26

CHAPTER 2

Literary Communication: An Extension of Indianness

2.1 Indianness and the Indian Eng ish !riters

Literary communication is in continuance of a writers roots and his belonging to the country. An individual grows up in a society with a set pattern of beliefs, thoughts, and sentiments that are responses to the surrounding events, his cultural heritage, the economic and political circumstances, and his cognitive state. This nativeness being a prime attribute of literary communication, an Indian nglish writer inadvertently communicates

Indianness. To elaborate it further, here succeeds the concept of Indianness as illustrated by eminent scholars. To !uote ". #. $o%a%, &Indianness of Indian writing consists in the writers intense awareness of his entire culture,' ($o%a% 22) and that of #. *. +rinivas Iyengar, &India or Indianness include the choice of sub,ect,' &te-ture of thought and play of sentiment', &the organi.ation of material,' and &the creative use of language.' (Iyengar 6/0) Iyengar adds, &Indians have written1 and are writing1 in nglish for communicating with one another and with the outside world, for achieving self1 e-pression too artistically, using nglish, if necessary, or necessarily, in an Indian way' (Iyengar 2) 3owever, writing in a language, overly disparate from the Indian culture, as language bears the culture with it, is always interrogated for its authenticity. 4ontrary to this, one notices these Indian nglish writers have moulded the language to accomplish their communicative purpose by the process of Indiani.ation of the nglish. In fact, these Indian nglish writers tend to

write about India, from an Indian perspective, portraying Indian sensibility in a language that is Indian nglish. 3ere, Indian nglish refers to the various dialects of nglish spo%en primarily in India, and also by Indian diaspora elsewhere in the world. Additionally, in a multicultural nation li%e India, many mini Indias e-ist and coincides with each other.

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3ence, Indianness is a synthesis of the sociocultural, religious, linguistic, and ethnic diversity. Thus, the 6what and how of a writers communication is e-ecuted through his awareness, rumination, and orientation of the reality.

Thus it becomes essential to retrospect some Indian nglish poets and the e-pression of Indianness in their verses. 3enry 7ero.io, an imminent 8re1 Independence poet, attempts to employ Indian myths and legends, imagery, and diction in his poetry. Li%ewise, one finds in Toru 7utt nostalgic and picares!ue description of Indian landscapes. In +ri Aurobindo one encounters narration of Indian legends and mystic e-periences and his indebtedness to the ancient bha%ti tradition. +aro,ini 9aidus lyrical poems portray Indian ethos and images.

In the 8ost1 Independence writers one observes a shift in the poetic concerns where the focus dwells on contemporary situations, self, society and culture. In poets li%e A.# *amanu,an, there is a preoccupation with childhood memories and family. *. 8arthasarthys obsession with his native heritage, Arun #olat%ars oscillation between 3indu religious tradition and an e!ually rigid scientific civili.ation, 9issim .e%iels

naturalistic pro,ection of :ombay, Adil ;ussawallas compassionate depiction of Indian scenes all ,ustify to the point that these poets are sensitive to the Indian culture, society, heritage and landscapes. Indianness is also strongly e-pressed through #amala 7as

narration of her childhood and feminine psyche, and ;ayanta <ahapatras reflection on both personal and =rissan landscape.

Among the contemporary poets one notices in 9iran,an <ohanty an engrossment with the =rissan culture, images, and landscapes. <ahanand +harmas verses mar% an e-ploitation of Indian myths and legends as a tool for highlighting the contemporary perversions in Indian society.

:oth #e%i 9. 7aruwalla and 8.4.#. 8rems poems reflect aspects of Indianness which is displayed through their attitude towards Indian> setting and sub,ect matter, allusions to Indian myths, legends and philosophy, depiction of Indian culture, contemporary social and

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political references, and the use of Indian words and synta- through the process of collocation, le-ical borrowing, and by formal and functional nativi.ation.

2.2 Indianness in the Poetry of "e#i $. %aru&a a

#e%i 9. 7aruwalla defends his choice of nglish as a medium of literary communication thus>

?hat led me to use nglish@ Airst because I too% naturally to itBI hopped across half the continent, from school to school, changing from one medium to another. +tarting with a year in #indergartenB I went to an Arya +chool1 medium> 8un,abi, sentiment> pro 3itler. Three years there and then to ;unagadh and two years in an Anglo1 Indian +chool, came the partition and +hamaldas $andhi and all our sweet1loo%ing teachers fled, and I had to spend a woeful year in a $u,arati +chool. Arom there, to *ampur in C.81 2 years wrestling with Crdu. :ut 3indi li%e a much thwarted 9emesis finally caught up with me and, during my last two years in school, I went to bed with 7evanagariB?ith this bac%ground, the !uestion of writing in any other language never arose. (+inha D)

It is clearly evident that it was a natural choice of the poet and not a deliberate one, and therefore, despite communicating foreign landscapes, historical and mythical allusions, and themes in a few of his poems, his poetry is seeped into the Indian sentiments and ethos, displaying the typical Indian attitude and perspective.

2.2.1. Pictures of Indian Landsca'es: (ettings and (cenes

#e%i 9. 7aruwalla has a penchant for Indian locale and landscape. 3e considers rootedness to the Indian setting stimulates the sentiments and thereby renders a genuine articulation of his thoughts. 3e writes>

2/

I am rooted to site, to place. It became a habit to place a poem in physical bac%ground. ven in my short stories the village or the suburban area would be cited with all its details. It came to me naturally. ("iswas 25)

2.2.2 %e'iction of the Ri)er *anga

The $anga appears to have enamoured the poet the most. 3owever, #e%i 9. 7aruwalla de1 romantici.es the $anga. The $anga is perceived with a sense of realism, whether it be its ugliness or its serene beauty. A mention to the river is made in the collection Crossing of Rivers. 67awn (Crossing of Rivers D2), E"ignette I (Crossing of Rivers D6), 6"ignette II (Crossing of Rivers D51D0), 6"ignette III (Crossing of Rivers D/12D), 6The 7ip (Crossing of Rivers 2F), and the 6<other (Crossing of Rivers 201GH). In fact, this poetry volume contains fourteen poems on the $anga. The river is presented in all its shades, as a mother, daughter and a bride. "rinda 9abar opines> the $anga &appears here with all its primal, religious, and emotive connotation. The rivers rhythm is that of life and death, of birth and rebirth, of passion and re,ectionB.' (9abar DH) :esides, the poems re,uvenate the social, religious, and cultural aspects of the river. 6:oat1 *ide Along the $anga (Crossing of Rivers DD) is a scene of the river ban%s. The persona riding upstream a motor1 boat at dus% glances at the ghats with disdain>

+lowly the ghat1 amphitheatre unfolds li%e a diseased nocturnal flower in a dream that opens its petals only at dus%. 8alm1 leaf parasols sprouting li%e frea%1 mushrooms brood over platforms that are empty. (6:oat1 *ide Along the $anga, ll. G15)

3ere the natural and the human are ,u-taposed. The filth and decadence at the ghat1 amphitheatre is compared to the &diseased nocturnal flower'. The picture of &motor boat' and &ghat amphitheatre' resonate a sense of unreal. Also, the images of &dream' and &dus%' enhance the grossness of the place. 9e-t, the persona notices &palm1 leaf parasols' at the amphitheatric ban%s of $anga. 3owever, the parasols are not fresh, rather they are deformed li%e the &frea% mushrooms', a fungal growth. The morbid details of the $hat are

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an ironical interrogation of the supposed holiness of the $anga that appears vulnerable to death, disease, and decay. Later, the persona delineates>

=utlines blur in the apoplectic gloom as the panda points out to 7asasvamedh I listen avidly to his legend 1tal% striving to forget what I chanced to see> the sewer1 mouth trained li%e a canon on the rivers flan%. It is as I fearedI (6:oat1 *ide Along the $anga, ll. 01DG)

+imilarly, the 8andas legend tal% contrasts the putridity of the ghats, the &sewer1 mouth' li%e a canon demolishes the sanctity of the river earned with the sacrifice of ten horses by the ancient :harasiva %ings at the 7asasvameda $hats. +imultaneously, one recogni.es that, in spite of, the personas conscious effort to stay in the legendary world, he fails to do so and &chanced to see' the hidden wither. Aurther, the ,ourney along the $anga is punctuated by the pyres. The persona vividly paints the profundity of death as>

And while the pandas calculate the amount of merit that accrues to you at each specific ghat you cross the pyres bowing your head to the finality of fate. :ehind the heat 1ha.e rising from the fires, ob,ects shimmer, dance, levitate. Jou face reality on a different plane where death vibrates behind a veil of fire. (6:oat1 *ide Along the $anga, ll. D61 2G)

In these lines, a typical Indian religious scene and ideology is described. 3owever, the attitude is not in correspondence to the 3indu beliefs, for the persona presents the irony of life and death. The association of words li%e &calculate', &amount', &accrues' with the &merit' e-presses the commerciali.ation of virtues. 7espite all grossness, the river emerges as an archetype of salvation after deathI a 3indu religious connotation, and therefore, the persona bows his head to &the finality of fate'. The entire scene of burning pyre rises to a symbolic plane where there is death but no lament. Aacing &reality on a different plane' is about the contrast between the visible materialistic world of the pandas and the spiritual

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world of truthI the world of death. The &veil of fire' acts as the transition between the physical and the other world. The poet ac!uaints the readers with the subsistence of both life and death in "aranasi. 3ere death is separated from life only by a &veil of fire'. The words &shimmer', &dance', &levitate' convey death that unveils the parado- of human life. The ob,ects shimmer, dance, and levitate as there is no mourning but celebration. The poet highlights the attached sacrosanct and the uni!ue mysticism of the place, where no one %nows where illusion ends and reality begins.

9onetheless, in the poem 67awn (Crossing of Rivers D2) the poet confronts this illusion as bi.arre, and denounces the spirituality of the temple city, where at dawn &There is a clang of cymbalsK li%e brass beating against brass.KA conch1cry pierces the receding fogK li%e a shaft of light.'(ll. 2D122) =ne apprehends a comparison between the piercing sounds of a conch with a shaft of light, which pierces the &receding fog'. The images &receding fog' and &conch1 cry' carry a negative connotation. The cry of the conch spea%s for the agony of the city. The entire city is shunned off of all reverence as soon as the anguish is revealed. Arom the auditory, the descriptions turn visual &and then a bald headKsmeared with saffronKinching slowly above the distant reedsKdawns on the $angaKli%e a bi.arre illusion'. (ll. 261GH) The image of a &bald headK smeared with saffron' connotes the rising sun which is culturally associated with religion. :ut, the emergence of the sun on the $anga is seen as a bi.arre illusion. The e-plicit comparison is somewhat ambiguous, and points towards the personas cynical attitude. =n 7aruwallas denigration of "aranasi, A.9. 7wivedi rightly says, &3is 6seeing eye enables him to grasp things as they really are, not as ought to be.' (7wivedi D52)

Indian setting is essentially embodied in 7aruwallas poetic oeuvre. <oreover, it is something that the poet unconsciously assimilates. 3e accounts the relevance of an indigenous setting as a mar% of his belonging to India>

Loo%ing bac% I find that the compulsion to mar% out an identity for myself must have been very strong. +ince one was writing in nglish it should be all the more evident that it was an Indian

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writing. ;ust bringing an Indian sensibility to bear on a theme was not enough. The poem had to be securely fastened to an Indian setting. (7aruwalla, 6The Decolonised Muse, A Personal Statement)

In 7aruwallas poetry one clearly notices the poets adherence to his belief.

2.2.+ $ature

The poet pictures!uely associates the romance between a lover and the beloved with the various Indian seasons and nature that is vibrant with thought and colour. The si- different seasons carry an aroma of its own, and becomes lively with the poets imaginative touch. The si- Indian seasons that the poet portrays are Vasanta (+pring), rishma (+ummer),

Varsha (The *ain), Sharada (Autumn), !emanta ( arly ?inter), and Sisira (Late ?inter). The poem is Indian in its form and in the close parallelism of the altering nature with the lovers sentiments and emotion. The entire poem is set in the footsteps of 6Abhinanda and 6Jogeswara, the two ancient +ans%rit poets. 6*ound of +easons ("andscapes) is evocative, sensitive, and self refle-ive. The poet refers to Vasanta as the season of illusion where>

It is the season for illusions> night mists turn to dawn ha.e, frost becomes dew, though sharp. B The blac%bird is heard sometimes but she hasnt been seen. The scent of the mango1 blossom is there but not the mango1 blossom. (6The *ound of the +easons> "asanta, ll.DD1D/ "andscapes)

The scent of mango blossom hints at the spring season, the end of late winter is suggested through &frost becomes dew'. The scent of the mango blossom without the mango blossom also renders the e-pectation of, and the subse!uent ,oy for the coming blossom. The poet with this olfactory image meticulously e-presses the Indian sentiments associated with waiting. Additionally, spring being the first Indian season is the harbinger of ,oy. The poet metaphorically compares the intensity and beauty of this season with the love between a

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lover and his beloved. 9ature acts as the ob,ective correlative for their intensity, passions, emotions, thoughts, and desires.

the aso#a blossoms only at the touch of the beloveds feetI (6The *ound of the +easons> "asanta, ll. 21G)

The blossoming of aso%a is associated with the longing for the beloved. The &ba%ula', the &tila%a & and the &amaranth' are the Indian names that are paralleled with the desire. 9e-t, the poet vividly e-emplifies the season of rishma. 3e compares $rishma with #ama, the

3indu god of love and passion. ?ith this mystical image he associates the passion of love with the heat of summer.

If you need tapers at your altar, %ama, let her ardour burn. Let thoughts burn within the cool forehead. (6The *ound of the +easons> $rishma, ll. 51/)

The persona addresses #ama suggesting him to allow the fervour of the beloved to burn. The sacrifice of the passions and the image of the &forest fires' and &rain down as ash' imply to the scorching heat of summer. After the heat, comes the season of rain, the "arsha. The commotion in the s%y is described thus>

They are all there, the paddy1 straw covered by a cotton rug, ... the air outside sharp with dri..le, B =nly my flan% is empty, only she isnt there. (6The *ound of the +easons> "arsha, ll. DD1D0)

The poet contrasts the desolation of the lover with the soothing atmosphere. The covering of paddy straw with a cotton rug is an Indian picture to be seen at the fields during rainy seasons. 9e-t, the season of +harada begins with the loss and absence. The nature is described thus>

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Shra$an has gone with its signed smell of lightining, and the ,asmine flowers are not starred upon the trees (6The *ound of the +easons> Autumn, ll. D12)

The rainy season ends with itself the lightening and the aroma of ,asmine flowers. The persona feels the absence of this lightening. arlier, lightening revealed the &stealth of the beloved, and the ,asmine, which mesmeri.ed and enhanced the passions could not be smelt anymore. 3owever, the persona is still hopeful and !uestions>

?ho says lovers must move only to the beat of rain@ (6The *ound of the +easons> Autumn, ll. D61D5)

According to the persona, rain is not essential for !uenching the thirst of burning passionI even the dry &+harada' can do so. Aurther, the poet draws the picture of !emanta, the early winter>

It is the season for departures B Jet it is a season for arrivals ... +he, who caught her stealing bac% at first light, said, 6There is a mustard1flower on your bac%, be careful, it is getting to be winter. Jou may catch cold. (6The *ound of the +easons> 3emanta, ll. D, 5, LDH1DF)

The 3emanta is a season for departure, the time for the end of seasons, but still for the lovers it is a season for arrivals as in the Indian conte-t it is a season for marriages. The mustard flower is indicative of the approaching winter. 3owever, the beloved as%s the lover to be careful, as it is time for getting married.

After the description of 3emanta, the poet visually describes &+isira' to end the circle of seasons. The Indianness lies in the form and the close parallelism of the altering nature with

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the lovers sentiments and emotion. 7aruwalla responds punctiliously to the changing season with the Indian scenic beauty.

2.2., Indian (cenes in %aru&a a

Almost all the poems in the %eeper of the Dead depict Indian scenes. The poems li%e 63aw%(/), 68estilence in 9ineteenth 4entury 4alcutta (DF), 6The *evolutionary (D0), 6Jou Are +ipping 8ast (2D), 64omet and 7ream(22) and 6<ehar Ali, the #eeper of the 7ead (25) are imbued with the e-ploitation, misery, death , pestilence, and sorrow prevalent in India. In 6Aag <atam (FG) the poet pictures the emotional dedication of the mourners to the cause of Alams and hence they collapse burning fire under their feet, without e-pressing even a word of sorrow and pain. As the mourners suffer with the Imam and his supporters in the battlefield of #arbala, they become !uite oblivious of their suffering. Through this the poet preaches stoicism as one of the main attributes of the Indian ethos.

7aruwallas presentation of Indian cities has all its dirt, decay and decadence, as there is nothing special about the Indian muddle. The poet illustrates the picture of India which has been distorted by the mass1 media and presented to the ?est with a bit of truth and a lot of sham. In 6To ?riters Abroad (Apparition in April 2/), the poet says,

Jou wish to write on India, +ir@ This way pleaseM Lets trail the alley cat down the drain cho%ed with ash and eggshells. 3ave a care the scum and the slime may soil your shoesM ?ould you care to photograph those urchins lost in their laughter@ Joud prefer, I thin%, a hangdog loo% assertive ribcage, and mouth ca%ed with snot and grime. (6To ?riters Abroad, ll. D1DH, Apparition in April)

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There is an irony of the e-pected version fit for western consumption, an e-pectation deflated in the &children lost in laughter', is itself ironic in a land stric%en with malnutrition. The persona is a tourist guide by profession, who e-presses and e-plains his utmost disgust over the present day condition of India, where behind tall s%yscrapers the poverty resides. Ironically the poor Indians are running after the leaders for assistance, but all in vain. The &photograph' is a pun suggesting that though the depravity has been photographed a thousand times, the situations remain the same, and this neglect gives all the opportunities to the writers, critics and the media abroad to moc% at the countrys poverty. Through this call the poet is not only addressing to the foreigners but also to the Indians who are unaware of this holistic truth.

2.2.- Indian Location

Apart from the Indian scenes, 7aruwalla brings in description of Indian places such as ;oshimath and :adrinath that figure in his earlier poems. 68ilgrimage to :adrinath (Apparition in April p. 22) describes the difficult ,ourney to the pilgrim spot>

Along the valley of the burning sunI =n flinty bridle1 paths which centuries have trod in penance and anonymous dust (68ilgrimage to :adrinath, ll. D1G)

8hrases such as &the burning sun', &flinty bridle1 paths', &stony eyes', grey austerity', and &granite s%ies' suggests a roc%y place. The religious faith of a 3indu mind is noticed where the ,ourney to :adrinath, in spite of its grimness, is underta%en by the pilgrims.

+imilarly, in the poem 6+hiva> At Timarsain (&nder 'nion 2F) the poet through his vivid style brings to life both images of the place and the concept of +hiva as>

Lord of +talactite I have seen icicles growing from your tonsures (6+hiva> At Timarsain (D2HHH ft.), l. D1G)

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7aruwallas Indianness lies in his concern for the authenticity of the perspective being pro,ected at a given moment than an irritable reaching out after comprehensive final statements. The poets satire on +hivas religiousness and his stature is evident in>

Lord of the stalactite of the third1eye and the rimed beard will you leave these heights where calcified columns rise and descend in rectilinear thrusts@ ?ill you wear a raffia wig and let them tame you, domesticate you and pat your ice1 cone sharpness into a rounded lingam@ (6+hiva> At Timarsain (D2HHH ft.), l. G6122)

2.2.2 A usions to Indian .yths/ Legends and Phi oso'hy

The treatment of mythological themes and re interpretation of Indian philosophies is a continuation of the earlier traditions as well as a conspicuous feature that emerged in the nineteenth century. 3owever, with the advent of time the perception, treatment interpretation and discussion of myths and legends have e-perienced a modification at the hands of modern Indian writers. The poets either defy these master narratives or use them in an attempt to reconstruct the values of the past. Indian myths and legends occupy a ma,or section in 7aruwallas poetic canvas.

2.2.2.1 .yths

8oems li%e 6+hiva> At Timarsain, (&nder 'rion 2F) 6+hiva> At Lodheshwar (&nder 'rion 25) and 68ilgrimage to :adrinath (Apparition in April 22) deal with the geographical and mythical landscape of India. +imilarly, thirteen poems of the first section entitled 6The ?aterfront and 64rossing of the *ivers from the Crossing of Rivers have a mythical bac%ground associated with the $anges at "aranasi.

The $anges in 6"ignette II (Crossing of Rivers D5) is dealt as>

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=nly the river doesnt spea% here +he is thought itself, a soundless interior monologue. (6"ignette II, ll. DD1DG)

In these lines the $anga is a personified thought, a voice that is heard to none. The metaphor &thought' denotes the spiritual depth of the river where nothing remains e-cept silence. This silence transmutes the mind and soul of an individual to an ine-plicable, ine-pressible, ine-tricable state of mind. 3ence, she turns into a &soundless interior monologue' which has its own tale to narrate. Later on description merges with myth>

Jou go to rounds of the Panchtirath starting from the ghat where 7urga had dropped a sword to where she dropped an earring and the 8anchganga $hat where four rivers are said to meet the $anga, (6"ignette II, ll. DD12F)

This myth is related to its religious significanceI the destruction created by the goddess 7urga is symbolically related to their places of worship. It also symboli.es the re,uvenation through destruction. The &8anchganga $hat' is symbolic of creation through union of five elements. i.e. five rivers. This place of converging turns holy due to the unification, and therefore, has a spiritual significance of its own.

2.2.2.2 Legends and Phi oso'hy

6The 8ari,at Tree (&nder 'rion 0D) has the epical story of the 8andavas mentioned in Maha(harata as its sub,ect matter. In 64arva% (Apparition in April 2G) and 6#arna (Apparition in April 2F) 7aruwalla empathi.es with the tragic figures from The Maha(harata. 6#arna is a narrative about the birth, abandonment and upbringing by a charioteer. The poem through epical references esteems the achievement of the hero of the mythical figure. The poem ends thus>

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#arna1 lover of battle %ings of anga slayer of ghatot%acha van!uisher of %ambo,as

and the %irats

and the girivra,as we cant forget you in a hurry (ll. 5510G)

The de1glorification of the myths and philosophy are not deliberate, rather it is the rage of the Indian mind which through criti!ue and incredulity tries to conserve the endangered river and the human race.

7aruwallas poems associated with Indian myths, philosophy and legends characteri.e the rational s%eptical mind searching for reality. An instance of philosophical allusion is observed in 64harity1 G Aaces (Apparition in April 2F). The persona asserts>

I would believe in #arma itself and afterlife if only her misery were not a caricature If only I didnt associate nirvan with that toothless grin and those soc%ets smiling at the absence of the eyes (64harity1 G Aaces, ll. DH21DH6)

The persona has an agnostic attitude towards the 3indu philosophical notions of #arma, <aya and nirvana. 3e confers these notions as irrelevant to the distress and deprivation of the diseased lady, therefore, incapable of resisting human misery.

2.2.+ References to Indian Cu ture/ (ociety and Po itics

7aruwallas poetry abounds in social consciousness. 4ommenting on 7aruwallas social consciousness, <. +ivaram%rishnan writes &this %ind of movement not denuding poetry of its contemporaneity or social relevance, but progressively subsuming these as indispensable components of the basic perception of our tragic e-istence invests 7aruwallas poetry with a stamp of a distinct identity' (D20).

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As far as the political and administrative system is concerned, being in administration, 7aruwalla meticulously illustrates the hypocrisy, corruption, and dishonesty in administration where in the poem 64ollage II (&nder 'rion F2) he considers corruption as &the chemistry of fleshK no wonder, the sense suppurate, passions putrefy' (ll.G21GG) 4orruption has become a part of lifeI it is entailed in all human endeavours and hence not possible to get rid off. This corruption has made the mother &an empty sloganK that wal%s an empty street.' (ll. 2H12D)

Apart from corruption, 7aruwalla also presents the star% reality of Indian life, particularly, the contradictory realities that are the co1 e-istence of prosperity and ab,ect poverty. In many of his poems 7aruwalla has dealt with dar% images of death, decay, and destruction. 3unger, too, a social issue is earnestly portrayed in the poem 6Aood and ?ords, ?ords and Aood (Apparition in April GD) ?hat is noticeable in this poem is that apart from being a poem on drought the poem unveils the real picture of the hypocrisy of the political leaders for whom a famine is merely a time to lecture on what India needs, and conse!uently, gain some political advantage on behalf of famine. The discourse of a political leader runs thus>

Ahimsa is a positive creedB ?e will not submit to aggressionB ?e condemn the statement made by the fifth +ecretary of Tan.ania to the :olivian <inister for Crinary Affairs B ?e condemn apartheid B?e will not have food with strings tagged on itB (6Aood and ?ords, ?ords and Aood, ll. D612G)

The irony inherent in these lines is hinted through the ellipses, and the incoherent statements. The issue of apartheid is related to west and not to our country. 3owever, the politician by tal%ing about these insignificant and unrelated issues to the masses actually tries to escape from the real challenges such as hunger, and poverty. The statement &we will not have foodK with strings tagged on it' sharpens the irony in the following lines>

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?ithin the empty belly the en.ymes turn multi1lingual their speech vociferous simmering on stomach walls. (ll. 251GH)

These lines evince the suffering of drought. The tal% of food and politics are futile to them, as these tal%s of the politicians never materiali.e, it is merely a war of words. The speech of the politicians is contrasted with the speech of en.ymes in the empty belly of the sufferers.

7aruwalla attac%s hypocrisy and immorality wherever he finds them. In the poem 6$raft (&nder 'rion 02) a family man responsible for the establishment of the legal system is moc%ed at as &he is handsome, suave and yet a family manK his wife thin%s this is overtime he is getting' (ll. /1DH). 3ere, &overtime' suggests the corruption in the legal system. Arom the third stan.a onwards, the tone becomes harsher. Anything can be done if right amount is paid to right person. The poet brings out this corruption in a very subtle manner in the following lines>

Jou may adulterate oils, ma%e tablets out of chal% sell meat turning maggoty, fish turning stale switch sawdust for ,ute, at the worst of times the right buc% at the right time tips the scales. (ll. DD1D2)

The various images of ma%ing &tablets out of chal%', selling &meat turning maggoty', &fish turning stale', hints at the degree of corruption where everything is possible. This is the real picture of India where nothing is available in its pure form right from food to cosmetics to technology is fau-.

2.2., Indiani0ation of Language

Indian nglish writers have creatively transformed the language according to their cultural needs, thus contributing to its nativi.ation. They have also assimilated the features of their regional languages so much so that the +ahitya A%ademi recogni.es nglish as one of the Indian languages. To !uote :ra, : #achru on the aspect of assimilation>

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Although most non1 native writers feel that they can e-press themselves best in nglish, they need to &9ativi.e' the language to suit their purpose. This nativi.ation involves e-perimenting with the e-pressive resources of the language on various levels> "ocabulary, collocation, idiomati.ation, synta- and rhetoric pattering. It also involves adaptations of nglish (?estern) literary forms such as the lyric, the novel, the short story, poetry and drama to e-press writers individual sensibilities (#achru 2/2).

In 7aruwallas poetry one does not find all the instances of Indiani.ation. 3owever, the poet Indiani.es the medium at the following levels> syntactic and semantic> le-ical borrowing, hybridi.ation and grammatical deviation. :esides, there are one or two instances of collocation.

2.2.,.1 Lexis

The poet introduces le-ical items borrowed from Crdu, 3indi, and +ans%rit to use them with nglish words and e-pression in order to present a particular socio1 cultural aspect. These words may or may not have an nglish e!uivalentI therefore these le-ical items are register bound.

Also an instance of cultural transmission can be noticed from the use of dialectical words li%e (an)aras (a wandering tribe), (64rossing of *ivers, l.DHD, Crossing of Rivers)I Vedangas (name of certain words, usually si-, regarded as part of the "edas), (64rossing of *ivers, l. 50, Crossing of Rivers)I amavas*a (night of new moon), (64rossing of *ivers, l.DD2, Crossing of Rivers)I pinddan (:alls of rice symbolically offered to dead ancestors, but actually fed to cows), (6"ignette II, l. D/, Crossing of Rivers)+ salagram (blac% stone worshipped by the "aishnavas), (64rossing of *ivers, l.D2G, Crossing of Rivers)I Chaitra (first month in the 3indu calendar corresponding to Aril1<ay) (64rossing of *ivers, l22, Crossing of Rivers), (ara ha,ri (68estilence in 9ineteenth14entury 4alcutta, l. F5, The %eeper of the Dead), #an)ars (a tribe), (68estilence in 9ineteenth14entury 4alcutta, l. 62,

2G

The %eeper of the Dead)I e##as (Two1 wheeled carriage drawn by a horse), (67eath "ignette, l. /, Crossing of Rivers)I *a#shas (6The #ing +pea%s to the +cribe, l. FG, The %eeper of the Dead)I Agori (a sect among the sadhus, which is not e-actly %nown for its personal hygiene), (6The 9ight of the ;ac%als, l. DD6, The %eeper of the Dead)I (hog (sacramental food), (6The 9ight of the ;ac%als, l. DGH, The %eeper of the Dead)I Alams (3eraldic banners inscribed with Imam 3ussains name), (6Aag1 <atam, l. D, The %eeper of the Dead)I !a#im (8hysician who practices Indian medicine), (6Apothecary, l. GH, The %eeper of the Dead)I fatiha (6Apothecary, l. GD, Auneral prayer), (The %eeper of the Dead)I #ahin (the dream reader), (6=n the 4ontrariness of 7reams, l. 2H, The %eeper of the Dead)I mehra( (A niche in the center of a wall of a mos!ue which mar%s the direction of <ecca), (6=n the 4ontrariness of 7reams, l. F/, The %eeper of the Dead)I -a$$als (professional singers), (6The <a.ars of Amora, l. F, The %eeper of the Dead)I Pir (a holy man), (6The <a.ars of Amroha, l.20, The %eeper of the Dead)I geh (6$oing 7own the 9ight *iver, l. 5, .ight River)I arti (6+mall +pace, l.22, .ight River)I dhoti (6Island 9otes, l.F2, .ight River)I uruvela (6Agni +utra, l. D, Map Ma#er)I man,il (6Two ?ords, l. D, Map Ma#er)I ma,ars (6The <a.ars of Amroha, l. D, The %eeper of the Dead), Nenana (6=n the 4ontrariness of 7reams, l. DH, The %eeper of the Dead), machan (64urfew in a *iot1 Torn 4ity, l. 0G, &nder 'rion), doms (Auneral attendants, a caste by themselves) and mallahs (:oatmen) (6:oat *ide Along the $anga l. 2D, Crossing of Rivers)

Additionally, these borrowings encapsulate greater meaning and are capable of altering the overall effect of the poem by governing the mood and the tone as noticed in> &Airst you find a roof for the god, K ardha/mandapa vestibule and sanctum, KJou have outgrown alreadyK wall1niche and the papal trun%K in the forest.' (64rossing of *ivers, l.25, Crossing of Rivers) 3ere, 6ardha1mandapa is a porch in a temple leading to the hall where devotees gather.

In addition, one notices other borrowings of this category referring to the names of Indian deities include &+hiva', (Crossing of River 2H), &"aruna' (64rossing of *ivers, l. 52, Crossing of Rivers), or the rain god and &Allah' (6Apothecary, l. 2D, The %eeper of the

22

Dead). There are also references to festivals and season such as &Ardh1 #umbh' (64rossing of *ivers, l.D6H, Crossing of Rivers) which is a festival that ta%es place every twelve years in Allahabad, &<oharram' (6Apothecary, l. 56, The %eeper of the Dead)I Airst month of the <uslim calendar and &*amadan' (6Apothecary, l.56, The %eeper of the Dead)I the month in which <uslims fast. A mention to the Indian season is noticed in &+ravan' (63aranag, l.GD, Crossing of Rivers) which is the fifth month in the 3indu calendar corresponding to August1+eptember).

=ther e-amples of borrowing> &#ailas', &#ashi' (64rossing of *ivers, l.DH/, Crossing of Rivers p.2D), &Asi' (64rossing of *ivers, l.DGH, Crossing of Rivers), tributaries of the $anga near "aranasi, and &Idgah' (6=n the 4ontrariness of 7reams, l. 25, The %eeper of the Dead) which refers to the assembling place for Id prayers are place specific. 8ersonal names li%e &Imam' (6Aag1 <atam, l.D0, The %eeper of the Dead)I a religious leader and &Abdullah' (6Aag1 <atam, l.2D, The %eeper of the Dead)I 3usains infant son, %illed at #arbala are borrowings that evince Indianness rather than indiani.ation.

2.2.,.2 Hy1ridi0ed or Com'ound Category of the Lexis

The poet also gives sufficient instances of hybridi.ed or compound le-is, li%e &Temple1 bhog' (6The 9ight of the ;ac%als, l. DGH, The %eeper of the Dead) &mantra1charged' (64rossing of *ivers, l. 6F, Crossing of Rivers) &:hotia1dog' (67eath of a :ird, l. G6, Crossing of Rivers), &asura1 baiters' (64arva%, l. Apparition in April) and &%umbha1 pots'. The terms contains one item from nglish and the other from the Indian language, thus, these are compound words. 7aruwalla forms compounds not only to e-hibit linguistic genius, but also to wor% out the contradictory situation with an e-actness that may be difficult to achieve otherwise. :asically, the use of hybridi.ed words is ironical in their intent.

2F

2.2.,.+ Co ocation

4ollocation is defined on the basis of semantic and syntactic characteristics. It may involve translation of the words and phrases from the regional or vernacular tongue or hybrid phases. -amples include &3aranag' (63aranag, l. F2, Crossing of Rivers), &9ow diseaseK come to stomach sahib, nowK story finish' (68estilence in 9ineteenth1 4entury 4alcutta, ll.F016H, The %eeper of the Dead). This translation of nglish into 3indi is meant to

espouse the feel of the regional voice and at the same time, it imparts the character authenticity ma%ing the situation appear real. =ther e-amples include, &blac% prophecies' (6#ohoute%, l. 2/, The %eeper of the Dead) and &9asiruddins heart glowed li%e a lantern' (6The <a.ars of Amroha, l. 22, The %eeper of the Dead). =ne also finds collocation at the syntactical level. Asho%a as%s the +cribe to write as, &4ut deeper than the cuts of my swordKso that even as moss covers the lettersK they are visible' (6The #ing +pea%s to the +cribe, ll. F61F0, The %eeper of the Dead) here the synta- is deliberately brought near to 3indi.

Thus, one deciphers a strong rootedness of 7aruwalla to the motherland. The scenes, the 9ature, the cultural religious te-ts, the socio1cultural events and the creativity of the language are all testimonial of the poets sense of belonging that invigorates his sentiments and the hidden emotions for the country, India.

26

2.+ Indianness in the Poetry of P.C.". Prem

8.4.#. 8rems association with the bureaucratic system and his philosophical probing into the happenings impart an Indian seeing eye to the landscape, the mythos, and the socio cultural1 political events of the nation. 3e has recogni.ably Indian elements in his artistic mediation of e-perience.

2.+.1 Pictures of Indian Landsca'es: (ettings and (cenes

8rem draws upon the contemporary wasteland. 3is wor%s remain saturated with thematic gravity, serious thoughtfulness, as well as time1spirit reflection. 3e at his best reflects modern man of the city, his shallow and artificial urbanity and his being on the crossroads of life. The beauty of 9ature does not fascinate the writer much, wherever it occurs, it serves as a living bac%ground to the social scenario. 3e is an interpreter of the human maladies.

2.+.1.1 The Ri)er *anga

In the poem 6Thought (Among the Shado$s 2) the poet recounts his e-perience of the river $anga as>

It is taste of blac% blood that travels painfully along the $anges. 4enturies of operations in dust and beads of burning pyres And floating bodies 3ave neither given pleasures 9or contentment to capture a towering feeling of grace That wal%s alone with eternity.

25

(6Thought ll. D1DD, Among the Shado$s)

The persona loo%s at the river as an anguished character. The atrocities inflicted on the river have deprived it off of all the supposed reverence and holiness attached to it. *ather than being potent enough to wash away the human sins and engendering salvation, the river now is helpless and thriving on human mercy. The persona advances the river rationally rather than religiously. The image of &blac% blood' is suggestive of the chemical and human contamination of the river, the blood of life is in mutiny with its own self, destroying itself and the dependents. &=perations in dust', &beads of burning pyres', and &floating bodies' gives the picture of the river, seen all round the year. The persona is suspicious of the mysticism of the acts, and considers them inade!uate in replenishing eternity. :esides $anga the other landscapes seen in 8rems poetry relate to +himla.

2.+.1.2 Indian (cenes

8.4.#. 8rem portrays the contemporary socio1cultural scenes. The protagonist realistically portrays the harmful effects of the modern economic culture with new values, globali.ation, and eclecticism. 3e further e-presses that life at present is difficult to live, and due to these advancements there is only chaos, confusion, and illusion. 3e discovers the age in 68osters (Rain(o$s at Si0t* 66) as>

Life at this moment 9ot an easy life to live in confusions To avoid media, papers and posters B9ot all are fortunate In building happy homes Among glossy brochures of ban%s 7ishing out loans on easy terms And finally mortgaging Lives and homes silently (68osters, ll. D1DD, Rain(o$s at Si0t*)

The media is !uic% enough in its meticulous channeli.ation so as to bespea% of its proficiency. They are intrinsically intruding into celebs personal matters such that one is

20

deprived of personal space. Aurther, the monetary intuitions are alluring people by providing easy house loans, but on a high rate of interest. Ironically, under the burden of heavy interest rates people are losing their lives as well as their home. Technology has progressed to such an e-tent that it has replaced human emotion and sentiment in 6Loo% Cp ('racles of the "ast Decade 26) where &an irreducible e!uation K of relations and fa%e emotions' (ll. 5215F) and in 68osters (Rain(o$s at Si0t* 66) &electronic gadgets evaluate life. K Its patterns, designs and e-istenceK 4omputers monitor with defective %eyboardK And cryptic mouse in a childs hand.' (ll. D012D). Also it has added a functional deterioration of education. The &%eyboards' (l. 2H) or the basic education is &defective' (l. 2H) and the &mouse' (l. 2D) or the management is obscure. A child matures with this adulterated education.

The persona repeatedly presents the dilemma of a modern man resulting from the prevalent absurdity in an urban society. =ne observes in 6*ituals in 7eath (The 1ermuda Triangles GD) the needs and attitude of the generation has transformed, valuing &BthighsK that call girls lay open' (ll. 2212G). In 6A +imple !uation (The 1ermuda Triangles GF) the persona calls the Indian modern life &A !ueer contradiction' (l. 2G). Infidelity has become the modern cultureI it is no more critici.ed, rather celebrated as an icon of freedom> &It is admiring your girlfriendK and straightway spreading into the bedK when a waiting wife snores' (ll. 26120). This is the picture of contemporary society where people ridicule sincerity in relationships. It is a hedonistic age that has barred all values and spirituality of ancient Indian te-ts. ven the doctors have become irresponsible and licentious> &Ba

doctor is seen &ma%ing love to a nurseK in the Intensive 4are Cnit' (ll. 2F126). In such a degraded society the child too refuses to be born.

2.+.2 A usions to Indian .yths/ Legends and Phi oso'hy

2.+.2.1 .yths

2/

8.4.# 8rem considers myth to be an interpretation of past, present, and future that &gives men the power to live with inspiration, and this is why myth were constructed' (8ersonal letters). 3owever, contrary to this notion, 8rem e-ploits myths to highlight contemporary decadence. 8rem alludes to those Indian myths which suit the events of the contemporary society, besides standing as a criticism, and comment on it. Also, in 6Aort (Rain(o$s at Si0t* GF) with the help of Indian religious myth he attempts &To recreate history reduced to fragments' (l. 2F). In 69otes on 7ullness (The 1ermuda Triangles 2F) he alludes to the myth of Indras seduction trip to $autamas ashram and associates it with the present spiritual and emotional sterility>

The weather reports throw suspicions on $od Indra for he has gone incognito on a seduction trip to $autamas Ashram (69otes on 7ullness, ll. 61DH)

This allusion is a satire on the contemporary society. Indra is the image of treachery. 3e treacherously made love to Ahalya, the wife of $autama.D (*efer to ndnote) The result of this act is seen in the contemporary society where>

These days it is dry rains have not come Band mouth remains without water. (69otes on 7ullness, ll. D1F)

3ere, &dry' hints at the spiritual barrenness, and the &mouth remainsK without water' indicates the barren thoughts of man. <an li%e Indra is employing treacherous means to satisfy their lust for power, money and woman, thereby, ma%ing the fertile land into a waste land. The poet also uses myth to depict chaos, rootlessness, and incest. <odern man mi-es up the myths of India and foreign, highlighting his rootlessness. The poet is !uite aware of the myth ma%ing business, and hence in the poem 6*ecord #eeper (Among the Shado$s D6) he writes, &9ow a falsehood turns into a truthK And becomes a history.' (ll. 2212F )

FH

<yths are profusely used as metaphors in poems such as 6*ainbows (Rain(o$s at Si0t* D), 6?alls (Rain(o$s at Si0t* G) 63appiness (Rain(o$s at Si0t* 2G), 6Aather (Rain(o$s at Si0t* GH), 6+truggle (Rain(o$s at Si0t* GF), 6Third ye (Rain(o$s at Si0t* FH), 6=h

*ama (Rain(o$s at Si0t* F2) 68urusa in 8ains (Rain(o$s at Si0t* 6D), 67ictums (Rain(o$s at Si0t* 65), 6Thugs (Rain(o$s at Si0t* 65), 6Loo% Cp ('racles of the "ast Decade 26), 6A +cratch on the +oul ('racles of the "ast Decade 5F) 6$rave (The 1ermuda Triangles D6), 6The :ermuda Triangles (The 1ermuda Triangles G0), 6:urnt Cp Aaith (The 1ermuda Triangles F0), 6<other (2nigmas of an 3dentit* 52), 67ar% +earch (Among the Shado$s G2), and 6<onto (Among the Shado$s F6).

2.+.2.2 Legends

In 8rems poetry there are legendary allusions to e-plicate the modern corruption, degeneration and disintegration. 6*ainbows (Rain(o$s at Si0t* D) is reminiscence of ?ordsworths 6The *ainbow which filled ?ordsworth with felicity. :ut the contemporary age does not allow 8rem to romantici.e the beauty of 9ature, rather he treats rainbow as a metaphor for mens false aspirations and covetous cravings. 3e cites e-amples from the past to e-hibit how mens soaring desires and their subse!uent reali.ation through treachery led to their disaster. <an in his blind pursuit of power, and wealth is spreading destruction with his massacre. The poet alludes to the picture of <ahabharata to depict a similar war which resulted out of the #auravas aspiration for the throne. The persona says>

And there rises a figure ?ith a conch in the mouth 7eclaring a fiendish war unending (6*ainbows, ll. 2F125)

This is the picture of #uru%shetra in the story of <ahabharata where Lord #rishna declares the beginning of the war by blowing the conch, for pacifying inauspicious circumstances. The conch is also symbolic of auspicious beginning. 3owever, the war between the 8andavas and the #auravas, the two siblings of #uru clan, led to the death of almost three

FD

million people besides the #auravas within a span of eighteen days. According to the persona this war is unending as it has and is continuing in different forms in India as well as the world outside. 3ere lies the Indian sensibility and consciousness of the poet.

2.+.2.+ Phi oso'hy

The notion of birth, rebirth, life, death, action, and se- reflect the infallible %nowledge and the wisdom of Indian philosophical scriptures in 8rems poetry. 3is philosophical insight is viewed in poems li%e 6:irth (The 1ermuda Triangles 26), 6$rave (The 1ermuda Triangles D6), 6+truggle (Rain(o$s at Si0t* GF) and 6*ogues (Rain(o$s at Si0t* 52). The poet discusses the creation myth and relates it to the philosophy of the union of man1 woman re!uired for the sustenance of the human race in 68urusa in 8ain (Rain(o$s at Si0t* 62). 3e writes>

Li%e the 4ow and :ull uniting To fill the vacuum The creation continued to fill The earth with life and love (68urusa in 8ain, ll. 2/1F2)

The &panishads too provide a similar account of creation>

from the union of the two, the race of human beings is produced. A series of transformations of the original human pair into animal forms too% place. 6she thought, 6how can he unite with me after having produced from himself@ ?ell, let me hide hide myself, she became a cow, the other became a bull and was united with her and from that cows were born' (1rihad4ran*a#a &panishad I.2.2. D621 D6F).

Li%e cow and bull, other creatures were also created to fill the vacumn, and life was found everywhere. The poet further writes>
?ith water, air, fire, and cosmos +emen a %ind of soma emerged amidst Ambrosia made 8urusa immortal (68urusa in 8ain, ll. FG1FF)

F2

These lines find e-planation in the following description>

Then he rubbed bac% and forth and produced fire from its sources, the mouth and the handsB and now whatever is moist, that is produced from semen, and that is +oma. This whole (world) is ,ust food and the eater of food. +oma is food and fire is the eater of food.' (1rihad4ran*a#a &panishad I.2.2. D66)

And this made man immortal until wanton woman were born to ma%e him mortal. 3owever, 8rem born with a modern sensibility is critical of these "edic and Cpanishadic philosophies and considers these notions to be fabricated by man to glorify himself. 3owever, these philosophies do not conform to the modern thought and imagination.

2.+.+ References to Indian Cu ture/ (ociety and Po itics

8.4.# 8rem depicts modern mans dilemma and the socio1cultural scene which is devoid of all ethical, religious, social, and cultural values. <an is a victim of this society. 8rems poetry shows decadence in present day living and thin%ing style. In poems li%e 6I 7o 9ot #now (The 1ermuda Triangles DD), 6?aste (The 1ermuda Triangles 2G), 6:irth (The 1ermuda Triangles 26), 6:urnt Cp Aaith (The 1ermuda Triangles F0), 6The <on% (The 1ermuda Triangles /), and 69otes on 7ullness (The 1ermuda Triangles 2F), one murmurs with purposelessness and waste.

The narrator interprets the contemporary culture that has envisaged a mar%ed deviation from the past. The system is economically inefficient and politically anarchic. 3e presents the contemporary culture of #ailash in 6The 3ands Cn%nown (The 1ermuda Triangles DH). In #ailash, mas%ed men are seen spreading violence and bloodshed>

3ere faces wal% with ,agged profiles where blood oo.es out daily. (6The 3ands Cn%nown, ll. F16)

FG

These faces are of mas%ed men who freely %ill men on &roads, lanes, and in houses.' 3owever, in spite of the slayings no one complains, accuses, retorts, or witnesses the murderers> &nobody %nows the hands un%nown'. The witness depicts the age as anarchic, where innocent people are butchered in open spaces, and the murderers escape confinement, or any sort of legal punishment. It seems terrorism is replacing the dominant culture of humanism.

The critic pro,ects his annoyance and disbelief in the present Indian form of governance. 3e depicts the system as highly disorgani.ed, irresponsible, and lethargic. 68uppies (Rain(o$s at Si0t* 2) is a general criti!ue of bureaucratic operation and reasoning in &:abus behave li%e puppiesK And thin% not of dangersK :ut blin% and sit, and dragK Lethargically pencils on the blue papers' (ll. D12) The image of &puppies' denotes the unaccountability of the &babus', or the bureaucrats, who share no liability for the security of the nation. They ignore national threats such as terrorism, na-alism, and corruption, and instead prefer leading an easy life. The critic is satirical of the ignoble deeds of the bureaucrats> &4ommenting on nations painsK ;ostling to ma%e headlines in crowdsK =f clowns and ,esters in parallel protests' (ll. DF1D5). These officials, who are more interested in public fame, marginali.e the perils of the nation and sham the protest rallies. The narrators grudge at such ostentations is appropriately suggested through the denotation of &clowns and ,esters'. According to him these officials are spineless, non ethical, and lac% social, national, and economic consciousness. Thus, the persona ironically comments on the sincerity of the officials as &babus intellect is for sale.' (l. 20)

<oreover, the men assigned to secure the nation by establishing stability are themselves unstable. =ne notices in 6Aoggy !uations ('racles of the "ast Decade 22) the political members switching from one party to another for personal gains, there is instability and reversal of fortune in the life of these leaders in the lines> &father became a ministerK by switching the party fourth time. K And was thrown out the ne-t morning' (ll. 2G122).

F2

=ne even notices the loot of economic resources in the democratic country. The persona is a common man, who is in accord with Althussers democratic views. The man in 6Image (Rain(o$s at Si0t* F0) considers himself to be a spectator of shared loot> &It is a shared' loot, assuredK Arom grass to gun and missilesK To flesh dead or living.' (ll. F10) The entire economic and human resources are e-hausted profitably by the rich, both in the government and the private sector. These men are debased to the e-tent of ma%ing the nation hollow. The loot is a &shared' one, involving the participation of almost all the officials. 9e-t, the &gun and missile' states the military loot. These people even perforate the nations security by selling the ammunitions. 3owever, the narrator calls it an &interesting plundering' (l. 0) because first, they claim logically the ownership of the artifacts and the national heritages, and then befool the natives by allowing them to utili.e the resources with the payment of huge prices.

8overty is the socio1economic inade!uacy and challenge the nation is facing. ?e notice a contradictory reality where among the lavish dwellings there are poor slums and children who are deprived of the basic necessities. In 64hildren of +lums (Rain(o$s at Si0t* F2) 8rem presents an authentic picture of the tattered slum children who &=n the slovenly crowded slumsK 3alf O na%ed children in tattered clothesK (ll. D12)B.+it on haunchesK To piss and defecate howling atK 3umming flies and mos!uitoesK (ll. 21F)BB+pending a full day in a !ueueK To earn a bowl of rice and mil%' (ll. DG1D2)

2.+., Indiani0ation of Language

2.+.,.1 Lexis

=ne finds assimilation of Indian words in 8rems verses. 3is poetry is te-tured with India words such as> &+angham +haranam $acchami' (6The <on%, l. 22, The 1ermuda

Triangles), &sindoor' (6Insurance, l. FG, Among the Shado$s) &dandi' (*ecord #eeper, l. /, Among the Shado$s), &ganas' (67ar% +earch, l. 66, Among the Shado$s), &Cttarayan' (6<onto, l. 22, Among the Shado$s), &=m'(6<onto, l. 00, Among the Shado$s), &<aha

FF

<anavas' (6$rave> I", l. D26, The 1ermuda Triangles) &Ashram' (69otes on 7ullness, l. DH, The 1ermuda Triangles), &8artha' (6$rave> I", l. D2H, The 1ermuda Triangles), &+wami' (6:irth, l. 66, The 1ermuda Triangles), &$hata1 a%asa' (6:urnt Cp Aaith> "I, l. D52, The 1ermuda Triangles), &<aha1 A%asa' (6:urnt Cp Aaith> "I, l. D5G, The 1ermuda Triangles), &:abus' (68uppies, l. D, Rain(o$s at Si0t*), &nirvana' (6:lue, l. GD, Rain(o$s at Si0t*), sanyasins (6+hadows, l. 22, Rain(o$s at Si0t*), &$aribi 3atao' 56Aather, l. FD, Rain(o$s at Si0t*), &navratras' (6=ld, l. 2G, Rain(o$s at Si0t*), &shradhs' (6=ld, l. 22, Rain(o$s at Si0t*), &<aya' (6Third ye, l. 2D, Rain(o$s at Si0t*), &devadasis' (6=h

*ama, l. D2, Rain(o$s at Si0t*), &bidis' (64hildren of +lums, l. FH, Rain(o$s at Si0t*), &bighas' (6#ings Land, l. 2D, Rain(o$s at Si0t*), &ya,nas' (6+wamy, l. 2F, Rain(o$s at Si0t*), &#undalini' (64ulture, l. 0, 'f This Age and '(scurit* and 'ther Poems ) and &dharnas' (6Aoggy !uations, l. 2D, 'racles of the "ast Decade)

All these words are used symbolically in the verses and are ade!uately suggestive within the conte-t. In addition, one notices other borrowings of this category referring to the names of Indian deities &+hiva' 56*ecord #eeper, l. DH, Among the Shado$s), &:rhaspati' (6<other> PI, l. D//, 2nigmas of an 3dentit*), &#rishna' (6$rave> I", D. DD/, The 1ermuda Triangles), &Indra' (69otes on 7ullness, l. 5, The 1ermuda Triangles), &#al%i' (6<en of :arren 3ills, l. 6G, Rain(o$s at Si0t*), &*udra' (6+truggle, l. 2D, Rain(o$s at Si0t*), &Jama' (68urusa in 8ains, l. 5F, Rain(o$s at Si0t*) and &3anuman' (6As I Aly, l. 2G, 'f This Age and '(scurit* and 'ther Poems)

The

personal

nouns

reflecting

Indianness

rather

than

Indiani.ation

include,

&+han%aracharyas' (6*ecord #eeper, l. 6G, Among the Shado$s), &<ahatma' (69o 8ath, l. G, Among the Shado$s), &:hishma' (6<onto, l. 22, Among the Shado$s), &Ahalya' (6<onto> "III, l. G26, Among the Shado$s), &"atsayan' (6<onto> IP, l. 2H2, Among the Shado$s), &8ra,apati' (6<other, l. 6F, 2nigmas of an 3dentit*), &;atayu' (6<other, l. /6, 2nigmas of an 3dentit*), &$autama' (69otes on 7ullness, l. DH, The 1ermuda Triangles), &Agni' (6The :ermuda Triangles, l. 2F, The 1ermuda Triangles), &$aruda' (6The :ermuda Triangles, l. 26, The 1ermuda Triangles), &+%anda' (6The :ermuda Triangles, l.

F6

D/, The 1ermuda Triangles), &:ali' and &"ibhishana' (6*ainbows, l. F2, Rain(o$s at Si0t*), &;antar <antar' (6:lue, l. DG, Rain(o$s at Si0t*), &Asho%a' (6+ecular, l. G6, Rain(o$s at Si0t*), &Agastya' (6=h *ama, l. D0, Rain(o$s at Si0t*), &;ana%a' (6=h *ama, l. 2/, Rain(o$s at Si0t*), &:hasmasur' (67ictums, l. 2F, Rain(o$s at Si0t*), &Arayan%as' (6As I Aly, l. 25, 'f This Age and '(scurit* and 'ther Poems), and &Luv and #ush' (6Alibaba, l. D6, 'f This Age and '(scurit* and 'ther Poems) All these words are associated with the writers choice of Indian sub,ect matter and conte-t.

2.+.,.2 Hy1ridi0ed or Com'ound Category of the Lexis

The hybridi.ed words are the e-pressions as noticed in common Indian usage. This imparts a sense of oneness with the nglish language, allowing 8rem to e-press in a typical Indian manner. -amples are, &marathon dandi' (6<onto, l. 62, Among the Shado$s), &<andi O 3ouse' (6$host, l. 5F, The 1ermuda Triangles), &politico1babus' (6*ituals in 7eath, l. D2, The 1ermuda Triangles), &(enami1 deals' (6*ituals in 7eath, l. 2/, The 1ermuda Triangles), &an Ashvattha tree' (6:urnt Cp Aaith, l. DD0, The 1ermuda Triangles), and &godly 8an,anya' (6+ecular, l. DF, Rain(o$s at Si0t*).

2.+.,.+ Co ocation

:ased on semantic and syntactic characters, the collocations are &with the ideal of Astra and +astra' (6The <on%, l. 2G, The 1ermuda Triangles) In &violence is no violence' (6The <on%, l. DD, The 1ermuda Triangles) the poet refers to the symbolic meaning of the "edic dictum where one can fight within to raise a $od who would create a world. =ther e-amples are &and he is cursed to dieK with his s%ull in the lap of his father' (6:urnt Cp Aaith, ll. DH51DH0, The 1ermuda Triangles), &After passing through eighty four la%hs yonis' (6+truggle, l. DHH, Rain(o$s at Si0t*), &where $anesh protects +atiK ?hen +hiva shows 3is angerK And opens the Third ye' (67ar% +earch, ll. 52156, Among the

Shado$s), &<onto is my #rishnaK ?ho won <itrawida and La%shmanaK ?ith +even 6+trong bulls he foughtK And so was happy the %ing.' (6<onto, ll. D2H1D2G, Among the

F5

Shado$s), &Li%e dreadful perforation of AtmadevK:y son 7hundh%ari in love with prostitutesK *eturning with torn souls in hand' (6?alls, ll. D012H, Rain(o$s at Si0t*) and &:haga is fully :lind' (6+truggle, l. 25, Rain(o$s at Si0t*) These collocations are basically formed with the infusion of mythical characters as metaphors in the language. nglish

2.+.,., At the (emantic Le)e

In 8rem, Indianness is evident at the semantic level too. In the e-pressions> &Among fields and hills highK+ongs of 8anchvatiK *everberated with dances wildK In ,oy abandon of LeelasK Lord #rishna enactedK Among $opis ravishing and as%ingK 4obra to ma%e umbrella' (6Aather, ll. /1DF, Rain(o$s at Si0t*) the sentence structure is similar to the 3indi language where the continuous tense is used in running speech, <oreover, the dramatic e-pressions as in &Lord #rishna enacted' is in compliance with the 3indi dramatic actions. An instance of semantic translation is visible in> &At the colourful cluster of village bellesKAilling wrists with bangles brittle' (6An Cn%nown Town, ll. 510, Rain(o$s at Si0t*), and &cross1 legged incense filled templesK +it before an idol of $oddess Ambi%a K To recreate history reduced to fragments' (6Aort, ll. 2G12F, Rain(o$s at Si0t*)

2.+.,.- Punctuation

8rem deviates from the standard norms of punctuation. 3e avoids the usage of other punctuation mar%s e-cept a full stop in poems li%e &Q 7o 9ot #now' (The 1ermuda Triangles DD), 63e Interprets (The 1ermuda Triangles DG), 6$rave (The 1ermuda Triangles D6), 67ar% +earch (Among the Shado$s G2) 6Living in 8atterns (Among the Shado$s 20), 64ultural 9otes (Among the Shado$s FD), 6<onto (Among the Shado$s F6), 6Lines (2nigmas of an 3dentit* D2) 6 -it (2nigmas of an 3dentit* D6), 6Cnending Tas% (2nigmas of an 3dentit* 22), 6?ord (2nigmas of an 3dentit* FG), 6$host (The 1ermuda Triangles 2F) and 6*ituals in 7eath (The 1ermuda Triangles GD).

F0

Thus, it can be said that 8rems Indianess is mar%ed through his deep understanding and concern for the nation. The Indian past through the history and the culture through the myths and philosophy is comprehensively communed by the poet. The awareness of the socio1 political and administrative pitfalls and the longing of the poet for an ideally perfect state with the creative and Indian use of the nglish language is suggestive of the poets deep attachment with the country that unconsciously peeps into his thoughts and gets communicated through poetry.

2.,. Com'arison of the T&o Poets in Terms of Indianness

=ne finds Indianness as a uni!ue feature visible in the finest e-pression of Indian poets writing in nglish. According to <.# 9ai%, &Cnless an art is rooted in the Indian soil, it is bound to be condemned to both superficiality and artificiality' (9ai% GG). This Indianness emerges as a uni!ue strength in the poetry of both the poets under study. #e%i 9. 7aruwalla and 8.4.#. 8rem, through their ideology, sentiment, ethos and attitude shaped by the Indian culture, society, religious te-ts, and their creative imagination depict their rootedness to the soil.

:oth the poets paint Indian landscape in variegated mood and aspects, but what distances them from each other is their choice of Indian scenes. In 7aruwalla the landscape is refreshing and realistic. 3e remar%s, &I am not an urban writer and my poems are rooted in the rural landscape' (7aruwalla, Ten T$entieth Centur* 3ndian Poets D2). ?hile 7aruwalla is satiric of the river and its sanctity, he is still enchanted by the riverI he dwindles between the two thoughts and the world which the river promises. 3is Indianness lies in his persuasion and awareness of the river. Additionally, in a few poems he is so bewildered by the surrealismI the incongruous ,u-taposition and the blea% reality of the river $anga and the city "aranasi that he wonders about the specification of the city>

In 8aradise or 8urgatory, or lower down

F/

where fires smoulder beyond the reach of pity@ B?hat plane of destiny have I arrived at where corpse1 fires and coo%ing1fires burn side by side@ (6:oat *ide Along the $anga, ll.221FH, Crossing of Rivers)

8rem, too, approaches the river rationally and li%e 7aruwalla is s%eptic about the rivers sacrosanctity, but 7aruwalla does so from the philosophical and emotional !uotient and 8rem from the intellectual. In 6Thought (Among the Shado$s 2) the rivers &immortality remains an enigmaK ?ithout a poleKTo hold on for a direction.' (ll. D21D6) 3e advocates the dull routine life of an individual as an endless ,ourney similar to the fate of $anga, and the modern man has to silently endure all the sufferings. 3owever, 8rems poems lac% the evocative visuali.ation and detailing of 7aruwalla.

9ature occupies a pivotal position in 7aruwallas poetry. 3is te-ts see% to establish a meaningful relationship between 9ature and <an. Through "andscapes and 7inter Poems the poet struggles to rediscover his identity from the integration with the mighty force. 3is poetry advocates the doctrine of pantheism resolving the universe as the manifestation of some potent energy. =n the other hand, 8rem does not seem to be enticed by the scenic beauty of 9ature, rather it is the comple- human nature that the poet see%s to comprehend and divulge to the readers.

Aurther, 7aruwallas articulation ensuing from his association with the anomalies as well as the serene beauty imparts the authentic account of the eye witness. +imultaneously, the descriptive !uality of his poetry draws the attention of the readers through its invigoration. 3owever, 7aruwallas early and a few of his later poetry appears to be baffled by the dead world pro,ecting the tragic vision of the poet. There is a great involvement with the idea of death in 6?ith "ultures (Apparition in April DG), 6Aire1 3ynm (Apparition in April DF), 6Apparition in April (Apparition in April D5), 6+nowman (Apparition in April D0), 68estilence in 9ineteenth 14entury 4alcutta (The %eeper of the Dead DF) and 6<eher Ali, the #eeper of the 7ead (The %eeper of the Dead 25). 3e writes, &theme for a nightmare> Kcarting headless bodies in a burning van' (&nder 'rion DF), the reason can also be that the

6H

poet stops distinguishing between grief and pleasure associated with life and death. 3e receives both as e-isting in conformity with the observable world, and therefore, essential for life. In contrast, 8rems pictures of the Indian scenes are a commentary on the contemporary world, bringing forth the changing tunes of the present era. :eside the terror, poverty, slums, s!ualor, and the pestilence prevalent in 7aruwalla, 8rem reflects on the urban and city, the Indian culture being influenced by the $lobal culture. 8rem is basically a poet of the urban landscape with a strong urban sensibility. In 6Insurance (Among the Shado$s 2) he sees the sense of morality of a human as &In this nuclear periodK 3e ought to e-clude ethicsK And write a preambleKAffirming short cutK To prosperity' (ll. 22126) Additionally, the poetry of both the poets cast a similar aesthetic impact of grudge and disdain at the loss of values. The contempt is pro,ected in the e-hibition of hypocrisy at all levels.

:oth the poets foreground their erudition in Indian myths, legends and philosophy. :oth of them resist to the cogency missing in the philosophical notions. ?hile 7aruwalla is more of a re1teller of myths, legends and philosophy, dealing with the legendary characters and the mythical stories in full absorptionI narrating the se!uential incidents and at times suspecting their intentions. 8rem uses the myths in a post1modernist fashionI resisting the profundity and the accuracy of these narratives. 3e laments in 6The :ermuda Triangles (The 1ermuda Triangles G0), &and so a modern man has mi-ed up mythsKancient roots when Agni carries ambrosiaKand becomes $aruda and so a confused livingKso many legends are createdKwhere a man remains rootless and sad' (ll. 22120). Adopting them as metaphors, he relates them to the current scenes. In fact, myths are contemporary to his poetry, they are blended to an e-tent that mythical and realistic, or the past and the present become identical. 9evertheless, the poet even laments at the present loss of the values and mores prevalent in the iconic and mythical stories. In 67ar% +earch (Among the Shado$s G2) he writes, &It is a flashing locationK=n <ount #ailashK?here $anesh protects +atiK ?hen +hiva shows 3is angerKAnd opens the Third yeKA sinister rise of passionsKwhere

incestuous relations comeK And e-ist without an end' (ll. 5215/) Aurther, in 7aruwalla the allusions are not only to the 3indu philosophical notions and thoughts li%e in 8rem, but

6D

there is an abundance of Islamic and 8ersian philosophies too, e-amples include, 6The 8arsi 3ell (The %eeper of the Dead 22), 6The +on +pea%s to the 7ead *a%e (The %eeper of the Dead 26) and 6=n the 4ontrariness of 7reams (The %eeper of the Dead F0). 7aruwalla presents the 8arsis notion of hell and heaven as &=ur hell and heaven have no locus, the scriptures foregoK all reference to the damned. The three1fold dar%K is hinted at, and a passing mention of the states of woe' (The %eeper of the Dead 22). 3owever, one observes the Indian sentiments and outloo% in his presentation. The 6<a.ars of Amroha (The %eeper of the Dead 6D) is a perfect e-ample of mythical and philosophical conglomeration.

7aruwalla displays complete involvement with the environment he deals with. The poignancy and self assured movement of lines in his narration of the Indian socio1 cultural and political happenings attest his strong rootedness to the Indian soil. As far as the political and administrative system is concerned, being in administration, 7aruwalla meticulously illustrates the hypocrisy, corruption, and dishonesty in administration. :esides, the poverty, hunger, pestilence and violence, too, disturb his poetic thought. Aor 8rem, the present Indian culture has undergone a mar%ed degeneration in values, ethics, and morals. 3e comments in 6$host (The 1ermuda Triangles 25) &This place remainsK deserted and patheticKfor here people run blindly and %now no end' (ll. 2212F) 3is poetry is a bac%lash of intolerance. The society is a dystopia, thereby bespea%ing the poets longing for the utopian state.

7aruwallas is poetry of actionI the conflict is e-ternal and visible. The actions are specific and particular, either delved in history or the coeval, whereas in 8rem the conflict is internal. 8rem evolves consciously with the ideas, the thoughts, and the universal human nature. 3is poetry abounds in ironic representation of the problems and the dilemmas of an Indian. :eside probing into the essential nature of the Indian mind, the philosophical aspect of e-istence as an outcome of the material interaction is pro,ected where in> &?ith all the optimismK men here moves to destroyK a bit of everything, K in bit and wholeI Kof culture, of gentle ideasK of spirit and intellect,K or else allege a termK of phony continuity' (64risis, ll. F21F/, 'f This Age and '(scurit* and 'ther Poems). The religious hypocrisy is mar%ed in

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&In saffron with patches sna%yK observes beauties of curvesK and mumbles amorous words none hearsK in solemn shades of temples.K This pundit nurses many love scenesK with the damsels, and ne-t momentK he loo%s at the huge statue of $odK and sighs, groans and yet singsK rhymes of gloryK with watery mouth.' (6=f This Time> =f this 8riest ll.6D15D, 'f This Age and '(scurit* and 'ther Poems). :oth the poets being deeply involved in :ureaucratic governance are aware about the wor%ing of system. :oth of them e-pose and critici.e the follies of the system. The revealing facts are at times shoc%ing, too as they shun the ordinary persons perception of the ideal state. 3owever, 8rem at times seems to be obsessed with the systems fallibility hinting towards his strong sense of grudge and dissatisfaction with the political and the bureaucratic system therefore in his poems there is a demand for change.

7aruwalla and 8rem have contributed towards nativi.ing the nglish tongue according to their need of e-pression. In the process they use certain features1 le-ical, grammatical, collocation1 and Indiani.e the medium to create a distinct language. 7aruwalla has evolved a personal idiom, genuinely Indian. 4omparatively, he e-periments with the nglish

language in a more s%illed manner that includes e-tensive borrowings from indigenous sources, the deities, the festivals, and the seasons. 8rems use of nglish is typically Indian. The repetitions, the sentence structures, the punctuation mar%s and the collocations infused in the nglish language and the mythical metaphors attest the uni!ueness of his poetic

style. 7aruwalla and 8rems linguistic digression is aimed at reinvigorating the language and brea%ing the barriers of semantic field. They synergi.e the language with the Indian cultural concept by being playful.

#e%i 9. 7aruwalla and 8.4.#. 8rem are deeply rooted to the Indian soil and e-press their sense of belonging through their poetry. :oth are socially, and culturally conscious about the events of the past and the present shaped by it. To !uote, +ativinder #aur &Indianness is not ,ust a simple word but very pious and mystic in itself, having the depth of thousand seas. In this depth is hidden the nectar of "edas, 8uranas, Cpanishads, <ahabharata, $eeta and $uru $ovind +ahib' (#aur D). Additionally, it is the e-perience and perception that

6G

determines the wor%s of these two poets, for it is India that provides them the food for thought and e-pression.

Endnotes D. &:rahma once created, out of the ingredients of absolute beauty, a woman, and she was called Ahalya (which in the +ans%rit language means non1 imperfection). $od Indra, being the highest god among gods, was attracted by her beauty and was convinced that he alone was worthy of claiming her hand' (9arayan GD) B. :ut Ahalya got married to +aint $autama and was living happily. &Indra, however, never got over his infatuation for Ahalya, and often came in different guises near to $autamas Ashram, waiting for every chance to ga.e and feast on Ahalyas form and figureI he also watched the habits of the sage and noticed that the sage left his ashram at the dawn of each day and was away for a couple of hours at the river for his bath and prayers. Cnable to bear the pangs of love any more, Indra decided to attain the woman of his heart by subterfuge. =ne day, hardly able to wait for the sage to leave at his usual hour, Indra assumed the voice of a rooster, and wo%e up the sage, who, thin%ing that the morning had come, left for the river. 9ow Indra assumed the sages form, entered the hut, and made love to Ahalya. +he surrendered herself, but at some stage reali.ed that the man en,oying her was an imposterI but she could do nothing about it' (9arayan G2)

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