I, is grateful to the God for the good health and

wellbeing that were necessary to complete this thesis

work.
There are many people, who have guided me, placed
opportunities in front of me and showed me the doors
that might be useful to open. I would like to thank each
and every one of them. I would like to express my
deepest gratitude towards our respected teacher Ms.
mam. Her depth of knowledge, quick feedback and
constructive suggestions became a constant source of
inspiration and guidance for me. I am extremely thankful
to him for his big heartedness and eagerness to spare his
precious time to help out in my research work. I would
also like to thank our closest ones and especially my
parents for helping me in Project & their continuous
support and always being there when I needed them the
most.

Sarojini Naidu was one of the most famous freedom

fighters and played a pivotal role in freeing India from
British imperialism. She was also a great orator, crusader
for equality, and poet of Modern India.
Sarojini Naidu was born on 13th February 1879 in a
Bengali family at Hyderabad. Her father Aghorenath
Chattopadhyay, who had a doctorate of Science degree
from Edinburgh University, was the Principal of Nizam
College of Hyderabad. Her mother, Barada Sundari Devi
Chattopadhyay, was a poet and used to write poetry in
Bengali.
She entered the University of Madaras at the age of 12.
Sarojini and Paidipati belonged to different castes. At
that time inter-caste marriages weren’t popular, but
Sarojini received approval from her father to marry
Paidipati, whom she married after completing her
studies.
Sarojini Naidu has written poems on a variety of themes
such as children, nature, patriotism and love and death.
She is commonly regarded as “the Nightingale of India”
because of her rich and melodious poetry and its themes.
Her poems were full of imagery and emotions and are
noted for their sensuous imagination, words and the
lyrical quality.
She joined the freedom struggle after the partition of
Bengal in 1905. She met with a prominent leaders like
Annie Basant, Jawaharlal Nehru, Rabindra Nath
Tagore etc. It was Gopal Krishna Gokhale who urged her
to use her intellect for the welfare of India. So, Sarojini
took a break from writing and became active in the
struggle for freedom.
Sarojini Naidu left a lasting impression on women in
India. She was the first Indian woman to become the
President of the Congress. She also served as the
governor of the United Provinces (1947 – 1949) and was
the first woman to assume the governorship of a state.
She also travelled abroad to further the cause of the
freedom movement. In 1919, She went to England as one
of the members of All India Home Rule deputation as a
delegate. Her daughter, Padmaja, followed her footsteps
and was an active leader in the freedom struggle of India.
Sarojini Naidu kept working till the end and passed away
on March 2, 1949, in her office.

Celebration of Womanhood:
In this poem, Sarojini Naidu celebrates and glorifies
Indian womanhood. The stages of an Indian
woman’s life are represented through the colour of
bangles in this poem. Each colour represents each
stage she crosses. Each stage of an Indian woman’s
life from a maiden to a bride and finally to a mature
woman with experience is described through colours
in this poem. Silver and blue, or pink -maidenhood;
yellow- morning of her wedding; red or orange (fiery
shades) symbolises her bridal night; purple and
gold- motherhood and matriarchy. According to the
poetess, the lives of Indian women should be radiant
and lustrous like the bangles. The “rainbow-tinted”
bangles are symbolic of the multicoloured phases of
a woman’s life.

Bangles are associated with daughters and wives in

the Indian society since the very beginning. The
second stanza brings into limelight the the bangles
which are suitable for a maiden who is carrying
numerous dreams and desires about her future.
While the blue and silver coloured bangles resemble
the mist in the mountains, some resemble the buds
of flowers. These images highlight the beauty and
freshness of the pretty maidens. The blooming
flowers represent the blooming of these maidens
into women.

The golden coloured bangles that resemble sunlit

bright corn fields are meant for the Indian brides.
These golden bangles represent the flame of the
holy fire around which the bride and groom take
marriage vows. This flame-like resemblance of the
golden bangles for a bride suggest the idea of the
flame of love.

The final stanza captures the full transformation of

the maiden into a woman “who has journeyed
through life midway” and who “serves her husband
in fruitful pride”. Purple and gold-flecked grey are
the colours that represent maturity in a woman. Grey
represent the maturity that comes with age. Sarojini
Naidu’s idea of the ideal Indian woman is summed
up in the final lines of the poem as an Indian woman
is represented as the force that keeps the family
together.

I think that one can take a couple of viewpoints on

Naidu's poem "The Bangle Sellers." On first glance,
the poem does espouse traditional values of the role
of women in Indian society. This is undeniably
present in the second stanza when the purpose of
bangles is for a "maiden's wrist", and "meet for a
bride on her bridal morn," indicating that a woman's
primary purpose is for marriage. The closing stanza
also substantiates this, confirmed with the lines
of: And cradled fair sons on her faithful breast,/And
serves her household in fruitful pride,/And worships
the gods at her husband's side." These lines indicate
the traditional fulfillment of a socially dictated notion
of women's roles.

However, such a reading might neglect to take into

the account the complexities contained within both
poet and poem. Sarojini Naidu is a rarity amongst
Indian women in that she was fluent in English and
able to compose poetry in accordance to English
and Hindustan versions of rhyme and meter. At the
time of "The Bangle Sellers," Naidu was active in
Nationalist politics in Bengal and was very active in
the literary community and political movements at
the time. Seeing that she represented a form of
woman that broke out of the traditional and
normative roles of women, Naidu would have been
quite vocal in articulating the condition of women in
India at the time. In a political climate that was
fighting for national independence, Naidu had a
unique advantage of being a voice for both Indians
and Women in a time where the latter was not being
voiced in favor of the former. Understanding all of
this, we can see that perhaps the meaning of the
poem "The Bangle Sellers" can be more than what is
its literal meaning. Perhaps, Naidu is giving voice to
a group that has not been represented in either
Indian society or literature. Certainly, the topic of
women, and the subject matter of economically
challenged women were issues that were not
receiving much in way of attention. We can presume
that the bangle sellers that are being spoken of in
the poem are not on the wealthy end of Indian
society. Rather, these women struggle to earn a
living in selling their bangles. When the first stanza
asks, "Who will buy," it seems to be indicating that
these women's voices are silent, and in the absence
of their representation, they must do what is within
their power in order to earn some notion of
wages. Naidu speaks for them and in giving them a
voice, she might be suggesting that India cannot be
free unless it speaks for women such as "the bangle
sellers." When any component of a nation's voices
are silent, then that nation is far from recognizing a
vision of freedom. Indeed, Naidu might be
presenting a vision that typifies these women, but
the larger issue might be that she is trying to
authentically and accurately depict their condition so
that it arouses the moral and spiritual consciousness
of change. It would be unrealistic if her depiction of
the bangle sellers was that they led a Revolution
against male dominated interests, for this is not a
position of power that bangle sellers enjoyed in
India at the time. Rather, given Naidu's heightened
sense of education, political activism, and striving for
representative voice, she is rendering of picture of
what is so that it can be changed to what can be.

I think that one can take a couple of viewpoints on

Naidu's poem "The Bangle Sellers." On first glance,
the poem does espouse traditional values of the role
of women in Indian society. This is undeniably
present in the second stanza when the purpose of
bangles is for a "maiden's wrist", and "meet for a
bride on her bridal morn," indicating that a woman's
primary purpose is for marriage. The closing stanza
also substantiates this, confirmed with the lines
of: And cradled fair sons on her faithful breast,/And
serves her household in fruitful pride,/And worships
the gods at her husband's side." These lines indicate
the traditional fulfillment of a socially dictated notion
of women's roles.

However, such a reading might neglect to take into

the account the complexities contained within both
poet and poem. Sarojini Naidu is a rarity amongst
Indian women in that she was fluent in English and
able to compose poetry in accordance to English
and Hindustan versions of rhyme and meter. At the
time of "The Bangle Sellers," Naidu was active in
Nationalist politics in Bengal and was very active in
the literary community and political movements at
the time. Seeing that she represented a form of
woman that broke out of the traditional and
normative roles of women, Naidu would have been
quite vocal in articulating the condition of women in
India at the time. In a political climate that was
fighting for national independence, Naidu had a
unique advantage of being a voice for both Indians
and Women in a time where the latter was not being
voiced in favor of the former. Understanding all of
this, we can see that perhaps the meaning of the
poem "The Bangle Sellers" can be more than what is
its literal meaning. Perhaps, Naidu is giving voice to
a group that has not been represented in either
Indian society or literature. Certainly, the topic of
women, and the subject matter of economically
challenged women were issues that were not
receiving much in way of attention. We can presume
that the bangle sellers that are being spoken of in
the poem are not on the wealthy end of Indian
society. Rather, these women struggle to earn a
living in selling their bangles. When the first stanza
asks, "Who will buy," it seems to be indicating that
these women's voices are silent, and in the absence
of their representation, they must do what is within
their power in order to earn some notion of
wages. Naidu speaks for them and in giving them a
voice, she might be suggesting that India cannot be
free unless it speaks for women such as "the bangle
sellers." When any component of a nation's voices
are silent, then that nation is far from recognizing a
vision of freedom. Indeed, Naidu might be
presenting a vision that typifies these women, but
the larger issue might be that she is trying to
authentically and accurately depict their condition so
that it arouses the moral and spiritual consciousness
of change. It would be unrealistic if her depiction of
the bangle sellers was that they led a Revolution
against male dominated interests, for this is not a
position of power that bangle sellers enjoyed in
India at the time. Rather, given Naidu's heightened
sense of education, political activism, and striving for
representative voice, she is rendering of picture of
what is so that it can be changed to what can be.

1. The Gift of India

2. The Snake Charmer

3. To Youth

4. The Illusion Of Love

5. The Coromandel Fishers

6. To The God Of Pain

 7. The Song Of Princess Zeb-Un-Nissa In Praise Of Her Own Beauty

8. To My Fairy Fancies

9. Ode To H.H. The Nizam Of Hyderabad

10. To A Buddha Seated On A Lotus

11. Transcience

12. To My Children

13. The Poet's Love-Song

14. The Soul's Prayer

15. To India

16. The Royal Tombs Of Golconda

17. The Poet To Death

18. Nightfall In The City Of Hyderabad

19. The Pardah Nashin

20. Wandering Singers

21. Indian Love Song

23. Damayante To Nala In The Hour Of Exile

24. My Dead Dream

25. Suttee

26. Leili

28. The Queen's Rival

29. In Praise Of Henna

30. Corn Grinders

31. The Indian Gipsy

32. Harvest Hymn

33. Street Cries

34. Indian Dancer

35. A Rajput Love Song

36. In Salutation To The Eternal Peace

37. Past And Future

38. Song Of A Dream

39. Village Song

40. Alabaster

Chief Seattle (c. 1786 – June 7, 1866) was a leader

of the Suquamish and Duwamish Native
American tribes in what is now Washington state. A
prominent figure among his people, he pursued a
path of accommodation to white settlers, forming a
personal relationship with David Swinson "Doc"
Maynard. Maynard was an advocate of Native
American rights whose friendship with Chief Seattle
was important in the formation of the city of Seattle.
When the first plats for the village were filed on May
23, 1853, due to Maynard's prompting, it was for the
"Town of Seattle."
While known as "Chief Seattle," there were in fact no
hereditary chiefs among the Puget Sound tribes.
From time to time leaders arose who distinguished
themselves by their actions or particular skills, and
were respected and followed. There were fishing
leaders, peacetime leaders, and leaders in times of
crisis.
Beyond leadership skills and the gift of oratory, Chief
Seattle had the desire for the two vastly
different cultures to coexist in peace. He both
observed and played a part in the birth of a small
village named after him, that has since grown into a
large metropolis known for its innovation, openness,
diversity and love for creation. It is a remarkable
legacy for a remarkable man.
TREATY OF POINT ELLIOTT
On January 22, 1855, near Mukilteo, among the signers of the Treaty of Point
Elliott, the Duwamish Tribe was listed first. Chief Si'ahl's name was placed at the
very top of the treaty, reflecting his personal importance and that of his tribes. The
Duwamish signers of the Point Elliott Treaty were Chief Si'ahl, and the Duwamish
"sub-chiefs" Ts'huahntl, Now-a-chais, Ha-seh-doo-an.

The 1855 Treaty created a Government-to-Government relationship between the

United States and the Dxʷdəwʔabš. The United States Senate ratified the Point
Elliott Treaty in 1859. The Treaty of Point Elliott guaranteed hunting and fishing
rights and reservations to all Tribes represented by the Native signers.

In return for the reservation and other benefits promised in the treaty by the United
States government, the Duwamish Tribe exchanged over 54,000 acres of their
homeland. Today those 54,000 acres include the cities of Seattle, Renton, Tukwila,
Bellevue, and Mercer Island, and much of King County.

European-American immigrants soon violated the Treaty of Point Elliott of 1855,

triggering a series of Native rebellions from 1855 to 1858 known as "the Indian
War". Instigated by the European-Americans, this war set tribe against tribe, and
brother against brother. Chief Si'ahl helped protect the small group of European -
American settlers from attacks by other Native warriors in what became the City of
Seattle during the rebellions.

DENIAL OF TREATY RIGHTS

In 1866, United States Indian Agent Thomas Paige recommended to the United States
government that a reservation be established for the Dxʷdəwʔabš, the
Duwamish. European-American immigrants - including Seattle civic leaders -
petitioned against a Duwamish reservation near the City of Seattle. In their letter to
Congress member Arthur Denny, the European-American immigrants protested that
“such a reservation would do a great injustice”, claiming that the promised
reservation would be “of little value to the Indians”. It is said that Denny’s life was
threatened.

The European-Americans immigrants' protest petition blocked any reservation being

established for the Duwamish. Promises made by the United States United States
government over 150 years ago to the Duwamish in the Treaty of Point Elliott have
never been honored.

The promise of a Duwamish reservation and all of the other Treaty promises made by
the United States government to the Duwamish over 150 years ago in the Treaty of
Point Elliott have never been kept.