Skip to main content

Examine the use of personification in the poem “Grass.” How does Mahapatra’s portrayal of the grass as a mirror and other anthropomorphic elements contribute to the overall mood and themes of the poem?


In Jayanta Mahapatra’s poem “Grass,” personification plays a crucial role in developing the poem's mood and reinforcing its central themes of reflection, renewal, and the passage of time. Mahapatra imbues the grass with human-like qualities, which allows it to serve as a mirror to the speaker’s inner life and as a symbol of endurance amidst decay.

One of the most prominent instances of personification in the poem is when the grass is described as having the ability to "mirror" the speaker's emotions and state of mind. The line "I watch a little hymn / turning the ground beneath my feet, / a tolerant soil making its own way in the light of the sun" portrays the grass as a responsive, almost sentient entity that interacts with the speaker. By attributing the grass with the capability to "turn" the ground and be "tolerant," Mahapatra suggests that the grass embodies a gentle, enduring force that contrasts with the speaker's troubled thoughts.

This portrayal of the grass as more than just a plant, but as something with a will and purpose, contributes to the overall mood of the poem by creating a sense of quiet resilience. The grass, enduring the harsh conditions of the "cracked earth" and the "ancestral smell of rot," becomes a symbol of hope and continuity. It is portrayed as a living entity that persists and grows, despite the decay around it, mirroring the speaker's desire for renewal and peace.

The grass is further personified in the lines, “now I watch something out of the mind / scythe the grass, know that the trees end, / sensing the almost childlike submissiveness.” Here, the grass is depicted as possessing a "childlike submissiveness," which evokes a sense of innocence and vulnerability. This anthropomorphic depiction enhances the theme of renewal, as it suggests that the grass, despite being cut down or scythed, is willing to submit to the cycle of destruction and regeneration. This mirrors the speaker’s contemplation of the need to let go of past grief and decay to allow for new growth.

Additionally, the grass’s role as a "mirror" reflects the speaker's introspective journey, making it an essential part of the poem's exploration of self and identity. The grass reflects not only the speaker’s internal struggle but also the broader human condition—caught between the decay of the past and the potential for renewal. The idea that the grass "makes its own way in the light of the sun" reinforces the theme of perseverance, suggesting that life continues despite adversity, and that there is a path forward even in the most challenging circumstances.

In conclusion, the personification of the grass in Mahapatra’s poem adds depth to the poem's themes of reflection, renewal, and endurance. By giving the grass human-like qualities, Mahapatra allows it to serve as both a mirror to the speaker's inner turmoil and as a symbol of the quiet strength required to endure and transcend suffering. This use of personification enriches the overall mood of the poem, infusing it with a sense of hope and the possibility of finding peace amidst decay and grief.

Comments

Other Fat Writing

Popular posts from this blog

Dr. West’s New Method of Teaching English :Its Merits and Demerits

                 D r. Michael Philip West (1888–1973) conducted an extensive research and experiments on the problems of teaching English as a foreign language in India at the time of British rule . Read More Teaching English The new method is the outcome of his research. It stood as a reaction against the Direct Method. Going into more details, when Dr. West came to visit rural Bengal students (1913- 19) en route teaching job at Teachers’ Training College  at Dhaka, West's conclusions about English learning issues in Bengal, India were as follows: 👉Students spent about 10 hours a week on English study with extremely poor results. 👉Only a minority reached the Matriculation class due to health or financial reasons. Read More  Teaching English 👉Even in the Matriculation class, students lacked real reading ability, speaking fluency, and writing proficiency in English. 👉A 1919 Calcutta University...

Dr. Samuel Johnson's "Preface to Shakespeare": Points to Remember

E ighteenth-century writer Samuel Johnson ((1709-1784) is one of the most significant figures in English literature. His fame is due in part to a widely read biography of him, written by his friend James Boswell and published in 1791. Although probably best known for compiling his celebrated dictionary, Johnson was an extremely prolific writer who worked in a variety of fields and forms. Chief Critical Approaches of Dr. Johnson are: Johnson tried teaching and later organized a school in Lichfield. His educational ventures were not successful, however, although one of his students, David Garrick, later famous as an actor, became a lifelong friend.

Kinds of Poetry: Narrative, Lyric, and Dramatic

Introduction: Poetry is a form of literary expression that has captivated readers and listeners for centuries. It allows poets to convey their thoughts, emotions, and experiences in a condensed and artistic manner. While there are countless poetic forms and styles, poetry can be broadly categorized into three main kinds: Narrative, Lyric, and Dramatic. Each of these kinds has distinct characteristics, purposes, and examples that showcase the rich diversity within the world of poetry. Kinds of poetry :  There are three great kinds of poetic writing: Narrative, Lyric, and Dramatic. Narrative poetry: Narrative poetry tells a story with a plot, characters, and a setting. It  is one of the oldest and most straightforward forms of poetry. It tells a story, often in a chronological sequence, using poetic devices to create a vivid and engaging narrative. Some key points about narrative poetry include: Storytelling: Narrative poetry focuses on storytelling, using poetic language to c...