Chapter-II

Summer in Calcutta

This poetical work opens with the poem „The Dance of the

Eunuchs‟ which sets the tone of irony and temper of the entire

volume. Dancing eunuchs are a familiar sight in India, but in

Kamala‟s poem their whirling movement and extended frenzy are

contrasted with “inner vacuity”, and so they are mere convulsions.

She herself suffered from such an emotional vacuity and so the dance

in symbolic of her inner-self. It is said that the poem was written

against the background of the poet‟s sudden contact with a man who

had hurt her 14 years ago and whom she wish to get at any cost. The

lines are evocative symbolic:

It was hot, so hot, before the eunuchs came ‘To

dance, wide skirts going round ,.and round, cymbals

Richly clashing, and anklets jingling, jingling,

Jingling. ... There were green

Tatoos on their cheek, jasmines in their hair. some

Were dark and some were almost fair. Their voices

 Were harsh, their songs melancholy; they sang of

Lovers dying and of children left unborn ...

Some beat their drums; others beat their sorry breasts

And wailed, and writhed in vacant ecstacy.1

The next poem „The Freaks‟ paints a rather helpless situation

when the man is passive and the woman burning with desire is

helpless. It is about “a grand, flamboyant lust”. Another poem „In

Love‟ brings the poet face to face with the question whether she could

call her sexual experience „love‟. „In Winter‟ also carries the warmth

of the sexual act, of her soul “groping for roots” in his body. „A

Relationship‟, too, identifies love with physical desire; the poem

„Spoiling the Name‟ mocks at the significance generally attached to

words and to abstractions. „An Apoligy for Goutama‟ constructs a

dialectical opposition between the ascetic and the sensual, „The Fear

of the Year‟ highlights a gloomy mood, „My Grandmother‟s House‟ is

purely nostalgic‟, based on her memory of her dear grandmother

whom she loved most of all. And in „The Wild Bourgainvilla‟ we hear

about the poet‟s sadness and how she “groaned/And maned, and

constantly yearned for a man from/Another town... In „The End of

Spring‟, the poet while waiting for her lover‟s phone call, sinks into
brooding over “the fear of change”. And „Too Early the Autumn

Sight‟ also evokes a mood of premature desiccation within, „Visitors

To the City‟ is a passionate etching of a scene composed of sights and

sounds offered by one morning on Strand Road. „Punishment in

Kindergarten‟ is the recollection of a childhood incident, of a picnic at

Victories Gardens along with her schoolmates and teacher. The

teacher punished her because of her incapability to mix up with other

students.

The title piece „Summer in Calcutta‟, projects a self­contained

mood of sensuous luxury similar to that of Keats‟s „Ode on

Indolence‟. The image of the April sun in it brings to the poet a sense

of sensuous repletion, of warm intoxication which inspires as well as

relaxes so that „my worries doze‟ and.

wee bubbles ring

My glass, like a bride‟s

Nervous smile, and meet

My lips, Dear, forgive

This moment‟s full in

Wanting you, the blur

 In memory.2

„The Siesta‟ is associated with sleep, “the sun-lit tank” which

brings “an anonymous peace” to her, or with dreams which “glow

pearl-white”. „With Its Quite Tongue‟ expresses the poet‟s agonised

concern with the wretched coldness of heart. Another poem, „My

Morning Tea‟ deals with the familiar theme of desperate longing for

fulfilment. And a sense of fulfilment strongly dominates the poems

such as „Winter‟, „A Phone Call in the Morning‟, „Spoiling the

Name‟, „In Love‟. „The Testing of the Sirens‟ is written in the

memory of her attachment to one of her family friends, who used to

take her to the Victoria Memorial photographing her against trees and

against flowing water, singing Hindi film songs for her. Thus, in

almost all the poems she romanticises herself, memory being a

predominant factor.

The poetry of Kamala Das calls for special consideration because

of its unique place not only among the Moderns but even in‟ Indian

poetry in English by women‟s as a whole. Kamala Das embodies the

most significant stage of the development of Indian feminine poetic

sensibility not yet reached by her younger contemporaries. Her poetry

voices to the full not only the existential pressures generated during
the modern Indian woman‟s journey from tradition to modernity, but

even the Indian woman poet‟s sense of commitment to reality.

Kamala Das, born at Punnayurkulum in South Malabar in 1934, is

the daughter of V.M. Nair, and Balamani Amma, the Malayalam

poetess. She was educated at the Convent School, Calcutta, but could

not receive higher education because of her marriage at the age of

fifteen. She has published three volumes of poetry in English, viz..

Summer in Calcutta, The Descendants and The Old Playhouse and

Other Poems, while Pritish Nandy‟s anthology of Indian Poetry in

English 1947-1972 contains eighteen of her uncollected poems and

Gauri Deshpande‟s An Anthology of Indo-English Poetry has seven of

them. Apart from her occasional writings in English, her

autobiography in Malayalam has been published in English as My

Story. Her works in Malayalam include more than fourteen books, a‟

majority of them being collections of short stories. She has won the

Poetry A ward of The Asian PEN Anthology in 1964, and the Kerala

Sahitya Akademi Award in 1969 for a collection of short stories in

Malayalam.

Kamala Das is almost exclusively concerned with the per-sonal

experience of love in her poetry. For her, ideal love is fulfilment on

the levels of body and mind; it is the experience beyond sex through
sex. The tragic failure to get love in terms of sexual-spiritual

fulfilment from the husband leads to her.

search for it in extra-marital relationship!; with other men. Each

relationship however succeeds only in intensifying the crisis of

disappointment. Faced with the sense of absolute frustration and

loneliness, the poet turns to poetry as the exclusive medium for its

cathartic release. Poetry responds to the urgent need of the psyche to

come to terms with itself which otherwise threatens to collapse under

the complex tensions generated by the peculiar experience.

Kamala Das‟s love-experience is a multi dimensional

phe-nomenon involving tensions of different kinds. Its complex

nature may be properly apprehended by focusing on some of the

important dimensions as defined in terms of her relationship with the

husband‟, the lovers, the grandmother‟s house‟ and the society as also

in terms of her identities as a woman and as a poet. The absolute

honesty to experience gives a quality of uniqueness to her poetic

exploration in which the validity of expression is resolved purely by

the validity of experience being communicated. Even her

autobiography is poetic experience expanded in prose.

 The relationship with the husband forms the basis of Kamala

Das‟s love-experience and hence provides the most important

dimension for its exploration. The beloved‟s psyche is strenuously

burdened by the bitter realization of the hus­band‟s inability to offer

spiritual fulfilment in spite of fulfilment on the bodily level. as in :

Can‟t this man with

Nimble finger-tips unleash

Nothing more alive than the

Skin‟s lazy hungers?1

The poet tries to explain the nature of unfulfilment in love from

the husband in her statement : “Sex I can get in abundance from my

husband. It was something else that I hungered for”. As a result, love

is reduced to the mechanical act of bodily union:

isn‟t each

Embrace a complete thing, a

Finished jigsaw, when mouth on

Mouth, I lie, ignoring my poor

Moody mind.2
 The urge for freedom from the compulsion of living with the

husband then grows into an obsession:

I shall some day leave, leave the cocoon

You built around me with morning tea,

Love-words flung from doorways and of course

Your tired lust.3

The psyche is however aware of its helplessness to leave the

husband who symbolizes social security.

The tensions involved in the relationship with other men offer

another dimension to Kamala Das‟s theme of love. The need for

fulfilment as the beloved drives the yearning psyche from one man to

another. But. in each experience, the brief period of fulfilment is

destined to be followed by the final shock of unfulfilment. The sense

of joy for the discovery of the right man who is able to give love as

sexual-spiritual fulfilment is communicated thus:

he is the jewel I prefer to

wear once or twice a week with price

he rubs oil on me he

puts me in his bath tub

 i cower before his incurious stare.4

But the repeated shocks of frustration from different lovers

inevitably generate a tragic sense of defeat and humiliation that seeks

expression in the bitterly ironic tone in :

After that love became a swivel-door,

When one went, out, another came in,

Then I lost count, for always in my arms

Was a substitute for a substitute.5

In „The Old Playhouse‟ Kamala Das is particularly successful in

exploring the nature of true love. The poem takes its birth in the tragic

reminiscence of one of the most intense love affairs. The meditative

analysis of the experience is offered in two stages of fulfilment as

marked by the use of past tense, and of the following frustration as

marked through the use of present tense for narration. The beloved

yearns for the kind of love which will be a spiritual experience‟

involving meaningful sexual relationship without the loss of her own

identity. Love should be, according to her, an opportunity for the

develop-ment of personality, as in :

I came to you but to learn

 What I was, and by learning, to learn to grow6

Unfortunately, her relationship with the lover awakens the

awareness of being enslaved, She tells that cowering

Beneath your monstrous ego I ate the magic loaf and

Became a dwarf. I lost my will and reason, to all your

Questions I mumbled incoherent replies.7

The crucial images of “swallow” and “room” concretize the

tension between the ideal, and the experience of love. The image of

“swallow” with its “urge to fly” defines the feminine psyche‟s desire

for freedom, while the image of “room”, with its artificial lights and

windows always shut, projects the nature of his love which prevented

natural growth of her per-sonality.

The recent poems‟ of Kamala Das‟ show a development in her

attitude to love. In Summer in CalCutta and The Descen-dants. the

overwhelming sense of defeat and frustration leads to the persistent

desire for death. The sea seems to invite her towards itself, as in :

Come in,

Come in, What do you lose by dying, and

Besides. your losses are my gains.8

 But, in the later poems, the maturity of approach is revealed

through the psyche‟s willingness to learn the lessons of expe­rience.

The frustrated beloved at last realizes the need for adjustment. She

reconciles herself with the role of a house-wife, as in :

into the hospital

She opened wide her delirious eyes and

said:

Please let me go

I smell the Tur Dal burning...9

There is even a hesitating re-assessment of her relationship with

the husband, as in :

Perhaps I lost my way, perhaps

I went astray. How would a blind wife trace her lost

Husband, how would a deaf wife hear her husband

Call?10

in the light of the experience with different lovers.

Kamala Das‟s search for ideal love and the resultant

dis-appointment seem to involve the psychological phenomenon of

„the animus‟ struggling to project the masculine imprint as interpreted

by Jung. The attempt to seek in every lover the‟ perfection of

masculine being is destined to end in failure because of the

impossibility of realizing the ideal in human form. The poet reveals

this awareness in:

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.

The feminine psyche is awakened to the true significance of. the

painful love affairs as being progressive steps towards the final

realization of its relationship with God, as in :

Any stone can make

An idol. Loving this one, I

Seek but another way to know

Him who has no more a body

To offer, and whose blue face is

A phantom-lotus on the waters of my dreams....12

The poet‟s search for ideal love often takes the form of Radha‟s

yearning for Krishna in some of the poems.

 The love-experience gains a fresh dimension in Kamala Das‟s

anxiety to explore it with reference to the grandmother‟s house. The

life spent in the grandmother‟s house as a child symbolizes the state

of innocence as contrasted with the life as a married woman

symbolizing the state of experience. Her preoccupation with it echoes

the subconscious anguish of the frustrated psyche to return to the state

of innocence now irre­vocably lost, rather than a sense of “nostalgia”

as interpreted by R. Parthasarathy. The childhood stands for the

period

Before the skin,

intent on survival,

learnt lessons of self-betrayal.

Before the red house that had

stood for innocence

crumbled.13

Her poem „Blood‟ (The Old Playhouse and Other Poems, pp. 18-

19) defines the clash between her sense of pride for inheritance of

purity and her sense of disgust for the conventional sex-roles.

 Another dimension that complicates the man-woman relationship

in the case of Kamala Das refers to her identity as a woman involving

the social compulsions to conform to the traditional feminine role.

The urge for freedom from the con-ventional role of a woman asserts

itself early in life, as in :

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.14

The experience of frustration sets the psyche in the attitude of

rebellion against the pretentious role of a happy wife in :

I must pretend,

I must act the role

Of happy woman,

Happy wife.15

Her revolt as a woman against the traditional concept of

womanhood is matched with her revolt as a poet against the

conventional medium of mother tongue for poetry. She has

instinctively chosen English as the poetic medium although she is at

home with Malayalam in prose.

The dreams which form a part of the feminine psyche‟s obsession

with love in terms of sex seem to add the psycho-analytical dimension

to the theme of love in the poetry of Kamala Das. The poet tends to

turn with significant frequency to the subject of dreams, either for

their thematic or their imagistic potential. For instance, from thematic

point of view, here is the poet confessing how .

I dream of obscene hands

Striding up my limbs and of morgues where the nightlights

Glow on faces shuttered by the soul‟s exit.16

In “The Corridors‟, she probes into the recurrent dream “Of a

house where each silent/Corridor leads me to warm/Yellow rooms”

(Summer in CalCutta, p. .36). Apart from the imagistic reference to

dreams in a number of poems, the intense sexual awareness of her

neurotic psyche is evidenced in the recurrent imagery of limbs,

rooms, mirrors, and in her attempt to identify the search for true love

with the search for a “misplaced father” („Glass‟, The Old Playhouse

and Other Poems, p. 22). But it is difficult to agree with Eunice de

Souza‟s psychoanalytical interpretation of Kamala Das as a

nymphomaniac. For, in her poetry, the feminine psyche‟s obsession

with sex is pre-vented from being perverted into nymphomania

because of the inherent urge for spiritual fulfilment in love through

the medium of sex.

The peculiar nature of Kamala Das‟s love-experience might be

understood with reference to the sociological dimension offered by

her Nair lineage. The Nair society has “the matrilineal, matrilocal

organisation” and “did not hinder the plura­lity of husbands to a

Nayar woman”. Of course, “It treated marital relations with increasing

rigidity from the end of the 19th century”. The Nayar lineage of

Kamala Das with its tradition of sexual freedom in spite of later

rigidity explains the frankness of her attitude to love in terms of sex.

M. Elias attempts, in particular, to prove how “her sinfulness or

innocence is not the product of modern conditions in India or

elsewhere, but that they originate from inherited complexes” from his

study of the Nair society.

The communication of experience for its own sake gives a special

dimension of honesty and concentration to the poetry of Kamala Das.

It is notable that the poetic psyche does not attempt, at any stage. to

derive consolation from the assump-tion that her particular experience

of frustration is a part of the typical lot of a woman in the man-

oriented society, There is no evidence to justify Keki Daruwalla‟s

comment that she continues “with her obsession regarding women

being playthings in the unfeeling hands of the male”. On the other

hand, her poems reveal the psyche‟s anxiety to come to terms with the

specific ordeal or frustration purely on the individual level. It is

particularly notable in the context of her writings on various

occasions as a feminist rebel against the conven-tional marriage. For

instance, she writes in the article on „The Sham of a Marriage‟ (Blitz);

“I am thoroughly dis­appointed with my marriage and everybody

else‟s marriage. . .The ideal marriage, continued according to the

desire of our society, . is a bond in which both become mental

cripples and cling on to each other until death.”17

The unusually complex experience‟ of love leaves little „ stamina

for confronting social experience in the case of Kamala Das. She has

hence written very few poems on social themes although they may be

notable for her capacity to res-pond to the area of social experience.

For instance, she port-rays the tragedy of the eunuchs with rare

sympathy in „The Dance of the Eunuchs‟ in which‟

Some beat their drums; others- beat their sorry breasts

And wailed, and writhed in vacant ecstasy. They

 Were thin in limbs and dry; like half-burnt logs from

Funeral pyres18

In „The Descendants‟ the poet probes into the state of helpless

submission to the process of spiritual decay in the present world:

None will step („If his cross

Or show his wounds to us, no god lost in

Silence shall begin to speak, no lost love

Claim us19

Kamala Das‟s poetic sensibility shows greater interest in the social

themes in the earlier stage of her poetic career as is seen by a number

of poems from Summer in Calcutta. Probably, with the resolution of

tensions in the experience of love, she may turn to social themes

again.

Kamala Das‟s world of imagery seems to be derived in particular

from the fields of nature, corporeal life, city life and domestic life.

The image of „sun‟ is an integral part of her love-experience while the

birds like bats, herons, swallows and crows project different shades of

her subjective response. The image‟ of sea is limited to the scenic

background in the first volume but is transformed into a meaningful

symbol of the experience of frustration in the second volume. The

particular recurrent image of the roots in the first volume probably

marks the poet‟s sense of rootlessness because of the dis-appointment

with the husband. The‟ corporeal imagery enables her to explore the

theme of love as a physical experience. The street is a major image

associated with her residence in the cities. It provides her with a

means of contact between the inner and the outer world. The imagery

involving the insigni­ficant details from domestic life stresses,‟ in

contrast, the psyche‟s need for significance as a beloved.

The early poetry of Kamala Das suffers from certain weaknesses

of technique, some of which continue even in her mature poetry. The

device of repetition of words, for instance, in the first volume

suggests the young poet‟s lack of confidence in the verbal medium.

Notwithstanding the mature control of the device in the subsequent

volumes, it continues in the form of the repetition of sentence

patterns. The excessive use of dots weakens Kamala Das‟s poetic

expression in the early stage. The dots are generally used to suggest

either a medita-tive pause, or the beginning of the next stage of

thematic development, or the incompleteness of the experience

communicated, or the end of the stanzaic unit. One of the distinct

signs of the poet‟s mastery of the verbal medium is her control over
the use of dots in the later poetry. The overflows and pauses emerge

as one of the peculiarities of her technique. The lines pause and

overflow at times even without grammatical or stylistic propriety. For

instance, there is the most awkward overflow from the article to its

noun. The pause also comes practically anywhere in the line and for

as many times as the emotion demands. In spite of her few

experiments in prose-poem, she prefers the traditional lyrical pattern

to experimental structures.

Some of Kamala Das‟s poems seem‟ to echo certain Ameri­can

and English poets although she is not directly influenced by any of

them. For instance, the crucial word striptease in her important

confession, “I must let my mind striptease” reminds of its use by

Sylvia Plath in the similar context in :

They unwrap me hand and foot—

The big strip tease

........................................................

Nevertheless, I am the same,

identical woman.

Her statement about how “I watched and I watched” the cart in

„Visitors to the City‟ (Summer in Calcutta, p. 27) echoes

Wordsworth‟s reference to how „I gazed and gazed‟ from his poem, „I

Wandered Lonely as a Cloud‟. The verb “incarnadine” from the

crucial speech of Shakespeare‟s Macbeth finds its way in „The Fear of

the Year’ where Kamala Das speaks of the fear that “Thrusts its paws

to incarnadine/The virgin whiteness”, and also in „The Inherit­ance‟

when she refers ironically to the “incarnadined glory” of the city.

The frankly honest tone of Kamala Das‟s poetry has en­couraged

critics like Devindra Kohli, Sivaramkrishna, Eunice de Souza, K.

Ayyappa Paniker and E.V. Ramakrishnan to describe her as a

confessional poet. But it should be noted that there is a romantic but

deliberate vagueness in her poems about the men with whom she

shares the experience. Her poetry embodies the quest for the

archetypal experience of love as does Shelley‟s in his own way. In a

sense, it symbolizes in miniature the elemental quest of a woman—a

deeply sexual being-for a man. However, in her vital effort to come to

terms with the man-woman relationship in its full complexity, Kamala

Das has modernized the Indian poetic psyche. The poetry written by

her so far is meaningful enough to make her one of the leading Indian

poets in English along with Nissim Ezekiel and A.K. Ramanujan.

 REFERENCES :

1. „The Freaks’, Summer in Calcutta, p. 10.

2. In Love, Summer in Calcutta, p. 14.

3. I shall Some Day, Summer in Calcutta, p. 52.

4. The Swamp, The old playhouse, p. 53.

5. Substitute, The Descendants, p. 7.

6. The Oldplay house p. 1.

7. Ibid., p. 7.

8. The Invitation, The Descendants, p. 14.

9. Death of the Goat, An Anthology of Indo, p. 36.

10. A Man is a Season, Indian poetry in English, p. 17.

11. An Introduction, Summer in Calcutta, p. 60.

12. A Phantom Lotus p.

13. Composition, The Descendants, p. 29.

14. An Introduction, Summer in Calcutta, p. 44.

15. The Suicide, The Descendants, p. 2.

16. Gino, The Old Playhouse, p. 13.

17. Blitz
18. Summer in Calcutta, p.9.

19. The Descendants, p. 8.

20. Lady Lazarus, The Descendants p. 31.

********