The critic gave this poem as an example of absurd experimental poetry. Not only that, he summarily concluded that such poetry as a meaningless writing (drivel). In the following month, Bharati received a letter (post card) from Visakhapatnam. Do not remember the sender’s name; the gist of the letter is:
“Those who are not familiar with Himanshu Roy, those who did not watch his films, for them, this poem makes no sense. Turayi (also refers to the Gulmohar flower) is an ornament of hair (cf: the English idiom, ‘feather in a cap’), on top of head. File is used to sharpen iron tools (knife, nail, etc.) Cricket’s sound in summer is unique, shrill, very distinct. Therefore, the acting of Roy is also endowed with the same unique qualities. That is the real meaning of the poem. Added to the commentary was a line – behind the words of great poets, meaning always follows, comes behind running”.
So, we cannot brush aside SriSri’s surrealist poems as either useless or meaningless scribblings. Doing so will be equivalent to hurting our cerebrum with our own hard knuckles.
Sri Sri says, “If we study a question well, answer will emerge from the question itself”. Therefore, we have to notice the footprints of ataveladi, and discover its underlying meaning. But, foremost, a disclosure: “I do not declare I’ve conquered something, that I am a great literary champion. I just want to inform my method and share it with the learned poetry critics. In so doing, I bow to all Telugu scholars and seek their indulgence.”
In the afore mentioned poem, only the last line is a bit involved, sort of oblique telling. SriSri did not like the way “the five classics” were codified in Telugu (cf. the five classics in Sanskrit). He resented it, he thought true learned scholars would not allow such a classification scheme.
The beauty of this poetic riddle is this: In a clever way, SriSri ridicules the old classification scheme, then offers an amendment – as per his own analysis (preferences). It is also worthwhile to note the usage of numerals – only Arabic numbers (actually they are derived from the old Indian Hindi number system).
Every one knows Sigmund Freud wrote his magnum opus on psychoanalysis. But, what does the “crow” represent? “In saying ataveladi is mother-in-law of dwipada” – SriSri’s opinion is crystal clear.
“Anantam” is SriSri’s autobiography. He said it was a work with hidden things (clues). In the autobiography many riddles are answered. Thus if we search the autobiographical work for hidden treasures, many new things will come to light. SriSri had enormous respect for the poet Srinadha. “Shakespeare created plays, Srinadha wrote great poetical works”. Not only that, he did not agree with the exalted status of Peddanna. When Setty Narasimham remarked that “Vasucharitra is a greater literary work than Manucharitra”, SriSri’s glance fell on Vasucharitra. After carefully weighing all the evidence, he too firmed with the belief, and concurred with Narasimham Setty.
In the introduction to “Ezra Pound’s Selected Poems”, T.S. Eliot says: “The poem which is absolutely original is absolutely bad. True originality needs development.” Always, imitation is present (even in great works). Thus, SriSri says, “Manucharitra is a second class poetry. It is representative of a great second grade poetry. But Vasucharitra is of first class category. Yet, this subtle distinction is not known to many”. Further, he says, “Allasani Peddana stole many features from Srinadha.” Being a writer associated with film industry (which is famous for wholesale copying of ideas and entire story lines from other languages– from Hindi, Bengali, and English), SriSri was acutely aware of his own unethical behavior (plagiarism); still, he had to withdraw the exalted position given to Peddana.
Of all the poets of Prabandha Period, Tenali Ramakrishna impressed him most. Thus Panduranga Mahatmyamu, for SriSri is the best. The modern poet paid encomiums to Tenali in his autobiography, “Sipraali”.
"మనమున కోరి భజింతున్
తెనాలి రాముని ప్రగల్భ ధీనిస్సేమున్
ధ్వని రాజ్యసార్వభౌము, రు
చి నిరుపమ కవిత్వ ధాము సిరిసిరి మువ్వా"
Similar to the five classics of Sanskrit (pancha-kaavya), in Telugu too we have the famous five poetical works. These are usually listed as: 1. Manucaritra 2. Vasucaritra 3. Panduranga Mahatmyamu 4. Amuktamalyada and 5. Sringara Naishadhamu. This sequence in decreasing order of importance appeared unjust to SriSri. He felt this ranking did not take into account the merits of the works with proper care and analysis. Now, in this context we can infer further: Whom does the crow represent? The real purpose of ‘psychoanalysis’ is this: How psychoanalysis can yield deeper insights into things.
Thus, guided by his own readings and analysis, SriSri came to a new ranking of the five major Telugu works. This he intimated by the last line – “5,3,2 Amuktamaalyada” How’s it? You may say. Bring the last placed (in 5th position)Sringara Naishadhamu to the first place. And then upgrade Panduranga Mahatmyamu to second place. Vasucaritra moves to the third place. And of course in this new scheme of things, the only work that retains its place is Amukta maalyada.
What? Now there are only four major works in Telugu? In SriSri’s opinion, there ought to be only four classics in Telugu. Because, the great Peddanna got unseated. Maybe, our Mahakavi would not mind if we accord the last fifth place to Peddanna. A niggardly dash is left in the line.
However vehemently SriSri may protest to the contrary, there is a bit of insanity in surrealism, a speck, just the size of a neem seed. That much is true. But such craziness (though it may appear first as an absurdity) too stimulates mind, it sharpens our intellect – that is an incontrovertible truth!
Translator's Notes
1. Upon the suggestion of my niece's husband (Sri AVSK Mohan), Sri Tupili Vanamali (Manager) kindly airmailed me a copy of Zaminryot. This critical article appeared in the January 3, 1997 issue. I owe umpteen thanks to "Agni-Mitra", the author of this original critical article in Telugu. I also extend my sincere gratitude and appreciation to the publisher and owner(s) of Zaminryot for printing such high quality articles. I think the Jnanapith awardee, late Sri Ravuri Bhardwaja once had a stint at this newpaper. I am saddened at the thought that the superb periodic publication is now defunct(?). Looks like it has resumed its publication (current editor: N. Dolendra Prasad).
2. Originally I had planned to write this article on the eve of the centinary celebrations of the poet (2010).
3. In some old Bengali or Hindi movies, I came across the name of Himansu Roy in the titles. Fortuitously very recently, I got to see one silent BW white movie with Roy in a leading role. Now, I understand what SriSri meant in his cryptic poem on this famed Indian movie pioneer.
4. Much of the original sound is lost in the translation.
5. Coming across a very difficult problem ('hard nut to crack'), an extremely challenging situation - it happens rather infrequently. That a Telugu poem remained unexplained for several decades speaks volumes about the poet's brilliance and creativity. Only in the very rarefied heights of intellectual endeavor, one comes across such intensely daunting problems. There are some such hard nuts in physics; at least one Tyagaraju kriti is difficult to decipher entirely. Whether solved or unsolved, such puzzles give enormous stimulation to the mind. Regrettably, much of the avowed experimentation in contemporary literature, arts, and even sciences is of pedestrian type, of lesser quality.
6. I (humbly) hope this English translation will tell the wider world the achievements of modern Telugu poetry.
Copyright by the author 2014, except the cited Telugu poems
