Kanthapura Essay
She suggests that Rao’s traditional Brahminic orthodoxy sets a hindrance in the presentation of a faithful picture of Indian nationalism. Though it was a national phenomenon, Raja Rao’s inherited concepts create a layer which stops him to show the true image.
Makarand Paranjape, while commenting on the novel, analyses it formally and stylistically. He reviews the experiments Raja Rao has introduced in the course of the novel. The greatest among them is the form of the novel – legendary history or sthalapurana. Paranjape enlists the puranic quality:
Kanthapura shares certain narrative techniques with the Puranas. … The Puranas contain detailed, poetic description of nature; similarly, this novel has several descriptive passages which are so
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However, the character who has upper-hand is Moorthy. In fact the characters of Kanthapura are divided into two sides, good and evil. Moorthy, Ratna, Range Gowda, Ramkrishnayya, and Rangamma form the side of good; whereas Bhatta, the Swami, his man Venkamma, Bade Khan, and all the red men belong to the evil side. All the characters are painted in a lively manner as if Kanthapura is a large picture-gallery of village-folk.
Kanthapura is a panoramic collection of images and symbols. The majority of images used in the novel are descriptive, mythical, and religious. These images at times denote qualities of a character or at other they serve the purpose to present the rich nuances of Indian rural life and religious faith. The novel opens with a heap of images to show the contours and the situation of Kanthapura in the hilly tract of Malabar. A true picture of the Indian countryside is evoked by the image of the cowshed with these words:
Then the byre-door creaked and Rangamma came out with a sobbing lantern in one hand and the bright frothing milk-pot in the other, … and from the byre comes the noise of the calves sucking and the spitting sounds of the wall-lizards, and from the Temple-Square-Tamarind comes the evening clamour of the hanging bats. (Kanthapura:
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