Think happy thoughts! - Edgar Albert Guest

 Name of the Poem: Think happy thoughts!

Writer’s Name: Edgar Albert Guest

Date of Publication:  13 March 2017

Think sunshine all the day;

Refuse to let the trifling worries stay,

Crowd them with thoughts of laughter from your mind.

Think of the good, forget the bad you find,

Think of the sun behind the clouds; the blue

And not the gray skies that you view.

Think of the kindness not the meanness shown,

The true friends not the false ones you have known;

The joy and not the hatred of the strife,

The sweetness not the bitterness of life.

Think happy thoughts!

Think happy thoughts!

Think always of the best,

Think of the ones you love, not those that you detest;

Think of your victories and not your failures here,

The smile that pleased and not the hurtful sneer,

The kindly word and not the harsh word spoken,

The promise kept and not the promise broken;

The good that you have known and not the bad,

The happy days that were and not the sad;

Think of the rose and not the withered flower,

The beauty of the rainbow, not the shower.

Think happy thoughts!

Think happy thoughts!

This is true happiness!

That life is sad that feeds on its distress;

That mind is gloomy that subsists on gloom,

And is as dismal as a curtained room,

Where daily comes the sunshine, but to find

It cannot enter through the close-drawn blind.

Fling up the curtains of your mind today

And let the morning sunshine in to play;

Dwell on the joys and not the sorrows here,

Master your thoughts and you have mastered fear.

Think happy thoughts.

About Poet

• Born: 20 August 1881, 
• Birth Place : Birmingham, United Kingdom
• Died: 5 August 1959, Detroit, Michigan, United States Nationality

For full Reflection click the links below......✌

Think happy thoughts! - Simple Meaning

Hidden meaning of the poem - Think happy thoughts!

Personal Reflection on Poem - Think happy thoughts!

Moral values of the poem - Think happy thoughts!

Conclusion - Think happy thoughts!

Detailed summary of the Preface to Lyrical Ballads.

Introduction

        William Wordsworth’s Lyrical Ballads, co-written with Samuel Taylor Coleridge. It was published in 1798 and marked the birth of English Romantic literature. Its preface acts as the gateway to a new era of literary exploration, wherein Wordsworth candidly presents his beliefs and standards for poetry.

    He rejects the ornate (orthodox) language and rigid constructs standard in poetry then. Instead, he propagates the need for straightforwardness, freshness, and a focus on the mundane realities of the everyday person. By urging simple, everyday language, Wordsworth forges an authentic bond between the poet and the reader, and by extension, with society.

        Although, Wordsworth views poetry not as a fanciful flight of creativity but as a mirror reflecting the poet’s authentic emotions and a tool to express deep-seated truths. He asserts that the true essence of poetry lies in its power to stir real emotions and resonate with fundamental human experiences.

        The preface also underlines the critical interplay between the poet and nature. To Wordsworth, nature is not a mere spectacle; instead, it is a dynamic entity that engages with the poet, fuelling their creativity and broadening their viewpoint.

        One can perceive Wordsworth’s deep-seated sense of social obligation by scrutinizing the preface to Lyrical Ballads. He sees the poet as a tutor and moral compass to society, using his creative prowess to cultivate empathy, ethical behavior, and an enriched understanding of human nature.

1- Nature of Poetry in the Preface to Lyrical Ballads

        William Wordsworth’s preface to Lyrical Ballads presents a deep exploration into the essence of poetry. This work departed from established poetic norms, opening the pathway for the Romantic movement.

        Wordsworth refutes the idea of poetry as a high-brow, contrived, and extravagant art because he presents a fresh view that values simplicity, genuineness, and emotional honesty.

Spontaneous Overflow of Powerful Emotions

        Wordsworth presents poetry as a “Spontaneous overflow of powerful emotions ” stemming from the poet’s innermost heart. He stresses the significance of genuine emotions as the engine behind the creation of poetry. 

Recollection in Tranquility

        Wordsworth’s theory also encompasses the idea of “Recollection in Tranquility.” He contends that the poet uses past emotions, which are then remembered and shaped into poetry during periods of peaceful reflection.

    This process paves the way for deeper comprehension and introspection, enriching the poem’s emotional depth.

Rejection of Artificial Poetic Diction

    Wordsworth strongly dismisses the dominant poetic language grounded in complex and academic words. In contrast, he encourages language “actually used by people” – a language the average person can comprehend.

    The poet forms a sincere and direct bond with the readers by embracing simplicity and rejecting artificiality.

The Universality of Human Experiences

        Wordsworth asserts that poetry should revolve around universal human experiences that surpass societal classes and boundaries.

        He believes that every human heart harbors shared emotions, and poetry is a vehicle to capture and express these sentiments. This renders the poet a representative of the communal human spirit.

The Poet as a Man Speaking to Men

        Wordsworth remodels the poets’ role, underscoring that they are not solitary geniuses but individuals who share the same life experiences as their audience. The poet communicates as an equal to the readers.

        He engages with his experiences, aspirations, and dreams. This approach cultivates empathy and relatability in the relationship between the poet and the reader.

2- Language and Simplicity

        In the preface to Lyrical Ballads, William Wordsworth marks a significant deviation from the conventional poetic norms, especially about the use of language. His stress on simplicity and the use of everyday language.

        Wordsworth challenges the traditionally ornate and contrived poetic language, highlighting his dedication to building a sincere connection with his audience and portraying the allure of everyday life.

The Language of Common People

        Wordsworth stands up for the language “truly used by men,” the kind of language that ordinary people employ in their daily conversations.

        He believes that using simple and honest language is better than the flowery and complicated language that poets used during his time because it allows for a more genuine and relatable connection with the readers.

        Wordsworth thinks that genuine and relatable language is more effective and impactful. Using the average person’s language, the poet can reach a wider audience, touching their hearts more deeply.

Valuing Simplicity

        In Wordsworth’s view, simplicity plays a crucial role in poetry because he argues that simple language and straightforward expression amplify the clarity of the poet’s message, facilitating better comprehension and connection for the readers with the underlying emotions.

        Contrarily, intricate and obfuscated language erects a barrier between the poet and the reader, obstructing the transmission of heartfelt feelings.

Beauty in the Ordinary

        Wordsworth sees the beauty of poetry in its capacity to highlight everyday incidents and experiences. Additionally, he opposes the idea that poetry should exclusively concentrate on lofty or extraordinary subjects.

        According to Wordsworth, there is a distinctive allure between the commonplace and the ordinary.

Duties of a Poet

        Wordsworth sees poets as accountable for communicating with the public rather than secluding themselves in a realm of elitist language. A poet’s language should be comprehensible to the typical reader, building a bond that overcomes social divides.

        This commitment to the common folk aligns with the poet’s role as a societal teacher and moral compass.

Liberating Imagination

        Wordsworth asserts that simplicity in language releases the poet’s creativity and imaginative powers. By doing away with unnecessary ornateness, the poet can concentrate on authentic expression and a truthful depiction of emotions.

        Wordsworth regards this freeing of creativity as key to crafting poetry that reaches readers at a deeper emotional level.

3- Poetic Imagination

        In the Preface to Lyrical Ballads, William Wordsworth emphasizes the essential role of poetic imagination in creating meaningful and emotional poetry. He believes that a poet’s imagination is the driving force behind crafting powerful and impactful verses.

        Wordsworth examines the interplay of imagination with common experiences and emotions, converting them into meaningful poetic content that speaks to readers. His understanding of poetic imagination not only contests traditional beliefs of poetic inspiration but also spotlights the poet’s heightened observational skills.

Imagination as a Transformative Force

Wordsworth interprets imagination as a force of creativity that uplifts ordinary situations and feelings into the extraordinary realm. Guided by his imagination, the poet views the world from a distinct and deep-seated perspective. It enables the poet to glean poetic essence from seemingly ordinary happenings.

Imagination and Everyday Life

        Contrary to contemporary poets, who focused on grandiose themes and unfamiliar locales, Wordsworth finds inspiration in the simplicity of everyday living. He considers that the poet’s imagination can draw potent emotions and deep truths from the common experiences of human life.

Imagination and Nature

        In Wordsworth’s philosophy, nature significantly influences the poet’s imagination. The poet’s interaction with nature stimulates his creative instincts. It infuses his verses with lively imagery and emotional depth.

        Engaging with the natural environment gives the poet a profound understanding of human emotions and universal truths.

The Unity of Imagination and Emotion

        Wordsworth highlights the inherent link between imagination and emotion. In his belief, genuine poetry emerges from the poet’s authentic feelings and experiences.

        The creative force of imagination then metamorphoses these into poetic expressions that connect with readers. This amalgamation of emotion and imagination gives birth to poetry that strikes a chord with readers.

The Poet as a Seer

        Wordsworth envisages the poet as having a unique ability to observe and interpret the world in a profound and visionary manner. In this context, the poet becomes a “seer” who unveils the concealed beauty and deeper meanings embedded within reality.

4- Spontaneity and Inspiration in the Preface to Lyrical Ballads

        In the Preface to Lyrical Ballads, William Wordsworth underscores the importance of spontaneity and inspiration in poetry’s crafting. He advocates a more fluid and spontaneous approach to poetry, dismissing strict poetic rules and norms.

        Wordsworth’s perspective on spontaneity and inspiration challenges conventional ideas about poetic artistry. Rather than adhering to traditional norms, he promotes the idea of heartfelt expressions that emerge from a poet’s deepest emotions and their interaction with the world.

Spontaneity as the Essence of Poetry

        For Wordsworth, spontaneity is the primary trait of genuine poetry. He is convinced that the most authentic and emotive lines come naturally from the poet’s heart, free from artificiality or overthinking. The process of creating poetry should, at its core, be an organic and unrestrained affair.

Disapproval of Conventional Rules

        Wordsworth’s preface challenges the then-dominant poetic rules and formalities governing the literary milieu and proposes that rigid structures and constraints should not bind poetry. Instead, poetry should be born freely from the poet’s creative instincts.

Poetry as an Outcome of Inspiration

        Wordsworth extols the part inspiration plays in creating poetry. Drawing inspiration from nature, human interactions, and personal experiences, the poet reflects it in his verses. This source of inspiration energizes the spontaneity and emotional depth of the poem.

Adoption of Natural Expression

        Wordsworth opines that poetry should be a mirror of natural expression, shunning artificiality. Poets should not strive to mimic others or comply with set norms but instead embrace their voice and unique perspective. This genuineness of expression enhances the power and relatability of poetry.

The Poet’s Bond with Nature

        Wordsworth considers the poet’s bond with nature a primary source of inspiration. The awe-inspiring beauty and subtleties of nature stir deep emotions, which inspire the poet’s verses. Through this connection with nature, the poet gains insights into the human condition and the everlasting truths of life.

5- Emotions and Truth 

        In the Preface to Lyrical Ballads, William Wordsworth probes the profound link between emotions and truth within the context of poetry. He suggests that true poetry is designed to stir real emotions and feelings, reaching the bounds of factual correctness.

        Wordsworth’s viewpoint is different from the usual way people think about poetry. He believes poetry is powerful and can deeply connect with our emotions and experiences.

        Instead of just describing things on the surface, he thinks poetry can reveal profound truths about life and what it means to be human.

The Driving Force of Genuine Poetry

        Wordsworth asserts that authentic poetry is born from the poet’s genuine emotions. Poetry is not simply an intellectual endeavor but a sincere articulation of the poet’s most profound sentiments.

        Emotions infuse the lines with truth and intensity, establishing a profound connection between the poet and the reader.

Poetic Truth Versus Factual Accuracy

        Wordsworth articulates that poetic truth is not strictly tethered to factual accuracy or historical occurrences. Instead, it is shaped by emotional truth that reverberates with the human spirit.

        The poet’s responsibility is to express these emotional truths in a way that captures the essence of human experiences. When writing poetry, the poet’s main task is not only to convey those profound and genuine emotions but also to do so in a manner that truly reflects what it means to be human.

Unveiling Universal and Timeless Truths

        Wordsworth is convinced that poetry should shed light on universal and timeless truths not confined by specific circumstances or historical epochs.

        By delving into human emotions and experiences, poetry unveils truths that transcend time and culture, resonating with readers of all generations.

Poetry as an Insight Generator

        The preface underlines poetry’s role as an insight generator into the human psyche and the surrounding world. Through the sincere articulation of emotions, poetry grants readers a profound understanding of human nature and the intricacies of life.

The Poet as a Seeker of Truth

        Wordsworth envisions the poet as a seeker who delves into the depths of human emotions and experiences. He aims to uncover the profound truths beneath the veneer of ordinary life.

        The sensitivity and keen perception of the poet enable him to capture and convey these truths through his verses.

6- Poetic Inspiration from Nature

        In the introductory remarks to Lyrical Ballads, William Wordsworth elucidates the profound influence of nature on a poet’s mental faculties and creative prowess. He hails nature as a wellspring of inspiration, offering solace, spiritual nourishment, and an intimate bond between the poet and the surrounding environment.

     Wordsworth’s viewpoint not only emphasizes the significance of nature as a source of poetic inspiration but also initiates a shift in how poets approach their craft. He encourages poets to also tap into the beauty and wisdom that the natural world has to offer.

Nature as a Living Force

        Wordsworth views nature not as a passive setting but as an active, vibrant entity engaging with the human spirit. The splendor and magnificence of nature trigger intense emotions and sensations within the poet, thus instigating poetic articulation.

The healing power of Nature

    In the preface, Wordsworth talks about how nature can be like medicine for our minds and hearts. He believes that spending time in nature can help us feel better and heal from the stresses of modern life.

        For poets, nature is a safe place to find comfort and inspiration to create beautiful verses. The serenity of nature enables the poet to reassemble their emotions in serene contemplation.

Communion with Nature

        Wordsworth urges poets to cultivate a deep bond with nature, fully immersing themselves in its sights, sounds, and rhythms. This intimate bond allows the poet to comprehend the interconnectedness of all life forms and perceive the exquisite beauty in everyday occurrences.

Nature: A Wise Mentor

        Wordsworth depicts nature as an enlightened mentor, delivering profound insights about life, morality, and the human psyche. The poet’s observation of natural phenomena uncovers wisdom about the universe’s mechanisms, stimulating poetic lines that embody these eternal truths.

Influence of Nature on Poetic Imagination

        In the preface, Wordsworth delves into how the poet’s interaction with nature shapes his poetic creations. The poet’s communion with nature augments his imaginative faculties. It empowers him to infuse his poetry with lively imagery and emotional depth derived from the natural world.

Definitions and Characteristics of the Romantic Age

Definitions of Romanticism

“The addition of strangeness to Beauty.” – Walter Pater

“The Renaissance of wonder.” ¬– Dunton

“Liberalism in Literature.” – Victor Hugo 

“Liberty of imagination.” – Herford 

“The revoking of middle ages……….. a passion flower blooming from the blood of Christ.” – Heine 

“Emotion Against Reason.” – George Sand

“Romanticism is a withdrawal from outer experience to concentrate on inner experience.” – Abercrombie 

“Romanticism is dieses, classicism is health.” – Goethe

Characteristics of the Romantic Age & Romantic Literature

1. Individuality/Democracy/Personal Freedom
2. Spiritual/Supernatural Elements
3. Nature as a Teacher
4. Interest in Past History/Ancient Greek and Roman Elements
5. Celebration of the Simple Life
6. Interest in the Rustic/Pastoral Life
7. Interest in Folk Traditions
8. Use of Common Language
9. Use of Common Subjects
10. One Sided/Opinionated
11. Idealized Women
12. Frequent Use of Personification
13. Examination of the Poet's Inner Feelings

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Shri Aurobindo as a Poet in Indian English Literature

Intoduction

Shri Aurobindo is popularly known as a patriotic, revolutionary, a social thinker, a philosopher and a mystic. He is also an interpreter of truth, a leading intellectual of his time and a great man of letters. Literature, Yoga and Politics were the tree main occupations of his life. Infact literature was his first passion, almost his first love. He wrote voluminously and has left behind him a rich harvest of poems, literary and philosophical essay and poetic dramas. They are an impressive and lasting contribution to world literature. His poetical output includes, ‘Savitri’, ‘Urvasie’, ‘Love and Death’, ‘Baji Prabhu’, ‘Last Poems’, ‘More Poems’, ‘Ilion’ and so on.

His Place in Indian Writing in English

His poetry bears the imprint of master’s hand. His mighty imagination, his command over language, his handling of traditional English metrical form and his mastery to use the rhythm of English poetry make him an outstanding poet. There is in his poetry a strain of philosophical contemplation. It gives it a distinctive place in the whole range of Indo Anglian poetry.

Lyricism in poetry

Shri Aurobindo’s poetic genius finds in its must characteristics expression in his dramatic and narrative poetry, but lyrical gift also is of a higher order. His art mainly acts though melodic and tonic arrangement of the elements of sound and sense. According to Prof. Iyenger “As a lyric poet, Shri Aurobindo’s range is of the widest and covers a period of sixty years…….. There is no question regarding the variety, richness and cumulative impressiveness of the achievement.”  Some of greatest lyrics are “since I have seen your face”, ‘immortal’, ‘Radha’s Appeal’, ‘The Rishi”, ‘Ahana’, ‘Rose of god’ etc.

His Narrative Poetry

Shri Aurobindo’s poetic genius is lyrical but it is primarily dramatic, narrative and epic. His narrative poetry is an important segment of his poetic outputs. He wrote log poems in blank verse, an ideal medium of narrative poetry. ‘Urvasie’, ‘Love and Death’ and ‘Baji Prabhu’, are his three poetical narratives. They show his mastery in handling the long poems. The first two are blank verse romances on the theme of love. The last deals with an inspiring theme. It is a metrical tale of Maratha chivalry and heroism.

Treatment of Love

Like most other Indian poets, love is major theme in Shri Aurobindo’s poetry. Love runs as an important motif in the entire body of his poetry with the remarkable regularity. Bothe his early poetry and his later narratives varies his approach to love from earthy, sensuous, romantic tone to divine vision. In his treatment of the love theme in his earlier poetry. He is romantic idealist live in Sarojini Naidu and Tagore. His later poetry is bold in his visionary and divine concept of love. ‘Savitri’ is narrative of the triumph of love and time, Destiny and Death. Savitri is a symbol of immortal love and its power. She is an embelishment of all love. Love is key motif in ‘Urvasie, ‘Love and Death’, and ‘Chitrangada’. Really his love engages his creative imagination creatively.

His Poetic Style

His variety of poetic style is an interesting aspect of his poetry. He developed different poetic styles. In Words of V K Gokak – “Shri Aurobindo developed many kinds of styles….”  There are his narrative dramatic, romantic, symbolic and modernistic styles on the other hand; the poet was a brilliant and sensitive prosodist. Of all the Indo-Anglian poets, he alone could attain proficiency in the use of blank verse. His use of figurative language in ‘Savitri’ helps him to point out things which are uncommon.

Conclusion

Indeed, Sri Aurobindo’s poetical achievement is of higher order. He made a mighty reputation and still remains unrivalled in his immense poetic outputs and others. His poetry bears the imprint of a master’s hand. He was a great innovator also.

Shri Aurobindo As a Poet

Character Sketch of MR. Hyde in 'DR. Jekyll and Mr. Hide',

          Hyde, as his name indicates, represents the fleshy (sexual) aspect of man which the Victorians felt the need to "hide" — as Utterson once punned on his name: "Well, if he is Mr. Hyde, I will be Mr. Seek."

           Hyde actually comes to represent the embodiment of pure evil merely for the sake of evil. When he is first extracted and in our first encounter with him, he is seen running over a young girl, simply trampling on her. He does not do this out of spite — or intentionally; it is simply an amoral act. He does make reparations. But even in this first encounter, he raises a fear, an antagonism, and a deep loathing in other people. The reaction of others to him is one of horror, partly because while looking at him, others feel a deep desire to strike out at him and kill him. In other words, his mere physical appearance brings out the very worst evil in other people.

        Since Hyde represents the purely evil in man (or in Dr. Jekyll), he is, therefore, symbolically represented as being much smaller than Dr. Jekyll — Jekyll's clothes are far too large for him — and Hyde is also many years younger than Jekyll, symbolically suggesting that the evil side of Jekyll did not develop until years after he was born.

         Hyde also creates terror; the servants are extremely frightened of him. When they think he is around the house, the servants cringe in horror, and some go into hysterics.

         As the novel progresses, Hyde's evil becomes more and more pronounced. He bludgeons Sir Danvers Carew to death for absolutely no reason other than the fact that Sir Danvers appeared to be a good and kindly man — and pure evil detests pure goodness.

        Since Hyde represents the evil or perverse side of Jekyll, and since Jekyll does, vicariously, enjoy the degradations which Hyde commits, Hyde gradually begins to take the ascendancy over the good Dr. Jekyll.

        A conflict between them erupts, as though the older Dr. Jekyll is a father to the errant and prodigal son. He wants to punish this son, but at the same time, he recognizes that Hyde is an intimate part of himself. Ultimately, when Jekyll commits suicide in order to get rid of Hyde (suicide is an evil act in the eyes of the church), this allows Hyde to become the dominant evil figure, and the dying Jekyll becomes Hyde in the final death throes.

Bharata's View on Natya

Origin of Natya:

         Origin of drama is closely connected to Hindu Religious trinity – Brahma, Vishnu and Maheshwara (Shankar). According to Bharata’s, Brahma was the originator of drama, Maheshwara was the originator of dance. It is also believed that Brahma in originating Natya Veda has borrowed various aspects from different Vedas and their sub ordinary branches (Upanishad). It is said that he had borrowed – 

• Art of effective speech from the Rig-Veda
• Acting from Yajur-veda
• Music from Samveda
• Rasa’s from Atharvaveda

origin of natya

         Thus the treatise on dramatics is called Panchamveda, - a Natyaveda. It is known as the fifth Veda because it is given the same status as that of other four Vedas.

      Some students (the sons of Bharata) asked question to Bharata regarding the art of drama they are:

(1) In to how many part, is this Natyaveda divided?

(2) How many parts of drama are made?

(3) What are the different parts of drama to be presented?

        He discuss his views in ‘Natyashastra’ keep this questions in his mind

Parts of drama:

In Bharata’s view there are four parts dealing with the following topics of drama: 

1. Art of effective speech

2. Art of Acting

3. Art of Music

4. Art of Music

parts of drama

Plot or story of Drama:

         Bharata analysed the story or the plot of drama. According to him there are five elements which are necessary features of good plot. They are-

1. The Germ (bija)

2. The drop (bindu)

3. The episode (anka)

4. The incident (prasanga)

5. The denouement (ant- the end)

feature of good story

Characters of Drama:

      Bharata says that there are three types of character.

1. Uttama (superior)

2. Madhyama (intermediate)

3. Adhama (inferior)

types of character

Aims of Drama:

             Drama aims at presenting Rasa; and three arts are the mean of its effective presentation. It is apprehended directly through eyes and ear. If we look at the traditional account of the origin of the Natyashastra from the modern point of view, we find that it contains relevant answer of some questions to arise in modern mind, as they regarding the questions of aesthetic senses. Bharata declares that they are only two: eyes and ears. He excludes touch, taste and smell, because they are different from person to person.

              The question is ‘what is the aim of dramatic art?’ Bharata replies that the aim of dramatic art is to give instruction not directly, but indirectly, - through the presentation of what is pleasing to eyes and ears. It makes the audience to experience the goodness of virtues and others. It is through the identification of with the focus of dramatic situation. According to Bharata the aspect of sensuous pleasure is must in the experience of the dramatic presentation. Thus he gives the right plays to both: 1. Hedonistic and 2.  Pedagogic. The theories of art in his aesthetics.

          In the opinion Bharata drama is simply a play or plaything. It is meant for diverting the mind from what worries or troubles it. The most essential subjective conditions for the aesthetic experience are that mind of the spectator or pain. He recognizes the importance of woman on the stage for the correct expression of emotion. There are certain feelings which are particular for the fair sex only. So, the accurate and life like presentation of woman is necessary on stage.

         The broad division of subject matter is based Bharata’s view on Rasa and its meant presentation. The later it called Abhinaya (acting). It is divided in to four parts. 

1. Angika – the movement of the parts of the body

2. Vachika – presentation of dialogue; appropriate movement of speech                organs

3. Satvika – the action of mind; it is involved in the various emotion states

4. Aharya – all means of presentation; make up, clothing, atmosphere etc.

TYPES OF ACTING

           The most interesting and original part of Bharata’s Dramatic theory is the concept of Rasa. It is the aim of performance to evoke in the mind of the audience. Rasa is produced from the union of vibhava, anubhava and vyabhichari. According to Bharata, there are nine Rasas which are dominating in the drama. In short Bharata has given the perfect theory of Natya (drama) which serves the purpose of its performance.

Jayant Mahapatra as an Indian Poet in English Literature

Introduction

       Jayant Mahapatra is one of the rising stars on the firmament this spices of Indian Poetry. He has begun late but his work is of such intrinsic worth that he has already come to be regarded as the fourth great poet writing in Indian English today. The poetry of these new poets voices the joy and sorrows of the Indian people. The contemporary Indian reality also universalized and generalized. Like many other Indian poets writing in English Jayant Mahapatra is bilingual. Before taking to writing in English, he had been writing in Oriya, his mother tongue. His Oriya poetry also ranks very high. His poetic collections are: ‘Close To Sky’,  ‘Ten by Ten’, ‘Swayowara and other poems’ and ‘A Rain of Rtes’, his tour de force.

Indianness

        Mahapatra’s sensibility is really Indian. His indianness is seen at its best in his poems about Orissa. There the local and the regional are raised to the level of the universal. ‘Orissa Landscapes’, ‘Evening in Orissa Village’, ‘The Orissa Poems’, ‘Dawn at Puri’, etc are Oriya first, and thus Indian too. In such poems he is an Oriya poet first but he is Indian also because here the local becomes symbolic of India as a whole. In the ‘The Indian way’, the woman is idealized in a typically Indian way. 

Passimistic Themes

        Poverty, hunger and Starvation have been chronic in India. They are the most Significant facet if life of the Indian masses. They also constitute a major theme in Mahapatra’s poetry. The theme is studied from various angles and points of view. ‘Hunger’, ‘The Whore House in Calcutta Street’ and ‘Man of his Night’ is such poems. They are also three different studies of male sexuality and exploitation of women. The poet’s poetry has tragic and pessimistic tone because of woman is the victim of male. Lust and suffering of Indian masses.

Other Themes

        Another major theme of Mahapatra’s poetry is human relationship. His love poetry is praised. The encounter between man and woman is grippingly presented. His treatment of sex and love is quite different from that of Ezekiel, Kamala Das or Shiv Kumar. Love marriage and sex loom large in poetry of Jayant Mahapatra. His interest in politics is revealed by an early poem on Gandhi. Other poets of Indian English poetry have tried to avoid such subjects, but Jayant Mahapatra deals with complete success.

Diction

       His diction is remarkable for his economy and brevity. He uses the fewest possible words to express his meanings. Another important aspect of his diction is his use of imagery. It is startling in his freshness and originality.

Form of His Poetry

Most of his poems have a closed from the structure of the verse is tight. There is a close logical connection between the opening image and the closing one. Such structure is well found in the poem ‘Bazaar, 3 P. M. in Orissa’.

Symbolism

       The poetry of Jayant Mahapatra is also symbolic. The crows in his poetry are the symbol of evil, guilt and destruction. Water symbolizes clarity and wisdom. Rain is symbol of purification. Very often the poet uses an image in the manner of T. S. Eliot and metaphysical.

Conclusion

     Really, Jayant Mahapatra is a poet of promise. He has essentially Indian Sensibility. His mastery of English, his mythopoetic imagination, his economy of phrasing and startling images are all the signs and symbol of a great poet. They are blind to take him to heights not yet attained by any other Indian English Poets.