Here’s a short piece using a poem by a person who started out as a poet but who spent the greater part of her life working for her country, India’s, independence: Sarojini Naidu.
Sarojini Naidu, like Edna St. Vincent Millay around the same time in the U. S., impressed people as a capable poet while still a teenager. Her talents lead to her being sent abroad to England for college, and eventually she connected with the Rhymer’s Club, the turn of the century London organization that was the last stop in the 19th Century for some of the poets who would launch the poetry of the 20th century.
Today’s piece, “The Poet to Death” was first published in England as part of Naidu’s initial collection of poetry The Golden Threshold in 1905. Fluent in several languages, the pieces in The Golden Threshold are in Naidu’s own English. Some accounts say that the young Sarojini was modest about her poetry at the time, worried that her work was less-substantial because it is lyrical and song-like; and retroactively English-language Modernism did discount that sort of poetic gift. So, while her poetic work is still remembered in her homeland, where Wikipedia says she’s called the “Nightingale of India,” Sarojini Naidu will be a new name to most of our reader/listeners.
During the WWI years Naidu transferred her focus from poetry to working for Indian independence, a cause in which she became a principal, alongside Gandhi and the other independence leaders.
Did the world loose a poet for India to gain its independence? Perhaps. I do not know enough to say. In her English poetry, I can see the influence of the earlier 19th Century English romantics, but her language is less extravagant. She can remind me at times of Christina Rossetti (readers here will know I consider that a good thing), and “The Poet to Death” is a concise version of a trope Keats used as well.
India gave us chess. Chicago gave us Muddy Waters on Chess records.
Today’s music employs a polyrhythmic blues. Perhaps I was subconsciously moved by the “till I am satisfied” line in Naidu’s poem to think of Muddy Waters and his “I can’t be satisfied,” though what I ended up playing has some elements of Skip James’ guitar style too. At a conscious level, I was working on this while thinking of poet Donald Hall, having read a review of his new collection of essays coming out this month, and then hearing later in the same day that he had died at age 89. In his last couple of decades, Hall has often written of what continues until it ends in the course of aging.
Donald Hall. His book of essays “A Carnival of Losses: Notes Nearing Ninety” drops in July.
For some reason the version of the text I worked with did not have Naidu’s first stanza, which specifically speaks, as a younger poet, for death to stay his hand. In the remaining two stanzas, the age of the speaker is less determined, and so the situation is joined whether it is a young poet or old. The blossoms are always there a short time, at any age.
To hear my performance of Sarojini Naidu’s “The Poet to Death,” use the player below.