An Introduction

 An Introduction

Poem:-

I don't know politics but I know the names

Of those in power, and can repeat them like

Days of week, or names of months, beginning with Nehru.

I amIndian, very brown, born inMalabar,

I speak three languages, write in

Two, dream in one.

Don't write in English, they said, English is

Not your mother-tongue. Why not leave

Me alone, critics, friends, visiting cousins,

Every one of you? Why not let me speak in

Any language I like? The language I speak,

Becomes mine, its distortions, its queernesses

All mine, mine alone.

It is half English, halfIndian, funny perhaps, but it is honest,

It is as human as I am human, don't

You see? It voices my joys, my longings, my

Hopes, and it is useful to me as cawing

Is to crows or roaring to the lions, it

Is human speech, the speech of the mind that is

Here and not there, a mind that sees and hears and

Is aware. Not the deaf, blind speech

Of trees in storm or of monsoon clouds or of rain or the

Incoherent mutterings of the blazing

Funeral pyre. I was child, and later they

Told me I grew, for I became tall, my limbs

Swelled and one or two places sprouted hair.

WhenI asked for love, not knowing what else to ask

For, he drew a youth of sixteen into the

Bedroom and closed the door, He did not beat me

But my sad woman-body felt so beaten.

The weight of my breasts and womb crushed me.

I shrank Pitifully.

Then … I wore a shirt and my

Brother's trousers, cut my hair short and ignored

My womanliness. Dress in sarees, be girl

Be wife, they said. Be embroiderer, be cook,

Be a quarreller with servants. Fit in. Oh,

Belong, cried the categorizers. Don't sit

On walls or peep in through our lace-draped windows.

Be Amy, or be Kamala. Or, better

Still, be Madhavikutty. It is time to

Choose a name, a role. Don't play pretending games.

Don't play at schizophrenia or be a

Nympho. Don't cry embarrassingly loud when

Jilted in love … I met a man, loved him. Call

Him not by any name, he is every man

Who wants. a woman, just as I am every

Woman who seeks love. In him... the hungry haste

Of rivers, in me... the oceans' tireless

Waiting. Who are you, I ask each and everyone,

The answer is, it is I. Anywhere and,

Everywhere, I see the one who calls himself I

In this world, he is tightly packed like the

Sword in its sheath. It is I who drink lonely

Drinks at twelve, midnight, in hotels of strange towns,

It is I who laugh, it is I who make love

And then, feel shame, it is I who lie dying

With a rattle in my throat. I am sinner,

I am saint. I am the beloved and the

Betrayed. I have no joys that are not yours, no

Aches which are not yours. I too call myself I.





a)

  1. Kamla Surayya was also known as Madhavikutty. 

  2. After her marriage, she became to known as Kamla Das. 

  3. She was an Indian English poet as well as a Malayalam author. 

  4. Her popularity is chiefly based on her short stories. 

  5. Her Oeuvre in English is noted for her poems and autobiography. 

  6. She was also a columnist. 

  7. She wrote on topics of women's issues, child care, politics and many more. 

  8. She wrote of love betrayal and consequent anguish. 

  9. ⤵️

  1. In her autobiography written in( Ente Katha).

  2. later translated into English. 

  3. Kamla Das says she would strip herself, of clothes, skin, and bones just to show her beautiful soul inside.

b)


  1. 'An Introduction' is a very bold poem in which she expresses her true feelings about men. 

  2. It is an autobiographical poem, written in the colloquial style. 

  3. She presents her feelings and thoughts in a bold manner. 

  4. She realises her identity and understands that it is the need of every woman to raise a voice in this male-dominated society. 

  5. The poetess longs for love. 

  6. It is the result of loneliness and frustration. 

  7. Kamla Das is essentially known for her bold and frank expression. 

  8. The prominent features of her poetry are an acute obsession with love and the use of confession. 

  9. The main theory is based on freedom love and perfection. 

  10. Thus we see, she is a confessional poet. 

  11. An Introduction begins with the speaker saying she knows all the male leaders of India. 

  12. She struggles with her destiny and is finally able to step away from the traditional role of life. 

  13. She describes how males move in society making out their identity. 

  14. They are allowed their choices and emotions. 

  15. She can too be "I". 

  16. Regards language she says, she knows three languages. 

  17. ⤵️

  1. Language plays a vital role in her life. 

  2. she would write in a language with which she is comfortable. 

  3. Not want people to want from her. 

  1. 18. Her distortions are her own. 

  2. ⤵️

  1. Why should people criticize her, 

  2. Why should they care? 

  1. At this criticism, she feels hurt, why should they care? 

  2. Her identity, as seen in her voice is 'human' as she is human. 

  3. She just wants to be human, not a man or a woman. 

  4. ⤵️

  1. She has control over her 'own voice'. 

  2. It can display all her emotions, she believes. 

  1. ⤵️

  1. As the lion roars, dog bark, and it is their own style, own ways, own language. 

  2. So is her language and voice her own. 

  1. She is trapped between her own need for a free life and a world. 

  2. The final statement is one of protest and resistance.


    Summary

    ‘An Introduction’ by Kamala Das describes the poet’s own mental and emotional state as she aged and pushed back against patriarchal society.


    ‘An Introduction’ begins with the speaker, Das, stating that she knows all the male leaders of India. Their names are a part of her, a tribute to their overwhelming power. This contrasts significantly with the lack of power she felt growing up and getting married at sixteen. She struggles with her identity and is finally able to step away from the traditional role of wife. 

    Das describes the way that men are able to move through the world with a solid identity. They are allowed their choices and emotions. In the last lines, she pushes back against this way of life by stating that she feels things that do not belong to the man she loves. She too can be “I.” 


    Structure and Form 

    ‘An Introduction’ is a sixty-line poem that is contained within a single stanza. The lines range from three words up to eleven and do not follow a specific metrical pattern. Das also chose not to use a rhyme scheme. The lines also vary greatly in length and syllable number. This means that the poem is written in free verse. This style of writing allows the poet to explore various structures and make use of more sporadic rhymes. There are several examples of half-rhyme and internal rhyme in ‘An Introduction’. 


    Literary Devices 

    Kamala Das uses techniques such as enjambment, repetition, and anaphora in ‘An Introduction’. Repetition and anaphora are seen at the beginning of a number of lines, such as four and five. In this instance, the speaker is giving two conviction-filled statements about who she is. This is conveyed through the repetition of the pronoun “I”.  Later on, repetition is used again to define her language as both “English” and “human”. She is a human being, as equal and valuable as any other.

    There are also several examples of allusion. She references specific a specific place and the name of a politician that requires some research in order to understand. Enjambment is another important technique. it can be seen throughout this poem, but one good example is the transition between lines fifty-eight and fifty-nine.


    Analysis of An Introduction

    Lines 1-13

    I don’t know politics but I know the names
    Of those in power, and can repeat them like
    (…)
    Becomes mine, its distortions, its queernesses
    All mine, mine alone.

    In the first section of ‘An Introduction,’ the speaker begins by comparing her knowledge of politicians to the days of the week and months of the year. Although she does not have a firm grasp on politics itself, those in power have remained in her mind. This shows their power to be much greater than their role should allow. The first of these she is able to recall is “Nehru,” who served as India’s first prime minister after the withdrawal of the British. 

    After these opening lines that set the scene, the speaker moves on to describe her own being. She is “Indian” and she is “very brown.” Lastly, she is from Malabar in southwest India. These are the basics of her life, but of course not everything. She adds that she is able to, 

    […]speak three languages, write in 

    Two, dream in one. 

    She continues to describe language and the role it plays in her life by saying that she is judged for writing in English.  It is not her “mother tongue.” Whenever she is criticized for how she speaks and writes she feels as if she is alone. There is no one, not her friends or cousins, who backs her up. They are critics of “Everyone.” 

    She directs the next line at this group, asking them why they care what she speaks. She feels a deep connection to the words she uses and how, through “distortions,” her language can only be defined as her own. 


    Lines 13-25

    It is half English, half Indian, funny perhaps, but it is honest,
    It is as human as I am human, don’t
    (…)
    Funeral pyre. I was child, and later they
    Told me I grew, for I became tall, my limbs

    In the next twelve lines of ‘An Introduction,’ the speaker goes on to describe herself as “half English, half Indian.” She sees the humor in this combination and acknowledges that fact as it is “honest.” This seems to be one of the most important parts of her, a desire for authenticity and honesty. Her identity, as seen through her voice, is “human” just as she is human. It should be held under that single defining category and no other. 

    Das describes the control she has over her voice, whether through speech or text. It can display all of her emotions and her, 

    […] mind that sees and hears and 

    Is aware. 

    Human speech is to humans as roaring is to lions. It is intelligible, unlike the roaring of a storm or the “mutterings of the blazing fire.” The speaker defines her freedom through the use of her voice. In the next lines, she explains to the reader that there are other circumstances in her life that infringe on that freedom. They are out of her control. 

    She introduces this section by stating that she only felt older as she grew because she was told of her own physical changes.

    Lines 26-38

    Swelled and one or two places sprouted hair.
    WhenI asked for love, not knowing what else to ask
    (…)
    Be a quarreller with servants. Fit in. Oh,
    Belong, cried the categorizers. Don’t sit

    Her unhappiness is defined in the next section of lines of ‘An Introduction’ and is directly related to a need for freedom. When she was young she “asked for love,” because she didn’t know what else to want. This ended with her marriage at sixteen and the closing of a bedroom door. Although her husband did not beat her, her, 

    […] sad woman-body felt so beaten. 

    This line of An Introduction is interesting as she is placing her own body in one of the categories she rebelled against in the first stanza. It is due to this simplification of a woman as nothing more than a body that led her to marriage at sixteen. She also places blame on her own body for leading her to this place. Her distinctly female parts, “breasts and womb” are a crushing weight on her life. The pressure placed on her by her husband and by her family led to an emotional and mental shrinking. It was a “Pitiful” process. But it ended. 

    She goes on to state that a change came over her. She decided to put on her “Brother’s trousers” and cut off her hair. The speaker is ridding herself of the female image that has harmed her. Now that she is remaking her identity she is able to say no to the traditions of womanhood. These include fitting in and dressing in “saris.” The “categorizers” might tell her not to, 

    […] peep in through our lace-draped windows 

    But she is not going to listen. She chose to move her life beyond the traditional and therefore expand her presence in the world. 


    Lines 39-50

    On walls or peep in through our lace-draped windows.
    Be Amy, or be Kamala. Or, better
    (…)
    Of rivers, in me . . . the oceans’ tireless
    Waiting. Who are you, I ask each and every one,

    In the first two lines of the next section of ‘An Introduction,’ it becomes clear that the speaker is truly meant to be the poet herself. She wonders at her own identity and marvels over the fact that she can now be, 

    Amy, or be Kamala. Or, better

    Still, be Madhavikutty.

    It is by this final name that the poet, Kamala Das, came to be known and is still called.  Das added another few reminders on behalf of the “categorizers.” She shouldn’t “play pretending games” or “cry embarrassingly loud.” Her role as a woman is supposed to be meek, quiet, and contained.

    She goes on to describe a time in which she met and loved a man. This person is referred to as “man,” he is not named. This strips him of some of the agency he is so in control of in the next lines. Additionally, the name is of little importance as he is meant to represent every man in the world who uses women as he pleases.

    At one point, at the height of her emotions, she asks the “man” who he is. He replies “it is I.” The “I” represents the agency he has in the world. Men make their own decisions and have the ability to use the pronoun in order to get what they want.

    Lines 51-61

    The answer is, it is I. Anywhere and,
    Everywhere, I see the one who calls himself I
    (…)
    Betrayed. I have no joys that are not yours, no
    Aches which are not yours. I too call myself I.

    ‘An Introduction’ begins its conclusion with the speaker acknowledging the constant presence of “I” around her. In the world, she’s a part of there are “I” men everywhere she looks. A person of this nature is able to go and “Drink… at twelve” and stay in “hotels of strange towns.” As the lines continue the division between the speaker and the “I” is blurred. Eventually, a reader comes to understand that she is trying to come to terms with her own independence and identity as both “saint” and “sinner.” 

    She is trapped between her own need for free life and the world which tries to keep her contained. The final statement is one of protest and resistance. Das states that she has “Aches” which belong to no one but herself. She too can be “I.” 


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