Iyengar subsequently drew readers’ attention to the good and bad aspects of the manifesto of Lal and Rao:Īll this would be no doubt make and they do make a viable poetic world, but there could be still more complex more comprehensive poetic worlds. This assertion might have held certain relevance for these new poets who affirmed their faith in a vital language which ‘must not be a total travesty of current pattern of speech’. The phase of Indo Anglian romanticism ended with Sarojini Naidu.
Raghabendra Rao an anthology ‘Modern Indo-Anglian Poetry’ in 1959. They brought out a bi-monthly journal titled ‘Miscellany ’ for the propagation of this new poetry. Much of it was published by Writers’ Workshop, a publishing firm founded in Calcutta in 1958 by P. This new poetry movement was spearheaded by mainly three poets Nissim Ezekiel, Dom Moraes and P. Harindranath Chatterjee, whose ‘The Feast of Youth ’ was published in 1918 was praised by Shri Aurobindo in the most glowing terms.Īs we turn to ‘new’ poetry of the 50s, it immediately appears different from the romantic type. In his poem ‘The Neem is a Lady ’, the neem tree is pictured as a queen, who dreams of being married blissfully to the majestic Pippala that stood nearby. In his poems we find a curious juxtaposition of pain and violence with romantic exasperation. Manjeri’s romantic poetry had its own variety.
Seth (his Rain in my Heart was brought out in 1954), Manjeri Isvaran (Rhapsody in Red ) and Harindranath Chatterjee (Spring in Winter, published in 1956). Among the poets then who belonged to the romantic school included B.D Shastri (his Tears of Faith published in 1950), Adi K. Romantic poetry then was represented by Toru Dutt and Sarojini Naidu. English poetry in Kolkata found itself blooming frutifully in the 1950s, often called the ‘transitional decade’.
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