Narrative techniques in Ravinder Singh's can love happen twice? and your dreams are mine now

UNIVERSITE DE KISANGANI

BP. 2012

KISANGANI

FACULTE DES LETTRES ET SCIENCES HUMAINES Département des Lettres et Civilisation Anglaises.

NARRATIVE TECHNIQUES IN RAVINDER SINGH'S CAN LOVE
HAPPEN TWICE? AND YOUR DREAMS ARE MINE NOW.

Par

James KIENAGONZWE ASAMBOA

MEMOIRE

Présenté et Deféndu en vue de l'obtention de Grade de Licencié en Lettres et Civilisation Anglaises. Directeur: Pr Valentin MONGBOLO

NGALIMA

Encadreur: C.T Sébastien MUAMBA KASHALA.

Année Academique 2018-2019
Prémière Session.

To all children from poor families around the world who face difficulties to pay tuition fees for their education,

I dedicate this work.

Acknowledgements

My endless thanks and gratitudes are addressed to Madam Marie-Jeanne NGELEMA DIGUMEFELE who dispite her occupations and responsabilities has provided me with everything and paid all tuition fees during last three years of my university studies. Without her mercifull heart, I would never graduate from university. Her act of love towards me is the most important thing that will be kept in my family's heart generation to generation.

This work is hers, I dedicate it to her, her husband, her children and her whole family. May the true God JEHOVA I worship bless her.

I owe a debt of gratitude towards Madam Philomène BONTAMBO NSELOFONA, who is not cited her only like one of my English Literature lecturers but also like a mother. For all she did in my life, since they are uncountable, I cannot be able to mention a few, I say thanks a lot, Madam.

I thank both Professor MONGBOLO NGALIMA and Senior Lecturer MUAMBA KASHALA for respectively directing and supervising this research paper, without their guidance it would not be accepted and defended.

To all Teachers and Professors of Kisangani University, all my class mates, all my friends, all my family members: father, mother, brothers, sisters, oncles, aunts, nephews, nieces, grand-parents, and all others whose names are not mentioned in this list but have contributed near or far during my 5 years spent at Kisangani University, I say thank you very much.

James KIENAGONZWE ASAMBOA

August 2019.

Education is the passport to the future, for tomorrow
belongs to those who prepare for it today.

Malcolm X

Education is the most powerful weapon
which you can use to change the world.

Nelson Mandela

INTRODUCTION

0.1 Research Statement

Since the publication of novels: «Can Love Hapen Twice?» in 2011 and, «Your Dreams Are Mine Now» in 2014 by Ravinder Singh, they have arose the interest of many literary scholars, students of literature and simple readers who are fun of love stories through the world. Surely, Ravinder had developed real life problems concerning love within all his novels among which the two understudy in this dissertation.

As a student of literature, I am going to focus my deep attention on the narrative techniques of Ravinder's two romantic novels already mentioned.

0.1 Hypothesis

Oxford Advanced Learner's Dictionary defines hypothesis as an idea that has not yet been found true or correct.

Morever, Professor Tshimpaga in the course of Statistics G2 L.C.A, 2009-2010 stantes that hypothesis is a statement that can be accepted or rejected after experiment.

Literary men all over the world while reading a given work of art do not only base in the message that is given by the author but they also deepen the reading in taking into account different elements that make up a literary work.

As far as the novels: «Can Love Happen Twice?» and «Your Dreams Are Mine Now» are concerned, the question will be to know the narrative techniques Ravinder used in novelsCan Love Happen Twice? and Your Dreams are Mine Now.

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0.2 Methods

A method is a way of doing something like the quality of being well organized in our thinking and action or set of ways followed in order to find solution to a problem. (Oxford English Dictionary, 2012).But an approach is a way of dealing with something.

In the frame of this work, both New Critism and Formalist approach are the tools applied to discuss my topic widely. While New Criticism appears as an attempt to retain the integrity of a work of art by stressing on the text itself, in the other hand the formalist approach focuses on the form, mechanics of the literary work, its physical characteristics and reaction against social and biographical influence on the work.

Therefore, to reach the objective, I used both form and content. Form refers to how the work is made up of techniques or literary devices used by Ravinder, and content refers to the message he tries to communicate to his readers.

0.3 The Choice of the Topic

My choice has been put on «Narrative Techniques in Ravinder Singh's Can Love Happen Twice? And Your Dreams are Mine Now» this subject has attracted my interest for some particular reasons which are going to be reflected in the lines that follow.

My first interest goes to literature as one of the two fields of research organized in English Department of the Arts Faculty of Kisangani University. Knowing that literature is a wide domain, I chose to specialize on Modern Literature where my intention has been fixed on Indian Literature.

By choosing two Indian romantic novels, my motivation on Ravinder's novels pushed me to focus on his narravive techiques, so, the choice of this topic is not hazardous.

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0.4 Aims of the Work

Besides the main objective of this work which is to write and defend a thesis at the end of the second cycle studies in DR Congo in order to graduate after successful five years at university, this dissertation also aims at:

- Helping people know more about Indian Literature,

- Developping the momory and practice student's ability in the

analysis of a literary work,

- Helping English Literature students master how to analyse two novels of the same author within one work,

- Developping readers critical mind as well as their way of writing,

and

- Providing a scientific document to all researchers who are enthusiasts on romantic novels and on Ravinder Singh particularly.

0.5 Sources of Data

The present work's main sourses of data derive from a certain number of English, African, American and Indian Literary books. Another source of data is numerous works previously done in literature, notes of courses, dictionaries and internet. The most important of these all well indicated in the bibliography and webography.

0.6 Limitation of the Work

«Can Love Happen Twice?» and «Your Dreams are Mine Now» like all other thousands novels in the world can be studied inso many different aspects, themes or topics that make up literature.

Consequently, this paper is concentrated on Modern Literature. i.e the Literature of Commonwealth or countries colonized by Englang(U.K). In this great ocean of writings, the work specialized in Indian English Literature where Narrative Techniques in Ravinder Singh's «Can Love Happen Twice?» and «Your Dreams are Mine Now» are studied.

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0.7 Division of the Work

This work is dividedinto an introduction, three chapters and conclusion. In the introduction, I discuss (1) Research Statement, (2) Hypothesis, (3) The choice of the Topic, (4) Methods, (5) Aims of the Work, (6) Sources of Data, and (7) Division of the Work.

Chapter one, Literary Survey on Indian Literature. This Subsection deals with: (1) A Brief History of India, (2) Indian Litterature in Other Languages that English, and (3) Indian English Literature

Chapter two, Ravinder Sight's Life and Work and A Literary Analysis of Ravinder Singh's two novels: Can Love Happen Twice? and Your Dreams are Mine Now. In this level I discuss in first point author's life and work followed by, (1) The Title, (2) Plot, (3) Characters and Characterrization, (4) Settings, (5) The Style, (6) The Mood, (7) The Tone, and (8) The Intention.

Chapter three, Narrative Techiques in Ravinder Sigh's «Can Love Happen Twice?» and «Your Dreams are Mine Now»: A first category includes the following techiques: (1) Use of Short, Simple Sentences, (2) Use of SMS language and spelling, (3) Use of Real Names, (4) Use of Proverbs, (5) Use of Imotional Terms, (6) Use of Flashback, and (7) Use of Point of View. A second category consists of (8) the use of figures of speech.

A general conclusion will put an end to the work.

CHAPTER ONE

LITERARY SURVEY ON INDIAN LITERATURE, I. Literary Survey on Indian Literature

I.1 A Brief History of India

Indian history includes the prehistoric settlements and societies in the Indian subcontinent; the advancement of civilisation from the Indus Valley Civilisation to the eventual blending of the Indo-Aryan culture to

form the Vedic Civilisation; the rise
of Hinduism, Jainism and Buddhism; the onset of a succession of powerful dynasties and empires for more than three millennia throughout various geographic areas of the Indian subcontinent, including the growth of Muslim dominions during the Medieval period intertwined with Hindu powers; the advent of European traders and privateers, resulting in the establishment of British India; and the subsequent independence movement that led to the Partition of India and the creation of the Republic of India.(Metcalf & Metcalf 2006, p. 6.)

Archaeological evidence of anatomically modern humans in the Indian subcontinent is estimated to be as old as 73,000-55,000 yearswith some evidence of early hominids dating back to about 500,000 years ago. Considered a cradle of civilisation, the Indus Valley Civilisation, which spread and flourished in the north-western part of the Indian subcontinent from 3300 to 1300 BCE, was the first major civilisation in South Asia.

A sophisticated and technologically advanced urban culture developed in the Mature Harappanperiod, from 2600 to 1900 BCE. This civilisation collapsed at the start of the second millennium BCE and was later followed by the Iron Age Vedic Civilisation. The era saw the composition of the Vedas, the seminal texts of Hinduism, coalesce into Janapadas (monarchical, state-level polities), and social stratification based on caste. The Later Vedic Civilisation extended over the Indo-Gangetic plain and much of the Indian subcontinent, as well as witnessed the rise of major

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polities known as the Mahajanapadas. In one of these

kingdoms, Magadha, Gautama Buddha and Mahavira propagated
their OErama?ic philosophies during the fifth and sixth centuries BCE. (Romila Thapar, A History of India, p. 24.)

Most of the Indian subcontinent was conquered by the Maurya Empire during the 4th and 3rd centuries BCE. From the 3rd century BCE onwards Prakrit and Pali literature in the north and the Tamil Sangam literature in southern India started to flourish.( Researches Into the History and Civilization of the Kirâtas by G. P. Singh p. 33)

Wootz steeloriginated in south India in the 3rd century BCE and was exported to foreign countries. During the Classical period, various parts of India were ruled by numerous dynasties for the next 1,500 years, among which the Gupta Empire stands out. This period, witnessing a Hindu religious and intellectual resurgence, is known as the classical or "Golden Age of India".

During this period, aspects of Indian civilisation, administration, culture, and religion (Hinduism and Buddhism) spread too much of Asia, while kingdoms in southern India had maritime business links with the Middle East and the Mediterranean. Indian cultural influence spread over many parts of Southeast Asia, which led to the establishment of Indianised kingdoms in Southeast Asia (Greater India). (The Cambridge History of Southeast Asia: From Early Times to c. 1800, Band 1 by Nicholas Tarling, p. 281).

The most significant event between the 7th and 11th century was the Tripartite struggle centred on Kannauj that lasted for more than two centuries between the Pala Empire, Rashtrakuta Empire, and Gurjara-Pratihara Empire. Southern India saw the rise of multiple imperial powers from the middle of the fifth century, most notable being

the Chalukya, Chola, Pallava, Chera, Pandyan, and Western
Chalukya Empires. The Chola dynasty conquered southern India and

successfully invaded parts of Southeast Asia, Sri

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Lanka, Maldivesand Bengal in the 11th century. The early medieval period Indian mathematics influenced the development of mathematics and astronomy in the Arab world and the Hindu numerals were introduced. (Essays on Ancient India by Raj Kumar p.199).

Muslim rule started in parts of north India in the 13th century when

the Delhi Sultanate was founded in 1206 CE by Central
Asian Turks; though earlier Muslim conquests made limited inroads into modern Afghanistan and Pakistan as early as the 8th century.The Delhi Sultanate ruled the major part of northern India in the early 14th century, but declined in the late 14th century. This period also saw the emergence of several powerful Hindu states, notably Vijayanagara, Gajapati, Ahom, as well as Rajput states, such as Mewar.

The 15th century saw the advent of Sikhism. The early modern period began in the 16th century, when the Mughals conquered most of the Indian subcontinent. The Mughals suffered a gradual decline in the early

18th century, which provided opportunities for
the Marathas, Sikhs and Mysoreans to exercise control over large areas of the Indian subcontinent.( The Princeton Encyclopedia of Islamic Political Thought: page 340).

From the late 18th century to the mid-19th century, large areas of India were annexed by the British East India Company of the British Empire. Dissatisfaction with Company rule led to the Indian Rebellion of 1857, after which the British provinces of India were directly administered by the British Crown and witnessed a period of rapid development of infrastructure, economic decline and major famines.( Metcalf, B.; Metcalf, T. R. (9 October 2006), A Concise History of Modern India (2nd ed.), pp. 94-99.).

During the first half of the 20th century, a nationwide struggle for independence was launched with the leading party involved being the Indian National Congress which was later joined by other organisations. The Indian subcontinent gained independence from the

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United Kingdom in 1947, after the British provinces were partitioned into the dominions of India and Pakistan and the princely states all acceded to one of the new states.( "Economic Impact of the British Rule in India | Indian History". historydiscussion.net. Retrieved 6 January 2017.).

James Mill (1773-1836), in his The History of British India (1817), distinguished three phases in the history of India, namely Hindu, Muslim and British civilisations. This periodisation has been influential, but has also been criticised for the misconceptions it gave rise to. Another influential periodisation is the division into "ancient, classical, medieval and modern periods", although this periodisation has also been criticised.(Thapar 1978, p. 19-20.).

Romila Thapar notes that the division into Hindu-Muslim-British periods of Indian history gives too much weight to "ruling dynasties and foreign invasions" neglecting the social-economic history which often showed a strong continuity. The division into Ancient-Medieval-Modern periods overlooks the fact that the Muslim conquests occurred gradually during which time many things came and went off, while the south was never completely conquered.( Jump up to:a b c Thapar 1978, p. 19.).

According to Thapar, a periodisation could also be based on "significant social and economic changes", which are not strictly related to the change of ruling powers. (Thapar 1978, p. 20.).

I.2 Indian literature in Other Languages than English

Indian literature refers to the literature produced on the Indian subcontinent until 1947 and in the Republic of India thereafter. The Republic of India has 22 officially recognized languages.

The earliest works of Indian literature

were orally transmitted. Sanskrit literature begins with the oral
literature of the Rig Veda a collection of sacred hymns dating to the period

1500-1200 BCE. The Sanskrit
epics Ramayana and Mahabharata appeared towards the end of the 2nd

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millennium BCE. Classical Sanskrit literature developed rapidly during the first few centuries of the first millennium BCE,as did the Tamil Sangam literature, and the Pâli Canon. In the medieval period, literature in Kannada and Telugu appeared in the 9th and 11th centuries respectively.

Later, literature in Marathi, Odia and Bengali appeared. Thereafter literature in various dialects of Hindi, Persian and Urdu began to appear as

well. Early in the 20th century, Bengali poet Rabindranath
Tagore became India's first Nobel laureate. In contemporary Indian literature, there are two major literary awards; these are the Sahitya Akademi Fellowship and the Jnanpith Award. Eight Jnanpith Awards each have been awarded in Hindi and Kannada, followed by five

in Bengaliand Malayalam, four in Odia, four
in Gujarati, Marathi, Telugu and Urdu, two each in Assamese and Tamil, and one in Sanskrit.

Examples of early works written in Vedic Sanskrit include the holy Hindu texts, such as the core Vedas. Other examples include the Sulba Sutras, which are some of the earliest texts on geometry.

- Sanskrit literature

- Prakrit literature

- Pali literature

- Assamese literature

- Bengali literature

- Chhattisgarhi literature

- Hindi literature

- Gujarati literature

- Kannada Literature

- Kodava literature

- Konkani literature

- Malayalam literature

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- Meitei literature

- Marathi literature

- Mizo literature

- Odia literature

- Punjabi literature

- Tamil Literature

- Telugu literature

- Urdu literature.

I.3 Indian Literature in Foreign Languages I.3.1Indian Persian literature

During the early Muslim period, Persian became the official language of the northern part of Indian subcontinent, used by most of the educated and the government. The language had, from its earliest days in the 11th century AD, been imported to the subcontinent by various culturally Persianised Central Asian Turkic and Afghan dynasties.^[12] Several Indians became major Persian poets later on, the most notable being Amir Khusro and, in more modern times, Muhammad Iqbal.

Much of the older Sanskrit literature was also translated into Persian. For a time, it remained the court language of the Mughals, soon to be replaced by Urdu. Persian still held its status, despite the spread of Urdu, well into the early years of the British rule in India. Most British officials had to learn Persian on coming to India and concluded their conversations in Persian. In 1837, however, the British, in an effort to expand their influence, made a government ruling to discontinue the use of Persian and commence the use of English instead.

Thus started the decline of Persian as most of the subcontinent's official governmental language, a position to be taken up by the new language of the British Raj, English. Many modern Indian languages still show signs of relatively heavy Persian influence, most notably Urdu and Hindi.

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English Literature from North East India

English literature from North East India refers to the body of work by English-language writers from North-East India. North-East India is an under-represented region in many ways. The troubled political climate, the beautiful landscape and the confluence of various ethnic groups perhaps have given rise to a body of writing that is completely different from Indian English Literature.

I.3.2English Literature

In the 20th century, several Indian writers have distinguished themselves not only in traditional Indian languages but also in English, a language inherited from the British. As a result of British colonisation, India has developed its own unique dialect of English known as Indian English. Indian English typically follows British spelling and pronunciation as opposed to American, and books published in India reflect this phenomenon. Indian English literature, however, tends to utilise more internationally recognisable vocabulary then does colloquial Indian English, in the same way that American English literature does so as compared to American slang.

India's only Nobel laureate in literature was

the Bengali writer Rabindranath Tagore, who wrote some of his work originally in English, and did some of his own English translations from Bengali. India's best selling English-language novelists of all-time are the contemporary writers like Chetan Bhagat, Manjiri Prabhu and Ashok Banker. More recent major writers in English who are either Indian or of Indian origin and derive much inspiration from Indian themes are R. K. Narayan, Vikram Seth, Salman Rushdie, Arundhati Roy, Raja Rao, Amitav Ghosh, Rohinton Mistry, Vikram Chandra, Mukul Kesavan, Raj Kamal

Jha, Vikas Swarup, Khushwant Singh, Shashi Tharoor, Nayantara
Sehgal, Anita Desai, Kiran Desai, Ashok Banker, Shashi Deshpande, Arnab Jan Deka, Jhumpa Lahiri, Kamala Markandaya, Gita Mehta, Manil

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Suri, Manjiri Prabhu, Ruskin Bond, Chitra Banerjee Divakaruni and Bharati Mukherjee.

In category of Indian writing in English is poetry. Rabindranath Tagore wrote in Bengali and English and was responsible for the translations of his own work into English. Other early notable poets in English include Derozio, Michael Madhusudan Dutt, Toru Dutt, Romesh Chunder Dutt, Sri Aurobindo, Sarojini Naidu, and her brother Harindranath Chattopadhyay.

In the 1950s, the Writers Workshop collective in Calcutta was founded by the poet and essayist P. Lal to advocate and publish Indian writing in English. The press was the first to publish Pritish Nandy, Sasthi Brata, and others; it continues to this day to provide a forum for English writing in India. In modern times, Indian poetry in English was typified by two very different poets. Dom Moraes, winner of the Hawthornden Prize at the age of 19 for his first book of poems A Beginning went on to occupy a pre-eminent position among Indian poets writing in English. Nissim Ezekiel, who came from India's tiny Bene Israel Jewish community, created a voice and place for Indian poets writing in English and championed their work.

Their contemporaries in English poetry in India were Jayanta

Mahapatra, Gieve Patel, A. K. Ramanujan, Arun Kolatkar, Dilip
Chitre, Arvind Krishna Mehrotra, Eunice De Souza, Kersi Katrak, P. Lal and Kamala Das among several others.

Younger generations of poets writing in English include G. S. Sharat

Chandra, Hoshang Merchant, Makarand Paranjape, Anuradha

Bhattacharyya, Nandini Sahu, Arundhathi Subramaniam, Jeet
Thayil, Ranjit Hoskote, Sudeep Sen, Abhay K, Jerry Pinto, K Srilata, Gopi Kottoor, Tapan Kumar Pradhan, Arnab Jan Deka, Anju Makhija, Robin

Ngangom, Rukmini Bhaya Nair, Smita Agarwal, Vihang A.
Naik and Vivekanand Jha among others.

Bankim Chandra Chattopadhyay (1838-1894) wrote Rajmohan's Wife and published it in 1864; it is the first Indian novel written in

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A generation of exiles also sprang from the Indian diaspora. Among

these are names like Agha Shahid Ali, Sujata Bhatt, Richard
Crasta, Yuyutsu Sharma, Shampa Sinha, Tabish Khair and Vikram Seth.

In recent years, English-language writers of Indian origin are being published in the West at an increasing rate.

Salman Rushdie, Arundhati Roy, Kiran Desai and Arvind Adiga have won the prestigious Man Booker Prize, with Salman Rushdie going on to win the Booker of Bookers.

I.3Indian English Literature

Indian English literature (IEL) is the body of work by writers in India who write in the English language and whose native or co-native language could be one of the numerous languages of India. Its early history began with the works of Michael Madhusudan Dutt followed by R. K. Narayan, Mulk Raj Anand and Raja Rao who contributed to Indian fiction in the 1930s. It is also associated with the works of members of the Indian diaspora who are of Indian descent.(Wikipedia, the free encyclopedia).

It is frequently referred to as Indo-Anglian literature. (Indo-Anglian is a specific term in the sole context of writing that should not be confused with Anglo-Indian). As a category, this production comes in the broader

realm of postcolonial literature--the production from
previously colonised countries such as India.

IEL has a relatively recent history, being only one and a half centuries old. The first book written by an Indian in English was Travels of Dean Mahomet, a travel narrative by Sake Dean Mahomet published in England in 1793. In its early stages, IEL was influenced by the Western novel. Early Indian writers used English unadulterated by Indian words to convey an experience which was essentially Indian.

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English. Raja Rao (1908-2006), Indian philosopher and writer,

authored Kanthapura and The Serpent and the Rope, which are Indian in terms of their storytelling qualities. Kisari Mohan Ganguli translated the Mahabharata into English, the only time the epic has ever been translated in its entirety into a European language.

Rabindranath Tagore (1861-1941) wrote in Bengali and English and was responsible for the translations of his own work into English. Dhan Gopal Mukerji (1890-1936) was the first Indian author to win a literary award in the United States. Nirad C. Chaudhuri(1897-1999), a writer of non-fiction, is best known for his The Autobiography of an Unknown Indian (1951), in which he relates his life experiences and influences. P. Lal (1929-2010), a poet, translator, publisher and essayist, founded a press in the 1950s for Indian Englishwriting, Writers Workshop. Ram Nath

Kak (1917-1993), a Kashmiri veterinarian, wrote his
autobiography Autumn Leaves, which is one of the most vivid portraits of life in 20th century Kashmir and has become a sort of a classic. (Wikipedia, the free encyclopedia).

R. K. Narayan (1906-2001) contributed over many decades and continued to write till his death. He was discovered by Graham Greene in the sense that the latter helped him find a publisher in England. Greene and Narayan remained close friends till the end. Similar to the way Thomas Hardy used Wessex, Narayan created the fictitious town of Malgudi where he set his novels. Some criticise Narayan for the parochial, detached and closed world that he created in the face of the changing conditions in India at the times in which the stories are set.

Others, such as Greene, however, feel that through Malgudi they could vividly understand the Indian experience. Narayan's evocation of small town life and its experiences through the eyes of the endearing child protagonist Swaminathan in Swami and Friends is a good sample of his writing style. Simultaneous with Narayan's pastoral idylls, a very different writer, Mulk Raj Anand (1905-2004), was similarly gaining recognition for

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his writing set in rural India, but his stories were harsher, and engaged, sometimes brutally, with divisions of caste, class and religion. According to writer Lakshmi Holmström, "The writers of the 1930s were fortunate because after many years of use, English had become an Indian language used widely and at different levels of society, and therefore they could experiment more boldly and from a more secure position." Kamala Markandeyais an early writer in IEL who has often grouped with the trinity of R.K. Narayan, Mulk Raj Anand and Raja Rao. The contributions of Manoj Das and Manohar Malgoankar to growth of IEL largely remains unacknowledged.

I.3.1 Later History

Among the later writers, the most notable is Salman Rushdie, born in India, now living in the USA. Rushdie with his famous work Midnight's Children (Booker Prize 1981, Booker of Bookers 1992, and Best of the Bookers 2008) ushered in a new trend of writing. He used a hybrid language - English generously peppered with Indian terms - to convey a theme that could be seen as representing the vast canvas of India. He is usually categorised under the magic realism mode of writing most famously associated with Gabriel García Márquez. Nayantara Sehgal was one of the first female Indian writers in English to receive wide recognition. Her fiction deals with India's elite responding to the crises engendered by political change.

She was awarded the 1986 Sahitya Akademi Award for English, for her novel, Rich Like Us (1985), by the Sahitya Akademi, India's National Academy of Letters. Anita Desai, who was shortlisted for the Booker Prize three times, received a Sahitya Akademi Award in 1978 for her novel Fire on the Mountain and a British Guardian Prize for The Village by the Sea. Her daughter Kiran Desaiwon the 2006 Man Booker Prize for her second novel, The Inheritance of Loss. Ruskin Bond received Sahitya Akademy Award for his collection of short stories Our Trees Still Grow in Dehra in

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1992. He is also the author of a historical novel A Flight of Pigeons, which is based on an episode during the Indian Rebellion of 1857.

Vikram Seth, author of The Golden Gate (1986) and A Suitable Boy (1994) is a writer who uses a purer English and more realistic themes. Being a self-confessed fan of Jane Austen, his attention is on the story, its details and its twists and turns.Vikram Seth is notable both as an accomplished novelist and poet. Vikram Seth is also a prolific poet.

Another writer who has contributed immensely to the Indian English Literature is Amitav Ghosh who is the author of The Circle of Reason (his

1986 debut novel), The Shadow Lines (1988), The Calcutta
Chromosome (1995), The Glass Palace (2000), The Hungry Tide (2004), and Sea of Poppies (2008), the first volume of The Ibis trilogy, set in the 1830s, just before the Opium War, which encapsulates the colonial history of the East. Ghosh's latest work of fiction is River of Smoke (2011), the second volume of The Ibis trilogy.

Rohinton Mistry is an India born Canadian author who is a Neustadt International Prize for Literature laureate (2012). His first book Tales from Firozsha Baag (1987) published by Penguin Books Canada is a collection of 11 short stories. His novels Such a Long Journey (1991) and A Fine Balance (1995)earned him great acclaim.

Shashi Tharoor, in his The Great Indian Novel (1989), follows a storytelling (though in a satirical) mode as in the Mahabharata drawing his ideas by going back and forth in time. His work as UN official living outside India has given him a vantage point that helps construct an objective Indianness. Vikram Chandra is another author who shuffles between India and the United States and has received critical acclaim for his first novel Red Earth and Pouring Rain (1995) and collection of short stories Love and Longing in Bombay (1997). His namesake Vikram A. Chandrais a renowned journalist and the author of The Srinagar Conspiracy (2000). Suketu Mehta is another writer currently based in the United States who authored Maximum City (2004), an autobiographical

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account of his experiences in the city of Mumbai. In 2008, Arvind Adiga received the Man Booker Prize for his debut novel The White Tiger.

Recent writers in India such as Arundhati Roy and David Davidar show a direction towards contextuality and rootedness in their works. Arundhati Roy, a trained architect and the 1997 Booker prize winner for her The God of Small Things, calls herself a "home grown" writer. Her award winning book is set in the immensely physical landscape of Kerala. Davidar sets his The House of Blue Mangoes in Southern Tamil Nadu. In both the books, geography and politics are integral to the narrative. In his novel Lament of Mohini (2000), Shreekumar

Varma touches upon the unique matriarchal system and
the sammandham system of marriage as he writes about the Namboodiris and the aristocrats of Kerala.

Similarly, Arnab Jan Deka, a trained engineer and jurist, writes about both physical and ethereal existentialism on the banks of the mighty river Brahmaputra, and his co-authored book of poetry with British poet-novelist Tess Joyce appropriately titled A Stanza of Sunlight on the Banks of Brahmaputra(1983) published from both India and Britain(2009) which is set under this backdrop evokes the spirit of flowing nature of life. His most recent book Brahmaputra and Beyond: Linking Assam to the World(2015) made a conscious effort to connect to a world divided by racial, geographic, linguistic, cultural and political prejudices. His highly aclaimed short story collection The Mexican Sweetheart & other stories(2002) was another landmark book of this genre. Jahnavi Barua, a Bangalore based author from Assam has set her critically acclaimed collection of short stories Next Door on the social scenario in Assam with insurgency as the background.

The stories and novels of Ratan Lal Basu reflect the conditions of tribal people and hill people of West Bengal and the adjacent states of Sikkim, Bhutan and Nepal. Many of his short stories reflect the political turmoil of West Bengal since the Naxalite movement of the 1970s. Many

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of his stories like `Blue Are the Far Off Mountains', `The First Rain' and `the Magic Marble' glorify purity of love. His novel `Oraon and the Divine Tree' is the story of a tribal and his love for an age old tree. In Hemingway style language the author takes the reader into the dreamland of nature and people who are inexorably associated with nature.

I.3.2. Critics on Indian English Literature

One of the key issues raised in this context is the superiority/inferiority of IWE (Indian Writing in English) as opposed to the literary production in the various languages of India. Key polar concepts bandied in this context are superficial/authentic, imitative/creative, shallow/deep, critical/uncritical, elitist/parochial and so on.

The views of Salman Rushdie and Amit Chaudhuri expressed through their books The Vintage Book of Indian Writing and The Picador Book of Modern Indian Literature respectively essentialise this battle.

Rushdie's statement in his book - "the ironic proposition that India's best writing since independence may have been done in the language of the departed imperialists is simply too much for some folks to bear" - created a lot of resentment among many writers, including writers in English. In his book, Amit Chaudhuri questions - "Can it be true that Indian writing, that endlessly rich, complex and problematic entity, is to be represented by a handful of writers who write in English, who live in England or America and whom one might have met at a party?"

Chaudhuri feels that after Rushdie, IWE started employing magical realism, bagginess, non-linear narrative and hybrid language to sustain themes seen as microcosms of India and supposedly reflecting Indian conditions. He contrasts this with the works of earlier writers such as Narayan where the use of English is pure, but the deciphering of meaning needs cultural familiarity. He also feels that Indianness is a theme constructed only in IWE and does not articulate itself in the vernacular

Dr Deobrata Prasad has very carefully taken into account all the nuances of Sarojini Naidu's poetry.The significance of this work towards

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literatures. He further adds "the post-colonial novel, becomes a trope for an ideal hybridity by which the West celebrates not so much Indianness, whatever that infinitely complex thing is, but its own historical quest, its reinterpretation of itself".

Some of these arguments form an integral part of what is called postcolonial theory. The very categorisation of IWE - as IWE or under post-colonial literature - is seen by some as limiting. Amitav Ghosh made his views on this very clear by refusing to accept the Eurasian Commonwealth Writers Prize for his book The Glass Palace in 2001 and withdrawing it from the subsequent stage.

The renowned writer V. S. Naipaul, a third generation Indian from Trinidad and Tobago and a Nobel Prize laureate, is a person who belongs to the world and usually not classified under IWE. Naipaul evokes ideas of homeland, rootlessness and his own personal feelings towards India in many of his books.

Jhumpa Lahiri, a Pulitzer Prize winner from the U.S., is a writer uncomfortable under the label of IWE.

a. Poetry

An overlooked category of Indian writing in English is poetry. Rabindranath Tagore wrote in Bengali and English and was responsible for the translations of his own work into English. Other early notable poets in English include Derozio, Michael Madhusudan Dutt, Toru Dutt, Romesh Chunder Dutt, Sri Aurobindo, Sarojini Naidu, and her brother Harindranath Chattopadhyay. "Sarojini Naidu and her art of poetry" is one of the finest efforts made by Dr. Deobrata Prasad in order to bring forth the real psyche of Sarojini Naidu through her poetry.This book was published by Delhi-based Capital Publishing House in 1988 in the field of 'women and Anglo-Indian literature'.

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Indian English Literature was first brought into perspective by University of Michigan. Such a systematic work is rare to single out in today's era. Notable 20th Century authors of English poetry in India include Dilip Chitre, Kamala Das, Eunice De Souza, Nissim Ezekiel, Kersy Katrak, Shiv K. Kumar, Arun Kolatkar, P. Lal, Jayanta Mahapatra, Dom Moraes, Gieve Patel, and A. K. Ramanujan, and Madan Gopal Gandhi,Dr Avdhesh Yadav, among several others.

The younger generation of poets writing in English include Abhay K, Arundhathi Subramaniam, Anju Makhija, Arnab Jan Deka, Bibhu

Padhi, Ranjit Hoskote, Sudeep Sen, Smita Agarwal, Makarand
Paranjape, Jeet Thayil, Mani Rao, Jerry Pinto, K. V. Dominic, Meena

Kandasamy, Nalini Priyadarshni, Gopi Kottoor, Tapan Kumar
Pradhan, Rukmini Bhaya Nair, Robin Ngangom, Vihang A. Naik,Dr Avdhesh Yadav and K Srilata.

Modern expatriate Indian poets writing in English include Agha Shahid

Ali, Sujata Bhatt, Richard Crasta, Yuyutsu Sharma, Tabish
Khair and Vikram Seth.

b. Alternative Writings

India's experimental and avant garde counterculture is symbolized in the Prakalpana Movement. During the last four decades this bilingual literary movement has included Richard Kostelanetz, John M. Bennett, Don Webb, Sheila Murphy and many others worldwide and their Indian counterparts. Vattacharja Chandan is a central figure who contrived the movement.^[5] Prakalpana fiction is a fusion of prose, poetry, play, essay, and pictures. An example of a Prakalpana work is Chandan's bilingual Cosmosphere 1 (2011).

Some bilingual writers have also made significant contributions, such as Paigham Afaqui with his novel Makaan in 1989

1.4 Indian Modern Literature

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The development of modern Indian literature has been marked by certain characteristics, some of which it shares with modern literatures over the world. There has always been in all countries and ages a conflict between the orthodox and the unorthodox, but in India, because the new impulse was identified with an alien culture and foreign domination, the clash of loyalties has been sharper. The very impact of Western thought, with its emphasis on democracy and self-expression, stimulated a nationalist consciousness which resented the foreign imposition and searched for the roots of self-respect and pride in its own heritage.

For instance, Rabindranath Tagore's novel Gora is a masterly interpretation of this built-in conflict in the very nature of Indian renaissance, a conflict which still persists and has coloured not only our literature but almost every aspect of human life. The first outstanding Bengali poet of the nineteenth century (and the last in the old tradition), Iswar Chandra Gupta (1812-59), whose remarkable journal, Sambad Prabhakar, was the training-ground of many distinguished writers.

The new era of modern Indian literatures may be said to begin in 1800, when Fort William College was established in Kolkata and The Baptist Mission Press in Serampore, near Kolkata. The college was founded by the East India Company to provide instruction to British civil servants in the laws, customs, religions, languages, and literatures of India in order to cope with the increasing demands of fast-growing administrative machinery. Reading material, during this time, was translated from the Sanskrit classics as well as from foreign literature, and dictionaries and grammars were compiled. William Carey, who was also one of the founders of the Baptist Mission Press, himself wrote a Bengali grammar and compiled an English-Bengali dictionary as well as two selections of dialogues and stories.

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Later in the second half of the sixteenth century, books in Tamil and other Dravidian languages began to be printed. Many foreign missionaries learnt the languages of the people. They not only translated the Bible and wrote Christian Puranas but also rendered considerable service to the languages by compiling the first modern grammars and dictionaries. Although the printing-press came to south India much earlier and the foreign missionary enterprise functioned much longer and more zealously than in Bengal, the impact of Western learning as such was comparatively slow and the resurgence of literary activity bore fruit in its modern form much later than in Bengal.

The establishment of Hindu College in 1817 and the replacing of Persian by English as the language of the law and the increasing use of Bengali were other landmarks which encouraged the introduction of modern education and the development of the language of the people. It was, Raja Ram Mohan Roy (1772-1833) who laid the real foundation of modern Bengali prose. The form which he gave to Bengali prose revealed its rich potentiality in the hands of Ishwar Chandra Vidyasagar (18201891) and Akshay Kumar Datta (1820-1886), both of whom were primarily social reformers and educationists. Because they were men of serious purpose who had much to say, they had little use for the flamboyance and rhetoric natural to a language derived from Sanskrit, and they chiselled a prose that was both chaste and vigorous.

Pathfinders rather than creative artists, they standardized the medium which their younger contemporary, Bankim Chandra Chatterjee (1838-94), turned with superb gusto and skill into a creative tool for his novels and stories. He is known as the father of the modern novel in India and his influence on his contemporaries and successors, in Bengal and other parts of India, was profound and extensive. Novels, both historical and social, the two forms in which he excelled, had been written before him in Bengali by Bhudev Mukherji and Peary Chand Mitra.

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Mitra's Alaler Gharer Dulal' was the first specimen of original fiction of social realism with free use of the colloquial idiom, and anticipated, however crudely, the later development of the novel. But it was Bankim Chandra who established the novel as a major literary form in India. He had his limitations, he was too romantic, effusive, and didactic, and was in no sense a peer of his Great Russian contemporaries, Tolstoy and Dostoevsky. There have been better novelists in India since his day, but they all stand on his shoulders.

Though the first harvest was reaped in Bengali prose, it was in the soil of poetry that this cross-fertilization with the West bore its richest fruit. With the emotional temperament and lyrical genius, the Bengali language is supple and musical, as though fashioned for poetry. Michael Madhusudan Dutt (1824-1873) was the pioneer who, turning his back on the native tradition, made the first conscious and successful experiment to naturalize the European forms into Bengali poetry by his epic in blank verse, 'Meghnadbadh Kabya', based on a Ramayana episode unorthodoxly interpreted, as well as by a number of sonnets. He led the way but could not establish a vital tradition, for his own success was a tour de force of a rare genius.

It was Rabindranath Tagore who naturalized the Western spirit into Indian literature and thereby made it truly modern in an adult sense. He did this not by any conscious or forced adaptation of foreign models but by his creative response to the impulse of the age, with the result that the Upanishads and Kalidasa, Vaishnava lyricism, and the rustic vigour of the folk idiom, are so well blended with Western influences in his poetry that generations of critics will continue to wrangle over his specific debt to each of them. In him modern Indian literature came of age, not only in poetry but in prose as well. Novel, short story, drama, essay, and literary criticism, they all attained maturity in his hands. Though Indian literature in its latest phase has outgrown his influence, as indeed it should, Tagore

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was the most vital creative force in the cultural renaissance of India and represents its finest achievement.

Kolkata being the first cosmopolitan city in India to grow under the new regime, it was natural that it should witness the birth of the modern drama. It has still a lively stage tradition. Curiously enough, the first stage-play in Bengali produced in Kolkata was by a Russian adventurer-cum-Indologist, Lebedev, in 1795. It was an adaptation of a little-known English comedy, 'The Disguise' by Richard Paul Jodrell.

Many years passed before a serious attempt was made to build an authentic stage, mainly under private patronage. The first original play in Bengali was Kulin Kulasarvasva, a social satire against the practice of polygamy among Kulin brahmans, written by Pandit Ramnarayana. Ramnarayana's second play, Ratnavali, based on a Sanskrit classic, provoked Madhusudan Dutt to try his hand at this medium. His impetuous genius turned out a number of plays in quick succession, some based on old legends and some social satires. He may thus be said to have laid the foundation of modern Indian drama, as he did of poetry, although his achievement in this form did not equal his performance in poetry and he soon retired from the field.

His place was taken by Dinabandhu Mitra (1829-74), a born dramatist whose very first play, 'Nil Darpan' (published in 1860), exposing the atrocities of the British indigo planters, created a sensation, both literary and political. Dinabandhu wrote many more plays and was followed by a succession of playwrights among whom were Rabindranath Tagore's elder brother Jyotirindranath Tagore, Manomohan Basu, and later, the more famous Girish Chandra Ghosh and Dwijendralal Roy. Girish Chandra was actor, producer, and playwright, and it is to his indefatigable zeal that the public theatre in Kolkata is largely indebted. But though both he and Dwijendralal achieved phenomenal popularity in their day, their popular appeal was due more to the patriotic and melodramatic elements

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in their plays than to any abiding literary merit. On the other hand, Rabindranath Tagore's plays, though they had considerable literary merit and were marked by originality and depth of thought, were too symbolic or ethereal to catch the popular imagination.

Of the numerous languages of India perhaps Marathi was, after Bengali, the most vigorous in its response to the spirit of the new age. This is because of its robust intellectual tradition, reinforced by memories of the erstwhile glory of the Maratha Empire, and partly because Mumbai, like Kolkata, provided a cosmopolitan modern environment. Among the stalwarts who laid the foundation of its modern literature may be mentioned the poet Keshavsut, the novelist Hari Narayan Apte, and Agarkar, Tilak, and Chiplunkar as the builders of prose. Apte's novels stimulated the development of the novel in some other languages too, particularly in the neighbouring Kannada. Narmad's poetry blazed the trail in Gujarati

Flourishing under court patronage, Urdu had made phenomenal progress and was the most important Indian language to prosper in the eighteenth century. But it luxuriated in its own affluence and remained aloof from the vital currents that were sweeping the country forward in the nineteenth century.

The development of modern Assamese and Oriya, the two eastern neighbours of Bengali, was also late in coming and was preceded by valuable spade-work done by the Christian missions. Orissa too had recovered its homogeneous integrity and the intelligentsia in the regions was educated in Kolkata and carried back with them the impact of the literary resurgence in Bengal. Lakshmikanta Bezbarua and Padmanath Gohain Barua in Assamese, and Fakirmohan Senapati and Radhanath Ray in Oriya were the early pioneers in their respective fields. Kashmiri, Punjabi, and Sindhi had an even more retarded development, partly on account of the political conditions and partly because of the cultural

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glamour of Urdu in regions predominantly Muslim. All the more credit to the pioneers who held aloft the banner of their mother tongue is Mahjur and Master Zinda Kaul in Kashmiri, Sardar Puran Singh and Bhal Vir Singh in Punjabi, and Mirza Kalich Beg and Dewan Kauromal in Sindhi.

What is surprising is the rather late and tardy resurgence in the four Dravidian languages, which had had a longer and a richer literary past than the northern languages. The past has weighed more heavily on the south than on the north in India and nowhere more heavily than on Tamil Nadu. However, in course of time the creative spirit in these languages too responded to the impulse of the age, in as rich a flowering as in the other languages of India, led by Puttanna, 'Sri', and Kailasham in Kannada, by Kerala Varma and Chandu Menon in Malayalam, by Bharati and Kalki in Tamil, and Viresalingam and Guruzada Appa Rao in Telugu. It is worth observing that the youngest of the Dravidian languages, Malayalam, has responded to the new age more dynamically than the oldest, Tamil, which even now looks too wistfully to the past.

All the great events which have influenced European thought within the last one hundred years have also told, however feeble their effect may be, on the formation of the intellect of modern Bengal. The independence of America, the French Revolution, the war of Italian independence, the teachings of history, the vigour and freedom of English literature and English thought, the great effort of the French intellect in the eighteenth century, the results of German labour in the field of philosophy and ancient history; Positivism, Utilitarianism, Darwinism, all these have influenced and shaped the intellect of modern Bengal.

From the beginning of the twentieth century Indian literature was increasingly coloured by political aspirations, passionately voiced in the songs and poems of the Tamil poet Bharati and the Bengali poet Kazi Nazrul Islam. The spiritual note of Indian poetry had attained a poignant and rapturous pitch in the medieval Vaishnava outpourings.

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Tagore's Gitanjali is the swan song of this great tradition. The devotional content of poetry was henceforth increasingly replaced by the political, the ethical bias by the ideological, the plaintive tone by that of challenge and mockery, until the dominant note of Indian literature today is that of protest.

Tagore's main impact was, however, indirect, inasmuch as it gave confidence to Indian writers that they could achieve in their mother tongue what had been achieved in Sanskrit or European languages. But Tagore's influence in literature was soon overshadowed by the impact of Gandhi, Marx, and Freud, a strange trinity. Though none of these three was a man of letters proper, they released intellectual and moral passions and introduced new techniques of thought and behaviour which had a profound effect on young writers all over India.

The influence of the philosophy of Sri Aurobindo Ghose is also noticeable among some writers, like the Kannada poets, Bendre and Puttappa, and the Gujarati poets, Sundaram and Jayant Parekh, but beyond imparting a certain mystic glow to their verse and confirming their faith in the reality of the Indian spiritual experience, it has not given any new trend or horizon to Indian literature in general.

On the whole, the impact on Indian writing of the mixed interaction has given a much-needed jolt to the smugness of the traditional attitude, with its age-old tendency to sentimental piety and glorification of the past. The revolt began in Bengal, yielded a rich harvest, in both poetry and prose, in the work of Jivanananda Das, Premendra Mitra, Buddhadeva Bose, Manek Bandyopadhyay, Subhas Mukhopadhyay et al. In Bengal both these forms attained an early maturity in the hands of Tagore and have since made phenomenal progress under his younger contemporaries and successors namely Sarat Chandra Chatterjee achieved a popularity, both in Bengal and outside, which equalled, if not surpassed, that of Tagore.

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Moreover, English language had a great impact on the Indians and apart from its utilitarian value as a language of higher education in the sciences and as a 'link language', a fair number of Indian writers, including such eminent thinkers steeped in Indian thought as Vivekananda, Ranade, Gokhale, Aurobindo Ghose and Radhakrishnan, have voluntarily adopted it as their literary medium.

There has been, from Derozio in the 1820s to R. K. Narayan today, an unbroken tradition of some gifted Indians choosing to write in English. Many of them, like the Dutt sisters, Toru and Aru, their versatile uncle Romesh Chunder, Manomohan Ghosh, Sarojini Naidu, and, among contemporaries, Mulk Raj Anand, Raja Rao, Bhabani Bhattacharya, and many others, have achieved distinction.

Some early pioneers in the Indian languages were also tempted at the threshold of their career to adopt English for their creative writing, partly because they owed their inspiration to English literature and partly because they hoped thereby to reach a wider audience. Madhusudan Dutt's first narrative poem, "The Captive Ladie", and Bankim Chandra's early novel "Rajmohan's Wife", are classic examples. Wisely they discovered in time that they could create best in their own language. Some English novels of R. K. Narayan, a born story-teller with any eye for observation and the gift of gentle irony, are superior in intrinsic literary merit to a great deal of mediocre stuff that passes for literature in some Indian languages. On the other hand, it cannot be denied that, as far as creative writing is concerned, no Indian writer in English has reached anywhere near the heights attained by some of the great writers in the Indian languages. What modern Indian literature sadly lacks is a well-proportioned and many-sided development.

The modern Indian literature is the representation of each aspect of modern life. Happily, despite this clamour of sophistry, patriotic piety, and political bias, good literature continues to be written and, as it justifies

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itself, it helps to sharpen the reader's sensibility. Since the time of Tagore a growing minority of intelligent critics well versed in the literary traditions of their own country and of the West have bravely maintained a more wholesome approach that is neither overwhelmed by the burden of the past nor overawed by the glamour of the latest fashion. This healthy trend of the modern Indian literature should gain in strength with a growing realization that, in the republic of letters as in that of men, a sensitive and well-trained critical apparatus and its judicious and fearless exercise are a prerequisite of happy results.

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Conclusion

The present chapter delt with a generality on Indioan literature and Ravinder Singh's life and work.

In the first section about Literary Survey on Indian literature, the stressed is made on brief history of India, how literature took birth in Indian, Literature written in all 22 indian national languages and Indian literature written in foreigh languages like Persian and the last point concerned Indian English Literature where we focused our interest on literature of Indian of course written in colonial language- English.

CHAPTER TWO

A LITERARY ANALYSIS OF RAVINDER SINGH'S CAN LOVE HAPPEN TWICE AND YOUR DREAMS ARE MINE NOW.

Introduction

Chapter two as intitled here above is based on Life and Work of the author and Literary Analysis of the two novels by Ravinder Singh: Can Love Happen Twice and Your Dreams are Mine Now. In this level the following elements are divelopped: Title, Plot, Characters and Characterisations, Settings, Style, Mood, Tone and Intention.

II.1 Ravinder Singh's Life and Work

A. His Life

Ravinder Singh was born on 4 February, 1982 in a Sikh family in Burla, Sambalpur, Odisha, India. He spent his childhood days in Burla Sambalpur City. He completed his schooling from Guru Nanak Public School, Sambalpur, Odisha. He received a Bachelor of Engineering in computer science engineering from Guru Nanak Dev Engineering College in Karnataka. Then he moved to Bhubaneshwar to work at Infosys Technologies for five years. He did his MBA from Indian School of Business in Hyderabad. He was working as a Sr. Program Manager at Microsoft when he decided to become a full-time author.

His girlfriend died in 2007 before they got formally engaged. He adapted his own story into a novel. The book I Too Had a Love Story was reviewed by N. R. Narayana Murthy, Chairman Emeritus of Infosys Technologies, who called it "Simple, honest and touching".

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Now married to Khusboo Chauhan who was one of the readers of his first novel and was so deeply moved that she went to a Gurudwara to pray for him, without imagining that one day she would get married to him. That event occurred on September 23, 2012.

Singh's first book is based on a real-life incident of his meeting a girl and his love life. After a six-month search, an editing team sent the manuscript to the publisher Shristi, who published the book. The book was unveiled at a press conference in Chandigarh by Anupam Mittal. He also launched the audio version of I Too Had a Love Story in mid-2011. I Too Had a Love Story is also published in Kannada language, entitled Nannadu Ondu prema kathe.

Ravinder Singh ventured into book publishing in the year 2015 with his publication house Black Ink.

B. His Work

Ravinder Singh is an Indian author. He has written until now eight novels entitled "I Too Had a Love Story","Can Love Happen Twice?", "Like it happened Yesterday", "Love Stories That Touched My Heart", " Tell Me A Story", "Your Dreams are Mine Now" , "This Love That Feels Right", "Will You Still Love Me".

- I Too Had a Love Story (2007)

- Can love Happen Twice ? (2011)

- Love Stories That Touched My Heart (2012)

- Like it Happened Yesterday (2013)

- Your Dreams Are Mine Now (2014)

- Tell Me a Story (2015)

- This Love that Feels Right (2016)

- Will You Still Love Me (2018).

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II.2.A Literary Analysis of Ravinder Singh's Two Novels

A. Can Love Happen Twice? II.1 Title

Ravinder Singh intitled his second novel: «Can Love Happen Twice?».This novel comes in the second position after publishing his first one intitled: I Too Had a Love Story in which he brought to life his dead girlfriend who died just before they exchange their wedding rings. To undrerstant this, let's consider what is said in the prologue of this book:

What can you say about a guy who lost his girlfriend the time the two of them were to exchange their engagement rings?

That he plunged into the deepest ocean trauma? That, for whatever happened, he lost his faith in God? That he was so madly immersed in the love of his mortal girlfriend that, after she was gone, forever, he wrote an immortal love story in her memory?

Or maybe that, after a long interval time, one day, love knocked at his door once again? (CLHT, prologue).

Ravinder thought that people fall in love just once in the life. After the death of his beloved girlfriend Khushi, he had no idea of falling in love once more in his life. This lost made him atheist. In order to forget things and to change his life style, he was encouraged to leave India for Belgium where by surprise love knocked for the second time in his life, at his heart door. It is because of this second love feeling that he was confused and troubled, yes, for his Khushi was still existing in his heart. His troubles and confusions sent him to ask this question which is the title of the book: Can Love Happen Twice?

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For this book, Ravinder himself wrote:

So this book again is my true story?

I believe that every fiction is inspired by a true story. Maybe this is my story, maybe not, maybe it is only partly my story, maybe not, maybe it is an amalgation of several stories that my readers write to me, maybe not. I don't want to reveal how much fact and how much fiction there is in my story. Rather, I want you to discover it with your own imagination. But I will leave you with this one truth, and believe me when I say this: it is our generation's true story. This is the prime reason I have dedicated this book to my reasons (CLHT, Before You Read Further...).

II.2 Plot or Story

The plot is the series of events which forms the story of novel, play, film/movies ect. (Oxford Advanced Learner's Dictionary, 6th edition).

In the novel under study, the story starts by the arrival of Amardeep in Chandigarh airport where he had to meet with his two friends Happy and Manpreet with whom they have been invited in Valentine's Day's special show on Superhits 93.5 RED FM, the number-one FM station, at 9 p.m to talk about their friend Ravin first book in which they are characters too.

Few seconds later, he made a call and very soon his friends Happy and Manpreet arrived with a car to pick him up. This meeting was very exciting and nostalgic for them to meet each other after five years back they met in USA during their first reunion.

The car took the direction of Radio station where they have been waited for the evening show with their best friend Ravin, but before their arrival, Happy stopped the car and went to send an email into the internetcafe near, though he came back in less than five minutes and drove the car to their destination.

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Thirty minutes before the show starts, they finally arrived and parked the vehicle in the radio station's parking. When they met the security guard, he directed them to the receptionist, who her turn, asked if they are there for the Raat, Baaki, Baat Baaki show. After a yes from Happy, she politely tell them to take the corridor on their right and go straight in room 3 where they were waited by Shambhavi.

It was their first time to be at a radio station, the three friends were quite observing the environment they were in, characterized by the formal silence persisting in the radio station. In front of the door 3 they stopped. Happy pushed the door. His two friends followed him in, they met Shambhavi, a girl with beautiful voice, the host and RJ for the show waiting for them. Shambavi noticed the absence of Ravin. She asked `where is Ravin?' This simple question brought a moment of panicked silence with the three guests momentarily looking at each other. And before Happy replied, Shantanu rush to announce Shambhavi that she just has 30 second to start. Without hearing the reason of Ravin absence or if he will come later, she quickly gathered the spilled-over papers on the table beside her and walked inside the audio room with commending Shantanu to take care of the guest and telling them: «excuse-me-I-have-to-rush-see-you-inside look».

When Shantanu noticed that Ravin will not be with them, he panicked and went in the audio room quickly to make Shambavi know. Contrary to what he suggest the annulment of it, Shambhavi decided to handle the show even without Ravin.

`Now you would need to carry on the show without Ravin. Isn't it?'

`Aaa... yes' the words came haltingly out of his mouth, followed by `But...'

And Shantanu's so-called `but' remained incomplete when Shambavi ignored Shantanu's reasoning and, instead, asked him to send the three of them in.

`I will handle it. Let the producer know that Ravin is not in and we are going without him' (CLHT: 6).

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When the three get in the audio room, Shambhavi gave them instructions on what to do and what to not do and a list of few question she will be asking during the show. Soon all of them were seated around the big circular table before Shambhavi broadcasted the beginning of show in which she announced to the listeners that she is in the studio with the real-life characters of the love story and true love tale I Too Had a Love Story. Then, she introduced Happy, Manpreet and Amardeep to the listeners.

Outside the radio station, Shambhavi's voice was reaching almost every listener. This 9 o'clock show had been a big hit in the city, especially among the youngesters. But that night this show turned more special, for it was dedicated to this city's bestselling author whose debut novel people had multiple times. For over a week there had been advertisements on this radio station for this show (CLHT: 9).

Just after asking them the very first question, Shambhavi gave the phone number so that any listener who wishes to ask them a question may call through. The first listener to call was Ritika, a BSc. student who was enjoying dinner with her boyfriend during this Valentine evening. shewanted to ask her question to Ravin himself however, after commenting on the book she called her favourite book I Too Had a Love Story which, she had since then gifted to many people; she just asked Ravin friends: «but then what happened to Ravin?... I mean, did he ever come out of the tragedy? Where is he now, what is he doing? , ect.»

Her only question about Ravin came to reveal the secret of his absence. The sad news was that Ravin was in an unstable state of mind and not doing well. He was suffering from MDD- Major Depressive Disorder. He has been admitted into a rehabilitation center. This made people think that he is in such condition just because of the sad story they knew years ago, then Amardeep explained that after Ravin succeded to pen down his love story with Khushi, many years latter, love

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nocked at his door for the second time. It was a very sad news for all listeners who didn't stop themselves of speading breaking news all over India the same minutes through messages and social networks.

When Amardeep said that they have with them the manuscript of that second story written by Ravin himself, Shambhavi who was already angry and lost confidence now announces it to listeners and promised to allow the readingof that after the music. This made that evening show more special and attractive.

The next time when they went on air Shambhavi updated all the listeners that the show that night would continue for an indefinite time and that it was going to be the very first time in their history that a show would run for unspecified duration.

In the world outside the radio station, Ravinder's fans were very much willing to listen to Ravin's story irrespective of how the broadcast would last.

Happy started reading Ravin's second book-Can Love Happen Twice? (CLHT: 17).

After he lost his Khushi, Ravin passed a long time of pain and mourning within his life, in the search of change, he wished to even leave India so that he tries to forget other things that still made him unhappy. It was a year and half later her death that he had an opportunity to go in Belgium for a project. This chance made him happy for it is what he much-needed.

He left India for Belgium where he spent his first week in one of Brussels' best hotels. He enjoyed walking in corridors, feeling the magic of the weather outside even if the temperature was -2 degrees Celsius. His collegue who phoned him for the first time in Belgium was Sanchit. He was the only Indian whom Ravin knew in Belgium. When the both idians met in the train going at Sanchit's place, this last updated him with various facts about Belgium.

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A year and a half had passed since the tragic incident had taken place. Unable to cope with the misery, I was looking for a big chance. Fortunately, on-side opportunity for a project in Belgium gave a ray of hope to that much-needed change. I availed that opportunity (CLHT: 18).

The next day after working, Ravin and Sanchit joined Antony who is one of various clients' contact for them, for lunch. Antony brought them to the restaurent by his car. Then, after eating and when they got in the car for going back to their offices, Ravin's eyes looked back and noticed a girl, he saw just her back because of her last position in the sandwich shop's entry queue. While still gazing at her and trying to guess if she could be Indian, the car started, so he lost his chance.

The weekend of his arrival, Ravin managed to find himself a house to rent. He succeededto get an apartment building. Nearby that place there was no even a single Indian. Most of the people who lived in the same building spoke either French or Dutch. His friend Sanchit was not only living far but also his wife has already joined him from India. Hence they couldn't visit eachother all times.

I lived alone, I cooked alone and I ate alone. There wasn't anyone to talk to because of the language barrier. Yet I did manage to cope with life's interesting challenges in Belgium (CLHT: 24).

In his second week in Belgium, he went to run on the treadmill in the gymn. Soon he noticed a face. A girl's face. She was a good looking Indian girl who also came in hurry to run for she had to pass her term exam the next day as she was student of second year in MBA.

She had to wait until Ravin finished his turn even though the minites he himself gave to her was not respected. When he finished, the young girl quickly filled the vacancy on the treadmill and run with great enthusiasm.

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It was the next afternoon after their meeting in gynm that Ravin met again this lady, called Simar, in minibus-eatery which sold sandwiches. Because Anthony and Sanchit were busy that day in a long conference call, Ravin went alone. And when he was on a long queue of people waiting, Simar cames outside and directed herself trainght to him. They talked, made acquaintacy and went back together.

Duning Ravin's birthday, after the departure of all invited Indian friends in his place, Simar came late along with her banchmate Tuna. He welcomed them in his house. Few seconds later Tuna's phone rung and excused herself by going outside. Ravin and Simar remained alone. They sat in the balcony talking each other while gazing at dark night's stars. Later when Tuna arived after almost an hour, it was already late and they left.

I was enjoying her presence. I don't know why but I felt different. It all felt nice. Maybe because it had been so long since I had been with a girl in the privacy of my house at this late hour. Perhaps that's why the air around us felt so stimulating--as if it was charged with some sort of mysterious, invigorating vibes. We kept talking, after which we made some coffee and, along with the leftover cake, shifted to the balcony CLHT: 34).

That whole night, Ravin chatted with Simar throuth messages in playing the game of Truth and Dare created for them by Tuna's secret message to Ravin in Simar's phone. This message conversation let them deeply know each other. When she asked him to tell her about his first lovelife, Ravin promised to explain everything face to face since it is a long story.

That game of Truth and Dare had given rise to something beautiful between us--this fact was quite apparent. For the first time in years I slept with a smile on my face (CLHT: 42).

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The next day, after their SMS night talk, they met for lunch late in the afternoon. It was during that time that Ravin discovered within his heart that he loves Simar. But even though he feels that love, he still was confused since his first girlfriend was present in his thoughts and could not let him accept to involve in Love Ocean once again after facing the passed tragedy.

I accepted that I was no longer the same Ravin I used to be. Gradually, with the passage of each day, I senced that I was changing. I accepted that I love Simar's company. I got all excited when I was to see her at lunch. I would feel low if she wouldn't turn up for some reason. Most of the time her name would appear on my cellphone's last dialed contact.

But despite whatever was happening to me, I must confess that there also was something that was stopping me from sailing in the oceans of my heart (CLHT: 43).

In the weekend, Simar went to Ravin place in order to get all details on his first girlfriend. In this situation, Ravin gave her the book her wrote about his love story with Khushi. Simar took the book: I too Had a Love Story, went back with it after reading some few pages. Early in the morning when she called him after reading the whole book, Simar was still crying for the story touched too much her heart.

Just after reading your life's story Ravin, I'm still crying. Last few pages of the book have been spoiled with patches of my tears falling on them. Your love for Khushi is so sacred and priceless (CLHT: 46).

After Simar had read Ravin's love story, their love grew up in the sence that they could meet end see every day, spend whole afternoon together, walkind and eating together why not passing night together like it happened one night. Each one enjoyed the company of another

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one. This made Ravin think of Marring Simar who he found caring and loving.

Our love story progressed with the Belgian summer. We would see each other almost every day, mostly in the evenings. If it was a weekend and Simar didn't have an exam coming up, she would get her study material and spend two to three hours studying, while I completed the miscellaneous household tasks for the day (CLHT: 71).

There came on December 25, something which created an unhappy mood for both RAvin and Simar. It was an afternoon after they enjoy things together, that, Ravin received an email sent by their account manager in India. It read:

Dear Sanchit and Ravin,

The Belgium project will now be fully operated from India. The client has agreed to double the workforce as we wanted and has extended the project for 2 more years. This is great news for us. The management here wants both of you to come back, transfer the knowledge to offshore folks and lead your respective teams from offshore.

Plan your travel back to India before the New Year (CLHT:72).

The last moment for them to be together was the evening of December. Ravin and Simar passed whole night together talking and planning about their future life. In the coming morning, Ravin made his lagguagewhile Simar stayed quite looking at him. A few moment later, it came the hard time for them to say goodbye.

Ravin went back in Chandigarh, in India. The distance didn't separate them. Thanks to the development of technology,both Ravin and Simar made either video or vocal calls during which their lovely moment could be recalled as soon as possible.

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A few months later, Simar was back in Gurgaon her home town in India and directly planned to make Ravin meet her parents. With the excitement of seeing his beloved again after so long a time, Ravin didn't hesitate of leaving Chandigarh for Delhi Shatabdi and then took a metro from Delhi to Gurgaon. He finally arrived and met her parents. After spending the whole afternoon with them, Ravin went back in the evening.

Near about noon I reached her place. I had been talking to her over the phone to find the directions to her house. As I reached my final destination for the day, I saw her from a distance standing at the main gate of her house (CLHT: 79).

There came a time that Simar on holiday went to visit Chandigarh for a day, Ravin strongly persuaded her to go and visit his mother, but it seems that Simar wasn't in the mood to do that even thought she finally accepted. After picking her up from railway station, the both drove to where Ravin and her mother were living in a renting apartment.

After that visit, while making a tour in the town, Simar's mood looked strange when she has started asking questions that Ravin consired as already discussed in Belgium. She wanted to know if there are going to stay in India after their marriage. Simar said that she does want to marry just after her graduation because she needs one year of work before that,`I thought we will settle down in Belgium, I dreamt of getting a fabulous job in Belgium (...)' all these ways of thinking made Ravin curious to know really what was the true matter.

When Simar returned to Belgium, their love start having a lot of misundersting. They could discuss each time just about the matter concerning their settling down in Belgium. Raving called Simar's father to make him understand what was going between them. It is thanks to that call that Ravin has been clarified in the intentions of his beloved. Her father told him that Simar wisheshim-Ravin-to join her family in Belgium, left his job for Simar father's company that would move soon from India

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to Belgium. She loved only Ravin and wanted to live only with him in the house of her father and motherfor she was the only child of this very rich family, sorry for she didn't love Ravin's family then, Ravin had to leave his parents, family and country for Simar.

With this clarification on the matter Ravin asked himself many

questions.

The entire conversation I had that evening with Simar's father left me wondering. In the first go, I wantedto call Simar, but then later I decided against doing so. I thought it was better to prepare myself before I go to hear from Simar whether all that I had heard was right (CLHT: 91).

Their talk on the phone was not good as usual. Simar insisted that Ravin accepted to live in Belgium and join her father's business. Seing that Ravin didn't like to lost Simar remembering what he faced with Khushi, he finally agreed to plan for staying in Belgium and will do all is best to convice his parents to go because he is the only one who could take care of them since his young brother had applied for American Green Card. Simar in her turn didn't want him plan to travel with his family. Ravin aceepted that, but could plan visits to his parents each time. Simar then showed her bright point of view that she wants to pass all her times with Ravin.

That is to say, she could never accept her husband going to visite his parents. She then added if how she could live with a non-vegetarian, an atheist (...) when after her graduation she goes in Canada for a contract of three months which lasted two five months, Simar wrote to Ravin that her main purpose was to be know all over the world as the second love of this guy the same way he made Khushi known through his first novel I Too Had a Love Story, she wished to be alike in the second broken heart love story of Ravin. She ended by saying how busy she became for her PhD studies came in her mind as priority.

Ravin could not become slave of this love even though he did all his best to make it true. Since a boy could not give up his parents for a wife,

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since Simar loved herself, her dreams and thought no even to change a simple comma on her embution's long list; Ravin's patience arrived at the end.

The problem with being in love is that you find it difficult to survive without the other person. No matter how many times you decide not to succumb to it, you eventually land up trying one more time. Things would have been simpler for humans if we were born with only a brain. The addition of heart has brought in all the complexities in my case (CLHT: 98).

With these words, Amardeep finished to read the manuscript of the book on the microphone that evening show which made listeners understand what happened to Ravin for the second time and why his condition was not going well since then.

Those final words of Amardeep brought everyone back to the present. He went numb. No one said anything for some time. After five and half hours of live reading, a dead silence took over everyone (CLHT: 100).

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a) Plot Diagramme.

Climax

Ravin falls in love with Simar

Simar visits Ravin on his birthday.

Ravin and Simar met again in sandich shop

Ravin met Simar in gymn

Ravin went to Belgium

Ravin struggled to forget the rememberance of his first girlfried, Khushi

Ravin goes back in India

Simar went in India during vacation and
things changed between her and Ravin

Ravin did all his best to convice Simar but she refused to change.

Ravin and Simar break up.

Simar wants Ravin to join her family and abandon her parents after they marry.

DENOUEMENT

EXPOSITION

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II.3 Characters and Characterization 3.1 Characters

A character is a person or an animal who takes part in the action of a story, play or other literary works. Most often a character is an ordinary human being. (Wiston:682).

Character can be classified as follows:

Main Vs. Minor

Main characters in a Novel, play or film are the most important characters around whom, the whole story turns. Minor characters are those that help the heros of the story from the resolution, rising action of the story, to reach climax and accompagn them in falling action until they reach denouement.

- Round Vs. Flat

In his bookAspects of the Novel, E.M Forster defined two basic types of characters, their qualities, functions and importance for the development of the novel: flat characters and round characters. Flat characters are two-dimensional, in that they are relatively uncomplicated. By contrast, round characters are complex figures with many different characteristics that undergo development, sometimes sufficiently to surprise the reader.

- Dynamic Vs. static

Dynamic characters are those that change over the course of the story. While staticcharacters remain the same throughout.

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- Protagonist, Antagonist and Tritagonist

A protagonist is the hero of the story, whereas antagonist is the opponent of the protagonist. But tritagonist is character who sympathizes with the hero.

- Regular, recurring and Guest Characters

In television, a regular, main or ongoing character is a character who appears in all a majority of episodes, or in a significant chain of episodes of the series. Regular character may be both core and secondary. Reculing characters often play major roles in more than one episode, sometimes being the main focus.

A guest character is one which acts only in a few episodes or scenes.

3.2 Characterization

By characterization we mean, the process of revealing the personality of a character in a story (Winston: 682). It is also a way in which somebodyor something is described or defined in a work of art by taking into account the place and the event (Bolemba, L2 LCA: 201120012).

A writer can reveal a character in the ways which follow:

- By letting the reader hear the character's inner thoughts and feelings;

- By letting the readere listen the character speak;

- By describing how the character looks and dresses;

- By revealing what other people in the story think or say about the characters;

- By showing the reader what the character does, how he or she acts;

- By telling the reader directly what the character's personality is like (Cruel, kind, sneak, brave and so forth) (Winston: 682).

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3.1.1 Main Characters

In the novel Can Love Happen Twice?main characters are:

1. Ravin (Ptotagonist or the hero of story).

An Indian business guy who had lost his beloved girlfriend just few days before they marry. To cope with this situation was still tough, though he wished to leave India for abroad in order to forget some memories. His luck was that he got an opportunity to go in Belgium for a work contract.

In Belgium he met Simar who was a young Indian girl studying her MBA-Master in Business Administration with whom they fall in a crazy love.

His Characterization

? Loving and Caring

From his first book until this second under study, Ravin is discribed like someone who seriously love and care about his love. His purpose in this matter is not to play with girl's feelings or pleasure, he loves with whole his heart and plan in all occasion to marry Simar.

After Simar readsI Too Had a Love Story, which, he penned out in the memory of his first girlfriend whose death separated them, she wrote:

...I'm happy that with this tribute to Khushi, you brought her back in this world and defeated God. Every girl would yearn for a soulmate like you (CLHT: 46).

? Serious

Ravin is a serious guy. His seriosity is seen through the text in all his way of behaving as responsible, the way of speaking, the way of reacting to a given situation and the way of treating others wether his friends or his girlfriend and her friends.

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`Having known you personally and then through your book, I wish I could have a guy like you in my life' (CLHT: 46).

? Brave

Ravin's courage is seen in the whole book when he acts. Firstly he preferred to leave his home country for going abroad, something which is not easy to decide; next he didn't hesitate of visiting Simar's parents when she planned so and when things became complicated he didn't stop himself of calling Simar's father to know what was the real matter with Simar.

`I found you to be a nice guy, Ravin,' her

father said

I looked up to his face as he continued

(CLHT: 80).

? Solitary

When he arrived in Belgium before meeting with Simar, Ravin had no one to talk with since the only Indian he knew there was living far and also because around him no one could speak English for Belgian do only speak either French or Dutch.

I lived alone, I cooked alone and I ate alone. There was not anyone to talk to because of the language barrier (CLHT: 24).

? Disappointed

Even though Ravin did all his best for not losting Simar as it happened to him with Khushi his first girlfriend, finally he was disappointed when Simar created many things that could not allow him to marry her.

By the time Simar actually came back to India after her consulting assignment, things has boiled down to a yes or no decision (CLHT, 98).

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> Sad

Disappointment gave birth to sadness in Ravin's heart.

The problem with being in love is that you find it difficult to survive without the other person (CLHT: 98).

> Atheist

After Ravin lost his beloved girlfriend Khushi who he described in his first novel, he lost also his faith in God. He became atheist for accounding to him, God is either the responsible of this death or if not him, why didn't he stop that before this arives since he is the one who knows all things.

`How could God be so cruel to take away an angel like Khushi from you?' (CLHT, 46).

`You are an atheis whereas I wanted my life patner to believe in God (CLHT, 97).

2. Simar (Antagonist)

An Indian beautiful young girl of about 24 years old from a very rich family. Her father was a businessman who was running some telecom business in Indian and her mother a lawyer. She was the only daughter of this prosperious family. She left Gurgaon and went to Belgium for purshueing her Master studies in Business Administration where she met with Ravin who had just arrived in Belgium, it was her second year of studies.

Her characterization

> Beautiful

Like all other Indian girls in the world, Simar was so cute, attractive, gorgeous, lovely and beautiful. The first time Ravin saw her just on the back, I was troubled.

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She looked beautiful; more beautiful than the pretty Belgian girls in the queue (CLHT, 27).

? Loving and caring

After readin Ravin's love story book, Simar loved him with whole her heart and cares about that love days and night from the day they loved until their last moment together in airport before Ravin returned in India.

`You are my sweetest heart, Ravin. I want to hug you' (CLHT, 47).

? Rich

Because her father was a well known business man in India and her mother a lawyer, Simar grew up without lacking anything sshe desired. Since there are many Universities where she could deal with Master level, she preferred only to go in Europe far from her parents and in expensive life style without mentioning cost of living in European countries.

She took me inside her house and it was something to be admired. It was luxurious, spacious and well d!esigned with nice interiors (CLHT, 79).

? Embitious

Unlike what Ravin was waiting to her (to graduate) for they marry, getting a Master degree was not all Simar wished. She was always dreaming of great things like staying abroad whole her life, having a big house with luxurious, getting a fabulous job in Belgium, travelling around the world and dealing with PhD studies. So, her list was very long and in her plans she wanted none of her dreams to fail or to be changed.

`She doesn't want to live with your family, but just you' (CLHT, 91).

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3.2 Minor characters

1. Happy, Amardeep and Manpreet (Tritagonists).

They are Ravin's three best friends with who he passed University life together. They were Characters in his first novel I Too Had a Love Story which he wrote without letting them know anything. In the novel under study, they were invited in a night show of Valentine day to speak about the book they are characters.

As the three of them looked inside the audio room the giant glass window, Shambhavi waved for them to enter (CLHT: 7).

2. Shambhabi

Shambhavi is a girl with beautiful voice, the host and RJ for that Valentine evening show at Superhits 93.5 FM.

3. Shantuna

He was working with Shambhavi in the radio station. He was scared to notice that the show is going to be handled wiothout Ravin

4. Ritika

An India lady student in BSc from Punjab University. She is the one who called to know how was Ravin doing since he lost his girlfriend, Khushi.

5. Sanchit

The only Indian guy know by Ravin in Belgium. He was not only his job collegue but also a friend to Ravin.

6. Simar's Father

A very rich businessman well known in India. He is the one who made Ravin know the secret of his daughter's behavior and decisions.

7. Simar's Mother

She was a lawyer. The mother of only one child or daughter, Simar.

8. Ravin's Mother

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A modest women full of love and respect. She had two sons: Ravin and his brother. She welcomed Ravin's girlfriend at home where they (Her and Ravin) were renting.

(a) Diagram of Character's Relationship

SENDER
(Ravin)

Object : (Marriage)

PROTAGONIST

e

(Ravin)

d

ADDRESSEE (Simar)

Antagonist (Simar)

TRITAGONIST Assisted

(Simar'sFather)

II.4 Se ttings

Opposed

There is no true detail about the year in which this story happened dispites 2007 which is the date this novel was published. It is noticed

We speak of setting to mean the time and the place in which the events of the work of literature take place (Winston: 689).

II.4.1 Spatial Setting

This novel has been written in India. The scene started in Indian after Ravin lost his first girlfriend, went to Belgium where he loved Simar, an Indian girl student in MBA program. Later Ravin's company called him back in India where the story reached the falling action until the both broke up.

II.4.2 Temporal Setting

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while reading that the whole story is not a less than one year matter, for Ravin loved Simar when she was in the second year of her Master studies maybe at the end of the first semester; next when she finished her degree Simar went in Canada for five months more.

II.5 Style

Style is a way that something is done, built etc. (Oxford Advanced Learner's Dictionary). It is also how the author says something, the choice of words and the use of language, sentence, construction, imagery, tone, figures of speech, point of view and appropriation or borrowings. These facts add significance and impact to the author's writing ( www.shoop.com/wring/style).

Some author's point of view about Style

1. Mathiew Arnold

«The secret of style is to have something to say and say it clearly».

2. Shopenhawer

«The style is the phisionomy of the mind».

3. Jonathan Swift

«Proper words in proper places make the true definition of style».

4. Edward Gibbon

«The style of an author should be the image of his mind, but the choice and command of language is the fruit of exercise».

5. George Louis Leclerc Buffon

«The style is man himself». i.e: man portrays himself through his style.For the purpose of this dissertation, this part will be clearly developed in the last chapter of the work with is only focused on yhe narrative techniques.

II.5.1 Subject Matters Vs. Theme

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II.5.1.1 Subject Matters

Those are ideas or information contained in a book, speech or painting (Oxford Advanced Learner's Dictionary).

Mongbolo, N. in Analysis of a Literary Genre defines subject matters as key motifs or recurring ideas around which the story is woven. This one is expressed by means of single words rather than a sentence as the case of theme.

Examples: Poverty, Love, Corruption, War, Deception, Courage, etc.

In Can Love Happen Twice?, the following subject matters are found: Voyage, determination, courage, isolation, suffering,

relationship, friendship, love, separation, misunderstanding,
disappointement, breaking up, sadness, sorrow, trouble to cite just these.

II.5.1.2 Theme

A theme is an idea about life revealed in a work of literature. A theme is not the same as a subject, a subject can be a single word or two words while a theme is always expressed by the mean of sentence.

To sustain the ideas above the following examples deserve to be given of course referring to the novel under study:

In the subject «Love» we have the following themes: It is better to spend time with people you love, Love is blind, Love can make someone crazy, Someone you truly love will not love you truly, Once you love next they avoid you and One you avoid then they Love you, etc.

A story can have several themes but one will often stand out from the others.

Note that two readers of the same book cannot state in a subject two identical themes (Winston: 688).

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A theme can be paraphrased as a central topic of a text or a book in order to bring the autho's moral lesson or message to the society.

II.6 Tone

Tone is the attitude that a writer takes towards the audience, a subject or a character. Tone is conveyed through the writer's choice of words and details. Tone can be serious, humorous, satirical passionate,

sensitive, zealous, indifferent, ect. (Elements of Literature; p 690).

In Can Love Happen Twice, Ravinder uses emotional and serious tones. Emotional tone is seen in the way he ends the story. Most of readers including myself let tears run down after reading for the first time this novel. Whereas in seious tone, Ravin expresses his seriosity in love which he didn't like to end with tears.

II.7 Mood

This novel is characterized by three different moods relative to each main part of the plot. In the resolution or the beginning of the story, the author is in solitude, his own mind asked him to stay speechless for he tries to forget some touching rememberance of Khushi his dead first girlfriend. When the story reaches the turning point or the climax, Ravinder describes Protagonist in a very happy mood created by the company of Simar in a very serious love relation. Whereas, in the denouement, the novel ends in mylancholic mood that is made possible by the breack up of Ravin and Simar.

II.8 Intention

While speaking of intention we deepen our thoughts to know why the author wrote this book. Contrairy to most 21^stcentury writters who focuse on denouncing corruption, political games and so foth, Ravinver, in his two first novels, speaks only about love matters.

To write Can Love Happen Twice, Ravinder wished to share his own life story about love in order to help reader understand that there exist people who truly love but life realities don't permit them to reach their

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goals. In the very first pages of the book, the author expresses himself this way:

The ever-incresing numbers of such emails made me comprehend that, these days, `Heartbreak' is a far more rampant disease than `Heart Attack'. And, unfortunately, insurance covers just the latter. This is the very reason behind writing this book

(CLHT, Before You Read Further...).

B. Your Dreams Are Mine Now II.1 Title

The title of the second novel analysed in this dissertation is: Your Dreams are Mine Now. This title had been taken inside the text when the two main characters were talking about their future dreams. Rupali fell in love with a guy that she was hating too much since the very face time see saw him. The both involved in a matter which linked them together, then Rupali discovered that Arjun was not as worst as she used to think. She then appreciates his friendship and caring attitude which sent them to fall in love.

When in one evening the both were sitting in isolate place to talk about their future dreams, Arjun said he doesn't have dreams since it may happen that things change with the time, in her side, Rupali expressed her dreams which was to marry and stay with Arjun alldays of her life. When he -Arjun- heared that, he respondes: your dreams are mine now. This sentence is which the title appeared in the first page of the novel called title.

My dreams are quite simple, Arjun...' she paused for a moment and then continued, `I want to do well in academics, secure a good future for myself and fulfil responsibilities that I have towards my family. I want to continue to stand up for things I believe in. I wish to see happiness around me, and while all this happens, I want to...' she stopped

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again, but only to resume after a second or two, `...I want to see you by my side. Arjun, I want to live the rest of my life with you' (...) `that's what my dream is'. (...) Can my dreams become a part of yours?' (...) He swallowed the lump in the back of his throat and when he felt he could talk he said, `Your dreams are mine now!' (YDAMN, 67-68).

II.2 Plot or Story

The story starts with the arrival of a new batch of students in Delhi University from all over the India sub-continent, among them, a young 18 years old lady named Rupali Sinha from Patna. Shehad been a bright student throughout her school life. Since her younth, Rupali was dreaming of walking one day down the corridors of this institution-DU.

Seing that her dream becomes true, she was very happy and joyfull when she received an admission call from this top-ranked institute to persure commerce. Her parents were very pround of their only one daughter who was about to leave them for the first time for her studies purposes. With tears on eyes Rupali left the family house.

Her first day in DU hostel was characterized by the happiness since her life dream of walking in DU hostel corridors became true, she could smile with every girl she meets and greets them without shame. Her 107 room was so sweet for her. She passed night the first day late because of deep thoughts.

The next day she waked up fresh for her first day at college. Early in the morning her roommate-Saloni, who had become later her closest and best friend arrived in the room with her lagguage too.

After the first day at college which focused on welcoming new students celebration, Saloni conviced Rupali to have a facebook account which was considered by her like not to be important. When one day she was on college, Rupali was happy to see a post in which a music club of college was looking for new members; she loved music, though

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didn't hesitate to join the band. During her music test, a group of student entered the room where music intruments were installed, they destroy and left them room. In that group was Arjun. This guy has met Rupali days before and made her afraid with his interrogatoire. Rupali started to dislike him for seeing him always in negative things.

It was one hot afternoon that Rapuli left hostel for going to meet at college Professor Mahajan, teacher of account for clearing a doubt she had regarding his paper. Professor who was one of the more well-known and respected faculty members had planned her visit two days ago for the 2 p.m that day. But when she reached professor's cabin, she found the door locked. She went to look at the other faculty member's cabins in the department to check if, by chance, Prof. Mahajan was there but, the whole floor was desolate!

Rupali decided to go back for not meeting with the one she went to search, while walking in a dark corridor, she saw a open window which caught her attention. Inside the window was very black likewise outside where she was. Inside the room, she saw the back of someone, it was a lady, in front of that lady was a man trying to touch her everywhere by force.

The apparence of that lady showed that she was a peon and she quickly noticed that man was the same professor she was looking for. Rupali was choked seeing that a respectful professor of the great university of India was violating a peon lady in the office. She decided to run with fear but, her heart requested her to do something.

In the room, the cenario continues, Professor succeeded to lay the lady on the table, she was trying to pull herself out of the man's grip, but Professor was stonger than her. She repeatedly tried to pull the man's hand out of her blouse, but the man persisted, clearly pushing himself against her will. When the peon managed to step away, Rupali was able to take her phone and record the scene just for about a couple of minutes. When she noticed professor putting of his trousers, Rupali was not able to see such things either in her phone or her own eyes,

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then she decided to stop recording and find a quick solution to save the poor peon.

After remembering the speech of her father: She created a fake phone call in which she spoke loudly and walking by making noise with her feet, loud enough to be heard by the people inside the faculty room. In sthe same time, the lady peon run outside the room speedly looking her and there to check if someone can notice her. Rupali wished to follow her but hesitated in thinking that Prof may come out to see what happened. She then decided to disappear without being noticed.

It took Rupali a whole week searching that lady peon before meeting her one day in the garden area of the campus, cleaning. Rupali took a minute to verify if that lady was the real peon she saw that day for there were many of them working in campus, her heart made her confident that she was. She then approached her to invite her working in her hostel room that evening. The peon introduiced hersef too. Her name was Raheema.

In the evening, Raheema arrived in Rupali's room. She then succeeded to make her speak about what happened to her that day in the office. Rupali was choked hearing that that lady of about thirties was a widow and mother of a fifteen-years-old daughter who used to work as domestic help in few houses. But when, three years back, her husband who was working as a gardener in the same college died of cancer, she had no other option than to look for a better job in order to take care of herself and her daughter's education. Like her, she didn't want her daughter, too, to clean utensils. She had dreamt of good life for her daughter.

Someone in her community asked Raheema to see if she could get some work in the college in the replacement of her husband. She agreed with the idea. This was not also easy for her, since, someone else had already filled the vacancy that her husband's absence had created. Raheema moved in several offices witout answer.

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The only man who noticed her presence during three days sitting down in front of an office was Prof Mahajan. When he heard her speak, the same day just by a simple call talk, he ordered to hire her. Raheema was surprised to see such power and authority Mahajan had at University. She considered him like an angel of her life. Unfortunately, it took only two weeks for her angel to turn to devil.

He was her angel and she would remember him in her prayers (...)

Unfortunately, it only took two more weeks for Raheema's angel to transform into a devil. The unexpected had unfolded when Mahajan had specifically asked Raheema to clean his cabin on a holiday, when there was no other faculty member or student in the college block (YDAMN, 24).

This story mad Rupali very angry, she then decided to take the cause on her hands and fight to defende the poor Raheema. A week later when the elections had passed, all activities started as usual at college, Rupali went in the Professor's cabin to meet him and discuss about Raheema's matter. She get in the office even if the profeesor didn't allow her. She then witnessed all thing Professor did with that poor peon then she asked him to stop doing all these things for if not she will go to revealhim to higher authorities. Professor's face became red with anger.

He promiced to show rupali what his power was for none had tried to speak to him like that. Things became complicated for Prof when Rupali called Raheema to get in the office, for Mahajan didn't know that she was stainding outside listening to all thhings they were discussing inside. With shame that turned to anger, Professor Mahajan, with all his force slapped Rupali, she fell down. Raheema got fear that sent her to plead mercy of professor. When Rupali stands up, she stopped Raheema of pleading him (YDAMN: 28).

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They left before Rupali tells the professor to stay far from Raheema. When they arrived outside, they asked themselves what to do in order to put an end to such illtreatment from the professor. The brave lady planned to find a solution about that situation as soon as possible. They separated and promised to meet the next morning.

When Rupali arrived nervous in her room, her room-mate discovered her unusual appearance, she then approached her and make her speak. Rupali told the whole scene and her friend became very angry to Professor for slapping her best friend, Rupali. Then she asked what must be done in order to end that matter. Rupali still conviced in her heart to fight that evil professor. Her mate adviced her to stop fighting for an unknown but Rupali didn't like to hear that.

The next morning, Rupali and Raheeme met again. She, Raheema, announced her that she has found someone who is going to help them in that matter. She then proposed her to meet with that man during their class-pause. Rupali didn't feel very good to see that someone else is informed about the matter she liked to be their own secret, but she had no choice since that one is going to help her in the fight she is involved in.

The meeting time arrived, Rupali went quickly to meet with them in a restaurant. She get in slowly found Raheema and that guy inside. While intering the hall the guy's back was visible in her eyes. Raheema smiled to her and said that they were just waiting for her. Surprising, the guy waiting for Rupali is the leader of guys who made her scared the day she was planting her tree in the hostel garden, her first day in Delhi. The same guy was among those who came to vandalize the music club the day she had audition. She was shoked to have in front of her the guy she secretetly hate because of seeing him twice always in the bad situations.

Arjun, the guy greeted her and started talking. They decided to speak in English and explain all their plans to Raheema later. She was not happy inside her until Arjun explained that he was not bad as she

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was thinking. He then explain why he was present the day of her audition trouble, he came late because they informed him that his friends went to vandalize students in music club, he followed them in order to stop them, unfortunately, he found them already in action, that is why he stayed only outside the auditorium.

He made her understand some realities of university they are students in, he explains what their claims and fights are about and made her conviced that he is not a bad guy. Rupali was conviced. She now trust in him. The both planed what to do for fighting Prof's evil deeds. Arjun claims that it will not be possible since they have no proof of what professor did because he will not accept the witnessing of either Rupali or Raheema herself.

Arjun met his friends in order to plan what can be done for Rupali's desire to fight the evil professor. They all are blocked because they have no proof of what happened. Suddenly, Rupali, said she has the proof. She agreed that she had something that can be considered as the proof. She then explain while taking her phone outside her bag that she had recorded a part of scene that happened in the room were Professor was violating the poor Raheema. She presentes them the video. They were all shoked seeing the fact of the story.

One of Arjun's friend decide to cut the last part of the video where the face of Raheema was visible. They decide to creat a new facebook account and post the video in Delhi University's group.

The next day, all was done. Professor's sexual arrassements, his evil deed and whole his face is seen in the video published through an unknown facebook account in the group of university.

Early in the morning, the video was published and viewed by the most of students of Delhi University. This was a great proof which caused demonstrations on University roads against the deeds of Professor. Later the same day, He was arrested and jailed.

A short time later, Professor was released from prison and came out with only one objective, killing the young lady.

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Rupali and her new friend who became her love, Arjun had a love rendez-vous. The young lady got ready for their metting and went where Arjun was supposed to come to pick her up. The time she was waiting for her beloved, a car arrived near her and kidnaped her. Four men sent by the professor Mahajan abused the lady, violated her, broken even bottles inside her genital part, they have vionlatly betten her, removed her cloths... Rupali's whole body was bleeding. She later lost conscience and fell down. The four guys check to see if she is really dead as their mission was.

After they left, early in the morning her body was found in the same place. It was brought to the hospital, her parents arrived the same day, her best friend was at the hospital together with Arjun and all his friends, Reheema also did not make exception. After a very long struggle with life, the young innocent beautiful lady Rupali died. Her parents brought the corps in the province where she came from. Arjun in his sorrow went towards the hostel where his belove was living, he unrooted the plant that Rupali planted her first day at University and went back with it to plant in their home so that he sees it all days of his life.

II.3 Characters and Characterization A. Main Characters:

- Rupali Sinha

The young confident, merit-list student from Patna lady of about 18 years old who left her province after graduating from high-school and received admission call from top-ranked Delhi University, which was just the concretization of her life dream. Once arrived in DU, her courage sent her to take cause of a poor widow lady-Raheema- who was secretly fighting against Prof Mahajan's sexual arresment.

Her fight succeed in the first semester, but later this costs her the life. She died after being violated by four men sent by Prof Mahajan.

- Arjun

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A brave boy whose life was based on fighting negativity on DU. After being informed about Prof Mahajan's immoral acts towards one of his relatives, together with Rupali, he fought. But after falling in love with her, his beloved Rupali was killed by his most known enemy.

- Professor Mahajan

Professor of Accounting in DU. A very bad professor but more respected at University. He wanted to have sexual intercourse by force with Reheema, the pon lady who was sweeping his office. When he knew that one of Universty students was informed about his wiked deeds. He decided to put end to the life of Rupali. He sent four persons to execute the poor young lady.

B. Minor Characters

- Raheema

A peon worker on DU campus. Asingle mom whose husband died with cancer. After being taken at University to work in the place of her husband in order to pay tuition fees of her 15 years old daughter, she was victim of Prof Mahajan's sexual abuses.

- Solani

A young beautiful modern lady from a very rich family. She was the room-mate of the hero of the novel-Rupali. A very kind and friendly girl. - Music Club Members: Shafi, Tenzing, Sheetal, Raghu, Mirza and Harpreet.

- Rupali's Family: Her father, her mother and her young brother

- Arjun's Friend.

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II.4 Settings

A. Spacial Setting

Your Dreams Are Mine Now is a Indian novel written by Ravinder Singht. It discibes life in the top-ranked Indian University, Delhi University. The whole scenes written in the book took place in the University.

B. Temporal Setting

This novel was wriiten in 21^st century like all other RAvinder's books, this one was published in 2014. Both days and night scenes are present in the book.

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Conclusion

The second chapter was about literary analysis of the two novels studied in this dissertation. The first part of the chapter delt with the Life and Work of Ravinder Sight and the last part concerned the Analysis.

First point concerned the life and work of the author who wrote the two works we analysed in our dissertation: «Can Love Happen Twice?» and «Your Dreams Are Mine Now». In this part, it have been clarified that Ravinder Singh who studied Business Administration, after working for a short time he decided to deel with master studies till he got his MBA (Master in Business Administration) degree became what he called himself an author by chance, for he dicided to write the story of is own lovelife about his girlfriend who died few days before they marry. This story find in his first novel I Too Had a Love Story touched and still touch until nowdays the millions of hearts. Thanks to this successful first book, Ravinder continued writing from that time until he gave up Business matters to become a full time author.

In December 2018, the time we finished writing this dissertation, Ravinder has since then publish eight novels and he has open his own publishing house called Black Ink.

Seeing that I delt with two novels, I separated them so that readers understand the analysis of each of them. The first novel, Can Love Happen Twice? is studied in 8 different literary analysis elements which are: Title, Plot, Characters and Characterization, Settings, Style, Tone, Mood and Intention. Whereas the second novel is studied in four major points: Title, Plot, Characters and Characterization and Settings.

CHAPTER THREE
NARRATIVE TECHNIQUES IN RAVINDER SINGH'S
CAN LOVE HAPPEN TWICE? AND YOUR DREAMS
ARE MINE NOW.

Introduction

In this chapter three, I point out some Narrative Techniques used by Ravinder in his two romantic novels understudy, analyse them, and examine how they help the author to underscope his message. After a very deep investigation and reading,techniques of narration find here below have been remarqued in the novels. But before that, let's undersdand what the meaning of narrative, and a technique.

a) A narrative is a story, a succession of happening involving a plot and a setting. Narrative as adjective is which is related to a story, a narration.

b) A technique with a message and a style are the three important factors in any creative writing.

- A message is something to say, thing the writer wants to write about, the content of the narrative;

- A style is a manner of using words in the final expression of the story;

- A technique is the ways and means of organizing and manipulating the materials.

It is commonly called the structure of the story. Etymologically, the word technique comes from Greek and it means, «crafts manship». The classical philosopher Platoexplained it clearly «Ta pragmatic technica» or «the affairs of craftsmanship».

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Nobody can give a writer a style; nobody can give a writer a technique. Mental equipment forces the spirit to achive its purposes. A technique is mastered and forgotten, and it becomes an unconscious part of one's equipment, the writer has subject it during his formative years.

The Relevance of the Study of a Narrative Technique

At this sense, the study of a narrative technique urges upon each writer, critic and researcher. In other words, the success of a work of art depends to a great extent upon its employment.

A writer has some materials: facts about life, with these, he wants to do something, this is, his purpose. Therefore, to achieve his purpose, he needs how to do it. To ignore a technique is to miss part of the substance of a literary work.

Moreover, one way, probably the most important way in which the study of literature can help us to read more perceptively and hence increase our understanding and enjoyment of what we read is to acquaint us with the literary techniques.

Narrative Techniques Used by Ravinder Singh 1. Use of Short, Simple Sentences

Eckersley, C.E and Ackersley, J.M. in their book A comprehensive

English Grammar for Foreign Students define a simple sentence as «the

one that contains a finite verb. It does one of four things:

- makes a statement,

- asks a question,

- gives a commend or makes a request,

- makes an exclamation.

Here are some examples:

- Mr Kambasu studies Ph.D in Philippines (statement)

- Did you succeed? (Question)

- Please help me (Request)

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- Wow, too hot again! (Exclamation).

The two novels analysed in this dissertation like all other Ravin novels are written in short sentences easy to read, simple in structure, without complicated clauses and understandable.

`All right, guys

Pull your socks up.

We are going live in thirty seconds'

(CLHT, 8)

`So when did you join the club?' Arjun asked.

`Hmm?' Rupali was lost in her thoughts.

`Club. The music club,' he clarified.

`Oh! I joined last month only,' she replied.

`You sing?'

`Yes,' she said (YDAMN, 37).

Compared to The Old Man and the Sea by Ernest Miller Hemingway, Can Love Happen Twice and Your Dreams are Mine Now are written in the form of dialogue. That is what makes a novel sweet and easy to be read even by people who have not yet mastered theenglish language.

`Who gave this to you?'

`Martin. The owner.'

`I must thank him.'

`I thanked him already,' the boy said. `You

don't need to thank him.'

`I'll give him the belly meat of a big fish,' the

old man said.

`Has he done this more than once?'

`I think so.'

`I must give him something more than the

belly meat then.

He is very thoughtful for us.'

`He sent two beers.'

`I like the beer in cans best.'

`I know. But this is in bottles,

Hatuey beer, and I take back the bottles.'

`Tha's very kind of you' the old man said.

(OMS, 13).

`Hello,' she wished the caller.

No response came from the other side. `Hello-o-o-o. Who is this?' she asked

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This time a sweet voice replied,

`Hi Shambhavi, I am Ritika.'

`Hi Ritika, how are you doing tonight? (...)'

`I am doing very good, Shambhavi

I am so excited that my call got connected

(...)'

(CLHT,11)

`Don't worry we have the script with us' `What do you mean you have the script?' `Allow us to speak to listeners and you will find out.'

(CLHT, 14).

`All right,

Who is going to read it?'

`Hmm... Anyone among us,'

`Be specific. Who is going to start it?'

`I will,' asserted Happy. (CLHT, 16).

`You cook?' `Yes.'

`You know how to cook?'

(CLHT, 35).

The effect, better the literary effect of the use of short, simple sentences is to be demonstrated here. It is commonly stated that simple sentences express complete and full ideas at a time. The style is simple, but very pure. The reader has not to think much to tackle the idea expressed by the writer, and it helps both the writer and the reader to progress step by step either in writing or in reading. Many writers such as Ernest Miller Hemingway have devoted much of their time in writing fiction on short, simple sentences.

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2. Use of Complex Sentences

Other group of sentences in the novels seems to appear longer but even thought that, they are easy to understand. Let's consider these:

With the start of the second semester, campus politics became the priority again. There had been a case of violence reported in which a few students from student's union in power had clashed with another group of students. The fight had erupted due to the alleged harassment of a girl outside the campus by someone who was an active member of student's union. Two of the boys from the other group were reportedly admitted to the ICU. When the police had booked a few members of the students' union, the rest union had called a trike in a few colleges asking the vice-chancellor to intervene and get them out. Even though majority of students were not in favour of it, they all were silenced. Rumours also alleged that a nexus of drug traffickers was flourishing in the university and that they had the backing of members of the students' union. This brought to light questions about how the union was spending its funds. A demand was also raised to bring in more transparency in this (YDAMN: 75).

3. Use of SMS Language and Spelling

New generation, with the development of technology is characterized by the fast usage of electronic materials. Among all, the telephone is the most used in the world. People use telephone nowdays not only to make a call, but it can be also to connect on internet, to take pictures to record a video, to use radio, calculator... and besides all these, a phone is mostly used by youngers to send and receive messages. Seeing that message chat is very quick than a call, it is noticed that SMS has got its own language and way of spelling words

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different from the usual usage. This change is understandable in the way that some words in all human languages are very long. This length can make the chat last while some one is spelling ideas from his thoughts.

In the two novelsI have analysed in this thesis, Ravinder presents SMS language and spelling in a great part of each novel. Let's just focus on whole night conversation Ravin had with Simar the night of his birthday in Can Love Happen Twice?

`U appear angry. M nt sure if u actually

meant it 2 b ok. I only hope u forgive me'

`Cn forgive u only one 1 condition.'

`Wat condition?'

`Whose turn first?'

`U actually wanna play kya?'

`But I ws about 2 sleep.'

`Oh u need nt play it dear.

Jst simplify accept dat u lost n I

wil forgive u n thn we both cn sleep.'

`Yaar u knowI m scared of playin it.

I nvr played dis game wid a guy.'

`Same pinch! Even m scared. I nvr +

played this wid ny gal.

U still hv Tuna 2 help u. M all alone

n wer gonna play half d game,

jst d truth part n nt d dare s we can't

play it over the phone.'

`Go ahead.'

Hmmm... wer u actually annoyed by d

1st msg sent by Tuna?'

`No. In fact pass on my thanks

2 her if she is awake'

`LOL!! Ur turn.'

`Wer u nt afraid of sitting with

me in my dark balcony?'

`Y? do u bite? Well honestly,

I was, bt thn u made me confortable.'

`M glad u said tht. Ur turn.'

`Wat ws d best moment of ur bday 2 day?'

`Hmmm... best moment... wen u showed up.'

`Really?'

`Hey. U cn't ask 2 questions in one go.

It's my turn now.'

`Do u hv a gf either in Belgium or

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back in India?'

`No'

`It's diff 2 accept though, yet I wil assuming

dat we r playin this game honestly. Ur turn.'

`I m playin it with utmost honesty.

Do u hv a bf?'

`I knew u wud ask this. I had one long back.

We broke up. So the answer is no.'

`How many euros do u earn a mnth?'

`'oh so u are jumping on to questions

with numbers.

Ur makin it diff 4 urself!'

`So shall I understand that u lost?'

`4000 C a mnth'

`Wow! Ur rich! Ur turn!'

`Now dat u hv started let's cont with

numbers.

Wat r ur figure stats?'

`This is cheating'

'36-24-36'

`very honestly I appreciate your spirit of

playing!'

Thanks; hd u not made me conf,

I wudn't hv answered this one. My turn now'

`If dere is a gal walking in front of u,

l who has a gorgeous figure, wch part

of her body wud u most like to stare at?'

`Gorgeous figure... hmm... depends if she

is walkin towards me or away frm me.

Either way I wud hv sumthing to stare at.'

`That was hell of a smart answer Ravin.'

`If I ask u 2 cum to my place rite wow in

whatever u r wearing at this moment, so

dat we sit n spend the entire night playing

truth or dare in my balcony... wud u hv

wanted 2 come?'

`I am shy!'

`That's not the answer to my question...'

`Yes I wud hv wanted to come bt nt wearin

wt I am wearin rite now.'

`Btn wat r u wearin at this moment?'

`Haha. U cn't ask 2 questions in one go.

It's my turn now.'

`Hv u ever had ny naughty fantasies

for any fem who was far older then you?'

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`Yes. My computer me'am in college.

My turn now... U can answer my previous

ques!'

`A long white shirt till knees.'

`That's it?'

`I'm honest. Btn u r again askin 2 ques in one

go'

`You want to stop the game with a draw?'

`No! I don't mind winning or losing s

bt don't want 2 stop. If u wan 2 stop

lemme know.'

`Now dat for the last question u have

answered u r a virgin lemme gt back 2

basics. Hv u evr kissed a girl?'

`I wud love 2 tell u about dat girl, but it

is a long story and don't want to narrate

it over d phone.' (CLHT, 39-41).

Meaning of some SMS abbreviations:

- U: you - nt: not - hv: have

- Y: why - gal: girl - r: are

- Cum: come - wud: would - M: am

- gf: girlfriend - bfr: before - cn: can

- bf: boyfriend - btw: between - jst: just

- 4: for - diff: difficult - n: and

- 2: to, two, too - ur: your - thn: then

- bt: but - bday: birthday - nvr: never

- wid: with - ny: any - d: the

- wer: were - tht: that - ws: was.

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4. Use of Real Names

The use of real names charactereizes Ravinder's writings. In both novels studied in this work, I noticed several time the usuage of real

place names, town names, country names, airports, streets, etc. here below are some examples:

There was still enough time left for dusk. But the sky over the city of Delhi was getting darker with every passing minute. It was the end of May. Summere was at its peak. After breaking the previous year's record, yet again, the maximum temperature in the city was at an all-time high. To escape the hottest part of the day, in the afternoons, people preferred to stay confined to the shelter of their offices and homes. The air was dry (YDAMN, Prologue).

That day marked the arrival of new batch of students in Delhi University (DU). Just like the thousands of students in DU about to step into a brand new life was ready to welcome Rupali. And she was ready to embrace this life (YDAMN, 1).

Dusk had fallen when Amardeep walked out of the gate of the busy Chandigarh airport. A chilly winter welcomed him for the very first time to `The City Beautiful'. The evening was even more beautiful for it was Valentine's Day. Love was in the air and red was the colour everywhere. The temperature must have been close to 4 degrees. Adding to the winter chill was the cool brezee which was blowing that evening, complelling the

By the time Simar actually came back to India after her consulting assignment, things

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just-arrived passengers to pull out their jackets (CLHT, 1).

`I am doing very good, Shambhavi. I am so excited that my call got connected. I had been trying every second, since the time you said your lines are opening.' She giggled excitedly, indicating how unbelievable this experience was far her. `So, Ritika, tell us what you do?'

`Shambhavi, I am pursuing BSc from Punjab University' (CLHT, 11).

A year and half had passed since the tragic incident had taken place. Unable to cope with the misery, I was looking for a big change. Fortunately, an on-side opportunity for a project in Belgium gave a ray of hope to that much-needed change. I availed that opportunity.

It was the month of January and Brussels, the capital of Belgium, was witnessing the last few weeks of winter (CLHT, 18).

The next morning I was at my clients' office. It was on Zandvoorstraata in Mechelen. Mechelen is another city in Belgium and, unlikeussels, this part of the country has a Dutch-speaking population (CLHT, 21).

Simar was bach in Gurgaon and she had planned to make me meet her parents.

I boarded the Chandigarh-Delhi Shatabdi and then took a metro which had recently started plying in the city (CLHT, 79).

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had boiled down to a yes or no decision

(CLHT, 98).

It is important for a writer to use real names in his bookbecause a work of art is composed of two great parts which are ficton and non fiction.

Since the author imagines things and events to be written in the work, his/her imagination is always impired by the facts which characterizes the place where he/she is or where the scene took place.

5. Use of Flashback

It is not possible to understand the `raison d'etre' of some events witount finding explaination in other events, which previously took place in the past. The author therefore gives flashback in order to illuminate the reader's mind and to restore the link in events.

Then, a flashback is a device that allows the writer to present events that happened before the time of current narrative or the current events in the fiction. The flashback techniques include memories, dreams, and stories of the past told by characters to fill in the reader about a character, a place or a background to a conflict. It may be a part of a film that goes back in time to show what happened earlier in the story. It has the purpose of enlightening the part of the story, to understand the next episode of the story.

You're mad!, Rupali loughed and futher asked, `But isn't Imran from science section?' seeing her roomie's level of interest increase, Saloni replied, `Yes, he is! But how did you know?'

`I just know. But yoy first tell me, how did you guys meet?' Rupali inquired... saloni loved telling stories. She also knew how to make them spicy and extra gossipy. She derived a lot of pleasure in narrating the whole episode of how she met Imran, for the very first time, at the basketball court. It had happened in the first week of the semester. It wasn't love at first sight for her. But she had definitely found Imran to be one of the most handsome guys in the first year batch.

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While she was an amateur in the game of basketball, Imran was a champion. Besides his good looks, Imran's sporty personality was like icing on the cake. Saloni herself was a head-turner on campus. They'd met quite by coincidence.

There weren't many girls who played basketball in the first year. One evening, Saloni had jogged to the basketball court. But finding no one there she decided to jog back to the hostel. Suddenly, she heard someone shout, asking her to stop.

Saloni turned around to see Imran. He stood on the other side of the court in the dark, holding the ball in his hands. It took Saloni a few seconds to spot him in the darkness. Imran swichrd on the floodlights from the corner of the court. The lights took their time to come on, only gradually lighting up the court.

`You came here to play?' Imran asked (...) `Yes, but the other girls haven't come today. I am not sure why,' Saloni said.

`That's strange, not many boys turned up today as well and, those who did, left early. That's why I had just switched off the lights, `Imran explained...

`I... I don't know. I am not very good at the game... And we don't even have the team,' she blurted out. Of course she wanted to play with Imran when no one was there. Then why had she given this silly excuse? (...) Imran came to her rescue and offered a quick reason for Saloni to play.

`Oh: we can just play a half words court three-poiner. And don't worry, I'll help you,' he said and smile. Saloni nodded. She was looking forward to Imran's company. They played for about half an hour, enjoying each other's company (YDMN, p 17-18).

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6. Use of Indian words

To make readers feel at home while reading such novels, especially in the case of English literature, writers of modern literature or developing countries are nowdays characterized by the use of local language words in their books.

This observation is not only noticed to this group of writers but even to some most important American writers such as Ernest Miller Hemingway whoseThe Old Man and the Sea contains also local words.

While reading an African writer from Kenyan for example, it is very easy to be in contact with some Swahili words. The same for Ugandan and Tanzania novels.

This fact is also observer in Indian Literature. Knowing that this big country has itself more than twenty notional languages, the one which is known and used by all Indians and classed among ten most spoken languages in the world is Hirdu. That is the reason why Ravinder Singh has used Indian words, more especially Hindi sentences, phrases or expression in his books. Let's have a look at some of them:

- Muh mein chewing gum hai, agli baar kha loongi. (YDAMN, 2). (I am chewing gum. I'll take it next time).

- Yeh gaddha kyun khod rahin hain aap?

(Why are you digging this hole?) (YDAMN, 7).

- Jab Hindi bhasha mein sawaal kiya hai Maine, to kya aap Hindi mein uska uttar nahi de saktin? (YDAMN, 7).(When I have asked a question in Hindi, can you not respond in Hindi?).

- Kahaan ki rahne wali hain aap? (YDAMN, 7).

(Which place are you from?).

- Ji hum Patna, Bihar ke rahne waley hain. (YDAMN, 7).

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(I am from Patna, Bihar).

- Lo bhai, to ab Patna, Bihar waley, Delhi mein harit-kranti le ke aayenge! (YDAMN, 8).

(So, now the people from Parnan Bihar, will bring the green revolution to Delhi!).

- Teri itni phatt ti kyun hai yaar? (YDAMN, 17).

(Why do you get so scared?).

- Udhar ho, phir sunaati hun saari kahaani (YDAMN, 17). (Make some space, and I will tell you the whole story).

7. Use of Point of View

Narrative point of view or narrative perspective describes the position of the narrator, that is, the character of the storyteller, in relation to the story being told. It can be thought of as a camera mounted on the narrator's shoulder that can also look back inside the narrator's mind.

First-Person Point of View

With the first-person point of view, a story is revealed through a narrator who is also explicitly a character within his or her own story. In a first person narrative, the narrator can create a close relationship between the reader and the writer. Therefore, the narrator reveals the plot by referring to this viewpoint character with forms of "I" (that is, the narrator is a person who openly acknowledges his or her own existence) or, when part of a larger group, "we". Frequently, the narrator is the protagonist, whose inner thoughts are expressed to the audience, even if not to any of the other characters.

A conscious narrator, as a human participant of past events, is an incomplete witness by definition, unable to fully see and comprehend events in their entirety as they unfurl, not necessarily objective in their

Traditionally, third-person narration is the most commonly used narrative mode in literature. It does not require that the narrator's

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inner thoughts or sharing them fully, and furthermore may be pursuing some hidden agenda. Forms include temporary first-person narration as a story within a story, wherein a narrator or character observing the telling of a story by another is reproduced in full, temporarily and without interruption shifting narration to the speaker. The first-person narrator can also be the focal character.

Second-Person Point of View

The second-person point of view is a point of view where the audience is made a character. This is done with the use of the pronouns "you", "your", and "yours." The narrator is trying to address the audience, not necessarily directly, but rather to administer more of a connection. Stories and novels in second person are comparatively rare. Examples include the short fiction of Lorrie Moore and Junot Díaz. An example in contemporary literature is Jay McInerney's Bright Lights, Big City, in which the second-person narrator is observing his life from a distance as a way to cope with a trauma he keeps hidden from readers for most of the book.

"You are not the kind of guy who would be at a place like this at this time of the morning. But here you are, and you cannot say that the terrain is entirely unfamiliar, although the details are fuzzy."--Opening lines of Jay McInerney's Bright Lights, Big City (1984).

Third-Person Point of View

In the third-person narrative mode, characters are referred to by the narrator as "he", "she", or "they", but never as "I" or "we" (first-person), or "you" (second-person). This makes it clear that the narrator is an unspecified entity or uninvolved person who conveys the story and is not a character of any kind within the story, or at least is not referred to as such.

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existence be explained or developed as a particular character, as with a first-person narrator. It thus allows a story to be told without detailing any information about the teller (narrator) of the story. Instead, a third-person narrator is often simply some disembodied "commentary" or "voice", rather than a fully developed character. Sometimes, third-person narration is called the "he/she" perspective.

The third-person modes are usually categorized along two axes. The

first is the subjectivity/objectivity axis, with third person
subjective narration describing one or more character's personal feelings and thoughts, and third person objective narration not describing the feelings or thoughts of any characters but, rather, just the exact facts of the story. The second axis is the omniscient/limited axis, a distinction that refers to the knowledge held by the narrator. A third person omniscient narrator has, or seems to have, access to knowledge of all characters, places, and events of the story, including any given characters' thoughts; however, a third person limited narrator, in contrast, knows information about, and within the minds of, only a limited number of characters (often just one character). A limited narrator cannot describe anything outside of a focal character's particular knowledge and experiences.

Alternating person

While the tendency for novels (or other narrative works) is to adopt a single point of view throughout the entire novel, some authors have experimented with other points of view that, for example, alternate between different narrators who are all first-person, or alternate between a first- and a third-person narrative perspective. The ten books of the Pendragon adventure series, by D. J. MacHale, switch back and forth between a first-person perspective (handwritten journal entries) of the main character along his journey as well as a disembodied third-person perspective focused of his friends back home. Margaret Atwood's Alias Grace provides one character's viewpoint from first-person as well as

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another character's from third-person limited. Often, a narrator using the first person will try to be more objective by also employing the third person for important action scenes, especially those in which they are not directly involved or in scenes where they are not present to have viewed the events in firsthand. This mode is found in Barbara Kingsolver's The Poisonwood Bible.

Audrey Niffenegger's The Time Traveler's Wife is a love story, told in alternating first person. This novel alternates between an art student named Clare, and a librarian named Henry. Henry's disorder called Chronic-Displacement causes him to be put in the wrong time. He is then put in emotional parts from his past and future, going back and forth in

time. John Green & David Levithan's novel Will Grayson, Will
Grayson rotates between two boys both named Will Grayson. It alternates between both boys telling their part of the story, how they meet and how their lives then come together. Nick Hornby's A Long Way Down has four narrators, who also are its main characters. These four characters meet at the top of a tall building known as «the suicide spot» and begin to talk instead of jumping.

Character Voice

One of the most common narrative voices, used especially with first-and third-person viewpoints, is the character voice, in which a conscious "person" (in most cases, a living human being) is presented as the narrator; this character is called a viewpoint character. In this situation, the narrator is no longer an unspecified entity; rather, the narrator is a more relatable, realistic character who may or may not be involved in the actions of the story and who may or may not take a biased approach in the storytelling. If the character is directly involved in the plot, this narrator is also called the viewpoint character. The viewpoint character is not necessarily the focal character: examples of supporting viewpoint characters include Doctor Watson, Scout in To Kill a Mockingbird, and Nick Carraway of The Great Gatsby.

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Epistolary Voice

The epistolary narrative voice uses a (usually fictional) series of letters and other documents to convey the plot of the story. Although epistolary works can be considered multiple-person narratives, they also can be classified separately, as they arguably have no narrator at all-- just an author who has gathered the documents together in one place. One example is Mary Shelley's Frankenstein, which is a story written in a sequence of letters. Another is Bram Stoker's Dracula, which tells the story in a series of diary entries, letters and newspaper clippings. Les Liaisons dangereuses (Dangerous Liaisons), by Pierre Choderlos de Laclos, is again made up of the correspondence between the main characters, most notably the Marquise de Merteuil and the Vicomte de Valmont. Langston Hughes does the same thing in a shorter form in his story "Passing", which consists of a young man's letter to his mother.

Third-Person Voices

The third-person narrative voices are narrative-voice techniques employed solely under the category of the third-person view.

Third-Person, Omniscient

Historically, the third-person omniscient (or simply omniscient) perspective has been the most commonly used in narrative writing; it is seen in countless classic novels, including works by Charles Dickens, Leo Tolstoy, and George Eliot. A story in this narrative mode is presented by a narrator with an overarching point of view, seeing and knowing everything that happens within the world of the story, including what each of the characters is thinking and feeling.^[9] It sometimes even takes a subjective approach. One advantage of omniscience is that this mode enhances the sense of objective reliability (that is, truthfulness) of the plot. The third-person omniscient narrator is the least capable of being unreliable - although the character of omniscient narrator can have its

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own personality, offering judgments and opinions on the behavior of the story characters.

In addition to reinforcing the sense of the narrator as reliable (and thus of the story as true), the main advantage of this mode is that it is eminently suited to telling huge, sweeping, epic stories, and/or complicated stories involving numerous characters. The disadvantage of this mode is the increased distance between the audience and the story, and the fact that - when used in conjunction with a sweeping, epic "cast-of-thousands" story - characterization tends to be limited, thus reducing the reader's ability to identify with or sympathize with the characters. A classic example of both the advantages and disadvantages of this mode is J. R. R. Tolkien's The Lord of the Rings.

Third-Person, Subjective

The third-person subjective is when the narrator conveys the thoughts, feelings, and opinions of one or more characters. If there is just one character, it can be termed third-person limited, in which the reader is "limited" to the thoughts of some particular character (often the protagonist) as in the first-person mode, except still giving personal descriptions using "he", "she", "it", and "they", but not "I". This is almost always the main character (for example, Gabriel in James Joyce's The Dead, Nathaniel Hawthorne's Young Goodman Brown, or Santiago in Hemingway's The Old Man and the Sea).

Certain third-person omniscient modes are also classifiable as "third person, subjective" modes that switch between the thoughts and feelings of all the characters.

This style, in both its limited and omniscient variants, became the most popular narrative perspective during the 20th century. In contrast to the broad, sweeping perspectives seen in many 19th-century novels, third-person subjective is sometimes called the "over the shoulder" perspective; the narrator only describes events perceived and information known by a character. At its narrowest and most subjective

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scope, the story reads as though the viewpoint character were narrating it; dramatically this is very similar to the first person, in that it allows in-depth revelation of the protagonist's personality, but it uses third-person grammar. Some writers will shift perspective from one viewpoint character to another, such as in Robert Jordan's The Wheel of Time, or George R. R. Martin's A Song of Ice and Fire.

The focal character, protagonist, antagonist, or some other character's thoughts are revealed through the narrator. The reader learns the events of the narrative through the perceptions of the chosen character.

Third-Person, Objective

The third-person objective employs a narrator who tells a story without describing any character's thoughts, opinions, or feelings; instead, it gives an objective, unbiased point of view. Often the narrator is self-dehumanized in order to make the narrative more neutral. This type of narrative mode, outside of fiction, is often employed by newspaper articles, biographical documents, and scientific journals. This narrative mode can be described as a "fly-on-the-wall" or "camera lens" approach that can only record the observable actions but does not interpret these actions or relay what thoughts are going through the minds of the characters. Works of fiction that use this style emphasize characters acting out their feelings observably. Internal thoughts, if expressed, are given voice through an aside or soliloquy. While this approach does not allow the author to reveal the unexpressed thoughts and feelings of the characters, it does allow the author to reveal information that not all or any of the characters may be aware of. A typical example of this so-called camera-eye perspective is Hills Like White Elephants by Ernest Hemingway.

This narrative mode is also called the third-person dramatic because the narrator, like the audience of a drama, is neutral and ineffective toward the progression of the plot--merely an uninvolved onlooker. It

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was also used around the mid-20th century by French novelists writing in the nouveau roman tradition.

Third-Person, Alternating

Many stories, especially in literature, alternate between the third person limited and third person omniscient. In this case, an author will move back and forth between a more omniscient third-person narrator to a more personal third-person limited narrator. Typically, like the A Song of Ice and Fire series and the books by George R. R. Martin, a switch of third-person limited viewpoint on some character is done only at chapter boundaries. The Home and the World, written in 1916 by Rabindranath Tagore, is another example of a book switching among just three characters at chapter boundaries. In The Heroes of Olympus series the point of view changes between characters at intervals.

The Harry Potter series is told in "third-person limited" (in which the reader is "limited" to the thoughts of some particular character) for much of the seven novels. However, it deviates to omniscient on occasions, particularly during the opening chapters of later novels in the series, which switch from the limited view of the eponymous Harry to other characters (for example, the Muggle mayor in the Half-Blood Prince).

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Point of View in the Novels understudy.

In the two novels analysed in this dissertation, Ravinder tells the story by using first person point of view in the first novel: Can Love Happen Twice?and Third person point of view in the second novel: Your Dreams are Mine Now. Whereas dramatic point view is used in both books.

1. First person point of view:

It was a tender moment which had come after so long a time. I was finally seeing my Simar. She too was impatiently waiting for me. I ran towards her with the flowers in my hand that I've brought for her. Simar was visibly delighted to see me right in front of her eyes. After a run about fifty-odd yards. I was breathing fast. It was a moment of celebration for both of us- and a very emotional one too. I satisfied the thirst in my eyes and looked at her front head to toe. It was incredible to see her, to touch her and to hear herd next to me once again. She was as beautiful as I had left her in Belgium. She first looked here and there to check if anyone was staring in the neighbourhood, then gave me a quick hug. I enjoyed that brief unexpected surprise and last myself in the warmth of her touch which I had missed so much in the past few months. I wanted it to last longer. It was so unlike that of Belgium; and special because we got together again after a long interval (CLHT, 79).

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2. Third person point of view:

Rupali loved singing. In Patna, she had been an active member of her school's music club. Having won a couple of prizes and lots of accolades in her school, she had always dreamt of participating in one of the music reality shows. Had it not been for the memory of her mobile phone, she wouldn't have had to delete old songs to accommodate new ones. Downloading songs to her phone and managing the limited memory of her mobile had become her biweekly routine. She had planned that the day she would earn her own money she would buy a good multi-gig song storage device for herself. Not just that, she had plans to buy and install a Dolby surround sound system in her house that she would switch on every morning while she got ready for work. Music kept her going. Even when she was alone in her room or busy doing something on her own, she would keep humming her favorite songs. A habit which her friends and family found annoying at times because she completely lost herself in the songs and refused to even hear them. So when she saw the notice for the music club, she didn't need to think twice about appearing for the auditions. On her way back to her thinking of the song she would sing (YDAMN, 10).

3. The Dramatic Point of view

We speak of dramatic point of view when the author uses dialogues to tell the story.

`So when did you join the club? Arjun asked. `Hmm? Rupali was lost in her thoughts. `Club. The music club,' he clarified.

`Oh! I joined last month only,' she replied. `You sing?'

`Yes,' she said (YDMN, p 37).

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8. Use of Figures of Speech.

A figure of speech is a word or phrase that possesses a separate meaning from its literal definition. It can be a metaphor or a simile to provide a dramatic effect. There are several figures of speech I found in the two novels analysed in this research paper, among them we have:

- Alliteration

Alliteration is the repetition of the beginning sond of neighbouring

words.

In one hand he had his favourite Economic

Times and half-filled water bottle while in the

other he held the handle of his whelled bag

which he rolled in tandem with his wakl

(CLHT, 1).

I knew I wanted a change and I left India

dor the same... (CLHT, 32).

...She had chosen for herself when her father

had taken her... (YDAMN, 3).

Fresh for her first day at college (YDAMN, 1).

- Anaphora

Anaphora is a technique where several phrases or verses begin with the same word or words.

I was yet to have my share of alcohol. I was yet to speak from my heart (CLHT, 32).

I lived alone, I cooked alone and I ate alone (CLHT, 24).

I missed Simar. I missed Belgium. I missed the combination of them the most (CLHT, 76).

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I thought of the Belgian driver driving all the Indians back to their respective homes. I thought of the taste of the kip sate sandwich that I had eaten for the first time in that day. I thought of that girl in front of the sandwich shop whom I had failed to see that afternoon. I thought of the weird anxiety I had while trying to see her face. I thought of how I seemed to have snow I had witnessed on my first day in Belgium and I looked up to the sky wondering when it would snow next. I thought of my mom back in India. I thought of my past. I thought of Khushi...

(CLHT, 22-23).

A moment of silence passed. People took their time to digest the logic behind what had happened. It still appeared illogical that anyone could come and damage things just like that. Some of them sipped the tea slowly, thinking about it all. Some of them hing their heads in disappointment. Some played with the empty tea glasses betxeen their hands on the table and kept staring in disappointment. (YDAMN, 14).

- Hyperbole

An extravagant statement; the use of exaggerated terms for the purpose of emphasis or heightned effect.

She looked beautiful; more beautiful than pretty Belgian girls in the queue (CLHT, 27).

- Enumaration

My house was fully furnished with a TV, sofa, dining table and bed (CLHT, 24).

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- Interrogation

It is a question asked without need to be answered.

Can Love Happen Twice? (CLHT, 17).

For me love was just meant to happen once and it was forever. How do I fill the same heart with love for someone else? (CLHT, 32).

Why was it so important to have a facebook account? (YDAMN, 9).

- Inversion

When Amardeep walked out the exit gate of the busy Chandigarh airport. A chilly winter welcomed him for the very first time to `The City Beautiful' (CLHT, 1).

As per the track record of my previous conversations with the local people, the subject this time was again Indian (CLHT, 27).

With a bag hanging across her right shoulder, she walked down the paved path in between the green laws outside her hostel (YDAMN, 4).

- Personification

A figure of speech in which an inanimate object or abstraction in endowed with human qualities or abilities.

It never got this dark so early in the day in the capital. But that day, Mother Nature too had chosen to wear black before time-perhaps as an act of solidarity; perhaps as a mark of protest.

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In no time, the sky appeared visibly angry. Sudden intermittent bright flashed of lighning tore out from behind the dark clouds. A wild sky roared in anger-loud and clear

(YDAMN, Prologue).

A broadsmile took birth on her lips as the sun streamed through the window, flooding her room in abundant light (YDAMN, 2).

- Simile

A stated comparison (usually formed with «like» or «as») between two fundamentally dissimilar things that have certain qualities in common.

As per the track record of my previous conversations with the local people, the subject this time was again Indian (CLHT, 27).

A broad smile took birth on her lipsas the sun streamed through the window, flooding her room in abundant light (YDAMN, 2).

When sleep had still not come to her, she served as a travelling ticket inspector (TTI) in the North Eastern Railways (YDAMN, 2).

She looks like a pampered child (YDAMN, 4).

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Conclusion

This third chapter closes the dissertation. It was the question of discussing some narrative techniques used by Ravinder Singh in the two novels analysed in details in the second chapter.

Through the investigations and after deeply reading the two novels cover-to-cover, eight narrative techniques have been stressed on, to mention: the use of short, simple sentences, the use of long, complex sentences, the use of Point of View, the use of Real Place Names, the use of Figures of Speech, the use of Indian words and the use of Flashback.

These eight techniques mentioned above have been very helpful for a good understanding of Ravin's narrative skills.

It is important for me to notice here that besides these eight, there are so many other narrative techniques in the two novels analysed. Thus, I encourage the coming researchers and literature students interested in love story telling and reading to analyse books written by Ravinder Singh, to study other topics on one or both novels I analysed, or to study other narrative techniques in some of the same author's novels in order to compare result with what I found in my research.

General Conclusion

To write a research paper in literature, to present and defend it in front of Jury composed of at least two PhD professors and one other lecturer as a member of jury was one of my obligations in order to graduat at university for a Bachelor of Arts in English (BA English) degree.

For this reason, I have been allowed by the director of my dissertation to hold my research on Narrative Techniques in Ravinder Singh't Can Love Happen Twice? and Your Dreams are Mine Now.

The writing of this dissertation has been the search of answers to the main question asked in the introduction of the work (What are narrative techniques used by Ravinder singh in Can Love Happan Twice? and Your Dreams are Mine now?).

Before studying techniques in these two books, I first wanted to know which kind of books are they, i.e theycome from which literature. This aspect of consideration sent me study Indian literature, though, the dissertation went firstly to deepen Indian literature. That is the reason why the first chapter of the work is intitled `Literary Survey on Indian Literature'. In it - the chapter- I based on brief history of India, Indian literature written in Indian languages, Indian literature written in foreign lansguages, Indian English literature and Modern Indian literature. This study has helped to situate Ravinder's novels in time and space.

After anderstanding the origin of books, I could not directly study techniques without understang the book. Thus, I was obliged to study different elements of a literary genre, here, a novel. This is where the appereance of the second chapter of this thesis intitled A Literary Analysis of Ravinder Singh's Can Love Happen Twice? and Your Dreams are Mine Now,comes from.

In the very first lines of the chapter, Life and Works of Ravinder Singh are discussed before jumping to the analysis of the two novels. In

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the first novel, Can Love Happen Twice?, eight literary elements are discussed, namely: Title, Plot, Characters and Characterisation, Settings, Style, Mood, Tone and Intention; whereas only four elements are studied in the second novel, Your Dreams Are Mine Now, to mention: Title, Plot, Characters and Characterisation and Settings.

The analysis of the two novels has equipped me with knowledge that made ready to discuss the main problem of the dissertation which is the study of Narrative techniques.

Therefore, the last chapter, answers to the main question rose by pointing out, explaining and quoting evidences from novels, eight narrative techniques used by Ravinder.

- The Use of Short, Simple Sentences

- The Use of Long, Complex Sentences

- The Use of Flashback

- The Use of Point of View

- The Use of Real Place Names

- The Use of Sms Language

- The Use of Indian Words, and

- The Use of Figures of speech.

Seeing that this dissertation is just a simple thesis of Bachelor degree, I could not write as much as I though or add more other elements as if it was a Master or PhD thesis. If in coming years I will still be interested in Ravinder Singh's romantic novels, I will do my best to deepen this topic. For this, I aslo encourage other English literature students to specialize in Indian literature where they can deal with new literary works such these ones.

This Love that Feels Right. Gurgaon : Penguin Books

India Pvt, 2016.

BIBLIOGRAPHY

I. Main Works

Singh, R. Your Dreams are Mine Now. Gurgaon : Penguin Books India Pvt, 2014.

Can Love Happen Twice ?. Gurgaon Books India Pvt,

2011.

II. Literary Works

Achebe, Chinua. Things Fall Apart. London : Longman, 1958.

A Man of the People. London : Longman, 1966.

Aluko, T, M. One Man, One Matchet. London : Heineman Educational Books, 1976.

One Man, One Wife. London : Heineman Educational

Books, 1976.

Bhangat C. One Night at the Call Center.

One Indian Girl

Singh, R. I Too Had a Love Story. Gurgaon : Penguin Books India Pvt, 2007.

Love Stories That Touched My Heart. Gurgaon :

Penguin Books India Pvt, 2012.

Like it Happened Yesterday. Gurgaon : Penguin

Books India Pvt, 2013.

Tell Me a Story. Gurgaon : Penguin Books India Pvt,

2015.

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Will You Still Love Me. Gurgaon : Penguin Books

India Pvt, 2018.

Hemingway, E. The Old Man and the Sea. New-york : Charles Scibner's sons, 1952.

III. Literature Books

Abrahams, M.H. A Glossary of Literaty Terms. Ney York : Holt, Rinehart and Winston, 1957.

Baker, Sheridan. The Complete Stylist. New York : Thomas Y., Crowell Company, 1968.

Barnet, Sylvain, Berman, Morton and Burto, William. A Dictionary of Literary Terms. London : Constable, 1969.

Batson, F.W. The Scholar-Critic : An Introduction of Literary Research. London : Routledge & Kegan Paul, 1972.

Cocklreas, Janne and Logann Dorothy. Writing Essays about Literature : A Literary Rhetoric. New York : Holt Renehart and Winston, 1976.

Dickinson, Léon T., A Guide to Literary Study. New York : Holt Renehart and Winston, 1959.

IV. Dictionaries

Dicos Dictionary. Hachette, Paris, 2009.

Le Robert Happer Collins, 2002.

Longman English La Rousse : Longman group, UK, 1968. Oxford Advanced Learner's 7th edition, London, 2010.

Oxford Advanced Learner's 6th edition, London, Special Press. Robert et Collins Bilingual French English Dictionary. Paris : bnj

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V. Thesis

Atelo, Y. Obstination in Ernest Miller Hemingway's The Old Man and the Sea, Mémoire Unikis, 2012-2013.

Mongbolo, N. Narrative Techniques in Ngugi Wa Thiong'o's Petals of the Blood and Devil on the Cross, Mémoire de DES UNIKIS, FLSH, 2007-2008.

Protest and Baby `'D» : The Post Colonial Africa's

Image in Ngugi Wa Thiong'o's Matigari and Wizard of the Crow. Mémoire de Thèse de Doctorat, UNIKIS, FLSH, 20092010.

VI. Courses

Ilunga, N. Guided Research and Text Treatment G2 L.C. Anglaises. Kisangani :Unikis, 2015.

Tsimpanga, B. Statistics, Unikis 2010.

Mongbolo, N. Analysis of a Literary Genre I, Unikis, 2018.

Literary Theory and Criticism I, Unikis, 2018
Muamba, K. English Literature, Unikis 2018.

Bontambo, P. Modern Literature, Unikis 2018.

VII. Webography

www.google.com

CONTENTS

EPIGRAPH

DEDICATION

ACKNOWLEDGEMENTS CONTENTS

INTRODUCTION 1

0.1 Research Statement 5

0.1 Hypothesis 5

0.2 Methods 6

0.3 The Choice of the Topic 6

0.4 Aims of the Work 7

0.5 Sources of Data 7

0.6 Limitation of the Work 7

0.7 Division of the Work 8

CHAPTER ONE 9

LITERARY SURVEY ON INDIAN LITERATURE, 9

I. Literary Survey on Indian Literature 9

I.1 A Brief History of India 9

I.2 Indian literature in Other Languages than English 12

I.3 Indian Literature in Foreign Languages 14

I.3.1 Indian Persian literature 14

English Literature from North East India 15

I.3.2 English Literature 15

I.3 Indian English Literature 17

I.3.1 Later History 19

I.3.2. Critics on Indian English Literature 22

a. Poetry 23

b. Alternative Writings 24

Conclusion 34

CHAPTER TWO 35

A LITERARY ANALYSIS OF RAVINDER SINGH'S 35

CAN LOVE HAPPEN TWICE AND YOUR DREAMS 35

ARE MINE NOW. 35

Introduction 35

II.1 Ravinder Singh's Life and Work 35

A. His Life 35

B. His Work 36

A. Can Love Happen Twice? 37

II.1 Title 37

II.2 Plot or Story 38

a) Plot Diagramme. 49

II.3 Characters and Characterization 50

3.1 Characters 50

Main Vs. Minor 50

- Round Vs. Flat 50

- Dynamic Vs. static 50

- Protagonist, Antagonist and Tritagonist 51

- Regular, recurring and Guest Characters 51

3.2 Characterization 51

3.1.1 Main Characters 52

1. Ravin (Ptotagonist or the hero of story). 52

His Characterization 52

> Loving and Caring 52

> Serious 52

> Brave 53

> Solitary 53

> Disappointed 53

> Sad 54

> Atheist 54

2. Simar (Antagonist) 54

Her characterization 54

> Beautiful 54

> Loving and caring 55

> Rich 55

> Embitious 55

3.2 Minor characters 56

1. Happy, Amardeep and Manpreet (Tritagonists). 56

3. Shantuna 56

4. Ritika 56

5. Sanchit 56

6. Simar's Father 56

7. Simar's Mother 56

8. Ravin's Mother 56

(a) Diagram of Character's Relationship 57

II.4 Settings 57

II.4.1 Spatial Setting 57

II.4.2 Temporal Setting 57

II.5 Style 58

Some author's point of view about Style 58

1. Mathiew Arnold 58

2. Shopenhawer 58

3. Jonathan Swift 58

4. Edward Gibbon 58

5. George Louis Leclerc Buffon 58

II.5.1 Subject Matters Vs. Theme 58

II.5.1.1 Subject Matters 59

II.5.1.2 Theme 59

II.6 Tone 60

II.7 Mood 60

II.8 Intention 60

B. Your Dreams Are Mine Now 61

II.1 Title 61

II.2 Plot or Story 62

II.3 Characters and Characterization 68

A. Main Characters: 68

B. Minor Characters 69

II.4 Settings 70

A. Spacial Setting 70

B. Temporal Setting 70

Conclusion 71

CHAPTER THREE 72

NARRATIVE TECHNIQUES IN RAVINDER SINGH'S 72

CAN LOVE HAPPEN TWICE? AND YOUR DREAMS 72

ARE MINE NOW. 72

Introduction 72

The Relevance of the Study of a Narrative Technique 73

Narrative Techniques Used by Ravinder Singh 73

1. Use of Short, Simple Sentences 73

2. Use of Complex Sentences 76

3. Use of SMS Language and Spelling 76

4. Use of Real Names 80

5. Use of Flashback 82

6. Use of Indian words 84

7. Use of Point of View 85

First-Person Point of View 85

Second-Person Point of View 86

Third-Person Point of View 86

Alternating person 87

Character Voice 88

Epistolary Voice 89

Third-Person Voices 89

Third-Person, Subjective 90

Third-Person, Objective 91

Third-Person, Alternating 92

1. First person point of view: 93

2. Third person point of view: 94

3. The Dramatic Point of view 94

8. Use of Figures of Speech 95

- Alliteration 95

- Anaphora 95

- Hyperbole 96

- Enumaration 96

- Interrogation 97

- Inversion 97

- Personification 97

- Simile 98

Conclusion 99

General Conclusion 100

BIBLIOGRAPHY 102