Critical appriciation of sita by toru dutt? explain the theme

Among the early English writers of Indian Renaissance who
gave independent outlook, right direction, original subjects, the name of Toru Dutt
stands first. Her best work has depth of human motives and emotions and an abiding faith
in Indian values. Besides writing in French and English, she turned to Sanskrit
literature to get the sacred touch of India's Muse and introduced to the world about her
splendour beauty and rich treasure-house of ancient wisdom. It was a matter of deep
sorrow that she died so early when her talent was blossoming under the vast auspicious
knowledge of Indian myths, legends and folklores. She fascinates us for her personal
life as well as due to her creative genius. Like Bronte sisters and Keats, her family,
too, became a victim of consumption and she died in the prime of her youth, only at 21.
Before her sad and slow death, she lost her elder brother Abju aged only 14 and sister
Aru only at 20. Edmund Gosse writes, "It is wonderful to grasp of a girl who at the age
of twenty one had produced so much of lasting worth."1 The great Indian critic Amar Nath
Jha also writes ," There is every reason to believe that in intellectual power Toru Dutt
was one of the most remarkable women that ever lived."2 She belonged to a very rich,
respectable and intellectual family of Calcutta. Her father Govin Chunder Dutt was a
cultured man steeped into the deep knowledge of the West and the East. Her mother was
also a woman of very modest and loving disposition and from her mouth the young Toru had
listened the immortal stories of ancient Indian heroes and heroines. The other family
members too were highly learned and pursuing the great tradition of music and
literature.  Toru's father embraced Christianity and afterwards left Calcutta and
settled at Nice, in the south-east of France. Here Toru and her sister learnt their
first lessons in French and soon they excelled in this language and used it effectively
and proficiently for their literary leanings. Their first literary fruit came out with
the title Sheaf Gleaned in French Fields with admiring maturity and depth. Of the 165
pieces, 8 were by Aru and remaining by Toru. Though it was a translation from French to
English, but it was marked by a great original genius as Toru's selection and rejection
has made it almost a new creative work. No wonder, Edmund Goss read it with 'surprise
and almost rapture'. He declared, "If modern French literature were entirely lost, it
might not be found impossible to reconstruct a great number of poems from this Indian
version."5 Keeping and maintaining the original rhythm, sense and meaning, Toru's
translation has almost touched the beauty and glory of newly creative work, pouring her
bleeding heart out of the family tragedy in willingly chosen works of French Romantics.
Here, in them, she gave free play to her soaring imagination, unchecked and unbounded,
loneliness, dejection, ardours and agonies of life. Likewise, her French novel 'Le
Journal de Mademoiselle d'Arvers' which was published posthumously, has captured the
eyes of the public both at home and abroad. She has captivated the music of French
language and life./p/