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www.the-criterion.com The Criterion: An International Journal in English ISSN 0976-8165 Parthasarathy’s employment of synaesthetic language, rather touch-oriented language, in Rough Passage (“Trial”) may be justified by the following observation by Ackerman on the symbiosis of language and sense of touch: Language is steeped in metaphors of touch. We call our emotions feelings, and we care most deeply when something "touches" us. [……………………………………………………… ………………………………………………………………… ……….] As Frederick Sachs writes in The Sciences, "The first sense to ignite, touch is often the last to burn out: long after our eyes betray us, our hands remain faithful to the world.... in describing such final departures, we often talk of losing touch." And, there is not only a preponderance of the sense of touch, but the tactile sensory input either invades the territories of other senses, or gets invaded by them, making the poem both rich and complex. Far from being “the extraordinary heterogeneity of the distinguishable impulses”(196), that is claimed by Richards as the very hallmark of such poems as “Ode to a Nightingale”, “The Definition of Love”, “Nocturnal upon S. Lucies Day” etc., the poem in question is a state of conflicting impulses, where the impulse of touch rules the roost. However, this border-crossing of the senses never limits the aesthetic value of the poem, rather makes physical love more enjoyable by supplementing the inadequacy of one sense by effectiveness of another one. Perhaps no other literary device can express the excitement of physical love in a better way. Above all, employment of synaesthesia helps the poet re-define love --- love as a synaesthetic experience that relives him for the time being of the pangs of being exiled, though it is not eternal joy or everlasting love. Works Cited: Ackerman, Diane. A Natural History of the Senses. (Sections titled “Synesthesia” and “Touch”) New York: Vintage, 1990.Web. 5 July, 2011. http://www.american-buddha.com/lit.naturalhistsenses.synesthesia.htm http://www.american-buddha.com/lit.naturalhistsenses.touch.htm Baldick, Chris. The Concise Oxford Dictionary of Literary Terms. New York: Oxford UP, 1990. Print. Campen, Crétien van. The Hidden Sense: Synesthesia in Art and Science. Cambridge: MIT Press. Web. 1 July, 2011. http://www.scribd.com/doc/55530967/8/Exploring- Drug-Induced-Synesthesia Chakravorty, Pritha. “Nissim Ezekiel (1924-2004)”. Studies in Poetry in English. Eds, Benoy Kumar Banerjee, Kaustav Baksi. Kolkata: Books Way, 2008. Print. Dutt, Toru. “Sonnet”. Web. 25 August, 2011. http://www.poemhunter.com/poem/sonnet-81/ Kurup, P.K. J. Contemporary Indian poetry in English. New Delhi: Atlantic Publishers, 1991. Print. Kundu, Rama. Wrestling with God. Burdwan: Burdwan UP, 1996. Print. . Oxford Companion to the Body. Web. 29 June, 2011. http://www.answers.com/topic/synaesthesia Vol. II. Issue. III 68 September 2011
www.the-criterion.com The Criterion: An International Journal in English ISSN 0976-8165 9 Parthasarathy, R. Ed, Ten Twentieth Century Indian Poets. India: Oxford UP, 2002.Print. -----------------,----. “Rough Passage”, ibid, pp75-84. ----------------, ----. “Remembered Village”. Web. 25 August, 2011. http://www.cse.iitk.ac.in/users/amit/books/thayil-2008-60-indian-poets.html Ramamurthy, K.S. Ed, Twenty- five Indian Poets in English. Delhi: Macmillan India Ltd., 1999. Print. Richards, I. A. Principles of Literary Criticism. New Delhi: Universal Book Stall, 1991. Print. Sahu, Nandini. “Between Chronometer and Lost Love: The Poetry of R Parthasarathy”. Recollection as Redemption. Delhi: Authorspress, 2004. Print. Vol. II. Issue. III 69 September 2011
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