Tuesday, September 20, 2016

Semantics

Semantics can be defined as "the study of the meaning of morphemes, words, phrases and sentences."
You will sometimes see definitions for semantics like "the analysis of meaning," To see why this is too broad, consider the following. Kim, returning home after a long day, discovers that the new puppy has crapped on the rug, and says "Oh, lovely."
We don't normally take this to mean that Kim believes that dog feces has pleasing or attractive qualities, or is delightful. Someone who doesn't know English will search the dictionary in vain for what Kim means by saying "lovely":

(ADJECTIVE): [love-li-er, love-li-est].

    1. Full of love; loving.
    2. Inspiring love or affection.
    3. Having pleasing or attractive qualities.
    4. Enjoyable; delightful.
Obviously this is because Kim is being ironic, in the sense of "using words to convey the opposite of their literal meaning". Kim might have said "great," or "wonderful," or "beautiful", or "how exquisite", and none of the dictionary entries for these words will help us understand that Kim means to express disgust and annoyance. That's because a word's meaning is one thing, and Kim's meaning -- what Kim means by using the word -- is something else.
There are lots of other ways besides irony to use words to mean something different from what you get by putting their dictionary entries together. Yogi Berra was famous for this: "if you can't imitate him, don't copy him;" and "you can observe a lot just by watching" and dozens of others.
In fact, even when we mean what we literally say, we often -- maybe always -- mean something more as well. The study of "speaker meaning" -- the meaning of language in its context of use -- is called pragmatics, and will be the subject of the next lecture.
Philosophers have argued about "the meaning of meaning," and especially about whether this distinction between what words mean and what people mean is fundamentally sound, or is just a convenient way of talking. Most linguists find the distinction useful, and we will follow general practice in maintaining it. However, as we will see, it is not always easy to draw the line.
Word meaning and processes for extending it
Word meanings are somewhat like game trails. Some can easily be mapped because they are used enough that a clear path has been worn. Unused trails may become overgrown and disappear. And one is always free to strike out across virgin territory; if enough other animals follow, a new trail is gradually created.
Since word meanings are not useful unless they are shared, how does this creation of new meanings work? There are a variety of common processes by which existing conventional word meanings are creatively extended or modified. When one of processes is applied commonly enough in a particular case, a new convention is created; a new "path" is worn.
Metaphor
Consider the difference in meaning between "He's a leech" and. "he's a louse." Both leech and louse are parasites that suck blood through the skin of their host, and we -- being among their hosts -- dislike them for it. Both words have developed extended meanings in application to humans who are portrayed as like a leech or like a louse -- but the extensions are quite different.
According to the American Heritage Dictionary, a leech is "one who preys on or clings to another", whereas a louse is "a mean or despicable person." These extended meanings have an element of arbitrariness. Most of us regard leeches as "despicable," and lice certainly "prey on" and "cling to" their hosts. Nevertheless, a human "leech" must be needy or exploitative, whereas a human "louse" is just an object of distaste.
Therefore it's appropriate for the dictionary to include these extended meanings as part of the meaning of the word. All the same, we can see that these words originally acquired their extended meanings by the completely general process of metaphor. A metaphor is "a figure of speech in which a term is transferred from the object it ordinarily designates to an object it may designate only by implicit comparison or analogy." For instance, if we speak of "the evening of her life", we're making an analogy between the time span of a day and the time span of a life, and naming part of life by reference to a part of the day.
In calling someone a leech, we're making an implicit analogy between interpersonal relationships and a particular kind of parasite/host relationship.
This kind of naming -- and thinking -- by analogy is ubiquitous. Sometimes the metaphoric relationship is a completely new one, and then the process is arguably part of pragmatics-- the way speakers use language to express themselves. However, these metaphors often become fossilized or frozen, and new word senses are created. Consider what it means to call someone a chicken, or a goose, or a cow, or a dog, or a cat, or a crab, or a bitch. For many common animal names, English usage a conventionalized metaphor for application to humans. Some more exotic animals also have conventional use as epithets ("you baboon!" "what a hyena!") No such commonplace metaphors exist for some common or barnyard animals ("what a duck she is"?), or for most rarer or more exotic animals, such as wildebeest or emus. Therefore, these are available for more creative use. The infamous ‘water' of a few years ago was apparently a case where what was began as a fossilized metaphor coming from a language other than English was interpreted as a much more offensive novel usage.
Sometimes the metaphoric sense is retained and the original meaning disappears, as in the case of muscle, which comes from Latin musculus "small mouse".
Metonymy and synecdoche
Metonymy is "a figure of speech in which an attribute or commonly associated feature is used to name or designate something."
Synecdoche is "a figure of speech by which a more inclusive term is used for a less inclusive one, or vice versa."
Like metaphors, many examples of metonymy and synecdoche become fossilized: gumshoe, hand (as in "all hands on deck"), "the law" referring to a policeman. However, the processes can be applied in a creative way: "the amputation in room 23".
It often requires some creativity to figure out what level of specificity, or what associated object or attribute, is designated by a particular expression. "I bought the Inquirer" (a copy of the newspaper); "Knight-Ridder bought the Inquirer" (the newspaper-publishing company); "The Inquirer endorsed Rendell" (the newspaper's editorial staff); etc. "Lee is parked on 33rd St." (i.e. Lee's car, perhaps said at a point when Lee in person is far away from 33rd St.).
For more examples, consider the guidelines for annotating "geographical/social/political entities" in the ACE project (extract from this longer document).
Connotation/denotation
The word "sea" denotes a large body of water, but its connotative meaning includes the sense of overwhelming space, danger, instability; whereas "earth" connotes safety, fertility and stability. Of many potential connotations, the particular ones evoked depend upon the context in which words are used. Specific kinds of language (such as archaisms) also have special connotations, carrying a sense of the context in which those words are usually found.
Over time, connotation can become denotation. Thus trivial subjects were originally the subjects in the trivium, consisting of grammar, rhetoric and logic. These were the first subjects taught to younger students; therefore the connotation arises that the trivium is relatively easy, since it is taught to mere kiddies; therefore something easy is trivial.
Other terminology in lexical semantics
In discussing semantics, linguists sometimes use the term lexeme (as opposed to word), so that word can be retained for the inflected variants. Thus one can say that the words walk, walks, walked, and walking are different forms of the same lexeme.
There are several kinds of sense relations among lexemes. First is the opposition betweensyntagmatic relations (the way lexemes are related in sentences) and paradigmaticrelations (the way words can substitute for each other in the same sentence context).
Important paradigmatic relations include:
1.  synonymy - "sameness of meaning" (pavement is a synonym of sidewalk)
2.  hyponymy - "inclusion of meaning" (cat is a hyponym of animal)
3.  antonymy - "oppositeness of meaning" (big is an antonym of small)
4.  incompatibility - "mutual exclusiveness within the same superordinate category" (e.g. red and green)
We also need to distinguish homonymy from      polysemy: two words are homonyms if they are (accidentally) pronounced the same (e.g. "too" and "two"); a single word is polysemous if it has several meanings (e.g. "louse" the bug and "louse" the despicable person).
Lexical Semantics vs. Compositional Semantics
In the syntax lectures, we used the example of a desk calculator, where the semantics of complex expressions can be calculated recursively from the semantics of simpler ones. In the world of the desk calculator, all meanings are numbers, and the process of recursive combination is defined in terms of the operations on numbers such as addition, multiplication, etc.
The same problem of compositional semantics arises in the case of natural language meaning. How do we determine the meaning of complex phrases from the meaning of simpler one?
There have been many systematic efforts to address this problem, going back to the work of Frege and Russell before the turn of the 20th century. Many aspects of the problem have been solved. Here is a simple sketch of one approach. Suppose we take the meaning of "red" to be associated with the set of red things, and the meaning of "cow" to be associated with the set of things that are cows. Then the meaning of "red cow" is the intersection of the first set (the set of red things) with the second set (the set of things that are cows). Proceeding along these lines, we can reconstruct in terms of set theory an account of the meaning of predicates ("eat"), quantifiers ("all"), and so forth, and eventually give a set-theoretic account of "all cows eat grass" analogous to the account we might give for "((3 + 4) * 6)".
This sort of analysis -- which can become very complex and sophisticated -- does not tell us anything about the meanings of the words involved, but only about how to calculate the denotation of complex expressions from the denotation of simple ones. The denotation of the primitive elements -- the lexemes -- is simply stipulated (as in "the set of all red things").
Since this account of meaning expressed denotations in terms of sets of things in the word -- known as "extensions" -- it is called "extensional".
Sense and Reference
One trouble with this line of inquiry was raised more than 100 years ago by Frege. There is a difference between the reference (or extension) of a concept -- what it corresponds to in the world -- and the sense (or intension) of a concept -- what we know about its meaning, whether or not we know anything about its extension, and indeed whether or not it has an extension.
We know something about the meaning of the word "dog" that is not captured by making a big pile of all the dogs in the world. There were other dogs in the past, there will be other dogs in the future, there are dogs in fiction, etc. One technique that has been used to generalize "extensional" accounts of meaning is known as possible worlds semantics. In this approach, we imagine that there are indefinitely many possible worlds in addition to the actual one, and now a concept -- such as dog -- is no longer just a set, but rather is a function from worlds to sets. This function says, "Give me a possible world, and I'll give you the set of dogs in that world."
Like many mathematical constructs, this is not a very practical arrangement, but it permits interesting and general mathematics to continue to be used in modeling natural language meaning in a wider variety of cases, including counterfactual sentences ("If you had paid me yesterday, I would not be broke today").



Thursday, September 1, 2016

Bhiksu University of Sri Lanka-External English Courses-The Stench of Kerosene

The Stench of Kerosene by Amrita Pritam deals with the death of Guleri, the young wife of Manak.  It's a case of suicide caused by immense mental unrest. Guleri had gone home for their harvesting festival. The arrival of the horse and her parent's servant makes her happy and that happiness remains until she disappears from the scene.
She did not have to express her excitement in words. The look on her face was enough. But, her husband, Manak was not very happy. "Her husband pulled at his hookah and closed his eyes. It seemed as if he either did not like the tobacco or that he could not bear to face his wife".
In this short story, Guleri's character shines winning the sympathy of the readers. Guleri, a cheerful girl coming from a well-to-do family and her marriage to Manak, her failure to give Manak's family a son, creates a terrific situation for her tragic end and the reader's immediate sympathy is with the heroine of the story, Guleri. She was the pleasant young girl, who ended her life in an extremely tragic manner.
Guleri, pouring kerosene over her body and setting fire to herself committed suicide, after hearing about her husband bringing a second wife during her absence.
"Guleri is dead" Bhavani said in a flat voice. "What? When she heard about your second marriage, she soaked her clothes in kerosene and set fire to them".
Manak getting highly saddened and worried;
"Manak, mute with pain, could only stare and feel his own life burning out".
And his second wife feeling that she was not his real wife, "I am not his wife, I'm just someone" paves way for the setting up of a tragic and complicated background, from which Manak's mother appears with the feeling that Manak would come back to normal, when the new born baby, his son is placed in his arms, but to her extreme sadness Manak shouts hysterically.
"Take him away, he stinks of kerosene" Thus, reflecting the tragic image of Guleri's suicide casting a shadow of extreme unpleasantness and making the second wife and the whole family unhappy. Manak's attitude towards the proposal of his mother stands as a contrast to his own inclination ".... obedient to his mother and to custom Manak's body responded to the new woman, but his heart was dead with in him" Indian Culture is such that a married woman should bring a son to the family.
If a woman fails to fulfil this role, she is not successful, in marriage and is rejected. Thus Manak's mother escapes a reasonable percentage of being getting accused for bringing a second wife for her son, Manak. Not that she hated Guleri, but Indian culture had influenced her to the extremes of believing in the gift of a son to the family.
On the other hand, Guleri's parents were rich and they wanted a man from a good family, for their daughter. "But, Guleri's father was prosperous and has lived in cities. He had sworn that he would not take money for his daughter, but would give her to a worthy man from a good family."
Guleri, failing to give Manak's family, a son having waited for seven years and the sad end to her life, could have been sad even from the early days of her marriage. In India, the 'mother' is supposed to be a representative of Indian culture.
A mother enjoys an important place, if she is able to fulfil a mother's part meeting with the expectations of motherhood; these being the customs and traditions of Indian culture.
Therefore the death of Guleri could be called "cultural violence" in Indian society, though not recognized as violence; in reality it is a violent act leading to the death of a person.
In the short story, The Stench of Kersene, the writer, points out in simple diction the "theme of violence" present in the culture of Indian society. Amrita Pritam gives a clear picture of the episodes with the appropriate choice of a family setting and the intended aim and view of marriage in typical Indian Society. "The family setting of the extended family".
The story of the "Stench of Kerosene" begins with the "climax fairly close" to the events in the past and giving a complete picture of the proceedings creating "a full picture of the whole tragedy" Guleri ending her life in the most tragic manner the birth of a son to Manak's second wife, Manak, refusing to take the baby saying he gets the smell of kerosene, creates a suitable background making the title "The Stench of Kerosene" ideal. The strain of dramatic effect running throughout the story reveals the whole episode in a very eloquent manner.
The simple and short dialogue creating a cinematic effect and the instant change of scenes is quite effective. The symbolic use of the flute, which Gulari treasured and the notes played only to be heard by her, hiding it under the dupatta before she left the house is set up in an elegant manner inviting the reader's direct attention to the happy events in Guleri's life.
Manak playing his flute as they walked or were at the fair, made Guleri believes that the music brought her joy, taking her closer to Manak's heart. Thus the flute standing as a symbol of joy in their lives.
"He looked at her sadly. Then putting the flute to his lips blew a strange and anguished wail" striking the signal for the tragedy - anticipating the tragic end. Bhavani announcing the sad end of Guleri "When she heard of your second marriage, she soaked her clothes in kerosene and set fire to them" Manak getting mute with pain "He stared a long time uncomprehending, his face as usual expressionless" and his sudden scream filled with horror when his baby son was given to his hands. "Take him away, he shrieks hysterically.
Take him away he stinks of kerosene." The repetition of the words "Take him away" emphasizes his indifferent attitude, his extreme dejection. The story in brief is not that of Manak's wife's tragic death, alone, but it also touches upon the arrival of another woman to Manak's house and becoming an occupant.
Kerosene being inflammable, odorous and dangerous fuel symbolizes the intense sorrow and disaster caused to Guleri, as a result of Manak's 'family conceptions'.
The flute with its melodious notes and Guleri's extreme desire to listen to it when played by her husband.
The music of the flute associating with joy and stench of Kerosene associating with the tragic death of Guleri emphasising the contrasting events in the "married life" of Manak and Guleri; due to the contrasting features of Indian culture and the basic rights of man and woman marriage creating an extremely unpleasant and tragic atmosphere.
"The days went by Manak resumed his work in the fields and ate his meals when they were given to him. But, he was like a dead man; his face blank; his eyes empty."


Bhiksu University of Sri Lanka-External English Courses-Formal Letters

No.12,
Kandy Road,
Anuradhapura.

04th September, 2016.

Brand New Computers,
No.10,
Galle Road,
Colombo- 02.

Dear Sir,

Order for computers-DN/16

I have recently ordered 10 computers from your company. I received the order on 31st August, 2016. Unfortunately, when I opened them, I saw that some computers had been used.  
To resolve the problem, I would like you to credit my account for the amount charged for the computers. I have already bought ten computers.
I am thankful to you for taking the time for reading this letter. I have been a satisfied customer of your company for many years and this is the first time I have encountered such a problem. If you need to contact me, you can reach me on 071-8884444.
Thank you.
Yours sincerely,

----------------------------
Ravi Fernando



Manager,
Abans LTD,
 No.12, New Town,
Anuradhapura.

04th September, 2016.


Director,
Advanced English Academy,
Kandy Road,
Anuradhapura.
Dear Sir,
Inquiry about English Courses
I am writing to inquire whether your institute could offer an English Course for our Staff Members. I saw your advertisement in the Daily News on Thursday, 25th August, 2016 and the English Course mentioned in the advertisement might be suitable for us. I would like to know if it is possible for you to offer a 03-month English Course starting from October, 2016 during weekends for a group of 10 members.
Could you please send us some information about the teaching staff, monthly payment and the possible schedule for this course?
I am looking forward to receiving your reply.
Thank you.
Yours faithfully,
----------------------

D.S. Ranepura   

Formal Letters-Bhiksu University of Sri Lanka-External English Courses-2016


No.12,
Kandy Road,
Anuradhapura.

04th September, 2016.

Brand New Computers,
No.10,
Galle Road,
Colombo- 02.

Dear Sir,

Order for computers-DN/16

I have recently ordered 10 computers from your company. I received the order on 31st August, 2016. Unfortunately, when I opened them, I saw that some computers had been used.  
To resolve the problem, I would like you to credit my account for the amount charged for the computers. I have already bought ten computers.
I am thankful to you for taking the time for reading this letter. I have been a satisfied customer of your company for many years and this is the first time I have encountered such a problem. If you need to contact me, you can reach me on 071-8884444.
Thank you.
Yours sincerely,

----------------------------
Ravi Fernando




Manager,
Abans LTD,
 No.12, New Town,
Anuradhapura.

04th September, 2016.


Director,
Advanced English Academy,
Kandy Road,
Anuradhapura.
Dear Sir,
Inquiry about English Courses
I am writing to inquire whether your institute could offer an English Course for our Staff Members. I saw your advertisement in the Daily News on Thursday, 25th August, 2016 and the English Course mentioned in the advertisement might be suitable for us. I would like to know if it is possible for you to offer a 03-month English Course starting from October, 2016 during weekends for a group of 10 members.
Could you please send us some information about the teaching staff, monthly payment and the possible schedule for this course?
I am looking forward to receiving your reply.
Thank you.
Yours faithfully,
----------------------
D.S. Ranepura  




Sunday, August 14, 2016

Adv.L Literature -Action and Reaction- Comments by Gamini Fonseka

Action and Reaction, which is based in Sri Lanka, has a Buddhist theme. It demonstrates in a Buddhist perspective how the law of causation, which is known in Buddhism as kamma  (action) and vipaka (repercussion) process, operates in the dittha dhamma vedaniya  mode, having "immediate effects” within the current life itself ."Karma is volition," says the Buddha, meaning both good and bad mental action. It is not an entity, but a process of action, energy and force. It is our own doings reacting on ourselves. A person experiences pain and happiness as results of his or her own deeds, words and thought sreacting on themselves. Our own deeds, words and thoughts produce our propensity and failure, happiness and misery.Since there is no hidden mediator directing or administering rewards and punishments,Buddhists should not rely on prayer to some supernatural forces to influence karmic results. TheBuddha admonished that karma is neither predestination nor determinism imposed on us by some mysterious, unknown powers or forces to which we must in vain offer ourselves.(Peiris, 2003)An understanding of the Buddhist explanation to kamma  (as presented above) is useful in appreciating this story because the protagonist’s internalization of kamma is crucial in development of its plot. The narrator is Mahinda, a medical professional. He is the nephew of the protagonist Loku Naenda(Elder Aunty) who is known in her village as Payagala Hamine. Mahinda’s father is Loku Naenda’s younger brother. Loku Naenda is the eldest in the family and everybody is respectful to her as a very good and generous woman ” . The story that encapsulates some childhood, youthful, and adult memories Mahinda treasures of Loku Naenda, spans over a period of some years from Mahinda’s  life, to show howLoku Naenda suffers deprivation in her old age in reaction to the despotic actions she committed during her middle age. In her old age she surrenders herself to the one whom she victimized in her middle age. The little girl Kusuma, who once becomes Loku Naenda’s  victim, grows into a monster,
“A replica of her employer” (Landow, 1989), to victimize the latter, who has now lost her power over everything in her surroundings. The reaction for her action becomes unbearable but there is no room to complain mainly because it is interpreted in the same terms Loku Naenda used during her heyday. What Loku Neanda did under the cover of virtue boomerangs on her and she is compelled to suffer silently in fear that her image would disintegrate once she opens her mouth.
Loku Naenda the Ever Virtuous and Charitable
 In an extended family in a traditional Buddhist rural environment, through a social convention Loku Naenda fits to be the role model for everybody to follow. “She's an example to us all." The claim made by Mahinda’s father as an intellectual in the family convinces everybody. Loku Neanda’s adherence to the Buddhist concepts of

Sadhdhhaa and ahimsaa  is exemplified in Mahinda’s claim that “even the most insignificant creature benefited from Loku Naenda's attentions” . It is established by his observation of her attempt to save “some ants that had fallen into a basin of water”. Also Chitra Fernando provides a good reason for Loku Naenda’s abstinence from stealing. “She had everything she wanted.” It is implied that, as she is materially fortified, her spirituality is sustained by itself. As nobody dares to probe into the veracity of whatever she says, all accept her often-made claim that she never lied. “Loku  Naenda's conduct was always irreproachable. ” On the basis of the moral standards maintained in the rural aristocracy of Sri Lanka, there is nobody in the microcosm of this village to challenge Loku Nanenda’s virtue. Chitra Fernando achieves humour through all these claims about Loku Naenda’s  goodness that people make within a social hierarchy where she occupies the apex. She even gives a good reason out of Loku Naenda’s physique for her committed celibacy. Her “board” torso, “short” stature, “very dark “complexion, “thick” lips, “coarse” skin, “large” moles on the top of her nose and her chin and “very small” knot of hair “at the back of her head” are not attractive features or a man of her own class to marry her. So the safe distance she keeps from all men has two reasons: a man from her own class would not marry her for her wealth; and she does not want to marry a man below her class out of her arrogance. Her religious and medical interpretations of “drinking” and “smoking” evoke laughter in the narrator as they suggest a morality peculiar to herself. The fuss she makes about Mahinda and Siripala, caught byPunchi Naenda, sharing a cigarette is evidence of her interpretation of all pleasures and pastimes peoplehave, in terms of karma  and the gratification of senses leading to a prolongation of the existence in sansara.  The cacophonous admonitions she makes on such occasions ruin all possibilities for the otherto correct himself rather than help to ameliorate his behaviour. “So I continued to look the other way.”Mahinda’s nonchalant reaction implies that Loku Naenda ’s correctional strategies have no impact on her followers. The toughness of Loku Naenda is realized not only by her younger generation but also by themembers of her own generation. Despite her unreserved admiration of Loku Naenda’s “generosity andcompassion” presented in longwinded panegyrics , the unmarried Punchi Naenda (Younger Aunty)prefers to live in Mahinda’s house , implying that a normal person cannot put up with the eccentricitiesof Loku Naenda. 

Sunday, July 31, 2016

A PASSAGE TO INDIA E. M. Forster Themes


 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.”
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.


“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.
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.
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.
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.


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.
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.