Image of Vithoba - I

 Introduction:

Dilip Chitre is one of the foremost Indian poets, a notable bilingual writer in Marathi and English, and a versatile artist. He was a significant figure in post-Independence Indian literature and a key influence in the "little magazine movement" of the 1960s in Marathi literature. 

Dilip Chitre is also an important translator. He translated Saint Tukaram and Saint Dnyaneshwar into English. The poem ‘The Image of Vithoba’ is taken from his translated book ‘Says Tuka’. The poem is a translation of one of Saint Tukaram’s abhangas.

The main theme of the poem is devotional love. The poem celebrates the deep emotional and spiritual connection between the bhakta (devotee) and Lord Vithoba. It expresses bhakti, peace, and inner joy.

The poem:

The poem describes the beautiful and divine image of Lord Vithoba (Vitthala), the beloved deity of Maharashtra. The poet presents Vithoba as standing in a deep, peaceful trance on a brick, with his arms akimbo (hands on his hips), the familiar traditional posture seen in Pandharpur.

The poet describes the saint-like ornaments Vithoba wears:

• a garland of tulsi (sweet basil),
• a yellow silk garment,
• crocodile-shaped earrings, and
• the Kaustubha stone shining at his throat.

The poet admires both Vithoba’s appearance and the spiritual calm that surrounds him.

In the last lines, the poet speaks through the voice of Saint Tukaram (Tuka). Tuka says that seeing Vithoba in this form brings him complete bliss. His own loving devotion meets the divine beauty of the god — “The loving eyes are mine, the loved face His.” It shows the intimate, personal bond between the devotee and the deity.

The language of the poem is simple, musical, and devotional. The short lines create a calm rhythm, matching the peaceful stance of Vithoba. The poem reads like a prayer or meditation.

 

 

 

After Eight Years of Marriage

 Introduction:

Mamta Kalia is a modern Indian poet known for her bold, direct, and realistic portrayal of women’s lives. Her poem “After Eight Years of Marriage” explores the everyday frustrations, emotional fatigue, and silent struggles of a married woman. The tone is honest, conversational, and reflective.

The poem:

The speaker in the poem visits her parents’ home for the first time after eight years of her marriage. The parents expect that she must be happy in her married life and so they enquire about it. According to the speaker, it’s an absurd question. She recalls how sometimes she is happy and how sometimes she is sad. According to her:

1. She is happy on Tuesday, but unhappy on Wednesday.
2. She is happy at 08 O’clock, but unhappy at 08.15.
3. One day she ate watermelon with her family members, and she was happy.  But once she wept for whole night.
4. It was a family of the twelve members. She has two sons. The sons are weak with ‘beaten faces and grey eyelashes.’ It clearly indicates that she did not have the happy married life.
5. But the speaker did not want to hurt the feelings of her parents. So, she swallows her sorrow, and just smiles.

The poem describes a woman’s honest feelings after spending eight years in marriage. In the beginning, she had many dreams and expectations, but over the years, these hopes have faded. Marriage has become a routine for her, without excitement or emotional warmth. She feels tired of the constant responsibilities and adjustments she has to make every day.

The woman realizes that her husband does not notice her efforts or understand her feelings. The communication between them has reduced, and she feels emotionally distant from him. She performs all her duties, yet she feels unappreciated and lonely. Gradually, she senses that she is losing her individuality and becoming only a “wife” in the eyes of society, not a person with her own desires.

Through this poem, the poet shows how marriage, which begins with love and enthusiasm, can slowly turn into monotony and emotional emptiness if there is no understanding. The poem highlights the woman’s inner struggle, her frustration, and her quiet acceptance of life as it is.

 

Night of the Scorpion

 Introduction:

The poem 'Night of the Scorpion' (विंचू) by Nissim Ezekiel (निसीम एझिकेल) explores various themes such as fear, superstition, and the bond between a mother and her children. The poem is set in a rural Indian village where a scorpion sting (दंश) causes panic and fear among the family members.

The poem:

The speaker specifically remembers the night his mother was stung by a scorpion. It was hiding beneath a bag of rice, to escape the rain.

A picture of a religious village is created by the speaker. The neighbours try to paralyse the scorpion. They believe that as the scorpion moves, the poison moves in the blood of the mother. The entire village tries to find the scorpion, but they can’t.

Many things are tried, to help relieve the mother’s pain, but none work. The speaker watches helplessly.

The speaker’s father, who is rational and scientific, tries to save his wife by using powders, mixtures, herbs, medicinal hybrids and even pouring a little paraffin upon the bitten toe and putting a match to it.

After twenty-four hours, the poison loses its sting and the mother is finally alright. A sign of her prevailing love and affection for her children is shown, when she thanks God that she was stung and not her children.

Theme of the poem:

The main theme of the poem is the contrast between superstition and rationality. The villagers believe that the scorpion’s movement will increase the mother’s pain and that prayers and rituals can drive away evil. The poet’s father, being rational and scientific, tries medical remedies, but nothing works. Ultimately, the mother recovers naturally after twenty hours. Her only reaction is selfless. She thanks God that the scorpion stung her and not her children. This shows the power of a mother’s love, which is stronger than pain or fear.

Through vivid imagery and symbolism, the poet captures the emotional turmoil experienced during the night of the incident. The scorpion symbolizes danger and the unknown, while the mother's suffering highlights her strength and resilience. The poem also reflects on the cultural beliefs surrounding superstition, as the villagers engage in rituals to ward off evil. Overall, the poem conveys a deep appreciation for maternal love and the human response to fear and suffering.

Conclusion:

“Night of the Scorpion” is a perfect blend of Indian rural life and human emotion. Through a simple story, Nissim Ezekiel presents deep insights into superstition, belief, and maternal love. The poem is realistic, touching, and timeless — a true reflection of India’s heart and spirit.

 

 

 

 

 

Bangle Sellers

Introduction: 

    The poem ‘The Bangle Sellers’ by Sarojini Naidu revolves around bangles and bangle sellers. It describes the different stages in the life of a woman. The speaker of the poem is speaking on the part of the bangle sellers. These bangle sellers are selling bangles at the temple fair. They call out to the people passing by and urge them to buy bangles for their daughters and wives. In the second, third, and fourth stanzas, they describe the bangles of different colors they have to match the woman of different age groups. 

The poem:

    In the first stanza, the bangle seller is seen carrying 'the shining loads' of bangles to the temple fair. He wonders that who will buy these bangles for 'happy daughters and happy wives?' Thus, it can be seen that bangles in Indian culture are associated with happiness.

    In the rest of the stanzas, the bangle seller goes on describing the colourful bangles meant for women belonging to differnet stages. According to the bangle seller:

1. Some bangles are meant for a maiden. These bangles are silver and blue like mountain mist.

2. Some bangles meant for a maiden are flushed like the buds, and some aglow like new born leaves.

3. Some bangles are meant for a bride. These bangles are like the fields of corn.

4. Some bangles  meant for a bride are like the flame of her marriage fire.

5. These bangles have the tinkling sound like the bridal laughter and bridal tear.

6. Some bangles are meant for  a middle age woman. These bangles are purple and gold with grey dots.

7. These bangles are for those women who are living happy married life with their children and husband.

        Thus, the poem presents three stages of a womanhood: a maiden, a bride and a married woman living happily. Here, bangles are not just ornaments; they symbolize joy, tradition, love, and social identity. Each colour of the bangles reflects a stage in a woman’s life.

Question Paper Pattern_Paper No. IV

 Indian English Literature: Indian English Poetry and Drama

 Marks: Semester End: 80     Internal Assessment: 20         Total Marks: 100 

Q. 1 A) MCQs (All Modules) _______________________________(10)

Q. 1 B) Show your acquaintance (5/7) (All modules)_____________(10)

Q.2. Answer the following questions in about 250-300 words.______(15)

        (A or B) (Module II) 

Q.3. Answer the following questions in about 250-300 words.______(15)

        (A or B) (Module III and IV)

Q.4. Write short notes in about 100-150 words each. (3/5)_________ (15)  

        (Module I)

Q.5. Write short notes in about 100-150 words each. (3/5)_________ (15) 

        (3 to be set on Module III and IV and 2 to be set on Module II)  

Andha Yug (IV)_Short notes

Character Sketch of Ashwatthama

Introduction

Ashwatthama is one of the most powerful and tragic characters in ‘Andha Yug’. He is the son of Guru Dronacharya, and represents the spirit of blind revenge and moral darkness that survives even after the war ends.
Through Ashwatthama, Dharamvir Bharati shows how anger, hatred, and wounded pride can destroy a man’s humanity.

Symbol of Revenge and Destruction

After the Mahabharata war, most warriors are dead.
Ashwatthama is filled with bitterness and vengeance because his father, Dronacharya, was killed through deceit by Dhrishtadyumna and Yudhishthira. He cannot accept the defeat of the Kauravas or the injustice done to his father. His desire for revenge becomes stronger than his sense of right and wrong.

His Moral Blindness

Ashwatthama’s actions are driven by blind rage, not by reason or dharma. He attacks the sleeping and unarmed Pandavas, killing them mercilessly. He even wants to destroy the unborn child in Uttara’s womb so that the Pandava line will not continue. This shows that he has completely lost his moral vision. He becomes the true image of “Andha Yug”.

His Curse and Punishment

When Ashwatthama releases the deadly Brahmastra, he cannot withdraw it because his father never taught him that secret. Krishna saves the unborn child by taking the blow upon himself and then curses Ashwatthama: he must wander on the earth forever, carrying the pain of his sins.

Symbolic Meaning

Ashwatthama is not just an individual. He represents the evil that survives after every war. He stands for the human tendency to seek revenge even when the war is over. Through him, Bharati warns that violence never ends violence; it only creates endless suffering.

Character Sketch of Gandhari

Introduction:

Gandhari is one of the most powerful and tragic women in ‘Andha Yug’.
She is the queen of Hastinapur, wife of Dhritarashtra, and mother of the hundred Kaurava sons. In the play, she represents the voice of sorrow, moral anger, and spiritual blindness. Her suffering and her curse to Krishna form the emotional centre of the play.

A Devoted Wife:

Gandhari is known for her loyalty and devotion.
Even though she is born with sight, she chooses to blindfold herself for life to share the darkness of her blind husband Dhritarashtra.
This act shows her noble sense of sacrifice and duty, but also becomes a symbol of moral blindness. She refuses to see the evil deeds of her own sons.

A Sorrowful Mother:

The war takes away all her hundred sons, including her beloved Duryodhana. Her heart is filled with grief and despair. Her motherhood turns into deep pain as she realises that her sons have perished because of their greed and pride. She becomes a symbol of the motherland mourning the loss of her children in a self-destructive war.

Her Anger and Curse:

Gandhari’s sorrow turns into anger and bitterness against Krishna.
She blames him for not preventing the war. In her fury, she curses Krishna that his own clan, the Yadavas, will one day destroy each other and that he himself will die at the hands of a hunter. Her curse becomes true later, showing that even divine figures must face the consequences of human suffering.

Her Repentance and Tragic End:

In the end, Gandhari realises the futility of hatred and the weight of her curse. Living in the forest with Dhritarashtra and Kunti, she repents for her anger and dies in the forest fire. Her death symbolises the final purification of her soul after years of suffering.

Character Sketch of Sanjaya

Introduction

Sanjaya is one of the most significant and morally upright characters in ‘Andha Yug’. He is the charioteer and counsellor of King Dhritarashtra.
Sanjaya is blessed with divine vision by Lord Vyasa to narrate the events of the war to the blind king. He is the symbol of truth, conscience, and moral awareness in an age of destruction and blindness.

A Messenger of Truth

Sanjaya’s main duty is to inform Dhritarashtra about the events of the war. He performs this role honestly and fearlessly. Even though the truth is painful, he does not hide it. He tells Dhritarashtra and Gandhari about the total destruction at Kurukshetra and the death of their sons. Through Sanjaya, Bharati shows the importance of truth even in times of hopelessness.

The Voice of Conscience

In a world where everyone is blinded by pride, greed, and anger, Sanjaya acts as the voice of conscience. He represents the human capacity to think morally and spiritually. He tries to make Dhritarashtra realise that his fear and regret are useless now — it was his blindness to truth that caused this destruction. Sanjaya reminds others of Krishna’s message of faith, duty, and surrender.

A Witness to Destruction

Sanjaya moves between the battlefield and the palace, witnessing the full horror of the war. He sees how hatred consumes both the Kauravas and the Pandavas. His experiences make him deeply sorrowful and disillusioned with mankind. He symbolises the helpless witness — one who sees everything clearly but cannot stop the tragedy.

A Symbol of Insight and Spiritual Vision

Unlike the physically blind Dhritarashtra, Sanjaya can “see” — not just with his eyes, but with spiritual understanding. He represents inner sight, or the power to recognise moral truth. His clarity contrasts with the blindness of others around him, making him a moral and spiritual light in a dark world.

His Role in the Epilogue

In the epilogue, Sanjaya is present at the time of Krishna’s death.
He wants to surrender himself to Krishna, symbolising his desire for redemption and faith. When the hunter’s arrow kills Krishna, Sanjaya screams and faints — this moment expresses the deep sorrow of the end of dharma (righteousness) and the beginning of Kali Yuga.

Title of the play

The title ‘Andha Yug’ literally means “The Age of Blindness.” It is one of the most meaningful and symbolic titles in modern Indian drama. Dharamvir Bharati uses this title not only to describe the physical blindness of Dhritarashtra, but also the moral and spiritual blindness that grips the entire society after the war of Kurukshetra.

The play shows how men lose their sense of righteousness, compassion, and truth in the name of revenge, ego, and hatred. Every character — Dhritarashtra, Gandhari, Ashwatthama, and even the people of Hastinapur — becomes blind to justice and humanity. Their blindness leads to destruction and despair.

The title also reflects the post-Partition reality of India, when people had become blind to peace and brotherhood and were driven by communal hatred. Thus, ‘Andha Yug’ is not only about the blind king or the Mahabharata age, but also about any age in which mankind loses moral vision.

In short, the title symbolises the moral decay, spiritual darkness, and inner blindness of human beings that bring about their own ruin.

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Andha Yug (III)_Plot of the play

 

Plot of the Play Andha Yug

Introduction:

Dharamvir Bharati’s Andha Yug is a powerful modern verse-play based on the last day of the Mahabharata war. The play is not merely a retelling of an epic story; it is a symbolic portrayal of the moral and spiritual blindness that leads to destruction in every age. It opens after the war between Kauravas and Pandavas has already been fought and won, and all that remains is death, despair, and guilt.

Act I:

The first act sets the tone of darkness and fear. Two tired guards hear vultures flying toward Kurukshetra. According to them, it is a bad omen for the ruined city. Inside the Kaurava palace, the blind king Dhritarashtra and Gandhari wait for news from Sanjaya, but Vidura arrives instead. Dhritarashtra confesses his fear, while Vidura reminds him that it is too late. He asks to seek faith in Krishna. Gandhari angrily blames Krishna for breaking moral laws. The chorus declares that only two fading lives are left in devastated Hastinapur.

Act II:

In the second act, Sanjaya loses his way in the forest and meets Kritavarma, Kripacharya, and Ashwatthama, the only surviving Kaurava warriors. Burning with revenge for his father Drona’s treacherous death, Ashwatthama swears to destroy the Pandavas. When Sanjaya tells him that Duryodhana is still alive and hiding in a lake, they go to meet him.

Act III:

The third act links the palace and the forest. Yuyutsu, who had fought on the Pandavas’ side, comes to Hastinapur. But he is rejected by his own people. Sanjaya brings news of Duryodhana’s defeat. Meanwhile, Ashwatthama witnesses Bhima’s unfair killing of Duryodhana and takes a vow of vengeance. Duryodhana appoints him as commander before dying, and Ashwatthama decides to attack the sleeping Pandavas.

Act IV:

In the fourth act, Ashwatthama prays to Lord Shiva, gains divine blessing, and enters the Pandava camp at night. He brutally kills Dhrishtadyumna, Shikhandi, and others. Then he tries to destroy Uttara’s unborn child, the last heir of the Pandava line. Gandhari removes her blindfold and turns Ashwatthama’s body into diamond-like hardness. Both Arjuna and Ashwatthama release the Brahmastra, but only Krishna can save the unborn child. Krishna takes the blow upon himself, curses Ashwatthama to endless wandering, and accepts Gandhari’s curse that his own clan will perish and he will die by a hunter’s arrow.

Act V:

The fifth act shows the moral emptiness that follows war. Yudhishthira rules over Hastinapur but feels defeated and isolated. Yuyutsu, insulted by everyone, commits suicide. Kripacharya leaves the collapsing kingdom. Dhritarashtra, Gandhari, Kunti, and Sanjaya retreat to the forest, which catches fire; Gandhari repents, and they all die. Yudhishthira realises the futility of war and renounces the world.

Epilogue:

The epilogue narrates Krishna’s death. Sitting under a peepul tree, he is struck by a hunter’s arrow that mistakes his foot for a deer’s face. With Krishna’s death, Dvapara Yuga ends and Kali Yuga begins—the age of spiritual blindness and moral decay.

Conclusion

The plot of Andha Yug moves from external war to inner destruction. Through the downfall of both victors and vanquished, Bharati shows that hatred, ego, and revenge blind humanity. The play ends with a warning: when man loses faith and compassion, the “age of blindness” begins again.