Sarojini Naidu’s ‘Palanquin Bearers’ explains the quality of her sensuous imagination and metrical skill. Sarojini Naidu exploits the imagistic potentiality of the situation more meaningfully. In spite of their rhythmic charm, her folk-songs are devoid of thematic content although some of the critics seem to be seriously involved with their thematic aspect.
Her poems are full of poetic beauty and timeless human appeal. There is something which delights her readers. Sarojini Naidu’s poetic sensibility is essentially lyrical. The typically recurrent images in her poems are those of dream, song, silence, and shrine. But her passion for sensuous imagery weakens her ability to explore experience.
Naidu has projected common Indian life with almost striking sensuousness. “Palanquin Bearer,” is the much-anthologized the first poem in The Golden Threshold. This poem conjures up the rhythmic movement of the men carrying palanquins:
“Lightly, lightly, we bear her along
She sways like a flower in the wind of our song;
She skims like a bird on the foam of a stream,
She floats like a laugh from the lips of dream…”
The sadness of a departing bride and the joy of those escorting her to her new home the stages of the inexorable march of human life expressed through a rocking rhythm and cosmic imagery.
“She sways like a bird on the foam of a stream……
She hangs like a star in the dew of our song;
She springs like a beam on the brow of the tide…..”