'Gold and Bracelet, Water and Wave': Signature and Translation in the Indian Poetry of Adela Cory Nicolson

Abstract

Writing under the male pseudonym'Laurence Hope', Adela Cory Nicolson published three collections of poetic verses set in colonial India between 1901 and 1905, namely The Garden of Kama, Stars of the Desert and Indian Love. In the late 1880s, dressed as a young male Afghan groom, Nicolson routinely followed her husband to the military camps that the British colonial authorities had set up in Afghanistan. This experience of gender and cultural cross-dressing finds a special place in many of Nicolson's love poems. Although Leslie Blanch has claimed that the'mainspring of Laurence Hope's verses still elude us', it is clear that Nicolson relied heavily on appropriating the poetic languages of Hindu'bhakti' and Islamic'sufi' traditions, thereby transforming the erotic conventions of the late Victorian fin de sicle. Her use of poetic signature is central to the formation of such a poetics. Long ignored on grounds that it was merely part of the enormous left-over corpus of colonial exotica produced and consumed with unprecedented eagerness in the age of empire, Nicolson's poetry therefore invites a reappraisal on the grounds that it constituted a significant act of translation: a practice aimed at reconceptualizing notions of national poetic legacy under colonialism and at reworking gender and identity in relation to poetic voice.

Keywords:

• Adela Cory Nicolson
• bhakti
• colonialism
• cross-dressing
• Edwin Arnold
• Henry Sumner Maine
• Laurence Hope
• Orientalism
• Sur-das
• sufi
• translation