ENG 2101

Lakshmi by Joseph Furtado

Lakshmi by Joseph Furtado is a very comic poem where the sportive spirit, the note of exaltation
can be marked in, and this is quite supportive of the fact how amusing and exhilarating is he in his
verses which have come down to us from his poetic pen. It is a fun and pun on Lakshmi, how good,
noble and serene is Lakshmi, really a Lakshmi, a Saraswati, an Indian cultural girl he confronts,
her delicacy and modesty he comes to mark, her shy and coy posture calmly composed of purity,
one delving in to the realms of serenity, polish and refinement. Using Hindustani English, Indian
pidgin-English reminding us of the barracks and its speakers, the military camping and trying to
talk somehow, the poet keeps regaling in his own deshi way, but in a vilayati boli. Only a loafer
can say in such a way, Omeri rani, amku deo pani. A Goan fiddler, his comics are amazing, his
sense of humour, fun, pun and laughter and if you have not laughed, you will on reading him and
his verses laced with mazak and mockery, good caricature and lively jokes. To read him is to be
reminded of colonial times, barrack room English, the British talking with Hindustani orderlies.
Khushwant Singh and Rudyard Kipling too use in this kind of English. How would the English
have conversed with the Indian counterparts? This is also a matter of discussion. How did the
Portuguese with the local inhabitants? To read him is to be reminded of the speaking of Hindi in
non-Hindi belts. It gives us pleasure in finding Furtado the fiddler fiddling with Lakshmi and both
of them are flirting, doing mazak with each other. What is their motto I cannot find it, but can see
them engaged in amorous talks, poking fun. It is difficult to understand the role of the comic poet
who sometimes poses as a well-wisher, sometimes as a holy man and sometimes as a lover
whatever be it, he is not a sadhu, but a fiddler, a fiddler from Goa fiddling with words, not Hazlitt’s
Indian juggler juggling with balls. Furtado may appear to be a mendicant, a vagabond in the
disguise of a holy man, but he is not after all. He is a flirter flirting. He is a false astrologer seeing
the palm lines of a deshi girl named Lakshmi. Just like a mind-reader he is trying to read the mind
and the identity that of Lakshmi too is unknown.The poem refreshes us with that whether you
know English or not, but try you to speak in English and the mere practice of speaking in will
make you conversant with even though you know the rules of grammar or not. Many well-read too
may falter and fumble when trying to carry a discussion in English which but the loafers too may
do in quite a handy way. A Christian holistic healer, Furtado is trying to heal Lakshmi and she is
applying her mohini mantra on him to lure into an unbreakable discussion and talk. Let us see who
is able to heal whom whether Furtado heals or Lakshmi him. We do not whether they are trying to
speak in English or not. Goan Fiddler — 0 men rani, amku deo tora pani.*Lakshmi— I speaking
English, saib Goan Fiddler — Very well, my English-speaking daughter, give me then a little water
Lakshmi — Why little? drink plenty much All peoples liking water of this well Goan Fiddler—
Many thanks Never expected to find in this out-of-the-way village a Hindu girl speaking English
And nice English too you speak, my daughter Lakshmi — I going to English school in
Poona.“Smart thing that goldsmith’s daughter,” teacheral ways saying I no girl, saib, I marry Goan
Fiddler — I know it, and have a child too--quite a beauty like its mother. You must let me see it
Lakshmi— No, no, I have no got child, saib You make me quite shame Where you going, saib?
Goan Fiddler —There’s no knowing where I may be going, so large is the sum required to put the
chapel in repair But God is great For a handful of this rice people give me a handful of money.
 ENG 2101

Rajah Balaram gave one hundred rupees. The rani is going to have a child, after all God is great,
say I. Lakshmi—And what they doing with the rice? Goan Fiddler— Wonders, my daughter,
mostly curing sick people Lakshmi— Curing babies’ dysentery, saib? Goan Fiddler— O yes, any
sickness of anyone Lakshmi — Please give me some, give me some, good saib I giving you one
rupee. Baby getting dysentery. Goan Fiddler — But you have no baby, my poor daughter.
Lakshmi- I begging pardon thousand times.I afraid you making jadhoo,’' and speak lie — begging
pardon, good saib. Goan Fiddler — Be not afraid, my good daughter Take this rice, and, should
your child be cured, give me what you like when I return this way next month God bless you, my
daughter!Solus — Enough to tempt a saint!So simple too and kind“I no girl, saib, I marry.”—
Indeed I must not tarry Or look behind.* O my rani, give me a little water*Jadhoo Magic

Abstract
Lakshmi by Joseph Furtado Lakshmi by Joseph Furtado is a very comic poem where the sportive
spirit, the note of exaltation can be marked in, and this is quite supportive of the fact how amusing
and exhilarating is he in his verses which have come down to us from his poetic pen. It is a fun
and pun on Lakshmi, how good, noble and serene is Lakshmi, really a Lakshmi, a Saraswati, an
Indian cultural girl he confronts, her delicacy and modesty he comes to mark, her shy and coy
posture calmly composed of purity, one delving into the realms of serenity, polish and refinement.
Using Hindustani English, Indian pidgin-English reminding us of the barracks and its speakers,
the military camping and trying to talk somehow, the poet keeps regaling in his own deshi way,
but in a vilayati boli. Only a loafer can say in such a way, O meri rani, amku deo pani. A Goan
fiddler, his comics are amazing, his sense of humour, fun, pun and laughter and if you have not
laughed, you will on reading him and his verses laced with mazak and mockery, good caricature
and lively jokes. To read him is to be reminded of colonial times, barrack room English, the British
talking with Hindustani orderlies. Khushwant Singh and Rudyard Kipling too use in this kind of
English. How would the English have conversed with the Indian counterparts? This is also a matter
of discussion. How did the Portuguese with the local inhabitants? To read him is to be reminded
of the speaking of Hindi in non-Hindi belts. It gives us pleasure in finding Furtado the fiddler
fiddling with Lakshmi and both of them are flirting, doing mazak with each other. What is their
motto I cannot find it, but can see them engaged in amorous talks, poking fun. It is difficult to
understand the role of the comic poet who sometimes poses as a well-wisher, sometimes as a holy
man and sometimes as a lover whatever be it, he is not a sadhu, but a fiddler, a fiddler from Goa
fiddling with words, not Hazlitt's Indian juggler juggling with balls. Furtado may appear to be a
mendicant, a vagabond in the disguise of a holy man, but he is not after all. He is a flirter flirting.
He is a false astrologer seeing the palm lines of a deshi girl named Lakshmi. Just like a mind-
reader he is trying to read the mind and the identity that of Lakshmi too is unknown. The poem
refreshes us with that whether you know English or not, but try you to speak in English and the
mere practice of speaking in will make you conversant with even though you know the rules of
grammar or not. Many well-read too may falter and fumble when trying to carry a discussion in
English which but the loafers too may do in quite a handy way. A Christian holistic healer, Furtado
is trying to heal Lakshmi and she is applying her mohini mantra on him to lure into an unbreakable
discussion and talk. Let us see who is able to heal whom whether Furtado heals or Lakshmi him.
We do not whether they are trying to speak in English or not. Goan Fiddler-0 men rani, amku deo
 ENG 2101

tora pani.* Lakshmi-I speaking English, saib Goan Fiddler-Very well, my English-speaking
daughter, give me then a little water Lakshmi-Why little? drink plenty much All peoples liking
water of this well Goan Fiddler-Many thanks Never expected to find in this out-of-the-way village
a Hindu girl speaking English And nice English too you
Lakshmi by Joseph Furtado is a very comic poem where the sportive spirit, the note of exaltation
can be marked in, and this is quite supportive of the fact how amusing and exhilarating is he in his
verses which have come down to us from his poetic pen. It is a fun and pun on Lakshmi, how good,
noble and serene is Lakshmi, really a Lakshmi, a Saraswati, an Indian cultural girl he confronts,
her delicacy and modesty he comes to mark, her shy and coy posture calmly composed of purity,
one delving into the realms of serenity, polish and refinement. Using Hindustani English, Indian
pidgin-English reminding us of the barracks and its speakers, the military camping and trying to
talk somehow, the poet keeps regaling in his own deshi way, but in a vilayati boli. Only a loafer
can say in such a way, O meri rani, amku deo pani. A Goan fiddler, his comics are amazing, his
sense of humour, fun, pun and laughter and if you have not laughed, you will on reading him and
his verses laced with mazak and mockery, good caricature and lively jokes.

To read him is to be reminded of colonial times, barrack room English, the British talking with
Hindustani orderlies. Khushwant Singh and Rudyard Kipling too use in this kind of English. How
would the English have conversed with the Indian counterparts? This is also a matter of discussion.
How did the Portuguese with the local inhabitants? To read him is to be reminded of the speaking
of Hindi in non-Hindi belts.

It gives us pleasure in finding Furtado the fiddler fiddling with Lakshmi and both are flirting, doing
mazak with each other. What is their motto, I cannot find it, but can see them engaged in amorous
talks, poking fun.

It is difficult to understand the role of the comic poet who sometimes poses as a well-wisher,
sometimes as a holy man and sometimes as a lover whatever be it, he is not a sadhu, but a fiddler,
a fiddler from Goa fiddling with words, not Hazlitt’s Indian juggler juggling with balls. Furtado
may appear to be a mendicant, a vagabond in the disguise of a holy man, but he is not after all. He
is a flirter flirting. He is a false astrologer seeing the palm lines of a deshi girl named Lakshmi.
Just like a mind-reader he is trying to read the mind and the identity that of Lakshmi too is
unknown.

The poem refreshes us with that whether you know English or not but try you to speak in English
and the mere practice of speaking in will make you conversant with even though you know the
rules of grammar or not. Many well-read too may falter and fumble when trying to carry a
discussion in English which but the loafers too may do in quite a handy way. A Christian holistic
 ENG 2101

healer, Furtado is trying to heal Lakshmi and she is applying her mohini mantra on him to lure into
an unbreakable discussion and talk. Let us see who is able to heal whom whether Furtado heals or
Lakshmi him. We do not whether they are trying to speak in English or not.

Certainly! Here is a *detailed and structured analysis* of *“Lakshmi” by Joseph Furtado* as per
your requested points. This will help for honors-level literary studies, exams, and deeper
understanding.

1. *Summary*

“Lakshmi” is a poem (often presented as a dramatic dialogue) by Joseph Furtado, featuring a

conversation between a Goan fiddler (musician, often a colonial wanderer) and Lakshmi, a local
girl who speaks English. The poem centers around themes of language, colonial encounters,
cultural exchange, simplicity, and the misunderstandings that arise in colonial societies. Lakshmi,
a goldsmith’s daughter who attends an English school, impresses the Goan Fiddler with her
English. Their conversation moves from small talk about water to the sharing of rice, which is
believed to have healing properties. The exchange subtly reveals the complexities and innocence
of cross-cultural interactions under colonial rule.

2. *Explanation and Line-by-Line Analysis*

*(I will break the dialogue into segments for detailed analysis.)*

*a. 0 men rani, amku deo tora pani.*

Lakshmi— I speaking English, saib

* The poem begins with a local phrase (likely Konkani or a Goan dialect), which means “O my
queen/lady, give me some water.”
* Lakshmi proudly says she can speak English, addressing the man as “saib” (a respectful form of
“sir,” from Portuguese “senhor”).
 ENG 2101

*b. Goan Fiddler — Very well, my English-speaking daughter, give me then a little water*
* The Goan Fiddler, surprised and pleased, addresses Lakshmi kindly, requesting water in English.

*c. Lakshmi — Why little? drink plenty much All peoples liking water of this well*
* Lakshmi, using her own variety of English, suggests he drink as much as he likes, boasting about
the quality of the water.

*d. Goan Fiddler— Many thanks Never expected to find in this out-of-the-way village a
Hindu girl speaking English And nice English too you speak, my daughter*
* The fiddler is surprised to find an English-speaking Hindu girl in a remote village,
complimenting her English.

*e. Lakshmi — I going to English school in Poona. “Smart thing that goldsmith’s daughter,”
teacher always saying I no girl, saib, I marry*
* Lakshmi explains she goes to school in Poona (Pune), and is praised by her teacher. She
emphasizes her maturity: “I no girl, saib, I marry” (I am not a child, I am married).

*f. Goan Fiddler — I know it, and have a child too--quite a beauty like its mother. You must
let me see it*
* The fiddler playfully assumes she has a child, praising her beauty.

*g. Lakshmi— No, no, I have no got child, saib You make me quite shame Where you going,
saib?*
* Lakshmi denies having a child, feeling embarrassed. She changes the subject.

*h. Goan Fiddler —There’s no knowing where I may be going, so large is the sum required
to put the chapel in repair But God is great For a handful of this rice people give me a handful
of money. Rajah Balaram gave one hundred rupees. The rani is going to have a child, after
all God is great, say I.*
 ENG 2101

* The fiddler reflects on his uncertain journey and his fundraising for chapel repairs. He notes
people’s generosity (giving money for rice), mentions a local Rajah and Rani, showing the blend
of local and colonial realities.

*i. Lakshmi—And what they doing with the rice?*\

* Lakshmi asks how the rice is used.

*j. Goan Fiddler— Wonders, my daughter, mostly curing sick people*

* The fiddler claims the rice has medicinal properties.

*k. Lakshmi— Curing babies’ dysentery, saib?*

* Lakshmi asks if it cures children’s illness.

*l. Goan Fiddler— O yes, any sickness of anyone*

* The fiddler exaggerates its effectiveness.

*m. Lakshmi — Please give me some, give me some, good saib I giving you one rupee. Baby
getting dysentery.*
* Lakshmi wants the rice for her (supposed) baby.

*n. Goan Fiddler — But you have no baby, my poor daughter.*

* The fiddler is confused, reminding her that she said she has no child.

*o. Lakshmi- I begging pardon thousand times. I afraid you making jadhoo, and speak lie
— begging pardon, good saib.*
* Lakshmi apologizes, afraid of “jadhoo” (magic) and of being caught lying.
 ENG 2101

*p. Goan Fiddler — Be not afraid, my good daughter Take this rice, and, should your child
be cured, give me what you like when I return this way next month God bless you, my
daughter!*
* The fiddler shows kindness, gives the rice freely, trusting her.

*q. Solus — Enough to tempt a saint! So simple too and kind “I no girl, saib, I marry.”—
Indeed I must not tarry Or look behind.*
* The fiddler, left alone, reflects on Lakshmi’s innocence, simplicity, and the temptation of such
purity and trust.

3. *Themes and Motifs*

* *Colonial Encounter*: The meeting of two cultures—British-influenced Goan (the Fiddler)

and local Hindu (Lakshmi).
* *Innocence and Simplicity*: Lakshmi’s straightforward, childlike honesty and the fiddler’s
gentle amusement.
* *Language and Identity*: Lakshmi’s pride in her “English,” showing how language is a tool
of social mobility and pride but also a marker of difference.
* *Power, Poverty, and Generosity*: The fiddler’s reliance on charity, the importance of rice,
and the exchange between the “colonizer” and the “colonized.”
* *Faith and Superstition*: References to “God is great,” “jadhoo” (magic), and the healing
powers of rice, blending faith, folk belief, and the manipulations of authority.

4. *Keywords & Important Lines Explained*

* *“I speaking English, saib”* – Pride in speaking English; “saib” (from “sahib,” master) signals
respect and the colonial power dynamic.
* *“Why little? drink plenty much”* – Direct, ungrammatical, but expressive; reflects a literal
translation from her native tongue.
* *“I no girl, saib, I marry”* – Declares her status as a married woman, emphasizing adulthood.
* *“I afraid you making jadhoo, and speak lie”* – Fears magic and recognizes the act of lying,
showing her vulnerability.
 ENG 2101

* *“God is great”* – Faith as comfort in poverty and uncertainty, common in colonized societies.
* *“Enough to tempt a saint! So simple too and kind”* – The fiddler is moved by Lakshmi’s
innocence and goodness.

5. *Possible Honors Level Questions and Answers*

Q1: What is the significance of Lakshmi’s English in the poem?

*Answer: Lakshmi’s English highlights the spread of colonial education and its effects on identity.
It is a source of pride and social distinction but is also imperfect and marked by her native
influences, symbolizing hybrid identities in colonial India.

Q2: Explain the role of rice in the poem.

*Answer:Rice represents charity, healing, and faith. The fiddler uses it as a means to raise funds,
and it is believed to have miraculous powers, blending local superstitions with practical needs.

Q3: How does the poem illustrate post-colonial themes?

*Answer: The poem exposes the cultural collisions, power dynamics, language impositions, and
identity negotiations typical of post-colonial societies. The innocence and misunderstandings in
the exchange reflect the complex realities of colonial rule.

Q4: Comment on the use of language and dialect in the poem.

*Answer: The poem uses a mix of English, local dialect, and code-switching to show the influence
of colonialism, the formation of hybrid identities, and the communicative gaps between colonizer
and colonized.
 ENG 2101

Q5: What is the emotional tone of the poem?

*Answer: The tone is warm, tender, gently humorous, and tinged with pathos. The innocence of
Lakshmi and the compassion of the fiddler create a mood of gentle empathy and subtle critique of
colonial realities.

6. *Background*
Joseph Furtado (1872-1947) was an Indian poet of Goan-Portuguese descent, writing in English.
He is known for capturing the everyday life of common people in colonial India, especially in Goa.
He often used colloquial English and highlighted cultural fusion, reflecting on the realities and
ironies of colonial life. His poems frequently use dialogue, local dialects, and hybrid forms to
showcase the effects of colonialism on ordinary people.

7. *Is it Post-Colonial? Why?*

*Yes, it is post-colonial literature.*

* *Why?*
The poem deals directly with the aftermath and realities of British colonialism in India. It explores
issues such as:

* The influence of colonial education (Lakshmi’s English).

* Power dynamics and cultural exchange.
* Identity crisis and hybridity.
* The persistence of folk beliefs amidst colonial “modernity.”
* The setting, language, and content reveal the lived experience of colonized subjects, a major
concern of post-colonial studies.
 ENG 2101

8. *Linguistic Features*

* *Code-Switching: Shifting between English and local dialects (Konkani, Hindustani, or Goan
patois).
* *Colloquial Speech: Use of simple, direct, ungrammatical, but expressive English (“I going to
English school…”).
* *Hybridization: Fusion of languages, idioms, and cultural references.
* *Direct Dialogue: The poem is structured as a conversation, giving voice to ordinary people
and their lived realities.
* *Oral Quality: Mimics natural speech, capturing rhythm and music of daily talk.
* *Irony and Humor: Gentle irony in the way language is used and misunderstood.

9. *Importance & Author’s Background (Shortly)*

* *Importance:
The poem is a valuable document of cross-cultural contact, showcasing the effects of colonialism
on language, identity, and belief. It offers a sensitive, realistic portrayal of ordinary people,
combining humor, innocence, and subtle social critique. It also challenges notions of linguistic
“purity” by celebrating hybrid forms.

* *Joseph Furtado:
Born in Goa under Portuguese rule, educated in Bombay, he wrote extensively about Goan life,
often in English. Furtado is celebrated for his use of local dialect and his portrayal of common
folk, making him an important figure in early Indian English poetry.
 ENG 2101

10. *Overview*
“Lakshmi” by Joseph Furtado is a conversational poem dramatizing an encounter between a Goan
musician and a young, English-speaking Hindu woman. Through their humorous, sincere, and
sometimes confused dialogue, the poem explores the complexities of colonial life: cultural
intersections, the significance of English as a colonial language, the persistence of local customs
and beliefs, and the innocence of ordinary people. The poem is marked by its linguistic playfulness,
gentle irony, and subtle social commentary, making it a key text for understanding post-colonial
identity and the lived experience of colonial subjects.

THE END