Assignment on 208

 Assignment on Indian perspective in Translation theory

Name: Nirali Dabhi

Roll number: 13

Enrollment Number: 4069206420220006

Sem: 4 

Paper number: 208

Paper Code: 22415

Paper Name: Comparative Literature & Translation Studies

Topic: Indian perspective in Translation theory

Submitted to: Smt S.B. Gardi, Department of English, M.K.B.U

Email: niralidabhi95@gmail.com

Introduction

Translation, a fundamental aspect of human communication, serves as a bridge between languages and cultures, enabling the exchange of ideas, knowledge, and experiences across linguistic boundaries. Scholars such as Eugene Nida and Susan Bassnett have contributed to defining and understanding translation, emphasizing its multifaceted nature encompassing linguistic, cultural, and semiotic dimensions. In the Indian context, translation takes on a broader significance, reflecting the country's rich cultural diversity and historical heritage. As we delve into the concept and history of translation in India, we uncover a complex tapestry of linguistic exchange, cultural transmission, and literary dissemination. This essay explores the evolution of translation in India, from its ancient roots to its contemporary manifestations, shedding light on the diverse practices, challenges, and contributions that characterize the Indian translation landscape.

Definition of Translation

Translation, as defined by scholars such as Eugene Nida and Susan Bassnett, involves converting a source language text into the text of a target language while aiming to reproduce the closest natural equivalent of the source language message. This involves considerations of both meaning and style. Nida emphasizes the concept of equivalence, which refers to the challenge of finding suitable correspondences between source and target languages, considering both formal equivalence (linguistic similarity) and dynamic equivalence (functional similarity and readability). Meanwhile, Bassnett situates translation within the framework of semiotics, highlighting its connection to the study of sign systems, sign processes, and sign functions. In essence, translation encompasses linguistic activity as well as broader cultural and semiotic dimensions, reflecting the complexity of conveying meaning across languages and cultures.

Concept of Translation

In the Indian context, the concept of translation is often understood in a more expansive and inclusive manner compared to the Western perspective, which tends to approach translation in a more narrow and scientific way focused on literary communication. India's rich cultural and linguistic diversity encourages a multiplicity of thought regarding translation, recognizing its role not only in linguistic transfer but also in the transmission of cultural ideas and values.

With the rise of decolonization and post-colonial studies, there has been a growing demand for a more scientifically informed approach to translation in India. This reflects a recognition of the historical baggage associated with translation, including its use as a tool of colonial hegemony. Scholars like Jeremy Munday highlight Translation Studies as a burgeoning academic discipline that encompasses not only languages and linguistics but also communication studies, philosophy, and various cultural studies. The concept of translation in the Indian context embraces diversity, interdisciplinarity, and a nuanced understanding of linguistic and cultural differences. It acknowledges the transformative power of translation in shaping cultural exchange and fostering cross-cultural understanding.

History of Translation in India

The history of translation in India reflects the linguistic and cultural diversity of the country, which boasts 29 states and 22 languages spoken by its people. These languages can be broadly categorized into two main groups: Indo-Aryan and Dravidian. Translation has played a significant role in India for centuries, with important works being translated into various languages to make them accessible to a wider audience. Some notable translations in Indian history include the following:

• 1784: Translation of the Bhagavad-Gita.

• 1789: Translation of Abhijnanasakuntalam.

• 1837: Publication of the Minute on Indian Education.

• 1861: Translation of Dinbandhu Mitra’s Neel Darpan.

• 1877: Publication of the Slayer Slain.

In 1954, the Sahitya Akademi introduced the idea of working on Indian Literature, encompassing works from various religious traditions and written in multiple languages. This initiative aimed to promote literary exchange and appreciation across different cultural and linguistic communities within India.

Translators in India face the challenging task of accurately conveying the context and meaning of a text from one language to another. The translation process involves several stages, including understanding the source text, ensuring referential accuracy, maintaining cohesion, and ensuring naturalness in the target language. In 1988, the translation process was described as operating at different levels, including the source text level, referential level, cohesive level, and naturalness. Deconstruction methods are applied at each level to ensure grammatical accuracy, semantic coherence, and stylistic fidelity.

The post-colonial temper 

The post-colonial period marked a significant shift in the landscape of translation in India. This era witnessed a reevaluation of the relationship between source and target texts, as well as a resurgence of interest in translation as a means of cultural exchange and literary dissemination. Tagore's translation of his own work, "Gitanjali," into English is considered a landmark moment in Indian literature, illustrating the importance of translation in reaching a broader audience. Similarly, Sir William Jones's translation efforts aimed to showcase India's ancient cultural heritage to the West, albeit through an orientalist lens.

Translation became increasingly popular in the post-independence period, with translators like P. Lal advocating for a new method called "transcreation," which allowed for creative liberty while maintaining fidelity to the source text. This approach was employed in translations of epics like "The Ramayana" and "The Mahabharata" by R. K. Narayan and Chakravarti Rajagopalchari, respectively.

The Indian government's establishment of the Sahitya Akademi in the 1980s signaled a commitment to the development and preservation of languages and literatures in India. Globalization further facilitated the exchange of literary works across languages and cultures, leading to an increase in translations and a focus on publishing and marketing translated works. Today, translation encompasses various areas such as literary, scientific, technical, and knowledge translation. Literary festivals and book fairs have contributed to the growing interest in translation, while initiatives like the Indian Literature Abroad (ILA) mission aim to promote Indian literature on the global stage.

In India, translation is not merely a linguistic or literary act but an integral part of everyday life, reflecting the country's multicultural and multilingual heritage. While Western theories of translation focus on linguistic and literary analysis, India's approach emphasizes the practical aspects of the translation process, rooted in the diverse socio-cultural context of the country.

Translation in India

 In Hindi, the word "Anuvaad" is used to denote translation, derived from the Sanskrit term "Anuvaadeh," meaning repetition or explanatory repetition.

The process of translation involves several stages, including transliteration, transcreation, transfer, and restructuring. Transliteration, or literal translation, aims to reproduce the meanings of the source text in the target language, while transcreation grants the translator partial or complete freedom to recreate the source text in the target language, considering cultural nuances and reader reception. Transfer involves the transfer of analyzed material from the source text to the target text, while restructuring involves the rearrangement of transferred material to ensure coherence and effectiveness in the target language.

The practice of transcreation in India has a long and rich history, dating back to ancient times. The Chakyars and Katha vacaks, for example, interpreted ancient texts for their audience in a manner suitable to their tastes and temperaments. The term "transcreation" was first used in the context of translation theory by the poet and critic P. Lal, referring to his English translations of works like Shakuntala and Brhadaranyaka Upanishad. Transcreation involves an aesthetic re-interpretation of the original work, tailored to the readers of the target language and region. This may include expansions, explanations, interpolations, summarizations, and aesthetic innovations in style and techniques. Translators like Tulasidas in Hindi, Kambar in Tamil, and Ezhuthachan in Malayalam undertook transcreation with the aim of instilling a sense of devotion (bhakti) in the people by reaching out to them in their preferred language.

English translations also played a significant role in shaping perceptions and ideologies during the colonial period. Sir William Jones' translation of Manusmriti, for instance, projected it as the fountainhead of Hindu jurisprudence, aligning with colonial interests. 

A. K. Ramanujan's translations of Classical Tamil poetry and vachanas emphasized the context-sensitive nature of Indian thinking, contrasting it with Euro-American context-free modes of thought.

Gayatri Chakravorty Spivak's work reframed the role of the translator, emphasizing an active engagement with the text and its conditions of meaning. She highlighted the agency of the translator in freeing the play of meaning in a text, especially in the double contexts of gender and cultural identity.

Ganesh N. Devy's efforts to preserve oral cultures in written form reflect a commitment to preserving stories and histories. He notes that in civilizations like India, where the idea of rebirth is prevalent, every new version of epics like the Mahabharata or Ramayana is seen as equally sacred.

Tejaswini Niranjana's contributions to translation studies focus on the politics of translation and its role in colonial domination. She examines how translation was used socially, politically, and culturally to perpetuate colonial ideologies and create a people without history. Niranjana also explores the cultural aspects of translation, including the transference of customs, values, and ideas between cultures.

Transcreation in India encompasses a wide range of practices and ideologies, reflecting the diverse cultural, historical, and political contexts in which translation occurs. From ancient interpretive traditions to contemporary theoretical engagements, Indian translation theories continue to evolve and shape our understanding of language, culture, and power.

Conclusion

The examination of translation in India reveals a rich tapestry of cultural and linguistic diversity deeply intertwined with the country's history and heritage. From ancient interpretive traditions to contemporary theoretical frameworks, translation in India encompasses a wide range of practices and ideologies. It serves as a tool for cultural exchange, preservation, and negotiation, shaping perceptions, ideologies, and power dynamics. Emphasizing inclusivity, diversity, and nuanced understanding, translation in India reflects the complex interplay of languages, cultures, and histories. It remains a vital tool for building bridges, fostering understanding, and celebrating India's linguistic and cultural richness.

Works Cited

Choudhuri, Indra Nath. “Towards an Indian Theory of Translation.” Jstore, 2010, https://www.jstor.org/stable/23348221. Accessed 24 April 2024.

Israel, Hephzibah. “Translation in India: Multilingual practices and cultural histories of texts.” aylor & Francis Group, June 2021, https://www.tandfonline.com/doi/full/10.1080/14781700.2021.1936149. Accessed 24 April 2024.

Jayasree, GS. “(PDF) History and Theories of Translation: India | G S Jayasree.” Academia.edu, 2013, https://www.academia.edu/43921022/History_and_Theories_of_Translation_India?auto=download. Accessed 24 April 2024.

Mathew, Teena, and Shiva Chaudhary. “A Perspective of Translation in India: History and Methods.” IJCRT.org, 8 August 2021, https://ijcrt.org/papers/IJCRT2108133.pdf. Accessed 24 April 2024.

Nagar, Anupam. “(PDF) The Concept of Translation in Indian and Western Traditions.” ResearchGate, 2018, https://www.researchgate.net/publication/334202857_The_Concept_of_Translation_in_Indian_and_Western_Traditions. Accessed 24 April 2024.

Silima, Nanda. “TRANSLATION AND CULTURE: THE INDIAN PERSPECTIVE INTERNATIONAL JOURNAL OF ENGLISH LANGUAGE, LITERATURE AND TRANSLATION STUDIES (.” International Journal of English Language, Literature and Translation Studies, 2017, http://www.ijelr.in/4.1.17a/337-341%20Dr.%20NANDA%20SILIMA.pdf. Accessed 24 April 2024.

Word Count:- 1798

Assignment on 207

 Assignment on Paul Roberts – the Unreliable Narrator

Name: Nirali Dabhi

Roll number: 13

Enrollment Number: 4069206420220006

Sem: 4 

Paper number: 207

Paper Code: 22415

Paper Name: Contemporary Literature in English

Topic: Paul Roberts – the Unreliable Narrator

Submitted to: Smt S.B. Gardi, Department of English, M.K.B.U

Email: niralidabhi95@gmail.com 

Introduction

Unreliable narrators can intentionally deceive the reader, be unaware of their own unreliability, or rely on flawed perceptions and memories. Authors often employ this technique to create tension, suspense, and complexity in their storytelling, prompting readers to critically engage with the text and explore themes such as perception, memory, and reality.

In Julian Barnes's novel "The Only Story," the protagonist Paul Roberts serves as a compelling example of an unreliable narrator. Through Paul's narrative, Barnes intricately weaves a tale of love, memory, and deception, inviting readers to navigate the intricate layers of truth and fiction. As Paul's story unfolds, readers are confronted with his intentional distortions, selective omissions, and manipulative storytelling, challenging them to reassess their understanding of the events presented. Through Paul's complex motivations, moral ambiguity, and narrative control, Barnes crafts a riveting exploration of human nature and the elusive nature of truth.

About writer Julian Barnes 

Julian Barnes is a highly regarded British author known for his novels, essays, and short stories. Born on January 19, 1946, in Leicester, England, Barnes studied modern languages at Magdalen College, Oxford.  

Barnes gained recognition in the literary world with works like "Metroland" (1980) and "Flaubert's Parrot" (1984), which showcased his talent for blending fiction with literary criticism and historical biography. His writing often delves into themes of memory, identity, history, and the intricacies of human relationships. One of his most acclaimed novels, "The Sense of an Ending" (2011), earned him the Man Booker Prize. His other notable works include "Arthur & George" (2005), "The Noise of Time" (2016), and "The Only Story" (2018).

Barnes's writing is celebrated for its wit, erudition, and stylistic innovation. He is widely regarded as one of the leading figures in contemporary British literature. Beyond his novels, Barnes has also published collections of essays, short stories, and non-fiction works, further showcasing his versatility and literary prowess.(Roberts)

About Novel The Only Story

"The Only Story" is a novel by Julian Barnes, published in 2018. It tells the story of Paul, a young man who reflects on a transformative relationship he had with a woman named Susan in his youth. The novel is divided into three parts, each exploring different stages of their relationship and its impact on Paul's life. In the first part, Paul narrates the beginnings of his relationship with Susan when he was nineteen years old and she was forty-eight. Despite the age difference and societal disapproval, they embark on a passionate love affair that challenges their preconceptions abut love and relationships.

The second part delves into the complexities of their relationship as it begins to unravel under the weight of time, disillusionment, and personal struggles. Paul grapples with the realization that their love may not be enough to overcome the obstacles they face. In the final part, Paul reflects on the lasting effects of his relationship with Susan and how it has shaped his identity and understanding of love. He confronts the painful truths of their past and comes to terms with the choices he has made.

"The Only Story" is a poignant exploration of love, memory, and the passage of time. Through Paul's introspective narration, Barnes examines the transformative power of love and its enduring impact on the human psyche. The novel poses profound questions about the nature of romantic relationships and the ways in which they shape our lives. (Campbell)

What is the Unreliable Narrator…?

An unreliable narrator is a literary device where the person telling the story (the narrator) may be misleading, mistaken, or intentionally deceptive in their narration. This can lead the reader to question the reliability of the information being presented and to interpret the story in a more complex or ambiguous way.

Unreliable narrators are characters who convey a story but whose credibility or trustworthiness is questionable. They may intentionally deceive the reader, have distorted perceptions, or lack self-awareness, leading to a narrative that is subjective and open to interpretation.(Seddon)

Authors often use unreliable narrators to create tension, suspense, and ambiguity in their storytelling. By presenting events through the lens of a flawed or unreliable perspective, writers can challenge readers to question the truthfulness of the narrative and engage them in a deeper exploration of themes such as perception, memory, and reality. Unreliable narrators in literature, including examples from notable works and practical advice for writers seeking to employ this narrative technique effectively.

Type of Unreliable Narrator

Category	Description
Intentionally Deceptive	Deliberately lies or distorts the truth to manipulate the reader's understanding of events.
Unaware of Their Own Unreliability	The narrator is not conscious of their own unreliability, presenting their perspective as objective or truthful.
Deliberately Unreliable Narrator	Intentionally lies or misleads the reader to manipulate the perception of events.
Unaware Narrator	Relies on information provided by other unreliable characters, sometimes due to trust or memory issues.
Impaired Narrator	The character has memory gaps or distortions due to alcohol or drug use.

Paul Roberts as the Unreliable Narrator

In literature, the unreliable narrator serves as a captivating narrative device, challenging readers to navigate the murky waters of truth and deception. Paul Roberts, as depicted in our story, emerges as a multifaceted character whose narrative unveils layers of deceit and manipulation. Through his portrayal as the unreliable narrator, the story takes on a compelling complexity, inviting readers to question the veracity of the events unfolding before them.

Paul Roberts presents himself as an ordinary protagonist, offering a seemingly trustworthy account of the events that transpire. However, as the story progresses, subtle nuances in his narrative begin to unravel, revealing a character shrouded in ambiguity and moral uncertainty. Paul's intentional deception becomes apparent as he selectively withholds information, distorts facts, and manipulates the reader's perception to suit his own agenda.

Central to Paul's unreliability is his complex motivations, which drive his deceitful behavior. Whether fueled by revenge, greed, or a desire for power, Paul's actions are deeply rooted in his character's development and backstory. His moral ambiguity adds depth to the narrative, blurring the lines between right and wrong and challenging readers to confront the darker aspects of human nature. Paul's narrative control is integral to his portrayal as the unreliable narrator. With a calculated finesse, he maintains a tight grip over the story, carefully crafting it to portray himself in a favorable light and to achieve his desired outcome. Through subtle manipulations and strategic omissions, he adeptly guides the reader's interpretation of events, blurring the boundaries between fiction and reality.

As the story unfolds, twists and revelations punctuate Paul's narrative, forcing readers to reassess their understanding of the truth. With each revelation, the reader is drawn deeper into the labyrinth of Paul's deception, grappling with the implications of his unreliable narration. Ultimately, the resolution of the story beckons a reckoning with the consequences of Paul's deceitful actions and a reevaluation of the events through a more discerning lens.

Paul Roberts emerges as a captivating embodiment of the unreliable narrator, weaving a tapestry of deception and intrigue that challenges readers to unravel the truth hidden beneath the surface. Through his intentional deception, complex motivations, and narrative control, Paul invites readers on a riveting journey into the depths of human nature, where the lines between truth and fiction blur and the search for authenticity becomes a tantalizing quest. (Chalupský)

 Examples from Novel

"As a narrator, I would not be attempting to offer my audience objective facts of a recognizable reality, but rather my highly-colored perceptions and interpretations, given without any third-party or factual corroboration to demonstrate these as accurate, or even to suggest my awareness of my personal bias." (Davison)

• "Would you rather love the more, and suffer the more; or love the less, and suffer the less? That is, 1 think, finally, the only real question. "(Barnes)

• "I keep saying that I was nineteen. But sometimes, in what I've told you so far, I was twenty or twenty-one. These events happened over a period of two years and more"(Barnes)

• "You understand, I hope, that I'm telling you everything as I remember it? I never kept a diary, and most of the participants in my story-my story! my life! - are either dead or far dispersed. "(Barnes)

"The first-person unreliable narrator never suggests they are like the God of their world by offering you a mutually agreed upon objectivity, but rather gives you his/her own view of what happened and why it appears so important that it needed to become a story." (Davison)

• "Most of us have only one story to tell. I don't mean that only one thing happens to us in our lives: there are countless events, which we turn into countless stories. But there's only one that matters, only one finally worth telling. This is mine. "(Barnes)

• "If this is your only story, then it's the one you have most often told and retold, even if - as is the case here - mainly to yourself. The question then is: do all these retellings bring you closer to the truth of what happened, or move you further away? I'm not sure"(Barnes)

• "I said I never kept a diary. This isn't strictly true. There was a point, in my isolation and turmoil, when I thought writing things down might help. I used a hardback notebook, black ink, one side of the paper. I tried to be objective. There was no point, I thought, in merely venting my feelings of hurt and betrayal. "(Barnes)

Conclusion

In "The Only Story" by Julian Barnes, the protagonist, Paul Roberts, serves as an unreliable narrator, weaving a narrative that blurs the lines between truth and fiction. Through Paul's intricate storytelling, Barnes explores themes of love, memory, and the subjective nature of reality. As readers navigate Paul's narrative twists, they are invited to question their perceptions and confront the complexities of human relationships. Ultimately, "The Only Story" is a poignant exploration of the transformative power of love and the enduring impact it has on the human psyche.

Work Cited

Barnes, Julian. The Only Story. Alfred A. Knopf, 2018. 

Campbell, Ellen Prentiss. "The Only Story, by Julian Barnes." Fiction Writers Review, 17 April 2018,

https://fictionwritersreview.com/review/the-only-story-by-julian-barnes/

Chalupský, Petr. "Julian Barnes's The Only Story - Within and Beyond the Author's Idiosyncrasies." YouTube: Home, 9 November 2017, https://absa.upce.cz/index.php/absa/article/view/2348.

Davison, Neil. "What is an Unreliable Narrator? || Oregon State Guide to Literary Terms | Oregon State." College of Liberal Arts, 2019, https://liberalarts.oregonstate.edu/wlf/what-unreliable-narrator.

Jackson, Shirley. "Unreliable Narrator - Definition, Types, and Examples." Tutors, 13 February 2024, https://tutors.com/lesson/unreliable-narrator. 

Karen, Hewitt. "Who - or what - is an unreliable narrator? тема научной статьи по языкознанию и литературоведению." КиберЛенинка, 2008, https://cyberleninka.ru/article/n/who-or-what-is- an-unreliable-narrator.

Roberts, Ryan. "Biography." Julian Barnes, 1996, https://julianbarnes.com/bio/index.html.

Seddon, Holly. "The Unreliable Narrator: All You Need To Know - Jericho Writers." Jericho Writers, https://jerichowriters.com/the-unreliable-narrator/. 

Word Count:- 1866

Assignment on 206

 

Assignment on Thematic Study of the poem 'You Laughed and Laughed and Laughed' by Gabriel Okara.

Name: Nirali Dabhi

Roll number: 13

Enrollment Number: 4069206420220006

Sem: 4

Paper number: 206

Paper Code: 22413

Paper Name: African Literature

Topic: Thematic Study of the poem 'You Laughed and Laughed and Laughed' by Gabriel Okara.

Submitted to: Smt S.B. Gardi, Department of English, M.K.B.U

Email: niralidabhi95@gmail.com 

Introduction 

"You Laughed and Laughed and Laughed" by Gabriel Okara is a poignant exploration of the enduring themes of racism, cultural conflict, and colonial oppression. Through his evocative imagery and poignant symbolism, Okara paints a vivid picture of the disdainful laughter directed towards African culture and identity by Western colonizers. 

The laughter of the Westerners symbolizes not only their sense of racial superiority but also their ignorance and arrogance in the face of African culture. The poem serves as a powerful critique of racism and imperialism, shedding light on the pervasive injustice and inequality perpetuated by colonial powers. Through "You Laughed and Laughed and Laughed," Okara calls attention to the importance of preserving African identity and heritage in the face of external pressures and discrimination, urging readers to challenge the oppressive forces of colonialism and embrace cultural diversity and equality.

What is a Theme?

The theme, as defined by both the Oxford and Merriam-Webster dictionaries, encapsulates the essence of a piece of art, literature, or any creative endeavor.

It serves as the guiding principle, the central nucleus around which all elements orbit. Much like the gravitational force that shapes celestial bodies, theme exerts its influence, shaping characters, plots, and settings, and infusing them with depth and meaning. 

Themes are the silent architects of narratives, weaving together disparate threads into a cohesive tapestry of ideas and emotions. They transcend the boundaries of time and culture, speaking to universal truths and human experiences. Themes are the whispers of wisdom, the echoes of shared humanity, and the ever-present companions on the journey of creative expression.

About Gabriel Okara

Gabriel Okara was indeed a luminary in the realm of African literature, his contributions leaving an indelible mark on the literary landscape. Born in 1921 in Bumodi, Nigeria, Okara embarked on a journey that would not only shape his own legacy but also influence generations of African writers to come. Initially a civil servant, he later transitioned to a full-time writer, dedicating himself to capturing the essence of African experiences during the tumultuous periods of colonialism and post-colonialism.  

Through vivid imagery, potent symbolism, and themes that resonated with the historical and cultural milieu of Africa, Okara crafted works that spoke to the hearts and minds of readers across the continent and beyond.

His debut novel, "The Voice," published in 1964, stands as a cornerstone of African literature, offering a poignant exploration of identity, colonialism, and the clash of cultures. Additionally, his collections of poetry, such as "The Fisherman's Invocation" and "Piano and Drums," further showcased his mastery of language and his commitment to preserving African heritage. Gabriel Okara passed away in 2019, his legacy endures through his writings and the generations of African writers whom he inspired.

About  Poem 'You Laughed and Laughed and Laughed' 

"You Laughed and Laughed and Laughed" indeed stands as a powerful indictment of Western superiority and the accompanying racism that pervades it. Through Okara's skillful use of imagery and poetic devices, the poem exposes the hollowness of Western culture's obsession with material wealth and status, juxtaposing it with the richness of African communal values. The theme of racism is starkly depicted as the poem unveils the arrogance and shallowness of Westerners who derive their sense of superiority from their possessions. 

The poem also explores themes such as cultural conflict, modernism, colonialism, and nationalism. Okara suggests that the Western culture has been imposed on African societies through colonialism, leading to a clash of cultural values. The poem portrays the modern Western culture as shallow and devoid of real human connections, while the traditional African culture is characterized by a sense of community and interconnectedness. "You Laughed and Laughed and Laughed" serves as a poignant reminder of the importance of valuing genuine human connection over superficial markers of success. Through Okara's masterful craftsmanship, the poem challenges us to reevaluate our priorities and embrace the richness of communal relationships, transcending the shallow trappings of Western materialism.

Themes in the poem

1) Racism -

According to the Merriam-Webster Dictionary, Racism is a belief that race is a fundamental determinant of human traits and capacities and that racial differences produce an inherent superiority of a particular race. As per the information given in the Stanford Encyclopedia of Philosophy, The word "racism" comes from the root word "race" combined with the suffix "-ism," which means a belief or doctrine.

The poem is all about the pain and suffering of black people as colonized by white colonizers. In the poem, the poet says that whites laugh on African people's walk, dance, and songs, inside that is a sarcastic laugh on their existence. White people think that their culture, songs, dance, manners, and behavior are superior, and the rest are inferior, for example African people. Not only in Africa but in each country that Britishers colonized, they made them believe that they are superior and others are inferior. They thought themselves superior because they believe that they have white skin because god made them from their own skin while colonized people were black and brown because they were burned in the fire of hell. Racism is one of the most prominent theme of the poem.

The laughter directed towards the speaker is rooted in racism, as it is based on the Westerners' belief in their own racial superiority and the inferiority of Africans. For example, in the second stanza, the speaker describes how his "ante-natal walk" is seen as "inhuman" by the Westerners, indicating a belief in racial superiority. The Westerners' laughter at the speaker's walk is also an expression of their racist beliefs. Similarly, in the first stanza, the Westerners laugh at the speaker's song, which they see as a misfiring motor car. This imagery suggests that the Westerners view African culture as primitive and inferior to their own.

The speaker's laughter is described as "the fire of the eye of the sky, the fire of the earth, the fire of the air, the fire of the seas and the rivers, fishes, animals, trees."This imagery suggests that the speaker's laughter is a powerful force that is deeply connected to the natural world and to the speaker's culture. He wrote that,

My laughter is the fire

of the eye of the sky, the fire

of the earth, the fire of the air,

the fie of the seas and the

rivers fishes animals trees

So,Gabriel Okara's poem "You Laughed and Laughed and Laughed" highlights the theme of racism and the superiority complex that Westerners held towards Africans. Through the speaker's laughter, Okara shows that the power dynamics between the two cultures can be subverted and that African culture and identity can be celebrated and respected.

2) Cultural Conflict -

The poem is written by an African poet Gabriel Okara. Africa was one of the colonized countries like Asian countries. In this poem we feel the suffering of African people and humiliation of western people on African people. Both western people and African culture has big cultural conflicts. They have cultural differences along with geographical differences. African people are close to nature and live within nature, the jungle and others. But Western people are portrayed as more materialistic.

• African culture - Close to nature.

• Western culture - Materialistic

There are conflicts of superior and inferior among Western and African people. British people think themselves superior for their white complexion and think others inferior because they are black. And though African people are inferior, everything that belongs to African Culture / people is inferior and disgusting for them. For example here in poem we find lines like,

You laughed at my song, you laughed at my walk.

You laughed at my dance, you laughed at my inside. You laughed and laughed and laughed.

Here, the laughter of British people is satirical or we can say disgustful laughter on African Culture and people. In another case we find Gabriel Okara defending his people and his culture but somewhere he became judgemental. He expects Western to don't judge African culture but He himself judges Western culture by saying that they are materialistic and their laughter is ice-block laughter, while their laughter is more pure and not ice-block laughter. In this judgement we find the unacceptable behavior of western towards Africans. This is how we find cultural conflict in this poem by comparing Laughter of Western people and African people.

In the third stanza, the speaker pleads with the Westerners to understand his magic dance, which is performed to the rhythm of talking drums. However, the Westerners shut their eyes and continue to laugh, indicating a lack of willingness to engage with the speaker's culture. The conflict is further emphasized in the fifth stanza, where the speaker describes how he opens his "mystic inside wide like the sky," but the Westerners still choose to laugh and ignore him. These show cultural conflict indicated by the Poet.

3) Modernism -

Gabriel Okara's poem "You Laughed and Laughed and Laughed" also touches on the theme of modernism. The poem explores the clash between traditional African culture and modern Western culture. The speaker represents traditional African culture, while the Westerners represent the modern world that has invaded and disrupted it.

In this poem modernism Shawn through use of 'Motor Car'. The line we found is,

In your ears my song is motor car misfiring stopping with a choking cough; and you laughed and laughed and laughed.

This is the very first line of the poem in which the poet says that their songs are like 'motor car misfiring stopping with a choking cough', motor car here is not only symbolism of modernity but also of Luxurious lifestyle of Western people. African people are more close to nature and follow traditional lifestyles, like dancing, singing for entertainment. while Western people are More Modern and use luxuries for their Amenability.

For instance, in the first stanza, the speaker describes his song as a "motor car misfiring stopping with a choking cough." This metaphorical description of his song suggests a struggle to reconcile traditional African culture with the new modern world. Similarly, in the second stanza, the speaker describes his "ante-natal walk" as inhuman, which could be interpreted as a critique of the dehumanizing effects of modernization on traditional African life.

The Westerners' laughter in the poem can be seen as a manifestation of their modernist perspective, as they dismiss the speaker's culture as inferior and outdated. This is seen in the fourth stanza, where the Westerners mock the speaker's magic dance, which is rooted in traditional African culture. 

The resolution of the conflict between the speaker and the Westerners is also related to the theme of modernism. The speaker's laughter, which thaws the frozen insides of the Westerners, represents the power of traditional African culture to overcome the coldness and indifference of the modern world. At last, the speaker's attempt to make the Westerners understand his culture, and the resolution of the conflict through laughter, suggest that traditional African culture has the potential to overcome the dehumanising effects of modernism.

4) Colonialism -

According to Merriam-Webster Dictionary, Colonialism is a domination of a people or area by a foreign state or nation : the practice of extending and maintaining a nation's political and economic control over another people or area.

The poem is written by African poet Gabriel Okara representing his nation's culture and his people's suffering as a colonized country. The poem suggests how Colonizers make colonized people inferior for having black complexion. Also they thought themselves superior because they believe that they have white skin because god made them from their own skin while colonized people were black and brown because they were burned in the fire of hell. By making colonized people believe this, they Sepulchralize colonized people.

Also here in the poem 'Laughing' by Western people is like mental torture. They laugh at African culture, their people's dance, song, walk, inside etc that make them feel inferior. Okara says that,

'your laughter was ice-block laughter'.

In the lines "In your eyes my ante-natal walk was inhuman, passing your 'omnivorous understanding'," Okara shows how the Western colonizers considered their own cultural practices and beliefs as superior, while deeming those of the African people as inhuman and primitive. This reflects the idea of the "white man's burden", where the colonizers believed they had a responsibility to civilize the "uncivilized" African people.

The lines "Then I danced my magic dance to the rhythm of talking drums pleading, but you shut your eyes and laughed and laughed and laughed" indicate how the colonizers refused to acknowledge and appreciate the African culture and traditions, instead finding them humorous and inferior. The African people were forced to abandon their cultural practices and assimilate into the Western way of life.

5) Nationalism -

According to Merriam Webster Dictionary, Nationalism is a sense of national consciousness exalting one nation above all others and placing primary emphasis on promotion of its culture and interests as opposed to those of other nations or supranational groups.

Western culture is industrial. Being close to nature represents African nationality in this poem. The poem lines like,

fire of the eye of the sky, the fire of the earth, the fire of the air, the fie of the seas and the rivers fishes animals trees and it thawed your inside

In these lines we find use of many natural sources like the sea, eyes of the sky, the Sun, fire, air, rivers, fishes, animals, trees etc. These all natural sources represent how African people are very close to nature and nature is representative of African culture. Also we find references to ancient people and the nature of Africa in the poem. Here is the line indicating it,

Smeek wonder held your shadow aand you whispered; "Why so?" And I answered: "Because my fathers and I are owned by the living warmth of the earth through our naked feet."

Also in the poem we find reference to 'Magic Dance', which reflects the superstitious nature of African People.

Conclusion 

Gabriel Okara's poem "You Laughed and Laughed and Laughed" explores themes of cultural conflict, modernism, colonialism, nationalism, and racism. Through satire and irony, Okara critiques Western attitudes towards African culture, depicting the frustration and alienation experienced by Africans under colonial dominance. The poem serves as a rallying cry for the recognition and celebration of African heritage, while also highlighting the enduring struggle against oppression.

Work Cited

Britannica, The Editors of Encyclopaedia. "Gabriel Okara". Encyclopedia Britannica, 21 Mar. 2023, https://www.britannica.com/biography/Gabriel-Okara.

“Colonialism.” Merriam-Webster.com Dictionary, Merriam-Webster, https://www.merriam-webster.com dictionary/colonialism.

Gabriel , Okara. “You Laughed and Laughed and Laughed by Gabriel Okara.” Pick Me Up Poetry, Pick Me Up Poetry, 2 Apr. 2022, https://pickmeuppoetry.org/you-laughed-and-laughed-and-laughed-by-gabriel-okara/.

“Modernism.” Merriam-Webster.com Dictionary, Merriam-Webster, https://www.merriam-webster.com/ dictionary/modernism.

“Racism.” Merriam-Webster.com Dictionary, Merriam-Webster, https://www.merriam-webster.com/dictionary/racism.

"Race." Stanford Encyclopedia of Philosophy, edited by Edward N. Zalta, Stanford University, 2021, https://plato.stanford.edu/entries/race/.

“Theme.” Literary Terms, 2023, https://literaryterms.net/theme/.

“Theme.” Merriam-Webster.com Dictionary, Merriam-Webster, https://www.merriam-webster.com/dictionary/theme.

Word Count:- 2574