King Porus Legend of Old Poem Summary
Michael Madhusudan Dutt’s “King Porus – Legend of Old” is a powerful, evocative poem written in 1843 and published the same year in The Literary Gleaner. Structured in six paragraphs and spanning 140 lines, it stands as Dutt’s longest work in English, offering both a grand narrative and a deeply symbolic portrayal of India’s struggle against invasion. Through historical and nationalistic themes, Dutt celebrates resistance and sacrifice, with the legendary King Porus embodying honor, courage, and the resilient spirit of India.
I: The Calm Before the Storm
The poem opens with a dramatic portrayal of a stormy night, setting a foreboding atmosphere that hints at the impending calamity. Nature itself seems to issue a warning, as thunder and lightning echo ominously across the land. Despite these signals, Porus’ people sleep on, unaware of the approaching enemy. Here, Dutt uses the tension between nature’s fury and the people’s ignorance to underscore the vulnerability of a nation facing unforeseen peril.
II: The Battle
As dawn breaks, the warriors rise to defend their land, each one prepared to fight for freedom or die. Their collective courage and determination fill the early hours, but despite their fearless resistance, they are overwhelmed by the might of Alexander’s forces. Dutt captures the devastation of battle, highlighting both the physical and emotional toll on the defenders. The imagery of soldiers sacrificing themselves for their homeland speaks to the ultimate cost of resistance and freedom.
III: King Porus’ Heroism
King Porus stands at the heart of the conflict as a steadfast, unyielding figure. Dutt describes him as immovable, a mountain weathering a relentless storm. Surrounded by enemies, Porus refuses to surrender or retreat, displaying an indomitable spirit that symbolizes resistance itself. His courage and resilience render him a beacon of strength, embodying dignity and the powerful will to protect his people at all costs.
IV: Alexander’s Respect
Despite his victory, Alexander is deeply moved by Porus’ bravery and orders his troops to cease fighting. This moment becomes a testament to the respect that can exist between honorable opponents. Porus’ defiance transcends the clash, earning him admiration from his conqueror. Through this interaction, Dutt illustrates the universal value of respect and honor, showing how noble acts can bridge even the harshest divides.
V: Porus’ Dignity
In the aftermath, Porus stands before Alexander with unwavering pride, refusing to bow or show deference. His dignity remains intact despite his defeat, reflecting the resilience of a leader who, though vanquished, holds fast to his self-respect. This scene powerfully conveys the importance of inner strength and honor, suggesting that true dignity lies in one’s spirit, unaffected by external losses.
VI: Lament for Freedom
The poem concludes with a mournful reflection on India’s lost freedom, as Dutt laments the fading glory of a once-prosperous nation. Yet even in this expression of sorrow, the spirit of resistance remains an indomitable presence. Porus’ legacy of bravery stands as a reminder that, though battles may be lost, the flame of freedom and resilience endures, unquenchable. This lament serves as both a tribute to Porus’ courage and a call to remember the resilience that survives even in times of despair.
Historical Context
The historical encounter between King Porus and Alexander the Great is one of the most renowned episodes from Alexander’s campaign in India, illustrating themes of bravery, respect, and cultural collision. Here’s a detailed look at the background and significance of this event:
Background of Alexander’s Campaign in India
Alexander the Great, born in 356 BCE, was a Macedonian king known for his ambition to create an empire stretching across multiple continents. By 326 BCE, Alexander had already conquered much of Persia, Egypt, and Mesopotamia. His invasion of India marked the easternmost expansion of his empire. Fueled by the desire to reach the “ends of the world” and conquer lands beyond the Persian Empire, he led his army across the Hindu Kush mountains, entering the Indian subcontinent through the Khyber Pass.
King Porus and the Battle of the Hydaspes
In India, Alexander faced formidable resistance from King Porus, a ruler of the Pauravas, an ancient kingdom located in what is now the Punjab region, near the Jhelum River (then called the Hydaspes). Unlike other kings who submitted to Alexander’s forces, Porus stood firm, embodying a fierce commitment to defend his land. Porus was known for his impressive height, strength, and military skill, which made him a respected figure among his people and a formidable opponent.
The Battle of the Hydaspes took place in 326 BCE on the banks of the Jhelum River. Alexander’s army faced both logistical and tactical challenges. Not only was the river flooded and difficult to cross, but Porus’ army also had an advantage in its use of war elephants, which were unfamiliar to the Macedonian troops and initially caused considerable fear among Alexander’s forces. Despite these challenges, Alexander was able to cleverly maneuver his army, using strategies to lure and divide Porus’ forces. After an intense and grueling battle, Alexander ultimately emerged victorious.
The Aftermath: Alexander’s Respect for Porus
Though Porus was defeated, he impressed Alexander greatly with his bravery and leadership. According to historical accounts, when Alexander questioned Porus after his capture and asked him how he wished to be treated, Porus replied, “Like a king.” This answer reportedly struck Alexander, who admired Porus’ spirit, dignity, and resilience. Rather than punish him, Alexander restored Porus’ kingdom and even granted him additional territory as a gesture of respect.
This encounter between the two leaders became emblematic of mutual respect and admiration, transcending the violence of war. For Alexander, who had encountered various leaders across his vast campaigns, Porus stood out as a noble adversary who fought valiantly and commanded respect even in defeat.
Significance and Legacy
The battle highlighted the cultural and military exchange between the Greek and Indian worlds, influencing both regions in terms of tactics, governance, and diplomacy. For India, King Porus came to symbolize a spirit of resistance and integrity. His stand against one of history’s greatest conquerors became an inspiration in Indian literature, poetry, and folklore, representing resilience against foreign invasion.
For Alexander, the Battle of the Hydaspes marked a turning point in his campaign. Though victorious, his army was weary and increasingly reluctant to continue deeper into India, where they anticipated even stronger opposition. Soon after, Alexander’s soldiers persuaded him to turn back, making this battle one of his last significant military engagements.
The legacy of King Porus and Alexander endures as a remarkable historical episode. It serves as a testament to the profound values of honor, courage, and respect that can arise even amid the brutality of conquest.
Key Points
Author:
Michael Madhusudan Dutt (1824–1873) was a prominent Indian poet and dramatist who wrote in both Bengali and English. He is regarded as a pioneer of modern Bengali literature and was known for blending classical Western literary forms with Indian themes. In “King Porus”, Dutt explores themes of patriotism, resistance, and the loss of freedom.
Form (Rhyme Scheme):
The rhyme scheme of “King Porus” by Michael Madhusudan Dutt is not consistent throughout the poem, as it employs free verse in several sections. The poem often follows an ABAB or AABB rhyme scheme for portions of its stanzas but then shifts to unrhymed lines for emphasis and flow.
Speaker:
The speaker of the poem appears to be a narrator who reflects on the loss of King Porus and the freedom fighters of India. The speaker’s tone is mournful and reflective, as they lament the fading glory of India and the disappearance of heroes like Porus who once fought for the nation’s freedom. The speaker represents a nostalgic voice longing for the past.
Setting:
The setting is historical, referencing ancient India during the time of King Porus and his struggle against Alexander the Great. The poem shifts between this historical setting and the speaker’s present, contrasting the former glory of India with its current state of decline under foreign rule.
The larger setting of the stanza involves post-conquest India, where freedom is lost, and the country’s riches have been plundered by successive invaders.
Theme:
Loss of Freedom: The poem laments the loss of India’s independence and the degradation of its former greatness.
Patriotism: The speaker reflects on the noble hearts that once fought for freedom and laments their absence in the current age.
Decline of a Nation: There is a focus on India’s descent from a powerful, majestic nation to one that is subjugated and impoverished by foreign conquerors.
Nostalgia for Lost Glory: The poem conveys deep sorrow for the lost glory of India and expresses a longing for a return to freedom and prosperity.
Plot:
Stanza I: A violent storm serves as a symbol of the impending invasion, but India’s people remain unaware, peacefully sleeping while the enemy approaches stealthily, like a tiger ready to strike.
Stanza II: At daybreak, Indian warriors charge into battle with fierce courage, determined to fight for freedom or die trying. Despite their bravery, they are overpowered, falling in great numbers as they defend their land.
Stanza III: King Porus, standing strong and defiant amidst the chaos, is likened to a towering Himalayan peak. He fights relentlessly, creating fear and havoc among the enemy, showing unmatched courage even as he is surrounded.
Stanza IV: Impressed by Porus’ indomitable spirit, Alexander the Great watches in awe. Seeing Porus gravely wounded, Alexander orders the battle to stop, declaring that such noble blood should not be shed, and offers peace.
Stanza V: Wounded but unbowed, Porus meets Alexander with pride, refusing to kneel or show submission. Alexander, impressed by his courage and royal dignity, frees him, acknowledging him as a true king and showing mutual respect.
Stanza VI: The speaker mourns the loss of India’s heroic past, asking where the brave hearts like Porus are now. India, once radiant with freedom and wealth, is now stripped of its glory and reduced to a barren, enslaved state, exploited and humiliated by foreign conquerors.
Tone:
The tone is mournful, reflective, and sorrowful. There is a sense of deep nostalgia as the speaker reflects on the glory that India once possessed and the tragic loss of its freedom and sovereignty. The questions posed in the stanza create an air of sadness and a yearning for the return of what has been lost.
Style:
Lyrical and Reflective: The poem uses a reflective, lyrical style to express profound emotions about the nation’s decline. The use of rhetorical questions and vivid imagery (e.g., “hearts, eagle-like” and “like a lofty tree”) enhances the emotional depth of the lament.
Symbolism: The use of symbols such as the crown, pearls, and diamonds represents India’s lost wealth and power. The tree and eagle are used to symbolize strength and nobility that have now been stripped away.
Personification: Dutt personifies Freedom and speaks to it directly, as if it were a tangible entity that has disappeared from India’s land.
Message:
The message of the stanza is a lament for the decline of India, once a land of freedom and wealth, now reduced to a state of subjugation and powerlessness. The poet urges readers to remember the past, where heroes like Porus fought for the nation, and laments the current absence of such figures. The poet also criticizes the foreign invaders who have exploited and degraded India, robbing it of its wealth, freedom, and dignity.
Michael Madhusudan Dutt
Michael Madhusudan Dutt (1824–1873), born on January 25, 1824, was a pioneering poet and dramatist, often celebrated as the father of Bengali sonnets and modern Bengali drama. A key figure in the Bengali Renaissance, Dutt’s work inspired a wave of social reform and intellectual growth in 19th-century Bengal, challenging religious superstitions and traditional norms.
Early Life and Education
Dutt was born in Sagardari, Bengal (now in Bangladesh), and received his education at Hindu College in Calcutta, where he was introduced to Western literature and ideals. His fluency in Bengali, English, Latin, and Greek highlighted his remarkable intellect and linguistic versatility. In 1843, Dutt’s conversion to Christianity marked a break from his traditional upbringing, distancing him from his family but aligning him with the spirit of the Renaissance in its embrace of individual freedom and societal reform.
Shift to English Writing
Influenced by English poets such as Shakespeare, Milton, and Byron, Dutt initially pursued a literary career in English, aspiring to earn acclaim in English literary circles. His early works, including King Porus (1843), reflected themes of nationalism and historical heroism, though they did not receive the recognition he hoped for. This experience eventually led him to seek success in his native language.
Return to Bengali Literature
Disheartened by the limited recognition of his English writings, Dutt shifted his focus to Bengali literature, where his most significant contributions unfolded. He is credited with introducing blank verse to Bengali poetry, marking a departure from the traditional rhymed forms and breathing new life into Bengali literature. His ability to weave Indian themes with European styles transformed Bengali poetry and inspired readers to reexamine societal values.
Key Works
Dutt’s Meghnad Badh Kavya (1861) is widely regarded as his masterpiece. This epic poem, written in Bengali blank verse, reinterprets a segment of the Ramayana from the viewpoint of Meghnad, Ravana’s son, and is celebrated for its narrative complexity and fusion of classical Indian motifs with modern literary techniques. Other notable works include Tilottama Sambhab Kavya (1860), as well as his dramas Sharmishtha (1859) and Krishna Kumari (1860), which solidified his place as a central figure in modern Bengali drama.
Contributions as a Dramatist and Innovator
Dutt’s role in Bengali drama was transformative, as he introduced Western-style dramatic techniques that explored human emotions and social issues, challenging the conventions of Bengali theater. His plays often delivered powerful social messages, resonating with the Renaissance ideals of reform and intellectual exploration. This innovative approach set a new standard for Bengali drama, allowing it to evolve into a medium for addressing cultural and societal questions.
Influence and Legacy
Dutt’s contributions left an indelible mark on Bengali poetry and drama, fostering a movement toward intellectual freedom and social progress. He encouraged his society to question deep-seated superstitions and regressive customs, contributing to a spirit of cultural self-awareness. His integration of European literary styles with Indian themes and perspectives established him as a visionary, and his legacy continues to influence generations of writers.
Later Life and Death
Despite his literary successes, Dutt faced financial hardships in his later years. After living in Europe for some time and practicing law, he returned to India, where he passed away in Calcutta in 1873. His legacy, however, endures as a cornerstone of the Bengali Renaissance and a testament to his dedication to liberating literature and society from restrictive norms.
Conclusion
Michael Madhusudan Dutt was more than a poet or playwright; he was a revolutionary in Bengali literature, paving the way for modern poetry and drama in Bengal. His pioneering blend of Western and Indian elements fueled the Bengali Renaissance and inspired countless others to pursue freedom of thought and expression. Dutt’s work stands as a monument to his courage, creativity, and enduring impact on Bengal’s cultural and intellectual landscape.
Word Meaning
| Tough Word | Meaning in English | Meaning in Hindi | |
| Tempest | A violent storm | तूफ़ान | |
| Thy | Your (archaic) | तेरा / तुम्हारा | |
| Dirge | A mournful song or lament | शोकगीत | |
| Roar’d | Roared, made a loud sound | गरज उठी | |
| Unheeded | Ignored, not noticed | अनसुनी | |
| Torrents | Heavy rain | तेज़ बारिश | |
| Hydaspes’ waves | The waves of the river Jhelum | हाइडेस्पेस की लहरें | |
| Fiery Passion’s headlong | Intense, uncontrolled emotion | प्रचंड जुनून | |
| Dazzling | Extremely bright | चकाचौंध भरा | |
| Glance | A quick look | झलक | |
| Neath her veil | Beneath her veil | उसके घूंघट के नीचे | |
| Heaving | Rising and falling | उठती-गिरती | |
| Moaning | Low, mournful sound | कराह | |
| Wail | Cry of grief | विलाप | |
| Ind | India (poetic) | भारत | |
| Heedless | Careless, inattentive | बेपरवाह | |
| Slumber | Sleep | नींद | |
| Foe | Enemy | दुश्मन | |
| Stealthy | Sneaky, secretive | गुप्त | |
| Alas | An expression of sorrow | अफ़सोस | |
| Midst this gloom | In the middle of this darkness | इस अंधेरे के बीच | |
| Twas | It was (archaic) | यह था | |
| Morn | Morning | सुबह | |
| Gold Sumero’s palace | The palace of the sun | सोने का सुमेरो महल | |
| Dime | A small amount or piece | सिक्का | |
| Lo | Look (archaic) | देखो | |
| Glorious | Magnificent | शानदार | |
| Awe | Reverence, wonder | श्रद्धा | |
| Bow’d | Bowed, submitted | झुका | |
| Defiance | Resistance | विरोध | |
| Gales | Strong winds | तेज़ हवाएं | |
| Triumphant | Victorious | विजयी | |
| Dreadful yell | Terrifying scream | भयानक चीख | |
| Gory altar | Bloody altar | रक्तमय वेदी | |
| Libations | Offerings, especially of liquid | अर्पण | |
| Rendered | Gave, provided | समर्पित | |
| Thee | You (archaic) | तुझे / तुम्हें | |
| Ow’d | Owed | बकाया | |
| ‘fore the Macedonians driven’ | Before the Macedonians pushed back | मैसेडोनियाई लोगों द्वारा पीछे धकेलना | |
| Hardy sons | Strong people | मज़बूत संताने | |
| Oaks | Strong trees (symbolic for strength) | बलशाली पेड़ | |
| Thunders riven | Torn by thunder | बिजली से फटना | |
| Bled | Shed blood | खून बहाना | |
| Gore | Bloodshed | रक्तरंजित | |
| Dauntlessly | Fearlessly | निडरता से | |
| Towering | Very tall or impressive | गगनचुंबी | |
| ‘Midst the foe’ | Among the enemy | दुश्मन के बीच | |
| Himala-peak | Peak of the Himalayas | हिमालय शिखर | |
| Regal diadem | Royal crown | राजमुकुट | |
| Deck’d | Decorated | सजा हुआ | |
| Reck’d | Cared for | परवाह करना | |
| Phalanx | A group of soldiers | सैनिकों का समूह | |
| Nobly | With honor | शान से | |
| Lofty | High, noble | ऊंचा | |
| Mountain pines | Pine trees on mountains | पर्वतीय चीड़ के पेड़ | |
| Amidst | In the middle of | के बीच | |
| Dreadful | Terrifying | भयानक | |
| Havoc | Destruction | तबाही | |
| Wrought | Created, caused | किया | |
| Thinn’d | Reduced in number | कम किया | |
| Awe | Fear or wonder | श्रद्धा | |
| Struck quail’d | Terrified | भयभीत | |
| Reeds | Thin, tall grass | सरकंडा | |
| Shrank | Drew back in fear | सिकुड़ना | |
| Shone | Glowed, was bright | चमकना | |
| Scorch’d | Burned | झुलसाना | |
| Trampling | Stamping down | रौंदना | |
| Immortal Thund’rer’s son | Alexander the Great | अमर थंडरर का पुत्र | |
| Astonish’d | Amazed | चकित | |
| Heroic king | Brave king | वीर राजा | |
| Dread | Fear | डर | |
| Fulmining | Attacking furiously | प्रचंड हमला | |
| Tho’ | Though | हालांकि | |
| Amidst | In the middle of | बीच में | |
| Lashing billows | Striking waves | तड़पती लहरें | |
| Fierce thundering | Loud and intense | भयानक गरज | |
| Th’ Emathian | Macedonian | मैसेडोनियाई | |
| Gaping | Wide open | खुला | |
| Desist | Stop | रुकना | |
| Herald | Messenger | दूत | |
| ‘Midst the dying’ | Among the dying | मरने वालों के बीच | |
| Undismayed | Unafraid | बिना डरे | |
| Hail | Salute, greet | अभिवादन | |
| Generous rival | Noble opponent | उदार प्रतिद्वंद्वी | |
| Bids | Commands | आदेश देना | |
| Cease | Stop | रुकना | |
| Behold | Look (archaic) | देखो | |
| Lulls | Calms | शांत करना | |
| Unsubdued | Not conquered | अधीन नहीं | |
| Defied | Challenged | चुनौती देना | |
| Gay and flittering | Bright and lively | चंचल और चमकदार | |
| Monarchs | Kings or rulers | राजा | |
| Stooped | Bent down | झुका | |
| Majesty | Grandeur, dignity | गरिमा | |
| Macedon | Macedonia | मकदूनिया | |
| Ind’s haughty son | Proud son of India | भारत का गर्वित पुत्र | |
| Bosoms | Hearts | दिल | |
| Recked | Cared about | ध्यान देना | |
| Shrank | Drew back | सिकुड़ना | |
| Foul | Evil, offensive | गंदा | |
| Thraldom | Slavery | गुलामी | |
| Art | Are | हो | |
| Thou | You | तुम | |
| Sunny clime | Warm land | धूप वाला स्थान | |
| Halo | Aura, glory | प्रभामंडल | |
| Shone radiant | Glowed brightly | उज्ज्वल चमक | |
| Sublime | Grand, noble | उच्च | |
| Twilight | Evening | संध्या | |
| Hath | Has (archaic) | है | |
| Fitted | Passed | गुज़रा | |
| Deck | Decorate | सजाना | |
| Brow | Forehead | माथा | |
| Tramped | Trampled | रौंद दिया | |
| Sunk | Lowered | डूब गया | |
| Thine | Yours | तेरा / तुम्हारा | |
| Tyrant’s lust | Greedy desire of a tyrant | अत्याचारी की वासना | |
| Standest | Stand (archaic) | खड़ा होना | |
| Lofty tree | Tall tree | ऊँचा पेड़ | |
| Shorn | Stripped | काट दिया | |
| Blossoms | Flowers | फूल | |
| Gale | Strong wind | तेज़ हवा | |
| Despised | Looked down upon | तिरस्कार करना | |
| Scorned | Rejected, hated | घृणा | |
| E’en | Even (archaic) | यहां तक कि | |
