Tales of Ind, and Other Poems — Key Ideas to Explore

(0 User reviews)   2510
Ramakrishna Pillai, T. (Thottakadu), 1854- Project Gutenberg 2004 Not confirmed
Indic poetry (English) Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 21,115
Reading time 92 min
Text sections 3

The catalog record for Tales of Ind, and Other Poems — Key Ideas to Explore provides practical reading context through 21,115 words, 1 hr 32 min estimated reading time, and 3 detected text sections.

The text analysis averages about 28.3 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Indic poetry (English),” connecting these edition facts with the source record’s subject description.

T. Ramakrishna Pillai's 1896 collection of narrative poems blends Indian legend, colonial-era famine, and personal elegy. The verse moves between pastoral idyll and violent confrontation, with recurring motifs of beauty as a source of peril and virtue tested by exile.
Share
Editorial Edition Score 4.5/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

How this score is calculated
  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.

Edition quality

Read the Text

nd said with folded hands and trembling lips-- "O royal master, at the gate there waits A man of noble mien from the far north Requesting audience on affairs of state." "Conduct him to our presence," said the prince. The stranger came,--upon the floor he knelt And said--"Thou mighty prince of these fair lands, I come from Arcot, and the Nabob sent His humble servant to demand of thee Thy dues which these five years thou hast not paid. Know, then, if these are not now duly paid, From thee he will these broad dominions wrest, And give them those who will his rule obey." The angry prince made answer--"Go and tell Your master that his vain threats move us not, Say we will gladly meet him on the field." So saying, from his royal seat he rose, And to his palace instantly withdrew.

As when a stone dropped in the middle of A placid pool its slumb'ring waters wakes, And the calm surface is all ruffled seen, Or at the merest touch of ruthless man Bent on the honeyed treasures of the hive Those myriad ones leave murm'ring to the foe Their hoarded wealth to which they fondly clung, So scattered to their distant native homes The bustling crowd that met on Jinji's hills, When he of Arcot came to mar their joys.

And days and months rolled on until one day To Désing came his loyal spy and said-- "My noble ruler, on the other side Of the fair stream that runs through yonder plain, There waits our foe of Arcot with his men: Prepare to go and meet him on the field." 'Twas even time--the warrior prince soon wrote To Mamood Khan, the master of his troops, To hasten to his country's duty first. What though it was that soldier's bridal hour, When he received his royal master's call! "My country's welfare first, then my fair spouse," He said, and leapt upon his faithful steed And stood, ere morn had streaked the eastern sky, Before his lord his bidding to obey.

The prince rose early on that fated day And to the temple of his God repaired, There to invoke His blessing on the field. Then to the palace hastened he to meet, Ere he went forth to fight, his youthful wife, Who day by day in beauty grew amidst A score of maidens, like the waxing moon; And, with a screen of silk between, they met. As one lured by the fragrance of the rose Stoops down gently to lift the truant stalk That to the other side of the thick hedge Shoots out alone from its own parent stem, So fondly down stooped Jinji's noble prince To kiss the jewelled arm of his fair spouse Which through the screen she offered to her lord. Prince Désing was the first who silence broke. "My dear wife! on the day when we were wed These eyes of mine had not e'en this arm seen, Although on the same bridal seat we sat. The screen which by the custom of our race Was drawn by cruel hands hid thee from view. So wondrous fair this arm looks that methinks Rare beauties must be seated on thy face. My foe hath come; fear not; I go to fight, And come with honours loaded from the field, A victor to rejoice with thee to-night At the propitious hour which, by the aid Of all his starry lore, our Brahmin sage Hath for our nuptials named,--to gaze and scan In silent joy what charms, what beauties rare The hand divine has showered upon thy face, And to recount to thee, when with thine own My arm in friendship plays, what blood it shed, What havoc in the Moslem camp it wrought. So let me now depart." To which the Queen: "I was the only daughter of my sire, And cradled in his sinewy arms I grew; And when upon his warrior breast I laid My head to sleep, my mother by his side Lulled me with songs of how in days gone by The martial women of our noble race Went with their husbands by their side to fight; And one so nursed fears not the Moslem foe. But now, alas! some evil it forebodes That thou shouldst on this day go forth to fight."

The collection opens with a dedicatory poem to the author's daughter Kamala, who is figured as a star that 'rose to cheer our humble life' and will 'rise again.' This elegiac frame sets a tone of personal loss that recurs in the poems, where characters are often separated from home or loved ones. The first narrative, 'Seeta and Rama—A Tale of the Indian Famine,' begins with an idyllic description of a 'deep sunk lonely vale' in India, a landscape of 'eternal friendship' between hills and sky, before abruptly undercutting that peace with the line 'Oh, how uncertain man's sure hopes and joys!' The tension between pastoral beauty and sudden catastrophe is a structural pattern throughout the volume.

Beauty as a Double-Edged Force

In 'The Story of the Royal Huntress,' the narrator observes that 'He hath a foe who hath a lovely wife. / Her very loveliness is reason deemed / To hate her lord, nay, murder him.' This proverb-like statement crystallizes a recurring theme: female beauty is presented as both a gift and a source of danger. The heroine Chandra's 'beauty rare' forces her husband Timma into exile and later captivity. Similarly, in the earlier famine tale, the landscape's initial loveliness—'another paradise'—gives way to ruin. The poems repeatedly set up attractive surfaces—a beautiful woman, a fertile valley, a peaceful home—only to show how those very qualities attract threat or collapse. This pattern is not merely plot device but a deliberate structural irony that the poet underscores with exclamations and aphorisms.

Voices of Resistance and Defiance

When Chandra receives Bukka's ultimatum, she replies with a string of violent threats: she would have 'splintered' his head 'to fragments' with her own weapon and fed the pieces to carrion birds. She declares it 'better far my husband dies / Than be the prisoner of a grovelling wretch.' This speech is remarkable for its intensity and its inversion of expected feminine passivity. Elsewhere, the village master in 'Seeta and Rama' speaks 'in fiery accents' of Krishna and Rama, suggesting a tradition of oral storytelling that fuels communal identity. The poems give voice to characters who resist—whether through direct defiance, as Chandra does, or through the act of narration itself. The poet's own voice, addressing Tennyson in the opening poem as 'my Master,' also positions himself as a disciple who dares to offer 'this wreath uncouth of words,' a self-deprecating yet assertive gesture.

Exile and the Fragility of Home

Multiple poems hinge on displacement. Timma and Chandra build 'a little heav'n' in a foreign land after fleeing their native Vijiapore, only to have it shattered by Bukka's intrusion. The famine tale begins with a description of Krishnapore as a self-contained 'enchanted hollow' where villagers water their fields 'with songs / Of parted lovers,' yet the poem's title announces the famine that will destroy that world. The dedicatory poem to Kamala frames the entire collection as a response to loss—the death of a child, the absence of a homeland. Even the tribute to Tennyson emphasizes the poet's own position as 'a stranger in a distant land.' Home is consistently portrayed as something already lost or under threat, and the act of poetic recollection becomes a way of holding onto a vanishing place or person.

Readers will find that the poems reward attention to their narrative pacing—the way a serene opening gives way to crisis, or a defiant speech shifts the balance of power. The verse form, predominantly rhyming couplets and quatrains, carries the weight of both folk tale and Victorian moralizing. Pay particular notice to how the poet uses landscape as a moral index: the fertile vale that becomes a site of suffering, the forest that hides both tiger and captor. These settings are never mere backdrop but active participants in the drama of virtue and fortune.

Tales of Ind has a worn, elegiac quality I’ve always cherished—its grief sits quietly beside its beauty, like a stopped breath. That same strain haunts the other volume, a private ache turned into verse, though each found different words for exile. They share a kind of lonely patience, I think. Poems of Gerard Manley Hopkins Now First Published — A Closer Reading waits on my shelf like an old friend who understands the weight of a held-back tear.

There are no reviews for this eBook.

0
0 out of 5 (0 User reviews )

Add a Review

Your Rating *
There are no comments for this eBook.

Reader reflection

Your personal reading reflection

Build a private reading journal entry for this title.

Your progress 0 / 10
1

Have you finished this book?

2

Did this book hold your interest?

3

Is this a title you would suggest to others?

4

What was the reading difficulty like?

Related eBooks