Join USC president C. L. Max Nikias for a performance on November 19th of Jean Anouilh’s reimagining of Antigone. This adaptation of Sophocles’ classic tragedy about morality in the face of immoral power dares us to choose between our personal values and those of the world in which we live. The performance will be followed by a conversation with President Nikias and director Robertson Dean. Jean Anouilh was one of France’s most important writers in the decades following World War II, and Antigone is perhaps his best-known work. Produced under Nazi censorship and first performed in Paris in 1944, it has been widely interpreted as an allegory for the French resistance and the Nazi occupation. Anouilh’s Antigone will be performed by A Noise Within, a Pasadena-based theatre company that promotes classical theatre as an essential means for our community to confront the universal human experience. One of drama’s most compelling heroines, Antigone accepts her fate with fearless grace—and dares us all to rise to the greater good.
(1944 original production, Paris)
There are basically three ways of approaching Indian English poetry: as an extension of English poetry, as a part of Commonwealth poetry, or as a part of Indian poetry. The first approach is largely outdated today, while the second, though still current, has gradually yielded to the third.
When Indians first began to write poetry in English, they were outnumbered by Eurasians and Englishmen who also wrote poetry on Indian subjects. Hence, poetry by Indians was not distinguished from poetry by non-Indians. Indeed, both types were published by the same publishers, the Indian subsidiaries of British publishers such as Longman or Heinemann, or by the English newspapers and magazines of India, which were usually owned and edited by Eurasians or Englishmen. Most Indian English poets were educated by Englishmen in Anglophone schools; like other English poets, they studied English literature. Because India was a part of the British Empire, Indian English poets did not have a strong national identity, and their early efforts were considered to be a tributary of the mainstream of English literature. Anglo-Indian literature was the term used to denote their poetry, the implication being that this was English literature with Indian themes. The term referred primarily to the literature produced by Englishmen and Eurasians in India, though it also included work by “native” Indians. The first scholarly work on Anglo-Indian literature was Edward Farley Oaten’s A Sketch of Anglo-Indian Literature (1908), a condensed version of which was included in the Cambridge History of English Literature (1907-1914), edited by A. C. Ward. Oaten’s primary concern was with English writers such as Jones, Sir Edwin Arnold, and Rudyard Kipling, and Oaten made only passing reference to Indian writers in English. With India’s independence from Britain and the withdrawal of the British from India, Anglo-Indian literature, defined as literature written by Englishmen in India, more or less came to an end. On the other hand, literature by Indians in English increased, gradually evolving an indigenous tradition for itself. Consequently, Oaten’s approach became untenable in dealing satisfactorily with Indian English literature. Nevertheless, it continues to have a few adherents—among them George Sampson, who, in The Concise Cambridge History of English Literature (1970), contends that Indian English literature is a tributary of mainstream English literature.
Another approach, initiated by scholars in England in the early 1960’s, is to consider Indian English literature as a part of Commonwealth literature or the literature of former British colonies and dominions such as Canada, Australia, the West Indies, and countries in Africa, South Asia, and Southeast Asia. The Journal of Commonwealth Literature, based at the University of Leeds, has done much to foster such an approach. Later, academics in the United States attempted to see Indian English poetry as a part of a global literature in English. The journal WLWE: World Literatures Written in English represents this approach. These approaches are fairly useful when the focus is large and the scholar is located in the United States or the United Kingdom, but they share the problem that the literatures of the various nationalities have little in common and often belong to different traditions: for example, Nigerian English literature and Australian literature. Nor does such an approach serve very well when one literature, such as Indian English poetry, is studied in depth. It then becomes clear that labels such as “Commonwealth literature” or “world literature in English” simply help to provide a forum for these literatures in Western academia and...
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