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Don't Call me Indo-Anglican by Syed Amanuddin
no i don't want to be
a hotchpotch of culture
a confusion of language
a nullity of imagination
an abortive affair between an indo and an anglo
i hate hyphens
the artificial bridges
between artificial values
in the name of race religion n language
i damn all hyphenated minds
prejudiced offsprings of unenlightened souls
i denounce all labels and labelmakers
i refuse to be a moonrock specimen
to be analyzed labelled n stored
for a curious gloomy fellow to
reanalyze reclassify me
for shelving me again
they call me indo-anglian
I don't know what they mean
cauvery flows in my veins
chamundi hills rise in my mind with stars afloat
eyes of the goddess smiling on the slain demon
brindavan fountains sing in my soul
but i am not tied down to my childhood scene.
i have led languages by their ears
i have twisted creeds to force the truth out
i have burned candles in the caves of prejudice
i have surged in the oceans of being
i have flown across the universe on the wings of my thought
they call me indo-anglian
the mistaken misinformed folk
n class me with a small group of writers
cloistering me
crippling me
i would rather roam with kalidasa n kabir
or go on a spiritual journey with dante
meditate with khayyam on the mathematics of existence
or sing with ghalib the anguish of love
or drown with li po kissing the moon's reflection in the river
they call me indo-anglian
it's true i write in english
dream in the language of shakespeare n keats
but I am not an anglo my friend
i am a POET
i have lived forty centuries under various names
i am now amanuddin
General Introduction
Syed Amanuddin, the poet of "Don't Call Me Indo-Anglican," was an Indian poet who primarily wrote in English. His work often grapples with identity, colonialism, and the clash of cultural heritages. Amanuddin's writing emerged during a time when Indian writers were increasingly embracing English as a medium of expression, but with a strong focus on questioning the colonial legacies attached to the language. His poetry reflects his struggle against the imposition of foreign cultural labels and the exploration of personal identity amidst the colonial and post-colonial transitions of India. He writes with a deep sense of personal and cultural reflection, blending history with a poetic assertion of self.
Title
The title "Don't Call Me Indo-Anglican" is a direct rejection of the label imposed on the poet. The use of the imperative "Don't" sets the tone of defiance, immediately indicating a resistance to being categorized. The term "Indo-Anglican" refers to Indian writers who write in English, specifically in a post-colonial context. However, the poet’s refusal to accept this label hints at the broader theme of rejecting imposed identities, cultural hybridity, and stereotypical categorization. This sets the reader's expectation for a poem that is self-assertive, unapologetic, and anti-conformist.
Stanza by Stanza Analysis
Here is an elaborate stanza-by-stanza analysis of Syed Amanuddin’s poem “Don’t Call Me Indo-Anglican”:
Stanza 1
In this opening stanza, the poet expresses a clear rejection of being a mixture or blend of two different cultures: Indian ("Indo") and English ("Anglo"). He uses the phrases "hotchpotch of culture" and "confusion of language" to critique the forced amalgamation of these two distinct identities, which results, in his view, in a loss of creativity ("nullity of imagination"). The phrase "abortive affair" suggests that the union between "Indo" and "Anglo" is doomed to failure, an unnatural and forced combination. The poet’s disdain for hyphenation is symbolic, where the hyphen represents a forced link between two separate entities, something he finds artificial and limiting. This stanza sets the tone of defiance against imposed identities and categorization.
Stanza 2
The second stanza continues the theme of rejecting the artificiality of labels. The poet critiques "artificial bridges"—the links society creates between race, religion, and language, which he sees as constructs designed to divide people rather than unite them. He condemns "hyphenated minds," suggesting that those who subscribe to these artificial identities are themselves limited and prejudiced. The phrase "prejudiced offsprings of unenlightened souls" implies that those who insist on hyphenated identities are products of a narrow-minded, colonial worldview. The poet denounces both the labels and those who create and enforce them, emphasizing his disdain for restrictive categorizations.
Stanza 3
In this stanza, the poet likens himself to a "moonrock specimen," an object taken from its natural environment, studied, and placed in a sterile setting. This metaphor captures the dehumanizing process of being analyzed, labeled, and classified by others, particularly scholars or institutions who categorize individuals based on race, language, or culture. The repetition of "reanalyze" and "reclassify" emphasizes the relentless process of labeling and categorizing that the poet finds reductive and alienating. By refusing to be a "moonrock specimen," he asserts his autonomy and refuses to be an object of study that is shelved or filed away.
Stanza 4
This stanza begins with a questioning of the term "Indo-Anglian," a label used to categorize Indian writers who write in English. The poet declares that he doesn't understand what the term truly signifies or why he should be confined to it. The imagery in the latter half of the stanza evokes a strong sense of connection to the poet’s Indian roots: the "Cauvery" river, the "Chamundi hills," and the Brindavan gardens are all landmarks of southern India. The "eyes of the goddess" refer to the mythological traditions of India, specifically to the goddess Chamundi, who defeated the demon Mahishasura. These references indicate that, despite writing in English, the poet’s soul is deeply rooted in Indian history, mythology, and geography. It’s a vivid assertion of his cultural identity, which cannot be reduced to the term "Indo-Anglian."
Stanza 5
In this stanza, the poet declares his independence from his past and childhood experiences. While he acknowledges his connection to Indian culture, he emphasizes that he is not confined to it. The phrase "led languages by their ears" suggests mastery over language, where the poet takes control of language rather than letting it define him. He also speaks of "twisting creeds to force the truth out," which signifies his willingness to challenge and reshape religious or ideological beliefs in his quest for truth. The metaphors of burning candles in "the caves of prejudice" and surging in "the oceans of being" convey his relentless pursuit of enlightenment and understanding, both about himself and the world. The final image of flying across the universe on "the wings of my thought" symbolizes intellectual and spiritual freedom, a transcendence beyond the limitations imposed by culture or identity.
Stanza 6
In this stanza, the poet again rejects the label "Indo-Anglian" and critiques those who use it. He calls them "mistaken misinformed folk," emphasizing that they do not fully understand his identity or his work. By classing him with a small group of writers, society attempts to limit his identity and creativity, effectively "cloistering" or confining him to a narrow category. This categorization is "crippling" because it reduces his multifaceted identity and literary voice to a single, limiting label. The poet expresses frustration at being reduced to a small box, when in reality, he is so much more.
Stanza 7
Here, the poet expresses his preference for identifying with a wider array of literary and philosophical traditions, rather than being confined to the label "Indo-Anglian." He mentions iconic figures like Kalidasa (ancient Indian poet) and Kabir (a mystic poet), emphasizing his connection to India’s rich literary heritage. He also mentions Dante, Khayyam, Ghalib, and Li Po, figures from Western, Persian, and Chinese traditions. This global outlook demonstrates his transcendence of cultural boundaries—he chooses to engage with universal ideas and themes rather than being pigeonholed into a particular cultural or national identity. This stanza illustrates the poet’s intellectual and artistic freedom, as he aligns himself with thinkers and poets from diverse backgrounds.
Stanza 8
In the final stanza, the poet acknowledges that while he writes in English and is influenced by English literary figures like Shakespeare and Keats, he is not defined by the "Anglo" identity. His declaration, "I am a POET," transcends the limitations of language or nationality. The phrase "I have lived forty centuries under various names" suggests that the poet’s identity spans centuries and cultures, making him part of a broader, timeless tradition of human expression. The assertion of "I am now amanuddin" is a final proclamation of his individuality—he is not Indo-Anglian or Anglo, but Amanuddin, a unique individual with a complex, transcultural identity. This closing stanza reaffirms the poem’s central theme: the poet’s refusal to be defined by imposed labels and his embrace of a broader, more fluid sense of self.
In "Don't Call Me Indo-Anglican," Syed Amanuddin rejects societal attempts to classify him based on race, language, or culture. Through each stanza, the poet asserts his individuality and his desire for freedom from the restrictive categories imposed by society. The poem challenges the concept of cultural hybridity as a simple blending of identities, instead presenting a more complex vision of the self, one that transcends labels and embraces intellectual, cultural, and spiritual freedom.
Themes of the Poem
Syed Amanuddin’s poem "Don't Call Me Indo-Anglican" presents multiple significant themes, all centered around the poet's rejection of externally imposed labels and his assertion of a fluid, transcultural identity. The poem addresses the complexities of identity, cultural hybridity, language, and the rejection of societal categorization. Below is an in-depth exploration of the key themes in the poem:
1. Rejection of Labels and Identity Categories
The central theme of the poem is the poet’s rejection of labels, particularly the term "Indo-Anglican." Amanuddin expresses disdain for being categorized as an "Indo-Anglican" writer, which he perceives as an artificial and limiting classification. He denounces the use of hyphens to bridge two different cultures or identities, stating, "I hate hyphens." This hyphen, as a symbol, represents the imposition of cultural and racial categories that deny the individual’s complexity. The poet does not want to be reduced to an artificial blend of "Indian" and "English" culture—he wants to stand as a unique, fully realized individual, free from labels that constrain or define him superficially.
The repeated rejection of being classified as "Indo-Anglian" shows his resistance to the external forces that attempt to confine his identity to a single category. Instead of being a "hotchpotch of culture" or a "confusion of language," the poet insists on being seen as a complete individual, not an amalgamation of parts.
2. Cultural Hybridity and the Complexity of Identity
The theme of cultural hybridity runs throughout the poem as the poet explores his sense of self in the context of multiple cultural influences. Being an Indian who writes in English, the poet occupies a space that is neither wholly Indian nor entirely Western. This reflects the reality for many post-colonial writers who inherited the colonizer's language and cultural frameworks while still deeply rooted in their indigenous traditions.
The poet's cultural background is rich and diverse. On the one hand, he refers to Indian cultural and geographical symbols like the "Cauvery" river and "Chamundi hills," which reflect his deep connection to Indian history, mythology, and landscape. On the other hand, he acknowledges his engagement with the English literary tradition, stating that he "dream[s] in the language of Shakespeare n Keats." Yet, the poet insists that this hybridity does not diminish or simplify his identity. Instead, it makes his existence more complex and multifaceted.
Amanuddin embraces this complexity by distancing himself from any singular cultural definition. He refuses to let others box him into a hybrid identity ("Indo-Anglian") that does not fully capture the richness of his personal experience. His poetic self is transnational and transcultural, capable of crossing borders and immersing in diverse philosophical and literary traditions.
3. Critique of Colonial Legacy
Closely linked to the theme of identity is the critique of colonialism and its lasting impact. The English language, for the poet, represents both a colonial legacy and a medium of creative expression. While the poet acknowledges that he writes in English, he is careful to distance himself from the Anglo-centric identity that society tries to impose on him. By declaring "I am not an Anglo, my friend," Amanuddin challenges the lingering colonial mindset that assumes writing in English equates to adopting a Western identity or worldview.
Colonialism brought about a forced hybridization of cultures, where the colonized were often expected to adopt the language and values of the colonizer. The poet’s rejection of the "Indo-Anglian" label can be seen as a rejection of this colonial legacy and its implications. He refuses to let his identity be shaped by the power dynamics of colonization, instead asserting his right to define himself on his terms.
4. Individuality and the Assertion of the Self
Amanuddin emphasizes the importance of individuality throughout the poem. His refusal to be categorized as "Indo-Anglian" is a declaration of his unique, autonomous self. He asserts his freedom to define his identity without the interference of others who seek to impose their interpretations or classifications on him.
The poet speaks with a strong sense of personal agency, stating that he has "led languages by their ears" and "twisted creeds to force the truth out." These lines suggest that he is not passive in the face of external forces but actively engages with language, religion, and culture to shape his understanding of the world. He refuses to be a "moonrock specimen"—an object to be examined and stored away by society. Instead, he asserts that he is a "POET," someone who transcends narrow classifications and embraces a broader, more universal identity.
5. Global Literary and Philosophical Influences
Amanuddin situates himself within a global literary and philosophical tradition, rejecting the narrow confines of the "Indo-Anglian" label. He refers to Kalidasa and Kabir, two iconic figures from Indian literary history, but he also invokes Dante, Khayyam, Ghalib, and Li Po, showing his engagement with a wide array of cultural and intellectual influences from different parts of the world. This speaks to the poet's belief in the universality of poetry and thought. He sees himself as part of a global tradition that transcends national, linguistic, and cultural boundaries.
By aligning himself with these diverse figures, Amanuddin rejects the idea that his identity should be restricted to the binary of "Indo" and "Anglo." He is a poet of the world, drawing inspiration from multiple sources and refusing to be limited by geography, race, or language.
6. Freedom and Transcendence
Another significant theme in the poem is the poet's yearning for freedom and transcendence. Amanuddin portrays himself as a figure who has transcended the constraints of national and cultural boundaries. He describes how he has "surged in the oceans of being" and "flown across the universe on the wings of my thought." These metaphors of movement and expansiveness reflect the poet’s desire to break free from societal constraints and explore the limitless possibilities of existence.
The poet's declaration that he has "lived forty centuries under various names" suggests a belief in the continuity of the self through time and space. He identifies himself not just as Amanuddin, the individual, but as a timeless, universal figure who has existed through many ages and across many cultures. This theme of transcendence is closely tied to his rejection of labels—he refuses to be confined by narrow definitions because he sees himself as part of a larger, more enduring human experience.
In "Don't Call Me Indo-Anglican," Syed Amanuddin tackles themes of identity, cultural hybridity, and the rejection of colonial legacies. The poet refuses to be categorized by societal labels like "Indo-Anglian" and instead asserts his individuality as a poet who draws from a wide range of cultural and literary traditions. He critiques the tendency of society to impose restrictive categories on individuals based on their race, language, or culture, and he asserts his right to define himself on his terms. The poem is ultimately a celebration of freedom, transcendence, and the complexity of the human experience, resisting the oversimplification of identity into neat categories.
Literary Devices
1. Anaphora: Repetition is a powerful device used in this poem to build intensity and assertiveness. The phrase "I damn," "I denounce," "I refuse," and "They call me" recur throughout the poem, reinforcing the poet's resistance to external labels and his anger at being pigeonholed. This repetition emphasizes the poet's rebellious stance.
2. Metaphor: The poet uses metaphors like "moonrock specimen" to convey his frustration at being objectified and categorized by external forces. The idea of being "analyzed, labelled, and stored" like a scientific specimen reflects his disdain for how society tries to fit individuals into neat boxes based on their race, language, or culture.
3. Imagery: Amanuddin paints vivid pictures with phrases such as "Cauvery flows in my veins" and "Chamundi hills rise in my mind with stars afloat." These images evoke a strong sense of rootedness in his Indian heritage, particularly through the mention of natural landmarks and mythological references.
4. Allusion: There are several allusions to famous figures and cultural references, such as Kalidasa, Kabir, Dante, Khayyam, Ghalib, and Li Po. These references highlight the poet's connection to a wide variety of philosophical, literary, and spiritual traditions, not just limited to the English canon. The poet distances himself from the label "Indo-Anglian" by embracing a global, historical identity of being a "POET" rather than being restricted to a single cultural category.
5. Irony: The poet writes in English, the very language that associates him with the "Anglo" label, yet he rejects being labeled "Indo-Anglian." This ironic tension highlights the complexity of post-colonial identity—writing in English does not equate to accepting the colonizer's identity.
6. Symbolism: The "hyphen" is symbolic of cultural hybridization and forced connections between distinct identities, such as Indian and English. By stating "I hate hyphens," the poet rejects this imposed cultural blend, preferring to assert an individual identity beyond categories. The hyphen becomes a representation of the divisions in society based on race, religion, and language.
Language and Diction
Amanuddin's diction is direct, unadorned, and confrontational. Words like "damn," "denounce," and "refuse" convey strong emotions and emphasize his rejection of labels. The poem avoids flowery or overly poetic language in favor of sharp, declarative statements that mirror the poet's assertive stance. The use of first-person pronouns like "I" gives the poem a personal, intimate tone, as if the poet is speaking directly to the reader or to the society that seeks to label him. The mixture of Indian references (Cauvery, Chamundi hills) and English literary figures (Shakespeare, Keats) further reflects the poet's hybrid cultural experience, though he resists being defined by it.
Mood and Tone
The tone of the poem is defiant and rebellious. Amanuddin expresses frustration and anger at being categorized by terms that do not capture the fullness of his identity. He is not just "Indo-Anglian" but something far more complex. The mood shifts from frustration in the first half of the poem to one of self-assertion and pride in the second half, as he proclaims himself a "POET" with a rich cultural heritage that transcends geographic boundaries.
Context
This poem was written in the context of post-colonial India, a time when many Indian writers were grappling with questions of identity, language, and culture. English, the language of the colonizer, became both a tool of oppression and a medium of expression for Indian writers. The term "Indo-Anglian" was used to describe Indian writers in English, but it often carried connotations of being neither fully Indian nor fully English, a hybrid identity that some, like Amanuddin, found limiting. The poet’s references to Indian landscapes, mythology, and classical figures, alongside Western figures, reflect his refusal to be confined to any one tradition or label, echoing the broader post-colonial struggle for self-definition.
Conclusion
"Don't Call Me Indo-Anglican" is a powerful assertion of identity and a rejection of imposed cultural labels. Through vivid imagery, historical allusions, and a defiant tone, Syed Amanuddin critiques the reduction of individuals to simplistic categories like "Indo-Anglian." The poet embraces a broader, more fluid identity, positioning himself as a global figure whose poetic voice transcends national and cultural boundaries. Ultimately, the poem is a critique of the ways society attempts to classify individuals and a celebration of the poet’s complex, multifaceted existence.
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