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Queen’s rival

There is a strong impact of Islam and Persian poetry on Sarojini
Naidu’s poetry. Romantic and Persian and Islamic culture
appealed to her.

The Queen’s Rival has a wispy plot drawn from Persian legend,
told in the narrative vein of the folk-ballad. It deals with a single
situation,
revealed dramatically, with the utmost simplicity and economy
of expression. Yet, in its wistful sense of aspiration, melancholy
and pathos, in the midst of super abundant opulence,
splendour and glory, the poem is alyric with balladlike
overtones. Readers are plunged into the action. The conclusion
avoids a supernatural intervention, but propels the natural
towards a magical return to origins, which outclasses life from
the ordinary with joy and fulfilment.
Queen Gulnaar is tired of her beauty, the empty
splendour and shadowless bliss of her sheltered royalty. Her
peerless beauty has made her a lonely, tantalized figure. She
must have a rival, discover an objective correlative in
experience other than her own body, measuring against which
she can achieve self-definition and estimate her own real worth.
She is like Nilambuja of the poet’s prose fantasy, standing in
the desert of her own lonely temperament, seeking a foothold
in the eternal
beauty of the universe, but unable to overcome the pattern of
interrupted acts her life had assumed.
“But still she gazed in her mirror and sighed
“O king, my heart is unsatisfied”.
The Queen is tired of her beauty, tired of the empty splendour
around her, tired of the shadow less bliss. There is nobody to
envy her, to contradict
her, to press her own claims against her. She wants someone to
feel jealous of her charms, of her magnificence, of the
unbounded love, which King
Feroz bestows upon her. What she wants is a rival to compete
with her, clash with her, because competition and complicit add
to the zest and saves the life. Therefore, the queen, Gulnaar
sighs like a murmuring rose, and asks the King to give her a
rival.

at long last. Gulnaar realized that her daughter was the real rival of hers. look. The child. Suddenly. The real cannot match the ideal.. King Feroz acquires seven handmaids for his Queen. Her competitor is nobody else but her two years old daughter herself. Summing up. When the poem seems advancing to its end. Monopoly. It stands on its own pedestal of accumulations and lacks succession. a turning point arises all of a sudden. she still finds in it only her narcissistic image. like a fairy in a forest. Gazing in the aphrodisiac mirror. richness.But King Feroz. One day. She was not satisfied with the rivalry of seven queens. in his passionate infatuation for his Queen. Queen Gulnaar’s two year old daughter was adorned with precious dress. “O King Feroz. Rivalry in any field or aspect of life is the most essential factor for mental happiness and satisfaction. prosperity or beauty if vested in one person becomes the cause of dissatisfaction at long. Human mind always longs for competition. capability or beauty should be challenged by somebody. Here. out of her oriental modesty. evanescent. I tire of this Empty splendour and shadowless bliss Prior to the concluding part of the poem. becomes like boredom. “I tire of my beauty. she planted happily a kiss on the mirror.He sends for his chief advisor and orders him to search for seven beautiful brides for him. It is the human nature that wishes that the efficiency. is hinting at. relation and meaning. Queen Gulnaar laughed like a quivering rose. with a child-like move. strength. It has no continuity. Gulnaar is then lucky enough to have a powerful competitor. One should have opportunity of being tested one’s own worthiness of merits. Then the child quickly wore her mother’s hair-band. Then the poem dramatically ends with the reality . the poetess highlights a delicate psychological point that any power. saying. rushed to the Queen and snatched the mirror away from her hand. The Queen is sternly unsatisfied. partial and incomplete and aliented. here is my rival”. the Queen Gulnaar is unhappy in absence of any rival in case of her beauty. does not understand what the Queen.

repeated words. It offers the playinstinct as a palliative to individual aggression and the consequent feeling of isolation and anxiety. The folk-conclusion of the poem presents a typical resolution of adult conflict. the unsophisticated narrative and the folk-flavour of the story-line. was the only poem which did not ‘come’ to her The conclusion was added as a delayed response to a friend’s narration of the Persian poetry. images and symbols. Children come into this world fully dependent on others to meet their basic needs. These rites celebrate growth and change. with the iterative situations. The poetess has successfully presented the psychological point of mothering and motherhood through these sonnet-like three parts of the poem. . The mother’s understandable shock of recognition of her own daughter’s budding individuality has the quality of folk-drama. full of insight into the feminine psychology of growth and differentiation. the drive for independence asserts itself early and most of us spend the rest of our lives learning to balance our innate drives for dependence and independence. who. ‘The Queen’s Rival’. lends a natural grace to the lyrical vision of adolescent experience and childhood innocence. is restored to reality.of life that the parents are always happy when they see their young ones playing and doing various innocent actions and tricks around them. It’s no secret that the bond between a mother and daughter can be stronger than either might like. The ballad structure. the incremental refrains. the free flow of the verse and above all. usually associated with the puberty-rites observed in the Indian villages. by chance or choice. and this relationship is where a daughter first feels safe enough to really test her skills at self-assertion. loses his sense of connection with life. It is a tender composition. The individual.as Sarojini Naidu confessed to Amarnath Jha. however. These two polarizing needs may give rise to a new mother-daughter battle across the life span at virtually each new life stage.

This poem is of romantic superfluity. stepping gracefully out of the cocoon of her own self-created world into the flux and process of life The roles assigned to the woman in folk-culture are strategic compensations. colourful fancy and pleasing conceit. It passes from the consciousness of the possession of beauty to the conceit about the possession of beauty. The conceit destroys her happiness and all the resources of a kingdom do not restore it to her. Along with her daughter. the action moves progressively from narcissistic desire towards hieratic power. from self to breed . Queen Gulnaar’s state of mind touches on the abnormal. In the poem. It has the dazzle of a multicoloured jewel.Shock and crisis are overcome by nurturing a sense of social connection and continuity in the emerging personality of the individual. the mother too grows up. as the embodiment of disinterested love. Through these she fulfils her ego-ideal and her symbolic status. the tremulous pattern of a seven-petalled rose and the colour symphony of a painted natural scene. The poem suggests the deeper meaning that ultimately satisfaction for a frustrated soul comes from within .