ASSIGNMENT ON LITERATURES OF INDIA.

SUBMITTED TO: PROFESSOR IVY HANSDAK, DEPARTMENT OF

ENGLISH, JAMIA MILLIA ISLAMIA, NEW DELHI.
SUBMITTED BY: SAHER HIBA KHAN, SEMESTER-5, (20185826),
ENROLLMENT NO: 18BLE054, DEPARTMENT OF ENGLISH,
JAMIA MILLIA ISLAMIA, NEW DELHI.

POEM- KALAHANDI

POET- JAGANNATH PRASAD DAS

WHAT DOES KALAHANDI SYMBOLIZE? WHERE ACCORDING TO THE POET, IS IT

LOCATED?

Kalahandi is a genuine locale in Orissa that has continually confronted the attacks of the dry
season and the destitution that it brings in its wake. The primary impression that the writer gives
us is of an average town unfit to liberate itself from the hopelessness and hardship that are the
outcome of normal and man-made disasters that it faces.

The artist who wrote this work is Jagannath Prasad Das, brought into the world in 1936, in
Orissa, India to working-class guardians. After a concise spell as a Lecturer at Allahabad
University, he joined the IAS in 1958. Nonetheless, he left the IAS in 1984 to turn into a full-
time essayist. His posting at Kalahandi profoundly influenced him and changed his perspective.
Das had started to compose at an early age, distributing his first assortment of sonnets in 1951,
and he was broadly distributed in neighborhood Oriya diaries. His works have been deciphered
from the Oriya language into Hindi and English. His first assortment of verses named "Pratham
Purush" and was distributed in 1971. Das is a productive author who has distributed around ten
assortments of verse, seven assortments of short stories, five plays, a chronicled novel, and a
book of sonnets for kids.

The sonnet opens with the inconsiderate stun of the truth that one doesn't need a guide to
discover Kalahandi-Kalahandi is any place hunger exists. Kalahandi is any place there is
infection and need, hardship, and languishing. The artist says that at one time Kalahandi got a
great deal of consideration. This was because the then PM, Indira Gandhi flew into the starvation
struck town in a helicopter. Around then, such circumstances were barely detailed. It turned into
a news thing and as the PM of the country made a beeline for the town, so did a huge number of
others. However, presently, the writer appears to recommend, it doesn't take a guide nor the main
of a helicopter. Kalahandi has become an allegory for the enduring that one can experience all
around generally, for yearning and starvation are ordinary in numerous a town in India.

'Kalahandi' is the place where there are eager groups in urgent need of some food to soothe the
appetite that is eating into their insides, as they swarm around kitchens set up by altruistic
association dispersing food, there one can discover Kalahandi. The privation of the locals is
obvious as they endeavor to sell of their youngsters. Living in the overall solace of metropolitan
India, it is difficult to envision such penury, such critical need, that individuals would be
compelled to sell their kids! However, this is a typical reality-kids are sold each day in the distant
and not all that far off spots of our nation and different nations of the world. At whorehouses,
little youngsters are traded for much-required money, as individuals have no different methods
for fund-raising to meet their genuine felt needs. The writer firmly encourages us to recollect the
individuals of poor, battling towns. He says that India, as a country, can't advance while areas of
its kin are kept down in hardship and outrageous neediness.

Das sees the expanding importance of Kalahandi as an allegory. A similitude is an image; it is a

word picture, where a word starts to speak to something a lot bigger than its nearby significance
or setting. In this manner, the artist sees that Kalahandi has spread all over: it is not, at this point
kept to the geological area of a town in Orissa, however, one can discover it in countless
different spots; any place the situation is like Kalahandi. The artist emphatically asks us to
recollect the individuals of poor, battling towns. He says that India, as a country, can't advance
while areas of its kin are kept down in hardship and outrageous destitution.

Kalahandi turned into a royal state under the British and was known as Karonda Mandal.
Maharaja Pratap Keshari Deo, the Ex-Maharaja of Kalahandi, in one of his articles
communicated his view that the chronicled criticalness of naming Kalahandi as Karunda
Mandala depends on the accessibility of Corundum in this area. Manikeswari (the goddess of
Manikya), the family divinity of the Naga lords of Kalahandi may have likewise required the
selection of the name.
POEM- THE REVOLUTIONARY

POET- ROBIN S NGANGOM

ROBIN S NGANGOM’S POETRY HAS BEEN CALLED REVOLUTIONARY IN ITS

THEME AND LANGUAGE, ELUCIDATE.

The current paper is an endeavor to survey the sexy parts of a Manipuri artist, Robin S
Ngangom, a Meitei by birth who has taken a stab at composing verse in English and made some
huge commitments to Indian Writing in English by distributing three volumes of verse: Words
and Silence (1988) distributed by Writers Workshop, Time's Crossroads (1994) and The Desire
of Roots (2006) distributed by Chandrabhaga Society, Cuttack. Robin is one of the most agent
contemporary Indian English artists of North-Eastern India. He has been distributing his sonnets
lavishly in the main diaries of India and abroad. He is an artist who trusts in "the verse of feeling
which can be shared, instead of the simple cerebral verse". This paper will introduce the arousing
perspectives discovered richly in the artist's volume of verse, The Desire of Roots which was
distributed by Chandrabhaga Society, Cuttack in 2006. The volume contains two areas - The
Book of Lusts and Subject and Objects. All through these two areas, the topics and the dialects
manage sexiness and can be found in the devotion itself- - "To my dad and mom, who by having
intercourse, likewise made verse". A portion of the sonnets are filled with crude pictures of
sexual sensualities. Because of the predominant rough conditions in his country and the nerves
the artist felt, he needed "to investigate the luxurious and nostalgic verse". Among them, the
"Elementary Schools" is a sonnet managing the writer's youth days and his beloved companions.
The honesty in youth days are now and then hazardous and it is this blamelessness that drives the
writer's gullible companion to investigate the world from youth guiltlessness to adulthood, a
spiritualist climate. His honesty is polluted at the expense of his experience. We are promptly
helped to remember William Blake's Songs of Innocence and Experience. In these short
sentences, the writer draws out the distinctive pictures of arousing quality through the projection
of laconic and compact words. The writer's genuineness can be followed from the sonnet,
"Summer" where he looks at the boredomness and sluggishness of the late spring season in
different manners exciting our lethargic faculties. "It Has Become Dangerous to Love You" is a
sonnet brimming with astonishments and erotic nature. The writer presently becomes prey to the
adoration for his sweetheart. He realizes that being infatuated with her is hazardous however he
is eager to kiss her and have intercourse with her. Each word in the sonnet is intensely enhanced
with exotic nature. The "City of Baked Clay" is a sonnet taken from the second segment of
"Subject and Objects" of the volume. Here, the artist portrays his relationship with objects spoke
to by numerous things, numerous episodes, and numerous circumstances. Especially in this
sonnet, the artist places his view about a city called Bomdila in Arunachal Pradesh where the
artist likes to sit and dream of his cherished. His portrayal of a full moon night in a tranquil sky
works up a feeling of aching for adoration and closeness into the perusers' psyches. The perusers
are taken into an exotic universe of the artist where the writer longs for his cherished's pushed up
bosoms brilliant with a wet evening glow. Promptly, we are excited at the idea of wet, splendid,
and white bosoms on a full moon night. The very pictures make us delectation and energizing
and give adequate pleasance and satisfaction to our faculties.

"The Strange Affair of Robin S Ngangom" is the longest sonnet in the entire volume. From the
outset, we are perplexed by the spooky undertakings of the artist with different items. Articles
can be anything as per the artist. Being a sonnet with multi-subjects, it manages the issues of
vagrancy, rebellion, outrage, love, violations, nationalism; and so on The artist is confounded at
such circumstances. However, eventually, his bizarre undertakings become acclimated and part
of his inclination. The damaged circumstances become worn out/exhausted in his own country
and nobody makes a big deal about it, everybody appears to be delighting. It uncovers the
writer's vulnerabilities and frailties of the phony feeling of belongingness. Once more in another
sonnet, the "Local Land", the writer portrays the tyrannous states of his local land. He reports
each episode with minute subtleties. In one occurrence, he portrays the truth looked at by ladies
people in their country due to the Armed Forces (Special Powers) Act (AFSPA), 1958. "The Act
has abused common freedoms in the locales of its authorization, where self-assertive killings,
torment, barbarous, brutal and corrupting treatment and upheld vanishings have occurred". The
ladies are bereft by the focus on executing male people. The artist talks about the disorders
executed by the supposed administrators and lawmakers. The force lies in the possession of few
individuals and a couple holds the reins like playing manikins with strings.

All the sonnets convey volumes which pretty much add to the cognizance of sensualities and
sensualism. The outflows of the lines don't present philosophical musings yet incite and
stimulate our feelings of seeing, hearing, contacting, smelling, and tasting. The symbolisms play
melodic sounds and ideal rhythms to the ears, present excellent and brilliant pictures and scenes
to our eyes, give the capacity to taste and feel the sweet, unpleasant, and acrid of the words,
make us smell and appreciate the scent. Robin, however a pragmatist in its actual quintessence, is
a sensualist on a basic level. He ships us from this universe of authenticity to the universe of
sensualism. He gives us satisfaction however the substance is unforgiving and obvious. Through
his selections of words and lexical plan in the sonnets, he hits home in the perusers setting off
erotic feelings.
POEM- TO WARIS SHAH

POET- AMRITA PRITAM

WHO WAS WARIS SHAH AND WHY DID AMRITA PRITAM INVOKE HIM FROM THE
GRAVE?

Waris Shah (1722 – 1798), an Indian Punjabi Muslim artist, was brought into the world in what
is presently Pakistani Punjab. Known for his fundamental work of Heer Ranjha, in light of the
conventional society story of Heer and her darling Ranjha, Shah's Heer is viewed as one of the
quintessential works of old-style Punjabi writing. Although the story has been composed by a
few different scholars, Waris Shah's adaptation is by a long shot the most famous today. Shah
who was brought into the world in Jandiala Sher Khan, Sheikhupura District, Punjab is famous
in India and Pakistan, particularly in the Punjab area.

Waris Shah's structure, the romantic tale of Heer Ranjha assumes a pre-prominent position, in
what might be known as the 'qissa' writing of Punjab. It is the account of the Youngman and a
young woman, which didn't get the assent of society looking like marriage, a significant subject
of writing, music, dance, and dramatization in Punjab, however wherever on the planet. Witness
Shakespeare's Romeo and Juliet.

Waris Shah was naturally introduced to a presumed Syed family, a relative of the Islamic prophet
Muhammad. His dad's name was Gulshar Shah. Waris Shah recognized himself as a devotee of
Pir Makhdum of Kasur. His folks are said to have kicked the bucket when he was youthful, and
he most likely got his schooling at the sanctum of his preceptor. In the wake of finishing his
schooling in Kasur, he moved to Malka Hans, a town twelve kilometers north of Pakpattan. Here
he dwelled in a little room, adjoining a memorable mosque, presently called Mosque Waris
Shah.

His sepulcher is a position of the journey today, particularly for those in adoration. A
quintessential craftsman profoundly learned in Sufi and homegrown social legend, Shah's stanza
is a mother lode of Punjabi expressions, phrases, and colloquialisms. His moment and practical
portrayal of each detail of Punjabi life and the political circumstance during the 1700s remaining
parts extraordinary.

I Say unto Waris Shah' (1949) by Amrita Pritam (1919–2005) is the interpreted rendition of her
Punjabi sonnet, 'AjjAkhan Waris Shah Nun'. It is an artistic example that has a place with
segment writing. The sonnet helps us to remember the situation of individuals at the hour of the
segment. Amrita Pritam summons the soul of Waris Shah (1722–1798), a notable Punjabi artist,
acclaimed for his affection misfortune 'Heer Ranjha', to help humanity at that crucial point in
time. She needed to get the news out of adoration like Waris Shah did with the romantic tale of
Heer and Ranjha.

The poetess is in a condition of outrageous pity. She entreats Waris Shah, her dream, to perceive
what's going on in her adored origination. Cadavers are lying in the fields. All that she sees has
transformed into the red. The place that is known for Heer–Ranjha is playing Holi with human
blood. The parcel of India is the main driver of each one of those wrongs. Mankind is in
question. The message of affection and immaculateness of empathy is lost from Punjab. The
poetess trusts that the individuals of Punjab will hear her out languishment and stop this
unreasonable slaughter.
POEM- I KNOW ONLY KRISNA

POET- MIRABAI

“COMMENT ON MIRABAI AS A DEVOTIONAL POET OF THE BHAKTI MOVEMENT,

WITH PARTICULAR REFRENCE TO THE PRESCRIBED POEM.”

Mirabai was a great saint and devotee of Sri Krishna. Despite facing criticism and hostility from
her own family, she lived an exemplary saintly life and composed many devotional bhajans.
Historical information about the life of Mirabai is a matter of some scholarly debate. The oldest
biographical account was Priyadas’s commentary in Nabhadas’ Sri Bhaktammal in 1712.
Nevertheless, there are many oral histories, which give an insight into this unique poet and saint
of India. Mira was born around the start of the 16th Century in the Chaukari village in Merta,
Rajasthan. Her father was Ratan Singh a descendant of Rao Rathor, the founder of Jodhpur.
When Mirabai was only three years old, a wandering Sadhu came to her family’s home and gave
a doll of Sri Krishna to her father. Her father took saw this as a special blessing but was initially
unwilling to give it to her daughter, because she felt she would not appreciate it. However, Mira
had, at first sight, become deeply enamoured with this depiction of Lord Krishna. She refused to
eat until the doll of Sri Krishna was given to her. To Mira, this figure of Sri Krishna embodied
his living presence. She resolved to make Krishna her lifelong friend, lover, and husband.
Throughout her turbulent life, she never wavered from her youthful commitment.

On one occasion, when Mira was still young, she saw a wedding procession going down the
street. Turning to her mother, she asked in innocence, “Who will be my husband?” Her mother
replied, half in jest, half in seriousness. “You already have your husband, Sri Krishna.” Mira’s
mother was supportive of her daughter’s blossoming religious tendencies, but she passed away
when she was only young.

Mirabai was a poet since birth. She expressed her deep devotion and love to Lord Krishna.  With
ektara in her hand, she enchanted multiple hymns that she composed which were full of piety,
love, and dedication. Even today she is known for her kirtans. Although she was a queen, she
gave her all to worship Shri Krishna. In her hymns and poems, Lord Krishna is a yogi and her
lover, and she herself is a yogini ready to take her place by his side. Meera’s style combines
impassioned mood, defiance, longing, joy, and ecstasy of union, always centred on Lord
Krishna. The Bhakti Movement The term bhakti is defined as devotion or passionate love for the
Divine. Moksha or liberation from rebirth was not in the following of rules, regulations or
societal ordering; it was through simple devotion to the Divine. Within the movement at large,
useful distinctions have been made by contemporary scholars between those poet saints w ho
composed verses extolling God with attributes or form, namely, saguna bhaktas, and , those
extolling God without and beyond all attributes or form, nirguna. While the differences between
these two branches are indeed important, their overarching similarities cannot be minimized;
both focused on singular devotion, mystical love for God and had a particular focus on a
personal relationship with the Divine. Given their belief in the centrality of personal devotion,
poet-saints were highly critical of ritual observances as maintained and fostered by the Brahmin
priesthood. For many, their critique also included the caste system that supported the traditional
religious hierarchy, with Brahmins at the head of this hierarchy. Many poet-saints, particularly as
t he movement developed northward were themselves of lower caste lineages. Another
commonality was their usage of the vernacular or regional languages of the masse s, as opposed
to the sacred language of the elite priesthood, Sanskrit. This practice too stemmed from the
movement s focus on inner, mystical and highly personal devotion to the Divine.

Mirabai or Mira is said to have been born into a ruling Rajput family. Mirabai s poetry portrays a
unique relationship with Krishna; in it she is not only the devoted bride of Krishna, but Krishna
is ardent in his pursuit of Mira. Because of Mirabai s singular focus and intense devotion of her
Husband, the lifter of the mountain, she can be perceived as simply upholding the wifely duties
of women and patriarchal norms in general. On the other hand, she remains for many a symbol o
f resistance of social order of the day.

Hindu society, during the medieval period, was suffering under the weight of certain social and
religious practices which were incompatible with the doctrine of the brotherhood of man. It was
a caste-ridden society, which encouraged segregation, untouchability, idol worship and
polytheism (worship of many Gods). On the other hand, Islam taught monotheism (worship of
one God) and preached the message of universal brotherhood and equality of all human beings.
Above all, the practices of Islam were quite simple. Thus Hinduism came to face a new
challenge. The Hindu reformers who preached the Bhakti cult saved the situation by preaching a
doctrine that aimed at eradicating most of the ills prevailing in Hindu society. The religious
leaders of the Hindus intended to purify the Hindu society in order to make it a living force. At
the same time, they advised their followers to respect other religions and live in peace and
harmony with Muslims. The simple gosril of the Bhakti cult brought great relief to common
people, which preached "realisation of God through devotion and love". This movement
influenced all communities and castes. It aimed at religious harmony, unity and social fraternity.
It believed in liberalism and catholicity. The Bhakti movement was liked by common people,
because it prescribed a simpler method to realise God. The Bhakti cult did not prescribe any
complicated ceremony or demand a deep knowledge of the scriptures. This movement could give
the people the opportunity to attain God through deep devotion. Thus the Bhakti movement
served Indian society in two ways - It tried to bridge the gulf between Hinduism and Islam and
saved Hinduism from a real challenge. In fact it helped greatly to check the spread of Islam in
India.