Introduction:
Section Two from Relationship is one of the most significant extracts from Jayanta Mahapatra’s celebrated long poem Relationship, for which he received the Sahitya Akademi Award in 1981. The poem reflects the poet’s profound attachment to the land, history, culture, and collective memory of Odisha. Rather than portraying relationships merely as personal or familial bonds, Mahapatra explores the deeper relationship between human beings and their homeland, ancestry, time, and identity.
In this section, the poet recalls memories of his childhood, the death of his mother, the ageing of his father, and the emotional burden of the past. Through rich imagery, symbolism, and introspective reflection, he presents loneliness, suffering, and the search for belonging as universal human experiences. Blending personal memory with historical and cultural consciousness, Section Two from Relationship exemplifies Mahapatra’s distinctive poetic style, making it a profound meditation on memory, loss, and the enduring connection between the individual and the land.
Critical Summary:
Here we have an extract from Mahapatra’s long poem Relationship. The poem consists of many sections of which only one has here been supplied by the anthologist. Mahapatra intended this long poem to be a kind of epic based on the ancient history of Orissa to which he belongs by birth, by breeding, and by virtue of his having settled there (in the city of Cuttack) on a permanent basis. This section begins with the protagonist’s making a reference to his mother’s death, and to the places where he spent his years of childhood. His memories of those places now seem remote; and they have, in fact, vanished just as a rabbit vanishes from the hands of a magician who is giving a demonstration of his professional skill to an audience. Besides, the memories of the past which come to the protagonist are not of a pleasant kind. For instance, in the context of one of the memories he mentions “loneliness” and “hurt” (meaning mental distress), and he also gives us a picture of the tears of the “wounded pools of our living”.
The protagonist then looks at the sky and finds that the star having the name of Orion has shifted its position though its movement in the sky is so of the movement of The protagonist then looks at the sky and finds that the star having the name of Orion has shifted its position though its movement in the sky is so slow as to be imperceptible. He indicates the slowness of the movement of that star by saying that it is crawling like a spider. Then, returning to the earth, the protagonist mentions the slaughter and the massacre which had taken place long, long ago and which can never be forgotten by the people of this country. The happenings of the past naturally come back to an Indian or to an Orissan (or Oriya). In fact, so many memories come back to a man’s mind sometimes that he does not know what he should do with them and how he should react to them. The protagonist feels that the memories, which have crowded into his mind, are like voices which have come to him from some other world, perhaps from the stars in the sky. The memories are of a painful nature; and the world seems to be a place where suffering is the rule rather than the exception.
The protagonist then says that his father is getting older and older, and that he is being overtaken by extreme old age at a fast pace. More memories come to the protagonist; and now he feels that these memories in his brain are in a state of tumult or agitation like rats running to and fro in a dark room and gnawing at rotten paper because they can find nothing to eat to satisfy their hunger.
Finally the protagonist thinks of the furry skin of a sheep belonging to his old village. Having got wet because of the rain, the skin had acquired certain lustre. The sight of that wet skin of a sheep reminds the protagonist of the delicate skin of his “gentle” daughter. The stones of the holy temples of Konarka also come to his mind, but are easily dismissed by him from his mind.
A Note on the Poem Relationship
“All the concerns recurring in Mahapatra’s earlier individual poems— time and eternity, individual experience and racial memory, stillness and silence— consciousness of alienation and evil— merge in Mahapatra’s Relationship which may be regarded as Mahapatra’s magnum opus. Relationship is not a poem about the relationship of a man to men in friendship, love, family, or community. It is a poem about the relationship of man to time, of man to land, and of man to generations of men who have passed before him and who will come after him. Finally, this is a poem about the relationship of man to his self and of man to his soul. In this poem, personal experience, racial consciousness, and myth of the land intertwine with each other. In this long poem consisting of twelve sections , the mood swings, with a wave – like motion, between serenity and despair, between peace and frustration, and between stillness and disturbance. There is continuous inter – action between the inner landscape and the outer landscape (which is Orissa). The ruins of Konark and Puri, the river Daya where King Asoka got himself converted to Buddhism after the blood – bath of a Pyrrhic victory, are eloquent and are participants in the racial experience of the poet Rock and water, sun and rains, moonlight and darkness are recurring motifs in the poem and carry the theme forward in a web – like association.”
Critical Analysis:
Introduction:
Jayanta Mahapatra’s Relationship is one of the greatest achievements of Indian English poetry. Published in 1980 and honoured with the Sahitya Akademi Award, the twelve-section poem explores the poet’s intimate relationship with the land, history, myths, and cultural heritage of Odisha. “Section Two” is particularly significant because it blends personal memory with collective history, creating a profound meditation on identity, suffering, and the passage of time. Through symbolic imagery and reflective narration, Mahapatra transforms individual experiences into universal truths.
Memory as the Foundation of Identity
The central concern of Section Two is memory. The speaker recalls the death of his mother, his childhood places, and his ageing father. These memories are not pleasant recollections but painful reminders of loss and loneliness. The past appears distant and elusive, disappearing like a magician’s trick. Mahapatra suggests that human identity is built upon memories, yet those memories are fragile and constantly fading. The poet struggles to preserve his emotional and cultural roots against the relentless passage of time.
Fusion of Personal and Collective History
One of Mahapatra’s greatest artistic achievements is his ability to merge private experiences with the historical consciousness of Odisha. While recalling his own family, the poet simultaneously evokes memories of ancient massacres, suffering, and historical violence associated with the land. The individual becomes inseparable from history, suggesting that every person’s identity is shaped by the experiences of previous generations. Thus, personal grief expands into collective remembrance.
Exploration of Human Suffering
The poem presents suffering as an unavoidable part of existence. Images of loneliness, wounded emotions, slaughter, old age, and fading memories create an atmosphere of deep melancholy. The poet does not seek to escape suffering but rather accepts it as an essential component of human life. His vision reflects an existential awareness that life is filled with uncertainty, pain, and emotional isolation.
Symbolism of Time
Time functions as one of the poem’s dominant themes. The slow movement of the constellation Orion, described as crawling like a spider, symbolizes the silent but unstoppable progress of time. Human life changes rapidly through death and ageing, whereas the universe continues its eternal movement. This contrast highlights the insignificance of individual existence within the vast cosmic order.
Relationship with the Land
Throughout Relationship, Mahapatra establishes an inseparable bond between the individual and the landscape of Odisha. In this section, the natural world, village life, rain, stones, sheep, and the temples of Konark become living symbols of history and memory. Nature is not merely a background but an active participant in human experience. The land itself preserves the memories that individuals struggle to retain.
Psychological Depth
The poem explores the workings of the human mind. Memory does not appear in a logical sequence but emerges suddenly through associations, emotions, and sensory impressions. The speaker moves naturally between childhood, history, family, and mythology. This stream-like movement reflects the complexity of human consciousness and demonstrates Mahapatra’s psychological realism.
Existential Vision
Section Two also reflects existential concerns. The poet questions the meaning of life, the permanence of human achievements, and the certainty of identity. Life appears uncertain, fragmented, and transient. Yet the search for one’s origins and relationship with the land provides a sense of continuity amid uncertainty. The poem therefore balances despair with the hope of cultural belonging.
Language and Style
Mahapatra employs free verse, allowing his thoughts to flow naturally without the restrictions of rhyme or regular metre. His language is highly suggestive rather than direct. He relies on symbolism, metaphor, visual imagery, and fragmented syntax to communicate complex emotional experiences. The tone remains meditative, reflective, and deeply introspective, inviting readers to participate in the poet’s search for meaning. His style successfully combines modernist experimentation with Indian historical and cultural consciousness.
Universal Significance
Although rooted in Odisha’s history and culture, Section Two possesses universal appeal. Every individual experiences loss, memory, ageing, and the search for identity. By connecting personal emotions with historical and cultural experiences, Mahapatra demonstrates that human existence is always shaped by the past. His poem speaks not only to Indians but to readers everywhere who seek meaning in memory, family, and homeland.
Critical Evaluation
Critically, “Section Two from Relationship” stands as one of Jayanta Mahapatra’s finest explorations of memory and identity. It successfully combines autobiography, history, mythology, philosophy, and psychological introspection into a unified poetic vision. The poem’s symbolic richness, emotional intensity, and intellectual depth make it an outstanding example of modern Indian English poetry. Through its intricate imagery and reflective style, Mahapatra illustrates that an individual’s true identity emerges from an enduring relationship with family, history, culture, and the land. Consequently, Section Two is not merely a personal recollection but a profound meditation on the timeless relationship between humanity, memory, and civilization.