Showing posts with label Telugu poetry. Show all posts
Showing posts with label Telugu poetry. Show all posts

Tuesday, June 29, 2021

New Insights into Literary Criticism

New Insights Into Literary Criticism

(A holistic Literary Criticism)


దేశమంటే మట్టి కాదోయి

దేశమంటే మనుషులోయి! (గురజాడ అప్పారావు)

ఉప్పోంగే నదులజీవజలాలు.. ఉప్పు సముద్రం పాలు (ఆరుద్ర)

Country doesn’t mean (just) soil/Country means people! – G. Apparao

Some times we are awfully lazy in literary criticism. Taking a different perspective, here I’d like to evaluate, examine, and comment on two well-known Telugu poets: Gurujada Apparao and Arudra. I’ve read both poets’ works and enjoyed some of them. I would rate Arudra as a higher poet on lyricism, authenticity, and imagination despite a tilt towards “socialism.” 

Now, let’s examine this former poet’s lines here: “Country does not mean (mere) earth (or simple geography)/Country means people!” What is wrong with these truisms or platitudes? A lot. A country, rather any country or autonomous governing body must care and take into account all that is in its envelope: The lively forests (flora), diverse animals (fauna), rivers, deserts, mountains, seas, the aquatic life, and of course all the precious minerals (including depleting fossil fuels) in its terra interior. Man must care for all this wealth of living and non-living materials; if not for his own narrow immediate utilitarian benefit he must bear the burden of his grandchildren’s needs and hungry mouths. In the name of meeting the needs of billion plus citizens, the country has mercilessly exploited (plundered) its rivers, the delta, granite hills, mines, and polluted its land, waterways, and the coastal waters. When Indians go abroad and see some of the pristine lakes and rivers, then they get a shock, a rude awakening. We only think about rivers, lakes, glaciers, streams, and reservoirs as sources of water for human needs. Many rivers have their own personalities and lives. A river should be considered as a living body with its own unique history of birth, youth of traversing hundreds (even thousands) of miles, and its ultimate union of meeting with a larger reservoir of water (sea, ocean, or lake). Many rivers existed before man appeared on the scene and set up his cultural post (or tent). They had their paths undisturbed for hundreds of years. In the last half a century, many states forcibly stopped their natural flow, put dams, and sucked upstream flows to cities for population needs or other purposes. 

In Varanasi the Ganges is ok now, good enough to take bath, and even to drink a thimbleful. I bathed there without any adverse effects. But the river’s volume is about one half or one third of what it was in the seventies. When I went to see my coastal village in Andhra, the canals and the reservoirs are almost dry even in December. The Godavari river water is murky near the delta mouth. It was not so in my college days; then I swam in a roaring clean energetic river meeting the Bay of Bengal. I could hardly tame its ferocious force with my bare hands – my youthful energy was no match for its speedy rush into the sea. Now, in Narasapuram the river barely crawls limping its way to the end.

The disastrous consequences (of over utilization) are as follows: Forests are gone. The birds and animals disappeared. The tribal cultures erased with one stroke. But still we need tamarind, sandalwood, bamboo, and lumber from the remaining forests. We want copious rains for filling our water works, reservoirs, and dumping industrial waste into the water streams. There need to be proper accounting of all the positives and negatives. The delta is starved and there is no aquatic life in the coastal seas. Even if the oceans produce clouds, without the cool currents from mountaintops (Eastern and Western Ghats) and forests there would not be rain for filling the rivers. The Ganges will not have bountiful waters and fish if the upper snow layers get shrunk in thickness or the upstream waters are diverted too much to other uses. Obviously when these poets penned the lines they had only “humans” their biped brethren in mind. Nothing else mattered. There was no scientific insight into the broader issues of environment and its irreversible effects on forests, rivers, coastal wetlands, and most important on the quality of ambient air. Without proper moisture (from river breezes, forests, and marsh lands), people will suffer acute breathing diseases. When a river flows with copious waters, it slowly sends water underground and to all its borders. That moisture all around the soil seeps deep. And green wild plants and forests will grow spreading deep roots laterally and vertically.

We can take water from a river for drinking, cattle, and other uses but we need to do with care and without wasting precious potable water for swimming pools or industrial cleaning or washing plants foliage on the highways to airports. 

I don’t thank the planning people in Delhi ever really went on foot and looked at the destruction of rivers and the adjoining forest areas really. Did they ever look at the decades old pictures of the Ganges, Godavari, and Krishna and compare with the modern photos after all the dams and lift-pumping projects have been installed? 

Poems like these, in my opinion should be deleted (delisted) from Telugu lessons or even movies. Or, at a minimum a strong critique should be appended in the footnotes. If we look at such poems in terms of rhyme, flow (rhythm), and passion – then they are ok. But they do not offer a grand perspective on life, the country, or people. I am fully aware Sri Arudra lived most of his life in the erstwhile Madras and could have faced (seen) severe water problems. But who created the water problems in mega cities? The people, the poor planners, and the politicians. Beyond certain population size, cities cannot provide all the amenities to its bulging population. Only slums will sprout and happen. It is a game of diminishing returns. When I mentioned the water problems of an arid region (district) to my Cornell scientist friend, his tough answer is this: “One should not live where there is not water or clean air. It is just stupid. Civilizations did not come up in purely dry sand without adjoining oasis or river. Even if you put all the money, how much can you extract from seawater? And, where will you get water for laundry, toilet, washing cattle, and agriculture?” This is a scientist who spent his entire profession in agriculture and plant science.

So, in conclusion, the Arudra’s line “The bulging river streams’ life-giving waters/Wasted into the salty sea” is scientifically and environmentally wrong. I see every year during severe snowstorms, tornados, and hurricanes lots of trees uprooted and branches torn off. Is that wastage? No, never. That too is part of nature. We should celebrate that we still get precious temperature equalization, plenty of water, and some moderating of the (at times geometric) growth through such nature made havocs. Nature, earth, sun, moon, and oceans do not exist for any man or me exclusively. Humans are but a small fraction of the whole earth. We should appropriate only limited quantities of water, minerals, and materials for our use. The rest belongs to mother earth. And it always is the prerogative of the lovely planet to direct its resources as it sees fit.  Copyright 2021 by the author


Sunday, April 4, 2021

Original Telugu Song on Siva with Translation

Siva’s name, Siva,
Siva’s name
May it help me 
In crossing (the life) this moment

(Once) I went to the Ganges
On father’s instruction
I reached the steps of
Manikarnika Ghat 
Rather than bathe in the
Holy waters (of Ganga) -
Stupidly I returned (home)

Many a time hurriedly running
I crossed tens of thousands of miles
In travels
Yet, I did not stand for an instant
At your Kalahasti temple threshold
(Did not linger at your Air-Linga’s entrance)
Did not gaze at Your spire (pinnacle)
Even for a moment

(Now)
I cannot hike through the woods and hills
I cannot get close to your sacred places
Can’t You come to me, kindly?
Won’t You dance with Lady Uma?
Won’t You stay in my heart with
Parvati? 

(Translation of the Telugu lyrical poem, “Siva namamu”, both by the author. Copyright 2021)

శివ నామము, శివ శివ నామము

నను దరి చేర్చేనా  క్షణమూ


గంగను చేరితి తండ్రి పనుపున

మణికర్ణఘాటు పదముల నిలిచితి

పావన గంగా స్నానమాడక

మరలిపోతినే మందబుద్ధినై                   || శివ ||


పలుమఱు నేను పరుగు పరుగున

వేయి యోజనముల యాత్రలు సల్పితి

ఒక క్షణమైనా నీ వాయులింగపు

ద్వారము కడ నిలువ నైతిని - శివ శివ

ఒక క్షణమైనా నీ కాళహస్తి

గోపురశిఖరము చూడనైతి                       || శివ ||  


కొండలు కానలు నే నడువలేను

నీ తీర్ధక్షేత్రముల దరిచేరజాల

నీవే దయతో నను చేరరావా

ముద్దుల ఉమతో నాట్య మాడవా

సదా సాంబవై నాయెద నిలువవా?              || శివ ||

© copyright 2015 


Siva naamamu, Siva Siva naamamu

nanu dari cErchinaa ii kshaNamuu


ganganu cEriti tanDri panupuna

maNikarNaghaaTu padamula niliciti

paavana gangaa snaanamaaDaka

maralipOtinE mandabuddhinai



paluma~ru nEnu paruguparuguna

vEyi yOjanamula yaatralu salpiti

oka kshaNamainaa nii vaayulingapu

dwaaramu kaDa niluva naitini - Siva Siva

oka kshaNamainaa nii kaaLahasti

gopuraSikharamu cuuDanaiti


konDalu kaanalu nE naDuvalEnu

nii tiirdhakshEtramula daricErajaala

niive dayatO nanu cEraraavaa

muddula umatO naaTya maaDavaa

sadaa saambavai naayeda niluvavaa?


(English transliteration generated by Lekhini)


Monday, April 3, 2017

Translation of "Ma Telugu Talli" Song


Here
Is the jasmine garland
To our Telugu mother
Here are our oil-lamp offerings
To our beloved birth mother

Full of golden resources
Her stomach,
Her glances full of compassion
Riches sprout with her smile
(Our dear mother)

When the Godavari meanderingly flows gurgling
When the Krishna runs fast with frolicking jumps 
(Verily) Golden* crops grow on the land
Lovely pearls roll down all over

The extraordinary sculptures
Of Amaravati caves
The lilting tunes of Tyagayya
The delectable honeyed verses
Dripping from the pen of Tikkana       
Till they get etched all across
Till they spread everywhere

Rudramma’s valor
Mallamma’s fidelity
The shrewd strategy of Timmarasu
And the great Krishnaraya’s fame

Until they echo in our ears
We’ll sing - only your songs
We’ll play - only your games
Hail the Telugu mother
Hail the Telugu Mother!

*Here the imagery refers to the color of rice (paddy) fields at harvest time. Soon after harvesting mounds of white rice is seen in the rice mills next to mountains of rice husk (bran). Later rice is processed into cereals like puffed rice, a favorite snack of children. Citrus fruits (lime, orange, citron, and pomelo) are also grown abundantly in Andhra Pradesh. The little juice sacs of the fruit are known in Telugu as “pearls”.
Copyright 2017 tvrao

Both the poet Sri Sankarambadi Sundarachari and Tanguturi Suryakumari achieved extraordinary fame with this single song (State Anthem). Credit also goes to the sweet language; people often ascribe its musicality to its vowel ending. But there is more to it, Telugu has close affinity with Sanskrit (అందుకే అన్నారు సంస్కృతమును 'గీర్వాణ భాష' అని. తిట్టులు కూడా సొంపుగా ఉంటాయి మరి!)  




Thursday, September 22, 2016

శిశిరాగమనము

శిశిరాగమనము

శిశిరం వస్తోంది
వస్తోంది చల్ల చల్లగా, చడీ చప్పుడు లేకుండా
ఇంకా వాళ్ళ అన్నయ్య
సన్నాయి బాకాలు శ్రుతి చేసుకోలేదు
ముస్తాబుకి రంగుల బండి రాలేదు
కాని నాలంటి కవులు
చూచారు, లేదు గమనించారు
నీ అందచందాలు, నీ ముగ్ధ మనోహర  
లావణ్యం, నీ దొంగ చూపులు
నిన్న వాహ్యాళినుంచి వస్తుంటే
రెండు చిన్ని చిన్ని ముద్దు ముద్దు  
పట్టు ఈకలు కనిపించాయి -
ఆప్పుడే ప్రవాస పక్షులు బయలు దేరాయా?
ఒక ఎఱ్ఱ మేపల్ చెట్టంతా
కందిపోయింది! పోదా మరి
వాళ్ళాయన రాత్రంతా ముద్దాడితే?
అందులోనూ చలి దుప్పట్లో దూరి దూరి
రావోయి
నా ప్రియాతి ప్రియ
సుందర స్వప్న గాంధర్వ బాల
ఏమి అదృష్టం ఏమి భాగ్యము
గోదారి పాలపిట్ట లేదని బాధ లేదు
నిన్న నీలపిట్ట కూసింది నన్ను చూచి -
మంచి ఠీవిగా కిరీటంతో
పిలుస్తోంది వాళ్ళ రాగాల చెలికత్తెని
“తీ, తీతి, తీతి
మధ్యన ఎక్కడికి పోయాయి
మా ఉడుతలు?
మా నల్ల, బూడిద, ఎఱ్ఱ బొద్దు ఉడుతలు?
ఇప్పుడు మస్తుగ అక్రోటులు మెక్కుతున్నాయి
కీ కీ అని అరుస్తూ. నేను కూడా అరిచాను
వాటికి తోడుగా
అన్నపూర్ణ శిఖరాగ్రము చూడలేదు
నంగాపర్బత్ ఎక్కలేదు
కైలాసమునకు ఎగరలేదు - అన్ని అందాలు సొగసులూ
నా దగ్గరకు వచ్చాయి. ఇంక మా దసరాకు
చేమంతి పూలే పూలు, రా నా
ముద్దుల ప్రకృతి బాల - ఇక నిన్ను 
సింగారిస్తా ఆపాదమస్తకము,
రమ్మను మీ ప్రభంజన సోదరుని
కదలమను ఉత్తర ధృవం నుంచి 
తీస్తాను నా కశ్మీరు శాలువా
ఉన్ని కుచ్చుల టోపీ

© 2016 తె. వె. రావు  

Wednesday, February 5, 2014

SriSri's Surrealist Poetic Puzzle - Part II


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