Beyond the Individual: Collective
Consciousness and Interdependence in Vinod Kumar Shukla’s Verse
Akanksha Pandey
PhD Research Scholar
Department of English and Modern European Languages
University of Lucknow
Lucknow, India
Abstract: This
paper explores the idea of interconnection in a few translated poems by
well-known modern Hindi writer Vinod Kumar Shukla, who is renowned for the
fusion of intellectual profundity and simplicity. It examines how Shukla's
poetry deftly combines elements of culture, self, and society to highlight the
essential unity of human existence through an analysis of a few chosen poems
like "I solemnly pledge", "Not with my own feet", "For
a ray of sunlight", "A Man Had Sat Down in Desperation",
"Leaving the Earth" and "Continuously". These poems have
been translated from Hindi to English by the esteemed poet, essayist and
translator Arvind Krishna Mehrotra except "Leaving the Earth" which
is translated by Kuldeep Kumar. It also explores how these poems dispel the
idea of an isolated self by highlighting collective consciousness and
interconnectedness with nature, promote cultural respect by highlighting
linguistic diversity and shared human experiences, and highlight the social
fabric through shared vulnerabilities and communal experiences. This paper
shows how Shukla's poetry transcends personal experience to reveal the
intricate, interwoven web of existence, highlighting the value of empathy,
humility, and universal knowledge through an analysis of the poet's use of
straightforward language, symbolism, and meticulous observations.
Keywords: Interconnectedness, Collective
Consciousness, Diversity Social Fabric, Culture.
Vinod Kumar Shukla is a well-known author, poet and critic in
contemporary Hindi literature who stands out for his distinctive writing style,
which skillfully combines elements of magical realism with reality. His
writings, which include novels, short tales, and poems, have had an impact on
the literary world. He has won the esteemed Sahitya Akademi Award. His works
are noteworthy examples of his ability to sensitively depict the complexities
of human existence. The ability of Shukla's writing to reveal the extraordinary
in the ordinary elevates commonplace events to a level of greater significance.
His literary voice is further distinguished by his lyrical formulations, which
are characterized by the usage of "vakrokti," an oblique form of
speech. In addition to receiving a great deal of praise in India, his
contributions have allowed him to reach a worldwide audience through
translations and adaptations of his writings. Essentially, Vinod Kumar Shukla's
lasting influence is rooted in his inventive storytelling style and his,
perceptive examination of human nature. His literary portfolio also includes poetry
and short stories, characterized by an original linguistic style and deep
emotional resonance. Adaptations of Shukla's works into films and theatrical
performances have further extended his influence within Indian arts and
culture. Recently, he received the PEN/Nabokov Award for Achievement in
International Literature.
As a poet, Vinod Kumar Shukla channels his
distinctive literary vision into verse, creating poems that resonate with both
simplicity and deep observation. His poetry, similar to his prose, often blurs
the boundaries between the real and the surreal, utilizing commonplace imagery
to delve into philosophical inquiries. Shukla's poetic voice is defined by a
soft, reflective tone, encouraging readers to take a moment and contemplate the
intricacies of life. Nature often serves as a central theme in his poems,
illuminating the human experience and the interconnectedness of all existence.
His work is marked by a quiet elegance, where the strength lies in the
intensity of his insights. It is frequently challenging to distinguish his
lyrical voice from his narrative style due to his writing style, which is
defined by a smooth transition between prose and poetry. Poetic sensibilities
permeate all of his literary works, adding to the intricate fabric of his
award-winning body of work. This integrated approach is a defining
characteristic of his talent.
Arvind Krishna Mehrotra who has translated a
large number of poems of Vinod Kumar Shukla from Hindi to English remarks about
the poet in the introduction to Treasurer
of Piggy Banks that-
“A line of Shukla is like a line of Shukla.
It ‘mirrors nothing’ but itself. Reading him can be disorienting, even
vertiginous, like seeing Op art.” (Shukla 2)
The poems analysed in this paper offer a deep
examination of interconnectedness, intertwining aspects of culture, identity,
and society to present a comprehensive perspective on human existence. T.S.
Eliot states in his work "Notes Towards the Definition of Culture"-
"Culture is the one thing that we cannot
deliberately aim at. It is the product of a variety of more or less harmonious
activities, each pursued for its own sake." (Eliot 28).
This remark highlights the idea that culture
cannot be created or imposed. Rather, it develops naturally from the various
activities and interests of people in a community. It demonstrates that a
society's culture is composed of its citizens' behaviors, and that those
behaviors are shaped by the culture in which they live. While culture is a
dynamic force that influences individual identity, it is also shaped by
individual behavior within the context of society. In "Culture and Anarchy,"
Matthew Arnold criticized the social mores of his time and emphasized the
importance of culture as a catalyst for social change. He maintained that
people should be guided toward a more peaceful and civilized society by
culture, which he described as "the best which has been thought and
said" (Arnold 109). A recurring theme emerges from these critical comments
that society, culture, and the individual are all intertwined and continuously
shaped by one another.
The poem "I solemnly pledge" by
Vinod Kumar Shukla illustrates how culture, individual, and society are all
intertwined. The first line itself is a brief but statement that deftly
combines ideas of cultural respect, connection, the breakdown of the isolated
ego, and the communal fabric of shared experiences. The poem is a pledge that
embraces all of the living world and goes beyond individual existence. The
speaker's commitment is an illustration of how language, culture, and shared
existence can unite people everywhere. The promise "that I shall not
insult anyone else’s," (Shukla, "I solemnly pledge" trans.
Mehrotra, line 2), establishes cultural respect right away and acknowledges
language as a bridge rather than a barrier and a cultural marker. Dismantling
divisions and accepting the self as an unfolding journey, the speaker pledges
"to keep being reborn," (Shukla, "I solemnly pledge" trans.
Mehrotra, line 5), and changes languages with each birth, exploring the
dissolution of the isolated self through the concept of a fluid, developing
identity. By addressing "the living world," including "birds,
animals, insects," (Shukla, "I solemnly pledge" trans. Mehrotra,
lines 2), and displaying a deep understanding of the interdependence of all
living things, as well as an inclusive perspective that goes beyond
anthropocentrism, the poem broadens its message beyond human interaction. The
poem is accessible to people from a wide range of linguistic and cultural
backgrounds because of its simple language and sincere tone, which highlight
the universality of its message.
"Not with my own feet" compellingly
dismantles the idea of a solitary self, substituting it with a vision of
interconnectedness. The speaker relinquishes individual agency, stating,
"Not with my own feet / but everyone’s," (Shukla, "Not with my
own feet" trans. Mehrotra, lines 1-2) establishing that individual actions
are inseparable from the collective. Shared sensory experiences are emphasized
with "seeing with everyone’s eyes," (Shukla, "Not with my own
feet" trans. Mehrotra, line 3) and the disintegration of the isolated self
extends to basic human experiences like waking and sleeping, "when I wake,
it’s from everyone’s sleep, / when I sleep, it’s under everyone’s
eyelids," (Shukla, "Not with my own feet" trans. Mehrotra, lines
4-5) blurring distinctions between self and other. The speaker transforms into
a collective entity, a "large gathering," stating, "I’m each
person in it," (Shukla, "Not with my own feet" trans. Mehrotra,
lines 7-8) underscoring the radical nature of this transformation and the
acceptance of the shared human experience. The search for the self is addressed
with "Don’t go looking for me. / If you find me, it’ll be / after you’ve
found everyone else," (Shukla, "Not with my own feet" trans.
Mehrotra, lines 9-11) implying that the authentic self-resides within the
collective. The conclusion, "Instead of me, you can meet / the first
person you see," (Shukla, "Not with my own feet" trans.
Mehrotra, lines 12-14) affirms the interconnectedness of all individuals,
suggesting that the individual self is present in every person we meet. The
poem illuminates the social fabric of shared experience by emphasizing the
communal nature of human existence, where actions like walking, seeing, waking,
and sleeping become collective experiences. Cultural respect is woven into the
poem through the acknowledgment of universal human experience, with the
speaker's ability to "see with everyone’s eyes" and "sleep under
everyone’s eyelids" (Shukla, "Not with my own feet" trans.
Mehrotra, lines 3-5) suggesting a deep empathy and understanding of diverse
experiences. By erasing the lines of individual identity, the poem transcends
cultural distinctions, emphasizing the shared humanity that connects everyone,
questioning individual autonomy and affirming the interconnectedness of all
beings.
The poem "For a ray of sunlight,"
further explores the interconnectedness of internal and external realities,
using the symbolism of light and darkness. The speaker prefers inner stability
and tranquility to outside disturbances, as seen by their need for their gloom
to contain and shield the light. This reversal of conventional iconography
implies an understanding of the interdependence of the interior and outward
realms. The light, which stands for the preservation of goodness and integrity
in a complex world, finds refuge in the darkness, which represents the inner
self. The speaker's connection to the abstract concepts of goodness and
serenity is symbolized by their desire to preserve the light. Through the prism
of personal experience, natural events, and a societal awareness, this poem,
which is divided into two separate portions, deftly weaves the idea of
interconnection. The delicate balance between separateness and oneness is
explored in both the first half, which deals with the interaction of light and
darkness, and the second section, which focuses on the relationship between the
bird and butterfly and the earth. This emphasizes how intertwined all things
are.
The speaker struggles with the idea of
someone else stepping in to help them deal with their own "darkness."
It is possible to interpret this "darkness" as a condition of
reflection, emotional depth, or even loneliness. The speaker dismisses the
notion of a violent disturbance, a "beam of sunlight" trying to
"create holes," (Shukla, "For a ray of sunlight" trans.
Mehrotra, lines 3-5) implying opposition to flimsy or invasive attempts to
improve their situation. Rather, they convey a wish for a more harmonious
relationship, one in which their "darkness" actively contributes to
the "beam of sunlight's" trip. This demonstrates how internal states
and exterior forces are interrelated and impact one another rather than
dominating one another. Insinuating that the speaker views their "darkness"
as a protector and guardian of the lost light, the phrase "not let the ray
of sunlight go astray" arouses feelings of duty and concern. This
demonstrates a strong bond between the self and the outside world, both of
which are valued for their own sake.
"A Man Had Sat Down in Desperation"
is a poem that strips away the superficial layers of social and cultural
constructs. Its simplicity demonstrates how empathy and common vulnerability
may transcend individual identity, generating a sense of togetherness that
pervades culture, the self, and society. The poem's power stems from its
ability to encapsulate the essence of human connection in its most basic,
unadorned form, reminding of common humanity and intrinsic capacity for
compassion.
The poem begins with the declaration, "A
man had sat down in desperation" (Shukla, "A Man Had Sat Down in
Desperation" trans. Mehrotra, lines 3-5). This first statement establishes
a common human experience, a universal emotional landscape that crosses
cultural borders. Desperation, as represented above, is not limited to any one
group or society; it is a universal human condition, a language spoken and
understood by all. The speaker's immediate recognition, "I did not know
the man / But I knew the desperation" (Shukla, "A Man Had Sat Down in
Desperation" trans. Mehrotra, lines 2-3). is crucial in establishing this
universality. It draws attention to a vital reality that despite social and
cultural distinctions, we are all able to comprehend and sympathize with human
pain. This is parallel with the notion that beneath our many cultural
backgrounds is a universal human experience, a shared emotional basis that
allows to relate one to another. The speaker immediately connects with the man,
not based on shared cultural experience, but shared human experience.
The speaker's response, "So I went to
him / And extended my hand" (Shukla, "A Man Had Sat Down in
Desperation" trans. Mehrotra, lines 4-5) is an act of self-transcendence.
In this moment, the speaker does not hesitate, does not question the man's background
or circumstances. They simply respond to the man's immediate need,
demonstrating a sense of empathy. "Holding my hand, he rose" (Shukla,
"A Man Had Sat Down in Desperation" trans. Mehrotra, line 6). In this
moment, the boundaries of the individual dissolve. The connection is made
through a base human action, not a cultural one. "He did not know me / But
he knew the extending of my hand" (Shukla, "A Man Had Sat Down in
Desperation" trans. Mehrotra, lines 7-8). This highlights the fact that
the bond is founded on a common understanding of human compassion rather than
on cultural characteristics or personal identification. The act reveals a
deeper link that unites everyone, surpassing the confines of the individual
ego. In this moment, the speaker and the guy establish a completely human
connection, putting one's own needs aside for the benefit of another. A key
component of human connectivity is the collapse of the isolated self, which
shows that everyone may interact with others by extending beyond their personal
bounds.
"We walked together / We did not know
each other / But we knew walking together" (Shukla, "A Man Had Sat
Down in Desperation" trans. Mehrotra, lines 9-11).This image is a metaphor
for shared journey and solidarity. It signifies a move from isolation towards
connection, from despair towards hope. The act of "walking together"
signifies a shared path, a mutual support system. It acknowledges that we are
not facing our difficulties alone. This illustrates the basic yearning for
belonging and social connection. The development of a micro society is depicted
in these lines.
Two
individuals who were total strangers just a few seconds ago have suddenly
become close. These days, they stroll and work together. This demonstrates the
ease and speed with which connections can be formed as well as their
significance. The poetry can speak to a global audience because it lacks
certain cultural identifiers. It emphasizes the notion that despite cultural
variations, we are all human. The poem's simplicity and capacity to convey the
core of human connection in its most unadulterated state are what give it its
impact.
The poem's power also lies in its reliance on
nonverbal communication. The act of extending the hand and walking together are
symbols of compassion and connection that transcend cultural and linguistic
barriers. A basic component of human society, this silent language of
compassion is global and understood by all. It is a language that appeals to
our common humanity and ability to feel one another's pain. The poem emphasizes
the value of empathy and intuition by emphasizing nonverbal communication. This
invisible language of compassion serves as a link between people and
communities, permeating culture, the self, and society.
The next poem "Leaving the Earth"
explores the depths of awareness and the complex act of detachment and return.
It is infused with a meditative tone and rich imagery. Through the seemingly
straightforward observation of a bird and a butterfly, it finally offers a comprehensive
understanding of interconnection by tying together the brittle threads of self,
nature, and the larger existential tapestry. The poem begins with a question
that- "does the bird know / that it’s the earth it is leaving?"
(Shukla, "Leaving the Earth" trans. Kumar, lines 3-4). This query
challenges the widely held belief that living things are naturally aware of
their relationship to their surroundings and instantly sets the stage for
reflection and awareness. The act of "leaving the earth, mounting the air"
(Shukla, "Leaving the Earth" trans. Kumar, lines 1-2) is not merely a
physical transition, but a symbolic one that raises questions about
consciousness and connection. The bird's flight is more than just a mechanical
act of movement since it is a symbolic departure and a momentary break from the
immediate, physical connection to the earth to a transition into a more
ethereal and less grounded world.
The lines "To fly above it, / you really
have to go high" (Shukla, "Leaving the Earth" trans. Kumar, lines
5-6) introduces the crucial element of distance. It implies that a certain
amount of detachment is necessary for a deeper comprehension of one's
relationship to the land. The act of "getting high" represents a
departure from the immediate, localized experience and a shift toward a more
comprehensive comprehension of how everything is interconnected. A distinct
viewpoint that takes in the larger fabric of life and reveals the complex
network of connections that unite all living things is made possible by this
elevation. This poem is more like teaching meditation and true spirituality. It
requires effort to be a sage because one has to stop thinking about worldly
desires and surrender to the supreme. The pathway to supreme is nature and thus
the poet uses bird and butterfly as metaphors in this poem.
The poem then shifts its focus to the bird's
return: "And when it returns / to settle on a tree / does the bird know /
that it’s the earth it’s returned to?" (Shukla, "Leaving the
Earth" trans. Kumar, lines 7-10). Returning to the soil is portrayed as a
deliberate decision and a reaffirmation of connection rather than as a
straightforward, instinctive action. The bird sitting on a tree represents a
return to the earth's familiar embrace and reintegration into its natural
environment. Saying he does not have wings introduces the speaker's personal
perspective, creating a sense of longing and recognition of the limitations of
human experience. He feels he will not be able to outgo the worldly desires.
The basic distinction between human and animal viewpoints is emphasized in this
passage, which also underscores the special bond that birds have with the
earth—a bond that is characterized by their capacity to transcend the land. By
admitting his limitations, the speaker is able to look at and think about
nature with humility and awe, realizing the deep secrets that are beyond human
understanding. The introduction of the "small yellow butterfly" adds
another layer to the poem's exploration of interconnectedness. The butterfly's
flight, "flying above the earth", symbolizes a fragile yet persistent
connection to the environment. The butterfly, being smaller and more delicate
than the bird, may represent a more minute and delicate connection to the
earth, a fragile thread in the grand tapestry of existence.
It is possible to read the poem's emphasis on
consciousness and perspective as a metaphor for human society. A better
knowledge of our role in the universe can be gained by taking a step back from
our current experiences, much like the bird's flight gives a wider picture of
the globe. The poem challenges the readers to think critically about our
preconceptions, assumptions, and the interconnectivity of all things. It
promotes a wider perspective that looks beyond the boundaries of the local
community and into the vastness of nature. The poem also implies that humility
and awe are necessary for a genuine comprehension of interconnection. These
values of fostering a sense of connection and responsibility towards our
surroundings, as well as acknowledging our duty towards the planet, depend on
this feeling of awe.
From the private sphere of individual
perception to the more expansive spheres of nature following its course, the
poem "Continuously" develops as an examination of interconnection.
The tree that is seen as a wristwatch, the poem's main metaphor and is a
crucial element that enables to investigate these complex relationships. The
poem initiates with an intensely personal observation: "Continuously, / at
regular intervals, / one dry leaf after another / falls from the tree"
(Shukla, "Continuously" trans. Mehrotra, lines 3-4). An internal,
contemplative mood is established by this beginning sequence. Because of their
keen awareness of nature, the speaker recognizes a clear pattern in the falling
leaves that speaks to their own internal sense of time. This attunement shows a
deep connection between the speaker and the natural world and goes beyond
simple passive observation. This also seems to talk about how one after the other
people die, leaving the physical world behind in order to connect to God or the
Other World. This connection is further emphasized by the speaker's internal
monologue: "Which is why / I mutter under my breath / that the tree’s a
watch, a wristwatch" (Shukla, "Continuously" trans. Mehrotra,
lines 5-7). This metaphor is a strongly felt link, a personal interpretation of
the natural rhythm that surrounds people, rather than an intellectually
detached construct. Through its consistent, regular leaf-shedding, the tree
becomes a representation of time—not as a stiff, artificial structure, but as a
natural, living process. The speaker's internal landscape is portrayed by the
friend's disappearance towards the end of the poem. The line “The friend’s
nowhere to be seen” emphasizes the speaker's isolation and immersion in his own
world. Here the readers are able to understand that this poem might have been
written in a mood of lament.
Even in the face of the clear, palpable
existence of natural time, the lines"A huge mahogany is ticking before
you, / but to look at a watch you still must bend the neck" (Shukla,
"Continuously" trans. Mehrotra, lines 12-13). highlights the deeply
rooted societal dependence on artificial time. This cultural practice emphasizes
how social constructions take precedence over firsthand sensory experience. The
phrase “Anyone for Moti Park?” (Shukla, "Continuously" trans.
Mehrotra, line 17). introduces a crucial
cultural and social element. Moti Park, which is probably a public meeting spot,
represents culture and social interaction. We are constantly reminded that we
are a part of a larger cultural environment by the rhythms of civilization,
even when the speaker is engrossed in observing nature. The interconnectedness
between nature and man is also seen here. The interaction with "the big
cheese" (Shukla 14) and the friend’s curt response, "Does it matter
if it’s struck two?" (Shukla 16), reveal the complexities of social
dynamics and cultural attitudes towards time and observation. The "big
cheese" represents a certain social class, and his observation of the
"new green leaf" (Shukla, "Continuously" trans. Mehrotra,
line 15) lacks the depth of understanding showed by the speaker and their
friend.
The rickshaw puller's inquiry concerning Moti
Park serves as a reminder of how social interaction and movement are
ever-present. The concept that every individual is constantly a part of a
greater social fabric which goes on with or without them is reinforced. The
conflict between natural rhythms and cultural constructs, the friction between
personal truth and social norms, and the ongoing interplay between social
engagement and individual observation are all highlighted in the poem.
In conclusion, the translated poems of Vinod
Kumar Shukla present an engaging picture of human existence through examination
of interconnection. He breaks free from the confines of individual experience
by interlacing the strands of culture, individual, and society, exposing the
complex web that unites all living things. His straightforward and perceptive
poetry emphasizes the value of humility, empathy, and a common human
experience. This study is important because it sheds light on how Shukla's
writings add to the body of English literature by deepening our awareness of
cross-linguistic topics and cultural interchange. It also highlights the
ability of literature to promote intercultural understanding and a sense of
global connectivity. This paper shows that his poems are an effective means of
promoting a greater understanding of the universal human experience in the
context of English literary studies.
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