Part 2

continued from part 1

The great poet Sahir Ludhianvi summed up the hopes, dreams and aspirations of poets - budding and established alike - in the great lyric 'mein pal do pal kaa shaayar hoon' (I am a poet for only a second or two) for the movie 'Kabhi Kabhi'.

mujhse pehle kitne shaayar aaye aur aakar chale gaye
kuch aahen bharkar chale gaye kuch nagme gaakar chale gaye

How may poets have come before me
passed on after passing on dulcet melodies

Identity becomes a pressing issue when it comes to poets and their poetry. At its basic level, the human emotions, divided into 9 categories (navarasamulu), are finite, and same goes with the expressions, the number of metaphors, similes and other contrivances and conveniences offered by the language. All these are limited in number. If one takes into account all the glorious, wonderful, unique expression, both in prose and poetry, that have so far been immortalized in the language by the celebrated poets, authors and lyricists thus far, consider the inordinate odds already stacked against the new lyricist, even before he has put his pen on the paper. Every expression has already been spoken for/about, every situation has already been written about, every possible connection has already been made. Under such circumstances, if a song were to rise above its general utilitarian level to a memorable work of art, what is that essential ingredient, apart from the situation and tune, that elevates it to poetry? If the level of intellect, the facility of language and the usage of it is assumed to being more or less the same for all the famous lyricists, what distinguishes Aatreya's poetry from SriSri's songs, what sets Veturi apart and what makes Devulapalli stand out? Pat comes the reply - the underlying philosophy (tatwam). While Aatreya was synonymous with recounting the travails of the troubled heart, SriSri went about highlighting the plights of the under-privileged even in soft numbers; while Devulapalli was famous with evoking the most tender of feelings even from the mundane of things, Veturi was adept at forging words to suit his purpose. Over an oeuvre, a pattern would emerge springing from the ideology that the poet truly believes in.

And though Sirivennela's philosophy pronouncedly marks optimism as the single trait that strings it all, a closer observation reveals a more intricate design, one of constant struggle. And it is this struggle - against the surroundings, status-quo and sometimes against the very self - that lends the meaning and purpose (or in SriSri's words 'SOdhinchi saadhinchaali, adiyae dheeraguNam' in the song 'kalakaanidi viluvainadi' (velugu neeDalu). However much the poetry in 'sirivennela' can lauded for its beauty and its ethereal nature, it is in fact 'swarNa kamalam' that brings to the fore the essential philosophy of Sirvennela's poetry, and his dogged dedication to the cause of struggle (loosely translating in spirit to 'saadhana', 'Srama', even if they aren't true synonyms to the word). The theme of 'swarNa kamalam' is self-realization/self-actualization, it is about recognizing the self-worth. This situation is both a dream and a nightmare to the poet. Usually every song has a perspective, in that, the narrative is very subjective (excluding duets, of course). The poet picks a side and pens the song from that angle. But 'swarNa kamalam' isn't about the standard good vs bad argument, it about the complex and the eternal free will vs structure debate, and the challenge for the poet is to remain impartial, presenting both sides of the argument in an equally valid and logical way. In Gita, it is said that there are two ways to attain salvation - one is realization (karma aacharaNam) and the other is renunciation (karma sansyaasam). If the goal is to unfetter the mind and remain unattached to the proceedings, the easy way is to not do anything, which automatically distances oneself from the results, and thereby from any emotion caused thereof. The second method is going through the rigor, but remaining detached from the results. It is this method that exemplifies the human cause and the indomitable human spirit and therefore preferred as the better alternative to renunciation.

It is this distinction between the two ways to salvation that Sirivennela pegs his poetry on for 'swarNa kamalam'. Obviously it is not about what is the right way or the wrong one. It is about what is better. Here is the case for free will - 'valalO odugunA viharinchae chirugAli, selayaeTi naTanam naerpinchae guruvaeDi'. Free will is inherent to the nature. Like the forces of nature that cannot be pigeon-holed, so are the freedom of thought and the extent of imagination. If the pursuit of joy is the end goal of existence, why cramp its free flow with rules and restrictions. Aatreya penned another beautiful song along the same lines - 'gAlikadupu laedu, kaDalikantu laedu, ganga velluva kamamDalamlO imiDaedaenaa, urikae oohaku girigeestae adi aagaedaenaa?'. It is interesting that poets invariably turn to nature - the wind and the water - to come to their aid in such scenarios. But as mentioned earlier, the situation in 'swarNa kamalam' doesn't stop with one side alone. Now the other side should take the stand and present an equally compelling, if not better, case for structure - 'tirigae kAlAniki teerokaTundi, naTarAja swaami jaTajooTilOki chaerakunTae, viruchukupaDu suragangaki viluvaemundi'. What seems as indepedent spirit inherent to nature is in fact bound by an unseen structure. The heart may will as it likes, but the beat/rhythm that drives the heart is regulated; the unseen wind might look free and unfettered, but the air that sustains life in the breathing patterns follows a predetermined path. What may appear as free will has underpinnings of a purpose is how the poet props the argument. Observe how in both cases, the tone is very impassioned yet very non-judgmental. Both sides point to the same nature to bolster their ideologies and both of them equally sensible.

If 'ghallu ghallu manToo' presents a straight forward argument, 'Sivapoojaku chigurinchina' goes a step forward and talks about the true purpose of every being. The rain drops from the sky might have a mind of their own exercising their free will to fall where they want. But ultimately the drops that count aren't the ones that choose the vast expanse of the sea, but ones that chose the arid arable lands. Notice how the point of contention is no longer about what one wants, but it is about what one chooses. It is the purpose that fulfills the destiny and not the destiny that decides the purpose. And free will is all about choosing the purpose and not just frittering away opportunities in a reckless fashion. Same goes with the wind, water and every facet of nature. Free will might turn the wind into a gale, unrestricted, but ultimately useless. Structure it and the same air aids respiration, the calm breezes soothes the senses, breathes life into woodwinds and many such. And that is salvation - finding the true purpose of one's life and accomplishing it.

chalita charaNa janitam nee sahaja vilAsam
jwalita kiraNa kalitam soundarya vikAsam
nee abhinaya ushOdayam tilakinchina ravi nayanam
gagana sarasi hRdayamlO vikasita SatadaLa Sobhala suvaraNa kamalam

But the path to realization is fraught with self-doubt, laziness and lack of self-control. And once one overcomes them all, the result is a glowing piece of glory that can outshine the glitters of fleeting achievements. The glory is permanent and the ensuing joy is unending and boundless. And that is when the ecstatic mind realizes 'andela ravamidi padamuladaa? ambaramanTina hRdayamudaa? amRta gaanamidi pedavuladaa? amitaanandamu eda saDidA?'.

'swarNa kamalam''s poetry is a work of great intensity, fervor and passion, and the struggle behind each argument is quite painstaking. But at the end of it, the glistening sweat on the brow is as satisfying as the eternal glow in the sky, aptly described in a different situation as 'semata boTTu samurutO sooreeNNi yeligiddaam'.

To be Cont'd in part 3.

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