RE: aakharugaa naalugu mahejabeen kavitalu

Ramarao, Ram (Ram_Ramarao@tri.sbc.com)
Wed, 31 Dec 1997 14:26:24 -0600


I want to thank Sri Chowdary garu for bringing these many very beautiful
poems to telusa. Personally it has been a great learning experience for
me in my quest to understand the depths of the recent Telugu poetry.
When I read cErAtalu a while ago, I did notice his special mention of
this poet and her poems but since I didn't see the complete versions of
the poems, I couldn't fully appreciate his comments. Now I got a chance
to see the poems themselves and they certainly deserve the praise heaped
on them.

Now that we have a fairly large reprsentative sample of mahejabeen's
work, when I look at all of them and compare among themselves, I come to
the following conclusions:

1. She has approached a number of very sensitive and perhaps "taboo"
subjects. (This may be the norm among many women poets now (cErA
particularly writes about two nirmalas in one of his articles). I
inferred from some works of jayaprabha and writtings of cErA that a
heated discussion took place between cerabanDarAju (?) and the feminist
poets sometime ago related to the contents of their poetry and the
language used.)

2. She appears to be at her best when talking about udyamam and
udyamakArulu (the first four poems posted attest to this).

3. She has used some beautiful Bava citrAlu (some may be new - I do not
know whether or not this is the case). "aDugula savvaDilO chamdassu
vetukkumTU", "aksharAlanu vadili kavitvam mammalni penavEsukunTundi",
"ArubayaTa Akula niSSabdamlO ceTlu kavAtu cEstunnAyi", "AkurAlE kAlAniki
ekkaDa jAripaDDADO", "udyamAniki paTTina cemaTa", "kaLLu kanipistE
kAlcivEtaku siddhamgA umTAyi", "amma kaLLu niSSabda jalapAtAlu", "mA
amma haThAttugA cinnadainaTTu anipistumdi", "yavvanIkarimcina bAlyam"
are examples of this.

4. Two of the seven in this sample in my view don't belong with others:
amma kaLLu and naisargika svarUpam. In the first of the two, the subject
is an excellent one but the treatment is not. I think the poet was in a
hurry to meet a deadline in writing this piece. Shallow similes. In the
very first two lines, a struggle to juggle the words "bamdham,"
"bandhanam". In the next few lines, "kalala SAluva kappukoni  ..
ammakaLLu swapna nikshEpAlu" why dreams in both instances? Is it that
they were first worn on the body and then moved into her eyes? And where
does this custom of wearing a shawl at wedding comes from? In the next
one, "ammakaLLu adButa valayAlu" - what is it meant to be? "adButa
valayAlu" is one of those abstract nice phrases with no discernable
meaning that traditional poets are fond of but modern ones ostensibly
hate. Same thing with the next one "ammakaLLu adhivAstavika rUpAlu".
Unless adButavalayAlu and adhivAstavika rUpAlu have some special
symbolism, I cannot visualize what they are. So on. I am not saying that
this piece is not good - the theme is a very moving one (and has been
handled by now by many strIvAda poets) but I find the expressions
significantly inferior to the ones used in the first four selections in
particular. Agreed, the subjects are vastly different. But still, as
good a poet she is, I'm certain she would have come up with better ways
to say the same thing if she gave it some more time. naisargika svarUpam
is the worst of all in my judgement - no clear direction; expressions
too hurried: what does this mean "nIlisamudrAla alala paradAlu terici,
taramgAlalO svEcchanu adhyayanam cESAnu" - if ala is a parada to the
nIlisamudram then after removing it, how did she study the waves again?
are there waves to study even after removing the waves? or is it that
she got carried away by the sabdAlamkAram in nIlisamudrAla alala
paradAlu; taramgAlalO (several las)? Similarly, "AkASAnni somtam
cEsukoni nA svapnAlu callukumTAnu" - is also difficult for me to
understand unless she is saying that her dreams can only come to crop in
outer space - not on earth. I do understand that she is talking in this
piece about fighting alongside the fishermen, and make her countrymen
thunder and do forbideen things in general. But again the "vyaktIkaraNa"
is what I'm having trouble with.

5. In spite of these personal feelings of some "weaknesses" I have
thoroughly enjoyed reading these poems and look forward to reading the
whole collection and more from her. Before I stop, I should say
something about "cinnatalli", a very moving picturization of an all-too
familiar scene back home. Very plain language and yet extremely
powerful. 

And thanks again to Chowdary garu for not only posting them but also
providing the right context and viewpoint to use in analyzing them.

Happy New Year to everyone!

K.V.S. Ramarao