A Different History
‘A Different History’
Here is a detailed guide to Sujata Bhatt’s poem 'A Different History’ from the Songs of Ourselves Volume 1 anthology. It includes:
Overview: a line-by-line “translation” of the poem’s meanings and interpretations
Writer’s methods: an exploration of Bhatt’s poetic choices and potential effects
Understanding the text: an exploration of the themes and ideas within Bhatt’s poem
A Different History: Overview
Overview
In order to answer an essay question on any poem, it is important to understand what it is about. This section includes:
An overview of the poem
A “translation” of the poem, section-by-section
A commentary of each of these sections, outlining Bhatt’s intention and message
‘A Different History’ overview
Like many of Sujata Bhatt's poems, ‘A Different History’ examines the idea of diaspora and the conflict between her Indian heritage and life in the English-speaking world. The poem describes traditional Indian values related to Hinduism, and considers the influence of English as a result of British imperialism. She places emphasis on the positive aspects of her own culture and traditions.
‘A Different History’ breakdown
Lines 1–3
Translation
The poem begins by stating that “Great Pan”, a classical god of the wilderness and fertility, is alive and has moved to India:
Pan’s death symbolises the end of paganism as Christianity spread
The reference to Pan’s death alludes to a line written by Greek philosopher Plutarch: “the great god Pan is dead”
Bhatt’s intentions
Bhatt introduces themes of heritage and culture by implying a “Great” god of nature has chosen India which, she suggests, is ironic
Lines 4-6
Translation
The speaker explains why the “Great Pan” has moved to India
There, the gods are free to wander (“roam”) around disguised as animals and trees, because in India nature is respected and considered holy
Bhatt’s intentions
Bhatt highlights aspects of Indian culture that, she says, contrast with the West:
She refers to Hindu gods that are in the shape of “snakes” and “monkeys”, using imagery that relates to harmony and freedom, like “roam freely”
Bhatt separates the phrase “every tree is sacred” to highlight the deep respect for nature and equality as an overarching ideology in traditional India
Lines 7-14
Translation
The speaker shifts to a list of traditional Hindu rules about books:
It is a “sin” to disrespect books or treat them “carelessly”
Bhatt’s intentions
Bhatt uses enjambment and the conjunction “and” to connect books and nature and to show their similar prominence in Indian culture and the Hindu religion:
Bhatt emphasises this idea with a list, as if reciting from scripture
Bhatt’s juxtaposition of religious language with informal verbs like “shove” and “toss” blends tradition with modernity, presenting a speaker unconcerned with rules
Lines 15-18
Translation
Bhatt ends the first stanza giving the reader an instruction:
It is important to be careful with books as they are made from “sacred” trees
She explains that damaging a book could “offend” the tree from which it was made, or disturb “Sarasvati” (the Hindu goddess of learning and knowledge)
Bhatt’s intentions
In a direct address, Bhatt presents ancient traditional values as a certainty with the modal verb “must”, perhaps suggesting all cultures have strict rules
Bhatt describes the significance of nature and knowledge within Hinduism:
Personification is applied to trees in these lines as it was previously to books: one should not be “rude to a book” nor “offend” a tree
Lines 19–22
Translation
The second stanza begins with the speaker asking two questions:
Bhatt asks the reader if all language (“tongue”) is used to oppress
Her second question implies language itself does not intend harm (“murder”) through the emphasis of “truly”
Bhatt’s intentions
Bhatt’s dramatic shift in focus presents the connection between, and the influence of, language and imperialism as she interrogates language and violence
The repeated questions highlight “oppressor’s tongue” and “murder” which introduces darker ideas regarding colonialism
Lines 23–29
Translation
The final lines are one long sentence: it considers how the “strange” English language could be so loved by India’s “unborn grandchildren”
The line reflects on “torture” inflicted by the “conqueror’s face” (Imperial Britain):
It describes how natives experienced violence: a “long scythe” refers to tools which, Bhatt says, “cropped” or ‘cut’ down the Indian identity
Bhatt’s intentions
A seven line sentence conveys Bhatt’s overwhelming frustration with India’s continued love for English, a language which once suppressed her native country:
Bhatt connotes to violent imperialism by describing a powerful "conqueror"
Bhatt ends the poem as she begins it, with bitter irony: “And how does it happen”
The sentence is phrased as a question, but posed as a statement to imply an irreversible, yet “strange”, truth:
Language can be used to oppress, but it is not responsible in itself, and this is why India’s “unborn” generations continue to love it
A Different History: Writer's methods
Writer's methods
Although this section is organised into form, structure, and language, it is worth remembering that all of these are considered “writer’s methods” in the CIE Literature for English poetry mark scheme. With this in mind, consider the poet’s choice of form (the way the poem looks or the type of poem it is), its structure (especially how it ends: is it cyclical or resolved?) and, of course, the language used to create effect and, thus, meaning.
The exam question requires you to focus on the deeper ideas in the poem so, instead of simply identifying techniques or translating quotes, explore how the poet’s decisions reveal a theme. That is why all the analysis below is arranged by theme and includes Bhatt’s intentions in terms of her choices of:
Form
Structure
Language
Form
Bhatt’s free verse form follows an irregular rhythm to present a thoughtful, yet irreverent speaker who debates the power of language and its part in the suppression of cultural identity.
Theme | Evidence | Poet’s intention |
|---|---|---|
Cultural identity | The poem lacks rhyme or consistent rhythm, but it uses assonance (“freely” and “monkeys”) and sibilance (“disturbing Sarasvati”) to create a lyrical quality | Bhatt evokes a sense of harmony in parts of the poem that deal with Hindu and Indian values relating to humans, nature and books |
Individual identity | However, this changes when lines are irregularly indented to present a flippant speaker, such as in lines 1-3 | Bhatt alters the speaker’s tone to sardonically interrogate the power of language to oppress |
Structure
Bhatt’s poem is made up of two irregular stanzas that shift between narrative perspective, and the poet varies the tones of voice to create an unpredictable reflection on cultural identity and challenge accepted ideas.
Theme | Evidence | Poet’s intention |
|---|---|---|
Cultural identity | The poem’s stanzas develop different ideas: initially, a calm speaker describes classical and Indian culture and religion, but stanza 2 introduces a second person voice that bitterly questions the reader | Bhatt’s poem refers to mythology, Hinduism, and post-colonial attitudes in a rambling, irregular poem that conveys cultural tensions and contrasts |
The poet uses parallelism to give the speaker’s language a thoughtful pace. For example, the repetition of “it is a sin” | This evokes a stern warning to the reader to emphasise the power of respecting a culture and its traditions |
Language
Bhatt’s poem employs classical allusion and informal language to present cultural tensions, especially between the past and the future. Alongside this, persuasive language presents an argument about the power of language.
Theme | Evidence | Poet’s intention |
|---|---|---|
Individual identity | The poem employs anaphora in “it is a sin” to highlight religious language, as well as in “Which language” which questions the violence of a “conqueror’s face” who cuts down metaphorical ‘souls’ with a “swooping” “scythe” | Bhatt uses persuasive language to debate the impact of language in religion, as well as in forms of oppression such British colonialism |
Cultural identity | Bhatt juxtaposes classical and traditional allusion with informal verbs like “shove” and “toss” | Bhatt presents themes of history and modernity by embedding ancient references and metaphor in a contemporary debate on the English language and its popularity with India’s “unborn grandchildren” |
A Different History: Understanding the text
Understanding the text
All the questions in the CIE Literature for English exam encourage an informed, personal response, which means that it is not enough just to know the poem, but that you will also need to develop a sound understanding of the poem’s themes, main ideas, settings, situations and events to explore the writer’s intentions and methods. This section has been divided into two main themes that Bhatt explores in 'A Different History’:
Cultural identity
Individual identity
Cultural identity
Sujata Bhatt was born in Gujarat, India, in 1956, and moved to America with her family in 1968, which is perhaps why she calls her poetry "Indian-English":
‘A Different History’ highlights her native culture by referring to Hindu gods, and the respect and harmony between humans and nature
She mentions “Sarasvati” and, by implication, Hanuman, monkey god of wisdom, and snakes that may belong to gods Shiva and Vishnu
But, alongside this, she uses informal English like “toss” and “shove”
Individual identity
India became a colony under British rule in the nineteenth century, amidst much turmoil
In ‘A Different History’, the English language is described as the “oppressor’s tongue”, alluding to its continued prominence in India:
Bhatt describes successive generations speaking English in the final lines that mention “unborn grandchildren” who love the “strange” language
Bhatt’s poem ‘A Different History’ was part of her 1988 debut collection ‘Brunizem’:
The title refers to a kind of soil found in India, suggesting that Bhatt’s work has a deep connection to her roots
The poem considers the way English is used to suppress and overpower, and wonders at the love for it, but concludes that language itself is not to blame
For further advice and guidance on how to answer the poetry question, please see our detailed guides on Paper 1 Section A: what the question is asking and how to get full marks. You will also find an example of a full, annotated model answer.
It is important to remember that no marks are given for comments on any of the other poems studied in the anthology. Your response should concentrate only on the poem given.
Sources
“Cambridge IGCSE (9–1) 0992 Literature in English syllabus for examination in 2026.” Cambridge International Education, https://www.cambridgeinternational.org/Images/697264-2026-syllabus.pdf. Accessed 6 August 2025.
Songs of Ourselves: Volume 1: Cambridge Assessment International Education Anthology of Poetry in English. Cambridge University Press & Assessment, 2018.