All language subtitles for Lecture 03- Toru Dutt

Good morning.

I do remember that we have been doing
the

lectures on Indian poetry in English.

And my dear friends, you are listening
to these NPTEL online lectures

on Indian poetry in English.

The lectures are being delivered by
Vinod Mishra.

Prior to this, we have had two lectures
where we discussed what Indian

poetry in English means and what
actually it means

in a broader way when we talk about
Indian literature in English.

We had the other day discussed the
historical background

and we had also seen that the first
Indian English poet

was Henry de Rosio.

My dear friends, I'm reminded of one
very important line

by M .K. Naik in his book where he says
that the first

period of Indian English literature or
for that matter poetry

came to an end by 1850 now that was the

first period of indian english poetry
now in in between

so many things passed off

india at that time was witnessing

the rise of nationalism and of course
the east

india company which was ruling India had
actually a greater say.

So many of the poets, as you remember,
who had started trying their hands,

whether Indian or British, some of them
also happened to be British

women poets.

Now in 1858, you are well reminded of
the fact

that 1857,

mutiny that is Supai mutiny which was
called the first struggle for Indian

independence that actually came to an
end in 1858 and the rule

of East India Company was now on its
decline so many changes were taking

there were many Indian voices also on
the rise especially in the field of

of course many of them Were quite
adamant in writing.

Their verses.

In the regional language.

That is especially.

In Bengal.

We had.

And you well remember.

Who had started writing.

In English.

Later on switched over to. Writing in
Bengali. And his seminal work.

Had become very popular.

But then.

As the second phase of Indian English
poetry starts, we have some very

voices and we can call these people as
the path breakers of Indian poetry in

English. They were Torudat, Sri
Aurobindo, Rabindranath Tagore. My dear

it has always been seen that whenever
there is an opposition, it is not devoid

of its own benefits and that India also
witnessed.

India was actually able to rediscover an
own identity and it was not only in the

minds of Indian male poets but also in
the minds of Indian female poets.

And it was for the first time the Dattas
came into limelight

with their composing of the Dattas
family album and we will talk

in details about that.

We have to be reminded of how some of
the British women poets, they were also

trying their hands at writing poetry in
English.

Now, who were these women poets?

Majority of these women poets were
somewhere or the other the relatives or

kinsmen of the British officials in
India.

They were actually talking about the
themes of speciality, I mean the space

distancing. And of course, at times they
also talked about the gendered feeling.

Some names that we can take here are
Anna Maria. Of course, many of them were

writing under their pseudonyms. They
were not actually writing in their true

names. Some of them were still fully
publishing their poems.

And Adela, Corey Nicholson, Mary Karsar,
Mary Elijah

Leslie, and then Emma Roberts. These are
some of the names to be taken here.

And some of these poets who were
writing, while many of them had the

landscape on their mind, but there was
one voice.

marry Elijah Leslie who was actually
born in India especially in a small town

Mongher in Bihar and you know what
happened because her upbringing was here

started practicing her verses and in her
verses you can find a sort of

linguistic mix both of Indian language
and also of British since

these women poets were daughters of the
british

officials they had in their mind certain
reservations as well because many

of them did not want to be called as
poetess and they thought that it was

thought it was a sort of discriminatory
word for them because they felt

themselves inferior to and of course the
education of the women also helped in

this regard a great deal my different
now You might be thinking that since

were the women poets, what were they
writing?

Of course, a woman poet is supposed to
write poems which actually border

upon domestic life. Many of them were
also writing oriental tales.

But then some of them were also writing
about the Christian devotional verses.

On the right, you can see here, it is
actually a poem by Mary Elijah

Leslie, about whom I said that she was
born in Bihar and because of her

background what she does is she actually
mixes some of the Indian words. So

Indian poetry in English was also seeing
its own vicissitudes through the

voices of some British people.

Now let us have a look at this poem
which is entitled Kadambini and if you

the poem in detail you will find how
this British a woman poet who

herself does not feel comfortable by
calling herself to be a british woman

she writes the raja brings to her child
a lovely one with face as mild

as chandra whom some castes address in
purnima the hand they kiss

the ladies speak the child came near
here is an english pustak dear with

stories pictures too

Now you can find here a blend not only
of the regional language, that is, I

mean, Indian language here, and in that
part where the words like Chandra,

Purnima, Pustak, and then Bahatkush,
these are Indian. So Indian poetry in

English, in it, I mean, in the works of,
in the poems of, Mary Elijah

found its own tinge, the Indian tinge.

But then it could have been perfected.

Nonetheless, unless and until an Indian
poet who actually belonged to the Indian

soil, to the Indian psyche and also to
the Indian land could come to take

her own stride. And that is how Toru
Dutt's name here comes into

picture. But who was this Toru Dutta?

And you know, most of us remember the
Dutta family album. And this Dutta

album was actually composed by Toru's
parents,

especially Toru's father and two of her
uncles, namely Gobind Chandra,

Girish Chandra and there was one other
relative, Omesh Chandra.

now these people what they were writing
they were actually writing about their

own family we'll see but before that let
us have a look at who is this toru that

and where was she born now you may well
remember that indian poetry in english

could not have its own time unless and
until somebody who could work as

if if we get we are reminded of the
quote my so a medium of intercourse or

communication and that also resulted in
many of the poets writing in english

with the blessings of the british people
and at that time there was actually a

craze that children should be sent if
possible and if their financial

so actually allowed they could go to
england and this is how it happened

So Toru was born on 4th March 1856 in a
rich family in Calcutta. And her

father Gobind Chand, that as I said, he
himself was a poet and two of

his brothers also were poets.

And Toru was born in a family having
three siblings. Toru had two

siblings including her becoming the
third.

So Aru Dutt and Abdu. Aru was a sister
and Abdu was the brother.

But my dear friends, at times it so
happens that Toru had a very crooked

Fine. Even though she was born in
Calcutta, the family, because of some

or the other, they embraced Christianity
and they left for Europe in 1869. It is

said that they were the first Bengali
family to visit Europe.

Fine. And Toru also was the first woman,
Indian, Bengali woman to visit Europe.

That left for Europe in 1869.

And then in the society, they felt
themselves alienated.

When they went to England, when they
went to Europe, their first stay was in

France, where Toru had her schooling.

Fine. And then later on, she also
switched over along with her parents to

Cambridge.

Where she could make friendship with
Mary Martin who happened to be the

recipient of all her letters.

Fine? All the letters of Toru. But Toru
and her siblings had a very

sad, bad and a very crooked fate.

All of them were suffering from some
disease or the other.

And you will come to know later that
Toru had a very small life.

A life of only 21 years.

first she lost her own brother and then
she lost her sister and that

also of consumption and later on she
also succumbed to death in 1877

a brief description about toru given by
gobind

chandra dutt in a sonnet is purian elf
like with disheveled tresses she

willed and sighed self -willed and
sighed Intent to pay her tenderest

to bird or cat.

But most intelligent.

Toru Dutt actually was very intelligent
right from the beginning. And she had

her passion. She had her passion and
sympathies for everything that was

her. It is said that she even wanted a
mosquito for her canneries. She had the

same sort of love for the birds. And
also at times.

the nature which was around her so toru
was witty by nature fine when she had

been living in england she had all sorts
of experiences but even when toru's

father had embraced christianity her
mother was a very traditional indian

and she was a traditional hindu and most
often she filled toru's mind with the

ancient tales of indian scriptures And
that actually seemed to formulate the

early years of Toru when she had drawn
herself to the Indian legions, Indian

kathas and the Indian myths.

The family moved in 1871 to Cambridge
where, as I said earlier, Toru

befriended Mary Martin who happened to
be one of the most fortunate beings to

receive all the letters of Toru
throughout her life.

Toru actually, it is said by many Indian
writers and poets that she was

the one, she was the one who could be
considered that she was the first true

authentic Indian voice, Indian voice.

And it is said, I'm reminded of what M
.K. Naik says, that from cetacism

to an authentic.

cetacism to an authentic utterance i
think this was actually the call of the

second uh period of indian english
literature so from cetacism not mere

not mere writing but there has to be
some amount of authenticity and In the

beginning, many people considered that
Thoreau was a sort of brown English

woman. But no, my dear friend, of
course, because of her upbringing, she

started writing only at a very early
age, though she was quite fluent in

English. But she exposed herself to
French as well and also to Spanish.

And you will realize that the first work
that she did was in French.

And the way she has done it, of course,
it was a work of translation, as you

will see later.

But then there are different voices.

All the important figures of France,
right from Victor Hugo to many others,

were actually translated in her book
entitled Asif Glind in Frenchfield.

About Torudatta, what Tricia Luton says
is very significant and

all of us should try to understand.

Domestically over -determined, yet
culturally alienating, because she was

in England and partly in France.

Toru and Arudatta turns to Western
languages help shape an Indian

I'll rather italicize the word Indian
literature, even though she was away.

But the themes that were going on in her
mind were nonetheless Indian, whose

power seems to spring not from the sight
of a monolithic truth and native

authenticity, but from the infinitely
more fascinating sight of reinvention

improvisation. You will find that when
Toru came back to India, the family came

back to India in 1873, my dear friend.

They came back to India in 1873.

And unfortunately, four years later, I
mean in 1877, Toru also died.

And the deaths of Abju and Aru, they had
actually a very catastrophic

effect on Toru's psyche.

Of course, that's the family where these
people, the poets who belonged only to

one family, and they have included their
lyric, ballad, sonnet, but it is said,

that this book, the Dutta family album,
which was published in 1870,

could not succeed. Why it could not
succeed? Because even though it had a

technical competence and all, there was
imitation, but then it could not be

successful, because as in the preface to
Dutta family album,

Govind Chand Dutta himself says,

It was actually the relationship had
been drawn closer to the holy bond of

Christian brotherhood.

As foreigners educated out of England,
they solicit the indulgence of British

critics to poems which on these grounds
alone may, it is hoped, have some title

to their attention. But that family
album could not do well.

Now, having seen all this, Toru Dutta,
right from the beginning, who actually

was influenced by French, and she was a
very quick learner, my dear friend, very

quick learner.

So there are only two works that can be
credited to her, and those two

works which are written, the first work,
Sif Glind in French Fields, these

are all translations, and translations
of all these 70 poets, 70

to 100 poets rather, And in this volume,
there are 165 pieces out of

which only eight were written, eight
were done by Aru and the remaining ones

were done by Torudat.

Later on, Toru also wrote a novel,
Bianca or the Young Spanish Maiden.

Now, she also tried her hand at novel
and it is said that this was written

in Spanish.

because it was about a Spanish maiden.
And Bianca is actually torn between the

loves of her elder sisters, Fiance and
Lord, both of whom

wanted to marry Bianca. But the novel
could not develop further, and the novel

suddenly got off in the middle.

Later on, Thoreau wrote La Journal de
Mme Weisel d 'Arvers. That was actually

in French.

That was...

And here the heroine is Margarita.
Margarita has to choose

between the love of Louis and Count
Dunius.

Actually, Margarita loved Count Dunius,
but Count Dunius,

out of jealousy, he had actually killed
his own brother.

And the Count Dunius wanted.

count dunius had his attraction or
fascination towards his own maid and it

so happened that not only did he kill
his own brother out of jealousy but he

also killed himself and ultimately uh
margarita had no choice than uh to

uh marry uh the able and the worthy uh
louis so that is all about but

there was one more important thing on
which toru's fame rests

and but then the book came out
posthumously means after toru's death

was it was found that toru had been
writing uh and what the and the book

actually made her so famous as an indian
poet was ancient ballads and legions of

hindustan which was published in 1882 i
mean after her death

now When Thoreau wrote the first book,
that is a safe glint in

French film, it actually had a very good
effect even upon many English writers.

And Edmund Gosse, who being one of the
great admirers of Thoreau's writings, he

writes, literature has no owners which
need have been beyond the grasp of a

who at the age of 21 And in languages
separated from her own by so deep a

had produced so much of lasting worth.
Actually, he called Toru earlier as

an exotic, exotic voice, exotic,
fragmented voice. But there were some

critics also who said that she is very
much like a French woman who can

understand our own culture. And that is
how Toru had become very popular.

had also been writing and publishing
some of her poems in bengali magazine

though they were translations but then
majority of toru's poems as i said

earlier since in toru's psyche there was
a deep imprint of indian myths and

legion we could find that there was
wonderful mixture of a strength and

both in toru toru could not be called
merely

an Indian poet, but she was much the
same a French writer and on which her

rests.

We find that in the ancient legions,
which we had been talking about, which

her ancient ballads and legions, which
made her very popular.

There she talks about Sita, there she
talks about Savitri, she talks about

Dhrub, she talks about Lakshman, she
talks about the Indian King Varath. And

way she has narrated everything, because
we find that there is a sort of

narration, there is a sort of drama,
there is actually, and you know, besides

all, she had her own voice.

Of course, many of her works are
suffused with Indian myths and legends.

But then she reminds at times all the
readers of Victorian Romantic School,

then not devoid of the use of local
color. It was actually

Toru's endeavor to bring Hindu epics
accessible to Western readers.

There are, in many of her works,
domestic morality through an appeal to

Christian virtues.

Toru did not want herself to be called
merely an Indian English poet.

But the way she has written, it is often
said that she also tried to

blend the two cultures together. And
that we shall see when we will find some

Toru's poems.

For example, the poem which made Toru
very popular and this poem, Our

Katsurana Tree, which is actually
prescribed in many of the universities

colleges. It is associated with several
layers of meaning and the moment a

reader reads it, one can find that while
she is talking about the tree, but with

the tree is associated Toru's childhood
memories.

While structurally she talks about the
tree, but she also talks about the pain,

she also talks about the sweet memories
and in a way she is also talking about

the loss.

the despair, the frustration that she
had on the demise of two of her

We can read a few lines of the poem in
order to understand how Toru was quite

adept at making use of English phrases,
but with the same felicity of

bringing some of the Indian words in
many of her poems. The poem begins with,

the very first stanza of the poem says,
Like a huge python,

winding round and round the rugged trunk
indented deep with the scars up to its

very summit near the stars a creeper
climbs in whose embraces bound no other

tree could leave but gallantly the giant
wears the scarf and flowers are hung in

crimson clusters all the boughs among
whereupon all they are gathered bird and

bee and oft at night the garden
overflows with one sweet song that seems

no close now see The first stanza simply
talks about the tree, the structural,

the objective tree.

But as we move to the second stanza, we
can find how Toru moves and how she

unfolds her own memory.

Fine? When first my casement is wide
open, thrown at down, my eyes delighted

it rest.

See, at some places Toru has written
that she had quite a sheltered life.

And when she came out of her own
bungalow or building, there were people

at her. So she had only the opportunity
of looking through her own windows. And

where she said, sometimes and most in
winter, on its crest, a grey baboon sits

statue like alone, watching the sunrise
while on the lower boughs. So Thoreau's

view of the outside world, when she is
confined in her own room, living a

sheltered life.

His puny offspring leap about and play
in far and near Kokilas hail the day and

to their pastures wend over sleepy cows.

So it is it reminds us of the rural
settings of Indian life and at the same

the child's view of the outside world.

But as the poem progresses, we can find
Toru is reminded of her own

painful and at the same time sweet sour
memories.

So Toru has developed a sort of
association with the tree and she says,

the shadow on the broad tank cast by
that whole tree so beautiful and vast,

water lilies spring like snow in mass,
but not because of its magnificence.

dear is the caturna to my soul why do i
love this tree and then she says beneath

it we have played so memory beneath it
we have played though years may roll oh

sweet companions loved with love intense
so she she gets very

painful she actually gets reminiscent of
the days that she had spent with her

own siblings

Loved with love intense for your sake,
shall the tree be ever dear?

Shall the tree be ever dear?

And then suddenly she retreats. Blend
with your images, it shall arise in

till the hot tears blind mine eyes.

What is that dirge -like murmur that I
hear?

Like the sea breaking on a single beach,
it is the tree's lament.

And here is speech.

That happily to the unknown land may
reach.

Unknown.

Yet well known to the eye of faith.

Ah, I have heard that wail far, far
away.

Again, I have heard that wail far, far
away in distant lands by many a

bay. When slumbered in his cave the
water rate and the waves gently kissed

classic shore of France or Italy beneath
the moon.

So trying to blend both the Indian
landscape and then also the France and

Italy. When earth lay tranced in
dreamless soon and every time the music

before my inner vision rose.

A form sublime. Thy form.

O tree. As in my happy prime.

This prime refers to her childhood.

I saw thee. In my own loved native
clime. In my own loved native clime. And

then finally. The last stanza.

Where she says.

Therefore I fain would consecrate a lay
unto thy owner.

I would consecrate a lay unto thy owner.
Tree.

Beloved of those who now when blessed
sleep.

Referring to her brother and sister.

For I repose dearer than life to me.

Alas were they.

So her deep association.

Mayest thou be numbered when my days are
done.

Mayest thou be numbered when my days are
done.

And see actually also maybe we can find
that there is a sort of premonition of

her own death.

With deathless trees like those in
Borrowdale, and whose awful branches

pale, fear, trembling hope and death,
the skeleton and time the shadow, and

though weak the words, that would thy
beauty feign, oh, feign rehearse, may

defend thee from oblivion's curse.

Here she also reminds us of Keats, of
some other poets who

had seen death and despair,

Many people often can say that he also
reminds the readers of Emily Dickinson

who was also soaked in death like John
Key of English literature.

Now what does this poem tell us and how
can this allow and

enable us to understand Thoreau as an
authentic Indian English voice?

Not only are there the Indian settings
and imageries, as you have already seen,

the kokulas, the baboons on the trees,
which are a common sight.

But then the beauty of the poem lies in
its picturesque quality.

Fine. And it reminds us of the Keatsian
romanticism. So not only is Toru aware

of at such an age.

And, you know, Toru shared the fate of
John Keats, who also died so early, my

dear friend.

It is a traumatic recollection, but then
it is not devoid of the rhythmic

quality and the musicality. So in a way,
Katsurana 3, which is one of the most

famous poems of Tauru Datt, not only
blends us to the Indian settings,

but also it allows us to enter the inner
psyche of the poet

who had preserved

the tragedy who had preserved the
sufferings that she underwent after the

of two of her dear and near siblings now
one can often

say that toru had the privilege of
getting education in a

foreign land but at the same time was
she also aware was there a sort of

consciousness that she was an indian of
course In one of the poems which we have

taken from the last collection, the
ancient ballads and legends of

the poem entitled Lotus.

And in this poem, not only does the poet
make use of very beautiful literary

devices called personification, but at
the same time, he also refers to the

conflict of religion.

And then she tries to prove how Indian
religion or Indian ethics or Indian

settings or Indian psyche had something
that can make the world having a sort of

wonder and awe. Let us have a look at
the lines of the poem in order to

understand not only the rhythmic quality
but the sort of philosophy that she

tries to weave beneath these lines.

love came to flora asking for a flower
actually it talks about a flower and and

here love has been personified love
wanted to know which is the loveliest we

have been saying that when we talk about
poetry in poetry a flower is considered

to be the queen of the garden the lady
of the garden fine and something of

delight and here we find How Toru Dutt,
in a very exquisite manner,

tries to say that how Indian flower,
lotus, has its own

importance. And she says, love came to
Flora asking for a flower that would

of flowers be undisputed queen.

The lily and the rose long, long had
been rivals for that owner.

Birds of pie.

So when she says lily and rose, she is
referring to something else, not India.

Like the pale lily, birds apart had sung
their claims. The rose can never tower

like the pale lily with her Juneau mind.

But is the lily lovelier?

Thus between flower factions rang the
strife in psyche's bower.

Give me a flower delicious as the rose
and straightly as the lily in her pride.

But of what color?

rose red so the flower says uh what
color rose red love first

chose and then prayed no lily white or
both provide

and flora gave the lotus rose red died
and lily white

the queenliest flower that blows so
through this poem uh the the poetess

toru datta actually wants to say That
the lotus has its own significant

place. Even though it may not. Till now
it has not been considered to

be as great as lily and rose. But then
and flora gave the lotus rose

red dyed. Which has got both rose.

but then red dyed and lily white it has
got the combination of so here we can

find a sort of synthesis uh between uh
not only between two sorts of opinion

also between two sorts of culture
between two sorts of religion between

and you know he tries to clear this
ambivalence so that is why this poem

appears to me one of my favorite ones
now Before we come on to assess

Toru Dutt as one very authentic Indian
voice, you may well understand

that once when an Indian size was killed
and the matters came to the court,

the judge fined the killer only by
avoiding a punishment of

two pawns.

And at that, Toru Dutt had responded,
you see, How cheap

is the life of an Indian size in the
eyes of the British judge?

And you know, since Toru was very witty,
at times he gave answers which could

really not only surprise others, but
then it was not devoid of reality.

Once upon a time, when an elderly
gentleman chided Toru by

asking, why don't you get married?

And Toru had said, I was simply waiting
for your permission.

So this was actually the beauty of Adi.
So little, so little a girl of 21 years

old. But then she had within her a
heart, a psyche, a sort of

poetry which if could have been
preserved or if Toru could have lived

She could really have been proved to be
an authentic Indian voice, which she is,

but she could have surpassed many.

So now, in order to assess Toru's poetic
corpus and her poetic qualities, we can

say that Toru was not like her
predecessors, and she was not only

course, her education was in the West,
but just for some time, but then she did

not forget.

Because she was very close to her mother
and mother's stories had really worked

miracles, my dear friend. So, Toru
blends personal and cultural dimensions

her own experience.

One poem after another you will find,
whether it is Sita or it is Lakshman

or it is the famous poem, the Royal
Asiatic and the Hind.

You will be surprised to know.

that toru in in her poem lakshmana she
has delineated the picture

of how when sita had been asked to keep
herself confined to the line which was

drawn by lakshman and then when marich
marich was

hurt and he called oh sita oh lakshman
and whatsoever

we find that

she is not happy with Lakshman and she
at times felt that Lakshman was not

coming to save her only because Lakshman
had an eye on her but then

Toru actually delineates in such a
manner later on Sita

the simple woman realizes in the same
line we have another episode

when King Bharat Who himself was an
ascetic.

And in the forest. When a hind. A
pregnant hind.

Was walking.

Fine. Suddenly a lion appeared. And the
lion attacked the hind.

And out of fear.

The hind could not control herself.

And the child was born.

Now it was very difficult for the king.
What to do. Whether he should listen to

God's voice.

Or he should become human.

So king finally came.

and decided that he should help the
little child.

So by delineating this, see actually, I
mean, Toru actually wanted to take a dig

on the sort of renunciation, on the sort
of such a wife, such a life

which is secluded from the human
welfare.

Now the question is, as rightly has been
said by Mehrotra in his famous book,

toru's language and vision was crafted
out of an individual life and a

sensibility that actually belongs to
modern india so people who are still

apprehensive and who are still
hesitating of calling toru a real indian

may take a reply from this because
toru's vision radiates beyond the

even though what was there in her psyche
she could portray and delineate her

through her poems and as we have seen
that many of her poems of

the last book that was published
posthumously are having a background of

Indian myths and legions.

Of course at times she makes uses of
archaism fine and many of her

poems are having octosyllabic stanza and
verse forms.

One beautiful quality of one of the
poems that the Lotus is, that it is

fashioned in a Petrarchan stanza form,
where we find

the lines are patterned in such a way,
A, B, B, A, B, B, C,

C, like that. And finally, You find if
you go to the poem, you can find how she

tries to maintain the quality, how she
tries to maintain the rhythmic quality.

Naik has rightly said about what Naik
says about her is really reminiscent

of Toru being a true and authentic
Indian voice.

What M .K. Naik says is her best work
has the qualities of a quiet strength,

deep emotion.

held under artistic restraint and an
acute awareness of the values of Indian

life. So my dear friends, when we access
Thoreau as a true

authentic Indian poet, we should also
remember how

Thoreau had at the back of her mind the
Indian themes working

and rightly has say written, In one of
her letters.

To Clarissa Badger. Where she says.

Because she has seen her mother.

Who was an ardent Hindu.

But then.

When the family had embraced
Christianity.

She followed. She tore the line.

But she could not leave off. The Indian
values.

And the Indian scriptural stories.

And other myths.

So Toru has rightly mentioned.

can there be a more touching and lovable
heroine than sita now see toru had her

early life in france and england but
still she considers sita to be

one of the most lovable heroines i do
not think so when i hear my mother chant

in the evening the old lays of our
country i always almost weep

And in one of the poems she says, who is
that lady weeping?

Fine, she is not only referring to Sita,
she is also referring to her mother.

The plant of Sita, when banished for the
second time, she wanders alone in the

vast forest, despair and horror filling
her soul. It's so pathetic that I

believe there is no one who could hear
it without shedding tears.

And my dear friends, Toru's life also,

was one such that when we are reminded
of her, that she produced such gems at

such a tender age, but then she could
not survive the heat

and the dust.

And she died in 1877 of consumption.

And that is why I have been saying that
she shared her fortune with John Keats.

With this, we come to the end of this
lecture.

And through that, friends, I actually
wanted to give an elaborate talk, but

is not possible in a lecture of only 30
minutes.

So, my dear friend, I allow you and I
think I request you to go more and more

and the pieces of information which I
have provided.

will take you to the beautiful corpus of
Thorudatta and her beautiful work.

Thank you very much. I wish you all a
good day. Thank you.