CHAPTER III

ARUN KOLATKAR AS A POET

While deciding the subject for my dissertation , I preferred

to study the Indian 'writing in English' . Here 'Indian' implies

that there isa sensibility that is identified with the land

and the people of India. InIndia, English has been used for

creative writing, particularly poetry, for over 150 years . There

are number of Indian poets who have earned a fame and

popularity by writing in English. e.g. the pre-independent

poets like Sarojini Naidu, Aurbindo , Ravindranath Tagore ,

Torn Datta , Manmohan Ghosh etc. and some post­

independence poets like Nissim Ezekiel, A. K. Ramanujan, P.

Lai , Kamala Das , Jayanta Mahapatra, Gieve Patel, Arun

Kolatkar, Dilip Chitre etc . The emergence of Nissim Ezekiel

, A. K. Ramanujan, and Kamala Das heralds a new bearing

in Anglo-Indian poetry . The poets of secondgeneration

like Parthsarathy, Jay ant Mahapatra, and Arun Kolatkar are

also charactrised by a distinct personal voice. They bring a

genuine poetic response to Indian landscape marked by realism.

Though there are manywel -known poets in Indian

writing in English , I have made a choice of Arun

Kolatkar’s ' Jejuri' for my stylistics analysis . The purpose of

my dissertation is to study not only the content of the

poetry and writea criticism of it but to find out startling

usages and the structure of language, eye - catching style, and

these elements in Aran Kolatkar’s poetry, which are very interesting and

important from the point of view of stylistic analysis. It does not mean that

Aran Kolatkar is not conscious about content of the subject matter of his

poem, but he is a brilliant poet who is conscious of what to write as well as

how to write.

It is quite obvious that Aran Kolatkar is a significant and well known

poet in Indian Writing In English. He is a gifted poet writing both in

Marathi and English. He won the 1977 commonwealth poetry prize for

‘Jejuri’. Through this volume, he got reputation and recognition . His

Marathi volume ‘Arun Kolatkarchya Kavita’ was awarded the H.S.Gokhale

prize in 1977. Kolatkar’s poems are extremely striking in themes and

structure of style also. He has unique sensibility described as neutral,

serene, ironical, surrealistic, metaphysical and so on. Some of the

significant characteristics of Arun Kolatkar as a poet are- discussed

below :

The important thing about Aran Kolatkar is that he is a major

experimentalist. He makes constant experimentation with style and

structure, and this shows his modem and urban sensibility. He is

experimentalist both in form and the vision of reality. He goes on

programming through various kinds of experimental verse. His early verse

seems to be surreal, obscure and difficult for interpretation. But during

1960, he changed his style from highly imaginistic and uninterpretable to

23
anti poetic. One of the experiments in the use of Language is that in some

of his poems, he does not use the punctuation marks or capitalization .

for instance - what is good

and what is stone

the dividing line

if it exists

is very thin

at jejuri

and every other stone

is god or his cousin.1

Aran Kolatkar as a visual artist is aware that a slight manipulation

of angle of vision can defamiliarize and turn dull commonplace reality into

art. Kolatkar uses an odd, non-committal tone, unusual perspectives and

turns the common typical experiences into aesthetic experiences. While

using the experimentation, Kolatkar is conscious of tradition also. In his

poetry we see both the trends. 2Prof. S. Z. H.Abid says that, * His poetry

is mainly experimentative, but the experimentation is not the only leading

trend, there is a co-existence of tradition and experiment * .

Stillness is another typical characteristic of Arun Kolatkar. 3Keki

Daruwala states that “ His narrative moves still to still *. The well known

writers like Parthasarathi Krishnamurthy, noticed 'stillness* in Arun

Kolatkar’s poetry. A stillness in Arun Kolatkar implies contemplation. He

tries to explore the significance of external facts. He contemplates the

things as they are in their reality.

24
 Irony is unavoidable part in Arun Kolatkar*s poetry. His irony is

woven into the very texture of his poetry. Ironic mode is a true modernistic

quality and as a modem Anglo-Indian poet, he has ironic mode. His tone is

no doubt ironical but without any rejection. Kolatkar writes poetry

saturated with irony as though ironic mode is his supreme poetic path. In

'Jejuri' many of his poems are ironical. For instance :

4* There is not a drop of water

in the great reservoir the Peshwas built

There is nothing in it

Except a hundred years of silt".

Arun Kolatkar is famous for his use of imagery and symbolism which are

the characteristics of modernity. 6Dr.S.K.Desai has given the description of

a symbolist according to John Wain. He says that “Symbolist is he who

surrounds himself with stillness and non-event. His instrument is

contemplation and power to concentrate on reality to draw scattered

impressions of human mind into focus. This description of a symbolist

applies to Arun Kolatkar.

The poem of ‘ Irani Restaurant Bombay ' is a good example of

imagery. Kolatkar has given an appropriate and arresting image of a

thirsty loafer putting the match in the tea circle and beholding it rise :

6as when to identify a corpse one visits a morgue

and politely the corpse rises from a block of ice.

and further -

25
 ?the burnt match with a tea circle makes a rude

campass, the heretic needle jabs of black star.

We find modem trends in Aran Kolatkar’s poetry. Much more

complex sensibility, irony, parody, urban consciousness, detailed imagery of

life and experimentation are some of them. In some poems, Aran

Kolatkar uses American English which is a good example of his original

talent. He had never left the shores of India. He must have absorbed

American English only through popular fiction, comics, films, and put it to

clever use in his poems. In some of his poems, he does not use

punctuation marks.

For instance

8 i want my pay I said

to the manager

you'll get paid said

the manager

but not before the first

don't you know the rule

The maximum use of linguistic foregrounding at all levels is another

important characteristic of Aran Kolatkar which is seen in his famous

poetry ‘Jejuri '. These are some of the characteristics of Aran Kolatkar’s

poetry which induced me to choose him.

Many critics have given their opinions which are helpful to

understand Aran Kolatkar as a poet. 8Vilas Sarang says that Kolatkar’s

26
English is more effective than Marathi. He maintains that his English

poetry shows much more regard for logic and reason than Marathi poetry.

His English poems are made up of conscious mind but his Marathi poems

are based upon the resources of unconscious. According to 10Bijoy Kumar

Das, Arun Kolatkar is much more honest and true to his experiences

compared to others. He has a general intellectual ambiance.

11R.S.Kimbahune criticises Kolatkar's tendency of non-involvement. He

states that the use of foreign language as a medium of creative expression

distorts some of the subtleties of nature experience . 12 M.Shivaramkrishna

considers Kolatkar's poetry as an extension not only of stylistic purity and

simplicity but also of tho attitude of protest implicit in his basic stance.

13Keki Daruwala includes the opinion of G.Whitman in his “Two Decades*.

As G. Whitman observed 'Arun Kolatkar has a crystallographer's eye for

the particularities of a scene*.

In the light of these critical comments, we may say that Arun

Kolatkar is one of tho significant Indian poets writing in English. Now let

us discuss his major work ’Jejurf and its critical assessment.

‘Jejuri’ by Arun Kolatkar is a significant landmark in Indian

poetry in English. It was awarded commonwealth poetry prize in 1977.

It is one of the long and sustained poems on meaningful experiences. It has

an Aristotelian magnitude and is complete with a beginning, middle and

end. Thematically it is a noteworthy poem because it is about a significant

encounter between two cultures the urbanised , western , educated and

secular on the one hand and non-urban, traditional, religious on the other.

27
'Jejuri’ is a place of pilgrimage thirty miles away from Pune. At Jejuri.

there is a temple famous in western Maharashtra, as well as in

Karnataka. It attracts the people of all religions.

‘Jejuri’ written by Kolatkar is a long poem of thirty one sections, the

last of which consists of six sub - sections. The whole poem gives a sense of

continuity. The opening section ends with the mention of the priest and in

the next section also, there is priest. The image of the sun at the beginning

of the poem is taken up at the end. All these things come together in a very

closely-knit pattern. The movement is arranged chronologically and doesn't

shift or move haphazardly.

Like a graphic artist, the poet makes an effective use of visual

effects like his topographical handling of words ‘up’ and ‘down’, patterned on

the page as to suggest the craziest dance of cock and hens in jwar field the

poet ever saw. Kolatkar uses the camera-technique. It is as if the camera

is moving from one thing to another capturing with it all its relevant

details. 14 Dr.S.K.Desai, in his article ‘Jejuri’ ‘ A house of God ’ collects

some comments on ‘ Jejuri ’: “ The most exciting unusual and extraordinary

book of poems------- as ‘a poem large as a life’, 'as Arun Kolatkar’s waste

land ’ giving a symbolic picture of modern predicament', as a poem of

unexpected power and beauty as ‘a personal comment on the material

landscape of India’ , and so on. All these comments show how popular and

rich the poem is . 1BMr.M. K.Naik considers ‘Jejuri’ from the point of view

of three value systems : tradition, modem civilization, and a value system

older than both these =the life principle in nature . In Jejuri, Arun Kolatkar
shows the surrealistic similarities between Hindu religious tradition and

equally rigid scientific civilization represented by the railway station and

demonstrate the superiority of value system older than both these . The

example of this is the primeaval life-force represented by the cocks and

hens doing fa kind of a harvest dance' in the field of Jwar. The review of

M.K.Naik shows that 'Jejuri’ has a complex thematic structure. It is a

thematic study.

Every poem has a theme or themes. In 'Jejuri', we find different

themes : Various forms of animate and inanimate events exist in Jejuri

alongwith man’s consciousness and we can say that this is the basic theme

of Jejuri. Most important theme of Jejuri is Time. The whole poem is

framed between the sunrise and sunset, a single revolution of the sun. The

sun appears in the poem from time to time. There is an existence of life

with it’s various forms. This is another important theme of Jejuri. There

are various things which show the existence of life. The examples such as

the bitch and its puppies in the ruined temple, the wide-eyed calf in the

cow-shed which Manohar mistakes for the temple; the butterfly which

disappears in a split second, the temple rat on the body of Khandoba, the

station dog, the dozen cocks and hens, the protagonist Manohar,the priest

and his son, the old beggar woman pestering for money the waghyas and

muralies, teastall boy, the booking clerk and the station master, all these

characters represent reality of life and its variety. Creative process which

is central to life is another theme of Jejuri. The stones are turned into

29
Gods through imagination, the building of Jejuri, are a few examples of

creativity.

Another revealing theme of Jejuri is the is study of human beings

and their relationships in Jejuri. Though the protagonist is an outsider, he

does not suffer from loneliness. He is enjoying the trip. He discusses with

the priest the number of hands the Goddess Ashtabhuja’ has. The priest

insists that she has eight arms and the protagonist says that she has

eighteen arms. The discrepancy between the name of the goddess and the

actual idol with eighteen arms irritates him. The protagonist asks the

priest's son whether he believes in the legend, the boy does not answer but

he directs his attention to another subject. There is a newly married girl in

the poem, A Little Pile of Stones’, who is willing to perform the ritual to

appease her in-laws and the old woman constantly begging and pestering

for money, show the poet's deep study of human beings and their

relationships.

For a casual reader, the poem has a religious theme . The title of the poem

itself shows it. But after studying it deeply and carefully I would say that

it is not a religious poem even though it deals with pilgrimage, Jejuri or God

Khandoba. In Jejuri Arun Kolatkar speaks of the surrounding temples, the

priest, the atmosphere of Jejuri, devotees like Vaghyas and Murali. But his

tone is not religious . If he is really a devoted pilgrim and religious man, he

would never show his disbelief towards the legend that the priest ‘s son

told him, or he would never raise the question as to why the goddess is

called 'Ashtabhuja'.

30
 It is revealed that he is not interested in religious matters . It seems

, he is interested in observing the things in Jejuri. 16Dr.S.K.Desai's

statement makes this point strong , * The protagonist goes to Jejuxi not

as a seeker nor as a pilgrim he is a kind of traveller-a tourist. One might

say, he is interested in sight-seeing. Thus in ‘Jejuri’ we are not aware of

personality but of conscious operating in its secular manner upon things

‘seen’ in Jejuri on a particular day from morning till sunset “. But I think

he is not just a sightseer or traveller but he is a keen, studious observer

who gives a detailed description of things seen in Jejuri with a conscious

and rational mind. The poet visits, the pilgrimage and returns from this

holy place but nowhere we find any evidence of mystical devotion. The

narrator and the chief visitor prefer to smoke a cigarette rather than to

worship God or to go for Pooja. For a true devotee, the hills are seen as

demons which are transformed into geological forms, but the narrator sees

them as hills and rocks only. In “ The Little Pile of Stones' the poet finds

the rite which is performed by newly married girl is nothing but empty,

superstitious and meaningless exercise. Such instances in the poem show

that the poem is full of scepticism and cynicism.

'Jejuri' is a spiritual journey of man brought up in city . The poem

reveals uneasy conditions of modem Indian intellectual belonging to the

middle class. The narrator is a man of twentieth century with no religious

fervour, devotion, no sentimentalism. It is a presentation of modem urban

scepticism, which makes an impact upon ancient religious tradition . The

protagonist goes round the temple of Khandoba at Jejuri. He gives us

31
cynical and sceptical impressions about the holy temple but that does not

mean that he tries to degenerate the holy place or the God Khandoba.

17Bhalchandra Nemade angrily criticises Kolatkar ‘Jejuri’

pilgrimage is after all not so degenerate as, for example, Juhu Beach

cocktail party’. This seems to me a very harsh and far-fetched criticism. I

do not agree with the view of Bhalachandra Nemade. Nowhere in the

poem we find any line which shows that Arun Kolatkar considers Jejuri as a

degenerate place, nor does he criticise God Khandoba. What he points out

is how the people (pilgrims and the priest etc) accept the social evils, false

beliefs and superstitions unconsciously. In 'Jejuri the poet sees the

things, with conscious and rational mind , which are really irritating. He

does not have any motive to criticise God Khandoba. He tries to point out

the reality he observes at' Jejuri’ .

The first impression after casual reading brings out the view that the

tradition at ‘ Jejuri ’ is ‘ lost ’ or r dead ’ but I think there is no sense of

loss or despair or hopelessness in Jejuri. It is just a portrayal of what it is.

The narrator sees the ruins of the Maruti temple and the mongrel bitch and

her puppies ‘ in the heart of the ruins ’. He accepts it without any

comment and does not lament for this. I do not agree with the opinion of <18>

Shubhangi Raykar who says- * Kolatkar’s poem gives the impression of

being detached and objective account of the visit but his very effort to hide

the ‘ I ’ and his tone suggest, that the poem is highly subjective ”. He

reveals the reality objectively with the experimentative use of language.

32
Therefore after studying the poem ' Jejuri I feel that this is a poem of

detached tone and objective in its presentation.

'Jejuri' is a group of poems. It is an ironical description of a journey

to Jejuri. The poem begins with the first section entitled “The Bus”. The

bus describes the poet's journey into the world of experience. The opening

of the poem is very suggestive and it shows mental insulation and

narrowmindness of pilgrims of Jejuri. The narrator also describes the

people around him.

The second section “The priest* ironically pictures a portrait of a

temple, the priest waiting for the arrival of bus in the hope of getting

‘ puran-poli in his plate The priest shown in this section is not sacred but

he is money minded and greedy. Then the poet moves through the Maruti

temple at Karhe Pathar. In ‘ Heart of Ruin ‘ he sees the ruins of Maruti

temple and a mongrel bitch and her puppies in the temple. The title

itself suggests the lack of faith which is characteristic of the modem time.

Here we do not find any lament for the lost tradition.

In the next section “ The Doorstep *, though the poet doesn’t want to

express the sense of loss or despair, there is a tone of disappointment which

makes clear what appears to be the doorstep is actually a pillar. This

underlines the ruinous state of the temple .' Water-Supply ’ shows the

narrator's sense of dryness and chaos. It also describes metaphorically the

lack of faith by relating it to dry water conduit pipe. Here the narrator

feels Jejuri as an arid place.

33
 In the section ' The Door J the hanging door evokes the facility of

using any religion. It is again the continuation of the description of the

ruined temple. The old dangling door with dust and satin suggests the

decay of religion and religious practices. It is significant that the door

should make the narrator think of Christ and Crucification. It means, in

this section also, the feeling of irreverence is there.

In 'Jejuri', there are three < Chaitanya ' poems which are significant.

Chaitanya may be suggesting Bengali saint Mahaprabhu who visited Jejuri

in the year 1510 A.D. Chaitanya also means a lifeforce or dynamism. The

first Chaitanya poem contrasts the red painted stone to simple adoration

with zendu flowers. In the second chaitanya poem, there is an ironical

contrast between the ruined temple and the surprising faith of the saints. It

is about the creator of gods - a god who eats a stone and spits out gods. It

may be a symbol of human energy and creativity

In the next section ‘ The Low Temple there is a mild argument

between the narrator and the priest about an ' eight arm goddess \ The

poem shows the rational mind of the narrator. In this section, there are

bronze gods in the dark temple - the gods who should bring light to others

are themselves covered by the darkness. The priest does not carry a lamp.

He borrows a box of matches from one of the visitors to the temple. Then

the gods are seen ‘ for a moment of ' ‘ the length of matchstick \ The

situation given here is very ironical and irritating to the narrator.

‘ The pattern ’ is a continuation of the previous poem. It conveys the

theme of loss of meaning. Here the tortoise and the pattern stands for

34
traditional type of worship and children fail to understand the meaning of

worship. It means here the poet wants to reveal the idea that old

interpretations are meaningless for the present generation.

* The Horseshoe shrine ’ describes the legend. This piece of the poem

brings out the irreverent attitude of the narrator. In 'Jejuri,j the

combination of the sacred and profane creates a strange effect on the

narrator. Manohar is in the confused state that he can not distinguish

between the temple and the cowshed.

The next section, ‘ The Old Woman ’ creates the picture of helpless

old woman suffering from poverty. Eventhough she is helpless, she offers a

help to the narrator to get a fifty paise coin. The poem presents men in

relation to nature.

' Hills ’ gives the imaginative picture of hills as demons. There are

surrealistic elements showing the demons killed by Khandoba and

transformed into hills. Kolatkar gives the mythological references here and

presents the features of hills in terms of human anatomy. The story of the

transformation of the demons makes the narrator protest and confused.

The poem shows the rebellious nature of the narrator. The reference to

the legend of the demons is given in the next section, The Priest’s Son’. The

priest’s son is an educated young boy with a scientific outlook. He narrates

the legend very sincerely but the question of the narrator : ‘Do you believe

all this ? ' makes the boy feel embarrassed and uncomfortable but he is

very honest and not pretentious so he diverts his attention towards a

butterfly. The narrator does not accept any legend due to his rational mind.

35
He likes the butterfly because it has no past behind it, no future to bind to

it. ‘ The Butterfly ’ contains the poet’s concept of the life-force. It is a

symbol of life and joy of existence.

‘Ajamil And The Tigers’ also shows a significant aspect of the life-

principle in nature. It is a legend about a shepherd named Ajamil and his

relations with the tiger-king and the tigers. Ajamil’s dog protects his sheep

so well that the tigers can not get food. At last, Ajamil signs a long-term

friendship treaty with the tiger-king who was frustrated with the behavior

of sheep-dog. Ajamil allows the tigers to have their food occasionally and

gets free time and peace of mind. Thus the life-principle of ‘ Live and Let

Live ’ is shown in this section, which is a modem interpretation of the

traditional story.

Vaghya and Murali are traditional male and female servant devotees

of Khandoba. They were given up in the name of Khandoba when they

were just small children. The job of Vaghya is to go round the holy place

and collect oil for lighting the Khandoba temple. His only aim is devotion

towards Khandoba. For that he is ready to use unfair means like stealing

oil. His one-string instrument is symbolic of his single-minded dedication

to Khandoba . The poem brings out an ironic note. Vaghya tries to show

his might by getting oil from anywhere for god Khandoba but one thing is

important here that his existence has meaning only with reference to

Khandoba.

The next section ‘ The Song For Murali ’ is linked with the previous

poem. Murali is a female dedicator of Khandoba who makes use of god’s

36
name and earns money as a prostitute. The poem is full of irony. Murali

feels proud of Khandoba’s woman but it is hypocritical because she is just a

woman to make money by offering her body. The reservoir points out the

dryness, and from aridity in ‘Water-Supply’ we can say that the religious

ideas in Jejuri are gradually disappearing like dry reservoir.

The next section f A Little Of Stones' describes another legend that if

a newly married girl makes a little pile of stones and it stands still, she

gets happiness and prosperity in her life. But the narrator looks at it as an

empty fertility ritual. He thinks it as a meaningless ritual. Makarand also

is unwilling to do pooja, and turns away from the temple, for rituals are

meaningless for him. The Temple Rat’ is an ironical poem. The narrator

finds rat sitting on the shoulders of mighty Khandoba and the irony here is

that Khandoba can’t keep the rat away. In the next section, ‘A kind of

cross’, at first, the description of Bull-calf, Nandi is given but then the

religious tone

disappears completely. The narrator shows his secular mind talking about

both Christianity and Hinduism.

‘ The cupboard ’ expresses the narrator’s scepticism with sharp irony.

It describes the cupboard which contains broken and damaged things. The

combination of stock-exchange quotations and golden gods is strange here.

Yashwant Rao is one of the gods unlike the golden gods in the cupboard. He

is to be found outside the temple walls in the street. It is also the most

ironical poem like the last one Though Yeshwant Rao is second-class God to

his devotee, he is more useful god to them.

37
 In the next section, ‘The Blue Horse4, there is also an encounter

between rational narrator and tradition-bound priest and their argument

about the discrepancy in the horse's colour. 'Between Jejuri and The

Railway Station is very important and central poem. There is a sharp

comment on the deadness of Jejuri. The two worlds are represented there -

the world of Jejuri and the world of railway station. The last poem ‘ The

Railway Station ’ brings the narrator's visits to an end and shows the

picture of the Railway Station. The poem is full of irony for the railway

station. Not only ' The Railway Station ’ but also the poems like ‘

Reservoir’ ‘ The Cupboard’, ‘ The Temple Rat ' The Low Temple ‘ The

Priest are ironical poems. Most of the poems are without punctuation

marks. The objective interpretation of the poem is an important factor in

the process of stylistic analysis. It helps the reader to bring out the poetic

devices in the poem. In the next chapter, I am going to locate and discuss

the stylistic devices used in order to support the interpretation or

otherwise. I would, therefore like to find out the formal structure, the use

of diction and sounds, use of syntax, imagery and symbolism. Thus I would

like to confirm the response from criticism by looking at Arun Kolatkar's '

Jejuri ‘ closely with a view to finding out established relationship between

the use of language and meaning in the poem ' Jejuri ’.

38
 REFERENCES

1. Arun Kolatkar : 'Jejun*, ( dealing House, Bombay , 1976 ) P.28.

2. S. Z. N. Abidi : Studiea In Indo- Anglian PwVry- < Prakash Book Depot,

1979)

3. Keki Daruwala (ed) : Two Decades of Indian Poetnr, 1960 - 80. < Vikas

Publishing House Ltd., Delhi, 1980 ) P.98.

4. Arun Kolatkar : 'Jejun* ( dealing House, Bombay, 1976 ) P.36.

5. S. K. Desai : 'Arun Kolatkar1 a 'Jejuri': A House of God ed.

Shubhangi Raykar : Arun KolatWs Jejuri • A Commentary and

Critical Perspectives ( Prachat Publications, Pune, 1995 ) P.67.

6. Salim Peeradeena : Conlampargry Indian Poetry In English ■ An

Assessment & Selection ( Bombay Macmillan, 1973 ) P.43

7. Ibid, P.42.

8. Ibid,P.43

9. Vilas Sarang (ed) Indian English Poetry Sjncel9$Q, An.Anthology (

Orient Longman Ltd. 1989. P. 45

10. Bqor Kumar Das : Modem Tndo - English Poetry (Prakash Book

Depot, Bareily, 1982 )

11. R. S. Kimbahune v From Jejuri To Arun Knltkar’s New Quest1 ( Jan-

Feb 1980 ) P.32.

12. M. Shivramkrishnan The Tongue In English Chains : Tndo - English

13. Keki Daruwala (ed) : Two Decades of Indian Poetry, 1960-1980 (

Vikas Publishing House Ltd., Delhi, 1980 ) P.92.

14. S. K. Desai' Arun Kolatkar's Jejuri : A House of Ood (ed) Shubhangi

Raykar : Arun Kolatkai'a Jejuri: Annmnnentarv and Critical

Perspectives ( Prachet Publications, Pune, 1996 ) P.59.

15. M. K. Naik,' Diamensdon of Indian English Literature', (ed)

Shubhangi Raykar : Arun Kolatkar's Jejuri - Acommentary and Critical

Perspectives ( Prachet Publications, Pune, 1996 ) P.84.

16. S. K. Desai ,'Arun Kolatkar's Jejuri : A House of God (ed) Shubhangi

Raykar ; Arm - Acommentary and Critical

Perspectives ( Prachet Publications, Pune, 1996 ) P.61.

17. Bhalchandra Nemade : 'Excepts Prom Against Writing in English : An

Introduction Point of View.(ed) Shubhangi Raykar : Amn Knlatkar’a

Jeiuri: Acommentarv and Critical Perspectives ( Prachet Publications,

Pune, 1995) P.98.

18. Shubhangi Raykar : Arun KolatkaPa Jejuri • Acommentary and

Critical Perspectives ( Prachet Publications, Pune, 1995 ) P.122.