The master critic

Professor of English and prolific literary critic, Dr. G.S. Amur says that without good literature, an individual tends to be parochial and not fully human. His 90th birthday will be celebrated in Dharwad on May 31.

May 28, 2015 09:31 pm | Updated 09:31 pm IST

Noted literary critic G.S. Amur, at ''Maneyangaladalli Matukathe'', a monthly interaction programme, in Bangalore on October 16, 2004.
Photo: K. Bhagya Prakash

Noted literary critic G.S. Amur, at ''Maneyangaladalli Matukathe'', a monthly interaction programme, in Bangalore on October 16, 2004. Photo: K. Bhagya Prakash

Dr G.S. Amur (born 1925) is a distinguished professor of English language and literature, a committed student of literary theory and a prolific literary critic in Kannada. He is conversant with the Western, the Indian and the local traditions in terms of creative literature as well as poetics. His works in English, include ‘The Concept of Comedy: A Re-statement’ and ‘Creations and Transcreations’. He has written full-length studies and monographs on major writers like Bendre, Kuvempu, Sriranga and A.N. Krishna Rao. Modern Kannada fiction is an area of special interest. He has negotiated its evolution, themes and structural complexities in a number of articles devoted to the works of writers belonging to three generations. He has published seminal works on other genres of literature such as poetry and drama. He is also an anthologist of proven merit.

Amur’s writing constitutes a healthy blend of theoretical pre-occupations and applied criticism. He tries to demonstrate the connecting threads among the works of the same writer as also the inter-connectivity among the writers belonging to the same literary movement. He believes in the concept of literary criticism as a ‘common pursuit’ and forges a link with whatever has taken place earlier. He has developed a style which is incisive, insightful and critical. But he is neither aggressive nor is he given to sweeping generalizations. He prefers to steer clear of social and cultural issues per se and stays within the ambit of pure literary criticism. He deserves all accolades and respect on the occasion of his 90th birthday. His concerns and commitments should be treated as models by succeeding generations of critics.

You have spent several years teaching English language and literature. What is their relevance today? Can reading, analysis and criticism of literature be taught? Should we teach them if we can?

I was a teacher of English for nearly four decades at various levels and at times, I do get the feeling that I have been ‘too long in the west’ metaphorically but I don’t think I have wasted my time. I make a distinction between the English language and English literature. English is now a global language and to repeat a cliché, it is our only window on the world. We depend on it for access to advanced knowledge to world literatures. The case of English literature is different. English studies in the colonial times were restricted. Even the English, perhaps, did not read but the situation has changed drastically. English studies now include many more areas including Indian English writing. English Departments these days use English to teach courses in Indian literatures as well.

Do you see poetics and criticism as parts of tradition or do you think they are just responses to the needs of the time?

In the East as well as the West, poetics has been developing tradition, but there is not just one tradition. Rasa, for example, has been distinctive of the Indian tradition and Mimesis has been of the West for a long time. There are sub-traditions within these major traditions, the Hellenic and the Hebraic in the West and the Desi and Marga in India. Just as poetics – the nature of literature etc – has evolved, new techniques of criticism have been invented. Very often, these are related to overarching ideologies – Marxism, Structuralism, Post-Colonialism etc.

Is it possible to have a common aesthetics in the context of a society divided by a variety of interests – class, caste etc? Are literary choices by-products of emerging social situations? Is the special attention paid to writers like the Vachanakaras, Kuvempu and Devanura Mahadeva a result of literary considerations or social considerations?

Concepts of beauty and of good literature vary from culture to culture. Nirad Chaudhury protested against the Indian obsession with fair complexion which continues to be a subject of debate. Critical judgements are not universal. Henry James and Flaubert did not think highly of Tolstoy as a novelist and the French have always looked down upon Shakespeare. Within the European tradition itself, Eliot thought that Dante was superior to Shakespeare. I do not think that the importance that the Vachanakaras, Kuvempu or Devanuru Mahadeva enjoy is guided entirely by social considerations. While it is true that ideologies – Veerashaivism, Sudra and Dalit – are a source of strength and popular appeal for these writers, their literary achievements are too impressive to ignore. The vachanakaras invented a new form, Kuvempu revived the tradition of the epic and Devanuru brought in a new sensibility.

Can literary criticism be purely objective?

As a common pursuit, criticism has to follow some accepted conventions, like any other art but it is the individual gift of insight, sensitivity to language and understanding of life that add value to it. Criticism in also a way of self expression provided it pays adequate attention to the literary object and the tradition which has produced it. Critical judgements depend in the last analysis on the taste and equipment of the critic. Like art, criticism too is a social act.

Do education and the media control the form and function of criticism?

Literary criticism is a social and cultural activity and is naturally influenced by education and the media, if not controlled by them. Education is a major force in shaping criticism. In my own case, my criticism and research is an extension of the work done in the classroom that is to stimulate critical interest in literature and open new doors for further inquiries. Educational institutions in India have failed miserably in the latter task. Media play an important role in promoting new experiments in literature and educating the taste of the reading public. I still remember the role played by some Kannada papers in the promotion of Navya and Bandaya literature in Kannada. Reviews of books can play an important role in helping readers to choose the right books, as I know from my experience of reviewing books in Kannada and English over a long period. The power that the media hold can of course be misused. Media hype can result in bloated reputation for the book as well as the writer and importantly they can damage established reputations.

Name a few writers who you have liked and tell us why?

It is difficult to give a precise and specific reply to this question because reading is a dynamic process and new authors and books keep on appearing on the horizon. Bendre once said that the appearance of a new writer is like the discovery of a new star. The excitement can be long lasting. But one does go back to some writers in preference to others and they are a constant presence with you. I could name Vyasa, Bendre and Tolstoy in this category. The Mahabharata has always inspired me by it’s wisdom and pluralistic approach to life’s problems. I have written several books on Bendre, but still there is so much to explore. I have recently taken up the study of his translations covering many languages and the fascinating problem of the relation of his thought to his poetry. One is always rewarded by re-reading Tolstoy because of his deep insight into human nature and the width of his experience. I have also a great liking for the works of V.S. Naipaul which are of immense help in understanding a variety of cultural and political problems the world is facing today. Among the American writers, I have been most impressed by Saul Bellow, the novelist.

Can literature bring about changes in the individual and the community?

I do believe that good literature can sharpen the individual’s sensibility and widen his experience. Both of these are necessary for a meaningful life. Otherwise, he tends to be short sighted and parochial and not fully human. Radical changes in society are brought about by revolutionary ideologies and movements which can be instruments of power. Literature can sensitise people to social ills and injustice and play an important role in bringing about change, but its power is limited.

You have a close knowledge of Sanskrit literature but your criticism has not shown a deep concern with old and medieval Kannada literatures. Are there any specific reasons for this?

As a practising critic, I have been aware of these areas and have made occasional forays into them, but you are right in saying that my preferred area is modern Kannada literature. I can think of two reasons for this preference.

Throughout, I have been a student of English literature and have had no formal training in the older areas of Kannada literature.

You need help in understanding classics like Adipurana or the Vachanas of Allamaprabhu. Secondly, this is an age of specialisation and one has to choose. Modern literature has been an easier choice for me. My involvement with other modern litterateurs of the world has been of great help.

But I have no hesitation in accepting that this is one of my many limitations.

G.S. Amur 90 Abhinandana Mattu Pustaka Bidugade – Three books will be released on the occasion. The guests for the programme are M.S. Ashadevi, Dr. H.S. Venkatesha Murthy, Channaveera Kanavi, Dr. Narahalli Balasubramanya and Dr. H.S. Raghavendra Rao. The venue is Annajorao Siroor Ranga Mandira, Dharwad, May 31, 10.30 a.m.

0 / 0
Sign in to unlock member-only benefits!
  • Access 10 free stories every month
  • Save stories to read later
  • Access to comment on every story
  • Sign-up/manage your newsletter subscriptions with a single click
  • Get notified by email for early access to discounts & offers on our products
Sign in

Comments

Comments have to be in English, and in full sentences. They cannot be abusive or personal. Please abide by our community guidelines for posting your comments.

We have migrated to a new commenting platform. If you are already a registered user of The Hindu and logged in, you may continue to engage with our articles. If you do not have an account please register and login to post comments. Users can access their older comments by logging into their accounts on Vuukle.