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Every age throws up new problems or issues which provide the artist with his or her themes for treatment in their favorite art form. Art is termed today as an "autobiography of society" as it gives expression to the hopes and aspirations, fears and frustrations of the people. W.H. Hudson rightly observes, "that literature is a social product and inevitably reflects the life of the era out of which it springs" (94). So art has a social function as it recreates human life in its moments of pain and pleasure. Jayanta Mahapatra, one of our times finest idiom makers, is rather a late bloomer of the twentieth-century Indian English poetry. He is perhaps one of the least studied of the major Indian English poets though he has to his credit seventeen volumes of  poetry. Most of Mahapatra's poems issue out of the pangs he experiences at the tragic plight of the poor and the vulnerability of women and children. He is deeply disturbed by the distress of destitute, deceived and deserted women. Longsuffering wives, jilted beloveds, harassed harlots, rustic lasses, urban ladies and victims of rape and dowry figure prominent in many of his poems.  The paper to be presented shows that patriarchy prevails preventing women from full enjoyment of the fruits of the freedom conferred by democracy. Peace and security still elude women back at home and in society at large.

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Dr. V. Kavitha Elzie. (2019). “An Indian Woman Piled Up To Her Silences”: A Reading Of Jayanta Mahapatra’s Select Poems. History Research Journal, 5(6), 135-140. Retrieved from