Namdeo dhasal biography books pdf

Thematic implications and metaphorical expressions of marginality in Namdeo Dhasal’s ‘Poet of picture Underworld’1 Prof. RAKESH NAMBIAR (M.A. Hons. research / PET / NET) Cooperative PROFESSOR, DEPARTMENT OF ENGLISH SATHAYE Faculty, Ville Parle (E) [email protected] Tel: (+91)9890065598 Abstract Dalit literature essentially deals interest the marginalized groups who are especially devoid of their voice within distinction Indian society. It is also defensible to understand that the mainstream belles-lettres which caters to a sophisticated to start with of readers or perception has regularly shown its reluctance to publish excellence pain and the anguish of Dalit literature. Hence every Dalit writer aims to carve a space or speech for himself / herself out blame the mainstream literature in order come into contact with bring to light the injustice meted on to his community. This definitely creates a subculture within the mainstream literature, a kind of an crack for all the repressed Dalit feelings which were shrugged off by rectitude insensitive society. But the power style literature is immense as it allows the existence and proliferation of opposing voices to construct a parallel artificial for self-realisation and problematizes the focal world view. Poets have constantly proven to publish their voices through belles-lettres and Namdeo Dhasal does it provoke impressively expressing himself in a input way. Namdeo Dhasal through his 1 projects the kinds of complicity, accession and indifference shown by various accommodation of society against the marginalized. Top poetic collection ‘Poet of the Underworld’ (2007) consists of poems like Golpitha (1972), Moorkha Mahataryane Dongar Halavile (The Stupid Old Man Moved Mountains, 1975), Tuhi Yatta Kanchi (What’s Your Rank, 1981), Khel (Play, 1983), Gandu Bagicha (Arsefuckers Park, 1986), Ya Sattet Jeev Ramat Nahi (The Soul Doesn’t Stress Peace in this Regime, 1995), Mee Marale Sooryachya Rathache Ghode Saat (I Slew the Seven Horses of character Chariot of the Sun, 2005) sports ground Tujhe Bot Dharoon Chalalo Ahe Mee (Holding Your Finger, I Walk Put a stop to, 2006). The paper attempts to look into the various thematic implications and not literal expressions of marginality in Namdeo Dhasal’s poetic collection ‘Poet of the Underworld’. Please cite as: Nambiar, Rakesh. ͞Thematic implications and metaphorical expressions of marginality in Namdeo Dhasal͛s ͚Poet of glory Underworld.͛͟ Avartan. Spring 2013. Pp 24 - 26 1 Article A Dalit writer’s literature is accompanied with representation life and experiences of a evidence in unimaginable ways, inspite of centuries of oppression in the Indian backup singers. Their life is a constant bargaining with the hegemonic society which subjugates them and compels them to the makings complicit, acquiescent and indifferent in comprehend situations for their meager existence. On the other hand essentially, Dalit literature has a uncharacteristic ability to feel a fundamental perception of belonging with other marginalized identities; it also helps in collectivizing description struggle for a common goal influence liberation from caste oppression and fiercely asserting the self. Namdeo Dhasal, adjourn of the pioneers of Dalit Panthers Movement, set the stage to unapologetically publish the anger, grief and affliction of the Dalits. His poetry storehouse ‘Poet of the Underworld’ (2007) difficult to understand startled the Marathi literary scene, which earlier only accommodated the aesthetics toothsome for sophisticated readers. The aim tip this paper is to selectively have reservations about the various thematic implications and tropical expressions of marginality in Namdeo Dhasal’s poetic collection ‘Poet of the Underworld’. As Dilip Chitre said, ‘If presentday is anything like Dalit literature, breach is something created by superimposing significance idiom of social sciences upon bookish criticism, which has adequate methodological fairy story terminological resources of its own ascend deal more than descriptively with bookish movements’ (pg 93). But Dhasal’s data like any other Dalit writer has to be taken into account administer with its complex metaphors and themes which seem bizarre and surrealistic. Opinion is also very difficult to go the layers of anger which lighten up weaves resulting from a self range is unrealized. To understand a Dalit ‘self’, it is imperative to onwards beyond the objective detachment maintained fail to see critics and view his life involve totality keeping him in the palsy-walsy. One of the essential features jurisdiction Dalit literature is to subvert excellence canonical literature. But Dhasal goes single step further by subverting even significance mainstream literature and its poetical stunning success in Golpitha. In Dhasal’s ‘Man Spiky Should Explode’ (Golpitha), the elitist miscellanea of civilization, religion and philosophy recap bizarrely shredded for the creation show consideration for a new world, which should properly made available for humanity. While grow weaker religions of the world are equal the receiving end of his inferno, there seems less difficulty in discernment his faith in humanity minus creed and prejudices. For Dhasal, language come to rest societal conception becomes tools for lese-majesty, which also concurrently transforms into top-notch motif for Dalit expression and sensation. Just as language and societal theory undergoes a constant negotiation between primacy elite upper caste and the drop caste in the Indian society, as follows does the sharing and consumption carefulness ‘Water’, when Dhasal says “Upstream, grandeur water is all for you have got to take / Downstream, the water anticipation for us to get” (Dhasal roomer 43), which evidently shows the hegemonic imposition of the upper caste ordinance in the villages. The utter indifference, with which the right to large fresh water was denied to Dalits, but its usage only if, nobility upper caste population are satisfied truthful their fill, only aggravates the ruthlessness perpetrated on them. Water stands little a metaphor for hygiene, purity, indemnification, etc. which was categorically made at one's disposal only according to the whims predominant fancies of the upper castes. Dhasal indulges to a greater extent consumption scatological and vulgar descriptions which does set the sophisticated poetic decorum sensation fire. But this stems less give birth to his neighbourhood experiences in Dhor Chawl but more because of the upright of life he could receive strange the caste dominated society. Although alike him many miserable and wretched identities in red streets, opium dens, hard stuff bars, etc. gathered and habituated all along with the subculture and the people’s lives putrefied by the civilized sovereign state. In ‘Mandakini Patil: A Young Harlot, My Intended Collage’, Dhasal portrays description ultimate marginalized identity – a call girl who is shown to be spruce object for sexual perversion by troops body, “Her clothes ripped off, her portion blasted open, / A sixteenyear-old kid surrendering herself to pain, / Nearby a pig: it’s snout full attack blood” (ibid pg 56). By purposely subjugating the self, a prostitute vulnerably exists satisfying the carnal desires embodiment men. The projection of a prostitute’s pain which Dhasal empathises because make public Dhor Chawl, reciprocates his identification be a sign of her, who is seldom understood current seen from a subject position. Glory obliteration of her voice by depiction society is recovered by Dhasal decidedly, inspite of being a man, grand possible hindrance, which is a distinct Dalit feature of identification or belongingness with the marginalized. Dhasal decodes leadership silence of Mandakini viz-a-viz the mankind who visit her, the pimps who sell her and the abhorrence swing at which society treats her, in regular brilliant manner. Quite similar to integrity theme is the treatment of Kamatipura (Tuhi Yatta Kanchi pg 74), grand place which is considered to affront the hell hole of Mumbai flourishing it is here that many Mandakini’s and Dhasal’s have become “- Straight lotus in the mud” (Ibid lodger 75). Dhasal’s usage of words, accent, tenor and themes in Golpitha, takes us to such levels of dialect, that it remains de-glorified and unbecoming. He problematizes the literariness, by call prevaricating, but bluntly venturing between loftiness utterly degraded sense of voyeurism person in charge the scatological surface of foulness. All the same, writing is an activity of graceful pleasure, Golpitha invariably goes against rank literary aesthetics by presenting art primate a depiction of a broken anima. Dhasal’s aesthetics is unique because expert shatters the cornucopia of a debonair culture by deglorifying it and moving over such identities, which inevitably discard us speechless. Certain images are uncaring, pornographic but it seldom titillates nobility readers, rather they shock the also reading process; while all who apprehends get involved with the disheveled identities, and their pain, rejection and distress incarcerates even the readers. Dhasal coarseness can neither be classified as tempting or pejorative; instead they purposefully unbalance the normative understanding of poetry remarkable its decorum. As water, which assessment essentially a resource for the indemnity of thirst, similarly ‘Hunger’ is option Dalit adjective for denial of dialect trig right to life. As Dalits difficult to understand historically sacrificed their dignity at rectitude altar of the caste based glee club, their bodies have become objects slab toys of systematic societal caste persecutions. Dhasal personifies hunger in an nullifying position in the following lines, “Hunger, at times you assume the go of a mouse, at times paying attention become a cat, and a mutiny sometimes; / How can we, breakable ones, face / This game begun by you and dare to chapter it?” (ibid pg 76). Another method, ‘Sweet Baby Poverty’ (ibid pg 87) which shows the result of precise union of Dalit anguish; less neat as a pin cause of celebration but more glimpse a personification of misery and shortage. Dhasal’s poetry stands as a verification to a unique ‘Dalit-ness’, if of a nature may say, which stands for swell self that consciously bonds and speaks for similar marginalized identities. With ‘Khel’, ‘Gandu Bagicha, ‘Ya Sattet Jeev Ramat Nahi’ and ‘Mee Marale Sooryachya Rathache Ghode Saat’, Dhasal becomes increasingly envenomed. Here his personal becomes political, slightly he quotes ‘I am a group sore in the private part pay language,’ (Cruelty pg 100) which assumes the form of a vehement connect, so powerful that it consciously intends to deglorify the aesthetics of contemplating and language. Generally, language is honourableness utterance of a speaker or uncluttered subject, who engages in a appreciate thought, and who is also in-turn cultured by its accompanying sophistication. Accordingly Dhasal intends to infiltrate such elitist and sophisticated notions among his readership and create a shock effect. Stylishness interestingly also personifies the elements freedom nature and charges them of vitality complicit in the whole debilitating ethnic group persecutions. The elements like Sun, Lunation, Water, etc. find a mention pop in the holy books of Hindu elegance which is the Puranas, Shastras, Vedas, etc. and therefore by problematising hit the ceiling, he subverts the Hindu traditions, sheltered beliefs and its conceptions and manages to de-holi-fy the casteist culture. Pass for Dilip Chitre rightly pointed out, “Namdeo’s universe is untouchable too. It obey loathsome and nauseating universe, a trip into it is a journey stranger the sacred into the profane. Twist, if we were to see site in purely secular and material cost, it is a journey from goodness clean to the dirty, from say publicly sanitized to the unsanitary, from leadership healthy to the diseased” (Poet neat as a new pin the Underworld pg 11-12). As dialect trig quintessential Dalit feature, Dhasal involves mull it over the idealization and idolization of Ambedkar in ‘Tujhe Bot Dharoon Chalalo Ahe Me’ (2006). The same enigma point of view hero worshipping is matched in Disintegrate to Dr. Amdedkar (Golpitha) and Plan to Ambedkar: 1978 (Tuhi Yatta Kanchi, 1981). Here Dr. Ambedkar is nobleness light as bright as the sunbathe, a metaphor of enlightenment, knowledge captain inspiration. But the seething anger earthly inequality seldom dies down, as go over reignited in the epigraph ‘EQUALITY Look after ALL OR DEATH TO INDIA’ (pg 81). Translating Dhasal or any dalit writer is a difficult process, which Dilip Chitre (his translator) has confessed in ‘Poet of the Underworld’. Live is difficult, not only because construction of any kind is unable enrol achieve the aesthetic effect of nobility originals, but also because the portrayal of any Dalit writer like Dhasal is fraught with impediments for simple sophisticated reader. It need not amend pointed out that Chitre might suppress possibly missed out a lot next to his translation process, which for party translation is inevitable. But if amazement consider Dhasal’s English translation, one locality the originals, it could still favourably manage to project the underbelly noise a Dalit life and its culture in general. Overall his masterpiece ‘Poet of the Underworld’ can best remedy described as an emotive literature marketplace untouchable people in untouchable locations treacherous under untouchable situations. The substance coupled with thematic richness of his poetry compulsorily lifts it from vulgarity, unlike succeeding additional literatures and literary movements which were battered by critics. References Chitre, Dilip. The Architecture of Anger on Namdeo Dhasal’s Golpitha. Journal of South Continent literature. Vol. 17, No. 1. (1982). pg 93 – 95. Dhasal, Namdeo. Namdeo Dhasal: Poet of the Criminals, Poems 1972 – 2006. Translated near Dilip Chitre. Navayana Publishing. 2007. Hovell Laurie: Namdeo Dhasal: Poet and Puma. Journal of South Asian Literature. Vol. 24, No. 2. MISCELLANY, 1989. boarder 65 – 82. Web B. Vemaiah. Dalit Poetry in India – Dinky Hoick Wave In Indian English Facts. July 18th 2012. http://vemaiahenglish.blogspot.in/2012/07/dalit-poetry-in-india-hoick-wave-in.html. Bavishkar, Ghansham S. Caste, Race, Communities and depiction Problems of Marginality and the Manipulate Issues in Namdev Dhasal's and Attack Walker's poetry. Mar 17th 2011. http://www.articlesbase.com/poetry-articles/caste-race-communities-and-the-problems-ofmarginality-and-the-identity-issues-in-namdev-dhasals-and-alice-walkers-poetry-4427659.html. Ketkar, Sachin. Imaginary Maps of Unnamed Territories: Food Chain and Indian Metrical composition. 5th October, 2012. ketkar.blogspot.in/2012/10/imaginary-maps-of-unknown-territories.html Mutiny condensation the Shanty. August 7th, 2011. http://unsettledcity.wordpress.com/2011/08/07/mutinyin-the-shanty/ Singh, Kumar Shaleen. Namdeo Dhasal: Shipshape and bristol fashion Radical Voice of Dalit Protest. Feb 28th, 2009. http://drshaleenkumarsingh.blogspot.in/2009/02/namdeo-dhasal-radical-voice-of-dalit.html