While studying in England from 1895 to 1898 Naidu ameliorate her poetic expertise under the guidance of her teachers Sir Edmund William Gosse and Arthur Symons.

Although actively involved in the Indian independence movement which left her little time to devote to poetry, she composed "In The Bazaars of Hyderabad" from her childhood reminiscence.

She presented the lively picturesque scenes of merchants, vendors, peddlers, goldsmiths, fruit men, and flower girls selling their goods, all of whom answer the questions of purchasers who buy their articles after meticulous chaffering.

Sarojini Naidu generally provides a panoramic and picturesque view of a Bazaar's colors, sounds, and sights in Hyderabad.

[1][2][3] According to the scholar Natesan Sharda Iyer who authored "Musings on Indian Writing in English: Poetry"—(2005); in this poem "Sarojini Naidu had transformed Hyderabad into a romantic land of Walter de la Mare's Tartary and Arabia.

[1] Agonized by the partition of Bengal in 1905 and influenced by the call of Gopal Krishna Gokhale's socio-political reforms, Naidu joined the Indian independence movement where she was introduced to Mahatma Gandhi, Rabindranath Tagore, Pandit Jawaharlal Nehru, C.P.

Turbans of crimson and silver, Tunics of purple brocade, Mirrors with panels of amber, Daggers with handles of jade.

Crowns for the brow of a bridegroom, Chaplets to garland his bed, Sheets of white blossoms new-garnered To perfume the sleep of the dead.

[9] Naidu presents the scenes of local musicians performing there compositions played with traditional instruments and the magicians creating an atmosphere of ecstasy, the various fruits being sold by the fruit-men, the weighing of saffron, lentils, and rice by the vendors, and other depictions of various commodities which are sold in the bazaar.

The poet often repeats these phrases, to create a musical effect, to emphasize a point, and lend unity to the poem.

To present the pictorial scene of the bazaar, Naidu uses poetic-imagery—(a vibrant sense of touch, sound, smell, sight, and taste), as well as alliteration and traditional end rhyme.

At the end of the stanza, the poet questions the peddlers about what they are selling and they reply with dice and chessmen made from ivory.

They reply; with necklaces, bracelets, anklets, and rings, and continued to say that, they also make bells for blue pigeons that are tied to their feet.

The poet stops over at the galleries arranged by the merchants, traders, hawkers, goldsmiths, fruit sellers, peddlers, magicians, musicians, and flower girls.

Emotional moods are stirred by the poet when Naidu makes the readers feel that the bazaar life also witnesses both sorrows and joys.

Wedding and festival occasions bring joy in the Bazaar's life when people buy jewelry, garlands, fruits, and children crowd near the magicians.

[20] Based on the poem, a play titled "Love's Labour" was conducted in Madurai by the students of Sri Meenakshi college for women.

[5] The New York Times reviewed the poem in the edition of 27 April 1913 and wrote, "To us of a colder, soberer clime the very name of this singer of "the oldest land" brings a suggestion of color and perfume, of strange twilight's, of all the mystery and magic and swift bestowals of life and death that we traditionally associate with India.