Victimization woman in Fakeer of Junghreera poem
To evaluate my assignment Click Here
Paper-4. Indian English literature – Pre Independence
Assignment – paper no 4
Name – Gohil Dipti Ajaybhai
Department of English
Maharaja KrishnaKumarsihji Bhavnagar University.
Sem- 1
Roll no – 6
Enrollment no – 206910820190018
Topic - Victimization character of Nuleeni in poem The Fakeer of Jungheera
Introduction:
Fakeer of Jungheera poem written by Henry Derozio. Henry Louis Vivian Derozio (1809-1831) was an Indian poet and assistant headmaster of Hindu college, Kolkata, a radical thinker and one of the first Indian educators to disseminate western learning and science among the young men of Bengal. At the age of 17,he was considered a great scholar and a thinker.
Derozio wrote many wonderful poems in English before his untimely death of which “ The Fakeer of Jungheera” was one of the most important. His poems are an important landmark in the history of patriotic poetry in Indian.
Poem introduction :
Henry Derozio's long poem , Fakeer of Jungheera was published in 1828, seven years before Macaulay's minute of 1835. Derozio spent some time at his uncle’s plantation at Bhagalpur and his stay here had a great impact on his life and work. The Fakeer of Jungeera poem is divine into two cantos of twenty-eight and twenty-four stanzas respectively written in the iambic , anapestic, trochiac and dactylic Meters to suit the different rhythms ranging from the normal spoken voice. In the poem women described women condition at that time. The poem highlights the fact that utilitarian ideas of the East India company had a far stronger impact on Bengal than the prose lytizing work of Christian missionaries. The poem can be read as story of emancipation of suppressed Bengali women and an indictment of the conservative Hindu society in the nineteenth century.
Derozio sees love between a Hindu and a Muslim as transcending religion, though this could be Derozio’s own atheistc vision of religious categories based on his rationalistic temper. There was a hardening of identity of Bengali Muslim in the subcontinent as Islam provided “a sense of belonging” to the Muslim community. In the second Canto begins with the soft gurgling of fountains like the flute of Krishna as lamps are Iit in mosque – “Mussulman’s towers”. In the stanza 2 the poet introduces the popular belief that love for a woman can lead any god-fearing young man away from the worship of Allah. The song that follows is just to provide a maudlin sentiment mixed with Muslim of houris, the sound of literature and love’s passion.
This poem Plot over view :
The protagonist is Fakeer , he is robber or a mendicant, who belongs to Muslim sect while the heroine is the widow her name Nuleeni. She comes from an upper caste Bengali Hindu family. Derozio's uses Christian imagery, such an heaven and angles flitting about and juxtaposes it against the Hindu tradition of sati, Muslim prayers and Tantric tale of Raja Vikramajit and Baital to create a quaint, romantic atmosphere. In the poem Hindu- Muslim love affair , their relationship rejected by all other dominant religious forms. At last both protagonist Fakeer and Nuleeni dead.
Nuleeni As a victim :
1) Widow of her husband
2) Victim of 'sati pratha'
3) Victim by society
4) Death of her ‘beauty’ and ‘charm'
5) Mentally dead and hopeless III
6) Death of her love
7) Becomes second Widow of her lover Fakeer
1)Widow of her husband:-
We come to know the name of this beautiful widow, she is called Nuleeni.
She never loved her dead husband as her true feelings were for someone else. Now she suffers from pain not at the loss of her husband but the pain of separation from her beloved. At that time Hindu widow complsary follow illusion rules , she is not allowed more food than will suffice to keep her alive ,she must sleep upon the bare earth, and suffer indignities from the youngest members of her family. Here this poem in Nuleeni also suffered as type of rules for widow.
2)Victim of ‘sati pratha’:-
Sati is an obsolete funeral custom where a widow immolates herself on her husband's pyre or takes her own life in another fashion shortly after her husband's death. The fact is that so far from any display of enthusiastic affection . At that time sati pratha is a misery, exciting. Here I write this poem some line ,
A heaven beyond the limits of her thoughts,
A bliss her spirit never yet had sough
Ah! Haply then might pity mourn above
Degraded nature, not exalted love!
Nuleeni now watches the dead body of her husband covered with sandal wood. She arrives at this strange “death’s festival” she seems to be in full control of her emotions, though her eyes speak more than her tongue could.
3)Victim by society:-
This poem in Nuleeni as victim by society. We can read the poem so we know the chorus of women in stanza sixth celebrates the deification of the Hindu widow about to become a sati. Women scatter flowers on the sacrificial alter as the helpless victim is conviced. Here I write poem few lines
On to the alter, and scatter the flower,
Sweeten the path as ye wander along,
On to the alter! Another blest hour
Brings to her spirit the kinnura's song.
The chorus sings that the sati will get all this much more, she will become thrice happy in heaven where she will once again be united with her departed husband and what better encouragement for her to climb the sacrificial alter.
4)Death her 'beauty' and 'charm' :
This poem in Derozio described the beauty of Nuleeni this stanza :
The sun like a golden urn
Where floods of light ever burn,
And fall like blessings fast on earth,
Bringing it’s beauties brightly forth.
Derozio portrayed woman beauty and charm. It through introduce Nuleeni 's beauty and charm. Nuleeni's beauty “The smile comes from her ruby lips like the sun rushing from eclipse”. But after her husband dead she victimization by society , she lost her beauty but her one hope also live her lover comes and she wants to live her really love.
5)Mentally dead and hopeless :-
We come to know the name of this beautiful widow. She is called Nuleeni. Though her situation is rather hopeless, she does not reflect upon death but upon love. Especially the “blissful hours” she spent in those scented “bright Bowers” with her lover. She rises like a phoenix burning in the fire of her “ hopes, affection, happiness”. In stanza XV Derozio introduces Persian imagery of shama-parvane or the lamp and moth representing the heat of love and the tragic death of the lovers. Here l write poem line,
On giddy wing it wildly wheels,
Th' enlivening glow is spirit feel,
And then it foudly fancies this
Until into the fire it flies
And then, too late lamenting, dies!
6)Death of her love :-
Nuleeni loves Fakeer but Fakeer is Muslim sect. Nuleeni Bengali women and indictment of the conservative Hindu society in the nineteenth century. Nuleeni refuses to die on the funeral pyre of her husband and escapes with the Fakeer to his cave Jungeera to a life of forbidden love though frightened by violent social repercussions. She believes that her lover's courage and her unfailing love will finally make them victorious. Her fair and beautiful face brightens the dark social setting of the poem and mitigates the bold audacity of the Fakeer who snatches her from the midst of a group of mourning upper caste Hindu at the funeral.
Nuleeni's mind is on rescue and escape by her crafty lover, a Muslim Fakeer, and takes her disappoint her. He comes like a “tempest” , in the evening, kills and wounds a few and takes her away to Jungeera's inaccessible crags “bleak and bare” – redeeming her as an “unoffered sacrifice.
7)Becomes second Widow of her lover :
Her hope for Fakeer “ Nuleeni's eyes is not upon the dead to one after her parting thought have flead and; and she remembers now the blissful hours where east she met him! Love is elysian beam”. Nuleen’s father could not bear the insult of his daughter inter caste marriage. Her father to arrange her daughter marriage then after marriage her husband dead so she becomes widow of her husband’s then Nuleeni skep with her lover but society killed her lover also so she becomes widow of her lover and Nuleeni face dark fear then she dead at that time she shows her lover dead body.
Conclusion:
Thus , We can image that at that time which type situation woman facing but couldn’t rising voice against that type rule for woman. Derozio show at that type society. Derozio espouses in his poetry do not go well with the separatist and divisionary politics of modern India. These are some of the revisionist consequences of modernity. However, the “modes of social life” that emerged in the early nineteenth century in response to modernity in India now take us “beyond modernity” into the information age.
References-
https://soka.repo.nii.ac.jp/?action=repository_uri&item_id=38817&file_id=15&file_no=1
Total Word – 1510
Paper-4. Indian English literature – Pre Independence
Assignment – paper no 4
Name – Gohil Dipti Ajaybhai
Department of English
Maharaja KrishnaKumarsihji Bhavnagar University.
Sem- 1
Roll no – 6
Enrollment no – 206910820190018
Topic - Victimization character of Nuleeni in poem The Fakeer of Jungheera
Introduction:
Fakeer of Jungheera poem written by Henry Derozio. Henry Louis Vivian Derozio (1809-1831) was an Indian poet and assistant headmaster of Hindu college, Kolkata, a radical thinker and one of the first Indian educators to disseminate western learning and science among the young men of Bengal. At the age of 17,he was considered a great scholar and a thinker.
Derozio wrote many wonderful poems in English before his untimely death of which “ The Fakeer of Jungheera” was one of the most important. His poems are an important landmark in the history of patriotic poetry in Indian.
Poem introduction :
Henry Derozio's long poem , Fakeer of Jungheera was published in 1828, seven years before Macaulay's minute of 1835. Derozio spent some time at his uncle’s plantation at Bhagalpur and his stay here had a great impact on his life and work. The Fakeer of Jungeera poem is divine into two cantos of twenty-eight and twenty-four stanzas respectively written in the iambic , anapestic, trochiac and dactylic Meters to suit the different rhythms ranging from the normal spoken voice. In the poem women described women condition at that time. The poem highlights the fact that utilitarian ideas of the East India company had a far stronger impact on Bengal than the prose lytizing work of Christian missionaries. The poem can be read as story of emancipation of suppressed Bengali women and an indictment of the conservative Hindu society in the nineteenth century.
Derozio sees love between a Hindu and a Muslim as transcending religion, though this could be Derozio’s own atheistc vision of religious categories based on his rationalistic temper. There was a hardening of identity of Bengali Muslim in the subcontinent as Islam provided “a sense of belonging” to the Muslim community. In the second Canto begins with the soft gurgling of fountains like the flute of Krishna as lamps are Iit in mosque – “Mussulman’s towers”. In the stanza 2 the poet introduces the popular belief that love for a woman can lead any god-fearing young man away from the worship of Allah. The song that follows is just to provide a maudlin sentiment mixed with Muslim of houris, the sound of literature and love’s passion.
This poem Plot over view :
The protagonist is Fakeer , he is robber or a mendicant, who belongs to Muslim sect while the heroine is the widow her name Nuleeni. She comes from an upper caste Bengali Hindu family. Derozio's uses Christian imagery, such an heaven and angles flitting about and juxtaposes it against the Hindu tradition of sati, Muslim prayers and Tantric tale of Raja Vikramajit and Baital to create a quaint, romantic atmosphere. In the poem Hindu- Muslim love affair , their relationship rejected by all other dominant religious forms. At last both protagonist Fakeer and Nuleeni dead.
Nuleeni As a victim :
1) Widow of her husband
2) Victim of 'sati pratha'
3) Victim by society
4) Death of her ‘beauty’ and ‘charm'
5) Mentally dead and hopeless III
6) Death of her love
7) Becomes second Widow of her lover Fakeer
1)Widow of her husband:-
We come to know the name of this beautiful widow, she is called Nuleeni.
She never loved her dead husband as her true feelings were for someone else. Now she suffers from pain not at the loss of her husband but the pain of separation from her beloved. At that time Hindu widow complsary follow illusion rules , she is not allowed more food than will suffice to keep her alive ,she must sleep upon the bare earth, and suffer indignities from the youngest members of her family. Here this poem in Nuleeni also suffered as type of rules for widow.
2)Victim of ‘sati pratha’:-
Sati is an obsolete funeral custom where a widow immolates herself on her husband's pyre or takes her own life in another fashion shortly after her husband's death. The fact is that so far from any display of enthusiastic affection . At that time sati pratha is a misery, exciting. Here I write this poem some line ,
A heaven beyond the limits of her thoughts,
A bliss her spirit never yet had sough
Ah! Haply then might pity mourn above
Degraded nature, not exalted love!
Nuleeni now watches the dead body of her husband covered with sandal wood. She arrives at this strange “death’s festival” she seems to be in full control of her emotions, though her eyes speak more than her tongue could.
3)Victim by society:-
This poem in Nuleeni as victim by society. We can read the poem so we know the chorus of women in stanza sixth celebrates the deification of the Hindu widow about to become a sati. Women scatter flowers on the sacrificial alter as the helpless victim is conviced. Here I write poem few lines
On to the alter, and scatter the flower,
Sweeten the path as ye wander along,
On to the alter! Another blest hour
Brings to her spirit the kinnura's song.
The chorus sings that the sati will get all this much more, she will become thrice happy in heaven where she will once again be united with her departed husband and what better encouragement for her to climb the sacrificial alter.
4)Death her 'beauty' and 'charm' :
This poem in Derozio described the beauty of Nuleeni this stanza :
The sun like a golden urn
Where floods of light ever burn,
And fall like blessings fast on earth,
Bringing it’s beauties brightly forth.
Derozio portrayed woman beauty and charm. It through introduce Nuleeni 's beauty and charm. Nuleeni's beauty “The smile comes from her ruby lips like the sun rushing from eclipse”. But after her husband dead she victimization by society , she lost her beauty but her one hope also live her lover comes and she wants to live her really love.
5)Mentally dead and hopeless :-
We come to know the name of this beautiful widow. She is called Nuleeni. Though her situation is rather hopeless, she does not reflect upon death but upon love. Especially the “blissful hours” she spent in those scented “bright Bowers” with her lover. She rises like a phoenix burning in the fire of her “ hopes, affection, happiness”. In stanza XV Derozio introduces Persian imagery of shama-parvane or the lamp and moth representing the heat of love and the tragic death of the lovers. Here l write poem line,
On giddy wing it wildly wheels,
Th' enlivening glow is spirit feel,
And then it foudly fancies this
Until into the fire it flies
And then, too late lamenting, dies!
6)Death of her love :-
Nuleeni loves Fakeer but Fakeer is Muslim sect. Nuleeni Bengali women and indictment of the conservative Hindu society in the nineteenth century. Nuleeni refuses to die on the funeral pyre of her husband and escapes with the Fakeer to his cave Jungeera to a life of forbidden love though frightened by violent social repercussions. She believes that her lover's courage and her unfailing love will finally make them victorious. Her fair and beautiful face brightens the dark social setting of the poem and mitigates the bold audacity of the Fakeer who snatches her from the midst of a group of mourning upper caste Hindu at the funeral.
Nuleeni's mind is on rescue and escape by her crafty lover, a Muslim Fakeer, and takes her disappoint her. He comes like a “tempest” , in the evening, kills and wounds a few and takes her away to Jungeera's inaccessible crags “bleak and bare” – redeeming her as an “unoffered sacrifice.
7)Becomes second Widow of her lover :
Her hope for Fakeer “ Nuleeni's eyes is not upon the dead to one after her parting thought have flead and; and she remembers now the blissful hours where east she met him! Love is elysian beam”. Nuleen’s father could not bear the insult of his daughter inter caste marriage. Her father to arrange her daughter marriage then after marriage her husband dead so she becomes widow of her husband’s then Nuleeni skep with her lover but society killed her lover also so she becomes widow of her lover and Nuleeni face dark fear then she dead at that time she shows her lover dead body.
Conclusion:
Thus , We can image that at that time which type situation woman facing but couldn’t rising voice against that type rule for woman. Derozio show at that type society. Derozio espouses in his poetry do not go well with the separatist and divisionary politics of modern India. These are some of the revisionist consequences of modernity. However, the “modes of social life” that emerged in the early nineteenth century in response to modernity in India now take us “beyond modernity” into the information age.
References-
https://soka.repo.nii.ac.jp/?action=repository_uri&item_id=38817&file_id=15&file_no=1
Total Word – 1510
Comments
Post a Comment