuously. Everything appeared to be unpleasant and evil and then he recollected the past incidents of his life when he was a vagarant or a vagabond who was without hope, without aim and without destination and was passing a meaningless life. He goes returned to his childhood days and reminiscences how other things were of importance to him . Music was worshipped in his family. The central hall of his house was well-knownshows for the musical units made by the 2 his father and his grand father . Cordantly and discordantly sound of his music may perhaps be heared. The accompanist himself had robust likeness for music and also started learning all ragas and raginis from his father ,Mishraji at the age of four . His father, a maker of musical units ,tasted his knowledge with rapid persistent thinking in his unmusical grating voice and frequently grabbed his ears and pulled it during his teaching. From such instructions he felt the like to escape and managed several times a day. He was habitual of playing gulli-danda and kho and marbles with mischievous boys of his mohalla.He was fond of watching movies of Nargis and Meena Kumari who were the Queens of heaven for him. In order to fulfill his goals he never hesitated in stealing the money from his mother or father.His mouth watered for halwa and jalebis made by his mother and used to steal his brothers and sisters share for which he was beaten and cursed by the entire family. It was the life which he was leading before joining the musical band of ustad Rahim Khan at the age of fifteen.He is thirty years old now and for fifteen years he has been serving his ustad being his true accompanist.
BY DR. RAM SHARMA SENIOR LECTURER IN ENGLISH J.V.P.G COLLEGE, BARAUT, BAGHPAT, U.P. AND Dr.Anshu Bhardwaj(Sharma) Senior Lecturer in English Depts. Arya College of Engineering & Information Technology SP-forty two,RIICO Industrial Area Kukas ,Jaipur
We develop into the victims of goals of the senses. It is controlled by the considerable will power or by following the suggestions of the supreme bliss which Dr.Faustus felt. We get the exposure of the intellect of the speaker when he thinks two ways of taking action. First he would establish his own identity by ignoring ustads group as his childhood friends urged. Second he would be his accompanist for ever.
You even know how to play the sarod and the veena. You may perhaps be a great Ustad yourself ,with some practicewhy do you spend your life sitting at the returned stage and playing that idiotic Tanpura whilst another person takes all the celebrity and all the money from you.
1. Quote in Jasbir Jains Interview with Anita Desai on 16th November 1979,Jasbir Jain, Stairs to the Attic: The Novels of Anita Desai ( Printwell Publishers,Jaipur,1987,p.thirteen). 2. Ibid,.p.8. three. Srinivas Iyengar, K.R., Indian Writing In English, New Delhi, Sterling Publishers Pvt.Ltd;1985,p.464. 4. Ibid.,p.745. 5. Coleridge ,S.T., Love in Golden Treasury,op.cit,p.171.
The intimacy between the accompanist and his ustad may perhaps not be perceived or understood by his childhood friends and their act of provoking him towards his ustad failed and cultivated in him a robust sense of commitment towards his ustad. Having the emotions of self-assured, poised and self-satisfed he hired a tonga and requested the driver to take him to his ustad, his creator. Only one thing was going in his coronary heart.
All thoughts ,all passions, all delights Whatever stire this mortal frame Are all but ministers of love And feed their sacred flame. 5 The accompanist assists in keeping on showing his true love and service to the ustad without any wish for gaining anything in return. We have traveled all over India and played in every city, at every season. It is his life and mine. We share this life, this music, this following. What else can these possibly be for me in this world?
In Anita Desais writings the inner climate, the climate of sensibility is more compelling than the visible action. As Iyengar places it, Her specialty is the exploration of sensibility-the particulary sort of fashionable Indian sensibility that is ill at ease among the barbarians and the philistines, the anarchists and amoralising.three In the existing story the accompanist was persuaded by the senseless talks of his friends, Ajit and Bhola who were empty headed and leading him into it. In special sense the accompanist was not convinced with the ugly thoughts of his friends but still he was compelled to think even if he may perhaps really be a front-rank musician or a ustad himself. The lines reveal his inner conflict as I thought, Are they correct? or the sarod, or the veena? And develop into an ustad myself ? He found himself in delimn and tries to analyse the situation. For this purpose he goes on thinking in regards to the futility of the time he had spent with his ustad and states, Now these boys who had heard me play in the dark hall of our house have been an ustad myself, sat in the centre of the stage, played for great audiences and been applauded for my performances. Were they correct? Was this true? Had I wasted my life? Then he reveals the exposure of his intellect after some soul-searching that he can never develop into ustad in his own life. This idea is revealed in these lines, Yes, anybody may perhaps play the tanpura for him, do what I do. But he did not take anybody else, he selected me. He gave me my destiny, my life, and for this reason, the alchemic touch of the grasp turned the crude and base boy into a noble and gentle accompanist who now regards him as his God on earth and feels, Does a mortal refuse God?