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Poem An Introduction by Kamala - PC
Poem An Introduction by Kamala - PC
Introduction:
The poem entitled An Introduction introduces Kamala Das as a rebellious
poet in the tradition of confessional poetry. It deals very frankly with the
poet's search for cultural-linguistic as well as sexual identity in a post-
colonial reality so oppressive and overbearing. It is extremely quintessential
poem embodying the strict traditions and confessions of a true Indianness.
This poem is a truth at its best that flows out with a mixture of rebelliousness
and helplessness at the same time. The poem included in Kamala Das' first
volume of poetry, Summer in Calcutta (1965), begins with a statement that
shows her frank distaste for politics, especially in politically free India ruled
by a chosen elite. The poetess asserts her right to speak three languages, and
defends her choice to write in two-her mother-tongue Malayalam and
English. She does not like to be advised in this matter by any guardian or
relations. Her choice is her own, authentic and born of passion. The poet
looks upon her decision to write in English as natural and humane. As an
Indian woman, the poetess has shown the confidence to speak against the
things which are not to be spoken by a woman of India.
Thought-Content:
The poetess, after discussing her indifferent attitude and distaste for the
politics, goes on to articulate that she speaks in three languages, writes in two
and dreams in one; as though dreams require a medium. The poetess echoes
that the medium is not as significant as is the comfort level that one requires.
The essence of one's thinking is the prerequisite to writing. Hence, she
implores with all—"critics, friends, visiting cousins" to leave her alone. The
language that she speaks is essentially hers; the primary ideas are not a
reflection but an individual impression. It is the distortions and queerness that
makes it individual. And it is these imperfections that render it human. It is
the language of her expression and emotion as it voices her joys, sorrows and
hopes. It comes to her as cawing comes to the crows and roaring to the lions,
and is therefore impulsive and instinctive. it is not the deaf, blind speech :
though it has its own defects, it cannot be seen as her handicap. It is not
unpredictable like the trees on storm, or the clouds of rain. Neither does it
echo the incoherent mutterings of the blazing fire. It possesses coherence of
its own: an emotional coherence. From the issue of the politics of language,
the poetess passes on to the subject of sexual politics in a patriarchy-
dominated society where a girl attaining puberty is told about her biological
changes by some domineering parental figure. As the girl seeks fulfilment of
her adolescent passion, a young lover is forced upon her to traumatize and
coerce the female-body since the same is the site for patriarchy to display its
power and authority. Where thereafter, she opts for male clothing to hide her
feminity, the guardians enforce typical female attire, with warnings to fit into
the socially determined attributes of a woman, to become a wife and a mother
and get confined to the domestic routine. She is threatened to remain within
the four walls of her female space lest she should make herself a psychic or a
maniac.
Moral of the Poem:
The poetess opens the loneliness of pot just Indian women but women of
many a ration. She presents crankiness, distority, honesty and brutal
frankness and a tradition and culture of that time and the earnest rebellion of
a growing girl who was trapped in a time zone different from her mental
time. The poetess has grown to see her rebellion in many a women. The
poetess, who is an individual woman, tries to voice a universal womanhood
and tries to share her experience, good or bad, with all other women. Love
and sexuality are a strong component in her search for female identity and the
identity consists of polarities.
The Use of Sex Imagery:
In the poem, the poetess gives us a vivid picture of how she grew up from a
child to an adult, becoming tall, with her limbs swelling (or becoming bigger)
and hair sprouting at one or two places in her body. Here she also gives us a
picture of her husband, to whom she had just been married, drawing her into
the bedroom, closing the door, and performing the sexual act with her in such
a rough manner that her body felt beaten, with the weight of her breasts and
womb crushing her. This is sensuous, nay sensual imagery, candid and
inhibited. The reader would enjoy this imagery because of its very candour.
Style and Language:
The assertion of the self against the various given social roles, identities and
communal demands is an indicator of the existentialist leaning of the poetess.
The first person narrative of the poem also reinforces the idea of the asserting
self. The use of the indefinite article 'An' in the title is also indicative of the
fluid but resisting and self-determining position of the poet. She explains her
encounter with a man. She attributes him with not a proper noun, but a
common noun-"every man" to reflect his universality. He defined himself by
the "I". the supreme male ego. He is tightly compartmentalized as "the sword
in its sheath". It portrays the power politics of the patriarchal society that we
thrive in that is all about control. It is this "I" that stays long away without
any restrictions, is free to laugh at his own will, succumbs to a woman only
out of lust and later feels ashamed of his own weakness that lets himself lose
to a woman. Towards the end of the poem, a role-reversal occurs as this "I"
gradually transitions to the poetess herself. She pronounces how this "I" is
also sinner and saint, beloved and betrayed. As the role-reversal occurs, the
woman too becomes the "I" reaching the pinnacle of self assertion.
The poem is remarkable for its compression and for the compactness of its
structure even though it contains a diversity of facts and circumstances. The
rules of punctuation have here been fully observed; all the lines are almost of
the same length. The words used and the phraseology show Kamala Das'
talent for choosing the right words and putting them in highly satisfactory
combinations. Indeed, the poem contains many felicities of word and phrase.
In the poem, she very appropriately writes:
“...…., He did not beat me
But my sad woman-body felt so beaten.
The weight of my breasts and womb crushed me."
In the same poem she speaks of her lover's longing for her and her longing
for him in the following words:
"In him...…the hungry haste of rivers,
In me...…the oceans' tireless waiting."