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الموضوع: A Passage to India by E. M. Forster

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    A Passage to India by E. M. Forster

    A Passage to India by E. M. Forster






    Plot Overview


    T wo englishwomen, the young Miss Adela Quested and the elderly Mrs. Moore, travel to India. Adela expects to become engaged to Mrs. Moore’s son, Ronny, a British magistrate in the Indian city of Chandrapore. Adela and Mrs. Moore each hope to see the real India during their visit, rather than cultural institutions imported by the British.

    At the same time, Aziz, a young Muslim doctor in India, is increasingly frustrated by the poor treatment he receives at the hands of the English. Aziz is especially annoyed with Major Callendar, the civil surgeon, who has a tendency to summon Aziz for frivolous reasons in the middle of dinner. Aziz and two of his educated friends, Hamidullah and Mahmoud Ali, hold a lively conversation about whether or not an Indian can be friends with an Englishman in India. That night, Mrs. Moore and Aziz happen to run into each other while exploring a local mosque, and the two become friendly. Aziz is moved and surprised that an English person would treat him like a friend.

    Mr. Turton, the collector who governs Chandrapore, hosts a party so that Adela and Mrs. Moore may have the opportunity to meet some of the more prominent and wealthy Indians in the city. At the event, which proves to be rather awkward, Adela meets Cyril Fielding, the principal of the government college in Chandrapore. Fielding, impressed with Adela’s open friendliness to the Indians, invites her and Mrs. Moore to tea with him and the Hindu professor Godbole. At Adela’s request, Fielding invites Aziz to tea as well.

    At the tea, Aziz and Fielding immediately become friendly, and the afternoon is overwhelmingly pleasant until Ronny Heaslop arrives and rudely interrupts the party. Later that evening, Adela tells Ronny that she has decided not to marry him. But that night, the two are in a car accident together, and the excitement of the event causes Adela to change her mind about the marriage.

    Not long afterward, Aziz organizes an expedition to the nearby Marabar Caves for those who attended Fielding’s tea. Fielding and Professor Godbole miss the train to Marabar, so Aziz continues on alone with the two ladies, Adela and Mrs. Moore. Inside one of the caves, Mrs. Moore is unnerved by the enclosed space, which is crowded with Aziz’s retinue, and by the uncanny echo that seems to translate every sound she makes into the noise “boum.”

    Aziz, Adela, and a guide go on to the higher caves while Mrs. Moore waits below. Adela, suddenly realizing that she does not love Ronny, asks Aziz whether he has more than one wife—a question he considers offensive. Aziz storms off into a cave, and when he returns, Adela is gone. Aziz scolds the guide for losing Adela, and the guide runs away. Aziz finds Adela’s broken field‑glasses and heads down the hill. Back at the picnic site, Aziz finds Fielding waiting for him. Aziz is unconcerned to learn that Adela has hastily taken a car back to Chandrapore, as he is overjoyed to see Fielding. Back in Chandrapore, however, Aziz is unexpectedly arrested. He is charged with attempting to rape Adela Quested while she was in the caves, a charge based on a claim Adela herself has made.

    Fielding, believing Aziz to be innocent, angers all of British India by joining the Indians in Aziz’s defense. In the weeks before the trial, the racial tensions between the Indians and the English flare up considerably. Mrs. Moore is distracted and miserable because of her memory of the echo in the cave and because of her impatience with the upcoming trial. Adela is emotional and ill; she too seems to suffer from an echo in her mind. Ronny is fed up with Mrs. Moore’s lack of support for Adela, and it is agreed that Mrs. Moore will return to England earlier than planned. Mrs. Moore dies on the voyage back to England, but not before she realizes that there is no “real India”—but rather a complex multitude of different Indias.

    At Aziz’s trial, Adela, under oath, is questioned about what happened in the caves. Shockingly, she declares that she has made a mistake: Aziz is not the person or thing that attacked her in the cave. Aziz is set free, and Fielding escorts Adela to the Government College, where she spends the next several weeks. Fielding begins to respect Adela, recognizing her bravery in standing against her peers to pronounce Aziz innocent. Ronny breaks off his engagement to Adela, and she returns to England.

    Aziz, however, is angry that Fielding would befriend Adela after she nearly ruined Aziz’s life, and the friendship between the two men suffers as a consequence. Then Fielding sails for a visit to England. Aziz declares that he is done with the English and that he intends to move to a place where he will not have to encounter them.

    Two years later, Aziz has become the chief doctor to the Rajah of Mau, a Hindu region several hundred miles from Chandrapore. He has heard that Fielding married Adela shortly after returning to England. Aziz now virulently hates all English people. One day, walking through an old temple with his three children, he encounters Fielding and his brother‑in‑law. Aziz is surprised to learn that the brother-in-law’s name is Ralph Moore; it turns out that Fielding married not Adela Quested, but Stella Moore, Mrs. Moore’s daughter from her second marriage.

    Aziz befriends Ralph. After he accidentally runs his rowboat into Fielding’s, Aziz renews his friendship with Fielding as well. The two men go for a final ride together before Fielding leaves, during which Aziz tells Fielding that once the English are out of India, the two will be able to be friends. Fielding asks why they cannot be friends now, when they both want to be, but the sky and the earth seem to say “No, not yet. . . . No, not there.”


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    رد: A Passage to India by E. M. Forster

    Analysis of Major Characters





    Dr. Aziz


    Aziz seems to be a mess of extremes and contradictions, an embodiment of Forster’s notion of the “muddle” of India. Aziz is impetuous and flighty, changing opinions and preoccupations quickly and without warning, from one moment to the next. His moods swing back and forth between extremes, from childlike elation one minute to utter despair the next. Aziz even seems capable of shifting careers and talents, serving as both physician and poet during the course of A Passage to India. Aziz’s somewhat youthful qualities, as evidenced by a sense of humor that leans toward practical joking, are offset by his attitude of irony toward his English superiors.

    Forster, though not blatantly stereotyping, encourages us to see many of Aziz’s characteristics as characteristics of Indians in general. Aziz, like many of his friends, dislikes blunt honesty and directness, preferring to communicate through confidences, feelings underlying words, and indirect speech. Aziz has a sense that much of morality is really social code. He therefore feels no moral compunction about visiting prostitutes or reading Fielding’s private mail—both because his intentions are good and because he knows he will not be caught. Instead of living by merely social codes, Aziz guides his action through a code that is nearly religious, such as we see in his extreme hospitality. Moreover, Aziz, like many of the other Indians, struggles with the problem of the English in India. On the one hand, he appreciates some of the modernizing influences that the West has brought to India; on the other, he feels that the presence of the English degrades and oppresses his people.

    Despite his contradictions, Aziz is a genuinely affectionate character, and his affection is often based on intuited connections, as with Mrs. Moore and Fielding. Though Forster holds up Aziz’s capacity for imaginative sympathy as a good trait, we see that this imaginativeness can also betray Aziz. The deep offense Aziz feels toward Fielding in the aftermath of his trial stems from fiction and misinterpreted intuition. Aziz does not stop to evaluate facts, but rather follows his heart to the exclusion of all other methods—an approach that is sometimes wrong.

    Many critics have contended that Forster portrays Aziz and many of the other Indian characters unflatteringly. Indeed, though the author is certainly sympathetic to the Indians, he does sometimes present them as incompetent, subservient, or childish. These somewhat valid critiques call into question the realism of Forster’s novel, but they do not, on the whole, corrupt his exploration of the possibility of friendly relations between Indians and Englishmen—arguably the central concern of the novel.

    Cyril Fielding

    Of all the characters in the novel, Fielding is clearly the most associated with Forster himself. Among the Englishmen in Chandrapore, Fielding is far and away most the successful at developing and sustaining relationships with native Indians. Though he is an educator, he is less comfortable in teacher-student interaction than he is in one-on-one conversation with another individual. This latter style serves as Forster’s model of liberal humanism—Forster and Fielding treat the world as a group of individuals who can connect through mutual respect, courtesy, and intelligence.

    Fielding, in these viewpoints, presents the main threat to the mentality of the English in India. He educates Indians as individuals, engendering a movement of free thought that has the potential to destabilize English colonial power. Furthermore, Fielding has little patience for the racial categorization that is so central to the English grip on India. He honors his friendship with Aziz over any alliance with members of his own race—a reshuffling of allegiances that threatens the solidarity of the English. Finally, Fielding “travels light,” as he puts it: he does not believe in marriage, but favors friendship instead. As such, Fielding implicitly questions the domestic conventions upon which the Englishmen’s sense of “Englishness” is founded. Fielding refuses to sentimentalize domestic England or to venerate the role of the wife or mother—a far cry from the other Englishmen, who put Adela on a pedestal after the incident at the caves.

    Fielding’s character changes in the aftermath of Aziz’s trial. He becomes jaded about the Indians as well as the English. His English sensibilities, such as his need for proportion and reason, become more prominent and begin to grate against Aziz’s Indian sensibilities. By the end of A Passage to India, Forster seems to identify with Fielding less. Whereas Aziz remains a likable, if flawed, character until the end of the novel, Fielding becomes less likable in his increasing identification and sameness with the English.

    Adela Quested

    Adela arrives in India with Mrs. Moore, and, fittingly, her character develops in parallel to Mrs. Moore’s. Adela, like the elder Englishwoman, is an individualist and an educated free thinker. These tendencies lead her, just as they lead Mrs. Moore, to question the standard behaviors of the English toward the Indians. Adela’s tendency to question standard practices with frankness makes her resistant to being labeled—and therefore resistant to marrying Ronny and being labeled a typical colonial English wife. Both Mrs. Moore and Adela hope to see the “real India” rather than an arranged tourist version. However, whereas Mrs. Moore’s desire is bolstered by a genuine interest in and affection for Indians, Adela appears to want to see the “real India” simply on intellectual grounds. She puts her mind to the task, but not her heart—and therefore never connects with Indians.

    Adela’s experience at the Marabar Caves causes her to undergo a crisis of rationalism against spiritualism. While Adela’s character changes greatly in the several days after her alleged assault, her testimony at the trial represents a return of the old Adela, with the sole difference that she is plagued by doubt in a way she was not originally. Adela begins to sense that her assault, and the echo that haunts her afterward, are representative of something outside the scope of her normal rational comprehension. She is pained by her inability to articulate her experience. She finds she has no purpose in—nor love for—India, and suddenly fears that she is unable to love anyone. Adela is filled with the realization of the damage she has done to Aziz and others, yet she feels paralyzed, unable to remedy the wrongs she has done. Nonetheless, Adela selflessly endures her difficult fate after the trial—a course of action that wins her a friend in Fielding, who sees her as a brave woman rather than a traitor to her race.


    Mrs. Moore

    As a character, Mrs. Moore serves a double function in A Passage to India, operating on two different planes. She is initially a literal character, but as the novel progresses she becomes more a symbolic presence. On the literal level, Mrs. Moore is a good-hearted, religious, elderly woman with mystical leanings. The initial days of her visit to India are successful, as she connects with India and Indians on an intuitive level. Whereas Adela is overly cerebral, Mrs. Moore relies successfully on her heart to make connections during her visit. Furthermore, on the literal level, Mrs. Moore’s character has human limitations: her experience at Marabar renders her apathetic and even somewhat mean, to the degree that she simply leaves India without bothering to testify to Aziz’s innocence or to oversee Ronny and Adela’s wedding.

    After her departure, however, Mrs. Moore exists largely on a symbolic level. Though she herself has human flaws, she comes to symbolize an ideally spiritual and race-blind openness that Forster sees as a solution to the problems in India. Mrs. Moore’s name becomes closely associated with Hinduism, especially the Hindu tenet of the oneness and unity of all living things. This symbolic side to Mrs. Moore might even make her the heroine of the novel, the only English person able to closely connect with the Hindu vision of unity. Nonetheless, Mrs. Moore’s literal actions—her sudden abandonment of India—make her less than heroic.

    Ronny Heaslop

    Ronny’s character does not change much over the course of the novel; instead, Forster’s emphasis is on the change that happened before the novel begins, when Ronny first arrived in India. Both Mrs. Moore and Adela note the difference between the Ronny they knew in England and the Ronny of British India. Forster uses Ronny’s character and the changes he has undergone as a sort of case study, an exploration of the restrictions that the English colonials’ herd mentality imposes on individual personalities. All of Ronny’s previously individual tastes are effectively dumbed down to meet group standards. He devalues his intelligence and learning from England in favor of the “wisdom” gained by years of experience in India. The open-minded attitude with which he has been brought up has been replaced by a suspicion of Indians. In short, Ronny’s tastes, opinions, and even his manner of speaking are no longer his own, but those of older, ostensibly wiser British Indian officials. This kind of group thinking is what ultimately causes Ronny to clash with both Adela and his mother, Mrs. Moore.

    Nonetheless, Ronny is not the worst of the English in India, and Forster is somewhat sympathetic in his portrayal of him. Ronny’s ambition to rise in the ranks of British India has not completely destroyed his natural goodness, but merely perverted it. Ronny cares about his job and the Indians with whom he works, if only to the extent that they, in turn, reflect upon him. Forster presents Ronny’s failing as the fault of the colonial system, not his own.

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    رد: A Passage to India by E. M. Forster

    Themes


    The Difficulty of English-Indian Friendship

    A Passage to India begins and ends by posing the question of whether it is possible for an Englishman and an Indian to ever be friends, at least within the context of British colonialism. Forster uses this question as a framework to explore the general issue of Britain’s political control of India on a more personal level, through the friendship between Aziz and Fielding. At the beginning of the novel, Aziz is scornful of the English, wishing only to consider them comically or ignore them completely. Yet the intuitive connection Aziz feels with Mrs. Moore in the mosque opens him to the possibility of friendship with Fielding. Through the first half of the novel, Fielding and Aziz represent a positive model of liberal humanism: Forster suggests that British rule in India could be successful and respectful if only English and Indians treated each other as Fielding and Aziz treat each other—as worthy individuals who connect through frankness, intelligence, and good will.

    Yet in the aftermath of the novel’s climax—Adela’s accusation that Aziz attempted to assault her and her subsequent disavowal of this accusation at the trial—Aziz and Fielding’s friendship falls apart. The strains on their relationship are external in nature, as Aziz and Fielding both suffer from the tendencies of their cultures. Aziz tends to let his imagination run away with him and to let suspicion harden into a grudge. Fielding suffers from an English literalism and rationalism that blind him to Aziz’s true feelings and make Fielding too stilted to reach out to Aziz through conversations or letters. Furthermore, their respective Indian and English communities pull them apart through their mutual stereotyping. As we see at the end of the novel, even the landscape of India seems to oppress their friendship. Forster’s final vision of the possibility of English-Indian friendship is a pessimistic one, yet it is qualified by the possibility of friendship on English soil, or after the liberation of India. As the landscape itself seems to imply at the end of the novel, such a friendship may be possible eventually, but “not yet.”



    The Unity of All Living Things

    Though the main characters of A Passage to India are generally Christian or Muslim, Hinduism also plays a large thematic role in the novel. The aspect of Hinduism with which Forster is particularly concerned is the religion’s ideal of all living things, from the lowliest to the highest, united in love as one. This vision of the universe appears to offer redemption to India through mysticism, as individual differences disappear into a peaceful collectivity that does not recognize hierarchies. Individual blame and intrigue is forgone in favor of attention to higher, spiritual matters. Professor Godbole, the most visible Hindu in the novel, is Forster’s mouthpiece for this idea of the unity of all living things. Godbole alone remains aloof from the drama of the plot, refraining from taking sides by recognizing that all are implicated in the evil of Marabar. Mrs. Moore, also, shows openness to this aspect of Hinduism. Though she is a Christian, her experience of India has made her dissatisfied with what she perceives as the smallness of Christianity. Mrs. Moore appears to feel a great sense of connection with all living creatures, as evidenced by her respect for the wasp in her bedroom.

    Yet, through Mrs. Moore, Forster also shows that the vision of the oneness of all living things can be terrifying. As we see in Mrs. Moore’s experience with the echo that negates everything into “boum” in Marabar, such oneness provides unity but also makes all elements of the universe one and the same—a realization that, it is implied, ultimately kills Mrs. Moore. Godbole is not troubled by the idea that negation is an inevitable result when all things come together as one. Mrs. Moore, however, loses interest in the world of relationships after envisioning this lack of distinctions as a horror. Moreover, though Forster generally endorses the Hindu idea of the oneness of all living things, he also suggests that there may be inherent problems with it. Even Godbole, for example, seems to recognize that something—if only a stone—must be left out of the vision of oneness if the vision is to cohere. This problem of exclusion is, in a sense, merely another manifestation of the individual difference and hierarchy that Hinduism promises to overcome.

    The “Muddle” of India

    Forster takes great care to strike a distinction between the ideas of “muddle” and “mystery” in A Passage to India. “Muddle” has connotations of dangerous and disorienting disorder, whereas “mystery” suggests a mystical, orderly plan by a spiritual force that is greater than man. Fielding, who acts as Forster’s primary mouthpiece in the novel, admits that India is a “muddle,” while figures such as Mrs. Moore and Godbole view India as a mystery. The muddle that is India in the novel appears to work from the ground up: the very landscape and architecture of the countryside is formless, and the natural life of plants and animals defies identification. This muddled quality to the environment is mirrored in the makeup of India’s native population, which is mixed into a muddle of different religious, ethnic, linguistic, and regional groups.

    The muddle of India disorients Adela the most; indeed, the events at the Marabar Caves that trouble her so much can be seen as a manifestation of this muddle. By the end of the novel, we are still not sure what actually has happened in the caves. Forster suggests that Adela’s feelings about Ronny become externalized and muddled in the caves, and that she suddenly experiences these feelings as something outside of her. The muddle of India also affects Aziz and Fielding’s friendship, as their good intentions are derailed by the chaos of cross-cultural signals.

    Though Forster is sympathetic to India and Indians in the novel, his overwhelming depiction of India as a muddle matches the manner in which many Western writers of his day treated the East in their works. As the noted critic Edward Said has pointed out, these authors’ “orientalizing” of the East made Western logic and capability appear self-evident, and, by extension, portrayed the West’s domination of the East as reasonable or even necessary.

    The Negligence of British Colonial Government

    Though A Passage to India is in many ways a highly symbolic, or even mystical, text, it also aims to be a realistic documentation of the attitudes of British colonial officials in India. Forster spends large sections of the novel characterizing different typical attitudes the English hold toward the Indians whom they control. Forster’s satire is most harsh toward Englishwomen, whom the author depicts as overwhelmingly racist, self-righteous, and viciously condescending to the native population. Some of the Englishmen in the novel are as nasty as the women, but Forster more often identifies Englishmen as men who, though condescending and unable to relate to Indians on an individual level, are largely well-meaning and invested in their jobs. For all Forster’s criticism of the British manner of governing India, however, he does not appear to question the right of the British Empire to rule India. He suggests that the British would be well served by becoming kinder and more sympathetic to the Indians with whom they live, but he does not suggest that the British should abandon India outright. Even this lesser critique is never overtly stated in the novel, but implied through biting satire.


    Culture Clash

    At the heart of A Passage to India — and in the background — is a clash between two fundamentally different cultures, those of East and West. The British poet Rudyard Kipling, who was born in India and lived there for several years as an adult, wrote: "East is East and West is West, and never the twain shall meet." Without quoting or acknowledging Kipling, Forster adopts this premise as a central theme of A Passage to India.

    The West is represented by the Anglo-Indians (the British administrators and their families in India) in Chandrapore. They form a relatively small but close-knit community. They live at the civil station, apart from the Indians. Their social life centers around the Chandrapore Club, where they attempt to recreate the entertainments that would be found in England. Although these Westerners wish to maintain good relations with the Easterners whom they govern, they have no desire to "understand" India or the Indians. Early in the book Ronny Heaslop remarks that "No one can even begin to think of knowing this country until he has been in it twenty years." When Adela Quested rebukes him for his attitudes, he replies that "India isn't home" — that is, it is not England.

    Mrs. Moore, Adela, and Mr. Fielding are three English characters who challenge this received wisdom. Significantly, Mrs. Moore and Adela are newcomers who have no experience of India and thus are not fully aware of the gulf that separates the two cultures: "They had no race-consciousness — Mrs. Moore was too old, Miss Quested too new — and they behaved to Aziz as to any young man who had been kind to them in the country." However, Adela shows her ignorance of Indian customs when she asks Dr. Aziz how many wives he has. The Turtons throw a "Bridge Party" to "bridge the gulf between East and West," but this event only emphasizes the awkwardness that exists between the two cultures. Mrs. Moore senses that India is full of "mystery and muddle" that Westerners cannot comprehend. Following Aziz's arrest, Turton tells Fielding that in his twenty-five years in India "I have never known anything but disaster result when English people and Indians attempt to be intimate socially."

    The culture clash, however, is not only between Indians and Anglo-Indians, but also between two distinct groups of Indians — Moslems and Hindus. The narrative makes it clear that these two groups have very different traditions. Dr. Aziz is proud of his Moslem heritage and considers the Hindus to be almost alien. Hindus "have no idea of society," he tells Mrs. Moore, Adela, and Fielding. At the same time, although he is quite conscious of being an Indian, Aziz has a sentimental affection for Persia, the land from which Moslem culture originally spread to India. The Moslem-Hindu divide closes somewhat when a Hindu attorney, Mr. Amritrao, is called in to defend Aziz. After the trial, Hindus and Moslems alike celebrate Aziz's acquittal. In the book's final section, Aziz is living in a Hindu state, where he regards himself as an outsider.

    Friendship


    E. M. Forster considered friendship to be one of the most important things in life. He once remarked, controversially, that if he were faced with the choice of betraying his country or betraying his friends, he would betray his country. A Passage to India explores the nature of friendship in its various forms, and the word "friend" occurs frequently throughout the book. When we first meet Dr. Aziz and his friends Hamidullah and Mahmoud Ali, they are discussing whether it is possible for Indians to be friends with the British. Hamidullah, who is pleasant and easygoing, fondly recalls his friendship with a British family long ago. When Dr. Aziz meets Mrs. Moore at the mosque, he feels she is someone with whom he can develop a friendship. He also wants to make friends with Cyril Fielding, whom he regards as a sympathetic and enlightened Englishman. However, despite his general impulsiveness, Aziz realizes that "a single meeting is too short to make a friend."

    Aziz has a curious friendship with Professor Godbole. He likes Godbole but is unable to understand him. Godbole himself has a friendly attitude, but he is vague and distracted. When Fielding tells him that Aziz has been arrested, Godbole seems unconcerned. Instead, he asks Fielding for advice about what name to give to a school that he is thinking of starting. Still, Fielding acknowledges that "all [Godbole's] friends trusted him, without knowing why."

    Of all the British characters in the book, Fielding has the greatest gift for friendship. Mrs. Moore feels friendliness for Aziz when she first meets him, but she loses interest in friendship — and in life itself — when she loses her faith at the Marabar Caves. Among the other British characters, a sense of duty generally takes precedence over friendship. Although he had known her in England, Ronny is unable to sustain a relationship with Adela in India. In their words and actions, Anglo-Indian officials such as Ronny, Mr. Turton, and Mr. McBryde demonstrate that while they may get along with Indians on one level, it is impossible and indeed undesirable to be friends with them.

    The book concludes with a conversation between Aziz and Fielding about the possibility of friendship — the theme that had been the subject of the first conversation. Aziz tells Fielding that they cannot be friends until the English have been driven out of India. Fielding replies that he wants to be friends, and that it is also what Aziz wants. The last paragraph, however, suggests that the impersonal forces at work in India will not yet allow such a friendship.

    Public Vs. Private Life

    The various attempts at friendship throughout A Passage to India are frustrated not only by cultural differences but also by the demands of public life, or duty. These demands are strongest among the Anglo-Indian officials of Chandrapore. In general, characters such as Turton, Callendar, McBryde, and Ronny put their jobs above whatever personal desires they may have. The Turtons' "Bridge Party" is more a diplomatic exercise than a truly personal gesture. McBryde, the superintendent of police, prosecutes Aziz because it is his duty to do so; personal feelings do not enter into his decision. Ronny breaks off his engagement with Adela partly because her actions in the court are seen by the Anglo-Indians as a public disgrace. His marriage to her would offend the members of his community, who disapprove of Adela because of her behavior at the trial.

    Cyril Fielding, the principal of the government college, seems to be the only British character willing to act out of personal conviction rather than public duty. The Anglo-Indian authorities believe it is important to keep up a public image of unity on the question of Aziz's guilt. In speaking up for Aziz, Fielding goes against the public behavior that is expected of him and is seen as "letting down the side." Because of this transgression, he is expelled from the English club at Chandrapore.

    McBryde's affair with Miss Derek, revealed later in the book, is perhaps a minor instance in which another British official chooses to fulfill a personal desire at the risk of his public image. However, we do not see the consequences of this choice.

    Dr. Aziz himself is torn between his public life as a doctor at a government hospital and his private dreams. When he attempts to transcend the distinction between private wishes and the public constraints, "Trouble after trouble encountered him, because he had challenged the spirit of the Indian earth, which tries to keep men in compartments." Only in Professor Godbole does the division between public and private life seem to disappear. For Godbole, the two are simply different forms of one existence. Godbole's prayers, for example, have both a private and public function, and it is difficult to tell where one ends and the other begins.

    Ambiguity

    A Passage to India is full of ambiguity, and its most important characters — Dr. Aziz, Mrs. Moore, Cyril Fielding, Adela Quested — are beset by doubt at key points in the narrative. The terms "mystery" and "muddle" are introduced during Fielding's tea party and are repeated several times throughout the book. When Adela remarks that she "hates mysteries," Mrs. Moore replies that "I like mysteries but I rather dislike muddles." Mr. Fielding then observes that "a mystery is a muddle."

    Doubt and ambiguity surround two key incidents in the book that occur at the Marabar Caves. On a literal level, Adela does not know if she has really been attacked in the cave or if she has only imagined this incident. If she has been attacked, was Dr. Aziz the attacker? While the reader might not doubt Aziz's innocence, there is a larger ambiguity about what really did take place. For Anglo-Indian authority figures such as Ronny Heaslop, Major Callendar, and Mr. McBryde, there is no doubt whatever; it is only characters such as Cyril Fielding who are capable of entertaining doubt and, thus, of thinking critically about events.

    An even larger, more metaphorical ambiguity surrounds Mrs. Moore's experience at the caves. While she is inside one of the caves, she hears an echo and suddenly feels that everything — including her religious faith — is meaningless. So powerful is the doubt that fills Mrs. Moore, that she loses her grip on life.

    God and Religion


    E. M. Forster was not a religious man nor a religious writer. However, religion is a major preoccupation in the book. India is seen as a meeting point of three of the world's historic religions — Islam, Christianity, and Hinduism. Indeed, the three parts of the book — "Mosque," "Cave," and "Temple" — generally correspond to these religions. Aziz loves the cultural and social aspects of his Moslem (Islamic) heritage, but he seems less concerned with its theology and religious practice. He is aware that Moslems are in the minority in India, and he thus feels a special kinship with other Moslems such as Hamidullah. The Anglo-Indians are nominal representatives of Christianity, although there is little overt sign of such Christian virtues as charity, love, and forgiveness. Ronny Heaslop admits that for him Christianity is fine in its place, but he does not let it interfere with his civil duty. Mrs. Moore is basically Christian in her outlook. However, she experiences a crisis of faith during her visit to the Marabar Caves, and her belief in God or in any meaning to life is destroyed. Hinduism is the main religion of India, and Professor Godbole is the central Hindu figure in the book. He is also, by far, the most religious character. For Godbole, Hinduism is "completeness, not reconstruction." The central principle of this religion is the total acceptance of things as they are. Forster suggests that this is the most positive spiritual approach to life. It is also most representative of the true spirit of India.




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    رد: A Passage to India by E. M. Forster

    Motifs


    The Echo

    The echo begins at the Marabar Caves: first Mrs. Moore and then Adela hear the echo and are haunted by it in the weeks to come. The echo’s sound is “boum”—a sound it returns regardless of what noise or utterance is originally made. This negation of difference embodies the frightening flip side of the seemingly positive Hindu vision of the oneness and unity of all living things. If all people and things become the same thing, then no distinction can be made between good and evil. No value system can exist. The echo plagues Mrs. Moore until her death, causing her to abandon her beliefs and cease to care about human relationships. Adela, however, ultimately escapes the echo by using its message of impersonality to help her realize Aziz’s innocence.

    Eastern and Western Architecture

    Forster spends time detailing both Eastern and Western architecture in A Passage to India. Three architectural structures—though one is naturally occurring—provide the outline for the book’s three sections, “Mosque,” “Caves,” and “Temple.” Forster presents the aesthetics of Eastern and Western structures as indicative of the differences of the respective cultures as a whole. In India, architecture is confused and formless: interiors blend into exterior gardens, earth and buildings compete with each other, and structures appear unfinished or drab. As such, Indian architecture mirrors the muddle of India itself and what Forster sees as the Indians’ characteristic inattention to form and logic. Occasionally, however, Forster takes a positive view of Indian architecture. The mosque in Part I and temple in Part III represent the promise of Indian openness, mysticism, and friendship. Western architecture, meanwhile, is described during Fielding’s stop in Venice on his way to England. Venice’s structures, which Fielding sees as representative of Western architecture in general, honor form and proportion and complement the earth on which they are built. Fielding reads in this architecture the self-evident correctness of Western reason—an order that, he laments, his Indian friends would not recognize or appreciate.

    Godbole’s Song

    At the end of Fielding’s tea party, Godbole sings for the English visitors a Hindu song, in which a milkmaid pleads for God to come to her or to her people. The song’s refrain of “Come! come” recurs throughout A Passage to India, mirroring the appeal for the entire country of salvation from something greater than itself. After the song, Godbole admits that God never comes to the milkmaid. The song greatly disheartens Mrs. Moore, setting the stage for her later spiritual apathy, her simultaneous awareness of a spiritual presence and lack of confidence in spiritualism as a redeeming force. Godbole seemingly intends his song as a message or lesson that recognition of the potential existence of a God figure can bring the world together and erode differences—after all, Godbole himself sings the part of a young milkmaid. Forster uses the refrain of Godbole’s song, “Come! come,” to suggest that India’s redemption is yet to come.

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    Symbols



    The Marabar Caves

    The Marabar Caves represent all that is alien about nature. The caves are older than anything else on the earth and embody nothingness and emptiness—a literal void in the earth. They defy both English and Indians to act as guides to them, and their strange beauty and menace unsettles visitors. The caves’ alien quality also has the power to make visitors such as Mrs. Moore and Adela confront parts of themselves or the universe that they have not previously recognized. The all-reducing echo of the caves causes Mrs. Moore to see the darker side of her spirituality—a waning commitment to the world of relationships and a growing ambivalence about God. Adela confronts the shame and embarrassment of her realization that she and Ronny are not actually attracted to each other, and that she might be attracted to no one. In this sense, the caves both destroy meaning, in reducing all utterances to the same sound, and expose or narrate the unspeakable, the aspects of the universe that the caves’ visitors have not yet considered.

    The Green Bird

    Just after Adela and Ronny agree for the first time, in Chapter VII, to break off their engagement, they notice a green bird sitting in the tree above them. Neither of them can positively identify the bird. For Adela, the bird symbolizes the unidentifiable quality of all of India: just when she thinks she can understand any aspect of India, that aspect changes or disappears. In this sense, the green bird symbolizes the muddle of India. In another capacity, the bird points to a different tension between the English and Indians. The English are obsessed with knowledge, literalness, and naming, and they use these tools as a means of gaining and maintaining power. The Indians, in contrast, are more attentive to nuance, undertone, and the emotions behind words. While the English insist on labeling things, the Indians recognize that labels can blind one to important details and differences. The unidentifiable green bird suggests the incompatibility of the English obsession with classification and order with the shifting quality of India itself—the land is, in fact, a “hundred Indias” that defy labeling and understanding.

    The Wasp

    The wasp appears several times in A Passage to India, usually in conjunction with the Hindu vision of the oneness of all living things. The wasp is usually depicted as the lowest creature the Hindus incorporate into their vision of universal unity. Mrs. Moore is closely associated with the wasp, as she finds one in her room and is gently appreciative of it. Her peaceful regard for the wasp signifies her own openness to the Hindu idea of collectivity, and to the mysticism and indefinable quality of India in general. However, as the wasp is the lowest creature that the Hindus visualize, it also represents the limits of the Hindu vision. The vision is not a panacea, but merely a possibility for unity and understanding in India.

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    ترجمة الرواية بشكل مختصر من هنا :::

    http://www.4shared.com/file/18532229..._to_India.html




    هنا مقالة تشرح القصة ايضاً



    يطرح الروائي الإنجليزية الكبير فورستر في روايته الشهيرة «طريق إلى الهند A Passage To India» (1924) قضية الاستعمار من منظور حضاري إنساني، تناقش الرواية تداعيات وتبعات الاحتلال الإنجليزي للهند في تلك الفترة بصورة تجعل القارىء يعمم المأساة لتنطبق على أي شعب آخر يقع تحت الاحتلال في أي عصر من العصور، يختزل الخطاب الاستعماري شعب الأرض المحتلة ليصوره على أنه شعب بربري متخلف فظ وفي نفس الوقت يصور المستعمر على أنه جاء من البلاد البعيدة المتحضرة لكي ينتشل ذلك الشعب من البربرية والجهل إلى الحضارة والتمدين ومن ثم فإنه ليس عليه إلا أن يقدم الشكر والعرفان لمحتله على قيامه بتلك المهمة بل ويقدم له كل ما تتطلبه هذه المهمة المعقدة طويلة الأمد من تنازلات.
    ماذا يحمل لنا عنوان الرواية «طريق إلى الهند» من متضمنات ودلالات؟ إنه يحمل لنا محاولة إنسانية لاتخاذ طريق عادل إلى الهند ورؤية موضوعية لها، وثمة سؤال يفرض نفسه، هل يمكن أن تنشأ علاقة سوية بين هندي وبريطاني في ظل ذلك المناخ الاستعماري؟ إن هذه العلاقة هي رمز للتفاهم والتواصل الإنساني بين البشر على اختلاف جنسياتهم، وذلك الطريق إلى الهند هو رحلة الاستكشاف للعلاقات الإنسانية في ظل المناخ الاستعماري، وهنا تتأكد حقيقة هامة وهي أن فور ستر بإبداعه ورؤيته الإنسانية لا يطرح فقط معاناة الشعب الواقع تحت الاحتلال ولكنه يصور أيضاً معاناة المستعمر نفسه.

    الرواية بأكملها هي رحلة استكشافية قام بها ثلاثة بريطانيين محايدين وهم فيلدنج ومس اديلا ومسز مور لرؤية «الهند على حقيقتها» كما قالوا، فهم أرادوا تجاوز الخط الأحمر الذي يفصل البريطانيين «المتحضرين» عن الشعب الهندي «الجاهل» ذلك الخط الأحمر هو الخطاب الاستعماري الذي يطمس جميع الحقائق والحقوق، وكما تقول مسر كالندار إحدى السيدات البريطانيات في الرواية «أفضل شيء يمكنك أن تفعله للهندي هو أن تدعه يموت» وهذه النظرة العنصرية تمتد في شكل تعميمي تعتيمي، فتخشى سيدات المجتمع الراقي البريطاني ـ كما صور فورستر في روايته ـ من أن يتلوثن ببربرية الهنود إذا ما عاشرنهم اجتماعياً وفكرياً. يسعى الخطاب الاستعماري إلى تبرير وتعزيز وجود الحكم الاستعماري على أنه الطريقة الوحيدة لعلاج الظلمة والجهل الذي تعيش فيه الهند ـ كما تصور الرواية على لسان روني أحد الضباط البريطانيين «نحن هنا لتحقيق العدل والحفاظ على السلام».

    ما هو الجوهر؟

    إن رغبة الرحالة الثلاثة في رؤية «الهند على حقيقتها» تتضمن إيماناً بأن ثمة خطأ في هذا الموقف وأن هناك محاولة لطمس تلك الحقيقة، هل فعلاً الهنود هم أناس من الدرجة الثانية، هل هم حقاً متخلفون وليس بإمكانهم إقامة أي حضارة إنسانية؟ ما هي حقيقة معاناتهم تحت الاحتلال؟ هل الاحتلال فعلاً في طريقه لتحقيق ما يتحدث عنه من حضارة وتمدين؟ ما هي حقيقة تاريخهم وكيف يبدو مستقبلهم؟ يطرح الرحالة الثلاثة مثل هذه الأسئلة ويحاولون الإجابة عليها خلال رحلتهم التي تعهدوا مع أنفسهم في البداية أن تكون عادلة وموضوعية.

    لكن ما هي الحقيقة التي كشفها هؤلاء الرحالة؟ إنها حقيقة مؤسفة بكل المقاييس تتضح في علاقة كل منهم بالدكتور عزيز المثقف الهندي الذي يرمز إلى القيم والمعايير الإنسانية التي يحملها الشعب الهندي، لقد اكتشفوا أن الاستعمار لا يمكنه أن يقيم السياق الإنساني الذي يمكن أن تتحقق فيه المهمة التي جاء المستعمر من أجلها وهي التحضر والتمدن، وعلى النقيض فإن الاستعمار قد خلق فجوة ثقافية واجتماعية وحضارية بين البريطانيين والشعب الهندي، خلق مناخا من الغموض والصدام وسوء الفهم بينهما، خلق ظروفا تهميشية ولا إنسانية يعيش فيها كلا الجانبين.

    عنوان رواية فورستر مأخوذ من قصيدة والت ويتمان «طريق إلى الهند Passage To India» والتي تصور الرحلة الروحية التي لابد أن يقوم بها الإنسان للكشف عن جوهر الأشياء، ومن هنا لابد ألا نفترض الحقيقة في كل شيء يواجهنا، فالوصول إلى جوهر الأشياء هو عملية تتطلب سعياً فعلياً ومخلصاً يقوم فيه الإنسان بالتشكك في معتقداته ومعاييره في إصدار الأحكام، يتطلب القيام بمثل هذه الرحلة ـ من وجهة نظر فورستر ـ رفض الإنسان لغريزة القطيع The herd instinct بحيث تكون لديه الرغبة في التفكير بشكل منفرد، كيف أمكن للرحالة البريطانيين أن يمروا فعلاً بتجربة المعاناة تحت الاحتلال؟ هنا يكمن إبداع فورستر الذي جعلهم يعيشون التجربة بالفعل وكأنها تجربتهم.

    في ذروة الأحداث يتم القبض على الدكتور عزيز بتهمة التعدي على مس اديلا كويستد البريطانية، وبينما يحاول فيلدنج أن يرى الحقيقة في هذا الاتهام، يجد أن جميع البريطانيين قد قرروا إدانته بالفعل، بل امتد قرارهم هذا ليشمل جميع الشعب الهندي لتصبح معركة عنصرية وكأن المستعمر قد وجد ضالته في هذا الاتهام، فقد وجد تأييداً ودعما لخطابه الاستعماري الذي يصور بربرية وهمجية الشعب بأكمله، يقول المحقق «إن لدي خبرة خمسة وعشرين عاما هنا وخلال هذه الفترة لم أعرف غير الكارثة التي تنشأ عندما يسعى البريطانيون والهنود إلى أن يتقاربوا اجتماعياً»، يحدد المستعمرون نظرياتهم وتوجهاتهم بشكل مسبق غير قابل للتعديل، ومن هذا المنطلق يبتكر فورستر روايته في مناخ من الغموض لتصبح رحلة الاستكشاف مهمة مأساوية، أعتقد أن الغموض هو مفتاح الرواية الذي يطمس أي محاولة لتقديم تعريفات وحلول مادية ملموسة.

    إلى العصر البدائي

    يجعل الغموض من الهند كيانا روحانيا لا يمكن بسهولة فك رموزه، والنتيجة كما يصورها لنا فور ستر هي مأساة الفشل في تكوين علاقات إنسانية سوية قائمة على الفهم المتبادل. يمكننا تتبع هذه الفكرة إذا حاولنا تفسير أحد الأبعاد الجوهرية في الرواية وهي كهوف المارابار الهندية The Marabar Caves والتي أبدع فورستر في تصويرها. يتركنا فورستر مع مشاهد الكهوف الغامضة المعقدة لنتساءل: كيف يمكن لكهوف المارابار أن تلعب ذلك الدور الدال لكشف بعض الحقائق التي يمكنها أن تساعد الرحالة في مهمة تحليل الموقف ورؤية حقيقته؟ وبما أن الرحلة الاستكشافية كانت بدافع فك ما صنعه الخطاب الاستعماري من غموض، كيف أضافت مشاهد الكهوف إلى صورة المعاناة تحت الاحتلال؟ إن الرحلة إلى الكهوف هي رحلة مكانية ـ زمانية يأخذنا فورستر في هذه الرحلة إلى العصر البدائي ما قبل التاريخ عندما كان كل شيء فارغا وموحشا وفوضويا، يأخذنا فورستر إلى عصر ما قبل الحضارة، ذلك العصر الذي يتصف بالفراغ والظلام واللاشيء. عاش الرحالة تجربة الإنسان البدائي داخل هذه الكهوف التراثية.

    كان للكهوف أثر موحش على كل من مسز موور ومس كويستد كجزء من مهمتهما التي هي في الأساس معايشة تجربة الاحتلال، ولقد جعلني فورستر بإبداعه أتخيل قاسماً مشتركاً، فالاستعمار مثله مثل هذه الكهوف يعود بالإنسان إلى العصور الحجرية عندما لم تكن هناك أي أشكال من الحضارة أو الثقافة أو التواصل الإنساني بين البشر، وتسلب أيديولوجية المستعمر روح التواصل الإنساني وترجع بأصحابها إلى عصر ما قبل التاريخ. يجعل الاستعمار من الإنسان كائنا بدائيا يعيش ظاهريا في القرن العشرين، ولكنه في الباطن يعيش حياة الإنسان البدائي وكأنه لم يتوصل إلى أي حضارة أو حداثة، وبذلك تكون الحضارة والحداثة في نظر فورستر تواصلاً إنسانياً وعلاقات إنسانية عميقة بين الشعوب.

    والآن ماذا كان أثر الكهوف على مسز موور؟ لقد صور لنا فورستر حالة اللاشيء التي عاشتها بمجرد أن دخلت إلى أحد الكهوف انتابتها حالة من الفزغ وضلت طريقها وفقدت إيمانها بالدين والحضارة والقيم والتواصل حتى مع أطفالها، وفي النهاية وقفت مكانها دون حراك، أما التجربة التي عاشتها مس كويستد فكانت تجربة اللاتوازن واختلاط الأمور، حيث انتابتها حالة هستيرية، حالة من فقدان الإنسانية والكرامة، وهرولت الاثنتان خارج الكهوف لتعلنا للجميع همجية الدكتور عزيز وبربريته، لقد ذهبتا إلى الكهوف كجزء من مهمة الاستكشاف والمعايشة الفعلية لتجربة الاستعمار، وأحد الحقائق التي تكشفاها هي فقدان الإنسانية والكرامة، ونتساءل هنا: لماذا اتهمتا الدكتور عزيز بالتحديد برغم الصداقة الراقية التي جمعتهم وبرغم التعاطف الذي كانتا تكناه له وللشعب الهندي بأكمله؟

    أعتقد أن الاتهام في حد ذاته هو جزء من الحقيقة التي جاء الرحالة لكشفها منذ البداية، وهي أن من ينتمون إلى الجنسية «السامية» للمستعمر لا يمكنهم التخلص من تحاملاتهم وعنصريتهم فهي أمور حتمية، إنها الأيديولوجية اللاشعورية فهي الحقيقة التي تكشفت، وهي التجربة التي عايشها الرحالة، وفي النهاية لم يستطع كل من فيلدنج والدكتور عزيز تكوين الصداقة رغم رغبة كل منهما فيها، فالأرض ترفضها وترمي بصخور لا يمكن السير بينها إلا فرادي والسماء ترفضها والطيور ترفضها، وسار حتى الجوادان كل في طريق مضاد للآخر.
    التعديل الأخير تم بواسطة M.o_o.N ; 12-04-2010 الساعة 01:32 AM

  7. #7
    مراقب الصورة الرمزية البـارع
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    that's great
    many thanks

    you're always the best

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    Thank you brother :D

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    شخصية بارزة الصورة الرمزية جاكوار2
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    استغفرالله العظيم واتوب اليه

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    مميز الصورة الرمزية N teacher
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    thanks sweetie

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    welcome friends :)

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    انجليزي خبير الصورة الرمزية Nanosh
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    Nanosh

    w e l c o m e

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    جزاك الله كل خير وبارك الله فيك

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    الفنكا

    بارك الله فيك و سدد خطاك

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    انجليزي جديد الصورة الرمزية pounding heart
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    Thank you my darling I hope for you happy life
    كــــــــــــــــــان عندك هــــــــــــــم لاترفــــــــــــع تقول ياإلـــــــــــــــه الكـــــــــــــــون همـــــــــــي كــــــــــــــــم كبـــــــــــــــر ........
    قـــــــــــــــــــــل ياهمـــــــــــــــي تـــــــــــــرى مهما تكون عنــــــــــــــــــدنـــ ـــــــــا رب كبيـــــــــــــــر يـــــــــــابشـــــــــر....................

  18. #18
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    رد: A Passage to India by E. M. Forster

    Pounding Heart

    I wish u happiness wherever you go :)

  19. #19
    انجليزي جديد
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    رد: A Passage to India by E. M. Forster

    its boring novel
    i read it this term

    thanx

    its agreat job

  20. #20
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    كيتول

    Its a new style .
    Thank you friend for stopping by.
    التعديل الأخير تم بواسطة M.o_o.N ; 09-04-2010 الساعة 04:04 PM

  21. #21
    انجليزي جديد الصورة الرمزية ㋡♥سَالفة ع’ـشَاق♥㋡
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    رد: A Passage to India by E. M. Forster

    Thank you very much..

    ^_^

  22. #22
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    سالفة عشاق

    Welcome sweety ^.^

  23. #23
    انجليزي جديد
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    Thanks alot. I love Dr. Aziz so much .He is a muslim .

  24. #24
    انجليزي جديد
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    رد: A Passage to India by E. M. Forster

    اشكرك

    ياليت اللي عنده الفلم يعطيني اياه

  25. #25
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    رد: A Passage to India by E. M. Forster

    ام راما الحلوه


    yes he is Muslim and good character

    thank you dear for being here :)

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