Paper No-4 The Fakeer of Jungheera
Name : Riddhi
Maru
Semester : 1
Batch : 2016/2018
Submitted
To : Department of English
Email
id : riddhimaru27@gmail.com
Paper
No : 4
Unit : 1.
The Fakeer of Jungheera
“Henry Derozio”
- Analysis of the fakeek of jungheera
- Introduction
Introduction the fakeek of Jungheera is a long poem by Henry Louis
Vivian Derozio. He was born on 18th
April, 1809 in Kolkata west Bengal…… he was a radical thin
key and one of the first Indian educators to disseminate western
education and science among the young man of Bengal. He died of
cholera at the age of 22
- Analysis of the Fakeek of Jungheeral
Canto
first reminds us of the love poems return during the Elizabethan age.
The first five lines have the same teacher as the lines penned down
by Shakespeare.
“Affection are not made for merchandize”
What will ye give in barter for the heart?
Has this world wealth enough to buy the store
of hopes and feeling, which are linked for ever
with women’s soul?
Imitating
the English romantics. De rosin opens the first canto with wind
wandering gently like “young sprits” but the wind sighs
occasionally reminding us of the transience of love and fixing the
tragic tone of the poem.
The sun lit stream in dimples brcaks.
As when a child from slumber wakes,
Sweet smiling on its mother there,
Like heavenly hope o’er mortal care!
The
sun continues to shower its blessing on mother earth sitting under a
banyan tree and watching the “faithless” honeybee sipping
the nectar from flower to flower can inspire anyone.
Alas! 1nd fairest scheming souls
The tide of guilt all blackly rolls.
And then they steal religion’s ray
Upon its surface but to play
As
o’er the darkest sad a gleam,
Of brightest sunshine oft may beam
Gilding the wave, while dark beneath
Are lurking dun get, woe and death.
The wonderful play of light and shade bring out a deceptive human
nature and evil that lies buried in the human soul.
It
stanza five a group of people protected with soldier slowly move over
the plains beating “drums and gong” carrying “spears
of gold” in the group are upper caste Hindu men, “priests
with triple thread”.
On to the alter and scaller the flower
Sweeten the path as ye wander along
On to the alter another blest hour
Brings to her spiral Kinnura’s song
The Kinnura’s song could refer to the Hebrew kinnor an ancient
stringed instrument or more especially to the sitar which can be made
to produce mournful sounds. As the procession moves to the grassy
hank their song acquire a mysterious foreboding quality (Vinita
Baldaniya).
And
loud and deep its numbers roll,
Like song mysterious o’er the soul.
Without
much ado in stanza eight the “chorus of Brahmans” beings
their mutual. As a prelude to the sacrifice they shower pearls and
sprinkle orient spice and cymbals to complete the rite before sunset.
Then the “chief of Brahman” prays for the woman’s
immortality and exhorts the sun to be her guardian and the scene and
wonders how the sophists could have believed that human beings
possessed sympathy.
O! this is but they would unfeeling way
To good the victim that it soon will slay
And like a demonist its custom still
To laugh at sorrow and then coldly kill
Yet dreaming sophists in this world there be
Who tell us man for man has sympathy
Who say that tears arising out of pain
Soon see themselves reflected but its vain
Sure social love dwells not beneath the skies
Or it is like the bird of paradise
Which lights we know not where and never can
Be found alive among the haunts of man
Derozio
pulls out social love and civil society from his vast reading of the
Greeks. The impending tragedy bings out gine lines such as the
following.
Ye who in fancy’s vision view the fires
Where the calm widow gloriously expires
And charmed behold her ere she mounts the pile
Her lip illumined by a radiant smile.
The
widow bought to the sacrificial fire is young and pure in her
“spotless loveliness” but she is a “purchased flower”
and vacuum of human caprice contrary to the sophists human nature
seen degenerate.
A heaven beyond the limits of her thought
A bliss her spirit never yet sought
Ah; haply then might pity mourn above
Degraded nature not exalted love!
The
poet paints the heroine as a ‘perfect’ Bengali beauty with
large black eyes black longhair tresses a pale lily complexion and a
majestic walk.
Ye mean, ye cruel! In whose bosoms cold
The thought springs idly that love may be sold
What! _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
And they may hear your voices and obey
But oh! The heart enthralled can never be,
Lord of itself, created to be free?
In
stanza X111the poet comments on the meanness and cruelty of the would
tries to buy loves and imprison.
In
is only in stanza X1V that we come to know the name of this beautiful
widow, she is called Nuleeni.
On giddy wing it wildly wheels,
The enlivening glow its spirit feels
And then it fondly fancies this
Until into the fire it flies
And then, too late lamenting dies!
In
stanza XV Shama Parvane or the lamp and moth representing the heat of
love and the tragic death of the lovers.
In
stanza XV1 Derozio sun brightening the river, which will soon set
leaving the landscape in darkness.
And this good angels weave for me
The wreath of immortality
In
the long stanza XV11 the poet foresees the tragic future of the two
over’s and ones again weaves images of angels immortal boundless
love.
With upward gaze and white clasped hands
She, like a heaven wrought statue stands
‘Tis
thus thaw woman fair should be
Worshipped as a divinity
Just when her beauty beams so bright
As too intense for human sight;
In
stanza XV111 nulcent stanza still like a statue as a divine being
only to be worshipped.
His dusky brow, his raven hair
His limbs of strength, his martial air
His eye though softened into love
Far from the mildness of the love
His baldric round his manly waist
His saber hung, his pistols braced
Bespeak him sure some bloody man
The chieftain of a robber clan
But whence came he? –‘tis certain here
A sainted soul, a meek faker
On whom religion’s sacred ray
Shines bright hath dwelt for many a day
This is the saint – nay can it be
The holy man? – ‘tis he! ‘tis he!
In
stanza XXV the Muslim fakir is described as a lover and a wamot.
‘I dreamt and now before my view
My dream, my golden dream is true!’
Nulcent has always dreamt of him and know satisfied in his emplace.
No more to Mecca’s hallowed shrine
Shall wafted be a prayer of mine;
No more shall dusky twilight’s ear
From me a cry complaining hear;
Henceforth 1 turn my willing knee
From Ala, Proper, heaven to thee!
She
now worships him as a ‘deity’ and for a brief moment fasts
the joys of heaven. To him she is the ‘beloven’ his “most
adored” his goddess and his religion.
A thousand of his bravest band
The stars of moslem chivalry
At princely shoojah’s high command
As though it were some god’s decree
Attend nuleeni’s injured sire
With all the vaunt of martial fire.
The
father probably appeak to the arnies of shah shuja to help him fight
the robber faker.
How beautiful is moonlight on the stream!
How bright on life is hope’s enchanting beam;
Life moves inconstant, like the rippling will
Hope’s and the moon’s ways quiver o’er them still
The
poet comments upon the uncertainty of life and its twists and turnst.
- Then the impending tragedy
Thus shone the moon upon Jungheera’s flower,
Nuleeni rosebud of the rocky bower;
And thus soft beams upon the shallop lay
Which soon must bear her robber – love away
The
story at this point becomes somewhat sketchy but the robber faker
decides to make a last stand and fight. The poet writer thus.
A daring conquest must my bend achieve
And ’tis my promise, ere another chief
Shell be selected for they thy love’s relief
Once more to lead them to their prey alone
Then quit forever and be all thine one –
Quench not the light of that Life- giving eye
Swift on the wings of live to the 1’ll fly
But one short hour and 1 demand no more-
For ever thine, when that short hour is o’er
However
nulceni fears that the ‘dubious hour’ might bing doom.
Let me once warn thee that our doom so bright,
May darkly and us darkly speeds the night.
The faker is confident of victory
“Ere long 1’ll warn thee in my breast again”
With the “battle cry” of “the Moslem
Ninging afar” to night the “royal cavalry” section
xx1 describes the battle scene where he is mortally wounded whit a
lance;
An unseen hand whit a glittering lance
Checked the chief rain’s fierce advance,
And forth the blood from his bosom streamed,
And quenched hope’s latest ray as it beamed!-
Nulceni cradles him in her arms and dies together with him
her “eloquence had all bummed out” the Sanskrit word sati implied
a’ good And virtuous woman”
Even death had failed to conquer-her lips seemed
Still parted by swear breath, as if she dreamed
Of him in her embrace; but they who thought
That life was tenanting her beast and sought
Some answer from her health to hush the doubt,
Found that its eloquence had all burned out.
Nuleeni becomes a free agent with to chose destiny; She
Prefers to aie together with someone she loves then with her
husband whom. She does not the Sanskrit word sati implied a “good
and virtuous woman” women who scarified themselves continued
to be called sati long after they were and gone. The British however
restricted the usage of the tern “to the sacrifice alone the
usage of the act not as well as the agent”
- Conciusion :
The hardening of religious identifies in the late 19th
and early 20th centuries and the deepening schism between
various, religious categories, especially Hindus and Muslims,
rejected the entire syncretistic tradition that once flowed
unhampered not only in Bengal but the entire British India
exemplified in the cult of satya pir. The them coupled with the use
of imagery set. Ho never, the “modes of social life” that
emerged in the early nineteenth century in response to modernity in
India now take us “beyond modernity” into the information
age. If India must shine it must do so within its own traditions and
Derozio a central place in it.
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