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Poetry Analysys
Poetry Analysys
CHAPTER-IV
4.1 Introduction
Poetry in Jayanta Mahapatra finds a true observer, a skilled narrator, a
critic holding all ends of insight and rationality to talk about his local cosmos;
shaped within the triangle of ‘Religion’, ‘Socio-Cultural Heritage’ and ‘Present
Day Realities’. He portrays his Indian experiences which revolve around his
childhood memories, myths and landscape of Orissa as well as problems which
are mushrooming over the damp load of rotten beliefs and selfish motifs. His
poems catch rays of realities within its concave aperture to form real images of
India and Indian society. These images hang in beautiful display over the giant
verbal canvas of his poems.
He allows his private pain and personal heritage to germinate with
common sufferings and paradoxes of this land. He chooses a foreign language but
only to describe his locale and interior cortex. He Indianizes English, and altars it
deliberately; allowing his craft to get accumulated within the periphery of his
home. He carries India within his poems, he talks about its Past, Present and
Future. He researches and reinvestigates mythology; he dares to question social
malice and present naked realities of time. He deals with social issues without
sensationalizing and over running it. He mocks at paradoxes, satirizes without
being harsh and over sensitive. His scientific background neutralizes his
prejudices and makes him much more valid and reliable on the terms equilibrium
of emotions and language of his poems.
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His earlier alienation locked him in close sky but he finds few doors
within doors to reach a window of a time in his solitude and watches his familiar
world through it. He buries his head in the currents of Social life flowing through
without disturbing its scheme a bit. He pens down those currents with his
Romantic Passion and Surrealistic Vision. As persona himself says, “he should
be aware of what’s going on around him: the poverty, the greed, the
unnecessary violence, the cruelty, the injustice, the sexuality.”1 The
Romanticism allows him to co-relate shades of moods to landscape specially with
Rain, Rivers and Stones bearing load of past and heritage. His humanism gets
manifested in his concern for the one and all, for living and non-living for the
whole land and for natural resources. The true Socialist in him feels every uneven
ground, he peeps deep inside in each fissure and fracture of our social set up to
voice, voiceless. He talks about youthful desires, and concern of middle age and
hopelessness of old age. Socialism appears like a rock in chasm of his poems, and
currents of water run over it drenching it with reality. He himself asserts about his
socialism as,
the socialism and the love,
until we remain awkwardly swung to the great north of
honour,
what humility is that which will not let me reveal the real?
What shameful secret lies hidden in the shadows of my moon?
(“The Moon Moment”, FS)
Poems of Jayanta Mahapatra provide an easy access for an outsider but
one must have to have knowledge of socio religious milieu of the Orissa and India
at large to understand his poems. His poems put together beautiful romance with
words and ground reality side by side. His Images and Sociological awareness
empowers his poetry and take it to another level. As the poet in him asserts the
reality of our land when he writes hopelessly,
Even
when she is
Even
when she is not
(“Women”, CS)
One can easily found clusters of various images of Women like Wives,
Daughter, Mother, Beloved, Young Girl and Whores at the very nucleus of his
poetic atom. His earlier claustrophobic experiences made him aware of the silence
and alienation of Indian women. His childhood experiences of watching his
cousin coming with scars on face after taking beatings from her husband, his
mother waiting for his father most of the time made his sensible heart even more
reactive to the mist like existence of women in Indian society. Patriarchal set up
of society hardly leaves any scope for the women to broom up. And heights of
hypocrisy lies in the very fact that, we can only worship her or insult her, or we
can rape her, treat her as toy etc. In his very first collection, ‘Close to sky ten by
ten’ he presents myth of Lakshaman Rekha in the poem entitled, ‘Circle’. This
Lakshaman Rekha exists as a symbol of imposed bondages over women just for
being women. They are not supposed to cross this circle, the circle of their family,
kitchen and responsibility. Only a male can go out of this circle and this circle is
supposed to be made to safe guard her existence.
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always unwelcomed. They are thought as evil, a black mark over the so called
well cultured society but fact lies in their inhuman consumption in our society.
Whores are treated as inhuman just as a piece of meat thrown in front of beast;
they are consumed, toyed around and thrown in those forbidden streets after
consumption. They are just a means o quench thirst of lust and hunger of sex. In
the poem entitled, ‘Absence’ he talks how a man searches his completeness in
paid out love. He seeks prostitute as a means to release his frustration. As he
writes
When the windows shut down on your thighs
my hands quiver with the glances of my thousand eyes
as your long eyes tough my paid-out pain
and I revenge the presence from your presence
(“Absence”, CS)
In his long poem entitled, ‘The Twentyfifth Anniversary of the Republic:
1975’ he talks about the Indian society after twenty five years independence. He
presents a surrealistic image of Indian Society. He talks about the degrading
values and about Kamala-the three rupee whore who lives in her mother’s remote
village.
In my dreams when I fondle Kamala’s brazen breasts
my hands encounter the blind flowers at desecrated tomb.
(The Twentyfifth Anniversary of a Republic: 1975” Sec-XV, FH)
In the same poem he has described state of our society in word dipped in
ironical tone. He shows his concern for the fading morality of our society and
prostitution growing like algae over the dampness of our decaying society.
The prostitutes are younger this year:
at the police station they are careless to give reasons
for being what they are.
And the older women careful enough not to show their years
(The Twentyfifth Anniversary of a Republic: 1975”, FH)
He mocks at the celebration of the twenty-fifth anniversary of our
Republic when he can still see young girls being led in to the inhuman trade of
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social values and what it leaves behind is shattered ground reality as women lying
on some dark street to consume another hunger to quench the one burning inside
her belly.
The familiar old whore on the road
splits open in the sugary dusk,
her tired breasts trailing me everywhere:
where the jackals find the rotting carcass
and I turn around
to avoid my fiery eyes in the glass; there stands
only a girl; beaten in battle, all mine,
suddenly licking the blood from my crazed smile
(“Slum”, FS)
Mahapatra presents the union of dirty politics and prostitution in the
opening stanza of the poem entitled, ‘The Lost Children of America’. He puts
corrupt politicians and whores side by side. He presents a contrast between their
trades. He presents the irony between hunger of belly which leads women to
degrade herself such a trivial level and the power hunger of the politician who
sells the whole nation in his lust. As written by Madhusudan Prasad, “ By
equating ‘whores’ with ‘corrupt politicians’ and by making them use
common place for their respective trades, Mahapatra renders both the
images ironically eloquent.”2
in crowded market square among rotting tomatoes
fish-scales and the moist warm odour of bananas and piss
passing by the big breasted, hard eyes young whores
who frequent the empty silent space behind the local cinema
by the Town Hall where corrupt politicians still
go on delivering their pre-election speeches.
(“The Lost Children of America”, LS)
Beside presenting images of whore he has also talked about women as
wife in particular. He has presented their silence and the pain which comes again
and again every night, the pain of being treated as merely an object of pleasure. In
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number of poems he presents the typical male custom of eyeing every woman
with utmost lust. He presents silence which grows like moss over the walls all
through the day. Husband recalls his wife only at night when carnality arises in
there, and lust leads him towards her. Persona uses many images to portray her
silence which stands as her inaction and voiceless denial in this whole business
which goes on every night. In the poem entitled, ‘Idyll’ he presents this very
plainly yet beautifully.
In dim light
a man looks at the girl he had once married.
The last cart winds down by the hillock beyond.
Earth-grass is tipped with silver in the rain.
…………………………………………………………………
And something in a woman’s eyes
tempts confessions from her husband as they stretch out
to sleep. A time never lost, rising as mist,
that floats upon the consciousness;
(“Idyll”, RR)
He presents Indian images of women in his most of the poems in the form
of Wives, Mothers, Grandmothers, Goddess and Daughters and all these images
have recurrent pain, crushed voices and existence in common. In many of his
poems he shows his disbelief towards our social institute of marriage, In his most
the poems carrying images of the domestic women, they are presented as toy for
their husbands. As he writes in his poem entitled ‘Village Mythology’
This image carries a hall mark of Indian village women and her day
routine. Her work starts before sunset, cooking, cleaning and even her role in
agricultural work with husband, looking after cattle and of course pleasing
husband at night. In another poem entitled, ‘Afternoons’ he presents very nakedly
the lust which lingers in every male’s eye for every women, known and unknown.
Women have been objectified to the extent that our mind now sees them only as a
toy. He employs here image of two big arsed women who enter in the shop for
buying four kilos of flour and shopkeeper eye them in lethargy of his dreams.
Father brought up her daughter till the age of marriage then bids her
farewell for forever. Girl has to enter in to a new family, with new challenges and
expectations from her. She can’t afford to expect anything. Her in-laws hope for
dowry from her parents. Mahapatra talks about the dowry system, and presents
how brides are burnt even today in our so called cultured society for color dowry.
As he writes about this in the poem entitled, ‘In the Autumn Valleys of the
Mahanadi’
…….The house
on the main street looks insignificant, although
its mouth is slack with the piteous screams
of the girl burnt to death last August
(“In the Autumn Valley of Mahanadi”, WB)
who are asked to parade before, their would be bridegrooms and in-laws a number
of times. Many times they are treated like an object, they asked to walk, sing and
even dance. They are interviewed too. And after all this no one even feel a little
shame to reject the girl for her skin color, he height, for her features, or for higher
demand of dowry.
Then the slow cold ache
of parading themselves before their prospective grooms
came into them again;
they were in their teens, the three sisters,
innocently flirtatious,
as the ground swelled up so fast
they could not cry out –
the pain of dying did not seem to matter any more.
(“Walls”, SS)
His sensible ears can here those screams echoing in to those valleys of
autumn. Those screams he had heard in 1992, while writing his collection called,
A whiteness of Bone still keeps on repeating itself in 2005 while he was writing
Random Descent, only the shouting mouth is different, reasons are same. He
presents a real incident of domestic violence and bride put to fire just for the sake
of a colour television.
some of his poems he also talks about another custom related with marriage, the
custom of the first night. A night when a girl, who is totally stranger to a person;
is asked, to have intimacy with that stranger. Mahapatra ridicules this very
concept of the first night between husband and wife. Here he finds it as if bride is
being told to act as a whore, as he writes,
for this moment when the bedecked bride,
as stone at touch and belled,
dreads the thunder and lets
the fierce lighting race
wave after wave through her
sun-inflamed flesh.
(“Bride”, TP)
He also talks about the mental state of new bride, who suddenly bears the
care of stranger, which ends after the intercourse. These incidents of bride burning
are equally cruel as Sati Pratha- an age old tradition of India according to which a
women has to enter alive in the burning pyre of her husband. A woman who goes
through this cruel ritual is considered goddess and worshipped as Devi Sati. This
tradition was banned a long ago by the efforts of Raja Ram Mohan Ray. But even
today in some remote areas of India, we still can have such news at least once in a
while. He projects how the superstitions of different kinds have get hold of our
society. He recalls it in his poem entitled, ‘A Summer Poem’.
The good wife
lies in my bed
through the long afternoon;
dreaming still, unexhausted
by the deep roar of funeral pyres.
(“A Summer Poem”, RR)
Sati Partha has stopped up to a large extent now, but predicament of
women is same. He also projects many images of women clad in white-the
widows in Indian Society. He portrays their life full of self exploitations. They are
made to wear white colour only, spiced food is forbidden for them. In many cases
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they have to cut off their hairs, and give up their all ornaments. They are supposed
to eat only boiled food and spent a life of self denial. They are considered
Ashubha in our society and are kept away from any religious and social rituals.
They are left alone in society to die every day with slow poison of hate and
embarrassments. In the poem entitled, ‘Dawn at Puri’ he presents a visual image
of widows
White-clad widowed women
past the centre of their lives
are waiting to enter the Great Temple
Their austere eyes
Stare like those caught in a net,
Hanging by the dawn’s shining strands of faith
(“Dawn at Puri”, RR)
Persona against portrays the images of these luckless widows, who are
gradually tamed for being individualistic, to be a voiceless and nameless entity of
our society. These women turn stony by such atrocities of our traditions.
Mahapatra visualizes them in ‘Ceremonies’ in a large group in front of shrine in
superstitions like dry, drab weeds. Persona shows his concern for women in
Indian society, their existence is as Madhusudan Prasad says, ‘like a pawn’.
Mahapatra explores Hindu beliefs and finds many traps made for the Indian
women. He also recalls his own mother who dreams for to be cremated at Puri so
that she can reach heaven. In poem called ‘Assassins’ he again depicts the
predicament of Indian Widows. Indian myths and age old traditions don’t allow
widows to have any scope of happiness in their lives; they are forced to live like
dead and dry souls. Here we find women walking in their own dark streets with
their own terrible fear and pain. Persona compares them with weary leaves, which
can’t feel any longer.
sore widows moving barefoot in sunless streets,
and marigolds flowering the wrong way,
towards the way of the terrible fear,
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In the poem entitled ‘The Lost Children of America’ he talks how women
are being raped, in front of those stony eyes of god by Priest’s way ward son. And
victim is victimized again by those who are supposed to protect her and fight
beside her for justice.
He recalls another incident of a girl being raped, in the city and news
paper bringing news about her. Poet has no hope for such society as he writes in
‘Morning Signs’
Before the morning paper comes I know
that Lata’s rapist and killers
have been set free, for that is how
it has always been.
(“Morning Signs”, LS)
Persona expresses his hopelessness when he watches that how we are
loosing our sensibility and the very humanity. He thinks this land is not what it
needs to be. He recalls the incident of rape of a girl called Fara who has been
raped publically inform of a mob, which kept on cheering. In his collection called,
‘The Dispossessed Nest’ that is why he announces,
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He again refers to British rule over India I one of his longer poems called
‘Requiem’. He recalls those days of our exploitation when every Indian was a
victim of colonization and slavery. He visualizes hunger and nakedness of people.
In ‘Freedom’ poet questions the very celebration of our freedom. This is one of
the very few poems in which tone of language is blunt and directed straight to the
root of the problem. Poet finds freedom is being lost somewhere in our
malfunctioning social set up. He raises question, why should we celebrate
freedom if millions of our fellow countrymen are dying of starvation and
injustice. There is no one in that high pillared parliament house.
In order for me not to lose face,
it is necessary for me to be alone.
Not to meet the woman and her child
in that remote village in the hills
who never had even a little rice
for their one daily meal these fifty years
(“Freedom”, RD)
In his poem ‘Grandfather’ he talks about his grandfather Chinatamani
Mahapatra, who embraced Christianity as a means to save his life and get some
food during the year 1866 when a terrible famine struck Orissa. He came to know
all this through yellow pages of his grandfather’s diary. That diary is a whole new
chapter of history for the persona. He came to know how people were desperate
for food. People had started eating leaves of plants some unknown roots and fall
victim of epidemics. Scores of people die everyday, dead bodies were thrown in
to the river. Animals like Jackal used search river bed and eat dead bodies to
quench their hunger. This pain of his grandfather seeps through his following
lines,
Did you hear the young tamarind leaves rustle
in the cold mean nights of your belly? Did you see
your own death? Watch it tear at your cries,
break them into fits of hard unnatural laughter?
(“Grandfather”, LS)
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(“Defeat”, SS)
Persona feels the same pain for the whole humanity. He shows his concern
for the people dying in Somalia because of hunger in his poem titled, ‘The Stories
in Poetry’. Same kind of world view and general concern for this hunger stricken
world is manifested in his poem tiled, ‘The Lines of My Poem
It has not been able
to find its way out,
stumbling over the hunger
of another starving child.
Perhaps the lines of my poem
will be lame for a long time,
the pain of the creaming, frightened girl
in Kosovo, or kicking vainly
at the anger of a boy on the West Bank.
Or because they have been unable
to bear the weight
of years of poverty in this land.
(“The Lines of my Poem”, BF)
Images and mention of beggars is quite frequent in the poems of Jayanta
Mahapatra. His poems sings his locality, he observes and describes his
surrounding using surreal imagery. Begging has a multilayered aspect and
existence in the Indian society. In all the major religions observed in India; charity
or giving alms is considered a religious practice. In the ancient times Brahmins
used to spend their life in learning and spreading knowledge, going for Bhiksha is
one of the duties for them. Students or Batukas who came to Gurukulas had to go
for begging for themselves and for their teachers. As per ancient scriptures, Holy
Books, Epics and Vedas of this land even the lord Krishna had gone for Bhiksha
while studying in ashram. Lord Shiva had to bear it as a punishment for plucking
one of the heads of Brahma. Besides these facts even Islam believes in paying
alms to Fakirs, these Sufi Saints also spent their lives in praying. Persona also
puts a very honest attempt to describe begging in multifaceted context of our
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country as well as he also gives it a new meaning. Today India has highest
numbers of beggars in the land; and these beggars are generally the secluded
persons of our society. Most of the beggars are crippled, blind or suffering from
skin diseases. These images of beggars arouse feelings like pity, pain and fear
together. They have invaded temple streets, steps of Ghats and temples as well as
railway stations, trains and cross roads of big cities. In one of his poems he
presents image of homeless beggar sitting on the steps of mosque and staring
every passer by and those passersby are careful enough to not to even look at him.
On the stone steps of the old mosque
the homeless beggars drift in the sixth sense they have
about one another, ‘So we have to act still.’
Look at the world’s beautiful people, there beyond,
dying so beautiful humility can’t touch them!
There, they’re trying hard not to stare at you at all.
Is it because your humbleness has also gone like them?
(“The Twentyfifth Anniversary of a Republic: 1975”, FH)
In his poem called, ‘ Indian Eye’ he presents begging as mutual process,
he mocks at Indian belief of giving some alms and securing heaven for your
charity. He also presents how a beggar attains mastery after many days of
experience, how he showers his blessings on receiving alms and treating rich men
as gods. Mahapatra presents it in a surreal way very sharply and bluntly when he
says it is like parting a rupee and then reaping a million in return in forms of
blessings.
….The Indian Eye
is large, wild, covered with hungry decomposition.
Years and years lay claim to safe paralytic tradition.
Turning sharply as if to avoid a muddy puddle,
while their begging hands are at you. Sacred god like you.
Now if you part with a coin, you’d reap a solid million.
You are god, they cry; tear your eyes from you.
And if you are not you turn to the wall and cry.
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Similarly he describes the change after getting the coin, which is thrown
from the window of an automobile,
as he watches the hand
like an orange sun
reach out
from an automobile window
and drop one
of his quaking days
(Ibid)
Persona wants to portray how this begging becomes a business and
tradition in the land and a paralytic one as one can find many people who can
easily work but they decide to do on begging. In another poem called, ‘The Blind
Beggar’ persona presents the other side of the story. He presents how a blind man
survives through his eternal night which is never going to be end.
(“Events”, SP)
The same image of rickshaw puller appears in the poem titled,
‘Somewhere my Man’ when he describes the routine of rickshaw puller and his
care towards his vehicle and his wait for the fares in a pictorial image.
An idle rickshaw puller gets up,
polishes the thin chromium trappings
with a rag,
spits on the ground
and sits down again,
patiently waiting for fares
(“Somewhere My Man”, RR)
own mother looking vacantly into her tea-cup and thinking that she has been
betrayed.
The old woman
with grey hair and coarse wrinkled hands
whom I call mother looks vacantly into her
tea cup, thinking she has been betrayed.
(Ibid)
He shows his concern for the old people and he also preaches youth of the
nation. Today many of our youngsters have very materialistic dreams of going in
some foreign land in search of better life leaving behind this nation and soil. He
wants the youth of the nation to keep itself attach to the roots of the land and try
to bring a new change in this society, to start a new struggle, a self purification
process to build a new social order. Persona uses image of his own son, he
generalizes his pain and expresses,
This morning I faced my son and said:
I don’t want you to die alone
in some strange country.
The space of our blood is in,
giving witness to our lives,
a street running endlessly people ward.
(“Levels”, FH)
He appeals all those who see overseas dream and snatching away their
roots from this land. Persona can see a huge gap stretching itself between him and
his son. He gives up at the last ad asks, himself to reject his own son instead of
dying in grief. Here he projects in a satirical tone how materialistic wealth has
become the only concern of the youth of the nation.
and finds a new dirty trick of the physicality that makes a god; virile, yet so poor.
He recalls our old heritage and thinks contemporary life is like café’s chair turned
over with their legs in air. He thinks past life has surrendered to this materialism
and what remains behind is only a silence; and that is also a meaningless entity.
He presents it through a satire using image of servant girl dying of tuberculosis
and an old hypocritical social worker. As he writes,
Like café’s chairs turned over with their legs in the air
perhaps our past lives are raised in surrender to sky.
Has silence lost its importance? What is the order of life?
The tubercular servant-girl trips over the edge of present.
And Rama Devi, the fifty six year old social worker,
raises her head like a triumphant snake which has just
shed its skin:
(Ibid)
He finds even the youth of the nation is corrupt. The youth no longer
believes in patriotism and change their values like rolling stones. Morality,
honesty and self esteem have gone under the layers of modernism. Indian ways
and values are considered a symbol of backwardness in youth. Past heritage and
culture is fading in colors of westernization. Sexuality, lust, making love in public
are considered modernity. Persona presents a surreal image in his one of the
poems entitled ‘A Sullen Balance.’
my young niece is shyly kissing
her friend in a deserted corridor.
I tell myself to shut my eyes,
go over and over those secrets
I have told no one before
(“A Sullen Balance”, WB)
He feels this tinge of hopelessness in laymen of the land. He finds every
shoulder is dropping under the weight of yet another despair which comes through
news papers everyday. Everyday arrives with a new scam and political
propaganda. Feelings, Warmth and Companionship are washed off by the
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materialistic rain of the time. He finds an unknown pain in every eye; he finds
each girl of this land is living under the burden of her own life, expectations,
gender discriminations and fear of rape. As he writes,
Again fields of man are rugged with fear.
And the breasts of young girls
do not rise and fall with their own breathing.
(“Landscape”, SS)
He further talks about the violence which has become the order of the day
in this land. Every life is under threat. He shows his concern for the increasing
graph of the crime in country. Newspaper headlines always hurt every sensible
human when it brings news of killings, robbery, of senior citizen deserted alone
by their children, women being burnt or paraded naked in streets, or yet another
rape. He feels sometime it’s nothing new for many of us who have learnt to live
with this. As he writes,
This violence is nothing new,
Even spring or sight of an old man,
his head between knees.
Or the nakedness of a woman,
stripped and paraded in the street.
(“Season”, SS)
His poems always speak for the equality of gender. In his poems he shows
his concern over domestic violence, of women being beaten every night by their
in-laws and husbands. He has haunting memories of childhood days, of watching
his cousin running back to his house after being beaten by her drunkard husband.
He feels for those women die everyday by the hands of their own relatives.
Our mouth cannot change the noises of our
memory
Of the night before
where a woman felt that her death by fire
was definitely easier
than death through constant beating and torture.
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Persona has also seen the fire of communal clash and religious fanaticism
very closely. Communal rites are gifted to this land by Britishers before living this
land and dividing it in two parts. Even today after sixty years of Independence we
are not able to build that mutual trust between people belonging to different
religions and caste. Rites in Bombay, Gujarat, West Bengal, Karnataka, Madhya
Pradesh or Anti Shikh rites in Punjab and many more are enough to prove that
even today a huge gulf of distrust lies between Hindus and Muslims. And this is
not only story of India such problems exists in most of the nations like Russia,
Shrilanka, Jerusalem and Pakistan. As he writes,
And streets
go on enjoying their dead-
either in Jerusalem
or in Delhi or distant Nicaragua.
I can easily tell sound
of someone being hit with an iron bar,
the sound of a body falling
or being burnt after being doused in oil
(“The Waiting”, SS)
He finds humanity engulfed and suffocated between hatred and communal
fanaticism. People do not hesitate even a bit to kill and burn others just for being
of another faith. This blind fire engulfs small children and women. Many faceless
mobs loot, rape and burn people alive. Life gets lost somewhere in long hours of
curfew and shoot at sight orders. People sleep no longer in their houses, rumours
spread like fire and those war cries and swearing names of god before killing
people of other faith. Such incidents can ruin any sensible heart so is the case with
persona and this hopelessness makes him write,
There was nothing to remind me of the other earth,
seven hundred miles away, frightfully unfamiliar,
of six of a family screaming loud in a flaming shack,
as they slowly burn to death, simply because
they had another faith. and of that thing called God
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the order of the day, a place where ambulance fight whole day, a land where you
can blow cheap lives taking names of religion. As he writes,
Gandhiji, only an act you put on for posterity?
With India, our India, barely worth raping?
(Ibid)
This all makes him hopeless so persona finds this land dying each moment
and turning in to a dead land. A land dying under its own weight, a house which is
getting looted by own family members. He believes such country will be left
alone to die and sink.
At times, as I watch,
it seems as though my country’s body
floats down somewhere on the river.
Left alone, I grow into
a half-disembodied bamboo,
its lower part sunk
into itself on the bank.
(“Freedom”, BF)
“By this I did not mean that a poet has to be a “Political Poet” just as one can
become a “love poet” or a “historical poet” or an “economical poet”. What is
needed is that poetry should have the freedom to express, in any way
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every sensitive individual concerned with finding solution for the country’s
persistent ills. The strong government which Segal hoped for has not come
into existence even forty years after India gained her Independence. It is
indeed tragic that we have not been able to produce such a government, one
which would help to control all significant aspect of human life. The
indifference of human suffering is evident everywhere, even today, and it
becomes difficult to close one’s eye to this continuing trait of the Indian
upper classes.”4 Freedom has gone in to the pockets of politicians and those
priests who make humanity bleed every now and then. He presents a surreal
image of a family which hasn’t eaten a single piece of rice from fifty years. He
finds the darkness of our lives come from the high and big pillared Parliament
House. Politicians growing like saprophytes consuming roots of this nation. They
are driven about in Mercedes and flying over our little skies in their choppers. As
he writes in the poem entitled, ‘The Return.’
Now the stunted rice around it
rustled from passing of Minister’s Mercedes.
The sky grown murky
with promises of leaders unfulfilled.
And I asked myself: What could embarrass
our Ministers more than people’s prayers?
(“Return”, BF)
He finds this nation is being legged behind by this dirty politics and
corruption. He compares it with a roughly running clock which jerks every now
and then but always thirty minutes slower than others. Persona requests the youth
to not to leave this homeland, he wants our roots should be kept in our own soil.
He is against overseas dreams of youth but at the same time he sighs over the
condition of this land.
Rain grates in the silence. My son
walks in through the dim walls,
a strange map drawn by life.
(“Learning for Ourselves”, WB)
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naked dance of crime and injustice, what we do? We just take black flags and
march in streets until some lathe charges towards us, or water cannon wash off
our anger. Persona has seen such protests and knows nothing can be achieved
through it so he believes heroism exists only in films but not in real life any
longer. He is aware most of such protests are just a political stunt of other
politicians only who want to snatch the chair and have same dreams. He writes in
his poem titled, ‘Heroism’
All our thousands of hands
that reached out to the sky
sulk in small strips of black cloth
of futile protest on our chests.
(“Heroism”, SS)
What he finds all around him, is just another slum wrapped in poverty,
disease and struggle for basic amenities like water, drainage and electricity. And
nature has decided to play its part when it comes to his homeland, floods and
draught shatter dreams of farmer turn by turn each year and sometimes it is
cyclone or epidemics that ruin dreams. Every politician reach chair with fake
promises, promises which are given only to be broken. He finds we have no
choice actually to make, we have to decide just a one thing and that is to select a
bad leader out of worse and the worst. This country has become a private
possession of such politicians so he writes,
Tonight, the politician will turn
on the country with his power.
His face will be well under control.
And tomorrow, sixty thousand children
will go hungry again.
(“Possessions”, SS)
He questions himself about the justice. How to expect justice in a land
where over three million cases are waiting for verdict form years? He is worried
about the fate of this nation, a nation where police works by money, where bribe
makes government officer sign papers. He also refers to the law which
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government, laid during mid eighties to control our population; abortions were
legalized in our country at that time. Many young women lost their lives during
abortion and many died of septicemia and other infections. At times he becomes
introvert and wonders why to ponder over lost cause. Such pondering becomes
Cleary visible in his poem tilted, ‘June Rain’
In my country of unenforced laws,
I write my futile poem, eat fish
I buy from the local market, listen intelligently
to the discussion on parliament elections,
and look at the lost bit of land in my old, soiled atlas.
(“June Rain”, SS)
During his stay at Patna while he was doing his M.sc from there he had
got the chance to see Gandhi. Gandhi has always a great impact on him. He truly
believes and is a true follower of Gandhian ideals like Non-Violence, Truth and
Social justice. But what he finds today, people who keep Gandhi’s photo handing
over their heads, on the walls of their offices and house have forgotten his ideals
completely. Wearing khaddar has become a status not a service to the nation;
people insult his ideal and question his sacrifice. Leaders only know the language
of violence and what they have to give us is only tons of lies. He describes this
hypocrisy in ironical style when he writes,
when you are safely distant from living,
you can worship the murdered Gandhi.
You can speak about
the world you were born in,
about the sounds of your wife in labour
or even of the infinites of the Pieta.
(“Waiting”, SS)
He then puts Poets and Politicians side by side in the lines of his poem
entitled, ‘Earth’ this poem shows persona’s concern for preserving this earth for
future generations. He presents a contrast between Poetic imaginations and
Political actions.
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Many can think that they are already aware of this, but even after this fact his
poems play a great role to arouse sense of patriotism and sense of worry in our
heart for this homeland.
4.6 Conclusion
Thus one can easily sum up that Poems of Jayanta Mahapatra hold mirror
to our society and put before us an honest picture stuffed with surreal imagery and
metaphors exported from the tapestry of our land. Rivers, Tress, Forests, Wind,
Temples, Streets and Stones all come turn in turn to provide him a door of
freedom to explore new possibilities, new ways to connote his meanings. His
poems presents anatomy of our society, presents different layers to let the truth
come before us nakedly, however bitter and painful. His poems hold his recurrent
pleas put forward before every reader, before every fellow country mate to realize
our existence in this society. His romanticism does not make him forget the
ground reality, rivers, mountains, wind, birds and seasons take him to fields where
exists hunger, stretching over parched land. Every temple streets brings him to
God, and its stony existence, his silence over our condition. His imaginations sits
at window and wander in those malarial streets of the town, he peeps in to those
hospitals waiting for other deaths, his eyes try to ignore headlines which each
morning brings. He hears echoes of those unheard screams of women being
beaten in her, own house, and watch how the sacred fire of marriage turns in to
dowry fire consuming a life full of hopes and desire. Every night sinks him in to
in his surrounding so deep, he searches truth, a cure for social healing of this land
but he finds? May be his poems that he writes one after another? His eyes still
stare white sheet of paper through his insomniac eyes and aesthetic breath sigh
over it to present yet another side of our society. One can say persona writes more
through his conscience and less through his imagination as it is limited to find a
better medium. Themes of his poems manifest clarity of his conscience. As he
himself, writes about the importance of conscience and memory, “Conscience
matter because what else is the poet responsible to? Nothing else is as
consequential as this inner thing to him, this secret root of his being, and
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which acts as the hidden code behind his writing. A poet is, perhaps, only
right when he says in his poem what he has actually known. This appears as
the only relevant truth; that one’s experience is the raw material form which
the poem is made.”5 All this make him to find our freedom meaningless. Some
say we have achieved freedom but where it is? May be it is locked in to a big
bungalow of a politician? His poems show his deep concern for our society, he
demands equality and justice. He dreams of Ramrajya
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REFERENCES
1
Paranjape, Markand., ed. Interview, “Jayanta Mahapatra Talks to Markand Paranjape.”
M. Sivramkrishna March 1992.13.
2
Prasad, Madhusudan, The Poetry of Jayanta Mahapatra: Some Critical , “Echoes of
Bruised Presence: Images of Women in the Poetry of Jayanta Mahapatra. Delhi: B.R.
Publications, 2000.P. 225
3
Jayanta Mahapatra Interviewed By Rabindra K. Swain, Fantasy, October-November
1995.
4
Mahapatra, Jaynata. Door of Paper: Essays and Memoirs. New Delhi: Authors Press,
2007. p.125-126
5
Mahapatra, Jaynata. Door of Paper: Essays and Memoirs, Face to Face with
Contemporary Poems. New Delhi: Authors Press, 2007. p.83