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- Dr. G. D. Barche
After going through R.K.Singh’s new collection Sexless Solitude And Other
Poems (2009) Gwilym Williams says :
Now the questions that arise are: Does a poet carry something at the back of his
mind, while writing poetry? Does he deliberately strive so long and hard, while
writing? Does he Try to give Vent to his hidden anger, hatred, etc., through his
poetry? And surely the answer to any of these and similar questions won’t be
straight this or that.
As a matter of fact ‘to think this way’ is misreading a poet and his poetry.
The fact is that broadly a poet, like all others, lives a two tier life, viz.,
private & personal & social and scriptural. Now the common people simply live and
keep living, but a poet being gifted with more lively sensibility, wider
knowledge and esemplastic imagination, he sees and feels more and even
reconstructs what he sees and feels. So when a creative artist writes, may be a
novel, a drama or a poem, he creates a mini world with very many characters
representing different facts of life. Therefore, it is not just to associate
protagonist or characters of a poem with the poet. As a matter of fact a genuine
creative artist transmutes his personal and private agonies into something
impersonal and universal. When we go through the poetry of R.K.Singh, we see this
very fact executed.
While going through the capsule poems, i.e. short poems with
cognitive content in his recent collection Sexless Solitude And Other
Poems, it is noticed that he has tried to project two categories of people in two
sets of poems, viz., (i) Sanjaya type people in set-I, i.e., those who remain
detached and can see things as they are. Sanjaya is a well known character in the
great epic The Mahabharata written by Maharshi Vedvyasa. He was blessed with
special vision by Lord Krishna. As a result of that he could see what
was what on the Kurukshetra, the battle field, the place of the great
Mahabharata war; (ii) Dhrutrashtra type people
in set-II, i.e., those who get attached to the things and fail to see their real
nature. Consequently they suffer. Dhrutrashtra, in the epic, suffers and makes
people also suffer simply because he fails to see truth as truth. Here the
protagonists of two sets of poems can be looked upon as two different persons or
the same person with twin facets.
Now first we take up those poems which have Sanjaya type characters : the
first poem to be taken up in this context is : “Awareness Matters”. The poem runs
as follows :
In another poem ‘Death’ the protagonist traces out another tendency rampant
among people in our country or rather everywhere, viz.,, ‘Without living/life lost
in existing’. That is, people do not know ‘how to live life’. They simply
continue existing by ‘evading the fact/of living in fear/and manipulations’.
Their all endeavours ‘for thoughtless peace‘ are directed ‘to fight off death’.
Again instead of ‘living life’ properly, they waste their time and energy in
rationalizing their follies and failures and resting faith in ‘re information or
resurrection’ of some noble soul to right the wrongs. On the contrary, the truth
is that man is the architect of his fate which is rooted in ‘living life’
properly with well planned things and rightly directed actions. The main idea of
the poem ‘without living life’ can be explained thus : when our country got
freedom, its population was roughly thirty six crores. Then in succeeding years
more efforts were made in promoting hospitals and doctors to fight off death, but
nothing was done to check the growth of the population. Then the growth of the
population was allowed, but the relevant resources and moral values were not taken
care of. And now people are resting their hope in the faith of ‘re-incarnation or
resurrection’ of someone to face and find out solution for the present explosive
situation pertaining to peace and population.
The way T.S. Eliot has projected modern man’s life in a long poem like ‘The
Waste Land’, the protagonist of “Is This All?” has done that here in a short space
of two triplets. In the first triplet he unveils the life style of modern man
which is characterized by three acts, viz., (i) propitiating gods through the
cocktail of prayers; (ii) living animal life, i.e. confined to food, sleep, fear
and sex; and (iii) boasting and advertising the worldly achievements. And hence
he raises the question whether this three tier life is all. Then he very vividly
highlights the mind of the modern man in the second triplet. That is, his mind is
dominated by negative and narrow thinking, ‘fungus of illusions’ and ‘toad-stools
of damned tracts’. The answer to the yes/no question – Is this all? seems to be
that such a negative and narrow thought based life is not worth. Perhaps he wants
to point to Vivekanand’s message that each soul is potentially divine and the goal
of life should be to manifest that divine as against to simply ‘live animal
existence’.
The protagonist in the poem “Journey” is equally very minute and mature
observer of the usual phenomenon of ‘journey’ very often undertaken by the people.
He is of the view that a meaningful journey should have proper direction, definite
destination and duly discerned destiny. But then the fact is that most of the
people don’t bother about any of these corporate considerations. And that
whosoever sets out on journey, they have either flickers or flashes, i.e., ever
changing scales of brightness on their faces. And the protagonist firmly states
that he doesn’t give any credit to such shifting shades of joys. To him the joy
that oozes from proper understanding of the goal is steady and non shifting. He
also observes the fact that the journeying people inside the train and distantly
drifting hills, houses, trees, etc., outside ‘bear the same indifference’. That
is, he sees no life, no sense of sharing, relating or love among the people inside
and the natural phenomena outside the train.
Then, a very common but crucial observation is noticed in the poem “Arriving
Early”. The scene is of ‘a Waiting Hall’, may be at the Railway station or
Cinema theatre. It is full of men and women. The protagonist here observes that
men are happily engrossed in chatting and commenting on the topics ranging from
love affairs to Shariat (marriage contract) without any fear or care, while women
and particularly wives find themselves uneasy and chained as their range in all
respects is bound and binding. And hence a man’s wife ‘murmurs about arriving
early”, while the hubby of that wife ‘looks for some poetically active faces’ in
the waiting hall. This, in a very poignant way, points to the position of women
in our society. All taboos and defined tracks are for women and none for men.
This inequality and partiality have vitiated men-women relationships and created
distance and distaste in social life.
The protagonist’s subtle eye also notices the newly growing tendency of
arrogance and unashamedness of the new generation in the “Barbed Wire Fence”.
Here he has tried to show how the garage guards make water in the open and even
show ‘their dick’ to the maid in the adjoining house. Similarly, boys and girls
‘make love in the bush’ unmindful of the children’s park, on one side, and the
residential house, on the other. The protagonist is concerned about this fast
growing phenomenon of young boys and girls chatting for hours together and even at
times resorting to the forbidden acts least brothering about the time, the place
and the public opinion.
The protagonist who is so perceptive like Sanjaya about the world around is
blind like Dhrutrshtra with regard to his personal inner world. For instance
just see his pain and suffering in the poem “Overload”. Here we see that he
doesn’t get normal sleep. So he drinks to have sleep. In that drugged state ‘the
electric circuit in the brain’ goes awry and he starts muttering unwanted things
in unparliamentary language unmindful of the concerned victims. His mind is so
much overloaded with deep discontent that its unloading alone seems the way out.
He finds himself helpless regarding this process of loading-unloading that has set
in and continued unchecked. Now the point is that the protagonist considers this
problem to be chronic and incurable, but the fact is quite the opposite. There
are ways out, only one needs the eye and the will which he doesn’t have. For
instance, here is a way suggested by Maharshi Vashistha to calm down the mind :
“Manah Prashamanopayah Yogah”, i.e., the yogic practices calm down the mind.
Here again we see his blindness to the fact that senses can never be gratified.
Maharshi Vedvyas has very firmly put it as “na jatu Kaam Kaamanam upbhoge na
samyate’, that is, the sensual desires can never be satisfied. Even Bhagvan
Buddha has said “trushna doospur hai”, i.e., desires can never be gratified.
Thus , here over a dozen poems have been discussed concerning two opposite
aspects of human mind. The attempt is here made to show as to how the poet has
very pointedly projected two visions, viz., that of Sanjay and Dhrutrashtra
through very short but well knit poems. Very novel and creative use of language
which is the poet’s forte has not been here even touched upon. The present
article helps us mark the eagle eye that the poet has regarding sweet-sour aspects
of the human behavior, human life as a whole. Before closing this talk, a humble
suggestion is that the poet should show a ray of light, a way out, even while
projecting the darker or negative aspects of life through the protagonist of his
capsule poems. For instance, instead of saying ‘I smell hell all day’, cannot the
protagonist say, ‘Hell I smell’, though heaven is not far to seek”?
by: Dr.G.D.Barche
1, Atharv Aptt. Satsang Colony,
Deopur, Dhule-424005
Maharashtra (India)