Categories
Bhaskar's Corner

‘Language… is a mirror of our moral imagination’

By Bhaskar Parichha

Prof. Sarbeswar Das (1925–2009): A scholar of depth, a teacher of light. Photo Provided by Bhaskar Parichha

In the intellectual history of modern Odisha, Professor Sarbeswar Das stands as one of those rare figures who seamlessly bridged scholarship, ethics, and social commitment. A luminous teacher, an erudite writer, and a quiet Gandhian, his life and work embodied the moral seriousness and intellectual curiosity that marked a generation shaped by the freedom struggle and the promise of a newly independent India.

Born in Sriramchandrapur village in the Puri district of Odisha in 1925, Sarbeswar Das grew up in a milieu where simplicity, discipline, and community values were deeply ingrained. His brilliance shone early—he topped the matriculation examination across Odisha and Bihar, a distinction that foreshadowed a lifetime of academic excellence.

His educational journey took him first to Ravenshaw College, Cuttack, the cradle of higher education in Odisha, where he absorbed the liberal spirit and rigorous intellectual training that the institution was known for. He later studied at Allahabad University, one of India’s foremost centers of learning, before proceeding to the University of Minnesota, for advanced studies in English literature.

His exposure to American academia at a time when few Indian scholars ventured abroad profoundly shaped his intellectual orientation. The years in Minnesota opened to him a new world of thought—modern literary criticism, American fiction, and the philosophy of democratic humanism—all of which left a deep imprint on his teaching and writing in later years.

On returning to India, Das joined the teaching profession, which he would pursue with remarkable dedication and grace for several decades. He served as a professor of English in some of Odisha’s most respected institutions—Christ College (Cuttack), SCS College (Puri), Khallikote College (Berhampur), and Ravenshaw College (Cuttack).

As a teacher, he was known not only for his formidable command of English but also for his clarity of expression, quiet humour, and empathetic engagement with students. He could bring Shakespeare and Emerson alive in the classroom, weaving them into the moral fabric of everyday Indian life. His pioneering initiative was the introduction of American Literature as a formal subject of study in Indian universities, long before it became fashionable to do so.

In an age when English studies in Odisha were largely confined to the British canon, he expanded its horizons by introducing writers like Walt Whitman, Emily Dickinson, William Faulkner, and Mark Twain to Indian classrooms.

Das believed that literature must connect with lived experience. He often told his students: “Language is not just a means of expression; it is a mirror of our moral imagination.” This conviction shaped generations of students who went on to become writers, teachers, and civil servants. Among them was the late Ramakanta Rath, later one of Odisha’s most celebrated poets, who fondly remembered Prof. Das as a teacher who inspired intellectual courage and aesthetic sensitivity.

Alongside his teaching, Prof. Das was a prolific writer and scholar. He authored around twenty-five books spanning essays, literary criticism, translations, and reflections on education and society. His writings in English and Odia reveal a mind steeped in both classical and modern traditions. Fluent in English, Odia, and Sanskrit, he was at ease quoting from the Bhagavad Gita and Hamlet in the same breath.

His essays in English reflected on the role of language in education, the cultural responsibility of intellectuals, and the need for moral clarity in modern life. He consistently argued for a vernacular humanism—a belief that English education must not estrange Indian students from their cultural roots but rather help them view their own traditions through a broader, universal lens.

As a principal, he brought administrative efficiency and human warmth to his role. His tenure is remembered for reforms that encouraged academic discipline, faculty collaboration, and student participation. He believed that education was not merely about acquiring degrees but about shaping ethical citizens.

Prof. Das’s intellectual life was inseparable from his moral and civic commitments. As a young man, he participated in the Quit India Movement, aligning himself with the Gandhian values of simplicity, non-violence, and service throughout his life.

Late in life, Prof. Das turned inward to recount his journey in his autobiography, Mo Kahani (My Story), which has since acquired the stature of a modern Odia classic. Spanning eight decades of personal and social history, it offers not only a memoir of a life well-lived but also a vivid ethnography of Odisha across the twentieth century.

In Mo Kahani, he paints rich, affectionate portraits of his family—his parents and sisters, Suruji and Hara Nani—and evokes the rhythms of village life, with its festivals, hierarchies, and hardships. His account of the great famine of 1919, passed down through family memory, is a haunting narrative of suffering and resilience.

The autobiography captures the moral universe of rural Odisha—its compassion, faith, and silent endurance—while chronicling the social changes wrought by modernity, education, and political awakening.

The book transcends personal recollection to become a social document of rare authenticity, preserving the voices and values of an era in transition. Scholars have hailed it as a valuable resource for understanding Odia social and cultural history, as well as a significant contribution to Indian autobiographical writing.

Prof. Sarbeswar Das passed away in 2009 at the age of 84, leaving behind a legacy of intellectual depth and human kindness. Those who knew him remember his calm demeanour, his Gandhian simplicity, and his unwavering belief in the power of education as a moral force. His students and colleagues regarded him not merely as a teacher but as a guide who exemplified integrity and humility in every aspect of life.

His contributions to English literary education in Odisha were transformative. By introducing American literature, promoting cross-cultural study, and insisting on a pedagogy grounded in ethical reflection, he helped modernise the study of English in the state and inspired a generation to approach literature as a bridge between worlds.

Even today, his writings—both critical and autobiographical—continue to speak to the challenges of our times: the search for meaning in education, the reconciliation of global and local cultures, and the enduring need for moral clarity in a rapidly changing world.

In the final measure, Prof. Sarbeswar Das remains not only a scholar and educator but also a moral historian of his age—one who chronicled the soul of Odisha with the sensitivity of a poet and the precision of a teacher. His Mo Kahani endures as his final lesson: that learning is not a mere accumulation of knowledge, but a lifelong practice of understanding, empathy, and truth.

.

Bhaskar Parichha is a journalist and author of Cyclones in Odisha: Landfall, Wreckage and ResilienceUnbiasedNo Strings Attached: Writings on Odisha and Biju Patnaik – A Political Biography. He lives in Bhubaneswar and writes bilingually. Besides writing for newspapers, he also reviews books on various media platforms.

PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

Click here to access the Borderless anthology, Monalisa No Longer Smiles

Click here to access Monalisa No Longer Smiles on Amazon International

Categories
Poetry

Rosencranz and Guildenstern

By William Miller

Rosencranz and Guildenstern are characters from Shakespeare’s Hamlet (1599-1601), also revived in 1966 in an absurdist play by Tom Stoppard (Rosencranz and Guildenstern are Dead). From Public Domain.
The world is filled with them.
They file through the streets and into
our courtyards. Well-dressed, respectful,
they ask leading questions, smile politely
and walk away.
Who are they and why do we
suffer them? Hardly princes,
mad or not, we give up our secrets
or lie outright, send them
on their way.
Someone is collecting a file on us,
grist for a data bank, an all-knowing
intelligence in the blue ether.
They can only plot our demise,
total destruction. Their questions
are simple tools in a mad
King’s hands. Something is rotten
in the state of everywhere
and all of us will stand for judgement.
in front of a review board,
our files opened and reviewed
with bureaucratic heartlessness,
a final assessment typed and filed away.
Paranoids, even paranoids,
have real enemies.

William Miller’s ninth collection of poetry, Under Cheaha, is forthcoming from Shanti Arts Press in 2025.  His poems have appeared in many journals, including The Penn Review, Shenandoah, Prairie Schooner and West Branch.  He lives and writes in the French Quarter of New Orleans.

.

PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

Click here to access the Borderless anthology, Monalisa No Longer Smiles

Click here to access Monalisa No Longer Smiles on Amazon International

Categories
Poetry

Shakespearian Musings by Kirpal Singh

King Lear, Act I, Scene I (Cordelia’s Farewell) The Metropolitan Museum of Art. Pianting by  Edwin Austin Abbey (1852-1911) From Public Domain.
DESPERATE LEAR 

against all winds that blow
and all the rains that pour,
Old Lear still sought home
as we all do sooner or later—

home is where the heart is—
cardiac surgeons locate hearts
but the homes seem elusive
lost perhaps among the veins
and the pulse beats which sound
okay to all intents.

thus to be without home
ported lustlessness;
perhaps for some despair
too close for comfort
too close to acknowledge,

And so I roam without a home.
return to the heart,
the heart of all things,
and I realise and learn,
my heart is here with me.
inside and pretty safe,
despite some odd beats
hardening who knows what,

home is where the heart
returns after all the wandering
finally settling all debts
owed by the stomach
in desperate circumstances,

Old Lear challenged the gods
but the duel was one-sided
no one wanted him
as he wrestled Nature
desperately needing Cordelia,

sometimes our Cordelias die
before they’re properly born-

I know for my Cordelia died
before she could be born--

she still struggles to learn
knowing its totally futile.

after all only in rare miracles
do we resurrect from the dead,

farewell, my sometime girl,
perhaps we shall meet
somewhere in our dreams
and realise all was a nightmare!



POOR HAMLET

Poor Hamlet
forgot poor Cordelia
in another realm
also where deceit,
cunning and corruption
ruined innocence, purity
and brought hell to bear.

these poor players
whose destinies pry
and fathom deep sores,
some known only alone,
challenge our premises,
contentment, pride, joy
and much else besides—

but who are we to probe
and pry and wonder?
think and cry and ponder
when it's the same
yonder and everywhere?

in my stillness, my friend
you who smile all the time
and beguile love
will never know anguish
nor the Joy of being
humanly correspondent
despite all hints and
references, nor in the
byways of escape
and neither in the grasp
of knowing and suffering
will you understand, know
and appreciate
value and truncated joy.

in the end, nothing much
matters more than smug
satisfactions of owning
even in this simple way,

forgiveness can be all!
Hamlet. From Public Domain.

Kirpal Singh is a poet and a literary critic from Singapore. An internationally recognised scholar,  Singh has won research awards and grants from local and foreign universities. He was one of the founding members of the Centre for Research in New Literatures, Flinders University, Australia in 1977; the first Asian director for the Commonwealth Writers’ Prize in 1993 and 1994, and chairman of the Singapore Writers’ Festival in the 1990s. He retired the Director of the Wee Kim Wee Centre.

PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

Click here to access the Borderless anthology, Monalisa No Longer Smiles

Click here to access Monalisa No Longer Smiles on Kindle Amazon International