The+Accompanist

**The Accompanist – Anita Desai** ** This accommodates an inner sense of expression (what does this phrase mean?) where Bhaiyya keeps this as his secretive lifestyle and this most likely is the reflection of his growth as an introverted tanpura player. **  The concert stage is a reflection of the accompanist’s life. He is enclosed within the darkest part of the stage as he accompanies the Ustad (his master) as he strokes simple notes in to the surroundings (expression?) thus creates an aura of ambiguity both to the character and the readers. how does simplicity create ambiguity? He is simply the embodiment of virtues and commitment as feels his fulfillment in not having to go reach society’s expectations. Which expectations? Represented by whom? How? HowThe Ustad allows the accompanist to connect through music and understand that there is more to music than the tangible effects it brings upon such as status; The Ustad seems to enjoy his status? however, it’s unknown to the readers if the Ustad recognizes the level of commitment and unconditional love the accompanist feels for the Ustad. Proof that we can't figure this out? Quite a lot of weak expression here that makes it hard to understand what is being claimed... __**POV:**__ __Characters: __ ** What does the latter part of this sentence actually mean? ** ** Anita Desai implicitly uses the ambiguous nature of the accompanist’s life to create a certain approach in which the readers will have to interpret themselves. What about themselves? Whether this was done on purpose is unknown to readers as they are open for interpretations. What does this mean? Desai does progressively create an intense situation where there is too much pressure on the nature meaning? of the accompanist and WHO DOES? lets loose towards the end of the chapter. ** ** What is meant by 'repress his decisions'? ** ** What do you mean by 'were exaggerated? **
 * The title addresses the story as it states the relation of the narrator, Bhaiyya, with the main character of the story, Ustad Rahim Khan. The relation exists in two dimensions, on the surface, Bhaiyya plays the tam **** pura for the Ustad during his performances, yet a symbolic interpretation would be Bhaiyya accompanies the Ustad in whatever he does (Chiba) . **
 * Moreover, by referring himself as “the accompanist”, it puts emphasis on the message that Bhaiyya is not just a musician ** ** (Cheung) ****, but a person who stays with the Ustad throughout his journey in life. The title could have been "The Tanpura Player", which would simply put Bhaiyya along with the other musicians in Ustad's group. Through this act, it appears that he attempts to convince himself that he is better or more important to the Ustad than a simple tanpura player and was a true friend of the Ustad. **
 * Setting: **
 * The accompanist is brought up under (work on the accuracy of prepositions) humble surroundings where his family carries the tradition of creating instruments. As father like son, he was expected to play a wide range of instruments to keep the family tradition going. However, it was not Bhaiyya’s desire to carry this tradition on it was he who wanted an escape from reality. He outgrows his roots by being a part of the bustling lifestyle in the city by traveling around the bazaar and watching “as many as six cinema shows a week… with money stolen from his father, and mother.” (pg 61) **
 * He is meeting with the Ustad is like of a religious connection, where a lost soul finds its god with the feeling that the void has been filled and from there on, it can continues to live a life of dedication. **
 * On a grandeur wrong spelling scale, the picture what picture? that portrays Bhaiyya’s surroundings is in a social climate that is plagued with the superficial need to impress other through influence, power, and especially status. evidence of this? He is forced to marry, How does this example prove your claim? when it is briefly mentioned, "I even married. That is, my mother managed to marry me off to some neighbour's daughter of whom she was fond. The girl lived with her. I seldom visited her,” (Agnes) suggests that socially, Bhaiyya’s is uninterested about what is set out by society except his connection the Ustad. (Pang) Proof? **
 * Plot: **
 * The story follows flashbacks of the narrator’s memories and thoughts. The story exposes the emotion and reason behind the protagonist’s act in committing his life to the Ustad and his pursuit of commitment and purpose in life. **
 * The story has a clear plot, with exposition, rising action, climax and resolution (Pang) . It follows the emotional struggle of the narrator. The plot follows his journey as a musician, from how he was influenced by his father, to meeting and playing for the Ustad, to following him around in every aspect of life, with the climax being the internal monologue where he confesses as to doubting his own faith in the Ustad for whom he plays a simple tanpura. At this point, Bhiayya is portrayed as content and confident, but then came the test by his peers, where he is subjected to emotional distress. It is the turning point of the story and causes readers to view Bhaiyya and the incidents before the climax in a different light. The climax was resolved by the reassurance of himself that his purpose in life, was to play for the Ustad and he decides to be content with his life. (Cheung) **
 * Another interpretation of the plot is that it is plotless, as it moves between flashbacks of memories (refer to Structure), and therefore does not build up to a point of emotional distress of the character, but are simply loosely binded incidents which expresses Bhaiyya's views on his own life and his own reflection and evaluation of it. **
 * And how convinced are we of this? **
 * Structure: **
 * The story does not seem to follow any chronological order, though it could be argued that the flashbacks are structured chronologically, as the story puts flasbacks of his childhood, then his tours with the Ustad and incidents of being with the Ustad. But undoubtedly the story moves fluidly between flashbacks of memories and the internal monologue of the narrator. The flashbacks of memories lay the foundation for the internal monologue to convey and clarify the message and meaning of the flashback and to provide emotional justification for the narrator’s thoughts and actions. For example, the story started with a flashback of the protagonist, back when he was only 15 years old and just got accepted by the Ustad to be his tanpura player. It was then followed by a paragraph of emotional justification, of why the protagonist decides to play “for him since them, for no one else”, and how “It (playing) is my entire life.”And the reason was that there was a bond between the two individuals, “the relationship of love”. Even though the story was based on flashbacks, the author was able to structure the flashbacks in a logical manner that follows the emotional development of the character. The emotional development and changes of the character is what drives the story and towards the climax where the Bhaiyya is stressed and doubts whether his decision in playing for the Ustad was the correct one. (Cheung) **
 * Good comment. A clear claim, evidence for that claim, and analysis of it. **
 * __Theme:__ **
 * The story reflects a conflict between a man and himself and another that is between a man and society. **
 * He is in conflict with society because the community around him progressively verbally attacks him as he ages on the basis of why he wasted both his life and opportunity in which he could have gone far beyond the boundaries of the daily lifestyles most people are forced to live under. Those around him portray his life as if it was almost tangent to the spectacles of other people’s expectations. What does this mean? Granted, his choices were a matter of other people’s business such as the critics in the back of the concert hall when in essence, none are. What does this mean? **
 * The man is in conflict with himself when he starts to question his beliefs and his initiative to live under the influences of the Ustad. He wonders if he could have taken the pleasures of the materialistic world where he would have enjoyed the advantages if he was to be given the opportunities to play the other instruments. He suffocates under the words of sorrow This sounds a bit melodramatic! and searches for a meaning or destiny that he feels as if he needs to condition to. meaning? He relieves himself by letting go of his inner fears and understands that his dogged dedication in playing the //tanpura// is not only instrumentally atoned to the Ustad’s music, but also influences his discipline and simplistic views in life. Explain. **
 * __Influences of Relationships__ **
 * The Accompanist chapter short story? takes into account a strong insight of how much depth or value that can be dragged into a person either by force or self-provocation. What does this mean? This is especially the case with Bhaiyya who lives his life in a simplistic and meditative core to what he truly desires for himself. Proof? According to his friends, he’s meant to achieve a celebratory life in which he could enjoy the luxuries, pleasures, and advantages of the Ustad. Proof? However, he reacts either subconsciously or unconsciously to this by asking himself whether or not he wasted his life. Shown how? Although he felt genuine feelings for his connection with the Ustad and such feelings were so strong that he even shunned his own family. finish ** These influences of relationships shaped Bhaiyya’s life and he was blinded by his imaginations and narrow world. (Cheung). A series of unproven claims. They may be right, but you have to prove it!
 * __The Beautiful and Ugly Sides of Love__ **
 * “Beauty is in the eye of the beholder.” What is entailed as What do you mean? beauty to Bhaiyya is a total contrast to what those around him consider beauty. Bhaiyya sees beauty in the simple concept of devoting himself to the Ustad and playing the simple chords of the tanpura- even if it were to be played in redundancy. Although he as a lot of respect for the Ustad, he does recognize that the Ustad has this sense of ‘almost concealed’ connection to Bhaiyya. Meaning what? Granted, Why 'granted'? this doesn’t hinder Bhaiyya’s unconditional love for the Ustad. It is hard to cork out what? the reasoning behind his perception of love as his life seems to be centered on the moment he met the Ustad, which means is the Bhaiyya living a worthwhile? life of humility or delusion? good question However, what is important is that through his unconditional love for the Ustad, he is able to find comfort in the end by knowing he was given the opportunity to live a life separate from the street kids and that he aspired to live his life in his own way. (Pang) Explore this paradox--of living for himself by being a follower. Quite interesting. **
 * The ugly side of his love for the Ustad is in that he creates his own fantasy of the Ustad’s presence in his life where it is highly likely that the Ustad reflects Bhaiyya in an impersonal manner. What does this actually mean? Bhaiyya had to outweigh his family life meaning what? to live his life as an accompanist. Unfortunately, he has no one to depend on because he rarely pays visits to his family and could ‘barely remembers her name, her face’ (wife). Near the end of the chapter, it is evident that his friends gave him a wakeup call for his life. It shows that Bhaiyya was narrowly focused on the life of his own what does this mean? and couldn’t even relieve his inner fears and confusions about his own life. (Ho) **
 * A lot of points I don't get here because the expression is unclear. **
 * The story is told from ** ** the point of view of the tanpura player, the first person narrator. Only through the first person narration can the internal monologue of the character be portrayed accurately thus allowing readers to delve into the narrator’s emotional state and attitude towards life. As mentioned in the structure, the emotional development and changes drives the story, thus without using this point of view, the story will be unable to convey the theme of the conflict between a man and himself and another that is between a man and society to the readers (Pang). For example, “You may think I am exaggerating our relationship. My Ustad’s need for me, his reliance on my tanpura” (Pang), it is only because we could acquire knowledge of Bhaiyya’s feelings, that the theme of the conflict between man and himself could be portrayed as it deals with thoughts and emotions and a third person narration lacks the perspective and depth of first person narration. While this may cause readers to doubt the views of the narrator and question whether it is rational and justifiable (Cheung) , the story’s focus is on the emotional development of the character rather than a logical progression of development of the character. **
 * Interesting points. **
 * Ustad: The Ustad is looked up to with the presence of a God that gave a lost and desperate soul the chance to redefine and relive ? his life. The sort of unconditional love is apparent especially when the accompanist even will give up playing the tanpura as long as he can be a part of the Ustad’s life, whether it be significant or not. What page is that on? Although the Ustad doesn’t extend himself meaning? and makes the accompanist feel special, does he? the accompanist creates an fantasy of him being destined to be a part of the Ustad’s life. shown how? The position in which the Ustad is portrayed is very central to the idea that he is the focus and center of attention and his presence is not to be doubted with. **
 * Bhaiyya’s father: He is a disciplinary man that felt the duty to pass the family traditions to be knowledgeable about the different instruments. The accompanist was able to overcome the elementary technicalities of playing an instrument, yet he remains uninterested. in what? He is from a family of instrument makers. However, the accompanist later realizes that it was perhaps necessary for him to pick up the instrument and even though it wasn’t going to be something he may have been passionate about, it was under his own dispense meaning? to define himself through music. This does come into account meaning? throughout the story because the accompanist doesn’t look too much into the fact that he is gaining enjoyment out of playing an instrument, but rather he is in enjoyment with the idea of accompanying a person of respect with the instrument he feels he is suited for. **
 * Critics: The critics who are they in relation to the accompanist? represent the intolerant manner of society and the hypocrisy that revolves around it. They give suggestions as to what the accompanist may have achieved if he were to take the path of becoming an Ustad, when they are undeniably the ones who have no say for they themselves have achieved nothing worthy in life. but the suggestion is that the accompanist has musical talent, isn't it? The underlying concern is that the accompanist wasted his life and his talents were of no ordinary men, so he had to use this to his advantage. These suggestions are surfaced in violent forms meaning? where the accompanist feels as if “they were climbing on top of me, choking me, grabbing me by my hair and dragging me down.” Although this does rest ashore what? the hypocrisy of the men and the disregard for the accompanist’s own personal feelings, it does extend a reflection for the accompanist to come forth and truly underline his purpose in servicing the Ustad. what does this mean? **
 * On the other hand, there are some readers who may come to the assumption that Bhaiyya was disillusioned and the critics were lending a hand to assist Bhaiyya in making the right choices. Bhaiyya is letting go of precious opportunities to really become a top talented musician and the only way to change his mindset is to use personal attacks from his old pals. If the intentions are right –then they have assisted him in bringing him back to reality. Okay--but he rejects their position. Bhaiyya should be able to take hard criticism and understand that they are for his own good. His exposures to such criticism will ultimately make him grounded in his decisions and make him view his life on a wider perspective. (Pang, Ho, Chiba) But he ends the story, rejecting their position, doesn't he? I agree that it's almost impossible to decide whether he has actually wasted his life or found his true destiny. Why does the author leave this ambiguous? **
 * Atmosphere: The atmosphere is basically the flesh of the story be analytical, not figurative. Your job is to analyuse Desai's style in which the idea of what do you mean 'idea of the tanpura'? the tanpura reflects the accompanist’s life. The accompanist experiences a lot of confusion and doubt about his simplistic choices in life. Proof? He isn’t free to express his forbidden colors MEANING? possibly as a great musician or dedicated person to other realms of life as he continues question himself and fears that his life was left into remains What does this mean? by asking “Were they right? Was this true? Had I wasted my life” (p. 67) He then takes moments to flashback on his life and understands that it was the Ustad who gave breadth and purpose to his life. In return, he expects himself to fully commit to the Ustad’s command in a respectable manner. Are we convinced? **
 * Tone: The tone of the story is solemn and personal throughout as it conveys the meaning of life for the narrator. For example “I had found my purpose in life and by following it without hesitation…I found such satisfaction that I no longer wished of make sure you quote accurately anything else.” The parallel construction of the sentences emphasizes the message that the author wants to convey to readers. The diction also aids the conveying of the themes as it is clear and concise. In another line, “We never diverge we leave and we arrive together. Is this not love? No marriage was closer.” Here the author uses a rhetorical question to induce thought into readers, again emphasizing and giving clarity the author’s message of questioning the influences of relationships. What about them? The tone of the story also expresses a sense of self-certainty. The narrator constantly repeats the depth of the relationship between him and the Ustad, and how the narrator views that no other relationship could compare to the one he has with the Ustad. While another interpretation of this occurrence would be the narrator is dramatizing and exaggerates the relationship and is trying to delude himself into believing what he is saying by constantly repeating it throughout the narration (Cheung) . Good point. **
 * Throughout the story, there are surges of emotions demonstrated by the narrator (Chiba) , especially at the climax of the story where Bhiyya doubts his decision in following the Ustad. Yet the expression of these emotions were still formal and serious, and also with deep conviction and sincerity. For example, during one of the internal monologues at the climax of the story, Bhaiyya asks rhetorical questions of his situation, "Were they right? Was this true? Had I wasted my life? As i ran and pushed, half-crying, I thought these things for the first time in my life, and they were frightening thoughts--large, heavy, dark ones that threatened to crush and destroy me" (Chiba) . While figurative language is demonstrated by the imagery of "heavy, dark ones (thoughts)", the tone does not change. Even during parts of the story where the narrator was reminiscing on his childhood memories, but the tone still keeps a personal and mysterious tone, **Why mysterious? **such as the line "When I was a boy many other things existed on earth for me". It gives readers a sense of a person that has gained a new perspective of life and is dismissing his life before he obtained his epiphany. **
 * Style: is the usage of literary words and techniques to influence readers to think in a certain manner and create a flow in the course of the story (Pang). What does 'create a flow' actually mean? **
 * The use of first person narration is a strong influence to the story as it can create a certain bias for the narrator’s mood and feelings (Cheung) . Readers must take into account the accentuation the accompanist puts on his simplistic lifestyle. The readers either can take this as a man with great humility or a delusion. It is difficult to sympathize with the narrator when he gets provoked by his friends’ demeaning comments about his life. His uncontrollable emotions are let loose For example? and it is hard to sympathize with the narrator as he was unwary of his own actions and desires and was forced to repress and reason with his decisions **
 * There are a few and key literary usage of metaphors and the use of flashbacks (Chiba) . Metaphors is largely circulated around the idea of a god-like figure for the Ustad where he is metaphorically put into terms ‘of a god.’ Descriptive words such as ‘chiefhouseold deity’ and the Ustad ‘created my life’ are phrases to invoke personal feelings for Bhaiyya. His idolization for the Ustad influences the course of the short story as everything he does reflects back to the moment where he met the Ustad. These metaphorical phrases also forces readers to question the use of such phrases and why they were exaggerated. **
 * The use of flashbacks is an opening window to Bhaiyya’s present life (Pang) . He struggles to understand the decisions he makes and what others reflect their opinion on him. The need to justify with his current self by identifying the phases in which he had to adopt many musical trainings to learn a variety of instruments is one of many consequential thoughts he puts into mind. meaning? Another dissatisfying moment in his life was when he led a shallow life by constantly spending his time in the cinema and bazaars only to realize that his moments with the Ustad was perhaps a turning point in his life. Most if not all of his wandering past were building blocks for him to come to delude meaning? or influence the way he thinks of the Ustad and his way of life. This style of writing gives readers the insight into why Bhaiyya lives life the way he does. **