ABSTRACT
This essay concerns the complex relationship between literature and morality. With novelistic flair the author begins this discussion by analyzing the photographs of two canonical Odia authors Fakir Mohan Senapati (1843–1918) and Radhanath Ray (1848–1908), appended to the autobiography of the former and the collected works of the latter. Astutely interpreting biographical evidence, he goes on to show how the decision to present these authors striking a prayerful pose is redolent of sanctimonious hypocrisy. He argues that this decision is shaped by a desire to make literature obey the oppressive dictates of a puritanical moral outlook. This, he contends, led to devaluing truly great works written by Radhanath such as Parvati and privileging mediocre texts like Chilika, which dispense comforting moral platitudes. The scope of the essay now expands and includes instructive examples from world literature to examine the question of morality in literature in greater depth. Particular attention is paid to Radhanath’s creative use of Percy B. Shelley’s The Cenci and Aeschylus’ Agamemnon in portraying a world where poetic justice, so keenly valued by moralists, does not operate. Thus, in Surendra’s opinion, great literature is created when the distinction between sin and virtue is transcended by artists. He brilliantly displays here the bold irreverence and playful innovations of a gifted creative writer. The essay, therefore, departs from the conventions of academic criticism and appeals to the sensibility of the general reader. It also introduces a refreshingly new element in Odia critical discourse by challenging narrowly moralistic interpretations of literary texts.
