The tarpaulin flaps are buttoned down
on the windows of the state transport bus.
All the way up to jejuri.
A cold wind keeps whipping
and slapping a corner of tarpaulin at your elbow.
You look down to the roaring road.
You search for the signs of daybreak in what little light spills out of bus.
Your own divided face in the pair of glasses
on an oldmans nose
is all the countryside you get to see.
You seem to move continually forward.
Toward a destination
just beyond the castemark beyond his eyebrows.
Outside, the sun has risen quitely
it aims through an eyelet in the tarpaulin.
And shoots at the oldmans glasses.
A sawed off sunbeam comes to rest gently against the drivers right temple.
The bus seems to change direction.
At the end of bumpy ride with your own face on the either side
when you get off the bus.
You dont step inside the old mans head.
The Bus by Arun Kolatkar: Video Explanation
The Bus by Arun Kolatkar Analysis
The tarpaulin flaps are buttoned down
on the windows of the state transport bus.
All the way up to jejuri.
A cold wind keeps whipping
and slapping a corner of tarpaulin at your elbow.
Reference to Context:
These lines are taken from The Bus, a poem by Arun Kolatkar from his celebrated collection Jejuri (1976). The poem describes a journey on a state transport bus to Jejuri, a pilgrimage site in Maharashtra. This passage occurs at the beginning of the poem, setting the scene for the journey. The poet uses vivid imagery to describe the physical experience of traveling in a bus, focusing on the small details that create a sense of immediacy and realism.
Explanation:
The poet begins by describing the bus journey with tarpaulin flaps covering the windows, which are buttoned down to shield passengers from the cold. However, a small gap in the tarpaulin lets in a sharp, cold wind, which continuously brushes against the traveler’s elbow. This sensory detail conveys both the discomfort of the journey and the mundane reality of public transport.
The description of the tarpaulin flaps symbolizes limited perception, as the covered windows block the view of the outside world. This reflects a broader theme of restricted vision—both literal and metaphorical—hinting at the gap between the physical and spiritual experiences of the journey. The cold wind, persistently entering through the corner of the tarpaulin, adds an element of unpredictability to the ride, mirroring life’s interruptions and discomforts.
Poetic devices:
Imagery: The poet uses vivid sensory details, such as “tarpaulin flaps” and “cold wind whipping,” to create a tangible experience for the reader.
Personification: The cold wind is described as “whipping and slapping,” giving it human-like qualities.
Symbolism: The tarpaulin flaps symbolize limited perception or barriers, while the cold wind suggests the inevitable disruptions of life.
Alliteration: The repetition of w consonant sounds in ” wind and whipping” creates a rhythmic effect.
You look down to the roaring road.
You search for the signs of daybreak in what little light spills out of bus.
Your own divided face in the pair of glasses
on an oldmans nose
is all the countryside you get to see.
Reference to Context:
These lines are from Arun Kolatkar’s poem The Bus, part of his celebrated poetry collection Jejuri. The poem narrates a bus journey to the pilgrimage town of Jejuri, blending physical experiences with deeper symbolic reflections. This excerpt occurs early in the poem, capturing the narrator’s attempts to engage with the world outside the bus while highlighting the limitations of perception during the ride.
Explanation:
The poet describes how the passenger peers down at the “roaring road,” searching for signs of dawn in the dim light coming from the bus. However, the view outside is obscured, and instead of seeing the countryside, the narrator catches only a fragmented reflection of their own face in the old man’s glasses.
This moment is rich in symbolism. The “roaring road” evokes the bus’s movement and the restless energy of travel. The search for daybreak in the faint light symbolizes a deeper search for clarity or meaning in the journey. However, the reflection in the old man’s glasses suggests a distorted or fragmented understanding of the external world, reinforcing the theme of limited perception. The narrator’s “divided face” symbolizes self-reflection and the inner conflict between the physical and spiritual dimensions of the journey.
Poetic Device:
Imagery: The poet uses sensory details like “roaring road” and “what little light spills out of bus” to create a vivid and dynamic setting.
Symbolism:
Road: Represents the journey of life.
Light: Symbolizes hope, knowledge, or spiritual awakening.
Divided face: Reflects inner conflict and fragmented self-awareness.
Alliteration: The repeated “r” sounds in “roaring road” create a rhythmic, onomatopoeic effect, mimicking the sound of the bus.
Metaphor: The reflection in the glasses serves as a metaphor for distorted or incomplete perception of the world.
You seem to move continually forward.
toward a destination
just beyond the castemark beyond his eyebrows.
Outside, the sun has risen quitely
it aims through an eyelet in the tarpaulin.
And shoots at the oldmans glasses.
Reference to Context:
These lines are from Arun Kolatkar’s poem The Bus, part of his collection Jejuri (1976). The poem portrays a journey to the pilgrimage town of Jejuri, reflecting both the physical realities of the bus ride and the deeper, symbolic aspects of the traveler’s experience. This excerpt captures the movement of the journey, blending literal and metaphorical elements to explore themes of direction, perception, and spiritual awakening.
Explanation:
The poet describes the feeling of continual forward movement, both literally, as the bus progresses, and metaphorically, as the passengers move toward an elusive destination. The “destination just beyond the castemark beyond his eyebrows” refers to the old man’s forehead, where a caste mark is traditionally placed. This suggests that the journey involves not only a physical goal but also an exploration of cultural and spiritual dimensions. The “castemark” could symbolize societal divisions, traditions, or barriers that the traveler feels compelled to look past.
Meanwhile, outside the bus, the rising sun quietly makes its presence felt. A ray of sunlight enters the bus through a small hole in the tarpaulin and reflects off the old man’s glasses. This vivid image evokes a moment of clarity or illumination, as if the sunbeam is metaphorically “shooting” at perception, symbolized by the glasses. It reflects the interaction between the external world (nature and light) and internal reflection (perception and understanding).
Poetic Device:
Imagery: The poet uses visual imagery like “castemark beyond his eyebrows” and “the sun aims through an eyelet” to evoke vivid, detailed scenes.
Symbolism:
Castemark: Represents societal structures, traditions, or divisions that must be navigated or transcended.
Sunbeam: Symbolizes enlightenment, clarity, or spiritual awakening.
Glasses: Represent perception or perspective, hinting at distorted or mediated understanding.
Personification: The sun is given agency as it “aims” and “shoots,” adding drama and vitality to the scene.
Metaphor: The journey becomes a metaphor for life’s continual forward motion and the search for meaning or clarity.
A sawed off sunbeam comes to rest gently against the drivers right temple.
The bus seems to change direction.
At the end of bumpy ride with your own face on the either side
when you get off the bus.
You dont step inside the old mans head.
Reference to Context:
These lines are from Arun Kolatkar’s poem The Bus from the collection Jejuri (1976). The poem narrates a bus journey to the pilgrimage town of Jejuri, blending vivid physical descriptions with symbolic undertones. These concluding lines of the poem encapsulate its central themes of perception, individuality, and the limitations of connection during the shared journey.
Explanation:
The poet describes how a “sawed off sunbeam” (a narrow, concentrated ray of sunlight) enters through the tarpaulin and gently touches the driver’s temple. This image carries symbolic significance, suggesting a moment of enlightenment or influence. The bus appears to change direction, perhaps hinting at the subtle impact of external forces—both physical and metaphysical—on the course of the journey.
As the journey ends, the poet reflects on the experience of the bumpy ride. The phrase “your own face on either side” refers to the recurring imagery of the narrator’s reflection, seen earlier in the glasses of the old man. This suggests a journey of self-reflection and introspection, where the external world serves as a mirror to the internal.
Finally, the poet notes that despite the shared experience of the journey, the traveler does not “step inside the old man’s head.” This signifies the inability to fully connect with others or understand their inner world, emphasizing individuality and the boundaries of perception.
Poetic Device:
Imagery: The “sawed off sunbeam” and its gentle rest against the driver’s temple create a vivid and delicate picture, while “your own face on either side” evokes self-reflection.
Symbolism:
Sunbeam: Represents moments of insight or external influence guiding the journey.
Bumpy ride: Symbolizes life’s challenges and disruptions.
Old man’s head: Reflects the limits of empathy and understanding between individuals.
Personification: The sunbeam is personified as something that “comes to rest,” giving it an intentional, almost divine quality.
Metaphor: The bus journey is a metaphor for the broader journey of life, with its shared experiences and moments of self-discovery.
