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Dec 18, 2020

Sea Breeze, Bombay: Adil Jussawalla

 By: Bijay Kant Dubey

Sea Breeze, Bombay

Partition's people stitched

Shrouds from a flag, gentlemen scissored Sind.
An opened people, fraying across the cut
country reknotted themselves on this island.

Surrogate city of banks,
Brokering and bays, refugees' harbour and port,
Gatherer of ends whose brick beginnings work
Loose like a skin, spotting the coast,

Restore us to fire. New refugees,
Wearing blood-red wool in the worst heat,
come from Tibet, scanning the sea from the north,
Dazed, holes in their cracked feet.

Restore us to fire. Still,
Communities tear and re-form; and still, a breeze,
Cooling our garrulous evenings, investigates nothing,
Ruffles no tempers, uncovers no root,

And settles no one adrift of the mainland's histories.

Sea Breeze, Bombay is a Partition story as well as a history of Bombay written down by Adil Jussawalla who after his schooling in Bombay did his college education from London and Oxford and taught for sometime in England and in the mega city just before devoting himself fully to journalism, literary tidbits, columns, reviews and had been also the Literary Editor as well as the Editor of Debonair magazine. Adil Jussawalla who hails from a Parsi community is first of all a poet writing the poetry of the modern age and of modern man. A poet of broken statements, his is an angst, bewilderment and loss expressed through the columns of poetry where it is difficult to search for meaning and his persona is but a city-man, one of the urban space and living. Despair, dislocation, displacement, globalism, cosmopolitanism, modernity and post-modernism are some of the ingredients which he comes to grapple with. The Partition people telling the stitched tales tells of pity and pathos is the thing of narration which the politicians could not feel it then drunken with power. Who to say how has this Partition cost precious human lives of which we had been a mute spectator, witness of all that happened in the name of partition, religion and  politics! How inhuman can be man! The Partition is an example of all that. None is holy from his within. All but know it.

Tracing the history of Bombay, he goes back to the Partition tales and woes, trauma and therapy which it disrupted the sub-continent, ruffled as a whirlwind, a cyclone uprooting the people from their roots of nativity, culture and ethos, snapping connectivity and access from Rawalpindi, Lahore, Peshawar to India and vice versa. Many perished on the way tired of fatigue, hunger, thirst and illnesses the caravans of refugees rendered homeless and while on the other hand violence, bloodshed, genocide, stampede, rape and brutality wreaked havoc in the name of the Partition cutting across the religious lines. Why was such a Partition done in a huff? What did it give to? Just for the chair? So in its trail, bearing the brunt of, an exodus of the Sindhis, the Sindh area people came in migrating to Bombay and got domiciled, undergoing a saga of trouble, tribulation and trauma. But time is the best healer as one forgets it all in the course of time. It was but the island which but gave shelter and refuge to the migrating people from the so-called, newly created and named Pakistan. Again in due course of time the refugees forget the wounds and scars of the Partition and try to re-knot themselves pacing with time, age and situation of life, marking the hectic brisk activity of the land.

A city of banks, harbours and ports, Bombay has a history and narrative of its own. It is the same coast, where the British and other European merchants and mariners came and sojourned for their trade and commerce and competed with for power. They also did their best in developing the island area as it was internally cut in and separated from, but through the landfill the area was flattened and linked with, bridging the edgeways, sideways. The Bombay of today is not the same as it was before the advent of the Europeans and the British. But the people of East Punjab and East Bengal suffered it most from the torture point of view.

Keeping the Holy Fire as a witness, the poet seeks for expiation and penance from the sins committed unknowingly by himself or on behalf of those referred to here and praying to restore and purge it, he begins the talk of the Tibetan refugees and their influx and they coming to settle in and make room for. Even during the hot weather they can seen wearing the red woolen dress as because varied geographical locations and migratory haste, dislocation, displacement, wandering relocation and resettlement. With the change in geographical locations, the things and the status change it from place to place. So the case is with the Tibetan refugees unable to guess the mood and go of the place, the climate and location of it. As a traveller, can man adjust with shifting images and change in locality? Stability comes with the home. But unaware of all that, the sea breeze keeps refreshing and blowing over, settling or unsettling it all, taking to its own recourse. The sea breeze comes and goes away towards the mainland. So are the waves rising and falling picturesque of Nature as thus lost in the play and frivolity of its own.

The fire knows it all. What to say about keeping it as a witness, swearing by? Sometimes the communities lose their temper and get involved in quarrels and clashes. Sometimes some disruptive activities seem to break the bond of affection, but again it swings back to its beat and pulse. Things get restored back to with the somber poise and a calm of mutual understanding is reached for to start it again the brisk activity. The commercial centre comes to a stop, never seems to be at rest. Ships sailing on the seas, coming from, cargoes unloaded, loaded, these are but the general pictures of Bombay, the sea view.

A small poem it is so much of geographical, historical, economic, shipmanly and developmental interest as because to read it is to discuss it differently. How was Bombay initially? Who were the original inhabitants? How did the merchants and the navy men come to, we mean the foreigners? How was the coast earlier? How did it develop? How much time did it take in? How was the land filled as for reclamation? To discuss Bombay is to see the topographical map. Now it is a commercial hub too. How the maritime history and activity of it? It is really a matter of intensive research connected with several kingdoms and shipping corporations. A mariner, a navigator or a shipman’s notes will help us more. The ancient boatmen and the fishers used to inhabit the seven islands as it was a litter of isles and islets. Apart from the history of Bombay, the poem is a history of the refugee problem and the maniac, fanatical division of the sub-continent and the achievement of freedom in the midst of turbulence and tribulation, stampede  and refugee influx. If we can the photos of that time, we may come to feel it. How had it been the vision of the dividers? Divisions cannot be done at the cost of innocent lives who could not see the flowers of freedom. The history of Sindh and the Sindhis too comes under that. Did the Punjabis and the Bengalis not face the brunt? The same has happened with East Punjab and East Bengal. If we hear the stories, tears will trickle down the face. We shall not be able to hear the stories of the betrayed people. How were the simple folks driven out of their homes? The present plight of the Kashmiri pundits also tells the same living in camps in Delhi or rehabilitated. What more to say about the Parsis which the poet says it not? Are the Mohajirs well there in Pakistan? When he talks of the Tibetan refugees, several things come upon the mind’s place, Indo-Tibet, Indo-Chinese relations. How did they come to? Have they been given citizenship rights? Who to look after their problems? Sometimes we feel it about why the people turn into refugees, why the people are driven out of their places. Still now the conditions of the minorities in Pakistan and Bangladesh are not so well. When he puts the fire as a witness, the mere spell of it takes to the land of Zoroaster and the Zoroastrians, how they were driven out, how their fire temples were, how the fire has been kept burning still now.

Whose houses who partitioned? Whose lands who divided? It is also a matter of fact. Sea Breeze, Bombay is a poem of Bombay, its shipyards, docks, naval bases; its business centres and commercial hubs; its sea routes and maritime activities. But side by side it is a painful tale of the Partition people raked by loss, casualty, murder, disease, death, suffering, loot, plunder, journey and fatigue. How did the stitched flags serve as the shrouds for them? Whose liberty who used it? Whose freedom who commemorated it?   The reference indicates the murder and killing of the innocent people in the wake of nationalistic fever and frenzy and maniac religious fervour. So, with a bloody foundation the history of our freedom started with and we made a tryst with it opening new vistas and avenues. The scissoring of Sindh created reshuffles, repercussions and upheavals. The history of Bombay none has tried to know it, feel it, how was it Bombay one day, what has it become now. Is this the attainment of freedom? As thus we got independence from is but a hidden truth and what more to allude to? Let the breeze blow it with the influx of the refugees to come to in search of opportunities, peace, happiness and settlement from time to time as but this is the process of history. It all depends on one’s sense of humanism and goodness while grappling with the humanitarian issues like this.

Dec 14, 2020

A Buddha Seated On A Lotus: Sarojini Naidu

 

To A Buddha Seated On A Lotus by Sarojini Naidu: A Study

LORD BUDDHA, on thy Lotus-throne,
With praying eyes and hands elate,
What mystic rapture dost thou own,
Immutable and ultimate?
What peace, unravished of our ken,
Annihilate from the world of men?

The wind of change for ever blows
Across the tumult of our way,
To-morrow's unborn griefs depose
The sorrows of our yesterday.
Dream yields to dream, strife follows strife,
And Death unweaves the webs of Life.

For us the travail and the heat,
The broken secrets of our pride,
The strenuous lessons of defeat,
The flower deferred, the fruit denied;
But not the peace, supremely won,
Lord Buddha, of thy Lotus-throne.

With futile hands we seek to gain
Our inaccessible desire,
Diviner summits to attain,
With faith that sinks and feet that tire;
But nought shall conquer or control
The heavenward hunger of our soul.

The end, elusive and afar,
Still lures us with its beckoning flight,
And all our mortal moments are
A session of the Infinite.
How shall we reach the great, unknown
Nirvana of thy Lotus-throne?

To A Buddha Seated On A Lotus by Sarojini Naidu is one of those poems of the poetess which take us back to the days of yore, to the land of Buddha and Buddhism, Buddhist art and architecture, how did they make the statues of Buddha, craft and chisel from art materials and substances, Buddhas cast in gold, Buddhas made from baked clay, Buddhas as art-models and symbols. How to put the iconography of the Buddha life? Buddha in meditation, Buddha under a tree, Buddha on a lotus, Buddha as rock-cut carvings, Buddha as Avalokitesvara; the Buddha of the bhikshus, how to view it? We do not, do not know it. Let us see Sarojini Naidu’s poem To A Buddha Seated On A Lotus. Just mere a darshan, sightseeing of the master says it all. Buddha, the statues of his, so panoramic and serene and lovely to look at made by artisans, artists and sculptors, is really a joy to view Buddha art and artifacts, relics and carvings, sculptures and figurines. What it appalls us is the Divine Grace around Lord Buddha.

Lord Buddha seated on a lotus and lost in prayer and meditation with the elated hands is the thing with which the poetess starts the poem under our discussion. To picture Buddha seated on a lotus in itself adds to the aesthetic sense to the poem. What a mystical posture? How the halo around? How the peace serene? How peace encompassing it all? It is a beauty to see the Lord on the lotus throne as the lotus serves as a myth, motif, symbol and sign. The art model speaks more than a presentation in words. The blissful state of the Lord is itself supportive of what we want to speak forth or put down. As the world is so will remain it peace and nothing can annihilate it. Peace is what we hanker after finally. Everything is laid in peace and rest need not to be discussed here.

The world is forever in a flux as the things keep it changing here. They do not remain the same as they were in the beginning. Even those which are by now will cease to remain so. What it to say about human life, short and transitory? The paths of life too are never smooth. Against the backdrop of all this, the situation given, how to take to, where to go? Life is so full of troubles and tribulations. Tomorrow’s unborn grief takes over the grief of today and if misery and sorrow seem to be a part of life then what to say it more, this is what the poetess means to present it here. One dream after another dream keeps it unfolding the doors of dreams and as thus the story of our attachment keeps doing the rounds. But death is the ultimate reality which we cannot refuse to accept it. Our ordeals of fate we have to take to the test ourselves.

But we the human beings live with the frailties, follies and foibles of our own. We want to be perfect, but we can never be as we of the baser things have to return to dust and clay from where we are and our needs tend to be to. Our wants and desires are many and we cannot limit them. Our wishes too are  not sublime and good. We are concerned with ourselves merely. We want to attain moksha, but this too cannot be so easily. We want to ascend the diviner summits. Nirvana is the most sought after, but few can meddle with it. The samsara is all that we are trapped in; into the vortex of its maya-moha. Vasanaa, infatuation, fascination for is all that engages us and keeps us bound with and we cannot rise above as the daily trifles tending to lust and affection let us not to be free. The travails of life those who ail through know it well. We want to discard and discern like you as you came out leaving the palace and the family, but we cannot help, we cannot be like you, my Lord, is the thing of deliberation. We cannot cut the bonds of maya, moha, illusion, hallucination.

The samsara is of maya-moha with the chakras as such of sukkha and dukkha. How to get rid of? The snares of the world are what we seem to be grappling with, but instead there is something which but burns within, which is the thirst for spiritual thought and idea, the idea of moksha and mukti, deliverance and liberation. The quest for light is indefatigable. How to be with the Divine is the essence and without which the void will seem to be encompassing us.

The poem is in itself a Gautam Buddhian poem as herein lies it a volley of questions answered and unanswered which Siddhartha came to grapple with and in whose solutions to find he left the worldly life to be Gautam Buddha after having got Enlightenment and he the Enlightened One. Why sukkha, why dukkha, sukkha after dukkha and vice versa? What is nirvana? How to attain it? What is moksha and how to attain it? The Lord is the answer of it all, so serene and full of quietude, as if were blessing every seeker after truth. To see the face is to forget the questions ailing the self; to see is to feel peace and blessing. Wisdom comes from peace and blessedness from contentment.

What India has forgotten the world knows that, who is Buddha, how his Buddhism and these will continue to cherish mankind ever in search of shantih, ananda, moksha and nirvana, whoever comes unto him will get shantih, the peace of mind and soul. How to be in his refuge, great shelter sheltering from it all? Into the shelter of Buddha? How to feel that illumination of that light, just a sparkle of that? How to be get lit? The light is the all which is but knowledge.

The first four lines tell of the calmly-poised image of Buddha so full of mystic rapture, serenity and bliss divine:

LORD BUDDHA, on thy Lotus-throne,
With praying eyes and hands elate,
What mystic rapture dost thou own,
Immutable and ultimate?

Let us mark the lines for annotation explaining the heavenward hunger of our human soul:

But nought shall conquer or control
The heavenward hunger of our soul.

As long as the creation is and the world of creatures is so long will the soul aspire to be with the Cosmic Self. The lines are really very beautiful which is but a poetic beauty emboldening the aesthetic sense implied within the texture of the syntax of the structural context.

Who can say about the pathway end, the goal of life which but we are not sure of leading to where at the end of the journey. But instead of whatsoever be that we keep taking the beckoning flight with the view that all our mortal moments are a session of the Infinite:

The end, elusive and afar,
Still lures us with its beckoning flight,
And all our mortal moments are
A session of the Infinite.


The last two lines of the poem give the poetic suggestion with regard to the purpose of our living, why are we here and how the goal of life:

How shall we reach the great, unknown
Nirvana of thy Lotus-throne?

 



 

Dec 10, 2020

The Person I Am Looking For: Hazara Singh

By: Bijay Kant Dubey


The Person I Am Looking For by Hazara Singh


If you do not get lowered in your own eyes

While you raise yourself in those of others

If you do not give in to gossips and lies

Rather heed them not, saying ‘Who bothers’.

You may be the person I am looking for.


If you crave not for praise when you win

And look not for sympathy while you lose

If cheers let not your head toss or spin

And after a set-back you offer no excuse.

You may be the person I am looking for.


If you accept counsel without getting sore

And re-assess yourself in the light thereof

If you pledge not to be obstinate any more

And meet others without any frown or scoff.

You may be the person I am looking for.


If you have the will to live and courage to die

You are a beacon-light for people far and wide

If you ignore the jeers and, thus, expose the lie

‘That virtue and success do not go side by side’.

You are the person I am looking for.


The Person I Am Looking For is one of the best poems of Hazara Singh dealing with a very moral and didactic purpose through which he instills a feeling of hope in us as well as tries to inspire and motivate  us in a positive way. This life is for something to do, something to achieve and stand by, not for sitting idle. We live in deeds, not in years, is the thing of deliberation. The poem is almost like A Psalm of Life. There is something of Robert Frost’s Stopping by Woods on a Snowy Evening. A votary of Lincoln, Gandhi, Martin Luther King, he writes the poetry of his type, epigrammatic and Baconian. His poetry is very didactic and inspirational as well as motivational and he seems to be under Swett Marden and Dale Carnegie. How to achieve the unachievable? How to reach your goal? How to be successful? How to be good and noble? How to cultivate the joy of living, how to pursue the art of living? He teaches about all that. His poem reminds us of the English prose-writers and their stuffs, as such A.G.Gardiner, J.B.Priestly, Robert Lynd and so on.


 Hazara Singh is a poet of his own right and apart from; he is a teacher, a freedom fighter, a thinker and a historian of some sort. As a poet, he derives and draws from nationalists, patriots, freedom fighters, national heroes, democrats, republicans, scientists, thinkers and so on to rebuild and recreate his poetic images. 


One should not get lowered before as for what the people will say. Why to humble oneself in such a way? The head should be held high. Why not to raise oneself in the eyes of others? The poet forbids to hear the gossips and to desist from giving an ear to lies as who likes to participate in gossips will idle away his time in doing useless things and as thus he will spoil himself finally. He will not be able to do anything in his life. He will just idle away passing leisurely time. This life is not meant for them who are inactive and uselessly talkative. This life is not for gossips. This is for action and work. Those who are serious and active talk it not too much without caring for the useless talkers and gossip-masters. Try to keep them avoiding. Who hears them? This should be the thing. Why to bother about? One must try to handle the awkward situation in this way. It is better to avoid them rather than hearing anything else from. Those who do like to remain sincere to their jobs and assignment and undertaking. The poet searches a person who can be as such.


Only they can who crave it not for praise and admiration as there is nothing in false praise and self-praise. What sympathy can they extend to if one loses in or keeps losing? It is not going to make a difference. If cheers come it not in hand, why to sit and repent? One should take the set back as a challenge for to renew the fight. Why to sit still? Why not to be prepared again keeping victory in mind? Even after the loss, one can win if one wants to make the efforts in the right way competitively. Success should be your goal. Wins and losses matter it not, count it not what you have won or lost. Just keep you practising, aspiring for, translating your dreams into a reality. The victory is yours. One who labours, one puts the efforts in wins. Those who crave for praise will not go up. Those who have won it does not mean that they will always. Offer you no excuse please. Just keep you busy with, just keep you labouring, striving for. This should be your target, this should be your goal of life, if you want to achieve something in your life. This world is not for them who sit idle and pass time. This world is for them who really want to work and translate their dreams into a reality.


If one accepts, follows advice without being hurt and tries to re-address oneself in the light of that, one may improve and correct oneself. If one is not obstinate enough and likes meeting others without scoff or frown, one may achieve the target. The poet means to say it that there must scope for correction and re-correction and one should try to follow others and learn from as long as one can widening his knowledge and wisdom, enriching with feeling and experience. We need not be obstinate and stubborn. If we turn crazy, we shall see the things crazily. We must pledge to be in the good direction. Without any frown or scoff, we must accept the things. One must be cordial in welcoming in heartily with open-mindedness. To be narrow and small-minded cannot be the goal.


If one has the will to live and the courage to die for, one can definitely do, but one should have the guts and determination to reach the goal. One can be a role model by sheer hard work, perseverance, nobility, courage and determination. This can happen only after ignoring jeers and exposing lies. To be virtuous and to be successful are two different things. Virtues, nobility, goodness and greatness have nothing to do with success. But one must try to combine them. One must just keep it doing and the act doing will make one big. Goodness does not come to it so easily and for it one needs to be good enough apart from being a man of action.


Who can say that you may not be the person the poet is waiting for? Why to speak of the poet? The world is waiting for? The main thing is to develop virtues in you. Try to be good and noble and ideal. If you are, the people around you will be good as they will come to learn from you. If you righteous and virtuous enough, your righteousness and virtues will automatically come up for a discussion. Do not sit idle. Aim at doing high, something big and the mere act of doing big will make you big. Talent or genius is in each of us, but it needs to be explored in all of its possibilities. If you can reach the target, achieve the goal, the world is yours.


A small poem, The Person I Am Looking For is very beautiful indeed as it can motivate and inspire us so beautifully. The poem tells us how to use our time, how to gain it from life experiences. There must a passion for living. We must know the art of living. How to live a happy life? How to think healthily? We must try to know what this life is, how the lessons it imparts and what it the key to success. The mantra of success is but hard labour. The mantra of success is good behavior and good thinking. If one keeps it not striving, can success come to one? The answer is ‘no’. How to be successful? How to be good? How to be noble? How to be virtuous? This is the thing of deliberation. It all depends on you how you take to on aim and ambition, on your ideal and moral, on your will to do it, accomplish and reach the goal. How to reach the target is completely yours.


Dec 6, 2020

Ghanashyam: Sarojini Naidu

 By: Bijay Kant Dubey

Ghanashyam by Sarojini Naidu

Thou givest to the shadows on the mountains
The colours of thy glory, Ghanashyam,
Thy laughter to high secret snow-fed fountains,
To forest pines thy healing breath of balm.
Thou lendest to the storm's unbridled tresses
The beauty and the blackness of thy hair,
And scatterest the joy of thy caresses
In lustrous rain upon the limpid air.
Thou dost vouchsafe to pilgrim-hearted ages
The music of thy mercy, Ghanashyam,
And grantest to thy seekers and thy sages
Mystic sanctuaries of transcendent calm.
O take my yearning soul for thine oblation,
Life of all myriad lives that dwell in thee.
Let me be lost, a lamp of adoration,
In thine unfathomed waves of ecstasy.

 

Ghanashyam, Ghanashyam, how the music of the word, Ghanashyam, how the literal meaning? Who is Ghanashyam? The same Krishna Murari, Muraliwalla, Manamohan. But here  Ghanashyam, one who is deep blue coloured, one who is dark coloured as the hanging clouds seem to be laden with showers lurking over the hills, looking darker blue, bluish darkness. And here lies in the mysticism, the mysticism of the word. Can one somewhat dark but with a nicer face-cutting be not called beautiful? The answer is, of course, without any doubt. Is dark not beautiful? Generally in musical notes with the ragaas the word, Ghanashyam, my Ghanashyam spreads the melody and music of its own and this is often done in classical music. He went on playing the music, the murali and I went on hearing the melody so breathtaking, awe-striking is it, if one can feel about, as such is the impact cast or exerted upon. Where is Krishna? The Krishna of heart? How to search him? Where the blue-coloured idol? Where the blue-complexioned boy of Brindavan? How this trend of bhakti? Indian classical tradition of devotees, singers and fakirs lost in Krishnadhun, the rhythm and recitation of Ghanashyam? The heart is submerged in bhakti, Krishna-bhakti, the music of Shyam and it taking away the heart with him. As the halo of the blue lotus is, the azure of the skies, the colour of the hills in the sunshine or during the cloud around, changing into a gloom so is his colour and complexion. When lightning flashes or the thunderbolt crashes, the heart beats it with fear, taking the name of Shyam, Ganashyam just like the birds afraid of and screaming in fear.

 

Here the blue image is so prominent and the yearning merges with the Divine through the music and devotion of heart, through spiritual thirst and longing. Ghanashyam, how to see the image of his? How the painting of his? How the blue-complexion? How the blue colour alluring to all? Without being a devotee, how to be lost in? In Krishna-rasa, Krishna-prema? The blue colour and complexion of his matches with the clouds hanging over the hills and the mountain ranges, in the loom seen far as the outbursts of lurking clouds combined with thunder and lightning, seen in the blue waters of the lake or in the blue lilies fascinating it all. First, love him then feel you the magic of the Love Divine.

The poetess means to say it whose colour is it reflected in the mountains and the gloom around it, whose is it sunniness during the daytime reflecting as strangely, radiating blue, so attractive and charming to core. It is but his colour reflecting over, reflecting in and he is just like that, like that. The snow-fed so high secret fountains from which the crystal and blue waters flow form, drip as the pearls do not misunderstand them as carry forth the laughter of the same. It is none but he who heals with a breath of balm the forest pines. The storms which take us by surprise and awe carry out the beauty and blackness of his hair. But that gloom and storm result in a downpour dispelling and discarding the thaw in the air.

It has been continuing for long, for ages and ages and it will go by as long as the creation is, drenched in your bhakti, is the thing. There will be no life without his Krishnalila, Krishnalila  Divine. Where is not Krishna? At the root of all. This romantico-devotional heart is his; this classico-devotional heart is his, is what we know it not the truth. Just we need to be lost in Krishna-consciousness, Krishna-ananda. Wherever go you, goes it the heart with you, with Krishna, my Ghanashyam. One who is present it in all, how the world to go without his mercy divine?

He is in everything that we do and dream. The ages with time-spirits are the makings of his. There is nothing as hidden from. He is the Lord-god whose blessing is reflected in it all. What can be greater than the soul drenched in Krishna-bhakti? Who is it who gives transcendent calm? It is but he, the power behind our grace and blessing. The poetess prays to him for his grace, blessing and love. When we read the poem Ghanashyam, the picture of Radha who is bluish also dances before the eyes. If there is none, he is but Ghanashyam, if the heart submerged in him, the soul lost in him, why to fear? The world is the leela ground of his and he playing the flute from the orchards, hills, bowers and arbours, hills, dales, vales and mountains, woodlands, forest tracts and rocky domains. Such is the melody of his flute; such is the lyricism of love-song; such is the power of love. He is Shyam, Ghanashyam, the Blue Boy of Brindavan. Where do you lie, fluting, my Lord? Where do you? Where is the melody coming from? The heart stays it not put in. Such is Krishnabhakti. The ecstasy of deep devotion is fathomless and immeasureable.

Ghanashyam is a poem of Krishnabhakti and Krishnaprem, dealing with classical love poetry and bhakti-tradition continuing to since long, so full of folkloric music, dance and song incantations, taking us to Krishnalila and Raaslila, to Brindavan and Mathura, the banks of the Yamuna river and the kadamba trees with the gopis moving about in search of and Krishna playing the flute.

Dec 2, 2020

The Pardah Nashin: Sarojini Naidu

 By: Bijay Kant Dubey

HER life is a revolving dream
Of languid and sequestered ease;
Her girdles and her fillets gleam
Like changing fires on 
sunset seas;
Her raiment is like morning mist,
Shot opal, gold and amethyst.

From thieving 
light of eyes impure,
From coveting 
sun or wind's caress,
Her days are guarded and secure
Behind her carven lattices,
Like jewels in a turbaned crest,
Like secrets in a lover's breast.

But though no hand unsanctioned dares
Unveil the mysteries of her grace,
Time lifts the curtain unawares,
And 
Sorrow looks into her face . . .
Who shall prevent the subtle years,
Or shield a 
woman's eyes from tears?

To read the poem is to be conjured of a Muslim woman going in the burkha, the blackly veil, gown and slippers, naqab or hijab. Just the eyes are visible and nothing else. She is under the veil from head to toe. How to identify her? How to be introduced to her? Hence, the poem The Pardah Nashin before us for a reading. A pardah nashin, a veiled persona, protagonist is the chief attraction of the poem under our deliberation and discussion. One cannot see her, but she can from her pardah as far as she can kaleidoscopically. Through the holes, she can and rarely will she lift it and that too purposively if the need be and that too with a prior permission. We do not know who the dark heroine is; the queen of the heart. Sarojini Naidu would have seen her, met her often in Hyderabad or the bazaars of it which she is describing it here in this poem, but how much advanced had she been when she took a note of and described into her poetry even in that age so ahead of times. E.M.Forster too speaks of the purdahwallis and ghumtawallis, the purdah system in his one of his prose-pieces, but he found it so drastically changed it during his second visit just after the independence perhaps. The poem as a subject-matter is one of human rights, women studies, gender bias, patriarchal hegemony and Asiatic studies. It is a feministic issue. The poem opens our eyes in respect of gender equality, human rights and womanly existence.

The burkha is a long enveloping garment worn by the Muslim women in public and hence a burkhawalli is the protagonist, mouthpiece of this feminist poem. The poetess says that her life is a revolving dream of languid and sequestered ease. The girdles and fillets gleam as these keep fastening the garment at the waist and the headband hair too. The fillet means a band or ribbon worn round the head as for binding the hair which but looks like changing fires on sunset seas in their gleam. Her raiment, whatever call you, clothing, attire or garments is opal, gold and amethyst. Here the poetess has given a different look to the poem after calling the dress raiment and when describing the dress, she uses the words, opal, gold and amethyst. Just like the morning mist it appears to be discarding the nightly shroud and wrapper. It is opal, colours seem to be swimming within it, transparent and translucent as well. Apart from opal, golden the raiment appears to be amethyst, just like a precious stone of a violet or purple variety of quartz, trying to dress in a decorative way, in the best possible manner.

The maiden under the dark blackly veil is almost secure and free from the thieving light of the impure eyes who may not see her with lustful looks her beauty and youth to follow her or hold in  admiration of to die for her as love lies it forbidden here and Laila cannot meet her Majnu. The cover also guards her form the coveting sun or the wind’s caress as these do in the desert lands of Arabia saving from heat and dust and desert storms and swirling sands. The covering keeps her delicate as well hiding from sun and dust. She is guarded well and secure behind the purdah, curtain of the theatre, an artiste in the making. She is just like a jewel of the turbaned crest, a secret of some lover’s breast. The poem is indeed a portrait of an artist, the artist as a young burkhawalli, purdahwalli and this takes us to the imagery of Andrew Marvells’ To His Coy Mistress. Sarojini Naidu herein seems to be the writer of A Portrait of an Artist as a Young Man and The Portrait of a Lady and the Pardah Nashin is but her My Last Duchess, Mona Lisa’s much debate and discussed smile. But only Browning can question it, why did his duchess smile? Had there been some artist here, the model would have been in Madame Tussauds’  museum of wax models. If not, it is here a beautiful human mannequin, an art piece of Naidu and in this regard Beharman’s painting of the last leaf art model and the photo making of the model millionaire cannot be forgotten.

But she is also a living character of flesh and blood. She too has love in her heart. She too has a body and a soul. She is not merely a slave. She also wants to fly like a bird as she is after all a woman. She has also her freedom, her human rights. Though the dress is a beauty, she can definitely wear it, but to oppress and suppress her, throttle her freedom are not going to work. How shall we keep her in the dark?

A thing of beauty definitely it glistens. But who can check the advancing steps of time, age and ageing as time does not leave, spare anyone who ever be it. Her youth and beauty are also as such doomed to be shrunken and shrivelled. Though none can lift her veil, instead of that it will slip through the  passage of time one day when sorrow will peep into the eyes of hers to find that she is also after all a woman and her breast filled with the milk of human kindness which but she cannot forsake it. Who can check tears from her eyes falling, tricking down the cheeks? A woman’s tears only a woman can know it, not a man, only a female, not a male.

The Pardah Nashin as a poem describes a veiled beauty peeping through the purdah, the veil, the hijab or the naqab, the headscarf or the covering over the face. But when she peeps, looks through the lattices it strikes a different chord. A tailor can explain it well as it is also a fact that clothing has a say all through the poem directly or indirectly as we cannot do without taking the dress, attire and reflection into our scrutiny and assessment. Her looks through the lattices piercing may also hint towards Arjuna’s looking of the bird-eye for archery if to compare and contrast with differently. Her looks also may relate to the stories of the modern-day lens-eyed looks of the spectacled, powered girls.

While reading the poem, several pictures come to the eyes as if someone from the country were going on the bullock-cart driving it hurriedly to meet and bid goodbye to the theatre girl acquainted with at the village fair ground and in the meantime the train whistling off from the halt with the things of heart remaining unshared, unsaid to with the strange heroine met by chance and fallen in love with strangers which she should not have done it. The other image may be of someone peeping through the house arrest or the prison cell. The other image may be of a green, red-necked parrot lying caged and speaking ‘Buti bhejo, Sita-Rama, Sita-Ram, Gopiji, buti, buti bhejo’. The situation is almost like that.  The poem also conjures up the image of the clouded skies and the moon shining through. When we think of the purdah system, the Sati system, child marriage and the widows subjected to tyranny also dance before the eyes. Once the purdah system wreaked havoc and India grappled with, struggled to come through casteism, illiteracy, backwardness, underdevelopment, poverty, hunger and above all, inaction, lethargy, fatalism and belief in the Unknown. The last of all, not the least, is Sarojini Naidu the James Joyce or the Henry James of The Pardah Nashin? Is she the Dark Lady of Shakespeare?

Oct 11, 2020

Rama Series

By: Bijay Kant Dubey

Rama Series (Written in continuation of, in commemoration)/ O, Singer of Rama, Strange Singer! People Will Go Away, But Your Song Will Remain It Here/ Song of Rama/ Strange Singer of Rama

Foreword
I do not write the poems keeping in view the epical formats, but the poems get tagged to naturally to take the canvas and length of epical poems and so the case is with my Rama poems which I have been intermittently to discharge my emotions and feelings just as a compensation for from time to time to recuperate and to recover from tragedy and trauma felt in the aftermath of the loss of lives. How to console the broken self? Where to gather moral strength? How to repair the damage? The haunted houses dilapidated and lying as mouldering heaps of debris and rubble with the input phantom listeners listening and whispering, where to go leaving them? Death is a great leveller and time is the best healer, how to ignore them? My end, I know it well, there is none to be by my side. I do not want to waste my precious time just after engaging with words and if there is something to read and say to, say you definitely passing them on and if not, keep them aside branding it rubbish. And with this, thanks, let me take leave of you!
                        -----Bkd



The Prologue

They Also Sing The Songs of Rama Who Sing In Whispers

They also sing the songs of RamaWho sing in whispers,They also are the devotees of RamaWho sing it silentlyAway from public gaze,Thy also sing the songs of Rama Who sing in whispersThe songs of Rama from farWho we know it notWho they are, who the strange singers of Rama!

Hey, You, O, What Are You Singing?, When Asked, Said He Feebly, The Song of Rama
When I approached himListening to the songWhich he had beenWith so much zest and devotionAnd delightFelt he perturbedAnd started retreating, But I dared ask him, Hey, hey, you, What, what are you singing? , Into whose responseCame it the feeble answer, The song, The song of Rama, The song of Rama, He sang the songWhich but heard IAnd after singing the songfrom the hazy domainWent he away, Went he away that singer, That singer of RamaFor whom still weep I, Break I down! 
O, Singer of Rama, Singer of Rama, Go You Not Away!
O, singer, Singer of Rama, Before you go away, Sing, sing the songBefore you go, go awaySing, sing you the song, Song of your Rama, O, singer, Singer of heartSing, sing youBefore you go awayMaking me hear, hear it! O, singer, Singer of Rama, Your song I knew it not, Heard it not, Came it not to feelThat you, You too a singer, A singer of Rama, A strange but silent singer, Singer of Rama! I do not knowWho you are, What it your identity, What my connection, Connection with you, What my relationship, Relationship with youAs you come it near not, Sing, sing you from far, From farBut appear to be, To be my own! As I can see, See the tears, Tears trickling, Trickling down the cheeks, Tears, Teardrops falling, Falling throughAnd you, You lost, Lost in singing, Singing the songs the of Rama, Silently, All but silently, But so melodiously. As introduce, introduce you not, Who, who you are, What, what your identityJust from far, From farKeep you, Keep you singing, Singing the song, The song of RamaWith so much of zest, So much tearfully, O, my love, My heartbroken loveSo much forlorn and forsaken! 

The Body

O, Singer! Singer of Rama! Sing You! Sing You!
O, singer,Singer of Rama,Sing you, sing youThe songs, songs of Rama!
And as thus go you singing
Refreshing my love
Which I have in my heart
For you, for you!

O, singer,Singer of heart,Singer of soul,I can feel, feel!
The pain of your heart,Your heart and soulThat you how far from me,That you...
O, soul,O, spirit,Departed soul,Departed spirit!
O, singer,Singer of heart,O, singer,Singer of soul,The Holy Spirit!
Whenever disturbed and morose,
I turn, turn to you,
To you,
O holy singer,
Singer of Rama!

They also sing the songs of Rama
Who sing in whispers,
They too the pious men,
Devout fellows!

O Singer of Rama!
O singer,Singer of Rama,Sing you,Sing you the song of Rama!

A Poor Soul He Was But A Unique Singer of Rama

A poor soulHe was but a unique singer,Singer of Rama,The songs of Rama!

So distraught 
And dishevelled in life,
Broken and devastated
A poor singer,
Singer of Rama!

Singing,Singing the song,The song of RamaWith so much delight,So much pain!

When smiled he, smiled I
And clapped with
Singing the song,
The song of Rama 
In zest.

But when wept he, wept IHearing his song,Seeing him weepingInconsolably.

With tears into the eyes of mine,
I trying, trying to console
The broken self of the singer,
The singer of Rama!

O, singer,Singer, weep you,Weep you not,My brother,Weep, weep you not!

Break,
Break you not down
Wiping the tears said I,
Said I to console him,
Weep, weep you not!

Stopped he,
Stood he still speechlessly
And thereafter went, went away
That singer, singer of Rama!

Wiping the tears,Wiping it himself,Singing That singer,That singer of Rama!

Wiping the tears,Wiping and singingThe song,The song of Rama!

The traveller from far,
The strange singer of Rama,
That very mysterious singer,
Singer of Rama!

Rama, I Knew It Not, Krishna, I Knew It Not

Rama, I knew it not,
Krishna, I knew it not,
Just said it,
Said it by the way,
Taking it otherwise
That I knew,
Knew it Rama,
That, that I Krishna,
But Rama not my Rama,
Krishna not my Krishna.

But the utmost devotion
With which people love him
Stood it yours,
Only yours,
Rama is not my Rama,
Krishna not my Krishna,
It is not in outward show,
But in the innermost recesses
Of human heart. 

I just boasted it,
Boasted among
That I knew it Rama,
Knew it Krishna,
But Rama is Rama,
Krishna Krishna,
How could I,
Could I
A small man
And can,
Can one the Unknowable?


The Epilogue


O, Singer!

O singer,
Your Rama will remain
Your Rama,
Your Krishna
Your Krishna,
O singer,
None can,
None can
The love,
Love of your heart,
Heart,
None can,
None can
Your zest,
Zest of singing!

You Went On

You went on,
Went on singing,
Singing and singing,
Singing the songs
Of Rama,
Rama and Krishna,
Krishna and Rama
With so much zest,
So much delight,
Joy and pleasure,
But the wide world,
The wide world knew it,
Knew it not the pains of yours,
The pains of your heart,
Your heart and singing
What it ailed,
Ailed you and your heart,
What it marauded and maligned you,
You and your self,
Poor self
The world,
The world knew,
Knew it not! 

O Singer of Rama, Strange Singer of Rama!

People will come,
People will go away,
But your song,
Song of Rama
Will remain,
Remain it here,
The song,
The song of Rama,
Rama and Krishna,
Krishna and Rama
Will remain,
Remain it her,
O singer,
Singer of Rama,
Rama and Krishna!





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