CHAPTER THREE Code Switching in the Selected Fictional Works

3.1 Preliminaries In the beginning of the chapter an attempt is made to discuss categorically selected examples of code switching in the novel 'Untouchable' written by Mulk Raj Anand, the great novelist of the first generation of the writers writing in English. In view of the fact that the theme of the novel is untouchability and exploitation, it becomes an interesting study if one analyses the linguistic aspect of code switching. Then, the chapter focuses on the novel 'Kanthapura' written by Raja Rao, the renowned Indian novelist writing in English. The highly marked examples of code switching are examined, studied and evaluated against the backdrop of the Indian social reality. The cultural reality is taken into account while analyzing the categorically selected examples segregated from the novel. Similarly, the most important and highly relevant examples of code switching extracted from 'Poona Company' written by Farrukh Dhondy, and 'Starry Nights' written by Shobha De are considered for discussion, observation and comments. Since the Indian writers deal with the contemporary issues, their creative writing is bound to be affected by the use of code mixing and code switching strategies resulting in authenticity.

Ashok Thorat has made a revolutionary attempt to analyse the Indian reference terms in his recently published book 'Five Great Indian Novles: A Discourse Analysis'(2000.) For example, 1) Names or

130 titles and honorific suffix : Shadhuji, Inspector Sahib, Pariji etc. 2) Kinship terms : brother, sister, mother etc. 3) Miscellaneous : Comer- House Moorty. 4) Address / Reference terms: vey, oye etc. 5) Greetings: Tum udas. Salaam Sahib. 6) Blessings / Complimenting: Take piti, God will be kind to you, God will make you prosperous etc. The analysis of code-switching and code-mixing in fiction is different than the day to day conversation and communication. Thorat (2000) says: "/« discourse analysis of a novel, or a play, one has to be a little more careful than in the analysis of real life spoken discourse because the novelist or the playwright constantly makes certain changes to adjust his point of view in the context of his work as a whole and in sense falsifies real life language. It is true that, fictional conversation, like verbal exchanges in society, is a mode of context-bound interaction. Both fictional and extra fictional dialogues observe certain constitutive and regulative rules; but fictional conversation is selective, in fact it has to be so, in the observance of these rules. The novelistic dialogue presents what is every much a 'pure' model of social interaction, and the dialogue bears very little resemblance to what actually happens in every day linguistic transactions. Fictional dialogue differs systematically from any real life equivalent. The two differ in terms of syntactic orderliness, informational intensity, illocutionary purity, and floor apportionments. " (P.22-23)

131 3.2 Code Switching in 'Untouchable' The novel, 'Untouchable' deals with caste system in India. The character of Bakha, in Anand's 'Untouchable', is drawn from the lowest caste in Indian society. He is a sweeper boy who is assigned the work of cleaning the human filth. Despite his discouraging place in life, he operates at a variety of levels. He, during the course of the eventfiil day, comments on the status quo of caste system in India. He is well aware of his position at the rock bottom of Indian society. Bakha is to question issues well above his scavenging life, such as caste discrimination, poverty and the role of the colonizer. Mulk Raj Anand examines the fundamental issues such as society's revulsion at untouchablility and some local innate societal sympathy for Bakha's plight. Bakha is a young, attractive man. But he is an outcast in a system that is now only unhurriedly changing and was then as cruel and devastating as that of apartheid. The fact is that in the 1930s for Gandhiji Harijans or Untouchables were a symbol of change in Indian society. The novelist deploys a technique of mimicry to criticize Indian society in the 1930s with the help of linguistic experiment of code switching and code mixing.

It is important here to discuss the plight of the untouchables in India in the light of historical facts. The original caste system, Varna, of India came about when the Aryan-speaking nomadic groups migrated from the north to India about 1500 B.C. The Aryan priests divided society into a caste system of four parts. Between 200 B.C. and 100 A.D., the Manu Smriti, or Law of Manu, was written. The Aryan priest- law-makers created in it four hereditary divisions of society, putting their own priestly class at the head of this caste system with

132 the title of earthly gods, or Brahmans (priests and teachers). Second in ranlc were the Kshatriyas (rulers and warriors). Then there were the Vaishyas (merchants and traders). The fourth was the Sudras (workers and peasants) bom to be servants to the other three. The four groups are from divine origin and emerged from a portion of the Creator symbolically appropriate to its activities. Brahmans sprang from the mouth of God, Kshatriyas from His arms, Viaishyas from His thighs, and Shudras from His feet. Far lower than the Sudras and out of the social order are the Harijans or Untouchables. They did all the dirty work.

Untouchables in India are downgraded to the subhuman beings and are offered lowest odd jobs like scavenging, cleaning the public places and streets. They live in constant fear of being publicly humiliated by the upper caste Hindus. It is noticed that if an untouchable simply walks through upper-caste vicinity, it is a serious offense.

The historical records show that untouchables were not allowed to drink water from the public wells. They were not allowed to eat food in the company of so called upper caste people. They were forbidden to enter the home of a Brahmin. They must not glance at or allow their shadows to fall on the Brahmin. All these acts would pollute the 'pure' Brahmin. An untouchable is not only untouchable but also unseeable, unapproachable, unshadowable and even unthinkable.

The social status of India's Untouchables has changed littled since ancient times. It has been observed that Caste Hindus do not allow Untouchables to wear shoes, ride bicycles, use umbrellas or hold their heads up while walking in the street. Untouchables in urban India live

133 in squalid slums and work in unliygienic conditions. On the other hand, in rural India, the untouchables are exploited as landless laborers. They live under constant trepidation, terror and intimidation. As evidence of this, several cases from 1991 can be cited: On June 23, 1991, fourteen untouchables were slaughtered in the eastern state of Bihar. On August 10, 1991, six untouchables were shot to death in the northern state of Uttar Pradesh. On August 16, 1991, an Untouchable woman was stripped in public and savagely beaten in the southern state of Andra Pradesh. On September 6, 1991, in the western state of Maharastra, an Untouchable police officer was killed for entering a Hindu temple. Official Indian figures on violent crimes by Caste Hindus against untouchables have averaged more than 10,000 cases per year, with the figures continuing to rise. The Indian government listed 14,269 cases of atrocities by caste Hindus against Untouchables in 1989 alone. However, Indian human rights workers report that a large number of atrocities against Untouchables, including beatings, gang rapes, arson and murders, are never recorded. Even when charges are formally filed, justice for untouchables is rarely dispensed.

Although based on religious principles, practiced for some 1,500 years, the system persists today for economic as much as religious reasons. Since they are considered polluted from birth, untouchables carry out jobs that are traditionally considered "dirty" or extremely menial, and for very little pay. In modem India, they are called Dalits. One million Dalits work as manual scavengers, cleaning latrines and sewers by hand and clearing away dead animals. Millions more are agricultural workers trapped in an inescapable cycle of extreme poverty, illiteracy and maltreatment.

134 Untouchability has been under constant flux. It remained a continuous process of Indian culture, from era to era. In the post independence era, the plight of the millions of untouchables is gradually changing for better or worse. It is due to the literacy movement, many people from the untouchable castes now called 'Dalits' have understood the importance of education. The efforts made by Shri Chhatrapati Shahu Maharaj of Kolhapur, Mahatma Phule, Dr. Bhimrao Ambedkar and Mahatma Gandhi yielded some fruits. Today, the so-called untouchables have realized that they have fundamental rights accorded to them by Indian Constitution. However, the discriminatory treatment given to them remains the same but in different form. Recently, a Dalit family was burnt alive by the caste Hindus in Maharashtra. When the natural calamity Tsunami struck and destroyed south India the untouchables were cared by refugee camps separately in separate places, outsides the tents. There was the sad news, "Tsunami can't wash away the caste system." It is true that caste system is still prevalent in many more places in India. It is also true that, few educated people are free from the humiliation of high cast Hindus.

Taking the review of the plight of the underprivileged and the segregated low caste people in India, certain welfare laws were made in the constitution of India. The scheduled castes, scheduled tribes and the nomadic tribes are given protection by enacting laws such as Atrocity Act and PCR Act. There is fifty per cent reservation for the students from these categories as far as education and job entry is concerned. The government of India always introduces new schemes for the economic and social development of these people. However,

135 all the welfare schemes are wrapped in the red files by the politicians and the bureaucrats. The truth is that despite the implementation of the welfare schemes and enacting the protective laws untouchability still persist in different forms. Today, the untouchability is practised in a disguised form. Unless there is transformation in the minds of the upper caste people, it cannot be entirely wiped out.

Mulk Raj Anand, the doyen of Indian English fiction, whose writing career spanned nearly four decades, has carved out a permanent niche in the literary world. Anand's writings are marked by his fine perception of the Indian ethos, the sinister forces that operate in the Indian society, his humanitarian outlook and profound sympathy for the downtrodden and the under privileged. His novels are, thus, faithful transcripts of and serious comments on the contemporary social reality.

Mulk Raj Anad knew that untouchability was a stigma on the Indian culture. The novelist was moved by the plight of the common people belonging to lower sections of the society. His heart melted with pity when he saw that the leather workers, washer men and women, menial labourers, scavengers had to work hard to get their daily bread. He had closely observed these people as a young boy. He wanted to depict the miserable condition of these people in his writing. Therefore, he wrote the novel 'Untouchable' to unveil the abject poverty of the untouchables through the character of Bakha, the protagonist of the novel.

136 The contemporary social problems, like discriminations based on caste and religion and the direct outcome of this discrimination, untouchability, are presented boldly in his novels. The characters in his novels are always from the disadvantaged class, who are the part of the mainstream society. The suppression and the repression of the common people by the Colonizers had developed the detestations of the novelist towards them. The novels of Mulk Raj Anand reflect the socio-political and cultural reality.

In the novel 'Untouchable', Bhakha is an adolescent boy, who suffers because of his low social status. The novel describes the experiences and the thoughts of the protagonist in the course of a single day in the town Bulandshahr. This town is located in the Punjab province of undivided India. Bakha, the protagonist of the novel lives in the outcaste colony located at the outskirts of the town. A Caste Hindu from the town would feel that he had been polluted if an untouchable walking on the public street touched him. In the beginning of the novel one comes across an incident in which Bakha happens to touch a Caste Hindu by chance. Thereupon, the Caste Hindu starts flinging abuses at Bakha for causing pollution. What follows this event is a series of unfortunate incidents, which makes Bakha think about himself and his place in the society.

Bakha at the initial stage of his life is in a critical position. He does not have maturity of the age, but he is not that much innocent. He is sensitive and knows everything. His requirements are limited; he needs only extra blanket to sleep, to hide himself from dirty smell of

137 brook near to his home, and save himself from cold in winter and from the scolding of his father.

He needs water to drink after hard work of cleaning the latrines in the morning. He needs cheap sweets while passing by the market place after his second round of work. He needs neat and clean dress to protect. Bhakha loves English style of living. His friends call him an imitator. He does not like to cover himself with Indian quilt at cold night. He loves sleeping with thin blanket like English men. He does not like loose Indian dresses. He loves to wear tight dress like English men. Nevertheless, he gets only ten rupees as a gift for his work.

He loves to eat sweets. He thinks that if he asks for good and expensive sweets to the vendor of the sweets, he would not get them lest they would be too costly for him. He knows that he is an untouchable and he must demand the low cost food items placed decoratively on the shelf Bhakha is clever enough to avoid the humiliation and cheating; he decides to take cheapest sweets. The tragedy and suffering of the untouchable boy lies fiirther, in a quarrel scene along the road. Bhakha buys the sweets. He was very eager to eat the sweets. He was walking along the street without an announcement of his approach. Untouchables must announce their approach along the road as a social rule.

Suddenly the high Caste Hindu stopped Bakha, raised an alarm humiliated him, scolded and slapped him along the road. The Hindu began to abuse Bakha in the name of dirty animals- 'swine', 'son of a bitch', dirty dog' etc. A large crowd gathered around. People in the

138 crowd tried their best to appease the Caste Hindu but in vain. Bakha also begged for mercy and promised the touched man that he would be more careful in the future. He was angry at his humiliation and the loss of sweets, which was spread and smeared in the mud. He tried to oblige but the Hindu man did not let him speak. He was compelled to be deaf and dumb. His position became much awkward as the crowd jeered at him. He felt very nervous and miserable as he was allowed to go. Now he realized that he was an untouchable and he should indicate his arrival by shouting. The following linguistic expressions of Bakha are worth studying for there is an element of code switching: He began to shout: 'Posh, Keep away, posh, sweeper coming, posh, posh, sweeper coming, posh, posh, sweeper coming' (P.42)

Structure: The word 'Posh' is an announcement of the arrival of Bakha. Here, the rules of grammar are violated. Cohesion is not found and the clauses are without auxiliary. The first clause is in the past tense and the announcement is in the present tense. Repetition of the word 'Posh'is typically associated with Indian English.

Comment : In the context of 'Mamismruti' the division of society was fourfold. The rights of citizens and distribution of classes and works were made rigid by birth i.e. Brahmin, Kshatria, Vaisha.and , ,Shudra. The first three categories were considered superior than the ^ forth class. Bakha being a scavenger was the lowest in the hierarchy of caste system. The outcaste people had to announce their arrival while walking on the public roads. They were forbidden to touch a

139 person belonging to the superior caste. He is washer man's boy. At the time of Peshwa in Maharashtra, the same tradition of Manusmuruti continued ('Pune-Varnan'). Such type of situation was found in contemporary low-caste community, who used to hang a clay-pot around their neck and broom stick or twig to their waist, so that they would not pollute the roads while walking. They only spat into clay pots and cleaned their own steps with broomsticks to avoid pollution or impurity of the high-caste people.

Bakha was summoned to go in the town to clean the latrines of the Tommies and the high caste people. As soon as he left for the dirty job, he had the experience of untouchability. By accident, he brushed a Caste Hindu on his way to the town. The Caste Hindu raised an outcry and blamed Bakha for polluting him. He further said that he would have to go home and take a purificatory bath. He profusely abused the boy in the presence of a large crowd. Bakha became disheartened and was in tears. He begged for forgiveness and said that he would not commit the same mistake. He also promised the people that he would announce his arrival henceforth. Thus, code-switching takes place at the metaphorical level.

Analysis: The novel 'Untouchable' develops the theme of discrimination based on castes in India. The hero Bakha is seen walking freely along the road. Unknowingly he happens to pollute the high caste Hindu. The man abuses him badly and slaps on his face in front of several people. The high-caste Hindu is of the conviction that the low caste boy had made him impure by touching him. He should purify himself by taking a holy bath. The Hindu man threatened him

140 to announce his approach to avoid all the further matters related to impurity. Thus, the above-mentioned event shows that cruelty and humiliation prevailed in the pre-independence era. Thus, Bakha is the victim of the age-old caste system in India. He is the representative of the socially segregated castes in India.

In another incident, one comes across another example of code switching in which Bakha, the sweeper boy, uses the Punjabi or Hindi expressions of code -switching. Let us study the following example:

'Oh, Maharaj! Maharaj! Won't you draw us some water please?' (P. 18)

Structure: 'Oh' is an address word, used to express honour. In other words, the idiom 'Maharaj' is an honorific term. The proper noun is used to express honour. Remaining part is a question with modal auxiliary. 'Maharaj' is repeated.

Comment : In Indian context, the word 'Maharaj' has a specific meaning in relation to the high-caste Hindus. Wealthy high-caste Hindus would treat the untouchables as slaves. The term 'Maharaj' earlier was used to address the great kings in India. But, the kingdoms have ceased to exist in modem India. However, the great kingdoms have disappeared in India but the address terms survived until today. The address term 'Maharaj' is used as a prestigious term to give honor to an eminent personality. This is also a metaphorical switching.

141 Analysis: The novel 'Untouchable' is a saga of suffering caused by the discriminatory treatment given to Bakha, and the likes in the Hindu society. Humble and deprived people are victims of the wealthy tyrannical Indians, unjust British officers and cruel Indian soldiers before independence. It is obvious from the linguistic expressions of the outcast people who had come to the community well to beg for water. The speech situation is that the sweeper woman named Gulabo and other women had been waiting for some one from the higher caste to come to the well and draw water from it for them. The outcastes had to wait long hours to fetch water. Therefore, they had to appease someone who would be kind enough to pour drinking water into their pitchers. Sohini, the sister of Bakha had also come there with her pitcher to beg for water. All the low caste people at the well had to request someone from the higher strata of the society to yield to their request. Therefore, they had to use the honorific term 'Maharaj" to elevate the status of the passers by from the upper castes. Thus, the expression 'Maharaj' indicates the elevated status of a person in an Indian situation. There are many more examples of the use of honoric terms used in the novel under consideration. At some other point in the novel, one comes across an example of code switching which is peculiar from the point of view of Indian English. Let us consider the following underlined linguistic expression:

''He said, in the language characteristic of Indian Lover, 'dead over her'. (P.22)

142 Structure: The sentence is in a narrative style It is an indirect speech. More emphasis is given to the reporting verb, which is in the past tense and an adjective reported speech is in the past tense.

Comment: The writer emphasized the speech occurrence and presented it in Indian culture and context. The writer would like to stress the point that A Hindu Brahmin cannot imagine to have a love affair with an untouchable girl. The regulations are same for their servants. Women from untouchable family are 'concubine', for these the high Caste Hindu men. Touch of untouchables is a sin for high caste people in India, but taking an untouchable woman as a concubine is a prestigious for high caste people. Sarcastically, the writer has explained how unlucky the man is! He cannot utter his wish, only because of caste barrier. It is more tragic to untouchables; they are compelled to bear their humiliation but not the honour at the hand of upper caste people. It is a metaphorical switching.

Analysis: The speech situation of the utterances in the context reveals that Sohini, the younger sister of Bakha was on the way to her home after getting water in her pitcher. As soon as she started walking, a Hindu water-carrier whose name was Lachman watched her elegant figure lustfully. He was a young man of about twenty-six. He had once teased Sohini with the intension to win her heart. She also responded in a modest smile. The fact is that he was in love with this girl from the lowest community. Therefore, the novelist uses the peculiar expression of Hindi using English language. The writer wanted to say that he was in love with her but he uses the literal translation and makes his point more emphatic. Thus, the writer to

143 enhance the aesthetic quality of a Uterary work uses this kind of code switching. There are many more expressions, which enhance the worth of literature. Mulk Raj Anand uses typical linguistic expressions to give one an idea about the Inianness or Indianization. For doing so, he takes the idioms and phrases from the north Indian languages and intertwines them skillfully in English to make the point forceful. Look at the following utterances of Lakha: 'Well then go and do so! Why do you eat my head?' (P.24)

Structure: There are two different utterances; within them the former is a statement with an exclamation mark and the latter is a question in the simple present tense. The former has a complex structure; it is a compound sentence connected with a coordinating conjunction 'and' in between two main clauses. These are, 'well then go', and 'do so'.

Comment : In the above utterance, the latter utterance is a question. It includes an Indian idiom 'you eat my head', translated in English. In Marathi, it is 'ekhadhyche doke khane', means 'giving trouble to someone'. The writer has used this Indian idiom with more or less with same meaning in English translation. It is also a metaphorical switching. Man is a slave of his own habits; he becomes blind to the bad influence of caste barrier and forgets morality. This is metaphorical switching.

Analysis: Lakha is an important character in the present novel 'Untouchable'. He is a sweeper and father of three children. Sohini,

144 his daughter, does all the duties at home like a typical Indian girl. The beautiful Sohini was waiting for water carrier at the edge of the well, like other untouchable women. That time, the Hindu Panditji was passing by the well looking at her; the lust occurred in his mind. He called Sohini to come near the well and fetched water for her. While giving the water, the lust of Panditji increased and he directed her to ask her father if he allowed her to undertake the work of sweeping the courtyard of his house, which was located at the temple. When Sohini went home, her father was waiting for her because he needed tea frantically. She immediately obeyed her father and started preparing tea in the earthen saucepan. While preparing tea, she told her father that Panditji had asked her to come to his house for work. Her father was annoyed and angry. He thought that she had bothered him too much. In order to ventilate his anger he uses the typical Indian idiomatic expression "Why do you eat my head?" He was unconcerned about his daughter. Earlier he had abused her for coming late home. Her father wanted her to obey the Pnaditji's order because he thought that it was his family's duty to obey and please their masters. He cannot afford to invite the wrath of his master by denying the work. Therefore, the above linguistic expression has some social context. The context is that the untouchables cannot deny the work imposed on them by their masters. Since Lakha is traditional in his thinking, he does not want to make his master unhappy and disappointed. He knows only higher caste people are his masters and he must obey their orders at any cost, otherwise he would be punished by them. As per Panditji's order, Sohini wants the permission of her father to go and sweep the courtyard. However, her father thinks that she need not take his permission and need not bother him. In addition.

145 he thinks that it is an unnecessary question, as an order of Panditji does not need any permission by him. At another instance, Lakha says: 'Iforgot, Your shoe on my head'. (P.73.)

Structure: The above sentence is in a narrative style. The reported speech is in the past tense. The statement begins with the subject T. The verb 'forgot' is in the past tense. Moreover, the object is a dialectal colloquial phrase, 'your shoe on my head'. The Marathi phrase, 'tuze boot mazya dokayawar', or Hindi phrase, Tere Jute mere sar par' is used to show the annoyance. These are translated into English as 'your shoe on my head'.

Comment : In this sentence, intra-sentential code switching is discovered. It is interesting to note that touching someone's feet is a kind of custom or ritual in the Indian context. In Indian society, touching feet with bowing down head or putting head on the elder's feet is an act of giving respect to the person in the context. Here, more importance is given to the feeling. Usually, the younger person touches the feet of the elderly person in order to ask for the blessings. It is believed that touching the feet of someone is a religious act. It is also considered that the elders are the protectors of the youngsters. It is also important that at the time of meeting, the feet of elders would be touched with respect. At the time of worship, people bow their head at the feet of god. When someone obliged or made excuse, the same action is performed. Thus, according to Indian culture, touch of one's head to other's feet is a pious act. On the contrary, putting the shoes on somebody's head is considered as a mark of disrespect or

146 disregard. It is important to note that in Oriental Cultures bowing the head while greeting an elderly person is a sign of politeness and good manners.

Analysis: Lakha, the father of Bakha, loves all his children too much. For a poor man, children are asset, security and protection in the old age. Bakha was upset, because of humiliation. Bakha's touch polluted the Caste Hindu along the road. The man scolded, abused and slapped him in front of the crowd. When Bakha narrates his father his traumatic experience, his father advises him not to hit back. In addition, he tells his son that he should consider the masters as superiors. He should listen to them even though they abuse him. On this occasion, he remembers an episode that took place when Bakha was a small boy and needed a medical attention. He told his son how the Hakim Sahib maltreated him when he approached him for the medicine Lakha describes his past memories to Bakha and consoles his mind. He told his son that Hakimji denied him the entry in the house and abused him profusely. Lakha put his head on the Hakimji's feet and begged for mercy. While begging for mercy, he uttered the above linguistic expressions. He also addressed him as 'Maharaj' as a mark of reverence and used the code switching strategy to unveil his true feelings as he was in desperate need of medicine for Bakha when the latter was in poor health and ailing on the death bed. Finllay, the entreaties of the father brought transformation in the mind of Hakimji. As Bakha was put on the floor for the forth time, the Hakimji came as a saviour and saved the life of Bakha. Lakha thanked the doctor for several times for saving the life of his son. The doctor had made great honour offering his services to Lakha. Therefore, it is gathered from

147 the above discussion tliat there is a generation gap between the father and son. The son thinks that he is unnecessarily humiliated by the Caste Hindus for no fault of his. On the contrary, the father thinks that it is their duty to obey the masters. On listening to his father's horrifying experience with the mention of his name, he felt self-pity and indignation. 'Therefore I prayed that, if I should born again, I should be so, not as a Brahmin, Kshatriya, Vaisha, Shudra, but as an outcaste as an Untouchable.' (P.138)

Structure: This is a complex sentence. There is one main clause, T prayed.' There are three subordinate clauses. The first clause is 'if clause' of effect, 'if I should bom again,' The second clause is a clause of reason with a conjunction, 'so'. The third clause is about opposite opinion to previous clause, with conjunction 'but'. It has two noun phrases of the same meaning with different words, viz. outcast and untouchable.

Comment: Bakha was impressed by the above thoughts of Mahatma Gandhi. Gandhi is a real historical character in the novel. Thus, there is a fiision of imaginary and real characters of flesh and blood. In 1932, Gandhi began a "fast unto death" to protest the British government's treatment of India's lowest caste "untouchables" whom Gandhi calls Harijans ~ "God's children." Gandhi's campaign of civil disobedience had brought rioting and had landed him in prison, but he continued his demands for social transformation. He urged a boycott of British goods and after 6 days of fasting obtained a pact that

148 improved the status of the "untouchables". Although he was himself a member of an upper caste, Gandhi was the great leader of the movement in India dedicated to eradicating the unjust social and economic aspects of the caste system.

As an untouchable, the hero of the novel 'Untouchable' suffers a lot. Nevertheless, the speech of Gandhi with love, care and affection encourages him and convinces him that there is a person who wants to bring desirable changes in the lives of the untouchales. Bakha thinks about the importance of his sacrifice. He realizes how he is a gem for the society. This depicts Indianness of the characters. It shows the devotion to the duty and life. Mahatma Gandhi believes in rebirth. Some saints have said that learning the pains and sufferings of the sufferers, someone should be born as a sufferer. Gandhiji wants to take rebirth as an untouchable for experiencing the real pain in the lives of the untouchables. It is an example of intra-sentential switching

Analysis: Wandering in fatigue, Bhakha reached the city nearby main area of the town. It was Grand Trunk Road near Bulandshar Railway station. Bakha heard the noise of the passing train. At the same time, he happened to hear the slogan "Mahtma Gandhi ki Jai". The meaning of the slogan is that Gandhi should get victory. In India people give slogans to encourage their dear leader. Since Gandhi was a national hero of the people because he was trying to emancipate the motherland from the clutches of British slavery. Here, the slogan is a fine example of code switching because the speakers of the slogan suddenly change the code to Hindi. The Hindi expression creates in

149 the reader a sense of patriotism and commitment to the nation. It also generates a sense of belonging to the motherland. Since Gandhi is a symbol of humanism, he was loved by all despite caste differences.

The Gandhi procession and meeting was arranged in golbagh. Bakha had heard three important opinions. First, he heard smooth, fatherly and tender thoughts of Mahatma Gandhi for untouchables. Gandhi had called them, Harijan, people of god. He liked the message of equality and untouchable's sincerity. He realized the right meaning of sacrifice, which his ancestors have been making. The second thing is that he liked to be a modem man like. Barrister Mr.R.N.Bashir. Third, he loved the thought of the poet, Iqbal Nath Sarshar about flash machine in the toilets.

3.3 Code Switching in ''Khanthapura'

Introduction: In 1942 Gandhi, the father of the nation, launched Quit India movement. The 'Quit India' movement was followed by sweeping violence directed at railway stations, telegraph offices, government buildings, and other important institutions of colonial rule. There were extensive acts of disruptions. The government held Gandhi responsible for these acts of violence. The British government was of the firm opinion that they were intentional acts of Congress policy. Gandhi determinedly denied these charges, but the deadlock was not to be resolved. It was suggested by other scholars that Gandhi himself did not authorize violence. He had grown skeptical of the efficacy of non-violence, and that he had arrived at the point in his life where he was determined to see India accomplish sovereignty and ultimate freedom during his lifetime. This movement was aimed at

150 forcing the government to move out of the country leaving the administration in the hands of the people of India. However, it had little support in Gandhi's voluminous writings. Others had suggested that the 'Quit India' movement was a failure in that it invited the government to unleash tyranny, and therefore led to the imprisonment of the Congress leadership. As a result, it had been argued, the MusUm League, which declared iVs support to the British, was to grow in strength during the war, while the Congress languished. Though the Muslim League failed to secure support even among Muslim voters before the war, elections in 1946 suggested that it had the loyalty of the majority of Muslims in many Muslim-dominant areas. In these lines, it was suggested that the 'Pakistan movement' developed when there were no countervailing forces to check it. Gandhi played into the hands of both Muslim communalists and British imperialists. The 'Quit India' movement remains, in any event, among the most controversial episodes in Gandhi's life and modern Indian history.

In 1942, quit India movement, non cooperation movement resulted in agitations all over India. All these movements had been started by Mahatma Gandhi, as a moderate congress leader. The basic rules of this movement were non-violence and non-cooperation, breaking the laws of British government and opposing their unjust laws. That is why many writers from all over India were influenced by the philosophy of Mahatma Gandhi.

Gandhian literature is shadowed, with Gandhi's processions and movements. The influence of Gandiji's thoughts are reflected in the

151 writings of the writers like Mullc Raj Anand and Raj Rao, as non native writers in English literature. Their two artifacts viz. 'Untouchable' and 'Kanthapura' are totally based on these ideas and thoughts of freedom movements. The novel 'Untouchable' has its concluding part on the theme of reformation of untouchables in Goalbagh city. It is worth mentioning that the reformation of the untouchables in India remained a dream only even after India's independence.

Raja Rao's novel 'Kanthapura' was written in 1938 when the non- cooperation movement was at its peak. It is his first Indian novel in English. It describes the Civil Disobedience Movement of the 1930s that took place in a small village of South India at the time when Mahatma Gandhi called for the national struggle for freedom. Filled with the spirit of nationalism, the villagers sacrificed all their material possessions. Ironically, 'Kanthapura' was first published in London in 1938 and was written when Rao was in France: "I wrote Kanthapura in a thirteenth century castle in the French Alps belonging to the Dauphins of France and I slept and worked on the novel in the room of the Queen".

The plot of the novel centers on Kanthapura, a village in South India. The choice of this village setting is strategic in view of Gandhian loyalties. Achakka, an old woman in the village narrates the story. This village is a microcosm of the traditional Indian society with its well-established caste hierarchy. There are Brahmin quarters, Sudra quarters and Pariah quarters in the village. However, the villagers take part in a variety of economic and social activities and functions regardless of caste discrimination. By arranging these functions, they

152 show their unity and maintained social harmony. The lasting quality of the Indian village is represented as ensuring an internal resolve that resists external crisis. Its relationship to past contributes a sense of unity and continuity between the present and past generations. The village may look like an isolated place removed from civilization. However, it is compensated by an ever-enriching cycle of festivals, ceremonies and rituals. The novelist depicts the regular involvement of the villagers in Sankara-Jayanthi, Kartik Pumima, Ganesh- Jayanthi, Dasara and the Satyanarayana Puja with a view to convey a sense of harmony and solidarity of the village society. Old Ramakrishnayya reads out the Sankara-Vijaya day after day and the villagers discuss Vedanta with him every afternoon. Religion, imparted through discourses and pujas (prayers), keeps alive in the natives a sense of the presence of god. Participation in a festival brings about the solidarity among them. The local deity Kenchamma protects the villagers "through famine and disease, death and despair". If the rains fail, you fall at her feet. Equally sacred is the river Himavathy that flows near Kanthapura.

In the last decade or so, historians, especially those dealt with the Subaltern Studies, have attempted to demythologize the histories of the national movement and highlighted the role of the subaltern in terms of agency, which was often neglected in the interests of a homogeneous nationalism. Gandhi, however, does not ignore the aspects of subaltemeity.

The similar theme runs throughout the novel 'Kanthapura'. The main motto of Gandhiji is 'come to villages', because India's large part of land is occupied by small villages. Therefore, Raja Rao has given the

153 importance to the village life, country atmosphere and manners in 'Kanthapura'. However, the importance is given to the three-point formula of Gandhiji. Gandhiji's three- point formula is Truth, Non­ violence and Non-cooperation. With the help of these three-points, he wins the minds of the entire nation. The people of Kanthapura are possessed by these thoughts. The young boy Moorthy inspired by the spirit of Gandhi, starts a procession in the name of Gandhi from ''Kanthapura'.

According to Gandhiji, Indians must unite dispite caste differences. For the first time untouchables are included in the procession by Mahatma Gandhi. In the same way, Moorthy brings all elders, youngsters, women and untouchables together. Rachanna, the coolie from Skefmgton Coffee Estate escaped and was brought back to Kanthapura. Murthy helped Rachanna by giving him shelter in Kanthapura, and made him the member of congress committee. He became devotee, patriot and the lover of the nation and Moorthy.

The women leader Rangamma and her work in Kanthapura as a patriot and freedom fighter is remarkable. She reads a newspaper for women, teaches meditation and makes them tough and strong with their mind and soul. She makes up their minds to fight against unjust police and to bear the blows of police while doing agitations. These movements take the drastic step on all fronts. British government keeps Gandhiji in prison for some time. The writer concludes the novel with an idea of waiting for freedom of the nation and their beloved leader Mahatma. All India, especially the villages like

154 Kanthapura, wait for the return of their God, Mahatma. Moreover, people praise the freedom of India.

The language used by the novelist in 'Kanthapura' is extraordinary unlike other novels written by the same writer. There are many linguistic expressions, which are mixed with the vernacular languages. The linguistic expressions such as 'We shall have laddu this year' (P.85), 'I went to touch his feet and ask for the tirtham' (P.34), 'one cannot become the member of the Congress if one will not promise to practice ahimsa and speak truth' (P.76), 'Who will wear khadi and do not drink'(P.123), 'Satyanarayan Maharaj ki 70/!'(P. 169), 'People gather and the Padre sings on and on in Harikatha' etc. establish the authenticity of the characters. The language used by Raja Rao is highly remarkable. He has bent the English language to suit his characters. In addition, it is a broken and battered form of English. The words are some times uninteresting and diminutive, and are selected watchfully to create the greatest amount of monotony. The readers sometimes get bored with the repetitive expressions. The narrative cheers up only during the parts in which the flamboyantly named characters abuse each other. Characters in 'Kanthapura' come up, whenever called upon to, with the choicest of verbal abuses. The excuse provided is the 'Difficulty in conveying, in a language that is not one's own, the spirit that is one's own.' The narration is, allegedly, flowing and digressive. While the individual words seem to make perfect sense, the sentences are just meaningless and insurmountable chunks of lettering. As one reads through the novel, it would seem, initially, as if everything was progressing just as it should be, but sit back for a moment, one would realize that the novel sounds a dreary piece of literature. However, the theme of the

155 novel is catchy and makes the readers feel a sense of satisfaction. What makes the novel sound Indian are the use of code switching and code mixing strategies deployed by the novelist.

The present novel is replete with remarkable examples of code switching and code mixing. Here, the purpose of the chapter is to shed light on the highly marked instances of code switching followed by comments and analysis. Let us study the following example:

a) 'As you like, says the licker of your feet' (P.30) b)'Your humble servant'. 'I lick your feet'. (P.31)

Structure : The example 'a' is the direct speech act. The reporting verb is in the simple present tense and in the simple narrative style. The example in 'b' includes two classes; the first part is a verbless clause followed by a finite clause.

Comment: The linguistic expression 'I lick your feet' is an Indian idiom in colloquial language. It shows some one's cruel nature or humble and helpless nature. The sentence 'b' has an idea of being too much humble and shows the adverse effects of caste discrimination, deeply rooted in Indian society. The sentence 'b' is related to the rich people and their hypocrisy to earn money. This is an example of a metaphorical code switching.

Analysis: The above sentences show difference between servant and master. The sentence 'a' expresses the humble mind of needy people in Kanthapura. Poor people are seen taking loans from Bhatta, a

156 moneylender. Bhatta is a rich landowner. The grandmother narrated a story about several men and women. She also described every one's nature, rich high-caste people and poor untouchables. First, the old woman depicted helplessness and humbleness of common people like, Rangappa, Suranna, Patwari, Patel, Pariahs and plantation coolies and how they were begged for loan in front of Bhatta's door every day. These common people take him as their protector as they are ready to do any service for him humbly and sincerely. Second, in the sentence 'b' the old woman depicts Bhatta's vicious nature as moneylender. He is a hypocrite and pretends to be very humble in front of poor villagers. He says, 'I lick your feet'. In an ironical way, the old woman tells us the story of Bhatta as an unjust wealthy man in the village. Let us consider the following linguistic expression: 'And our eternal dharma will be squashed like louse in a child's hair.' (P.95)

Structure: The sentence is in a passive form with future tense, with s + V + o pattern. It begins with the conjunction.

Comment: According to Indian culture, 'Dharma' means development of good, religious, divine beliefs in human being and behaving on the path of religion and moral ethics, i.e. virtues in human life. According to Wkipedia encyclopedia on the net (July- 2009) the term 'dharma' is taken from the Sanskrit language. In Indian context, it has spiritual and religious connotations. In other words, it means one's righteous duty or any virtuous path in the common sense of the term. In Indian languages, it can be equivalent simply to "religion", depending on context. Throughout Indian

157 philosophy, Dharma is presented as a vital concept that is used in order to explain the "higher truth" or ultimate reality of the universe. The religious rules are pious and very difficult to accept. This is metaphorical type of switching.

Analysis: The above a statement is uttered in a general meeting held by freedom fighters in the Karwar. Moorthy was arrested and imprisoned. Then Sankara and Ranganna, the advocates and Dasappa a khadi shop owner held a meeting in the city. There, one of the priests of the temple authority gave a speech on disasters of modem times. He revealed his fright about loss of humanity with loss of religion and caste system in India. Let us study the following example: a. " Why, she has gone four fingers deep ". (P. 115) b. "If we touch but the dirt of a coin, we '11 be born in a million hells. "(P.135)

Structure: The sentence 'a' is a statement in the present perfect tense. It has the nature of a rhetorical question. It has s. + v. + o. structure, begins with the question word. It has a noun phrase as an object. The sentence 'b' has a complex structure and expresses condition using 'if at the beginning of the subordinate clause in the simple present tense and 'inversion' as a means of deviation. There is a disturbed arrangement of the words. There is extra coordinating conjunction 'but', in the clause with an adjective phrase. The main clause is in simple future tense using s. + v. + A. pattern. There is an adverbial pharse towards the end of the sentence.

158 Comment: In the sentence 'a' the noun phrase, 'four fingers deep' is an Indian idiom which means 'loosing moral honour'. In this situation, the woman behaved immorally and became a prostitute. The sentence 'b' refers to corruption or bribe. In Kantapura, 'corruption' is a sin for the pious and innocent people. Virtues are nurtured; purity is formed with good and religious habits in the mind of children from their childhood. Bad deed is a great sin for Indian people. They prefer to die rather than to commit a sin in their lives. So the 'million' numeral expresses the fright for the sin and its process of purification. The punishment according to the Hindu religion is rigid, strict, humiliating and dangerous. Some of these punishments are excommunication and pilgrimages to Kashi, the permanent dwelling of God Shiva. This is also a metaphorical switching.

Analysis: Sankar and Rangamma are seen doing the duty to Congress Committee. Sankar is an advocate widower and rejects the second marriage; really, he is the beloved of his first wife and very pious. He is a moral man and living on three rules of Mahatma i.e. truth, non­ violence and non-cooperation. Rangamma is a widow from Kanthapura. She is educated and possessed with Gandian philosophy. The sentence 'a' is the remark given by Waterfall Venkamma. She blames Rangamma and her frequent visits to the Karwar. Advocate Sankar insisted her to do the work of Congress Committee. According to the prevailing ethical practices, widows are not allowed to mix with other people in society. The latter remark in the sentence 'b' applies to the cart carrier. The grandmother of Kanthapura tells the good habits of common people. They are extremely proud of the freedom fighters. They offer them fare for the cart, but they refuse to

159 take it with such straightforward remarks. They care for virtues. Virtues demand sacrifice and people are always ready to do it. If they might miss their fare, they should stay hungry. Following are some of the linguistic expressions in which one comes across the typical use of Indian culture switched to English sentences:

a. 'A real grand marriage, I tell you!' (P.42) b. 'And they work on with axe and scissors till the sun 's shadow is dead. ' (P.55) c. 'and they cried for water and water and water.' (P.57) d. 'Come in, learned one, and, seated like a son.' (P.74) e. 7 know you are not a man to spit on our confidence in you.' (P.76) / 'his mouth touched his ears in joy. ' (P.79J g. 'Now, imagine the policeman are beating you, and you shall not budge a finger's length' (P. 126) /h. >- ,-Wo, no, you can not straighten a dog's tail but you can

ti , ; straighten the man 's heart. ' (P. 140)

Structure: The sentence 'a' is a sentence with an exclamation mark; 'b"is a statement with s.+ v. + o; 'c' is a statement with s. + v. + o; 'd' is a an order for two times with v. + o. These two orders are connected by the coordinating conjunction 'and'; 'e' is a negative statement with complement i.e. s. + v. + c; 'f is a statement with s. + V. + o; 'g' is a complex sentence, without an appropriate conjunction, (one main clause and another subordinate clause of guaranty of action or confidence) and 'h' is a negative compound sentence having two

160 main clauses that are connected with a coordinating conjunction 'but'. All the above sentences are the type of metaphorical switching.

Comment: It is observed that all the above statements express speech habits of Indian people. The linguistic expressions used by the speakers also display certain disqualifications. The utterances reveal that the people in the village are illiterate and lack the knowledge of the refined language. In fact, Raja Rao makes his characters use the broken language deliberately so that the reality becomes more visible. It also expresses colloquial manners of speech acts. Illiteracy leads to inaccuracy of the utterances in a conversation. The characters in this novel are aistic. Therefore, they speak in a language that is not their own. Raja Rao has rightly said in the 'Forward' to the novel: "77?^ telling has not been easy. One has to convey in a language that is not one's own the spirit that is one's own. One has to convey the various shades and omissions of a certain thought -movement that looks maltreated in an alien language. I us the word 'alien \ yet English is not really alien language to us. It is the language of our intellectual make-up- like Sanskrit or Persian was before- but not of our emotional make-up. We are all instinctively bilingual, many of us writing in our own language and in English "

It is clear from the above comment that the characters in the novel are likely to use the language that is known to them. They cannot and are not able to express their feelings in a way an Englishman does. Thus, there is bound to be remoulding of English to suit the Indian speech

161 situation. It is obvious that the villagers in Kanthapura do not know the mannerism in English. Therefore, they are more straightforward in the use of the linguistic expressions. One notices that the characters abruptly take turns in the on going conversation. In other words, the rules of conversations are not followed in the strict sense of the term. The words they use are not modem, standard and sophisticated but very common poor, rough and incomplete. In the sentence 'a', the phrase, T tell you!' is an expression that is used to maintain a flow of the conversation and gives an emphasis on the topic of speech. In the sentence 'b' the clause 'till the sun's shadow is dead' expresses the importance of work as well as the adverse condition of workers. This is the translation of the Indian phrase, 'Diwas Mavaleparayant'. The sentence 'c' (the repetition of the word 'water') expresses habits of conversation. Instead of saying, 'very thirsty', the repetitive word expresses seriousness behind the matter i.e. immediate action. The sentence'd' has two phrases, 'learned one' and 'like a son'. The speaker is giving respect to the person who has just arrived. According to the general manners, the greeting should be, like, 'I am happy to see you', 'thank you' etc. The Indian colloquial manners are touched with affection, in respective word 'learned', more affectionate in the word 'son'. In the sentence 'e', the phrase 'to spit on our confidence' shows the Indian manners of speaking. There is an appropriate phrase in English, 'we have confidence in you', 'we believe you' etc. The writer has deliberately chosen this phrase; it shows full confidence in someone who is very near and dear to him or her. The listener must think twice before doing anything wrong about the speaker.

162 The phrase, 'spit on someone', relates to something wrong and immoral acts. It is an expression of enjoyment in the phrase, 'mouth touched to ears'. It is a loud laughing position with wide round shape of lips of someone. It is an excitement and sheer happiness of the village people. In the sentence 'g' the clause, 'you shall not budge finger's length', makes us remember Hindi and Marathi phrases, 'tas se mas na hona', and 'tasubhar na halne', respectively. The said expression shows energy, strength and the spirit of patriotism. In the sentence 'h' the phrase, 'straighten the dogs tail' imitates the phrase from Indian languages, i.e. Marathi, 'nalit ghatle tari kutryache sheput wakade te wakade'. The speaker here reveals the truth of Indian life, that is, vices do not change, but virtues are flexible. This is a metaphorical code-switching.

Analysis: In 'Kanthapura', the writer describes the moral strength of the freedom fighters from the village in Karvar, which is center of freedom fighting movement. There is the main office of the National Congress Committee, which controls the agitations of freedom fighters. First three sentences, 'a', 'b' and 'c' are described by the narrator mother. The sentences 'a' is in relation with marriage, 'b' and 'c' are in relation with Skeffington Coffee Estate coolies, their tragic pathetic condition and their suffering at the hands of British rulers. Next two sentences i.e'd', 'e' and 'f explain the sacrifice of the Moorthy, a Gandhian leader from Kanthapura. He is educated and the whole village believes him. He has taught them the right meaning of the message of Mahatma Gandhi, 'truth', 'on-violence' and 'non cooperation'. The sentence 'f talks about the qualifications of Seenu, one of the young and energetic friends and co-patriots, a freedom

163 fighter. There is an expression of his excitement about forming a congress committee in the village. The sentence 'g' reveals the scene of, his co-patriot Rangamma. She is giving the training of 'Ahimsa', as a freedom fighter to the women. The sentence 'h' explains the philosophy of Moorthy, as he explains that it is the habit of human beings to change. He is hopeful about his own task that he could change the bad habits of coolies. Several such linguistic expressions bring about Indianness of the characters via the strategy of code switching. Let us analyse some of the marked examples from the point of view of this approach:

a 'Kenchamma protected virtue and destroyed evil. She would work the way of Dharma...' (P.37) b. 'The leaf is laid'. (PA^) c. ' Kartik is a month of lights, sister, and in Kanthapura when the dusk falls'. (P.87) d. 'why, soon it will be as if the men will have to wear bangles and cook'. (P. 110)

Structure: The sentence 'a' is a compound sentence with two main clauses and coordinating conjunction 'and' which joins these clauses. These clauses are in the past tense. The next statement as in 'b' is in the passive with the use of modal auxiliary 'is' expressing habitual action. The sentence is in the present tense but in passive voice. The sentence 'c' is a compound sentence. There are two main clauses connected with a coordinating conjunction 'and'. Both the clauses are in simple present tense. The statement 'd' is a complex sentence with the one main clause and other subordinate clause of condition in

164 future tense. The last sentence is a compound sentence that has a coordinating conjunction 'but', expressing opposite view to each other. The main clause is negative with the modal auxiliary expressing ability. The subordinate clause is in simple present tense. This is an example of a metaphorical code-switching.

Comment : All the sentences communicate Indian culture and its value system. In the sentence 'a' Indian culture is reflected. Indians believe in God' and people worship, an idol of god and goddess for various reasons. It is necessary to explain why people in Hindu religion worship idols of gods and goddesses. It is believed that worship is the effort on the part of the devotteee to reach the proximity or presence of God or the Supreme Self. Despite the fact that Hindus worship different idols, many Hindus believe in one God and make out in these different gods and goddesses as unusual faces of the same one God. Others believe that idolatry is the wrong interpretation of Hinduism. Hindus believe in rebirth. The basic belief is that a person's fate is determined according to his deeds. These deeds of a person bom in Hinduism are called 'Karma'. According to the theory of Karma an individual who does good deeds in this life will be awarded duly in the next birth. Similarly a Hindu who does bad actions will be penalized for his/her sins, if not in this incarnation then in the next incarnation and will continue to be bom in this world again and again. However, the good souls will be liberated from the circle of rebirth and get redemption, which is called 'Moksha', meaning freedom. It is the fact that most of these practices were confined to the upper castes of Hindu society in the past and many still follow them even today, though not with the same degree of

165 devotion and enthusiasm. Most of these rituals have been in recent times either discontinued or replaced by short and simple practices, reflecting the changing nature of Hindu society.

The main Hindu books are the four Vedas. They are Rig Veda, Sama Veda, Yajur Veda and Atharva Veda. The concluding portions of the Vedas are called Upanisads. There are also other holy books like Puranas, Ramayana, Mahabharta etc. The different gods and goddesses in the Hindu mythology are derived from these books. Ramayana and Mahabharta are the most popular Hindu religious books.

The most rampant expression of worship for the Hindu comes as devotion to gods and goddesses. It is believed that there are three hundred and thirty-three million Gods. Hindus believe in one Supreme Being. The plurality of Gods is perceived as divine creations of that one Being. Therefore, Hinduism has one supreme God, but it has an extensive hierarchy of Gods. Many people look at the Gods as mere symbols, representation of forces or mind strata, or as various Personifications generated as a projection of man's mind into an impersonal pure being.

All the humanly activities are performerd for the appeasement of gods and goddesses. God lives in the temple. The temple requires educated caretaker, who can worship the god, in Sanskrit prayers. From ancient time selected Brahmins have been only performing the prayers in the Hindu temples. They are called priests.

166 There are plentiful gods and goddesses worshipped by Hindus all over India. The indiscernible deities are represented by an intricacy of images and idols symbolizing celestial influence. Many of these idols are housed within ornate temples of incomparable beauty and grandeur. It is believed that the Hindu gods are very much animate and live in temples. People offer their prayers to various gods and goddess in the hope of getting prosperity and peace of mind. Usually every village has its deity. Here in the case of Kanthapura, the villagers worship Kenchamma, the goddess of welfare.

The sentence 'b' indicates the eating habits of the south Indians. In south part of India, people usually eat food, which is served on a green banana leaf Banana leaf is the leaf of the Banana plant. It is used as a decorative constituent for auspicious ceremonies in Hindu and Buddhist cultures. It is also used as a plate to serve food in countries like India especially, in the south part of India. Hot food served on the banana leaf has a special flavour of its own. Before a person starts eating, he/she sprinkles water around the banana leaf on which the food is placed. The scientific reason is to avoid contamination. In addition, a prayer is chanted to please the god who gives the food. These rituals are necessary to observe cleanliness in the vicinity and calmness of the mind of the eater of the food.

In the sentence, 'c' there is a reference to the importance to the Hindu calendar. The Indian lunar year consists of twelve lunar months, with an intercalary month inserted about once every three years. A lunar month lasts from one new moon to the next, and is named for the Indian solar month that it begins in. Hence, the lunar month Vaisakha

167 will begin with the first new moon after April, 21 the beginning date of the solar month Vaisakha.

Kartik Maas (Month) is the eighth lunar Hindu month in the traditional calendar followed by Hindus in North India. This calendar is followed mainly in Uttar Pradesh, Himachal Pradesh, Madhya Pradesh, Uttarakhand, Bihar and Chhattisgarh. Kartik month is also considered as one of the holiest months in Hindu calendar and millions of devotees take a holy bath in the Ganga and other holy rivers. Diwali, Lakshmi Puja and Bhai Dooj are some of the important festivals in Kartik month. The greatness of the Kartik month is mentioned in the Uttar Khanda of Padma Puran. The month is considered holy because it is believed that Lord Vishnu took Matsya Avatar in this month to restore the Vedas. Taking bath (Snan) in holy rivers in this month is considered highly auspicious. The full moon day in Kartik month is observed as Dev Diwali in remembrance of Lord Shiva killing demon Tripura. During Kartik month, devotees daily sing the prayer called "Sri Damodarastaka" (which is found in the Padma-purana) spoken by Sri Satyavrata Muni during a conversation with Sri Narada, Saunaka and other sages. This prayer is actually capable of attracting Sri Damodara-Krishna..

Let us try to describe the meaning of Deepawali or Diwali. The term 'Deepa' means light and 'Avali' means row. Therefore, Deepavali is a symbol of light. On the joyful event, people arrange rows of lights. This festival is celebrated 20 days after Dussehra, on the 13th day of the dark fortnight of the month of Ashwin (October / November). Diwali is a New Year festival in the Vikrama calendar, where it falls

168 on the night of the new moon in the month of Kartilca. However, both North and South Indians celebrate the festival, their practices and customs differ from place to place.

On this day in North India, people light tiny "J/ya^" (oil lamps, now replaced by candles in most places) to fill their homes with bright light and decorate their home with lovely colorful designs which are known as "raw^o/z" art. Diwali is not only a festival of celebrations such as lightings, crackers, social gatherings to exchange greetings and sharing sweets. It is also a festival that is filled with spiritualism and religious activities such as worship of Goddess Lakshmi, worship of Lord Ganesha, worship of Mother Kali, worship of Lord Chitragupta and worship of Govardhan Parvat. It is a festival of lights celebrating the victory of good over evil, light over darkness, and knowledge over ignorance.

It is noticed that South Indian Hindus on the auspicious day of Diwali rejoice. At dawn, the whole family wakes up before sunrise for a ritualistic oil bath. The head of the household dabs a drop of gingerly oil on everyone's head before their bath. This symbolic purification rite marks a new beginning. Hindus then dress in their new best clothes and visit the temple to offer prayers to God and to make new resolutions. Diwali is one of the rare festivals in South India, which is not celebrated in temples. It is rather celebrated at home with family members.

In the sentence'd' one notices the use of code switching of a metaphorical type. The speaker of the utterance makes us aware of

169 the importance of the family life. It is worth mentioning that Indian family is patriarchal in nature. There is a division of work between men and women. In Indian villages men are expected to do the farm work, whereas, women are supposed to look after the household duties. They take care of children, cook for family, wash clothes, utencils and keep their houses clean. In the same way their appearances are d\ffereT\t, women wear sari, bangles, keep long hair tie them neatly on backside of head in a coil of hair in top-not. Men wear trousers and loose shirts, cut short their hair, and part them neatly with a parting line. Widows wear plain white saris and keep their heads clean-shaven.

From the ancient period, Indian joint families are bigger, and with more children in the family. The model of family-planning was not available. Therefore, there were more than ten children to one pair. The girl must be married in time, otherwise she should marry a widower or an older man with grown up children, than the younger bride. One family includes first generation with pair of grand parents. Second generation is with their four to five sons and daughter-in- laws. Third generation is their children, as grandchildren to them. There is an exception that, responsibility of widow and her children, which extends that family. The sentence consists of a metaphorical switching.

Analysis: In the sentence 'a' the narrator is a grandmother who is explaining about the goddess Kenchamma in the Kanthapura. Every villager worships the goddess. According to the legend, the goddess killed a demon who visited the place asking for the young sons as

170 food and the young women as wives. The demon Tripura underwent penance to bring such a goddess down to the place. There was a battle between the demon and the goddess Kenchamma and the hills on which it took place become red with the blood of the victim. The villagers have great faith in Kanchamma who never lets them down. The temple of Kenchamma is home for everybody for the poor and the rich. In the temple, worshiping of the goddess is a regular feature. Everybody from the village attends the prayers, camphor lights in front of god everyday.

The sentence 'b' shows that people from Kanthapura have rustic habits of eating. The food is served on the banana leaf which looks fresh. In the sentence 'c' the grandmother of Kanthapura describes the seasons and its importance. However, in Kanthapura beloved Moorthy was arrested and kept in prison in Karwar. The whole village is feeling sad, it was a disaster struck. There is a paradox in idea in relation with month and the tragic event.

The sentence'd' reveals the limited world of women in Kanthapura. Rangamma started 'sevika sangha'. She practised rigorous training for women, some women tried with such physical exercise like yoga and meditation. They neglected their household work in their excitement and drudgery. Therefore, there are ironical comments made by the men of Kantharapura. Bangales are worn by women and not by men. The man wearing bangles is known as a eunuch. Waterfall Venkamma has many children, one of the daughters from her family decided to marry Moorthy. The wish of Vekamma remained unftilfilled. Later, Bhatta brought the message of bridegroom for her daughter. Therefore, she utters the above sentence in a critical condition.

Most of the linguistic expressions are related to the ceremonies and social gatherings. Some of the terms, phrases and idiomatic expressions are culture specific. Let us study the following references from the novel under consideration:

a. 'God has not given me a tongue for nothing'. (P.42) b. 'and the goddess danced over the corpse of the Red demon'. (P. 143) c. Satanna rises up and says, 'Why, my right eye winks, we shall have a grand harvest,' (P. 115) d. 'Venkamma was as jolly as ever and she said she had a bad tongue. '(P.43)

Structure: The sentence 'a' is a negative in the present perfect tense. The sentence pattern is s+ v + oi +od. There is a noun phrase with a negative word. The sentence 'b' is in the past tense having a s + V + o pattern with two noun phrases. The sentence 'c' is in the narrative form and the reporting verb is in the present tense. The reported speech is a complex sentence. The subordinate clause is in simple present tense and the main clause is in the future tense. Moreover, 'd' is in the narrative form but not with punctuation marks. Reporting verb is in past tense and reported speech is in the simple past tense. This is an example of transferred epithet; an adjective 'bad' is transferred to the common noun tongue, than to proper noun Venkamma.

172 Comment: It is interesting to note that the element of code-switching is associated with Indian superstitions. The Indian society reflected in the novel 'Kanthapura' seems to be steeped in many superstitions. The village folks in India in general and Kanthapura in particular are superstitious and have a strong faith in the local beliefs. Many aspects of Indian life are linked to them. One finds that some of the beliefs related to superstitions are found in Indian religious texts and scriptures.

The World Net Encyclopedia defines superstition as "belief, half- belief, or practice for which there appears to be no rational substance". There are probably as many superstitions in this world as there are people to create them or pass them on. Nevertheless, the answer to this question varies from one superstition to another. There are many different superstitions about cats. If a black cat crosses one's path, it is a sign of a bad omen. Dreaming about cats is considered as a symbol of betrayal. If a cat stares out the window, it is believed that it is going to rain. Moreover, a cat has nine lives. Superstitions pertaining to cats is believed to have begun in ancient Egypt where the cat was considered sacred and to kill one was sacrilege. In India too, killing a cat is regarded as a sin which can be washed away by bathing in the Ganga, the most pious river of the Hindus. It is thought that the superstitions surrounding the black cat began in the Middle Ages. The superstitions were associated with witches. A woman who was thought to be a witch owned a black cat as a pet. This led to many different rumors including the cat being able to change it's shape and that it would help the witch to cast spells. One reason seems to be that superstitions are generally vague enough that no particular case will ever be clearly false. Many superstitions involve getting good or bad luck. Since we do not know what form that luck will take, or what would have happened if we did not have the luck, there is no way to be sure the prediction was false.

Superstitious people also are very good at finding excuses for why things did not work out as expected. They can easily imagine other magical effects that might cancel or modify the superstition. If the evil eye did not seem to bother them, maybe it was because somebody said the right prayer or some charm warded off the effect.

Most of the Indian beliefs and values are based on the reasoning which is illogical. The main object of the local people is to protect themselves from evil spirits. Nevertheless, some beliefs are based on scientific interpretation. The reasoning behind the origin of these beliefs and superstitions got battered as the centuries passed by. That is exactly why most of these beliefs appear unsubstantiated and false. However, in reality, there are many such beliefs in the Indian culture, which are absurd and have no logic behind them.

Superstitions are deemed as relevant in Indian context because these, generally, hint at fliture occurrences and can be either good or bad. Thus, anything from the call of a bird to the falling of utensils is considered an omen in India. Many of the traditional superstitions in India are connected with animals, birds and reptiles. For instance, seeing an elephant when one is leaving for a journey is considered lucky. This is because an elephant represents Lord Ganesha, the Indian God who is the harbinger of good luck and remover of obstacles. The cawing of a crow, in front of one's own house.

174 prophesies the coming of guests. A peacock seen while on a journey is said to be good but hearing its shrill call indicates robbery by highwaymen. A dog howling near a sick man's chamber predicts his death. Seeing a cat or a cow's face early in the morning bri/igs ill luck. A sparrow is encouraged to build a nest in a new house for good fortune. A yellow or white substance dropped on the threshold by a cow indicates the gain of gold or silver. To protect cats, which were useful in destroying rats and other pests, the Brahmins imposed a ban on its killing, to be redeemed expensively with an offering of a golden cat to a Brahmin. There is a superstitious belief in some parts of the country that when a child is bom, its father must not see its face until it is six months old as it might lead to ill luck. Therefore, some time before the child is bom, the mother is sent to her parents' home. This serves two practical purposes: the mother is pampered by her own mother, and so is the baby, as all the mother's attention is centered on her child, with no distractions of looking after her husband or doing other works. When the right hand itches, it means good luck and the reverse applies to the left hand. This relates simply to the clean (right) and unclean (left) sides of the body. Strangely enough, twitching of the right eye is regarded as auspicious, whereas the trembling of the left eye is looked up on as inauspicious.

In above utterances, from 'a' to'd', one comes across various kinds of superstitions. It is noticed that superstitions are explained in following phrases like, 'winking of eye', 'bad tongue' etc. Suppressions are not confined to religious festivals alone. One notices that in India political events or the winning of elections are predicted on the basis of superstitions. Most of the political leaders are seen taking the

175 blessings of the God in India. Some of the Sadhus or sages may forecast the change in political power in India. Winking of eye is a good or bad omen. If one winks the right eye, it is considered as a sign of good luck. The person believes that something good will happen in his/her life. It is also considered that a person gets some money. If the left eye winks, it is a sign of bad omen. It is believed that something bad will happen in the person's life whose eye has twinkled without any stimulation. Bad tongue means using abuses for enemy and wishing ill luck to others. It is a symbol of selfish and self-centered nature of human being. Superstitions have connections to the mythological references. Indian mythology has various references about fights in between god and demon. King Ravana in Shrilanka is one of the demons in 'Ramayana.' These utterances are occurred as metaphorical code-switching. According to the doctrine of Hinduism, God is one as well as countless. He is to be found everywhere and in every object. He is there in the sky, in the rivers, in the plants and trees and even in a constituent part of dust. He is a mystery, because he is in many things at a time and is many things at a time. He is evident as well as unseen. He is here and he is there. In fact, he is everywhere. He is above and he is below. He is with forms and without form. Sometimes, He speaks and sometimes, He remains silent. People see the existence of God in the images and the idols decorated with flowers and new sacred clothes and worship them routinely.

Analysis: The farmers of Kanthapura become very happy, after heavy rain, because they would get sufficient grains. It does not need foretelling or any omen or winking of the eye. Nevertheless, they are

176 very innocent and too much superstitious. Waterfall Venkamma is one of the orthodox Hindu women in the village. She is a short tempered and talkative woman. She is straightforward in her linguistic behaviour. Abuse her enemy, in front of them, means 'bad tongue'. Actually, she is illiterate and always speaks the truth without bothering about the repercussions. Really, she has bad habit of speaking directly. No one can afford to have an argument with her because she has a bad tongue. If she utters a bad word, then the addressers would be badly affected. Her words are taken for granted and considered to bring ill luck.

The novel develops with processions of freedom fighting movement. People have lost their own confidence, because Mahatma Gandhi was arrested. For these people imprisonment is a kind of disgrace and loss of dignity in their life. Overall, they believe in God and fate too much and seek mental relief The gods of Hinduism do not exist as a person and they never existed in the past. They are the product of divinization of novels or epics heroes, like the Greek or Roman gods. It is like making a god out of Hamlet or Sherlock Holmes who never existed, only in the mind of the writer and some of the Hindu scholars recognize this fact. The novelist takes the help of some characters from the myths and epics like Ramayana and fuses them with then existing politics. Some of the following examples highlight this fact:

a. 'You are a funny fellow-but you say there's Mahatma, and may be his ire will he upon us'. (P. 136) b. 'You are my Lord, and though I saw you like rat on your mother's lap', (P. 138, 139)

177 'And Rama will come back from exile, and Sita will be with him, for Ravana will be slain and Sita freed, and he will come back with Sita in his right in a chariot of air', (P.183)

Structure: The sentence 'a' is a compound sentence with three main clauses and a coordinating conjunction 'but' that shows contrast views, and 'and' adds new information. The first two clauses are in the simple present tense. The third clause includes the modal auxiliary 'may', expressing possibility. The sentence 'b' is a complex sentence. There is one main clause in the simple present, one subordinate clause in the simple past tense connected with 'though', and 'and.' The sentence 'c' has three main clauses as a compound sentence. These clauses are in the simple future tense.

Comment: In 'Ramayana', one of the greatest epics of India, Rama and Sita fought against the villain Ravana who was the king of Lanka. The story of the Ramayana in nutshell is as follows: After the marriage of Rama and Sita some unusual events take place. Rama is banished from the kingdom and sent into the forest 14 years. Sita and Lakshman (Rama's brother) go with him into the forest. While wandering in the forest Ravana, King of Demons, falls in love with Sita. Ravana kidnaps Sita and takes her to the Demon Kingdom, Lanka. Rama and his brother Lakshman enlist the help of the Monkeys and the Bears to search for Sita. Hanuman the monkey heads the band as General. The band discovers that Lanka is an island in the middle of the ocean. Hanuman leaps to the island. He finds Sita, gives her Rama's ring, and promises she will be saved.

178 Hanuman is captured. Ravana sets his tail alight. Hanuman escapes.The Bears and Monkeys build a bridge to Lanka. Battle ensues. Lakshman is fatally wounded. Hanuman flies to the Himalayas to get the magic healing herb to save Lakshman. Hanuman brings back the whole mountain. Lakshman is saved. Ravana is killed. Sita is set free. Rama does not believe that Sita has been faithful to him. Sita proves her innocence by walking through fire. The flames turn to flowers. The band goes home, crossing the whole of India. As they walk, people leave lamps on their doorsteps to light the path. This is still celebrated today as Diwali.

Rama slew Ravana in war and established his Ramrajya in India, similarly Mahatma Gandhi must bring freedom to the nation, and British must be defeated.

Two remarkable situations are described , 'like a rat in mother's lap,' and 'Sita in the right side in chariot.' According to Indian culture, mother is everything for the child. First, at any age, the human being remains a child to any mother. It means smaller like rat. Second, men's right side there is a place for mother and left side there is a place for wife. The place of Sita is at the right side. This is metaphorical kind of code-switching.

Analysis: All the above-cited utterances are transpired on the background of freedom fighting movement in Kanthapura. Preparerations are made to appose the British government. The villagers follow the path of Mahatma Gandhi in the name of non-

179 cooperation and non-violence. Patriots bear the Icicks and blows of police. They break the laws of British government in saint like manners. First, the leaders like Moorthy and Rangamma make the villagers aware of the anarchy of British rulers in India. People in Kanthapura agree with and believe in Moorthy and Mahatma Gandhi. In the last utterance 'c' the important characters symbolize Indianess. The Mahatma Gandhi symbolizes Rama, the nation-mother symbolizes Sita.

Thus, the study of code switching makes the reader aware of the deeply rooted cultural threads that run through the novel 'Kanthapura'.

3.4 Code Switching in 'Poona Company' Introduction: Farrukh Dhondy's wrote three books of fiction in quick succession. East End at Your Feet (1976), Siege of Babylon (1977) and Come to Mecca (1978) His next book, Poona Company (1980) is a string of loosely-connected short stories which combine to form a richly-drawn portrait of an Indian boyhood. In other words, it is a series of nine loosely connected short stories that together constitute a lively depiction of an Indian boyhood and early youth in the town of Poona, about 200 kilometers south-east of Bombay. The little urban community in which the protagonist-narrator grows up is constantly in the grip of intrigues and dramatic upheavals. A large number of characters are skillfully sketched through minute details and turns of speech. In fact, taking turn is one of the important aspects of this literary masterpiece. His subjects are the gangs of boys with whom he played at school. His quarrels with the schoolchildren with

180 the knives in hand make the book lively and engage the readers' attention. A war between two typewriting classes, the murder of a brilliant young journalist, rowdy college elections followed by the college students' Annual social gathering, and the foibles of an inveterate gambler are some of the interesting highlights of the book. . Throughout the fictional work, a mild humour is maintained, conveying an overall sense of affection and fascination, while the tension is adroitly defused in each tale by means of a soothing humane touch.

Poona Company by Farrukh Dhondy brings together nine "interrelated" stories about Dhondy's early days and the bizarre characters that filled his boyhood days in Pune's Sarbatwalla Chowk. Eddie is one of the fantastic characters who loved old phonograph records. Another interesting character is the gigantic Samson who refused to work and, on one occasion, crushed three bicycles instead of the thieves he was supposed to catch. The strange Black Dog, and the dejected Farrukh himself, brokenhearted over his broken spectacles. Dhondy depicts very adeptly this miscellaneous bunch and their idiosyncratic experiences, recreating in the process the life and times of an old-fashioned town with an affection and razor-sharpness. Thus, the charming Poona Company of the writer makes this book a beautiful and extremely funny book.

At 12, the young Farrukh begins to explore his neighborhood. The Sarbatwalla chowk is the centre of all playful and funny activities. Each of the nine episodes stands on its own as a rich and funny lump of Poona life. The book also reads as a gamut, through teenage years and first job to Dhondy's scholarship to England. Characters of the

181 chowk cafes and businesses, fellow schoolchildren and students, backyard inventors, Parsee, Christian, Muslim, Hindu and Sikh are vividly described. The writer lovingly creates the rivalries, intrigues, losses, love affairs, ambitions - all the complexities of a community.

The writer of 'Poona Company' Farrukh Dhondy was twelve years old when he was staying with his grandfather and aunt. His little sisters accompanied him. He wrote about the place where he was living: "It was a mystery and a place which put me on my guard about self-confidence my bearing, my ability to be a man among men who seemed to me constantly to chatter, fight, cuss each other, boast, argue, about everything under the hot son, swagger, sometimes even weep and most of all let their business and their personalities be known by all. " (P. 11)

With above minute observations the writer became a successful student. He completed his matriculation successfully. He stood first in school. He enjoyed his school days with variety of atmosphere around him. The writer reveals many activities such as, studying, playing sports, drinking tea with friends in hotels in the Cantonment area, living together with aggressive boys around the area, fighting with /veloui%) taking the punishments at ease. These things are described lively and made it alive with modem style of writing and made picturesque with technique of code-switching and code-mixing. The writer has observed and he becomes successful traveller of this colourful journey. His grandfather nurtured him with great affections

182 and put him in righteous path. Farukh is a happy boy living with his relatives- grandfather and aunt and away from his parents.

'Poona Company' is an exploration of the beautifial and wealthy comer of Pune city. Farrukh Dhondy provides the information of his life journey, i.e. a biographical sketch, from school days until he made his career. It is a bunch of extraordinary experiences strewn with the moral and immoral training in his life. It nurtures the inner and outer physical developments and soul and mind of character, to be a gentleman, in his life. Farukh Dhondy is a grandson of the retired army officer who was a person of ethics, virtues, and moral values. He was a civilized man with good manners and good beliefs. These values of his grandfather became important to Farrukh a small boy. Sometimes, there is a conflict shown with crossing the limits of these values. This conflict is vibrantly depicted in the story, 'Cotton Figures'. This story is a combination of virtues and vices, which are unknown to a small boy. The first time he learns that betting is a bad habit in life.

He loves everything, sports, gathering at the comer caffe, with his friends, Dara, Kishan, Shahid, Ashish. Moreover, the information is given about other people in the neighborhood where he lives. Eddie, Samson and Kolmi are poor people. He takes them playfully and sportive. He observes them minutely and understands their philosophy of life in the first two stories 'Cotton Figures' and 'Samsun'. Farrukh appreciates Eddie as a scienfist, Kolmi as a worker and Samson as a dead body carrier. He is too innocent to understand superstitions and agrees on divine powers of the dog (as

183 an honest friend) and monkey (as a god Hanuman). He knows the right meaning of good or bad Ufe. In the third story 'Black Dog', Naval and Billy are arrogant boys, made the harassment of the blind man and his dog on sexual matters; they blamed that dog for giving sex satisfaction to the blind man. They are punished to death, died in a road accident. In same way, Minocher Toot and his family suffer with bad omen.

In the story 'Boomerang' the focus is on the students' life. The interesting student is Sokum, an Australian. As he is in a convent school, he became rough and tough. In the beginning, he was dull, used to get punishments more times. He stole so many things in boarding, wore dirty cloths and always fought. However, afterwards, he became a boxing champion in his life.

In another story entitled 'Confession', one comes across a very interesting character named Confession D'Souza. He was not only the school's star scholar but he was also the best footballer and a violinist. He was very poor but he worked hard. In other words,he was diligent. He earned the reputation of being something of a pet of the padres. He learned about scandals in church around Pune city. Because of his misbehaviour he was dismissed from the school. He appeared for S. S. C. examination as an external student and was declared first in the board. Nevertheless, he failed to be successful in life and was killed by his beloved's brothers. While working as a successfiil Journalist in a popular newspaper, 'Chamak'. He told an example of the strong student in Widia College. He was active in the politics. He wanted be\ legal leader of students, but made a mistake

nit- 1 ' 184 of throwing firebomb in parlcing. During that year, college authority declared that the rank holder should be selected as a leader without holding elections.

Ajit Gandhi is a student of Poona College, in commerce wing. However, he has nothing to do with commerce, i.e. money or earning. The writer started his earning with writing articles in newspapers. Nevertheless, 'Gandhi' has lost his many years as only student and he lost his father's money. For the sake of money, he placed bet on gambling with gangs in cantonment. The last story 'Rose de Bahamas' reveals Gandhi's tragic life, his struggle for money making, with bets and gambling. Let us consider the following example:

'He called your grandfather a lair in front-fifty people. My heart sank into my canvas Shoes.' (P.23).

Structure: The above two statements are in English, which give an impression of Marathi idioms and are translated in English. One of them is a prepositional phrase, and other is a noun phrase. The writer makes use of hyperbole to enhance the literary quality of the story.

Comment: There is use of Marathi or Hindi idioms with English translation. The phrase 'in front of fifty people' expresses humiliation, the word 'many', in the place of 'fifty' will not evoke such feelings. In the same way, the idiom in the second sentence, gives the same feelings of seriousness of the English word 'frighten',

185 will not express. It expresses Indian habits of utterance. This is intra- sentential type of switching.

Analysis: Farukh, the writer is a Marathi speaker, brought up with purely Indian culture. In those days in Pune betting was considered as an immoral act resulting in inculcating wrong values in the younger generation. The hero, as small boy, has made a great mistake. One day, he placed a bet in the name of his grandfather without his permission to do so. His grandfather, a retired man, had a sound moral character. He was a respected city dweller in cantonment area. However, the grandson was too innocent to understand the difference between moral and immoral acts because he was just twelve. To hide his name and existence Eddie the local scientist and friend of Farukh convinced him to place the bet in his grandfather's name. Eddie succeeded in making his deception successful. He earned money on betting for many times with the help catching of his radio signals of 'cotton figures', on his electronics radio machine. In this way, things went too far. Samson, the betting agent, became angry due to the loss of more money. Samson made a complaint against the Farukh's betting, directly to his grandfather. The linguistic expression in the first sentence appears to be taken from the vernacular language and translated into English to have the authentic flavour. To be humiliating in front of society is a very shameful thing for the sophisticated man and an Indian grandfather. The phrase 'in front of fifty people' is an exaggeration. Therefore, the speaker takes the help of the local language as a matter of code switching. The second expression denotes the intensity of the speaker's feelings. The expression is in English but one notices the flavour of the local

186 language. Therefore, the translation of Marathi phrases and idioms occur in an appropriate manner respectively. Similarly, one comes across another example where the switch takes place. Let us consider the following rhetorical question:

Why is your face registering half-past six?' (P.31)

Structure: This is a rhetorical question, which does not demand an answer on the part of the speaker. It is WH question, with the proper word order.

Comment: The above linguistic expression occurs in the story 'Samson'. The character of Samson is very funny. He is described having a very fat body with a large face. People said that he ate three chickens at a time and five plateflils of rice a day. The linguistic expression 'Face registering half-past six' is a literal translation of Marathi idiom, 'chinta kame'. In other words, the person in the context looked worried as he was not able to spit owing to the notice which read 'Do Not Spit'. It is an appropriate idiom to express that one does not feel well. Since Kolmi saw Samson sitting in the restaurant without speaking a word, he used the strategy of code switching to express his genuine feelings. Samson must have been suffering from the stomach upset. In replying to the question, he simply said that he was just thinking. In fact, he wanted to spit somewhere in the comer of the restaurant. This is an example of intra sentential code switching.

187 Analysis: Samson is one of regular commuter in Sachapir Cafe and Kalyani restaurant. He would sit with Kolmi on the pavement outside the Kalyani restaurant waiting for betting slips. He would wait for betting slips or for the results of the cotton figures racket to be declared. He would always earn some food by being the unofficial night watchman on the Chowk. He was a carrier of the dead bodies to the funeral places. He is single, free from regular hurries and worries. He eats more and looks fat. Nevertheless, he is kind and helpful. He helps needy and poor. He lives on with wastage food in restaurant. He works as an unofficial security guard at Cantonment and shop owners provide food to him. He earns from carrying of dead bodies, which is his own employment. He is worried about his employment. He would wait for death of a rich person so that he could get sufficient earning and eat good food. Look at the following sentences, which is more or less similar to the above idiomatic expression:

'Now you 'II never get anything. The dog is jinx'. (P.50)

Structure: This sentence has two statements. The former is in the future tense, and the later is in simple present tense. This is narrative style of writing.

Comment: In the sentence the complement 'jinx', gives a specific reference. Some animal symbols relate to God. The dog is shown with divine quality God 'Dattaguru's, one of the sojourners. It is a symbol of good and bad omen. However, the contrast meaning is that, 'Every dog has his own day'. 'Dog brings bad luck'. This is a metaphorical kind of code switching.

188 Analysis: Here is an example of Khatu. He is a graduate in chemistry, one of the important and advanced subjects of science faculty. However, Khatu is unable to get the proper job. In the story, 'Black Dog', Khatu is a Minocher Toot's eldest son. His friend said to him t, "You should be jobless but after two days he got job." The entire chowk knew that Khatu had been looking for a job since he was a graduate in the subject Chemistry. His all classmates who had passed got jobs. Khatu would sit all the day in the Sachapir cafe. There, he would fill application forms after reading the advertisement in the leading newspapers. He would mockingly say: 'Apply, apply and no reply.' (P.50)

Structure: The structure of the above linguistic expression is that there is repetition of the word 'apply', which is typical as far as Indian English is concerned. The sentence is grammatically unacceptable but it is acceptable contextually.

Comment: Repetition is an effective literary device that may bring comfort, suggest order, or add special meaning to a piece of literature. The above utterance of Khatu though looks ftinny speaks volumes about his present status as far as employment is concerned. Since he is unemployed, his fi-iends attribute him being jobless to the black dog. In the Chowk there was a myth about the black dog of the blind man.

Analysis: It is noticed that in the expression, 'Apply, apply and no reply' is a typical Indian idiom which signifies the mental state of the person who utters it. In Indian English, the speakers tend to make use

189 of the strategy of repetition to indicate shock or surprise. Here, in this context, the speaker points out surprise. The reason is that despite his efforts to apply for various posts, he would not get a job. It also expresses his exasperation leading to utter frustration.

In another speech situation, one comes across some interesting utterances in which the code switching is noticeable. Look at the following example: a. 'That dog is more powerful than religion.' saidDara. (P.54) b. 'That bastard Khatu. A real son of his father.' (P.56)

Structure: The sentence 'a' is in a narrative style with reporting verb in the paste tense and reported speech is in the simple present tense. It starts with a demonstrative, 'that', which seems odd. It has a noun, 'dog' with a noun phrase. In the sentence 'b', there are two noun phrases.

Comment: In the sentence 'a', an adjective phrase refers to 'dog'. The character of dog is more important. For Indians religion is more valuable for leading a good life. Even prosperity and prestige depend on religion. He is discarded by religion but is protected by dog. Man can neglect, and stay without religion. The blind master can't live without the dog, a lone companion. The sentence 'b', shows the abuse, 'bastard', which explains typical character sketch, the explanation is given further in the noun phrase, the real son of his father. It is an example of idiom translated from Marathi and Hindi. In Marathi, an idiom is, 'bap tasa beta' and in Hindi, it is called as, 'bap se beta sawai'. An Indian belief is that child imitates its parents,

190 so parents nurture their habits in their children. This connotes the fault of blood or generation. This is a metaphorical type of code switching.

Among the animals that are domesticated with humankind, many circumstances are far from worthless of being known. Among these, there is more particularly that most faithful friend of man, the dog. We have an account of a dog that fought against a band of robbers in defending its master; and although it was pierced with wounds, still it would not leave the body, from which it drove away all birds and beasts. Dogs are the only animals that are sure to know their masters; and if they suddenly meet him as a stranger, they will instantly recognize him. They are the only animals that will answer to their names and recognize the voices of the family. They recollect a road along which they have passed, however long it may be. Next to man, there is no living creature whose memory is so retentive.

In daily life, we have discovered many other valuable qualities in this animal; but its intelligence and sagacity are more especially shown in the chase. It discovers and traces out the tracks of the animal, leading the sportsman who accompanies it, straight up to the prey; and as soon as ever it has perceived it, how silent it is, and how secret but significant is the indication which it gives, first by the tail and afterwards by the nose. Hence, it is that even when worn out with old age, blind and feeble, they are carried by the huntsman in his arms, being still able to point out the coverts where the game is concealed, by snuffing with their muzzles at the wind.

191 Analysis: The story 'Black Dog' reveals the extra natural powers of the dog and his enemies. The above utterances reveal the tragic death of the dog. Khatu gives poison to the dog. Farrukh and his friends saw that the dog was struggling from the gate of Khatu's bungalow. Khatu and his father hate this dog. His father always wrote something about this innocent dog in his newspaper 'Spotlight'. After the poison incident the dog became unconscious, so the writer and his friends try to take this dog to the veterinary hospital. They are angry and abuses ^ Khatu, ancicaHsJiim-a bastard. Moreover, they remark that he is like his father cruel, uncultured and uncivilized.

a. 'If the body was indeed dead flesh, the tail of dog would remain tucked between its hind legs, the final flag'. (P.53) b. 'He was dragged, bleeding, and whining, into the funeral chamber with his tail firmly between his legs and no one could tell whether he was depressed because he smelt death or because his backside was raw'. (P.54)

Structure: The sentence 'a' is a complex sentence with' the subordinate clause in the past tense. It is a clause of condition.The second clause is the main clause that starts with a noun phrase; it has a modal auxiliary 'would' referring to habitual action in the past and an adjective clause after main verb with an adjective 'tucked'.

The sentence 'b' has many sentences together. It is a combination of complex and compound sentences joined together with several linking words. First clause is a main clause with a passive structure in

192 the simple past tense. There is another main clause which is joined with the coordinating conjunction 'and'. It has the negative numeral 'no one', and modal auxiliary 'could', show ability. The next is the subordinate clause that is connected with 'whether', stating condition of the pronoun, 'he' in the passive construction and in the simple past tense. Further subordinate clause gives the reason with connective 'because', with subject, verb and object, as a adverb 'death'. The last clause has double connectives 'or' and 'because', stating reason that describes the condition with subject, auxiliary and complement.

Comment: The above utterances show a false belief in animals. It is interesting to note that there a ceremony that a Parsee has to undergo when he is dead. The body^ is being sniffed by a dog. The writer's grandfather said that the pulse and the heartbeat were unreliable indicators of death. The relatives of the supposedly dead person would get a dog to sniff the body. There are certain superstitions associated with dogs. Dogs have always been credited with the power of sensing supernatural influences and seeing ghosts, spirits, fairies or deities that are invisible to human eyes. Dogs are believed to be aware of the presence of ghosts, and their barking, whimpering or howling is often the first warning of supernatural occurrances. Howling dogs mean the wind god has summoned death, and the spirits of the dead will be taken. In Scotland, a strange dog coming to the house means a new friendship; in England, to meet a spotted or black and white dog on your way to a business appointment is lucky. Three white dogs seen together are considered lucky in some areas; black dogs are generally considered unlucky, especially if they cross a traveller's path or follow someone and refuse to be driven away. Fisherinen

193 traditionally regard dogs as unlucky and will not take one out in a boat, or mention the word 'dog' whilst at sea.

Respect for dogs was maintained in later Zoroastrianism, with most of the usages enjoined in the Avesta being continued, and some even elaborated. With the general building of funerary towers, the disposal of corpses was left to carrion-eating birds; but the dog was still used to help the additional rite of sagdid.

Religious rite related to death in the Parssee community is concerned with the person's soul and not the body. In the event of death, a person's soul leaves the body after three days and the body becomes just an empty shell. Traditionally, Zoroastrians disposed off their dead by leaving them atop open-topped enclosures, called Towers of Silence. Vultures and the weather would clean the flesh of the bones, which were then placed into an ossuary at the center of the Tower. While some Parsis continue this practice in India, it had ended by the beginning of the twentieth century in Iran. Now, many Zoroastrians dispose of their dead through burial or cremation.

Superstitions are integral part of Indian culture and life. It is more ironical that the society, in Pune, espesialy cantonment area is not an exception to these foolish acts or blind faith. The writer deliberately describes such things. These are insensible actions performed by so called sophisticated and aristocratic people in metropolitan city like Pune. This is a metaphorical type of code switching.

Analysis: 'Poona Company' deals with the writer's childhood memories. The writer includes some characters with extra natural

194 powers. Dog is one of those characters. Dog senses a death of man. There is a belief that if the tail of a dog remains stable while sniffing dead man, it means that the person is dead. The writer has made it more ironical in the utterance 'b'. The fact is that the dog is in trouble and has an injury in the tail. The question arises as to how an injured dog can sense the death. The dog for the sniffing purpose was called Rustum. He was constantly tied to a rope and kept in the back shed of the fire temple. The writer watched the funeral proceedings. The dog was brought out. The dog looked as though he wanted to run away as a young boy in a Parsee skull cap held on to him. Rustum knew that he was being held there to sniff another dead body. His tail was where it was. A strange thing happened as soon as Rustum started sniffing. There came a black dog and started growling, snarling and snapping. The chanting of prayers was interrupted by this strange incident. The black dog bit Rustum in the neck and in the flank. Thus, the code switching is related to the incident.

3.5 Code Switching in 'Starry Night'

Introduction: - The novel 'Starry Nights' is the second novel written by Shobha De. It is the portrayal of Aasha Rani and her lover Akshay. It deals with the modern way of life in India. The central character of the present novel is Aasha Rani, a dark, chubby girl from Madras. She strove for seven years to become a famous Bollywood artiste. Her mother was very ambitious and wanted her daughter to reach at the top. Amma, her mother, hard-pressed her before she was twelve years old to accomplish this position by selling her into the world of blue films. When she was fifteen, Kishenbhai, a film producer took her as a lover in exchange for a film role. Kishenbhai invests huge amount

195 in a film after promoting her as the newest Bollywood starlet. She was forced to sleep with the suitable people to secure her mind and rechristening her Aasha Rani (her earlier name was Viji). He was madly in love with her. Later,Asha Rani abandons him as she struggles to get ahead in the filmy world. She was conscious that he was using her. Therefore, she was not able to respond him any more as he was much older than she was.

Asha Rani falls in love with Akshay Arora who is a celebrated Bollywood sex icon. He made a string of hit films with her. Amma, who had been living with her daughter in Mumbai, was sent away to Madras for objecting to Akshay beating her one day. In due course, Akshay gets uninterested in her. He reveals to Showbiz magazine that she was a former pornographic actor. When she questions him at a society party about this, he beats her. Thus, they part from each other and become antagonists. Then, Asha Rani resumes her career with the help of Sheth Amirchand, a Member of Parliament and the gangster in Mumbai. She becomes his beloved but soon their love fades away. She, then, has illicit relations with Linda, a gossip columnist for Showbiz magazine and Abhijit Mehra, the son of an industrialist, who is about to be married. Linda advises her to go to the south and do an art film, which she does. She tries to seduce the director only to find that he is impotent. Her interest in her work declines as she continues to obsess over Akshay Arora. She confronts him at a traffic light as their cars are next to each other and their affair is rekindled for a short time. She attempts to get Akshay to marry her, but when it becomes apparent that his interest in her is only due to his flagging stardom and not out of affection for her, she attempts suicide.

196 Her lesbian lover, Linda, meanwhile, writes a juicy scoop on her suicide attempt. After she recovers she rekindles her affair with Abhijit Mehra, but Malini, Akshay's wife, reports this to his father and he has his weak-willed son Abhijit cut the affair off and sends Aasha to New Zealand with instructions to keep out of Abhijit's life. Aasha then retires to New Zealand and decides to leave the film business. She marries a New Zealander named Jamie Phillips (Jay) and has a child with him. Since Jay is not Indian and not in the film business, it occurs to her that she does not have to retire the moment she is married as is the custom in India. It is then revealed that Akshay has succumbed to AIDS because of his promiscuous lifestyle. Sudha Rani claims that Jay tried to seduce her and in revenge, Aasha Rani initiates an affair with Jojo, the producer of her next film. It is said that the portrayal of Aasha Rani and her lover Akshay was based on the real life love affair of Amitabh-Rekha and Dharamendra-Hema Malini.

Jojo's wife, who sends goons to threaten her, forces Aasha Rani out of the film industry. She flies back to New Zealand and meets a man called Gopalakrishnan with whom she has sex with in the bathroom of the plane. She discovers that her husband is having an affair with her babysitter and they decided that their marriage is over. Her daughter, Sasha rejects her and begins to have her own identity crisis as a multiracial child. Aasha then meets a young woman named Shonali with whom she begins to spend a lot of time. She is a London socialite and call girl and introduces Aasha to London High Society. At a party, Aasha notices Gopalakrishnan, the man she had sex with on the flight to London. He turns out to be an arms dealer. She accosts him and later he has an assassin quartered at her house and

197 threatens to have her daughter murdered if she tells. Shonali murders the assassin and ushers Aasha Rani out of the country.

Sudha Rani, meanwhile, had a film financed by the mob and she begins to doctor the books instead of repaying her debts. The gangsters have her assaulted by some thugs and they set her on fire. Sudha Rani is badly burned and is forced out of the film industry, and Aasha reconciles with her. As Appa weakens, he reveals that he has kept position of a studio that Aasha can use to support herself by preparing her daughter, Sasha, to take her place as Bollywood's next starlet.

The characters in this novel are very free and frank. They go beyond moral obstacles and restrictions of life. Everybody in this novel is selfish and immoral. It is like to be sex-starved people gather around. Everybody is possessed with Sex-mania or sex sickness in the film industry. One of the important characters is Kishenbhai, the producer of the film industry and a godfather of the new finds. He likes the South Indian girls, who are sexy. He has his own contented life with wife and children. He is coward, crude, selfish and money-minded man. In addition, his friend Nitesh Mehra has the same attitude as a film producer. In the name of godfather, he seduced Asha Rani at the time of screen test and photo shoot. She had been always compelled to be necked as she was expected to play the role of 'Adivasi', 'gaon ki chori', etc.

More miserable thing is that, to give her chance in the film industry so many producers ruin and seduce her. She became the victim and is being treated as a prostitute in the film industry at the hands of sex-

198 starved people like M. D., an important man in the film industry, who is Surma Eyed, wears lots of chains, dirty, drunkard, bull like man. Gopalakrishnan is an old friend of Asha Rani's father and used to work as production assistant to her father. She remembered that, she had been victimised as a child and abused by the same man, when she was seven years old. Moreover, in airplane, even, after 25 years, he does the same thing; fulfils his sex-thirst in a sophisticated manner.

The most important agent, broker, seducer of girls in film industry is Shetaji i. e. Shet Amirchand, who is a don of the several underworld dons. He is a seducer of beautiful girls of film industry. In the name of godfather and protector, he exploits, seduces and harasses them sexually. He uses them because of his own dirty and horrible sex-acts, unnatural habits. Still, he is a human being not like Asha Rani's mother who sells her own daughters for selfishness, love, and luxury for material world around her. On the advice of the underworld don, she sends her innocent and beautiful daughter to the villain. He is a member of parliament, a corrupt land dealer or land mafia. He is from Bhuj in Kutch away, aloof and alone from his family. He lives in Bombay in ugly penthouse with Muslim mistress i. e. keep a rescued girl from Bombay brothel.

Asha Rani is caught in a trap of this underworld don. She has been used by Shetaji to satisfy his carnal desire. In addition, he does not want to take her as a concubine. He protected her as a godfather, gave her money for working or being a prostitute to him, made her a big film star by giving her a break in big-bannered films. The other male characters in this novel are equally important; these are Akshy Arora,

199 Abhijit Mehra, and Amar. Akashy and Amar used Asha Rani as a prostitute for their sex-satisfaction. They show their male domination, dirty, crude and self-centered behaviour. They are the real pseudo heroes of the film industry. Very rich, arrogant and immoral, they flirt with many girls from the film industry and seduced them, used them as their concubines and threw them out of their lives. They discarded her cruely, they destined to suffer, as a beautiful doll. At the end of the present novel Akashy died with fatal sickness i.e. cancer.

Abijit Mehara is one of lovers of Asha Rani. Being the rich man he was the victim of aristocratic, orthodox society or lives under pressure and threat of his father. His wife, his father, and Asha Rani were always threatening him. He became drug addict and ruined his father and his wife. Jamie (Jay) Philips is a beloved and husband of Asha Rani as a common most practical white man. He is from New Zealand and owner of sheep farm. He has very balanced attitude to life. He makes an adjustment for better life. He has taken care of his small child Sasha, when Asha Rani is away from them. After departure Asha Rani's first meeting with Sasha the child doesn't like her mother in Indian attire. Jai is a man who realizes the facts of life, protects himself and his family.

Tushar is from Panjab, whose long stay in Bombay film industry does not affect his life. Still he has memory about his native place. He loves his urban country and food. When Asha Rani was upset on set as a co-star, he advised her that, she must think about her stable life. The women characters in this novel struggle for their life. All of them are pressed by worries of life. They strive to acquire a better life in

200 the society. Amma is senior character, an actor from south Indian film industry, discarded by her husband, 'Appa', father of Asha Rani, who is unsuccessfully leading his life under the protection of his wife. He was successful director and producer, but now helplessly watching an exploitation and seduction of his daughters, at the hand of his \yife, who ruins their own daughters hopelessly. Only this man Appa is responsible for the tragedy of family. Amma is a real bitch, shameless woman, as Shethji said, 'she had ruined her innocent children'.

The 'Linda' is another different character who is very free and frank. She issgiart and modem journalist doing everything, which is moral or immoral in her own way to be a successful journalist. She is very practical and emotional. In addition, she is unfaithful. Being a friend of Asha Rani, she exposed her badly. Sudha Rani is one of the unfaithful women in the film industry. She uses all her friends as staircase for success, and assimilates assets for her life. She is very lucky that Shet Amirchand helped her without any moral sacrifice. In addition, she indirectly, threatened Asha Rani, that, she could use Asha Rani's husband. She expresses herself more carelessly. Gangsters throw acid on her face.

Asha Rani is a main character of the novel, very innocent, beautiful, but exploited at the hand of everyone. Her mother made her the prostitute of film industry and mined her life. She is simple, rustic, like an odor of homemade coffee, south Indian^fevourite dish idli, her hometown Madras. She loves wearing sari, and performs rituals. She believes God. On getting the news of Akashy's serious illness, she goes to church in Bandra. She is co-operative. After her arrival, from

201 New Zeland, she takes care of her ill parents. She tries to sell her bungalow in Bandra for money but Shet Amirchand helps her to save her from being poor. In this way, she sacrifices her whole life for others.

She is the most unlucky woman in her life. She is destined to do everything, which, she does not like, i. e. to be naked in front of camera at the time of screen test, party dresses those, keep her fully naked, with heavy make up which change her in to dark to fair ,^k appearance. Sh^ scared to go with M.D. a surma-eyed man, and dingy, dirty, artificial atmosphere in hotel rooms of blue film x^9 directors. Even she scared of shooting with snakes in the film 'Nagin ki kasam', being break in film industry.

She sacrifices everything, for filling fees for dance teacher of her small sister Sudha Rani and other financial requirements of the home. She becomes victim of underworld people in England. They attack her house and she returns to India. She returns from the home of her husband from New Zealand for career making, but remains unsuccessful. She gets side roles like her mother and sister. Within five years of gap, she lost her hold on film industry. At that time, Joja the foreign returned producer ruined her mentally and physically. V \^ /T^vlost pathetic thing is that Akashy cast her down very badly. In front •^ of celebrities, in the party he kicks, blows on her face and calls bitch to Asha Rani. This blow was fatal to her; she tries to commit suicide by eating sleeping pills. Then Shet Amirchand consoles her that she should become a prostitute for him. Jojo's rich wife, with the help of

202 gangsters, ruins her life, sets the fire to her home and threatens her to throWjM^cid on her face. She feels it horrible and returns to her home town Madrass and decides to complete her father's dream to develop a film industry in name of her father.

As 'Starry Nights,' has the film industry background in Mumbai, people gather from various provinces and use their regional languages. The readers come across mix languages, their structures, and styles. The mixture occurs with violation of grammar. Let us study the following utterance, which consists of the strategy of code switching:

'You will die as you are, without Sindhoor in your maang.' (P.49)

Structure : This is a simple sentence with a modal auxiliary 'will'. It assures certain effects of curses on Asha Rani in her future. The second part consists of three phrases, two of them as noun phrases and third one is a prepositional phrase that makes an object of the sentence.

Comment: According to Indian culture and context, the utterance shows someone's belief on curses and abuses and its effect. The speaker of the above utterance curses the hearer. It is in the Indian nature to express one's own anger and helplessness. This is the collocation used by the novelist. In English culture, there are no substitute words for 'sindhoor' and 'maang'. The English word that can be used for "sindoor" is "vermilion". It is something like "to apply

203 vermilion at the parting of a woman's hair". In other words, 'sindhoor' means red coloured powder applied with round shape upon the forehead as a symbol of good fortune and happy wifehood of Indian women. 'Maang' means the line created with parting of the hair towards both side for beauty. "Maang bhama" means, to fill the part in the hair with 'sindoor' and is usually a euphemistic way of speaking about a woman getting married. Therefore, the Hindi collocations are transferred in English spellings. These words occur as culture specific 'Maang me sindhoor' means a symbol of marriage, beauty, purity, dignity, modesty, superior status, auspiciousness, omen and security for Indian woman by her husband. According to culture, customs Indian widows cannot have 'Sindoor' so they are forbidden to celebrate religious functions, as they are curse to humanity. Thus, there is alteration in the use of words in terms of metaphorical and conversational switching.

In the Indian context, the history of 'sindoor' is to be understood. The concept of 'sindoor' came from the Vedic period where the newly wedded woman wore 'sindoor' as a mark of her marital status. In other words, it is a very traditional practice. It expresses a woman's desire for a long life for her husband. The 'sindoor' is red because it represents strength and love. A woman's initial experience with the 'sindoor' is during her marriage ceremonies. The displaying of the 'sindoor' is considered very important since the bride belongs to the groom. Many experts in Vedic traditions say that the 'sindoor' is placed on the part of the hair at a Hindu marriage ceremony to signify that the wife is now under the protection of her husband and that anyone who harms her would find that his blood would be spilled. In general, using 'sindoor' is a Hindu tradition. This tradition of

204 applying 'sindoor' does not exist in the Muslim and Christian communities. In the 19th century, 'sindoor' was one of the rituals that a Sufi leader SharafUddin Maneri had permitted Bangladeshi Muslim women to practice. However, a reformist organization opposed this trend and disallowed women to wear the 'sindoor'. Though most Indian women do continue to wear the bindi, it has become a decorative fashion accessory and often applied as a sticker.

Analysis: This sentence is a curse used by Malini for Asha Rani. Because of seductive and aggressive nature of Asha Rani, Malini utters bitter curses and abuses. She blames and calls her a sexy-bitch, seducer, stealer of husbands, wrecker of homes, cheap etc. Asha Rani became a mistress of Milini's star husband Akshay. He is womanizer, flirt, and made many mistresses, who are girl actors from film industry like Asha Rani. In that sense, Malini is helpless only because of her husband. She tries to settle the matter. Malini ftilfils her wish with scolding, cursing and abusing. She threatens Asha Rani with the fear of loosing her husband who is beyond her reach. In the novel under consideration, one comes across several instances of code switching from English to Hindi and again to English. Look at the following linguistic expression: 'Lubna begum ah buddhi ho gayi hai.' (P. 57)

Structure: The sentence is in reported speech. It is in Hindi language.

Cominent: The whole sentence is in Hindi language. There is a total change in the context. It refers to an addressee oriented speech act.

205 which symboHzes life style of film industry people. It should be called as metaphorical switching.

Analysis: Lubna begum is a dancer. She is a keep of Sheth Amirchand. The Hindi sentence in the filmy context shows the typical mentality of male domination. That is, women are only mindless thing or object to filmy male. She is quite thirty years old and called as 'buddhi'. It means that she i^seless woman as far as sex activity is concerned. In other words, she is not young, slim and attractive. She is very fat and undesirable, too old and stale, in comparisqn^of^ new find like Asha Rani. The above sentence shows rigid attitude of men towards women. It is an example of exploitation of women in Indian society. They count her because of her beauty not humanity. On loss of beauty, women appear useless things. In another speech situation, one comes across a Hindi expression as given below:

'Shetheji ne bulaya hai, shetaji bola aaneko. Paisa-vaisa bad men vasooV. (P.58)

Structure: These sentences are small clauses in Hindi language. This is a message sent by the person having higher status. 'Ji' is a reference term, which occurs in Hindi. In other words, the term 'Ji' is an honorific. An honorific is a word that conveys high regard or respect when used in addressing a person. Sometimes, the honorifics are used for encoding the relative social status of speakers.

Comment: In Indian context, honorifics are the titles or appendices to cover formal and informal relationships for social, commercial and

206 spiritual purposes. Honorifics may be prefix, suffix or replacement types. The most common Indian honorific is 'Shri' or 'Shree'. The Hindus, Shikhs, Buddhists and Jains use this term as a mark of respect. In other words, it is a respectful affix. It is very much akin to the English 'Mr.' or 'Mister'. Indian honorifics such as 'Baba', 'Babaji', and 'Swamiji' denote very great respect. 'Goswami' is a title often bestowed on people who choose the path of Sannyasa. Similarly, the honorific term 'Pandit' or 'Panditji' designates scholarship of the person addressed particularly one skilled in Sanskrit or Hindu law and religion or music or philosophy. The traditional Hindi honorific is the suffix 'ji'. For instance, Mahatma Gandhi was often addressed as 'Gandhiji'. Similarly, the traditional Telugu honorific is the suffix 'Garu'. For example, Dalai Lama is addressed as Dalai Lama Garu.

The present sentence is in Hindi, because it refers to the messenger who is uneducated. The first clause is in standard Hindi, the second clause is in colloquial language, i. e. in dialectal Hindi, with the use of specific words, 'bola aaneko', in the place of, 'Shetaji ne aane ke lie kaha hai'. In the concluding clause there is an indefinitization of speech utterance, 'paisa-vaisa.' Switching occurs in standard and colloquial Hindi. This is an example of conversational code switching.

Analysis: After the great success of, 'Nagin ki Kasam' Kishenbhai y Asha Rani's first godfather in this novel has arranged a success party. On this occasion Sheth Amirchand saw Asha Rani's beauty and fell

207 in love with iier. He was in eager need for lovemaking. Therefore, this jJ^V is quite blunt message for Asha Rani. The delivery of the message is blunt, crude and explicit. This is a kind of threatening message from don of the dons. The meaning of the message is loud and clear. It means that she must mutely go with him. In India, servants are uneducated and speak dialectal languages. In this context, Hindi ^A/ fulfills requirements of speech utterance, which is character oriented. Let us consider the following expression which is similar to the earlier utterance: 'Arrey sub kuch Janata hoon. Chalega'. (P.62)

Strcture : This is a typical Hindi idiomatic expression. The clause expresses threat and excuse. The Hindi clause is used to express authority. Array is as address term, used by olders to younger ones. In addition, the focus is on the adverb phrase 'sub kuch,' 'chalega,' which refers as an excuse made by Shet Amirchand. 'Array' is a reference term. This is conversational code -switching

Comment: The origin of the Indian idea of appropriate female behavior can be traced to the rules laid down by Manu in 200 B.C. It says, "by a young girl, by a young woman, or even by an aged one, nothing must be done independently, even in her own house". "In childhood a female must be subject to her father, in youth to her husband, when her lord is dead to her sons; a woman must never be independent." Women's lives are shaped by customs that are centuries old. "May you be the mother of a hundred sons" is a common Hindu wedding blessing. In fact, in patriarchal society, woman is regarded as

208 a subhuman being and she is looked down upon in the Hindi film industry.

Analysis: Asha Rani meets Shet Amirchand as a call girl after his urgent message. He enjoys her company and tricks of lovemaking lavishly. He expresses his sense of satisfaction to her but he does not want to accept her as permanent keep. He complains about her love with Kishenbhai. He enquires about other flirt relations and does not have any objection. The reason for tolerating Asha Rani is that he just wants to enjoy the sexual pleasures with her. The word, 'chalega' indicates the speaker's attitude. Shet Amirchand knows that Asha Rani has become a prostitute and he is very much aware of her whereabouts. He is ready to accept any immoral act of Asha Rani, ))-^, on accou •a er love. Shet Amirchand treats Asha Rani scornfully; it is remarkable of Indian man/male domination. The Indian film industry as reflected in the novel 'Starry Nights' is ftill of lust, love, illicit relations. Asha Rani is the victim of the practices in the glamorous world of the films in India. The writer wants the readers to know the truth about the relations between males and females in the Bollywood. The following linguistic expression indicates the stark reality: 'Only matalab ki baat'. (P.98)

Structure: The above Hindi expression consists of the present clause to give an instruction to somebody who is inferior in status. The word 'only' is an English adjective, which indicates that there is a single one and no more required.

209 Comment: The word 'only' is used with Hindi adjective phrase 'matalab lei baat', that specifies filmy culture. It also indicates self- centeredness. This is an alternation and conversational code- switching.

Analysis: Abhijit Mehra, one of the lovers of Asha Rani, was flirting with her despite the fact that he has his wife. When he met her after a long departure, she understood the facts about their unwanted love by the members of Abhijit's family. She sends him out of home as well as from her life. She is very much depressed with her separation from the beloved. On the other hand, she felt more emotional, presenting love scene on the shooting site. She shares her feelings with one of the film actors Tusar. Then Tushar consoles her with ab^ve words and expresses the fact about film industry. It is need of characters to use Hindi, rather than English, to create emotional scene. Sometimes, the characters use abusive language to express their anger. Let us consider the following utterances:

'Kahan hai who kutta?— Kauma kutta? Idhar koi nahihai.'iFASS)

Structure: These questions and answer are in Hindi.

Comment : This type of language is used by typical people, who are symbol of illegal activities, such as gangsters, killers, criminals, etc. code-switching occurs to give an emphasis on category of people from particular society and their style of utterance. In this context, this is an instance of a conversational code-switching.

210 Analysis: Jitendra's wife Neelam who is very rich finds Asha Rani and Jitenrda engaged in flirting. She sends gangsters for Asha Rani the seducer of her husband. They search for Jitendra and threaten Asha Rani with gun and they set fire to her home. These questions and answers in Hindi raise intensity. 'Kutta' means dog, it is a symbol of abuse, used for Jitendra Mehata. Violent dogs are shot with bullets. In the same way, cheaters, seducers should be treated like mad dogs. The men walked inside the house where they thought Jitendra was hiding. They opened the cupboard and kooled into the bathroom. The scene frightened Asha Rani. She knew that she had to do something. In an effort to open the side drawer surreptitiously, the knife of the hired man hurt her as she ducked in to save her. The man holding her arm said that Jojo Saab's wife had sent her salaam with an alarming message. Here, the word 'salaam' is used sarcastically to indicate the terrible consequences for keeping the illicit relations with the husband of Neelam. The message denoted that she should stay miles away from her husband. As soon as he ended the reading the message, he reached onto the pocket of his denim jacket and took out a small bottle. He said:

'Acid', he told her, 'thobde ke liye'. (P. 188)

Structure : First part of sentence is in English and the second is in Hindi. The word 'acid' is a common noun and the adjoining sentence is in the past tense. In addition, the speaker uses the Hindi noun phrase, in reported speech.

211 Comment: The language used by the speaker is typical of the criminal world. It represents typical class, as a language of criminals / gangsters in Mumbai film industry. They create insecurity and threat to society. This type of language creates horror in the mind of common people. The Hindi word, 'thobda' creates feelings of terror, than the English word 'face', or it would soften the tension or intention of the user. However, the original Hindi noun 'chehara' has soft expressive nature. This is an alternation indicating intra-senteptial code-switching.

Analysis: One of the Asha Rani's directors and seducers Jitendra Mehta's rich wife sends criminals to Asha Rani. They threaten her to stop flirting with Jitendra. Otherwise, she would be punished by throwing an acid on her face. Metropolitan cities like Mumbai are victims of terrorism, tightening its roots in every field. Film industry is not being an exception for such matters. Thus, threatening poor, with burning, killing the weak is a usual matter in film industry. Beautiful and poor actors are victims of this criminality. The expression in Hindi 'thobde ke liye' makes it amply clear that the intension of the speaker was to create fear in the mind of the listener and make her subdued. The speaker also wants her to stop her flirtation with other women's husbands. In the similar incident earlier in the novel , one comes across a speech situation in which the beautifiil girl is sexually exploited. Kishanbhai said:

'You stay in touch and tell me what I can do for this ladki. Party-sharty to be arranged? Any other tamasha?' (P. 146)

212 Structure: The first sentence in the above utterance is a compound sentence. The second main clause has a complex structure. The subordinate clause is an adverbial clause that refers to the Hindi noun 'ladki'. The second sentence is a question with command; has a noun with Hindi compound duplicate noun or indefinite noun 'sharty'. The third sentence is a rhetorical question with Hindi/Marathi word 'tamasha.'

Comment: There are three Hindi words in the above utterance, 'ladki', 'sharty' and 'tamasha'. In this context the word 'tamasha', is a remarkable expression in Hindi and Marathi languages. Tamasha is a kind of folk play based on language devices like pun, irony, sarcasm etc. to express shortcomings or immoral, vicious human nature of contemporary society, which creates humor or laughter. It represents for sheer entertainment. The speaker wants to enjoy the sexual pleasures with the girl in the context. Therefore, he is ready to throw a party. Here, the sex appeal of the girl is given importance. Thus, the women in the Indian context are viewed as the sex symbols. In other words, they are meant only for male like bar girls. They are made to entertain the males only. This word expresses the nature of male domination in the film industry in Bombay. This is also a metaphorical and alternation code-switching.

Analysis: Asha Rani's mother is an actress from south Indian film industry. She is depicted as an unsuccessful woman. She sold her daughters in the flesh market of Bombay film industry, at the hand of Sheth Amirchand and many more flesh-buying producers like Kishenbhai, who are the godfathers for common actress like Asha

213