Ambition and Failure Theme Analysis

Why should a visit from Murad upset him so much? There was no obvious reason of course—they had known each other since they were at school together: Murad had been the spoilt rich boy with money in his pocket for cinema shows and cigarettes and Deven the poor widow’s son who could be bribed and bought to do anything for him, and although this had been the basis of their friendship, it had grown and altered and stood the test of time. But Deven did not like him appearing without warning during college hours and disturbing him just when he needed to concentrate; it was very upsetting.

The desperation of his circumstances made him say something he never would have otherwise. All through his childhood and youth he had known only one way to deal with life and that was to lie low and remain invisible. Now he leaned forward on his elbows and said emotionally, “If only we got payment for the articles and reviews that we write for magazines and journals, that would be of some help.”

The bus soon left Mirpore behind. It came as a slight shock to Deven that one could so easily and quickly free oneself from what had come to seem to him not only the entire world since he had no existence outside it, but often a cruel trap, or prison, as well, an indestructible prison from which there was no escape.

Mirpore was isolated but not cut off from the world. […] The constant comings and goings of trains and buses gave it an air of being a halting place in a long journey, a caravanserai of a kind. […] This had the effect of making Mirpore seem in a state of perpetual motion. There was really more of bustle than doldrums and it was often deafening. Yet the bustle was strangely unproductive—the yellow sweets were amongst the very few things that were actually manufactured here; there was no construction to speak of, except the daily one of repairing; no growth except in numbers, no making permanent what had remained through the centuries so stubbornly temporary—and it was other cities, other places that saw the fruits of all the bustle, leaving the debris and the litter behind for Mirpore.

It was sadly disappointing to him that he was not travelling up to Delhi on this important occasion in a style more suited to a literary man, a literary event. He had never found a way to reconcile the meanness of his physical existence with the purity and immensity of his literary yearnings. The latter were constantly assaulted and wrecked by the former—as now in the form of the agonized dog, the jolting bus, the peanut-crunching neighbour, the little tin box in which Sarla had packed his lunch [… and] the smallness of the sum of money he carried in his pocket: all these indignities and impediments. How, out of such base material, was he to wrest a meeting with a great poet, some kind of dialogue with him, some means of ensuring that this rare opportunity would not also turn to dust, spilled blood and lament?

If it had not been for the colour and the noise, Chandni Chowk might have been a bazaar encountered in a nightmare; it was so like a maze from which he could find no exit, in which he wandered between the peeling, stained walls of office buildings, the overflowing counters of shops and stalls, wondering if the urchin sent to lead him through it was not actually a malevolent imp leading him to his irrevocable disappearance in the reeking heart of the bazaar. The heat and the crowds pressed down from above and all sides, solid and suffocating as sleep.

Before he could make out who had opened the door and now stood behind it, he heard an immense voice, cracked and hoarse and thorny, boom from somewhere high above their heads: “Who is it that disturbs the sleep of the aged at this hour of the afternoon that is given to rest? It can only be a great fool. Fool, are you a fool?”

And Deven, feeling some taut membrane of reservation tear apart inside him and a surging expansion of joy at hearing the voice and the words that could only belong to that superior being, the poet, sang back, “Sir, I am! I am!”

It was clear to Deven that these louts, these lafangas of the bazaar world—shopkeepers, clerks, bookies and unemployed parasites—lived out the fantasy of being poets, artists and bohemians here on Nur’s terrace, in Nur’s company. […] This did not surprise Deven; it was exactly the kind of circle he had been familiar with as a student, but what was astonishing was that the great poet Nur should be in the centre of it, like a serene white tika on the forehead of a madman. It was not where Deven had expected to find him. He had pictured him living either surrounded by elderly, sage and dignified litterateurs or else entirely alone, in divine isolation. What were these clowns and jokers and jugglers doing around him, or he with them?

That, [Deven] saw, was the glory of poets—that they could distance events and emotions, place them where perspective made it possible to view things clearly and calmly. He realized that he loved poetry not because it made things immediate but because it removed them to a position where they became bearable. That was what Nur’s verse did—placed frightening and inexplicable experiences like time and death at a point where they could be seen and studied, in safety.

Deven never quite believed what happened next. He was so confused and shattered by it that he did not know what it was that shattered him, just as the victim of an accident sees and hears the pane of glass smash or sheet of metal buckle but cannot tell what did it—rock, bullet or vehicle. The truth was that he did not really want ever to think back to that scene. If his mind wandered inadvertently towards it, it immediately sensed disaster and veered away into safer regions.

“He was a poet, a scholar—but is he now? Look at him!” She pointed dramatically at Nur who was huddled, whimpering, on the mattress, holding his knees to his chest and rocking from side to side in agony. “Do you call that a poet, or even a man? All of you—you followers of his—you have reduced him to that, making him eat and drink like some animal, like a pig, laughing at your jokes, singing your crude songs, when he should be at work, or resting to prepare himself for work—”

She was the daughter of a friend of [Deven’s] aunt’s, she lived on the same street as that family, they had observed her for years and found her suitable in every way: plain, penny-pinching and congenitally pessimistic. What they had not suspected was that Sarla, as a girl and as a new bride, had aspirations, too; they had not understood because within the grim boundaries of their own penurious lives they had never entertained anything so abstract. […] She dreamt the magazine dream of marriage: herself, stepping out of a car with a plastic shopping bag full of groceries and filling them into the gleaming refrigerator, then rushing to the telephone placed on a lace doily upon a three-legged table and excitedly ringing up her friends to invite them to see a picture show with her and her husband who was beaming at her from behind a flowered curtain.

Although each understood the secret truth about the other, it did not bring about any closeness of spirit, any comradeship, because they also sensed that two victims ought to avoid each other, not yoke together their joint disappointments. A victim does not look to help from another victim; he looks for a redeemer. At least Deven had his poetry; she had nothing, and so there was an added accusation and bitterness in her look.

The flock of parrots wheeled around, perhaps on finding the fields bare of grain, and returned to the tree above their heads, screaming and quarrelling as they settled amongst the thorns. One brilliant feather of spring green fluttered down through the air and fell at their feet in the grey clay. Deven bent to pick it up and presented it to his son who stuck it behind his ear in imitation of his schoolteacher with the pencil. “Look, now I’m masterji,” he screamed excitedly.

Yes, that was the climax of that brief halcyon passage. It was as if the evening star shone through at that moment, casting a small pale illumination upon Deven’s flattened grey world.

Who was she? Why should her birthday be celebrated in this manner? How could she claim monopoly of the stage with her raucous singing that now afflicted their ears, her stagey recitation of melodramatic and third-rate verse when the true poet, the great poet, sat huddled and silent, ignored and uncelebrated, Deven asked himself, determinedly not listening with more than a fraction of his attention. She was not worth listening to, he would not listen to her, he had not come to listen to her, he grumbled to himself, and scowled at the spectators who were bobbing their heads, swaying from side to side, beating time with their hands on their knees, giving forth loud exclamations of wonder and appreciation—like puppets, he thought, or trained monkeys.

Seeing that line waver and break up and come together again upon the sheet of blue paper, Deven felt as if he were seeing all the straight lines and cramped alphabet of his small, tight life wavering and dissolving and making way for a wave of freshness, motion, even kinesis. In openness lay possibilities, the top of the wave of experience surging forward from a very great distance, but lifting and closing in and sounding loudly in his ear. What had happened to the hitherto entirely static and stagnant backwaters of his existence? It was not the small scrawled note, not Siddiqui or Rai or anyone to do with the college who had caused this stir; it was Nur, Nur’s poetry and Nur’s person.

“Before Time crushes us into dust we must record our struggle against it. We must engrave our name in the sand before the wave comes to sweep it away and make it a part of the ocean.”

“You do not deceive me even if you have thrown dust in his poor weak eyes. I have made my inquiries—I have found out about you, I know your kind—jackals from the so-called universities that are really asylums for failures, trained to feed upon our carcasses. Now you have grown impatient, you can’t even wait till we die—you come to tear at our living flesh—”

Peering through a crack in the kitchen door, Sarla watched, thinking: is he dead? is he alive? without concern, only with irritation. It was only men who could play at being dead while still alive; such idleness was luxury in her opinion. Now if she were to start playing such tricks, where would they all be? Who would take Manu to school and cook lunch for them?

O will you come along with us
Or stay back in the pa-ast?
O will you come along …

Later Deven could not understand how it all come about—how he, the central character in the whole affair, the protagonist of it (if Murad were to be disregarded), the one on whom depended the entire matter of the interview, the recording and the memoirs, to which Siddiqui was no more than an accessory, having arrived on the scene accidentally and at a later stage, and in which he played a minor role—how he, in the course of that evening, had relinquished his own authority and surrendered it to Siddiqui who now emerged the stronger while he, Deven, had been brought to his knees, abject and babbling in his helplessness. How?

Frantic to make [Nur] resume his monologue now that the tape was expensively whirling, Deven once forgot himself so far as to lean forward and murmur with the earnestness of an interviewer, “And, sir, were you writing any poetry at the time? Do you have any verse belonging to that period?”

The effect was disastrous. Nur, in the act of reaching out for a drink, froze. “Poetry?” he shot at Deven, harshly. “Poetry of the period? Do you think a poet can be ground between stones, and bled, in order to produce poetry—for you?”

[Nur] broke into a verse that Deven had never heard before, that no one in the room had heard before, that entered into their midst like some visitor from another element, silencing them all with wonder. […] Seizing the book from [Deven], [Nur] wrote in it himself, holding it on his knee, stopping to lick the pencil now and then, peering at the letters with his cataract-filled eyes, while around him the babble broke out again as his audience excitedly discussed this new verse of his. […] This was the audience Nur had always had to try his verses on, Deven saw, revolted by their flattery, and he knelt behind Nur in reverential silence, watching him write, keeping himself apart from the others, the one true disciple in whose safe custody Nur could place his work.

Deven put up both his hands and pushed him back as far as he could on the small landing, till his back was against the wall. “I can’t do that,” he hissed, “it is the property of the college.”

[…]

Deven went down the wooden staircase as steadily as he could although his knees shook weakly. Murad’s perfidy filled him with the iron of resistance and he felt steady, straight. As he reached the foot of the stairs, he heard Murad call over the banisters, “One last time I am offering to help—one last time. Sole rights! Only sole rights!”

Deven went towards the exit without looking back.

Deven did not have the courage. He did not have the time. He did not have the will or the wherewithal to deal with this new presence, one he had been happy to ignore earlier and relegate to the grotesque world of hysterics, termagants, viragos, the demented and the outcast. It was not for the timid and circumspect to enter that world on a mission of mercy or rescue. If he were to venture into it, what he learnt would destroy him as a moment of lucidity can destroy the merciful delusions of a madman. He could not allow that.

He had accepted the gift of Nur’s poetry and that meant he was custodian of Nur’s very soul and spirit. It was a great distinction. He could not deny or abandon that under any pressure.

He turned back. He walked up the path. Soon the sun would be up and blazing. The day would begin, with its calamities. They would flash out of the sky and cut him down like swords. He would run to meet them. He ran, stopping only to pull a branch of thorns from under his foot.