By Valerie Ritter
Kama's Flowers files the transformation of Hindi poetry through the an important interval of 1885-1925. As Hindi used to be changing into a countrywide language and Indian nationalism was once rising, Hindi authors articulated a North Indian model of modernity by way of reenvisioning nature. whereas their writing has formerly been obvious as an imitation of eu Romanticism, Valerie Ritter exhibits its certain and specific functionality in North India. Description of the flora and fauna recalled conventional poetics, fairly erotic and devotional poetics, yet used to be now used to handle sociopolitical matters, as authors created literature to recommend for a countrywide personality and to handle a becoming viewers of woman readers.
Examining Hindi classics, translations from English poetry, literary feedback, and little-known well known works, Ritter combines translations with clean literary research to teach the pivotal position of nature in how modernity used to be understood. Bringing a brand new physique of literature to English-language readers, Kama's Flowers additionally finds the origins of an influential visible tradition that resonates at the present time in Bollywood cinema.
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Extra resources for Kama's Flowers: Nature in Hindi Poetry and Criticism, 1885-1925
Example text
He countered the universal comprehensibility argument with his own: Would everyone understand Kha®¥ Bol¥ more readily than Braj? And is such clarity the point of poetry anyway? ”68 Thus, the experiment of Kha®¥ Bol¥ Hindi in poetry was at the convergence point of debate over the meaning of modernity for poetry, and the Hindi-Urdu debate itself. Hindi as Representative In a sense the Hindi movement launched an “upstart” language, with theretofore unrealized pretensions to match any other national language in the world in its utility and symbolic value.
Ever since the army of Love came, I have seen the land of the heart laid to waste. . 32 The repeated final phrase “have seen” joins the couplets, but the wordplay in fact comes just before that, with each line presenting a different word ending in –åb: first “dream” (khvåb), then “choice” (intikhåb), and then a dramatic flourish with “ruined” (kharåb), and even more drama— or perhaps humor—but at any rate, surprise, with “kabob” (kabåb). In language quite direct and resembling (even in this southern style of Urdu) the language of speech, these verses are yet highly wrought, and based upon wordplay both entertaining and poetically intensifying.
Deeply attached to their own poetic pasts, these poets had to find a way to reconcile their understanding of the valuable parts of indigenous poetry with their understanding of what English poetry could offer them. While “taking light from English lanterns,”8 certain tropes and theories from English came to the fore that would take on lives of their own as markers of the modern in the Hindi poetic context. The adoption of English literary values did not replicate the English literary situation; the meaning of poetry for our authors could not have been that of the contemporary London scene, but the world of classical Sanskrit, the centuries-old Hindi dialect of Braj Bhå∑å, and contemporary Urdu poetics, mixed with avant-garde Bengali experiments with Western styles, and the English poetry of canon and popular anthologies.