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6 : PLAYS
In a way, it can be said, Dilip Roy is a lover of dreams and always unwittingly invests the persons he portrays with an idealistic halo. He sees them as he loves to see them rather than as they are. He beholds a phantom instead of a physical person and often facts are unconsciously transformed into fiction. He does not live mentally in the physical world though he is tied there unbreakable, and he does not see in his heroes flesh and blood individuals.
Hence, his easily discernible trait for the idealised view of things finds proper mode of expression in fictionalized biographies. Here, his fancy has more freedom to fly and drag the galvanized facts along.
Fiction may find expression in prose or poetry, it could be embodied through dramatic or narrative technique. It could assume any of the various forms of the plain prose or verse. Thus, Dilip Roy writes plays and poems and novels. In each of them, he seeks to portray a historical personage who commands his love or a contemporary great man or woman. Consequently, he realized creations of art which are formally rather loose but emotionally intense. Here he rambles like a romantic at his worst into a sort of visionary world.
All these fictionalized biographies of Dilip Roy justify M. Subba Rao's observation that :
"In all ages in India, the Unknown has exerted a strange irresistible pull on the poet, and philosophy and poetry have often come together to their mutual enrichment. A poem like the Bhagavad Gita (like The Divine Comedy) is not simply philosophy with poetry superadded: or vice versa. The poetry is alone the reality, the philosophy being now wholly consumed in the poem. In Tagore already there is this significant dimension, and God is seen involved in the life-ways of man and the movements of nature. In some of Vivekananda's poems-'Kali the Mother', for example, there is a leap even towards the mystical sublime ....But it is in the formidable Sri Aurobindo canon----poetry, philosophy, yoga—that Indo-Anglian literature has put forth its manifold ambrosial fruits."!
And Dilip Roy, being a close disciple of Sri Aurobindo, made his music and poetry "...part of his sadhana, and thereby he added new dimensions to his aspiration and achievement"2
In addition to this, it has been observed again and again in this thesis earlier that Dilip Roy had been a hero-worshipper and that he loved and worshipped any striking manifestation of intellectual, moral or spiritual brilliance. But, he
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