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Vol. 17 No. 2 (December 2017) ISSN 0974-7370 INDIAN JOURNAL OF POSTCOLONIAL LITERATURES (An International Refereed Biannual Published in June and December) POST GRADUATE & RESEARCH DEPARTMENT OF ENGLISH NEWMAN COLLEGE THODUPUZHA, KERALA, INDIA CONTENTS ‘Eco-consciousness’ in the Poetry of the Early Indian English Poets - Anup Nair 05 A Post Colonial Reading of Amitav Ghosh’s The Hungry Tide - Arya S Nair 14 Poetics of the Marginalized: A Reading of Phill Moncrieff’s Poem “My Mother the Land” - Priyanka.M.C 21 Protests of a New Kind: An Analysis of #me and Breastfeeding Campaigning in Kerala - Nithya Mariam John 29 Richard III : Disability in Shakespearean Body - J.S. Jahangir 35 Beyond the Flood: An Ecofeminist Critique of Animal Agency in Margaret Atwood’s MaddAddam Trilogy - JiluAni John 41 Historicising Rohinton Mistry and Textualising Indian History - Maria George 47 Understanding the Patterns of Growth of Indian New Woman through a Comparative Analysis of the Selected Fiction of Mahasweta Devi, Manju Kapur, Rupa Bajwa and Shobha De - Priyanka Mahajan, Jaideep Randhawa 54 Animal Farm: Power Corruption Leads to Annihilation - Dhanya Panicker 66 Reworking the Matrix of Virtual Semantics: A Postcolonial Digital Humanities Metamorphic Potentiality - Anusha A J 71 Magical Feminism and the Feminine Voice in Isabel Allende’s The House of the Spirits - Lynda Stanley 81 Indian Journal of Postcolonial Literatures 3 17.2 (Dec 2017) Death and Transmutation in the Poetry of Emily Dickinson and Marjorie Pickthall: A Comparative Study - V. Ayothi 89 Language of Power: AnandNeelakantan’s Retelling of the Mahabharata as the Narrative of the Authoritative Feminine - Lekshmi R. Nair 97 Identity of a Second Generation Coloniser- Choice, Genes, or Destiny in Rudyard Kipling’s Kim - Anna George 104 Larval Subjects on the Move: A Deleuzian Reading of Bharati Mukherjee’s Jasmine - Neenumol Sebastian 112 Wolf Totem: A Paradigm of ‘Networked’ Discourse on Nature - Anto A. Paul 118 In Search of “She” in her: A Critical Reading into the Female Stereotyping in the Sci-fi Movie Her - Jessy Varghese 125 Toni Morrison’s Paradise: A Saga of Women in Distress - Sebin Justine 129 Resistance and Re- Presentation of African Women in Yvonne Vera’s Literary Works - Roshni C 138 Compulsive Intersections: Reading the Politics of Dispossession in the Writings of Tenzin Tsundue - Shalini Rachel Varghese 147 Contrapuntal Power Relations in Vijay Tendulkar’s Dambadwipcha Mukabala - Radhika. K. M & Marykutty Alex 159 Poet’s Corner Smileys - Sheena Kaimal N. 167 Encounter 168 - Latha Prem Sakhya A Mite’s Tale 169 A Spirit’s Perception - Jeswin Siby Joseph 171 List of Contributors 179 Indian Journal of Postcolonial Literatures 4 17.2 (Dec 2017) ‘Eco-consciousness’ in the Poetry of the Early Indian English Poets Anup Nair Henry Derozio, Michael MadhusudanDutt and Toru Dutt are, if not unsung but at least, undersung protagonists, claimants from the nineteenth century of unfulfilled renown, who set stage for the beginning and development of Indian English poetry. Their lives and literary careers reveal them as microcosmic representatives of the young generation of the period. This article attempts to trace the eco consciousness in the poetry of these poets through an analysis of their select poems.Possibly under the influence of the English Romantics and more so because the Indian psyche, especially in the pre-colonial and early colonial times, had been more eco-centric, these poets display a very high eco-consciousness in their poems. Derozio’s masterpiece ‘The Fakeer of Jungheera’ is set in landscapes that reflect the emotional state of the central personages. ‘Nature’ seems to be sensitive to the travails of Nuleeni and is shell shocked at her plight, much unlike the Chorus of Brahmans or even the Chorus of Women. Years of initiation into the patriarchal discourse results in the Chorus of Women speaking the same language as the Chorus of the Brahmins. Thus the exploited lisps the tongue of the exploiter. The Chorus of Women sings of the bliss that awaits the widow in the world beyond and decides on her behalf that it is best for her to leave this corrupt material world.Nature, however empathises with her and as she mounts the pyre and watches stunned: Now all is silent, sad and still, As moonlight on a heath-clad hill; No insect’s wing is heard to whirr, The very air has ceased to stir, And expectation breathless bends, To watch the pile that grief ascends. (Derozio, Song 119) Indian Journal of Postcolonial Literatures 5 17.2 (Dec 2017) ‘The Neglected Minstrel’ too dwells on the theme of Nature being empathetic to the miseries of the protagonist in stark contrast to the cold insensitivity of fellow human beings and therefore hints at the need to preserve Nature, our sincerest friend. This poem is narrated in a dramatic manner with a bard singing to his beloved, the tale of another unfortunate bard’s tragic fate. This poem that describes a lonely life and a miserable death too is prefixed with an epigraph that suggests the theme of a genius living an unappreciated life. The setting in which this ‘nightingale’ sang his lay was ‘sylvan’ but save from the world of nature none from the world of human habitation gave him company. The poem begins with the poet in a ‘Wordsworthian’ use of memory trying to rekindle, in the mind of his beloved, the beautiful moments of love spent in the lap of nature, before veering on to narrate the story of the luckless bard and his tragic life and finally closing by finding similarities between his own fate, the fate of the bard of the story and the fate of all the gifted souls caught in a hopelessly material world. The poet narrates how the bard in question was in love and how his “young heart will open like a rose” and how the joyous moments were forever recorded into his psyche. Rich in natural imagery, the poet suggests how a sensitive soul would be sensitive not just to the charms of his beloved but also to the beauties of nature. He writes how the splendours of God’s creations had hastened the muse in him: And when he heard upon a moonlit night The voice of the blue river as it passed, He peopled it with creations of his brain The soft melodious wave, and fondly deemed It was a spirit speaking to his soul, Even from beneath the water. But the Breeze, The evening breeze which from its cavern crept Like music from a shell, woke blissful thoughts Like fragrance out of flowers in his fond breast, And delicate as those which float in dreams- Indian Journal of Postcolonial Literatures 6 17.2 (Dec 2017) The essence of delicious Poesy! (Song 179-180) When after the death of his beloved, his friend betrays him, it was too much for the sensitive soul to bear and thus disillusioned, he breathed his last. Even at the end of the poem when though the world of human beings had deserted him, Nature still sides with him: Their fragrance flowers around are flinging To consecrate this beauteous spot, And winds a requiem wild are singing Which man, inhuman man, forgot. (Derozio, Song 182) ‘The Poet’s Grave’ is a statement of despair at the materialistic world’s inability to appreciate the fine art of poetry. What is again noteworthy is how Derozio emphasizes the kinship shared by Nature and the poet. Shunned by the society that the Poet lived and died in, it is Nature that gives him companionship, in life and death. When he lived, Nature inspired him through its myriad beauties and when he died it was Nature that lamented his demise: There, all in silence, let him sleep his sleep: No dream shall flit into that slumber deep- No wandering mortal thither once shall wend, There, nothing o’er him but the heavens shall weep, There, never pilgrim at his shrine shall bend, But holy stars alone their nightly vigils keep! (36) Many of Derozio’s sonnets are those that strike a note of melancholy and reflect his disillusionment with the happenings of this world. ‘To the Moon’ is such a sonnet that uses of the moon as the metaphor to comment on the sad state of affairs on the earth. The poem begins with the poet questioning the moon as to why it was guiltily wandering through the skies as if it had done some grave act of misconduct. He then wonders whether the moon is sad because its hopes have been dashed and then finally reaches the conclusion that its gloominess is caused by its proximity to the earth which was brimming with all sorts of sorrows. It is the ceaseless gazing on the thousand showers of ill that inundate this world of ours that has touched its heart. Thus Nature is seen to mirror the human predicament. Indian Journal of Postcolonial Literatures 7 17.2 (Dec 2017) ‘To the Dog Star’ is a romantic address to Nature to bless his mother with the joys that only Nature can give. Here too, the distance between hope and reality is categorically mentioned, when he writes: “There dost thou shine, and shine like Hope afar” (Derozio, Song 44) In lines that remind us of the English Romantic poets, Derozio sings of the beauty of the Dog Star and the effect of its heavenly beauty on his psyche: “..this to my heart such rapture brings, / As never may be told!” (44)The beauty of the star reminds the poet of his mother who too was perfect and thus the last five lines of the poet the subject of discussion changes from the star to the lady: …..Thy lovely light, Eternal Sirius, calls one dear to mind; For oh! her form was beautiful and bright, And, like thy ray, her soul was most refined, And made for tenderness, and purest love;- Then smile on her, bright star, smile sweetly from above.
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