The Dance of the Eunuchs by Kamala Das | The Dance of the Eunuchs | Kamala Das | Explanation | Summary | Key Points | Word Meaning | Questions Answers | Critical Appreciation | Themes | Free PDF Download – Easy Literary Lessons
The Dance of the Eunuchs
It was hot, so hot, before the eunuchs came
To dance, wide skirts going round and round, cymbals
Richly clashing, and anklets jingling, jingling
Jingling… Beneath the fiery gulmohur, with
Long braids flying, dark eyes flashing, they danced and
They dance, oh, they danced till they bled… There were green
Tattoos on their cheeks, jasmines in their hair, some
Were dark and some were almost fair. Their voices
Were harsh, their songs melancholy; they sang of
Lovers dying and or children left unborn….
Some beat their drums; others beat their sorry breasts
And wailed, and writhed in vacant ecstasy. They
Were thin in limbs and dry; like half-burnt logs from
Funeral pyres, a drought and a rottenness
Were in each of them. Even the crows were so
Silent on trees, and the children wide-eyed, still;
All were watching these poor creatures’ convulsions
The sky crackled then, thunder came, and lightning
And rain, a meagre rain that smelt of dust in
Attics and the urine of lizards and mice….
The Dance Of The Eunuchs Analysis
It was hot, so hot, before the eunuchs came
To dance, wide skirts going round and round, cymbals
Richly clashing, and anklets jingling, jingling
Jingling…
Explanation: The opening lines of The Dance of the Eunuchs set the stage for the poem with a vivid, sensory-rich description. The oppressive heat symbolizes discomfort and a stifling atmosphere, creating a mood of tension and anticipation. The eunuchs arrive to perform, bringing life and movement into the scene with their vibrant, swirling skirts and rhythmic jingling anklets. However, the repeated sound of “jingling, jingling, jingling” introduces a monotony, hinting that beneath their lively exterior lies an unchanging cycle of sorrow and struggle.
The use of “cymbals richly clashing” and “anklets jingling” evokes a festive, almost hypnotic energy. This sensory overload immerses the reader in the chaotic beauty of the dance, contrasting sharply with the inner despair of the eunuchs that the poem later explores. The vibrant dance, therefore, becomes a metaphor for their lives: an outward display of joy masking an inner world of pain and alienation.
Poetic devices:
Imagery: The lines are rich with imagery, appealing to the senses of sight (“wide skirts going round and round”), sound (“cymbals richly clashing, and anklets jingling”), and touch (the oppressive heat). This creates a vivid mental picture of the scene.
Epizeuxis: Epizeuxis is a rhetorical device where a word or phrase is repeated in immediate succession, often for emphasis or dramatic effect. The repetition of “jingling” mimics the rhythmic sound of the eunuchs’ anklets, immersing the reader in the auditory experience of the performance. The repeated sound creates a sense of monotony and reflects the cyclical, unchanging nature of the eunuchs’ lives, symbolizing how they are trapped in their societal roles.
Beneath the fiery gulmohur, with
Long braids flying, dark eyes flashing, they danced and
They dance, oh, they danced till they bled…
Explanation: In these lines, Kamala Das uses vivid imagery and dramatic language to describe the eunuchs’ intense and fervent performance under the “fiery gulmohur,” a tree with bright red blossoms. The phrase “fiery gulmohur” symbolizes passion, heat, and the burning struggles of life, reflecting the eunuchs’ own emotional turmoil.
The dancers’ movements are described with dynamic visuals—”long braids flying” and “dark eyes flashing”—which convey their energy and liveliness. However, the repeated emphasis on their dancing “till they bled” hints at the physical and emotional pain underlying their performance. Their dance becomes an act of both expression and suffering, suggesting they pour their very essence into it, to the point of self-destruction.
The shift from “they danced” to “oh, they danced till they bled” introduces a deeper emotional tone, contrasting the outward energy of their movements with the inner torment they endure. This juxtaposition highlights the duality of their existence—vibrant performers on the surface but deeply pained individuals beneath.
Poetic Device:
Imagery: The description of the “fiery gulmohur,” “long braids flying,” and “dark eyes flashing” creates a vivid and dynamic picture, drawing the reader into the scene.
The phrase “till they bled” evokes a visceral image of physical pain, symbolizing the toll of their marginalized existence.
Symbolism: The “fiery gulmohur” represents the eunuchs’ passion and suffering, as well as the scorching reality of their lives under societal judgment.
The act of dancing “till they bled” symbolizes the extremes of their efforts to find acceptance and express themselves, often at great personal cost.
Repetition: The repeated phrase “they danced” emphasizes the unrelenting nature of their performance and dedication, despite the pain it causes them.
Contrast: The lively imagery of movement (“braids flying, eyes flashing”) contrasts sharply with the darker imagery of suffering (“till they bled”), reflecting the eunuchs’ dual reality of outward vibrancy and inner despair.
There were green
Tattoos on their cheeks, jasmines in their hair, some
Were dark and some were almost fair. Their voices
Were harsh, their songs melancholy; they sang of
Lovers dying and or children left unborn….
Explanation: In this excerpt, Kamala Das vividly describes the eunuchs’ physical appearance and the sorrowful essence of their songs, revealing the depth of their marginalized existence. The “green tattoos on their cheeks” and “jasmines in their hair” symbolize their efforts to beautify themselves, suggesting an attempt to assert identity and individuality in a world that rejects them. The diversity in their complexion, “some were dark and some were almost fair,” highlights their human diversity, reminding us of their shared humanity despite societal ostracization.
The contrast between their physical adornments and the harshness of their voices and melancholy songs emphasizes their duality. Their voices, described as “harsh,” symbolize the impact of societal neglect and their emotional wounds. The themes of their songs—”lovers dying” and “children left unborn”—reflect their exclusion from conventional relationships and reproduction, underscoring the tragedy of their unfulfilled desires and denied roles in society.
Poetic Device:
Imagery: “Green tattoos on their cheeks” and “jasmines in their hair” create a rich visual image, contrasting their external beauty with their internal pain.
The mention of their “harsh voices” and “melancholy songs” appeals to the auditory sense, immersing the reader in the scene.
Contrast: The contrast between their physical adornments (tattoos, flowers) and the despair in their voices and songs highlights the dichotomy between their outer appearance and inner emotions.
Symbolism: Green tattoos: A symbol of permanence and an attempt to leave a mark in a world that ignores them.
Jasmines: Often associated with purity and beauty, the flowers could symbolize a yearning for acceptance or femininity.
Songs of lovers and unborn children: Represent their isolation from traditional roles like romantic partners or parents.
Alliteration: The phrase “songs melancholy; they sang” subtly repeats the “s” sound, enhancing the flow and reinforcing the sorrowful tone.
Some beat their drums; others beat their sorry breasts
And wailed, and writhed in vacant ecstasy. They
Were thin in limbs and dry; like half-burnt logs from
Funeral pyres, a drought and a rottenness
Were in each of them.
Explanation: In these lines, Kamala Das deepens the depiction of the eunuchs’ plight, intertwining physical suffering with emotional and spiritual emptiness. The actions of “beating their drums” and “beating their sorry breasts” symbolize both an attempt at expression and a physical manifestation of their anguish. The wailing and writhing in “vacant ecstasy” suggest an almost performative despair—an outward expression of inner pain that feels devoid of true joy or purpose. The phrase “vacant ecstasy” is particularly striking, capturing the hollowness of their existence despite the outwardly energetic display.
The eunuchs are described as “thin in limbs and dry,” likened to “half-burnt logs from funeral pyres.” This metaphor emphasizes their marginalization and decay, portraying them as incomplete, rejected remnants of life. The imagery of “a drought and a rottenness” within them reflects a lack of vitality and fulfillment, symbolizing how societal neglect and exclusion have withered their spirits.
These lines convey a sense of desolation, portraying the eunuchs as individuals who endure both physical and emotional suffering while being stripped of their humanity by societal scorn.
Poetic Device:
Imagery: The description of “thin in limbs and dry” and “half-burnt logs from funeral pyres” evokes a vivid picture of physical frailty and existential decay.
The actions of “beating drums,” “beating their sorry breasts,” and “wailing and writhing” provide dynamic, dramatic visual and auditory imagery.
Metaphor: “Half-burnt logs from funeral pyres” compares the eunuchs to incomplete and discarded remains, emphasizing their societal rejection and lack of vitality.
“A drought and a rottenness” symbolizes the emptiness and decay in their lives, caused by exclusion and unfulfilled desires.
Contrast: The contrast between their outwardly intense actions (beating drums, writhing) and the hollowness of their “vacant ecstasy” highlights their inner despair.
Symbolism: Beating their “sorry breasts” is a symbol of mourning and self-inflicted pain, reflecting both their grief and societal rejection.
The reference to “funeral pyres” symbolizes death and the eunuchs’ metaphorical existence as living remnants of life.
Even the crows were so
Silent on trees, and the children wide-eyed, still;
All were watching these poor creatures’ convulsions
The sky crackled then, thunder came, and lightning
And rain, a meagre rain that smelt of dust in
Attics and the urine of lizards and mice….
Explanation: In this excerpt, Kamala Das emphasizes the eerie, unsettling atmosphere surrounding the eunuchs’ performance and the response of both nature and the audience. The silence of the crows, typically noisy and active, underscores the gravity of the moment. This unnatural stillness heightens the tension, as even nature seems to pause to witness the eunuchs’ suffering. Similarly, the “wide-eyed, still” children reflect a mixture of fascination and fear, as they observe the eunuchs’ intense, almost otherworldly convulsions.
The description of the sky’s reaction—crackling thunder, lightning, and rain—parallels the emotional intensity of the scene. However, the rain is described as “meagre” and unsatisfying, carrying unpleasant smells of “dust in attics” and “urine of lizards and mice.” This imagery reinforces the barrenness and futility of relief in the eunuchs’ lives. Even when rain arrives, symbolizing hope or renewal, it is tainted and inadequate, mirroring the eunuchs’ marginalized existence, where any solace is fleeting and unsatisfying.
These lines blend nature, human observation, and societal neglect into a poignant commentary on the eunuchs’ lives. The stark imagery and muted hope serve as a reminder of their isolation and unacknowledged humanity.
Poetic Device:
Imagery: Vivid sensory details like the “silent crows,” “wide-eyed children,” “crackling sky,” and “rain that smelt of dust” create a haunting, immersive scene. The olfactory imagery of unpleasant smells (dust, urine) enhances the sense of decay and desolation.
Personification: Nature is personified through “silent crows” and the “sky crackling,” reflecting an almost empathetic response to the eunuchs’ plight, mirroring their pain and tension.
Contrast: The unnatural silence of the crows and stillness of the children contrasts with the eunuchs’ convulsions, emphasizing the stark difference between observers and performers.
Symbolism: The rain, often a symbol of renewal and cleansing, is depicted as “meagre” and foul-smelling, symbolizing the inadequate relief or hope in the eunuchs’ lives.
Alliteration: Subtle repetition of sounds in phrases like “crackled then, thunder came” adds rhythm and impact to the description of the storm.
