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A LOVER OF LIGHT AMONG LUMINARIES : Dilip Kumar Roy obscurity, sophistication and intellectual gymnastics; Godintoxication simplifies and clarifies the bhakta's relationship with the Divine, and his lyric voice could be as disarming and as compelling as a child's cries at the sight of the mother, or the lover's at the sight of the beloved."18
om tvorio
He adds:
"Dilip sings, not because he wants to instruct, exhort or to edify, but simply because, being a bhakta in love with the Divine in Its diversity of forms and manifestations, he cannot help singing. He has neither time nor inclination for laborious word-hunting, image-making or symbolisation. As the leaves come to the tree, the songs seem to come to his lips. His is the simple, pure, traditional, perennial poetry of the soul--the human soul seeking the Divine in ecstatic adoration and love. It is a
modern variation of the ageless poetry of India."19
What the critic misses, however, is Roy's fondness of biographical sketches in his special sense of the term, manifest as much in his poems as in other longer works. Notes : 1. Dilip Kumar Roy, Hark! His Flute! (Poona: Hari Krishna Mandir, 1972), p.1.
ibid., p. 3. ibid., p. i. ibid., p. ii. ibid., pp. 75-76. ibid., p. 28. ibid., p. 16. ibid. p. 17. ibid., p. 74. ibid., p. 77.
ibid., p. 78. 12. ibid., p. 79. 13. Bernard Blackstone, Practical English Prosody (1965; rpt. Bombay: Longman,
1994), p.97. 14. ibid., p. 98. 15. Roy, Hark!, p. 17. 16. ibid. p. ii. 17. Dilip Kumar Roy, Immortals of the Bhagavat (Pune: Hari Krishna Mandir,
1957), p.vi. 18. K. R. Srinivasa Iyengar, 'Foreword' in Roy, Hark!, p.vill 19. ibid., p. xiv.
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