Selected Poems- A. K Ramanujan

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Selected Poems- A. K Ramanujan1 Introduction2 About The Author3 Prayers To Lord Murugan3.1 Analysis of the poem3.2 Solved Questions with Answers4 A River4.1 Analysis of the poem4.2 Solved Questions with Answers5 Elements of Composition5.1Analysis of the poem5.2 Solved Questions with Answers6 Snakes6.1Analysis of the poem6.2 Solved Questions with Answers7 Obituary7.1Analysis of the poem7.2 Solved Questions with Answers8 The Highway Stripper8.1Analysis of the poem8.2 Solved Questions with Answers9 The Love Poem For a Wife9.1 Analysis of the poem9.2 Solved Questions with Answers

10 The Striders10.1 Analysis of the poem10.2 Solved Questions with Answers11 Anxiety11.1 Analysis of the poem11.2 Solved Questions with Answers12 On the Death of a Poem12.1 Analysis of the poem12.2 Solved Questions with Answers1.0 Introduction:Ramanujan’s poetry is a depiction of human sentiments, feelings and emotions in a directway without any gloss or sophistication. There are no traces of alien influences on his poetry,in spite of his long stay abroad. His poetry has technical excellence and bears the stamp ofhis individuality. In the poem ‘Entries for a Catalogue of Fears’ he says, “I willgrow/charitable one day/begin to classify/at dawn the week’s bread crumbs / in a plastic bagfor the red and black/street ant/the beggar doves in the park/the free sapphire blue jay/in thetree/will make a habit/of the shelled peanut/in my hand.”Ramanujan’s poems have a technical perfection which is exemplary. His poetry is neverpedantic or verbose and is written in a language which is crisp, intense and casual. In hispoem ‘The Striders’ in order to draw the attention of the reader he has introduced evenambiguity “And search/for certain thin/stemmed, bubble-eyed water bugs/Sea them perch/ondry capillary legs/weightless/on the ripple skin /of a stream/No, not only prophets /walk onwater. This bug sits/ on a landslide of lights/and drowns eye/deep/into its tiny strip/of sky.”2The poems of Ramanujan are finely crafted pieces, and the words shine with depth ofmeaning 3. The words create a rhythm and form which enhance the value of his poetry.Ramanujan has laid equal stress on the meaning, as well as the design of each poem. Thedesigner poems of Ramanujan are not only a treat to the eye, but also indicate a multi-layeredmeaning. To identify the central theme of Ramanujan’s poems one has to proceed cautiouslywith patience and imagination.Ramanujan’s poetry has brought many laurels to him. The volumes of his poetry TheStriders (1966), Relations (1971) and Selected Poems (1976) have been praised by theliterary critics, for the succinct expression and originality. Ramanujan has done a yeomanservice by translating the Tamil and Kannada classical poetry into English5. Those who readcontemporary English poetry are familiar with the nuances and death of Ramanjan’s poetry.His stress on the web of family life, and the integration of the individual with it remains theprominent characteristic of his poetry.

The collection of poems in Relations reflect his poetic insight tinged by eastern and westerncultures. He says that with the passage of time, the individual is prone to see the law ofKarma in all changes around him. Ramanujan’s use of irony is most evident in the poem‘Entries for a Catalogue of Fears’. Even at the advanced age of sixty instead of having totalfaith in God, one may “talk now and then of God”, and one may find the effect of Karma “inthe fall of a tubercular sparrow, and in the news paper deaths in Burma”. He says in the samepoem that double vision is confusing with no clarity of things in the external world, but “withone small adjustment/of glasses/all the misunderstanding vanishes”.6 The mystificationof events due to lack of scientific approach and empirical analysis, produce a host ofproblems which are hurdles in the path of progress maintains Ramanujan.The poetry of Ramanujan is like a mirror in which one can see the face of Indian tradition,along with a host of other things. His poetry recognize the vitality inherent in Indian cultureand tradition, and also the changes which have taken place in the structure of Indian society.Ramanujan’s subtle irony colours his glimpses into the traditional ideas and rituals, which arefollowed by people belonging to different strata of Indian society. His poetry has presentedthe diverse aspects of tradition in a new garb, which is also indicative of the need todistinguish between the relevant and irrelevant aspects of it in the context of changes in thecontemporary world.Ramanujan’s poem ‘Self-Portrait’ shows his excellent grasp over the use of images, to depictthe experiences and emotions in his poetry. He has brought out his innermost feelings andthe assessment of his own personality and its different facts in it. He says “I resembleeveryone/but myself, and sometimes see/in shop- windows/despite the well-known laws/ofoptics, /the portrait of a stranger,/date unknown/often signed in a corner/by my father”.8Ramanujan’s two collections of poetry The Striders and Relations have a unique place in thecorpus of Indian poetry in English. The interest and deep attachment of Ramanujan to thepast events as well as history is depicted in The Striders and Relations. The poems in thesetwo works provide an outline of his approach toward people, and the predicament faced bythem in the past, and also in the world of today. He recaptures the past events very lucidly.He describes the events of his early years spent with his father, mother and grandparents.9In several poems he has mentioned his role in the family and analysed his inner feelings andsentiments. For Ramanujan the past is not an amorphous entity, but is substantial to correlatewith the tempo of life in the current world. He salys that without knowing the linkages withthe past, one cannot grasp the reality of the living present. While asserting the importance offollowing the norms of the contemporary world, Ramanujan likes to derive solace from thetraditions and beliefs of the ancient world. He says, “I should smile, dry- eyed/and nursemartinis like the Marginal Man./ But, sorry. I can not unlearn/Conventions of despair./ Theyhave their pride./ I must seek and will find/my particular hell only in my hindu mind:/musttranslate and turn/till I blister and roast.”10Ramanujan’s poetry reflects his deep insight into the cultural patterns, of both east and west.The ancient wisdom of Indian gains a new relevance in the poetry of Ramanujan, amidst theconflicts in the present world. He has analysed the human situation, through the combinedvision of the east and west. The Indian perspective and experience towards the humanproblems, finds a prominent place in the poetry of Ramanujan. It is through appropriateimages, that he has depicted the human situation, contradictions and complexitiesexperienced by the people. His poetry is a synthesis of the best literary traditions of theIndian and the Western world. The combination of the Indian and western elements hasadded a new sheen to his poetry. His focus is on the several unexplored areas of human life,which are generally neglected today. His poetry concentrates on the innermost sentiments ofthe people, both in the Indian and western societies. Ramanujan has pointed out that somepoets have no sympathy towards the suffering of fellow beings. In the poem ‘A River’ he

has indicated how during the flood period the river becomes an instrument of destruction.The huts are washed away and people living on river banks have to face acute suffering.11He has no respect for persons who are not inclined to share the suffering of others in theirhour of crisis. He says that “The new poets still quoted/the old poets, but no one spoke/inverse/of the pregnant women/drowned, with perhaps twins in her, / kicking at blankwalls/even before birth.12Ramanujan is a keen observer of socio-political events, and has exposed the rapaciousdealings of politicians. In his poem ‘An Image for Politics’ he says “Once, I’d only heard/ofa Chinese fancy-dish/of fish/that rots/till it comes alive/and a maggot-spaghettisquirms/where once a mackerel gasped for worms:/cannibal/devouring smaller cannibal/tillonly two equal/giants are left to struggle,/entwined,/like wrestlers on a cliff:/and at last / onlyone/omnipotent/maggot-ceasar who rent/his rivals/and lived/of all the mob and thetriumvirate/his fat and lonely body stiff/and blind with meat.”13 The images of cannibals andsquirming worms, bring out the strategy of some politicians who have no qualms in removingthe rivals from their path, and playing their nefarious games without any sympathy for thewelfare of the masses. Ramanujan has protested against the monopolists and dictators, whohave no respect for human values. He prefers to follow the values embedded in the Hinduworld-view. He is against accepting the socio-political systems, which negate the humanvalues enshrined in the civilizations of the world.That humanity is one family remains an important tenet of Hinduism. Ramnujan isfascinated by the ideals of Hinduism and has presented the manifold facets of it. He hasacknowledged that, some traditions in it have outlived their utility, and now they have only asentimental value. He has mixed humour our and irony while presenting the tragic death ofthe family member in a far corner of the world. In the poem ‘Small scale Reflections on aGreat House’ he says, “Once in nineteen forty three/from as far away as the Sahara,/halfgnawed by desert foxes/and lately from some where/in the north, a nephew with stripes/onhis shoulder was called/an incident on the border/ and was brought back in plane/and trainand military truck/even before the telegrams reached,/on a perfectly good/chattyafternoon.”17Ramanujan’s two volumes of poetry The Striders as well as Relations deals with the eventswhich happened in his family. He describes how different members of the family had toface situations which effected them deeply.18 Ramanujan has given basic significance tothings, events and memories connected with the family. The family grows, new entrantsswell the reservoir of memorabilia with the passage of time. He finds in the family historythe cultural patterns and traditions. He depicts the characteristics of the hindu family andsociety, which have survived many a cataclysm by sheer unity and grit. Ramanujan says,“Sometimes I think that nothing/that ever comes into this house/goes out. Things come ineveryday/to lose themselves among other things/lost long ago among/other things lost longago;”2.0 About the Author:The poet was born and brought up in a Hindu family and later he went abroad. So his self wasformed with the host of incidents from the past or the memories of a life to which hebelonged at his past. In fact while the Indian or Hindu milieu constitutes the inner’ substanceof Ramanujan’s poetry , the western milieu shapes the outer’ substance and these two coexist in his poems. All European artists used to draw their self portraits. Once the poet’sportrait was drawn by his father. The poet on his way watches his self-portrait through ashop-window. But his portrait seems stranger to himself. He cannot recognise his own

portrait. Here the poet is suffering from identity crisis of his own-self. In fact it illustratesmodern man’s concern with the self and provides the matrix within which self becomesrelevant’ In the modern world it is easy to resemble everyone but oneself. The portraitreminds him the memory of his past, his family genealogy which he gave away when came toabroad. This is the other part of his existence; the past or his root. The poet here reminds thatthe stranger over there is essentially someone who belongs to a particular family. Here hisself is somewhere fragmented. A sense of exile comes to his mind. He becomes alienatedfrom his own self. This is a kind of modern alienation where a man is constantly falling intooblivion; he cannot resemble his own self from where he came. Surprisingly the portrait isthough still signed but not dated. Here the time is diluted; there is no boundary of time in hisown self. The present and the past coming together in his mind and try to make sense of it.Two points of view are offered in this poem about the identity crisis depicted in the poemabout the identity crisis depicted in the poem. Bruce King states that in a series of paradoxes,resemblance is found to be influenced by situation and the kind of mirror or perspective inwhich a person is seen. Here the modern alienation effect is reflected vividly when theidentity he sees mirrored is that of stranger . But if we look at another point, he is determinedby his father or his sub-conscious mind is somewhere rooted in his own genealogy. Hisidentity is reflected through his portrait by the rules of optics, suggesting his muddledidentity, although often signed in a corner’ by his father. Instead of the traditional artistpainting his own portrait in a mirror, we have a cubist view of the self as fractured andbelonging to different eras’(Bruce King). Ramanujan’s self seems temporary to himself astemporary is his portrait as he sometimes see’ himself in the shop windows. The whole poemis about the existential crisis which is a kind of predicament. Gajendra Kumar feels that thecore of the essential self of the poet persona in the poetry of Ramanujan remains as anintuitive world, but this is amended by changed circumstances and decisions. The essentialself develops, changes, it grows from the seeds in the past towards a future which whileunknowable is already being formed’’. So the poet in the poem is neither a nostalgictraditionalist nor an advocate of modernization and westernization. He is a product of bothand his poem reflect the personality conscious of change, enjoying its vitality, contradictionsbut also aware of the past, the memories which formed his inner self, memories of anunconscious namelessness which are still alive. In this poem past and present are mingledtogether through the poet’s journey of life not surpassing each other which is a culturaladjustment between West’ and East’ which is a major kind of adjustment. He was a uniquewriter who wrote poetry in three languages: English, Tamil and Kannada. Translation was hisforte. He was attention to Indian literature through his numerous translations and creativewriting in English all over the world.The double impulse of being an expatriate writer, who had to satisfy the natives of boththe countries of birth and domicile, seemed to have worked upon him. He states: “Englishand my disciplines (linguistics and anthropology) give me my ‘Outer forms” linguistic,metrical, logical and other such ways of shaping experience, and my first thirty years in India,my frequent visits and field-trips, my personal and professional pre occupations withKannada, Tamil, the classics and folklore give me my substance, my “Inner” forms, imagesand symbols. They are continuous with each other, and I no longer can tell what comes fromwhere”.Ramanujan published four volumes of poetry. The striders (1966), Relations (1971), SelectedPoems (1976) and second Sight (1986). In his poetry there is an encounter of past andpresent, of the East and the West. Poem after poem, he goes back to his childhood memoriesand experiences of life in India. In his poetry one may discern a Western trained intellectualman who looks at oriental things with a detached interest.

Most of the poems of Ramanujan have their origin in recollected personal emotion, andhence, family becomes the main focus of his poetry. They deal with the family life in anironic tone. His poetry reveals how an Indian poet in English derives his health from goingback to his roots-childhood memories. One has to agree with Parthasarathy who rightlyobserves: “The family for Ramanujan, is in fact, one of the central metaphors with which hethinks.” is fastidiousness as an artist accounts for the thinness of his poetic output. He is alsomodern in the use of colloquial and conversational style. In most of his poems, he tries toassimilate the native tradition into English language for the benefit of the foreigners. Forinstance in the poem “A River ” he uses the word ‘diapers’which means napkins in Americafor the sake of his American readers. He has won the admiration of all his contemporariesand peers like Nissim Ezekiel, Parthasarathy, Keki N. Daruwalla and Jayanta Mahapatra.Hovering between the land of his birth and the country of his work and domicile, Ramanujanaccepts both and does not abandon one for the other. His poetry is Indian in sensibility andcontent but English in language. It is strongly rooted in and stems from the Indianenvironment.3 Prayers To Lord MuruganLord of new arrivalslovers and rivals:arriveat once with cockfight and banner—dance till on this and the next threehillswomen's hands and the garlandson the chests of men will turn likechariotwheelsO where are the cockscombs and wherethe beaks glinting with new knivesat crossroadswhen will orange banners burnamong blue trumpet flowers and the shadeof treeswaiting for lightnings?2Twelve etched arrowheadsfor eyes and six unforeseenfaces, and you were notembarrassed.

Unlike other godsyou find workfor every face,and madeeyes at only onewoman. And your armsare like faces with propernames.3Lord of greengrowing things, give usa handin our fightwith the fruit fly.Tell us,will the red flower evercome to the branchesof the blueprintcity?4Lord of great changes and smallcells: exchange our painted greypotteryfor iron copper the leap of stone horsesour yellow grass and lily seedfor rams!flesh and scarlet rice for the carnivalson rivers O dawn of nightmare virginsbring usyour white-haired witches who wearthree colours even in sleep.5

Lord of the spoor of the tigress,outside our town hyenasand civet cats liveon the kills of leopardsand tigerstoo weak to finish what's begun.Rajahs stand in photographsover ninefoot silken tigressesthat sycophants have shot.Sleeping under country fanshearts are worm cansturning over continuallyfor the great shadowsof fish in the openwaters.We eat legends and leavings,remember the ivory, the apes,the peacocks we sent in the Bibleto Solomon, the medicines for smallpox,the similesfor muslin: wavering snakeskins,a cloud of steamEver-rehearsing astronauts,we purify and returnour urineto the circling bodyand burn our faecesfor fuel to reach the moonthrough the sky behindthe navel.6Master of red bloodstains,our blood is brown;our collars white.Other lives and sixtyfour rumoured arts

tingle,pins and needlesat amputees' fingertipsin phantom muscle7Lord of the twelve right handswhy are we your mirror menwith the two left handscapable only of castingreflections? Lordof faces,find us the facewe lost earlythis morning.8Lord of headlines,help us readthe small print.Lord of the sixth sense,give us backour five senses.Lord of solutions,teach us to dissolveand not to drown.9Deliver us O presencefrom proxiesand absencesfrom sanskrit and the mythologiesof night and the severalroundtable mornings

of London and returnthe future to whatit was.10Lord, return us.Brings us backto a litterof six new pigs in a slumand a sudden quarterof harvestLord of the last-borngive usbirth.11Lord of lost travellers,find us. Hunt usdown.Lord of answers,cure us at onceof prayers.3.1 Analysis of the poem:The poet quotes God Shiva, Lord Murugan and other Gods of the Hindu mythology in hispoems. In the poem Prayer to Lord Murugan, the poet expresses unmistakable in perceptionof a tradition as well as in ironic posture. No focus is given on contents and context, thesubject matter is clarifying. In the present poem Vasavanna’s dialogue is representative ofIndian concepts of the ignorance causing births to occur through wombs and unlikely worlds.At a number of occasions, there is interrogation in ironic mode. Ramanujan clearly marks avisible paradox in this lines; a typical and radical mode of expression. But as a great child ofIndian tradition, Ramanujan making utterances grounded in counter-culture sensibilities andfurther makes radical subversion of the dominal cultural representations. As a resident inwestern modern culture, Ramanujan was aware of western culture. For him modernityappeared to be afflicted with Oedipal repressions and violent dismissls of the immediatetradition of operations. Ramanujan’s ‘Prayers to Lord Murugan’are good example of hisquest for human touch in life. He prays:Lord of the twelve right handsWhy are we your mirror men

With the two left handsCapable only of castingReflections? LordI choke, for ancient hands are at my throat.The poet is conscious about people of modern generation who ‘Having no clear conscience,he looks for one in the morning news. Assam then, Punjab now, finds him guilty of an earlybreakfast of two whole poached eggs. ’(‘Looking and Finding’ . The poet firmly believes that days can be golden, apples beautiful, ifeyes can see only days and apples.Help us readThe small print.Lord of the sixth senseGive us backOur five sensesThe height of his secular human search comes in the last stanza of thepoem where the persona seeks:Lord of answers,Cure us at onceOf prayers.In the poetry of Ramanujan human relationships are described through its all complexities tobring out the suffering of the self. The persona of many poems is wedded to doubt/ and onlymarried to woman ’The persona is ‘Looking for a system, Although Ramanujan appears andwears a mask of secularism, his poems grouped as ‘Prayers to Lord Murugan shed subjectiveidentity here. The Hindu poems attest, through a developing process of implication that thepersona or the mask cannot provide a consistent amour to the self because it can never fullycope with the variety and depth of inner life brought into interplay in one’s encounter withreality. Thus Ramanujan through his prayer motif is successful in inscribing the self. Itassumes the qualities of a persona. It also becomes an object. These prayers reach a climaticpoint with the last three lines:Lord of answers,Cure us at onceOf prayers.Ramanujan harps on the essence of the religious faith which is universal:Adjust my single eye, rainbow bubble,So I too may see all things double.3.2 Some solved questions and answers:1 Whom does the writer quote in this poem?A The writer has quoted Gods of the Shiva's family in this poem.

2 What is the basic theme of this poem?A In the present poem Vasavanna’s dialogue is representative of Indian concepts of theignorance causing births to occur through wombs and unlikely worlds. At a number ofoccasions, there is interrogation in ironic mode. Ramanujan clearly marks a visible paradoxwhich marks a typical and radical mode of expression.How has human relationships brought out in the poem?A In the poetry of Ramanujan human relationships are described through its all complexitiesto bring out the suffering of the self. The persona of many poems is ‘wedded to doubt/ andonly married to woman’The persona is ‘Looking for a system, Although Ramanujan appearsand wears a mask of secularism, his poems grouped as ‘Prayers to Lord Murugan shedsubjective identity here.What is the poet's perception in this poem?In the poem Prayer to Lord Murugan, the poet expresses unmistakable in perception of atradition as well as in ironic posture.What message does the poet tries to give us through this poem?Ramanujan tries to bring out the essence of the religious faith which is universal and hasemphasised on secularism which implies on tolerance toward all religions.4 A RiverIn Madurai,city of temples and poets,who sang of cities and temples,every summera river dries to a tricklein the sand,baring the sand ribs,straw and women's hairclogging the watergatesat the rusty barsunder the bridges with patchesof repair all over themthe wet stones glistening like sleepycrocodiles, the dry onesshaven water-buffaloes lounging in the sunThe poets only sang of the floods.He was there for a daywhen they had the floods.People everywhere talkedof the inches rising,

of the precise number of cobbled stepsrun over by the water, risingon the bathing places,and the way it carried off three village houses,one pregnant womanand a couple of cowsnamed Gopi and Brinda as usual.The new poets still quotedthe old poets, but no one spokein verseof the pregnant womandrowned, with perhaps twins in her,kicking at blank wallseven before birth.He said:the river has water enoughto be poeticabout only once a yearand thenit carries awayin the first half-hourthree village houses,a couple of cowsnamed Gopi and Brindaand one pregnant womanexpecting identical twinswith no moles on their bodies,with different coloured diapersto tell them apart.4.1 Analysis of the poem:It turns to a dry trickle, uncovering ‘sand ribs’. He details the underbelly of the river thatstays hidden. Visible now, are the bits of straw and women’s hair that chokes the rusty gatesof the dam and the bridges that are plastered over with ‘patches of repair’.The narrator remarks wryly that the poets who sang and they, who now imitate them, see onlythe symbolism of vitality when the river is in flood. With a few stark images, the poetcompletes the picture of the river and its complexities which have been glossed over andignored. Yet not to stress the merely the grim, unlovely angle, the poet brings alive the beautytoo, which lies open in the summer. This has been lost on the sensibilities of the past poets:

the wet stones glistening like sleepycrocodiles, the dry onesshaven water-buffaloes lounging in the sun . (13-15)Using vivid similes, he refers to a lack of imagination of the old poets who ‘only sang of thefloods’.In stanza two, the poet speaks of the river in flood in the rains. He was there once and sawwhat happened. The river in spate destroys everything in its wake from live-stock to housesto human life. This happens once a year and has been continuing for years in the samepattern.He notes the casual approach of the of the towns people. Anxiously they talk of the risinglevel of water and enumerate mechanically the ‘precise’ number of steps as the water brimsover the bathing places.The river carries off:‘three village houses,one pregnant womanand a couple of cowsnamed Gopi and Brinda as usual.’These are itemized, mentioned cursorily as in a list—three, one, two. The early poets andtheir successors tick off the losses as mere statistics, unheeding of the destruction, sufferingand human pain left in the wake of the flood. Their aim, according to the speaker, is simply torecord a sensational event to arrest the momentary attention of the people. He finds thisattitude shocking and callous.Between the village houses and Gopi and Brinda, the two cows is remarked one pregnantwoman. No one knows what her name is and she is glossed over peremptorily. Yet the poetimagines that she may have drowned with not one life in her but two—‘twins in her’ whichkicked at blank walls even before birth.Continuing with the analysis of a river by Ramanujan, the poets deemed it enough toversify and exalt the river only when it flooded once a year. While they sang of the river as acreative force giving birth to new life, the paradox of the pregnant woman who drowned withtwins in her eludes them. Embracing only the glory of the floods, they fail to realize its morecomplex repercussions on human life. The narrator gives us a more complete impression ofthe river as destroyer as well as preserver. He is sarcastic about the poets of yore who seizeonly the floods to write about and that too merely once a year.‘the river has water enoughto be poeticabout only once a year’Theme of the poem A River by RamanujanThe above lines satirize and debunk the traditional romantic view of the river Vaikai inMadurai, by the ancient poets. He is derisive too, of the new poets who have no wit but toblindly copy their predecessors.

Humor is presented in the names of the cows and the colored diapers of the twins to help tellthem apart. Yet this too, is an attack on the orthodoxy of Hinduism. While cows are givennames, no one knows who the pregnant woman is nor are they concerned. Human sacrificeswere performed to appease the gods because of droughts in Tamil Nadu, and the drownedtwin babies may be a reference to such cruel and orthodox rituals.This is an unusual poem with many layers of meaning and is a commentary on theindifference of the old and modern poets to the ravages caused by the river in flood and thepain and suffering caused to humans.With a few stark images, the poet completes the picture of the river and its complexitieswhich have been glossed over and ignored. Yet not to stress the merely the grim, unlovelyangle, the poet brings alive the beauty too, which lies open in the summer. The opening lineimmediately presents the main physical setting of the poem by mentioning the city of“Madurai.” By the end of the work, however, the relevance of the poem will transcend itsrelevance to this particular place. The speaker uses Madurai as his setting so that he canpresent detailed, concrete specifics rather than broad abstractions or generalizations. By thetime the poem concludes, however, it will be obvious that the significance of his wordstranscends their significance for any specific city. This is ultimately a poem about thedifferences between writing that is realistic, conventional, and/or highly imaginative.In line 2, Madurai is described as a “city of temples and poets,” making it sound like a placeof great spiritual significance and associating it also with creativity and beauty. Its poets,indeed, have often sung of “cities and temples” (3), thereby celebrating places of greatimportance. Yet no sooner does the speaker make Madurai sound like a mythic, magnificentlocation than he immediately complicates (or even undercuts) this impression. He reports thateach summer the city’s river—a river that might itself symbolize power, vitality

contemporary English poetry are familiar with the nuances and death of Ramanjan’s poetry. His stress on the web of family life, and the integration of the individual with it remains the prominent characteristic of his poetry. The collection of poems in Relations reflect his poetic insight tinged by eastern and westernFile Size: 1MB

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