A Brave Girl by Alice F Jackson
Bryda by Louise Frances Field
Eight Days by R E Forrest
In the Heart of the Storm by Maxwell Gray
Lost in the Jungle by Augusta Marryat
The Red Year by Louis Tracy
Series Editor: Pramod K. Nayar
Rachel McCoppin, University of Minnesota Crookston
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Carl Jung connects the idea that the mask is the persona one presents to the world; “the persona acts…to conceal the true nature of the individual. It is a social role or mask which acts as a mediator between the inner world and the social world, and which constitutes the compromise between the individual and society” (Hudson 54). The concept of the mask as persona is common in literature, and global modernity is no exception. Oftentimes characters are so enveloped within false or unreliable personas that they fool and confuse the reader. The masks they wear serves as a front to society and the characters they interact with, but sometimes characters are so effectively masked that they become unclear of their own realities, and become unreliable narrators.
Ayusman Chakraborty, Jadavpur University, India
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Tipu Sultan was the ruler of the native state of Mysore. His fierce opposition to British rule in India earned him unrivalled notoriety in England. Colonial writings usually portray him as a cruel tyrant who tortured Indians and Englishmen alike. This article studies the representation of Tipu Sultan in three nineteenth century English novels – The Surgeon’s Daughter by Sir Walter Scott, Tippoo Sultaun: A Tale of the Mysore Wars by Captain Meadows Taylor, and The Tiger of Mysore by G. A. Henty . In these works, Tipu is painted in an extremely unfavourable light. Arguing that the politics of imperialism influences such representations, this article tries to show how the depiction of Tipu as a monstrous villain served to justify British rule in India. These novels seem to suggest that the British deserve credit for rescuing Indians from such egregious villain. The article also focuses on politicization of Tipu’s dead body. Colonial art and literature constantly return to the scene where Tipu’s body is discovered by his enemies. This article argues that colonial imagination converts Tipu’s corpse to a ‘grisly trophy’ which becomes a sign of British triumph over Oriental despotism.