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Essay on Sarojini Naidu in 100, 150, 200, and 300 Words

• Updated on  
• Feb 6, 2024

Mahatma Gandhi named Sarojini Naidu the ‘Nightingale of India’ for her lovely poems. Sarojini Naidu rose to fame as the face of women’s empowerment in India. She was an important figure in Indian politics and democracy as a woman. Her role in India’s freedom struggle was highlighted during the Salt Satyagraha , in which she joined many other women protesters at the Dharasana Salt Works in Gujarat. Sarojini Naidu was the first woman president of the Indian National Congress and the first lady governor of India. She was a fervent believer in Satyagraha and a loyal disciple of Mahatma Gandhi. Here are three essay samples on Sarojini Naidu in 100 words, 200 words, and 300 words.

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Essay on sarojini naidu: 100 words, essay on sarojini naidu in 150 words, essay on sarojini naidu in 200 words, essay on sarojini naidu: 300 words.

Sarojini Naidu was born in Hyderabad, India, on February 13, 1879, to a Bengali family. She began writing poems at a young age. She went on to study at both King’s College and Girton, Cambridge, for her higher education. During her childhood days, not many Indian families supported their daughters participating in the protest for independence. But, Sarojini Naidu’s family had always held progressive beliefs. As a result, she grew up believing in the power of protest in the pursuit of justice. Sarojini Naidu, also known as The Nightingale of India, was given this title for her remarkable contributions to the field of poetry. Her poems, which were rich in imagery, dealt with a variety of subjects, including love, death, and separation, among others.

Her poems were acclaimed by politicians, statesmen, and poets from all around the world. One of her most well-known poems is “In the Bazaars of Hyderabad.” Sarojini Naidu continues to be an inspiration to all women. Sarojini Naidu will be remembered as one of the most important figures in India’s liberation and women’s rights movements.

Check Out Our Blog on Essay On Subhash Chandra Bose

On February 13, 1879, Sarojini Naidu was born in Hyderabad to a Bengali family. Her parents had outstanding morals and were quite progressive. She became quite mindful of the country and its people as a result of this. She was raised in a home with high moral standards. She was a gifted poet and a bright young girl. In England, she finished her academic education at Girton College, the University of Cambridge, and King’s College. Her poetry began to become more well-known. Additionally, she spoke about nationalism and promoted patriotism in several Indian cities. She founded the Women’s Indian Association and later played a crucial role in the campaign for India’s independence. She was a fighter on the front lines of the Satyagraha and Civil Disobedience movements. After the division of Bengal into two states, she joined Gandhi’s team. She served as the United Provinces of free India’s first female governor. She also made a reputation for herself as a poetess in the literature of India. Her poetry works did an excellent job of capturing modern India. She earned the moniker “Nightingale of India” for her tenacity and commitment to the cause of women’s rights.

Also Read: Essay on Mahatma Gandhi – 200, 400, 600 Words

Sarojini Naidu was born in Hyderabad, Andhra Pradesh, India, on February 13, 1879. Aghori Nath Chattopadhyay, her father, was a Science engineer from Edinburgh University. She showed signs of exceptional talent since she was a young child. She earned the title of “Nightingale of India”. She cruised through her matriculation exams and later, she went to King’s College London and Girton College, the University of Cambridge to study. 

She was one of the few persons who married someone from outside the caste. Before independence, inter-caste weddings were uncommon, but Sarojini Naidu defied society and married Pandit Govind Rajulu Naidu at the age of 19. 

Mahatma Gandhi influenced her greatly, and she adopted many of his beliefs. She was the country’s first female governor after being elected governor of the federal provinces, which is now known as Uttar Pradesh. 

Sarojini Naidu is one of India’s most well-known poets, noted for the lyrical and musical style of her work, which involves multiple rhymes as well as rich imagery. As a result, she was titled “India’s Nightingale.” She was a highly reputed and respected statesman, a great writer , and a great value to India as a whole, which is why many authors, politicians , and social workers are still inspired by her political achievements. Without question, Naidu has gained respect not only in India but also beyond the country’s boundaries. Google India celebrated Naidu’s 135th birthday with a Google Doodle in 2014. In 2018, Naidu was named one of the “150 Leading Women” by the University of London in the United Kingdom. 

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Sarojini Naidu, a political leader, feminist, poet, and the first Indian woman to serve as president of the Indian National Congress and as governor of an Indian state, was born on February 13, 1879, in Hyderabad. She was titled “India’s Nightingale” at times.

Sarojini was the eldest daughter of Aghorenath Chattopadhyay, the principal of Nizam’s College in Hyderabad, a Bengali Brahman. She enrolled in the University of Madras at the age of 12 and went on to study at King’s College, London, and then Girton College, Cambridge, from 1895 to 1898.

She was driven to India’s Congress movement and Mahatma Gandhi’s Non-Cooperation Movement. She accompanied Gandhi to London for the Round Table Conference on Indian–British Cooperation’s inconclusive second session (1931). She accompanied Gandhi to London for the Round Table Conference on Indian–British Cooperation’s inconclusive second session. When World War II broke out, she backed the Congress Party’s views, first of defensiveness, then of outright hostility to the Allies. She was appointed governor of the United Provinces (now Uttar Pradesh) in 1947, a position she held until her death.

Sarojini Naidu was also a prolific writer. The Golden Threshold (1905) , her debut collection of poetry, was followed by The Bird of Time (1912) , and she was elected a fellow of the Royal Society of Literature in 1914.

She used to encourage children about social reforms and women’s empowerment, and as a result, many women over the world are now charged with fighting for India’s independence. These were some significant events in Nightingale’s Indian existence. She was a wonderful statesman, a great writer , and a great value to India as a whole, which is why many authors, politicians , and social workers are still inspired by her political achievements. Sarojini Naidu continues to be an inspiration to all women. She gave women power and set a precedent that is still followed today. 

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Check Out Other Essays Here:

One of the well-known figures in the Indian liberation movement is Sarojini Naidu. He is renowned as a poet, civil rights advocate, etc.

Naidu is well-known for his poetry “Bazar of Hyderabad,” “The Golden Threshold,” “The Bird of Times,” and other works. She is the second woman to preside over a Kanpur Congress session in 1925.

Because of her exquisite writings, Sarojini Naidu is referred to as the Nightingale of India.  

Did you like the essay on Sarojini Naidu? Let us know in the comment section below! Check out Leverage Edu for more educational blogs and more exciting content around study notes, courses, universities, and more! For more such essays, check our category  essay writing .

Digvijay Singh

Having 2+ years of experience in educational content writing, withholding a Bachelor's in Physical Education and Sports Science and a strong interest in writing educational content for students enrolled in domestic and foreign study abroad programmes. I believe in offering a distinct viewpoint to the table, to help students deal with the complexities of both domestic and foreign educational systems. Through engaging storytelling and insightful analysis, I aim to inspire my readers to embark on their educational journeys, whether abroad or at home, and to make the most of every learning opportunity that comes their way.

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• Sarojini Naidu Essay

Essay on Sarojini Naidu

Sarojini Naidu, a poet, and an Indian activist is known for her history-altering deeds related to instilling feminism. She also played an important role in the Indian independence movement. Here you will find a long and short essay on Sarojini Naidu written by the experts for Class 7 students and above. The short and long versions of the essay will provide a foundation to learn how to write an essay on this eminent personality. Follow the format of this Sarojini Naidu essay to score more in the exams.

Long Sarojini Naidu Essay

Born on 13 th February 1879, Sarojini Naidu was a Bengali. She was born in Hyderabad to a prosperous family. Since her young age, she showed exceptional skills that made her stand out from the crowd. She had beautiful skills in writing poems. Her marvelous writing skills offered her an opportunity to study in two of the best institutions, Girton College, University of Cambridge, and King’s College in England.

It was her family that instilled progressive thoughts and high values in her mind. She grew up in a very forward environment. This is the reason why she believed in equality and justice for all. With these excellent personality features, she grew up to be one of the best poetesses in India and an ardent political activist.

When the British Government implied the divide and rule policy to curb down the independence movement in Bengal by partitioning the state in 1905, she took it very seriously. She became a political activist and traveled to a lot of places in India to deliver speeches. She wanted to see all the natives of contemporary India unite against the tyranny of British colonial rule. All her speeches and lectures focused on nationalism and social welfare.

She took a step ahead and formed the Women’s Indian Association. This association was formed in 1917. She gathered many women activists like her. After three years, she then joined Mahatma Gandhi in the Satyagraha movement. She then carried her nationalistic deeds under the supervision of Mahatma Gandhi. She also took part in the 1930’s Salt March. The British police arrested the protesters and she was one of them.

She was on the frontline leading the Civil Disobedience Movement and Quit India Movement. Many significant nationalists and freedom fighters were present at that time. These two movements shook the pillars of British rule. She continued to fight for the independence of her country. After India got independence, she was appointed as the first governor of the United Provinces. She was also the first female governor of India.

She wrote excellent books on poetry. As mentioned earlier in this Sarojini Naidu essay, she had remarkable poetry skills. When she was in school, she wrote a Persian play named Maher Muneer. It was so good that she got praised by the contemporary Nizam of Hyderabad. In 1905, she published her first poetry collection with the name ‘The Golden Threshold’. She was a remarkable poetess who knew how to write poems for all. She has amazed children with her skills. She also instilled patriotism with her critical poems. Her tragic and comedic poems also have immense significance in Indian literature.

Her poem collection named ‘The Bird of Time: Songs of Life, Death & the Spring’ was published in 1912. This book contains the most popular poems she wrote. One of her immortal creations, ‘In the Bazaars of Hyderabad’, she painted a beautiful image of the bazaar just with her words. She wrote many poems in her lifetime. She died on 2n March 1949 due to cardiac arrest in Lucknow. After her death, her daughter published her last book ‘The Feather of The Dawn’ in her memory. Her indomitable spirit to establish women’s rights gave her the name the ‘Nightingale of India’.

Small 150 Words Essay on Sarojini Naidu

Sarojini Naidu was born in Hyderabad on 13 th February 1879 in a Bengali family. Her parents were very progressive and had excellent values. This is what made her highly thoughtful about the nation and its people. She grew up with excellent values in her family. She was a bright child with beautiful poetry skills. She completed her higher studies at Girton College, University of Cambridge, and King’s College in England.

Her poems started to gain popularity. She also used her words to spread patriotism and speak about nationalism in different places in India. She established the Women’s Indian Association and then became a significant part of India’s independence movement. She was the frontline warrior in the Civil Disobedience Movement and Satyagraha Movement. She joined the team of Mahatma Gandhi after Bengal was partitioned into two.

She was the first female governor of the United Provinces of free India. She also established her name as the poetess in the Indian history of literature. Her poem collections painted the picture of contemporary India perfectly.  Her determination and fight for women’s rights gave her the name the ‘Nightingale of India’.

Sarojini Naidu, the Nightingale of India, was an Indian political activist and the first to fight for women’s rights. This Sarojini Naidu essay in English tells us about her early life and her fight against British rule.

Sarojini Naidu's Childhood

Sarojini Naidu was born in Hyderabad on February 13, 1879, to Bengali parents Aghorenath Chattopdhyaya and Barad Sundari Devi Chattopadhyay. Her father was the principal of Nizam College in Hyderabad, and her mother was a brilliant poet.

She was the oldest of eight children. Sarojini Naidu graduated from the University of Madras, and the Nizam’s Charitable Trust, established by Mahbub Ali Khan, provided her with the opportunity to study at Girton College in Cambridge.

After finishing her schooling, Sarojini married Pradipati Govindarajulu Naidu. The couple would have five children, one of which, Paidipati Padmaja, would get involved in the independence fight and join the Quit India Movement.

During the American Revolution, She played a Pivotal Role.

Sarojini Naidu became involved in the Indian independence movement when Bengal was partitioned in 1905. Her interactions with figures like Mahatma Gandhi, Gopal Krishna Gokhale (born on May 9, 1866), and Rabindranath Tagore inspired her to fight the British Colonial authority and advocate for social reform.

Between 1915 and 1918, she traveled afterward the length and width of the country giving lectures on social welfare, women's emancipation, and other topics.

She was instrumental in the foundation of the Women's Indian Association in 1917. Later that year, she would join her colleague Annie Besant, head of the Home Rule League, in presenting universal suffrage to the Joint Select Committee in London.

Sarojini Naidu participated in the Salt March alongside Mahatma Gandhi and was arrested by British authorities in 1930, along with the other Congress leaders. The arrests spurred Congress to boycott the First Round Table Conference, which was taking place in London. However, after the Gandhi-Irwin Pact in 1931, Sarojini Naidu and other leaders would attend the Second Round Table Conference.

Naidu was a key player in Gandhi's Civil Disobedience Movement and the Quit India Movement. During that time, she was arrested many times by British police and spent more than 21 months in jail.

Sarojini Naidu was the first governor-general of Uttar Pradesh after India's independence.

Sarojini Naidu's Legacies

Sarojini Naidu died on March 2, 1949, as a result of a cardiac arrest. She is still considered as one of independent India's greatest poets.

Her daughter Padmaja Naidu released 'Feather of Dawn,' a collection of poetry she wrote in 1927, in 1961. The 'Gift of India' is famous for its patriotism and description of the political climate in 1915 India.

Personal Life

Sarojini Chattopadhyay was born on February 13, 1879, in Hyderabad. Her parents lived in Brahmangaon Bikrampur, Dhaka, Bengal province (present-day Konoksar village, Louhajang, Munshiganj Bangladesh). Her father was a Bengali Brahmin who served as the principal of Hyderabad College, afterward renamed Nizam College. He received his degree in Science from Edinburgh University. Her mother was a Bengali poet.

She was the eldest of eight children. Her revolutionary brother, Virendranath Chattopadhyay, and another poet, playwright, and actor, Harindranath Chattopadhyay, were both members of the family. Their family was well-known in Hyderabad, not only for running the Nizam College of Hyderabad but also for producing some of the city's most prominent painters at the time. Being an artist during the British administration of India was considered a perilous job, yet they pursued it regardless because of their progressive principles.  Naidu's inventiveness was encouraged, and she met many intellectuals among the guests at her parents' home.

In 1891, when she was twelve years old, Naidu completed her matriculation exams to qualify for university studies, gaining the top position. She studied in England from 1895 to 1898, first at King's College, London, and then at Girton College, Cambridge, on a scholarship from H.E.H. the Nizam's Charitable Trust. She encountered artists from the Aesthetic and Decadent movements in England. She took a quick trip to Europe.

In 1898, Naidu returned to Hyderabad. That same year, she married a surgeon, Govindarajulu Naidu, in an inter-caste marriage that has been described as "groundbreaking and scandalous." Both of their families approved of their long and happy marriage. They had four kids. Padmaja, their daughter, also joined the Quit India Movement and served in numerous government roles in independent India.

FAQs on Sarojini Naidu Essay

1. What can Sarojini Naidu teach us?

She observed the mistreatment of women in governmental and legislative entities. She was a founding member of the Women's Indian Association (WIA) in 1917, which helped women acquire the right to vote and occupy the legislative office. Sarojini Naidu's contribution to this great victory for women in India was considerable. Many significant nationalists and freedom fighters were present at that time. These two movements shook the pillars of British rule. She continued to fight for the independence of her country. After India got independence, she was appointed as the first governor of the United Provinces. She was also the first female governor of India.

2. What role did Sarojini Naidu play during the American Revolution?

Between 1915 and 1918, she traveled the length and width of the country giving lectures on social welfare, women's emancipation, and other topics.

3. Where can I get helpful study materials for this topic?

Everything you need may be found on the Vedantu app or website . These materials are prepared by experts in the subject, and the information is accurate and dependable. Students will be able to obtain revision notes, important questions, question papers, and much more! There are no fees or costs associated with these study resources. All students need to do is sign in, and then they can download everything they want in pdf format. You may benefit from these free tools, which will undoubtedly help you ace your tests.

4. Why is it necessary to learn essay writing from the NCERT book?

NCERT texts are recommended by the CBSE board. These books adhere to the most recent CBSE syllabus. As a result, these books are sufficient for test preparation. It simply discusses things. When it comes to improving your basics, these texts are the finest. It has a plethora of solved examples and activities that aid in a student's learning. The exam paper will be nearly entirely based on the NCERT textbook. As a result, pupils are recommended to extensively study the NCERT text.

5. Why were Sarojini’s thoughts and ideologies progressive?

As per the Sarojini Naidu essay, her ideologies and thoughts were quite progressive because of the values instilled by her parents. Her mother and father were educated and had excellent thoughts related to nationalism, peace, and equality. She gained the same qualities from her parents.

6. What did she do for women’s rights?

According to this essay on Sarojini Naidu, she was an ardent follower of nationalism and equality. According to her, everyone has the same right. She actively fought to establish women’s rights and founded the Women’s Indian Association in 1917.

7. Which poem is her best of all the creations?

This Sarojini Naidu in English essay suggests that ‘In the Bazaars of Hyderabad’ is the best poem she wrote. Her words explained about the local bazaars like a picture.

The Criterion: An International Journal in English

Bi-Monthly, Peer-reviewed and Indexed Open Access eJournal ISSN: 0976-8165

Indianness in Sarojini Naidu’s poetry with Reference to Her Major Poems

P. Sreenivasulu Reddy

Asst. Professor of English GITAM University, Visakhapatnam

Andhra Pradesh

& Prof. B Sandhya

Head, Department of English,

GITAM University, Visakhapatnam Andhra Pradesh

Abstract : Sarojini Naidu, the great patriot, politician, orator and the Nightingale of India was born on 13th Feb.1879 in Hyderabad. Most of her poems deal with the vast Indian Panorama. No significant aspect of Indian life is untouched by her. One can come across a cross-section of the Indian society in her poems. Her contribution to the development of culture and national liberation struggle is invaluable. So her significance and greatness as a women poet has been praised by all. This article is a modest attempt to bring out Sarojini Naidu’s poetic genius reflecting the Indian character while exploring the religious and spiritual ideals of Truth.

Introduction

Sarojini Naidu, a great patriot, politician, orator and the Nightingale of India (Bharatha Kokila) was born on 13th Feb.1879 in Hyderabad. Her father, Dr. Aghornath Chattopadhyaya, was the founder of Nizam College of Hyderabad and a scientist. Her mother, Mrs. Varasundari, was a Bengali poetess. Sarojinidevi inherited qualities from both her mother and father. Most of

her poems deal with the vast panorama of India. One can come across a cross-section of the Indian society in her poems. No significant aspect of Indian life is untouched by her She worked to the development of indian culture. Her contribution to the National liberation struggle is invaluable. So her significance and greatness as a Nationalist and Poet has been praised by one and all.

According to many Indian critics, “the most characteristic quality of Sarojini Naidu’s poetry, besides its lyrical wealth, is its portrayal of Indian character. She is a poetess of Indian thought and sensibility. Her themes relate to all “Indian.” The men and women, fauna and flora, customs and traditions, festivals and celebrations, myths and legends, markets and bazars, fairs and feasts. To a great extent, her poetry is a mirror to India.

Thus one can say that Indianness is the most important aspect in the poetic work of Sarojini Naidu, especially in the genre of traditional folk lore which has been depicted very well. Therefore her poetry comes under the banner as “Indian folk songs”. It has dealt with customs, beliefs, traditions, superstitions, aspirations, simple joys, and sorrows etc.

The task of interpreting the heart of India and of creating a genuine Indian atmosphere in English poetry, which had been left incomplete by Toru Dutt on account of her premature death, was taken up by Sarojini Naidu. While Toru Dutt has described the Puranic legends of ancient India, Sarojini has immortalised the familiar scenes of everyday life in modern India.

Sarojini Naidu has achieved a place of great prominence among the Indo-Anglian poets and literary figures. She was not only known as a poetess but a staunch patriot and a freedom

fighter.  This  nationalism  or  an  intense  feeling  of  patriotism  is  an  Impetus  for  her  active participation in the independence movement.

Sarojini Naidu springs from the very soil of India, her spirit very Indian, manipulates the English language a foreign language effectively as a vehicle, to convey very Indian thought and themes”. Out of her 184 poems most of her poems deal chiefly this idea

Bangle-Sellers

The poem Bangle-Sellers is associated with bangles and the implications of women’s roles in a traditionalist Indian social setting. The bangle seller is trying to convince the woman by explaining the spiritual and symbolic importance of these bangles. In this process, Sarojini Naidu makes strong connections between the bangles and their role in providing “happy daughters and happy wives.”

Some are meet for a maiden’s wrist, Silver and blue as the mountain mist,

Some are flushed like the buds that dream.

The subsequent stanzas describe through lush and natural imagery the beauty of the bangles and their representation of these ideals help to increase their precious value. Some of these descriptions invoke the passion of “marriage’s fire”

Meet for a bride on her bridal morn

,Some, like the flame of her marriage fire, Or, rich with the hue of her heart’s desire,

Tinkling, luminous, tender, and clear, Like her bridal laughter and bridal tear

And, in the last stanza, help to bring to light the socially accepted role of women in this setting. The purple and gray flecked bangle is meant to symbolize a woman who “serves her household in fruitful pride, and worships the gods at her husband’s side.”

Some are purple and gold flecked grey

For she who has journeyed through life midway, Whose hands have cherished, whose love has blest, And cradled fair sons on her faithful breast,

And serves her household in fruitful pride, And worships the gods at her husband’s side.

Palanquin Bearers

The poem “Palanquin bearers ” is to reflect about the Indian marriages and their cultures. The poet has deliberately used the contradictory feeling of laughing and weeping. The bride is sad and is crying as she is separated from her family. But simultaneously she is also overjoyed as she is going to start a new life. In Indian culture earlier woman were considered as a burden. But when the palanquin bearers carry the bride as she is married, they feel no burden because of the ecstatic environment.

Lightly, O lightly we bear her along, Softly, O softly we bear her along,

She hangs like a star in the dew of our song; She springs like a beam on the brow of the tide,

She falls like a tear from the eyes of a bride. Lightly, O lightly we glide and we sing,

We bear her along like a pearl on a string.

Wandering Singers

This poem Wandering Singers is about wandering singers who are common in Indian scene, their life and all about what they do in life, their experiences. The wandering singers wander here and there. They consider all people as their family and relatives and the world as their homes. They have lutes in their hands and they always sing about the cities luster which is lost, laughter and beauty of the women who are dead now, swords of old battles and crowns of old kings.

Where the wind calls our wandering footsteps we go.

No love bids us tarry, no joy bids us wait: The voice of the wind is the voice of our fate.

There is no love that compels them to stay and no joy that forces them to wait, but  they wander about as the winds guide them. There is a suggestion of fate governing their future.

Kali, the Mother

The poem, Kali, the Mother is a hymn to Kali, “the Eternal Mother” of Hindu worship. Indian folk culture is dominated by ritual. The rituals observed on the occasion of festivals draw on the participants’ sense of their own common helplessness, in the face of dancers  and mysteries which confront man, both in his own nature and in his world, Through such rituals both the individual and the community express their common attempt to placate some supernal being who can destroy them as well as protect them from un known dangers, lurking in the darkness of the future:

O’ Terrible and Tender and Devine! O” Mystic mother of sacrifice

We deck the somber altars of thy shrine With sacred basil leaves and saffron and rice All gifts of life and death, we bring to thee Uma,Haimavathi,

There are innumerable gods ‘and goddesses whom the Hindus have always worshiped and sung hymns to since the time of the Rig Veda., Kali , the Mother is one such deity, and in the present hymn Sarojini has succeeded capturing the very spirit of the worship that is offered to her every year by the people of India as a whole, as well as individually:

Corn-Grinders

The poem corn-grinders is a lyric about the wretched condition of Indian women who have to do the manual work of corn-grinding, especially the young widows of that time. The women in early morning hours, when the stars still laugh and all the happy world is asleep, are at their grinding wheels, singing but in a pathetic tone, which harmonises well with their own life experience and the lonely hours of the morning:

O little bride, why dost thou weep

With all the happy world asleep? Alas! Alas! My lord is dead!

Ah, who will stay these hungry tears, Or still the want of famished years,

And crown with love my marriage-bed? My soul burns with the quenchless fire That lit my lover’s funeral pyre:

Alas! Alas! My lord is dead.

Cradle Song

A ‘Cradle Song’ or lullaby is a part of Indian culture which is a song by the mother to put her children to sleep. In the present poem, the Indian mother perhaps is reciting the lullaby. She describes the various places from which she has gathered the song that is descending gradually upon the eyelids of her child:

From groves of spice, O’er fields of rice,

Athwart the lotus-stream, I bring for you,

A glint with dew

A little lovely dream.

Finally the baby goes into a deep and sound sleep. In the golden light of the late evening produced by the clear starry skies, the stars from heaven look down upon the baby in its cradle. The mother places the baby in the cradle with soft caress and a promising dream.

Dear eyes, good-night, In golden light

The stars around you gleam; On you I press

With soft caress

Hymn to Indra, Lord of Rain

This poem is about the prayer to the rain god, Indra by farmers for rain.  It is believed by the Hindus that the rain, thunder and lightning occur by the grace of Indra.  Hence, this poem is composed as the villagers pray to Indra for rain for their agricultural purpose.

The farmers pray to Indra to make the thunder which is described as His voice, to wake up the storm from sleep which can break even the mountains by is force and split the waves of the sea.  Indra is the maker of streams and rivers:

O Thou, who rousest the voice of the thunder, And biddest the storms to awake from their sleep

Who breakest the strength of the mountains as under, And  cleverest the manifold pride and rifer

Dost nourish the heart of the forest and plain, Withhold not Thy gifts O Omnipotent Giver!

They flow through the forest and plain lands which is utilised for cultivation. He is omnipotent and has the ultimate power over the earth and sky and he grants joy to the eagles and

teaches the young koel to fly. He helps everyone as and when he needs His help or his suffering. He loves everyone and saves all from sorrows and protects from pain. Hence, they surrender themselves to him and ask him not to leave them without rain

Lakshmi, the lotus Born

The very Indian poem Lakshmi, the lotus Born is addressed to the Goddess of Fortune, Lakshmi In Hindhu mythology Lakshmi,wife of Lord Vishnu is worshipped as goddess of fortune and happiness. This poem is a finest example of Indian faith in performing rituals and worshipping idols It was composed on the ‘Lakshmi Puja Day’ in 1915. In it the poetess invokes Lakshrni, the goddess of fortune in a traditional way to shower prosperity and wealth :

Prosper our cradles and kindred and cattle

And cherish our Health-fires and coffers and corn Hearken ,O’ Lotus Born

Here the poetess addresses the deity Goddess Lakshmi not only for herself but also for the entire mankind.

“For our dear land, we offer oblation

To keep thou her glory unsullied , unhorn And guard the invincible hope of our nation Hearken ,O’ Lotus Born

Conclusion : – Thus we can observe variegated scenes of Indian life being presented throughout Sarojini Naidu’s poetry. Her depiction of India is comprehensive and realistic. She depicts With beauty, grace, love, sympathy and penetration the changing seasons, the rivers and lakes, beaches and forests, flowers and birds, men and women of different ethnic and cultural backgrounds, engaged in diverse vocations and exhibiting various skills. The simple rustic scene of rural India and mundane life is being very picturesquely portrayed by the author.

Works Cited:

1. A Bibliography of indian English. Hyderabad : Central institute English and Foreign Languages, 1972.

.2. Bibliography of Indian Literature (20th Century, Vol.1 covering ‘ ‘ English, New Delhi: Sahitya Akademic, 1962.

• Basu Lotika, Indian Writers of English Verse. CalcuttaUniversity, 1933.
• Iyengar, K.R. Srinivas. Indo-Anglian Literature, Bombay : Asia Publishing House 1973.
• Kotky, P.C., Indo-English Poetry, Gauhati University : Department of English Publication, 1969
• Sharma, K.K. ed. Indo-English Literature : A Collection of Critical Essays. Ghaziabad : Vimal Prakashan, 1977.

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Sarojini Naidu

Sarojini Naidu (née Chattopadhyaya; 13 February 1879 – 2 March 1949), also known by the sobriquet The Nightingale of India (Bharatiya Kokila), was a child prodigy, Indian independence activist and poet. Naidu was the second Indian woman to become the President of the Indian National Congress and the first woman to become the Governor of Uttar Pradesh state. Her birthday is celebrated as Women's Day in India.

Early years

Sarojini Chattopadhyay, later Naidu, belonged to a Bengali family of Kulin Brahmins. She was born in Hyderabad, India as the eldest daughter of scientist, philosopher, linguist and educator Aghornath Chattopadhyaya, and Barada Sundari Devi, a Bengali poetess. After receiving a doctor of science degree from Edinburgh University, her father settled in Hyderabad State, where he founded and administered the Hyderabad College, which later became the Nizam College in Hyderabad. Her father was a linguist and thinker, and the first member of Indian National Congress in Hyderabad. Her mother, Barada Sundari Devi, was a poetess baji and used to write poetry in Bengali.

Sarojini Naidu was the eldest among the eight siblings. One of her brothers Birendranath was a revolutionary and her other brother Harindranath was a poet, dramatist, and actor.

Sarojini Naidu was a brilliant student. She was proficient in Urdu, Telugu, English, Bengali, and Persian. At the age of 12, Sarojini Naidu attained national fame when she topped the matriculation examination at Madras University. Her father wanted her to become a mathematician or scientist but Sarojini Naidu was interested in poetry. She started writing poems in English. Impressed by her play Maher Muneer, the Nizam of Hyderabad gave her scholarship to study abroad. At the age of 16, she traveled to England to study first at King's College London and later at Girton College, Cambridge. There she met famous laureates of her time such as Arthur, Symons and Edmond Gosse. It was Gosse who convinced Sarojini to stick to Indian themes-India's great mountains, rivers, temples, social milieu, to express her poetry. She depicted contemporary Indian life and events. Her collections "The golden threshold (1905)", "The bird of time (1912)", and "The broken wing (1912)" attracted huge Indian and English readership.

Indian Freedom Fighter

Sarojini Naidu joined the Indian national movement in the wake of partition of Bengal in 1905. She came into contact with Gopal Krishna Gokhale, Rabindranath Tagore, Muhammad Ali Jinnah, Annie Besant, C. P. Ramaswami Iyer, Mahatma Gandhi and Jawaharlal Nehru.

During 1915-1918, she traveled to different regions in India delivering lectures on social welfare, women empowerment, and nationalism. She awakened the women of India and brought them out of the kitchen. She also helped to establish the Women's Indian Association (WIA) in 1917. She was sent to London along with Annie Besant, President of WIA, to present the case for the women's vote to the Joint Select Committee.

President of the Congress

In 1925, Sarojini Naidu presided over the annual session of Indian National Congress at Kanpur. In 1929, she presided over East African Indian Congress in South Africa. She was awarded the Kaiser-i-Hind medal by the British government for her work during the plague epidemic in India. In 1931, she participated in the Round table conference with Gandhiji and Madan Mohan Malaviya. Sarojini Naidu played a leading role during the Civil Disobedience Movement and was jailed along with Gandhiji and other leaders. In 1942, Sarojini Naidu was arrested during the "Quit India" movement and was jailed for 21 months with Gandhiji. She shared a very warm relationship with Gandhiji and used to call him "Mickey Mouse".

Literary career

Sarojini Naidu began writing at the age of 12. Her play, Maher Muneer, impressed the Nawab of Hyderabad. In 1905, her collection of poems, named "The Broken Wings" was published. Her poems were admired by many prominent Indian politicians like Gopala Krishna Gokhale and Jawaharlal Nehru.

Sarojini Naidu: WWI poetry and the ‘Gift’ of India

Here at ypn, we’ve often published features exploring the life and works of poets who have had a big impact on english literature – from william blake to elizabeth bishop , edith sitwell to robert browning . in this latest feature, stephanie sy-quia explores the life and works of sarojini naidu, an indian poet and activist, in the context of wwi poetry and the literary canon..

In January 2020, the actor Laurence Fox stirred up a controversy when said the inclusion of a Sikh soldier in the World War One film 1917 was an ‘oddness in the casting’ which ‘felt incongruous’. He called the film ‘institutionally racist’ for including Sikh soldiers for what he assumed were reasons of political correctness and meeting diversity requirements. In fact, some 1.3 million Indian soldiers fought for Britain in World War One, and more than 75,000 of those died. Fox later apologised, but what this incident revealed was how few people knew about India’s part in World War One.

The story of the First World War that most of us learn in school concentrates on Europe: the fine young men of the British Isles went off to fight with and against other young European men. War movies, which come out with impressive regularity, are full of young white men running up and down trenches. Go to Hyde Park Corner, and the war memorials there only feature statues of men in European uniforms. Even though Britain called on its colonies to contribute a huge amount – soldiers, food, tax – these contributions have been overlooked and even erased.

War poetry: What is it good for?

Poetry plays a huge role in how we memorialise the First World War. Think of World War One poetry and chances are, you will think of Wilfred Owen’s ‘Dulce et Decorum Est’, with its anger at the idea that it is glorious to die for your country. Or you may think of Rupert Brooke’s ‘The Soldier’, which expresses sentiments of honour, dedication and duty with its famous call: ‘If I should die, think only this of me: / That there’s some corner of a foreign field / That is for ever England’. We know these poems so well because they are published in countless anthologies and read aloud on occasions of remembrance, and they are key in shaping how we think about of the war.

I want to turn to another poem about the First World War, which you might not have heard of: Sarojini Naidu’s poem ‘The Gift of India’ .

Sarojini Naidu was from a Bengali Brahmin family. She was born in Hyderabad in 1879 but educated at King’s College London and Cambridge. She lived in England for several years, publishing two poetry collections, and was the protégée of Victorian literary greats Edmund Gosse and Arthur Symons. She later met Gandhi and became one of his close associates, accompanying him on the landmark Salt March and the second Round Table Conference . Inspired by the suffragist movement she’d seen in London, she became an activist: she addressed Indian women on issues of Indian independence and toured the country making speeches, eventually racking up four prison sentences for her anti-British activity. It was around this time, during the First World War, that she wrote her most famous poem, ‘The Gift of India’.

Let’s read the poem – you can find it in full here .

We start off in the world of treasure, pearls and ‘Rich gifts of raiment or grain or gold’. The poem is written in a loose iambic pentameter (a metre that stresses every second syllable: de-DUM-de-DUM-de-DUM-de-DUM-de-DUM) and rhyming couplets , making the lines tight and emphatic. It all sounds quite jolly, and maybe even forced – though there’s definitely something dark underneath it, with the final stanza ending in ‘doom’. When we get to the last line of the second stanza (‘the blood-brown meadows of Flanders and France’), suddenly, those hippity-hoppity rhymes which were maybe starting to get a bit irritating have turned around to bite you:

Can ye measure the grief of the tears I weep Or compass the woe of the watch I keep? Or the pride that thrills thro’ my heart’s despair And the hope that comforts the anguish of prayer? And the far sad glorious vision I see Of the torn red banners of Victory?

We start to work out that the poem’s speaker is India, the ‘you’ is Britain, and that the poet is deeply sad and angry at the thought of India sending over a million men to support its coloniser’s war effort. Even ‘Victory’ is in ‘torn red banners’ in the poem.

The poem ends with a command to remember India’s sacrifices:

When the terror and tumult of hate shall cease And life be refashioned on anvils of peace, And your love shall offer memorial thanks To the comrades who fought in your dauntless ranks, And you honour the deeds of the deathless ones, Remember the blood of my martyred sons!

As we know (and as Naidu probably guessed), there has been a huge amount of ‘memorial thanks / To the comrades who fought in your dauntless ranks’ – but very little of this thanks is directed at India’s ‘martyred sons’.

Naidu has chosen a clever poetic form to question those in power. The poem uses classic English styles (rhyming couplets, iambic pentameter) against the British, to point out how ungrateful and unfeeling India’s colonisers are. To borrow a phrase from Audre Lorde , she is using the master’s tools against him .

In later life, Naidu’s career became more exclusively political. After Indian independence in 1947, she became the first female governor of a state, the Upper Provinces (now Uttar Pradesh), a post she held until her death in 1949. Sadly, she has since sunk into obscurity. When Oxford University Press published its anthology Poetry of the First World War (2017), ‘The Gift of India’ was not in it. In fact, the book only included two poets who had been born outside of Britain, and one of them was Rudyard Kipling – whose poem ‘The White Man’s Burden’ remains a key text of white supremacist thinking. 

Who do we choose to remember?

One more comparison. Let’s contrast ‘The Gift of India’ with another famous World War One poem, Laurence Binyon’s ‘For the Fallen’ . You might know these lines from Binyon’s poem: ‘At the going down of the sun and in the morning / We will remember them.’

The two poems have a very similar style, structure and rhyme scheme, and share an almost identical image of drums. But their feeling is different: Binyon celebrates ‘our boys’, ‘Fallen for the cause of the free’, focusing on honour and glory, whereas Naidu’s poem is angry, demanding that Britain give  its colonies their due. Both poems ask that the fallen are remembered – but just as ‘The Gift of India’ has been largely forgotten by the British public, so have the soldiers from Britain’s colonies been forgotten, in favour of the idea that the war was won by white Europeans.

We’re now approaching questions about the canon, and which writers we choose to remember. The literary canon is the group of texts and authors that a culture considers its ‘great’ works of literature – in English, this often includes Shakespeare, Milton, Blake, and so on. These are the writers whose names are considered general knowledge, whose work is taught in schools and universities, and which we turn to at ceremonies, weddings and funerals.

But when choosing certain ‘great’ texts to remember, so many are excluded. Why has Sarojini Naidu’s poem been forgotten, but Binyon’s not? Who decides what is part of a national literature? What is the canon for?

Historically, white men in positions of power (editors, critics, patrons, politicians) have chosen other white men to be our ‘greats’. This has supported their worldview that they were better than women (who were hysterical) and people of colour (who were uncivilised). The more white men’s good stories about themselves are repeated, the more their way of thinking becomes the norm, and the cycle repeats itself.

British poetry of the First World War is just one very good example of this process. We must never underestimate the role of power (who has it, and how they’re trying to protect it) in deciding the merit of art, and how exclusion is its most powerful weapon. Pointing this out is important, because national literature is important. It tells us who we are, where we’ve come from, what we believe in, and who has a right to be part of public life.

‘Precocious if imitative’

The Open University’s biography for Naidu describes her as the author of ‘precocious if imitative verse’, i.e. not very original and therefore not very good.

But, as we’ve seen, Naidu was the protégée of Victorian greats Edmund Gosse and Arthur Symons, and all three were part of a turn-of-the-century movement called British Decadence. Lots of people at the time were writing with extravagant language, tight form, self-indulgence and melodrama – you might know Oscar Wilde, who was one of the most famous Decadents. If Naidu’s style seems outdated and ‘imitative’ now, it is important to remember that she was writing like her contemporaries.

Besides, Naidu was a woman, a person of colour, and a colonial subject, trying to enter a British literary world controlled by white men and what they wanted to hear about. They liked their ‘poetesses’, when they were speaking at all, to do so from positions of heartbreak. And if they came from an ‘exotic’ faraway land, then those poets were expected to describe it in vivid terms. It’s not surprising, therefore, that Naidu wrote in the ways that she did – read ‘ Nightfall in the City of Hyderabad ’, for instance, or ‘ Suttee ’.

Take a closer look, though. What is interesting is how she uses these expected themes and styles to question authority: her writing is full of female speakers grieving departed love objects, be they sons or husbands, paralleling the grieving India we saw in ‘The Gift of India’. There are definitely revolutionary themes in her poem ‘To India’ , for instance:

Mother, O Mother, wherefore dost thou sleep? Arise and answer for thy children’s sake!

We again have to ask why the Open University calls Naidu ‘precocious but imitative’ – what worldviews are they seeking to protect by not taking her work seriously? This is the sort of coded and patronising language many women and people of colour face when their work is discussed, even today.

It’s so important to be aware of who is making judgements on ‘good’ and ‘bad’ poetry, and why. As with every other area of life, work, and culture, diverse representation in what we read matters. When we learn about different aspects of our common history and how we can best engage with them in the present, everyone benefits.

If you’re interested in other voices excluded from mainstream World War One poetry, a good place to start is The Lost Voices of World War I: An International Anthology of Writers, Poets and Playwrights , edited by Tim Cross. You can also read more about Naidu in the context of British Decadence in the Penguin Classics anthology Decadent Poetry from Wilde to Naidu (edited by Lisa Rodensky, 2006).

Stephanie Sy-Quia is a freelance writer and critic based in London. She is a member of the Ledbury Emerging Poetry Critics Mentorship Scheme, working to address the disparity in poetry criticism of and by writers of colour. Her writing has appeared in The Guardian, The Times Literary Supplement, The Poetry Review, Poetry London, and others. 

Published June, 2020

One thought on “ Sarojini Naidu: WWI poetry and the ‘Gift’ of India ”

A pleasure to have read your essay on Mrs. Naidu, a lifelong friend of my maternal grandmother, Begum Amir Hasan (1870-1970) in Hyderabad, southern India. I’m writing an essay on Mrs. Naidu and came across a reference to her positive comments on Kipling at the time of his death (in the book Memoirs of Aga Khan, Simon & Schuster, New York, 1954). I’ve been unable to procure the entirety of Mrs. Naidu’s writing on Kipling? I’d be most grateful for your guidance to enable my finding the source, please? I’m 78, a cancer survivor, living in New York City from Hyderabad, researching for a book about some women whose kindness touched me. I knew Mrs. Naidu as a child as she was a frequent visitor, & her daughter, whom I addressed as Padmaja Apa, with whom I stayed in touch until her death. I shall acknowledge such help as you may give me in my forthcoming book, with your permission. Thank you for your time and kind attention. Shehbaz H. Safrani (Mr.)

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Sarojini Naidu, Cultural Exchange and Anti-Imperialism

Sarojini Naidu was a nineteenth century poet and political activist. Her upbringing was, in a sense, privileged because she was born into a middle-class family of well-educated Brahmins. Her father was a scientist and her mother a Bengali poet, so she also had strong literary ties. This gave her the space and opportunity to write and develop her English poetry and yet this was not the sum of her ambition. She used her connections, English education and social standing to embark on a political career that would advocate for women’s rights and Indian independence from Britain.

A precocious and driven young woman, she started writing poetry aged just thirteen, in the style of Tennyson. At sixteen her family sent her to study in England, first at King’s College London and later at Cambridge. This was, in part, a bid to separate her from the man she loved, a man much older than her and of a different caste, yet she remained defiant and despite her parents’ objections married him when she returned to India aged nineteen. [1]

She had four children in rapid succession and it was in this period of domestic bliss that she dedicated herself to composing poetry. Her poems rejoice in varying meters and using highly decorated, trilling cadences akin to singing, in order to create a romantic vision of India – recalling an ancient mythic India. They also provide idyllic re-enactments of life in India’s provincial towns and bustling metropolises, as well as revealing her abiding patriotism. [2]

Political Activism

However, she had always been attracted to the nationalist cause and was known for her brilliance as a public speaker. In 1914, she met Gandhi and committed herself to Indian Independence from Britain – he gave her the title ‘the Nightingale of India’. [3] Today she is mainly remembered as an Indian national icon rather than as a poet, though there has been an attempt in recent scholarship to revive her poetry and its contribution to the decadent period.

Among the early Indian feminists, Naidu was a committed egalitarian, promoting Hindu-Muslim unity and the rights of women by speaking out in favour of suffrage, widows’ remarriage and the need for women’s education. She became the first women president of the National Congress in 1925, survived a number of stints in prison and after independence was made the Governer of Uttar Pradesh in 1947. She died while in office.

To return to her juvenilia, though, it is in ‘Sunalini: A Passage from Her Life’, an unpublished fragment composed in Switzerland before marriage, that Naidu describes being struck by the epiphany that she was a poet with ‘new irresistible, unutterable longings and sensations’. [4] She expresses these newfound longings continually in her poetry through a celebration of woman and womanhood, and a deep devotion to the country she loved dearly. [5]

The Symons and Gosse Effect

During her time in England, Naidu met Arthur Symons and Edmund Gosse. Symons, who penned an introduction for The Golden Threshold (her major work), praised the ‘bird-like quality’ of her poems, which ‘hint, in a sort of delicately evasive way, at a rare temperament, the temperament of a women of the East finding expression through a Western language and under partly Western influences’. [6] They became fast friends and would continue to correspond after she returned to India.

Yet it was to Edmund Gosse that Naidu dedicated this major work, crediting him with showing her ‘the way to The Golden Threshold’. [7] Hence it is unsurprising that Naidu closely followed his recommendations, seeking out a poetic style that was not a hangover ‘of Anglo-Saxon sentiment in an Anglo-Saxon setting but some revelation of the heart of India’. [8]

Both Symons and Gosse demonstrate that characteristically decadent fascination with, and categorisation of, the East as exotic, so it is interesting that what they revel in and encourage Naidu to do in her poetry is to fulfil their expectations of how Indian poetry should read – they suggest that the project of her poetry is, and should be, to get at the heart of the East. That is, it should luxuriate in the sensual, colourful, strange and spice-filled air of India so culturally different from home. This need to define, pierce and unveil the mysteries of the colonies is something that is rife in this period though it takes a slightly different form, say, in for instance Joseph Conrad’s Heart of Darkness,  but what is recurring is this view of the colonies as exotic, as Other, as mysterious and essentially unknowable or ungraspable and yet a problem that must be solved, pinned down and owned.

Naidu took Gosse’s advice, noticeably Indianising her verse with relish. Notably, her poems never mention her experiences in Britain; rather, they gives us mythic heroines like Sita and Savitri, legendary figures like Padmini of Chittor and Princess Zebunnissa; images and conceits from the Urdu ghazal and the Gita Govinda : champak and rosebud, bulbul and nightingale. These romanticized images began filling her poetry, framed in the alliterative and melodic stanzas that were to become her trademark. [9]

East is East

If we consider one of Naidu’s poems, “The Snake-Charmer”, on first appearance this poem looks like it is just fulfilling the brief of Symons/Gosse, appealing to a call for verse that is exotic, opulent and other-worldly:

Whither dost thou hide from the magic of my flute-call? In what moonlight-tangled meshes of perfume, Where the clustering keoras guard the squirrel’s slumber, Where the deep woods glimmer with the jasmine’s bloom? [10]

Everything is designed to appeal to the senses; in fact, there is something of a sensory overload in these stanzas. Naidu provides an over-abundance of fragrances: ‘perfume’, ‘jasmine’s bloom’ and pleasing sounds, ‘flute-call’, all suffused under the light of the moon.  Nature itself seems to guard the peace of the woodland with its world-wearied and slumbering squirrels being shielded from the snake by ‘clustering keoras ’, a flower whose scent is said to attract snakes.

Perhaps unexpectedly, what we get is no simple, sensationalized description of a snake charmer, whereby someone entertains a crowd by playing music and causing a snake to rise out of a basket; rather, what Naidu presents the reader with is a harmonious, almost Edenic scene that has been inverted. This speaker is no Eve and the snake does not mean her damnation; it is the site of an unabashed female desire, even if the object of her affections evades her:

Whither dost thou loiter, by what murmuring hollows, Where oleanders scatter their ambrosial fire? Come, thou subtle bride of my mellifluous wooing, Come, thou silver-breasted moonbeam of desire! [11]

Naidu inverts gender roles by presenting her speaker as sexually forward, active in her ‘wooing’, and knowledgeable about sexual conduct. She reveals the speaker’s anxiety that her ‘beloved’ [12] may have fallen into the arms of another women in the first stanza when she asks ‘In what moonlight-tangled meshes of perfume’ are you that you cannot hear my ‘flute-call’? Her speaker knows the rules of the game of seduction and she seeks to turn the tables, seducing the ultimate tempter – the snake. These expressions of female desire are not just for the undeniably phallic ‘snake’, so are not limited to conveying sexual desire, but for the creative power of poetry that has previously been a male domain, especially considering the wider Western and Eastern literary canon, which has tended to be densely populated by male figures. In the literature of the Indian sub-continent this may be exemplified by the influence of male poets like Kabir, Ghalib and Iqbal.

Significantly, then, the speaker imagines her beloved ‘Where oleanders’ – a poisonous evergreen shrub grown for its pretty flowers – scatter their ‘ambroisal fire’. This phrase fuses together classical allusions to ambrosia (the food of the gods) with Promethean fire, which represents the gods’ ability to control life and death but also the creative power of the artist. Prometheus, in giving fire to mankind, not only allowed them to see, be illuminated, to create, and find sustenance but also be autonomous beings – no longer utterly dependent on the mercy of the gods. Thus, the speaker locates the snake where nature doles out its creative, artistic energy, in a hollow of poetical allusions, and calls out in hope that this creative force will be merged with her as her ‘bride’. This final gender reversal calls attention to the way in which the female poet seeks to outdo her male predecessors.

Criticism has tended to suggest that Naidu’s poetry suffers because it has a fetishizing Western vision of what the East is imposed on it by male aesthetes, who paternalistically taught her to write in the ‘language of slumberous, savage sexuality,’ [13] which her English friends thought fit for her, though this is changing. [14] As such, I would like to point out that for all her exoticizing and romanticizing of India, Naidu was keenly aware of the oppressive legal and social constraints imposed on Indians, especially women, interrogating and actively fighting against the power structures that would limit her poetic, personal, and political agency. Bangles, the emblems of a woman’s marital status and duties, are smashed to pieces by the speaker of “Dirge” at the precise moment of her husband’s passing. [15] Naidu presents this grief-stricken act as a rebellion against the society that would rob a woman of all her finery, social freedom, and condemn her to wear white for the rest of her life to mark her as a widow:

Shatter her shining bracelets, break the string Threading the mystic marriage-beads that cling Loth to desert a sobbing throat so sweet, Unbind the golden anklets on her feet Divest her of her azure veils and cloud Her living beauty in a living shroud . [16]

If Naidu were able to answer such accusations of fetishization, she may well have repeated her words to the All-India Writers Conference in 1948. Public speaking was always her calling and here she powerfully reveals her Romantic approach to writing poetry, stressing the need for impulse and spontaneity, and sums up her nationalistic opinion of the issue of Indian literature in English [17] :

Be masters of whatever language you like, so long as it is the language of the human heart and spirit. Literature is the only way the truth can be kept alive. [18]

Zaynub Zaman ( @zizizaman ) completed her PhD in English from the University of Liverpool earlier this year, researching the presence of Dante in the works of Pre-Raphaelite poet and painter Dante Gabriel Rossetti with particular interest in medieval mysticism and sexuality.  She has contributed articles to Pre-Raphaelite Society Review including ‘The Passion: the influence of the High Church on Dante Gabriel Rossetti’s Aestheticism’ (27.3, 2019) and ‘Talking that Talk: negatively speaking’ (23.1, 2015) both examining Rossetti’s poetry.  Other research interests include the relationship between literature and religion at the turn of the nineteenth century, post-colonialism and Islamic mystical poetry from the Early Mystics to Ghalib.

Notes & references

[1] Lisa Rodensky, ed., “Sarojini Naidu (1879-1949),” in Decadent Poetry from Wilde to Naidu , (London: Penguin, 2006), 294.

[2] Ranjana Sidhanta Ash, “Two Early-Twentieth-Century Women Writers: Cornelia Sorabji and Sarojini Naidu,” in A History of Indian Literature in English , ed. Arvind Krishna Mehrota (London: Hurst & Co., 2003), 131.

[3] As quoted in Izzat Yar Khan, Sarojini Naidu: The poet , (New Delhi: S. Chand and Co, 1983), 17.

[4] Sarojini Naidu, “Sunalini: a passage from her life,” Manuscript, EUR A95. British Library.

[5] Ash, 132.

[6] Arthur Symons, ed., “Introduction,” in The Golden Threshold by Sarojini Naidu, (London: Heinemann, 1905), 10.

[7] Naidu, The Golden Threshold , p.3.

[8] Edmund Gosse, ed., “Introduction,” in The Bird of Time: Songs of Life, Death & the Spring by Sarojini Naidu   (London: Heinemann, 1912), 5.

[9] Ash, 132.

[10] Naidu, “The Snake-Charmer”, in Decadent Poetry from Wilde to Naidu , 215, lines 1-4.

[11] Naidu, “The Snake-Charmer”, 215, lines 9-12.

[12] Naidu, “The Snake-Charmer”, 215, line 6.

[13] Talia Schaffer, The Forgotten Female Aesthetes: Literary Culture in Late-Victorian England , (University Press of Virginia, 2000), 28.

[14] See Malashri Lal, “The Golden Threshold of Sarojini Naidu,” in The Law of the Threshold , (Indian Institute of Advanced Study, 2000), who contends that Naidu’s poems are not written in her own voice but follow the mandate of Edmund Gosse for Indian poetry. For an approach that defines Naidu’s modernism in terms other than mimicry or nostalgia, see Anna Snaith, “Sarojini Naidu, Feminist Nationalism and Cross-Cultural Poetics,” in Modernist Voyages: Colonial Women Writers in London 1890-1945 , (Cambridge, Cambridge University Press, 2014), 67-89.

[15] Ash, 133.

[16] Naidu, The Bird of Time: Songs of Life, Death & the Spring , 14, lines 13-18.

[17] Ash, 134.

[18] Sarojini Naidu, Proceedings of the Second All-India Writers’ Conference (All India Centre, 1950), p.22.

Header image: A young Sarojini (1912). Image source: Wikimedia Commons.

Works Cited

Ash, Ranjana Sidhanta. “Two Early-Twentieth-Century Women Writers: Cornelia Sorabji and Sarojini Naidu”. In A History of Indian Literature in English , edited by Arvind Krishna Mehrota, 126-135. London: Hurst & Co., 2003.

Khan, Izzat Yar. Sarojini Naidu: The Poet . New Delhi: S. Chand and Co, 1983.

Lal, Malashri. “The Golden Threshold of Sarojini Naidu”. In The Law of the Threshold . Indian Institute of Advanced Study, 2000.

Naidu, Sarojini. The Bird of Time: Songs of Life, Death & the Spring . London: Heinemann, 1912.

—— The Golden Threshold. London: Heinemann, 1905.

—— et al. Proceedings of the Second All-India Writers’ Conference . All India Centre, 1950.

—— “Sunalini: a passage from her life,” Manuscript, EUR A95. British Library.

Rodensky, Lisa, ed. Decadent Poetry from Wilde to Naidu. London: Penguin, 2006.

Schaffer, Talia. The Forgotten Female Aesthetes: Literary Culture in Late-Victorian England . Charlottesville, VA: University Press of Virginia, 2000.

Snaith, Anna. “Sarojini Naidu, Feminist Nationalism and Cross-Cultural Poetics”. In Modernist Voyages: Colonial Women Writers in London 1890-1945 , 67-89. Cambridge, Cambridge University Press, 2014.

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The Undying Legacy Of Sarojini Naidu’s Poetic Vision

Sarojini Naidu, lovingly called the Nightingale of India , holds an esteemed place in India’s political as well as literary history. Not only did she enrich Indian English poetry through her literary achievements, but also contributed immensely to the Indian freedom struggle. She was writing during the transitional period from the colonial to the post-colonial era, and thus, her works explore postcolonial themes like culture and history, as well as the conflicts between the East and the West, in an aesthetic fashion.

Sarojini Naidu was a poet as well as a patriot, and we see an amalgamation of both these sides of her personality in her literary works. Naidu was a progressive thinker. Throughout her life, she advocated civil rights, anti-imperialism, and women empowerment. She belonged to the group of writers who believed in the power of giving Indian sensibilities to English. Naidu, thence, wrote in English, and was one of the first Indian English poets to gain a huge Western audience and positive criticism.

Sarojini Naidu, often considered a child prodigy, began writing around the age of twelve. Despite writing in the British romanticism tradition of lyric poetry, her works align with her Indian nationalist politics, often using sense-evoking imagery to paint an aesthetic portrait of India. For the same reason, she has also been called the “ Indian Yeats ”.

Sarojini Naidu’s first collection of poems was published in London in 1905 by the name of The Golden Threshold . Edmund Gosse recommended its publication and this edition included an introductory section by Arthur Symons. Her poetry ranges from children’s poems to poems dealing with critical themes like tragedy, romance, patriotism, civil rights, women emancipation, and more.

Sarojini Naidu’s last poetry volume ( The Broken Wing ) also reflects her views on the suffrage of women. Like other women writers of the era, Naidu focused on the plight of the women in an orthodox patriarchal society. Their suffering and their struggle to sustain themselves in a chauvinistic society are brought out in her works

Her activism was governed by strong, clear ideals. “ We want deeper sincerity of motive, a greater courage in speech, and earnestness in action. ”, said Naidu and reflected the same in her poetry along with her social activism.

Her political activism was deeply rooted in beliefs of justice and equality. “ When there is oppression, the only self-respecting thing is to rise and say this shall cease today, because my right is justice. If you are stronger, you have to help the weaker boy or girl both in play and in the work .”

Sarojini Naidu threw light upon the Indian contemporary life and its issues. She openly questioned caste barriers and gender inequality. The Bird of Time: Songs of Life, Death, and the Spring was her second poetry collection. It is rooted in the British romantic poetry tradition, yet deals more strongly with nationalist themes.

It was published in 1912, in both London and New York. Here, in a particular poem, Naidu imagines time as a bird and expresses the passing of time via the movements of a bird and the lens of nature. She uses abstract symbolism to convey deeper ideas, or perhaps even personal truth. This volume also contains her most famous poem, “ In the Bazaars of Hyderabad ”.

The poem was written during the Swadeshi Movement and propagates the idea of boycotting European merchandise in favour of homegrown and handmade Indian goods. “ What do you sell O ye merchants? / Richly your wares are displayed. ” It gives a depiction of the Indian craftsmanship by elaborating on the Indian bazaars.

Also read: Sarojini Naidu: The Nightingale Of India | #IndianWomenInHistory

The Broken Wing: Songs of Love, Death, and the Spring was published in 1917 and dedicated to Muhammad Ali Jinnah. This collection includes another famous poem “The Gift of India” which brings out the staunch patriotism of Sarojini Naidu as she pays a tribute to the Indian soldiers who fought for Britain during the first World War.

The poem highlights the sacrifices ofIndia as gifts to the British empire and the resulting grief. “ To the comrades who fought in your dauntless ranks, / And you honour the deeds of the deathless ones, / Remember the blood of thy martyred sons! ” “ The Gift of India ”, albeit a war poem, is charged with emotions and displays the grief caused by the death of so many soldiers.

Sarojini Naidu’s last poetry volume ( The Broken Wing ) also reflects her views on the suffrage of women. Like other women writers of the era, Naidu focused on the plight of the women in an orthodox patriarchal society. Their suffering and their struggle to sustain themselves in a chauvinistic society are brought out in her works.

Though Sarojini Naidu entered into the public realm first as a poet, she became a prominent political figure over the years. Her poetry borrows the English decadents’ diction and transposes the pictures into India. The suffering, passive women in Naidu’s poems, although, stand in stark contrast to Naidu’s own life, for she was a close ally of Tagore and Gandhi’s, and remained an active member of the nationalist movement

Furthermore, The Sceptred Flute (1928) and The Feather of the Dawn (1961) are two other poetry collections which form an integral part of the corpus of her works. In addition to these, a wide range of speeches and other assorted works by her were published as a collection under the title “ Speeches and Writings of Sarojini Naidu ” in 1918, containing works like “ Nilambuja ”, “ True Brotherhood ”, “ Personal Element in Spiritual Life”, “ Education of Indian Women ”, “ A Plea for Social Reform ”, “ Hindu and Mussalmans ”, and so on.

In addition to her great poetic abilities, Sarojini Naidu also had impressive oratory skills. She travelled throughout India to deliver speeches on nationalism, women empowerment, and social welfare. She advocated for the end of colonial rule in India and became the first Indian woman president of the National Congress in 1925.

Though Sarojini Naidu entered into the public realm first as a poet, she became a prominent political figure over the years. Her poetry borrows the English decadents’ diction and transposes the pictures into India. The suffering, passive women in Naidu’s poems, although, stand in stark contrast to Naidu’s own life, for she was a close ally of Tagore and Gandhi’s, and remained an active member of the nationalist movement.

Having been imprisoned several times, she fought until her last breath. She is known as “ one of India’s feminist luminaries ” and her birthday (13 February) is celebrated throughout India as National Women’s Day to honour her legacy in India’s history.

Sarojini Naidu still serves as an inspiration for all generations of women. The issues she voiced and the causes she fought for remain important even in contemporary times, and her treasured literary legacy will always make us remember her and drive us towards fearlessness, passion, and vigour. 

Also read: Where Are Th e Women Poets? Questioning The Canon Of Indian English Poetry

Featured Image Source: Wordbred

Apoorva is currently pursuing her Master’s in English from Jamia Millia Islamia, New Delhi. When she’s not re-reading the letters by Virginia Woolf, she likes to try her hand at scribbling poetry. Her areas of interest revolve around Feminist Theory and Absurdist Fiction. She can be found brewing tea at midnight, complaining about our Sisyphean existence

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The Poetry of Sarojini Naidu Essay Questions

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Written by Elizabeth Shaw

How does Naidu describe the garments in "Indian Weavers"?

In this poem, Naidu describes weavers who are hard at work, "weaving at the break of day." Their garments are described as being beautiful and bright, emphasizing Naidu's respect for this profession. They are described as being "blue as the wing of a halcyon wild," and "like the plumes of a peacock, purple and green."

What is the main theme of the poem "Indian Weavers"?

This poem is largely an appreciation for weavers, who play a key part in people's lives as they make the outfits people wear for special occasions. For example, Naidu tells us that the weavers make the "robes of a new-born child," and the "marriage veils of a queen," referring to the key life events of birth and marriage. Later, Naidu tells us that they "weave a dead man's funeral shroud," which completes the theme of the life cycle, and the significance of weavers within this.

Why is the poet despondent in "Autumn Song"?

Although in "Autumn Song" the season is depicted beautifully, there is also a hint of sadness as the poem continues. The speaker describes how her heart is "weary and sad and alone," as the fluttering leaves remind her of her lost dreams.

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Study Guide for The Poetry of Sarojini Naidu

The Poetry of Sarojini Naidu study guide contains a biography of Sarojini Naidu, literature essays, quiz questions, major themes, characters, and a full summary and analysis.

• About The Poetry of Sarojini Naidu
• The Poetry of Sarojini Naidu Summary
• Character List

Essays for The Poetry of Sarojini Naidu

The Poetry of Sarojini Naidu essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of The Poetry of Sarojini Naidu.

• The Gift of India by Sarojini Naidu - The lament of an anguished mother

Wikipedia Entries for The Poetry of Sarojini Naidu

• Introduction
• Personal life
• Political career
• Writing career

Essay on Sarojini Naidu

Students are often asked to write an essay on Sarojini Naidu in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

Let’s take a look…

100 Words Essay on Sarojini Naidu

Sarojini Naidu was born on February 13, 1879, in Hyderabad, India. She was a bright student and won a scholarship to study in England at the age of 12.

Contribution to Literature

Naidu is renowned as the ‘Nightingale of India’ for her poetic works. Her poetry, written in English, beautifully expressed the Indian spirit.

Political Career

Naidu was a significant figure in India’s struggle for independence. She joined the Indian National Congress, became the first woman president of the party, and later was appointed as the governor of Uttar Pradesh.

Sarojini Naidu left an indelible mark in the fields of literature and politics. Her courage, determination, and literary talent continue to inspire people.

Also check:

• Speech on Sarojini Naidu

250 Words Essay on Sarojini Naidu

Introduction.

Sarojini Naidu, fondly known as the ‘Nightingale of India’, was a renowned poet, political leader and a tireless freedom fighter. Her contributions to the Indian independence movement and her literary works have left an indelible mark on Indian history.

Early Life and Education

Born on February 13, 1879, in Hyderabad, Naidu’s intellectual prowess was evident from her early years. She was the first Indian woman to receive a scholarship to study overseas at King’s College, London and Girton College, Cambridge.

Literary Contributions

Naidu’s poetry, rich in imagery and expressions of patriotism, earned her a place among the notable Indian English poets. Her notable works include ‘The Golden Threshold’, ‘The Bird of Time’, and ‘The Broken Wing’. Her poetry, often themed around love, death, and nature, was admired for its vivid imagery and emotional intensity.

Naidu was not just a poet but also a significant political figure. She joined the Indian National Congress and actively participated in the Indian freedom struggle. Naidu was the first woman to become the president of the Indian National Congress and later, the Governor of Uttar Pradesh.

Sarojini Naidu’s legacy is multifaceted. As a poet, she introduced the richness of Indian culture to the English-speaking world. As a political leader, she fought for India’s independence and women’s rights. Her life and work continue to inspire millions, reinforcing her status as a timeless icon of India’s cultural and political history.

500 Words Essay on Sarojini Naidu

Sarojini Naidu, also known as the ‘Nightingale of India’, was a prominent figure in India’s struggle for independence from British rule. Born on February 13, 1879, in Hyderabad, she was not only an influential political leader but also a renowned poet. Her contributions to the Indian National Congress and the Indian independence movement were significant, and her poetry, imbued with deep nationalism and passion, continues to inspire millions.

Born into an intellectual Bengali family, Sarojini was a child prodigy. Her father, Aghorenath Chattopadhyay, was a scientist and philosopher, while her mother, Barada Sundari Devi, was a poetess. Sarojini’s educational journey started in Hyderabad, and at the age of 12, she moved to England, where she studied at King’s College, London, and later at Girton College, Cambridge. Her literary prowess was evident from an early age, and she began writing poetry in English, drawing inspiration from English poets.

Returning to India, Sarojini was deeply moved by the plight of Indian people under British rule. This led her to join the Indian National Congress in 1904. She worked closely with leaders like Mahatma Gandhi, Jawaharlal Nehru, and others. She played a crucial role in the Civil Disobedience Movement and the Quit India Movement and was arrested several times by the British authorities. In 1925, she became the first Indian woman to be elected as the President of the Indian National Congress.

Sarojini Naidu was not just a political leader but also a distinguished poet. Her poetry, written in English, reflected the Indian ethos and culture. Her first collection of poems, “The Golden Threshold” was published in 1905. Other notable works include “The Bird of Time”, and “The Broken Wing”. Her poems are marked by vivid imagery, romanticism, and themes of love, death, and nature.

Sarojini Naidu passed away on March 2, 1949, but her contributions to India’s freedom struggle and literature continue to be celebrated. After India’s independence, she served as the Governor of Uttar Pradesh, becoming the first woman to hold the office of Governor in the Dominion of India. Her life and works serve as a beacon of inspiration, particularly for women, demonstrating the power of courage, dedication, and intellect.

Sarojini Naidu was a multifaceted personality, a freedom fighter, a poet, a visionary, and a leader. Her life was a testament to her indomitable spirit and her unwavering commitment to her country. The ‘Nightingale of India’ continues to sing in the heart of every Indian, reminding us of the sacrifices made for our freedom and the rich cultural heritage that defines our identity.

That’s it! I hope the essay helped you.

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