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Agni Chakra (Chapter 2)

Translated by Ranga Chandrarathne and Edited

I think that 'the implied meaning of a poem lies in its interpretation '. I can't remember how this idea got established in my mind. However, this idea embedded in me like a God-given secret that I have not divulged to anyone, at any place or written down anywhere.

I thought that I was elevated to the status of a poet by the analysis made thereof by critics. Their interpretations were many and varied. I had never dreamt of such possibilities of meaning when writing poetry in question.

Elated by these accolades, I was tempted to polish up and published my work which I had scribbled in and discarded among note books as nonsensical rants. Amazingly, they were highly taken up by all concerned.

Some might have arguments that could nullify my idea that 'a poem achieves completeness in interpretations'. The following poem which was often cited by many critics when interpreting Japanese Haiku poems would provide an example:

The ancient pond

A frog jumps in

The sound of the water

I cannot think anything other than the simple idea of 'A frog jumping into an ancient pond and the sound it produces in the water' in this poem. From the interpretations of this poem, I have learnt as implied by the poem the world pervading characteristics such as the splendour of nature and impermanence of all matters. I did not know whether it was because of my inability of full in appreciation.

However, I felt that I was gifted with talents required to be a poet. My poems were later subject to evaluations and discussions in forums of intellectuals.

My poems were included in some of the textbooks prescribed for the study of modern poetry at universities. All these cannot be attributed to mere 'merits acquired in the past lives if there were any'; for as soon as this is mentioned, the credit goes to a previous existence. If I have achieved a certain degree of success, it is due to the perseverance of my present existence. It may be stated that it is the result of a collective effort. That 'collective' factor had not been born out of planning or agreement. It is the result of a silent consensus of university lecturers, editors-in-charge of newspapers, page editors of newspapers, literary personnel and a super class book publisher.

I knew the existence of writers and literary activists and required the assistance of most of these personnel. I entered the field of literature with an understanding of the literary scenario. I knew that one could be a successful manufacturer of goods only if one could identify the market.

If someone asked me why I began to write poems, I could say that it was because of 'sheer love of poetry'. However, I never said so. At the time I began writing poetry, there were two main trends of Sinhalese poetry: the Colombo School's tradition of poetry and free verse. I could still remember what a great effort I made to write a good poem in the former tradition. But it was not easy for me to express a deep idea by fitting the language into a particular meter. Whenever I tried to stick to a meter in a four-lined poem, often they became mere words just filling the meter. It was because of this reason, I chose free verse strand. But I still believe that the necessary feature of a poem is 'rhythm' and that a poem is embellished by meter. But is this language of poetry cultivated by Colombo poet capable of expressing one's experience? Sekara had doubts about this possibility. He has made remarks to this effect. I could remember somewhere he had stressed that rhythms and alliteration only add immature taste to a poem. However, Gunadasa Amerasekara has identified the traditional language of classical poetry as the language of the heart. I thought that was not the principle objective of the classical poet whose aim was to intensify the expressed emotions. How far does the expression; 'the language of the heart' is sufficient to make this point? Was there any poetic depth in some of the latter poems of Sekara? Later doubts about this arose in mind and vanished themselves like a water-bubble. I thought, therefore, the best way to interpret Sekara, who searched novel avenues in poems as explorer, is as an explorer of poetic norms. But I always appreciate Sekara's capacity in exploring new poetic norms. His depth of thoughts in Sinhalese poetry is in his works like 'Rajatilaka Lionel ha Priyantha'.

Reading it aroused creative impulses in me which prompted me to publish my poetry. "Had the factors of life and living disadvantaged some of the creative writers?" entered my mind after that. "The writers of this country are recognised only at their death? ", often arose in my mind"

Those days, I was not satisfied with most of my poetry. It was later that I was convinced that there was something in them which was beyond the primary meaning of words and of their combinations. However, I always believe the immediate purpose of a poem is to give pleasure through pain. I thought that the stimulation for codifying the sentiments on a piece of paper came from nostalgia. Once, Nobel laureate Garcia Marquez said so. Once, Mahagama Sekara emphasised:

During a bitter

Time of life

The woes

That I threw up

From my mouth

In delirium

And subsequently

You gather them

And called a great poem.

My experiences in composing poems are almost similar to those. Though I did not posses such creative talents, I continuously engaged in the exercise of writing poetry.

It was in the mid 1960s, that my first ever poem came out in the medium of print. But I thought that I established myself as a poet following the publication of my first anthology of poetry entitled 'Konduruwo'. It was well received by poetic connoisseurs and readers. The most heart-felt among them was the forceful letter by a girl named Shantha Nagahawatte who wrote to me in pearl-like hand-writing. She did not write either that the anthology of poetry 'Konduruwo' evoked her sentiments nor it enriched her. Instead she questioned the future of the poetry and male and female poets. I did not know for sure, why she had attached a question to it about genuineness of the village and the culture in the village.

Though I too could say that my roots also remain in the 'village', I could only recall 'village' through scattered or spread out thoughts. I must stress emphatically that the 'village' known to me is entirely different to the village portrayed by most of the writers and poets. I could not remember that there was greenery with blooming flowers, crystal-clear streams with cold water or unassuming and sincere villagers. When I recall the village what comes to my mind is a place full of dried up flora and fauna drought-stricken cracked earth, tanks with murky waters as well as the images of men shrunken down like dwarfs due to burden of life. Along with this, I feel a strong disgusting stench of crushed trees and the body odour in buffalo like image of Uncle Jamis that I perceive through an organ outside my five senses. I have a memory of him cast like a dark shadow over the mind reminding how he trampled and tortured me. I still don't know how my poetry blossomed in an environment of archetype beliefs. I too would have sprung up like a sapling from a void in the society scattered into single-units during the rapid social transformation that took place from the mid seventies.

My childhood was spent among numerous hardships, sufferings and wretchedness. When I peep through the key-hole of present into that era which is locked up as forbidden territory, certain enthusiasm generates within me. In retrospection of even a period in life which was full of difficulties and sufferings, one could experience a certain aesthetic rapture in it. But I did not know the reason for this.

My world of childhood lacked not only food and beverages but also clothing, playing and affection that I experienced in very little doses. I was overwhelmed by the desire to read newspapers, and read even the newspaper which was used to wrap a quarter pound of sugar. Those days, Boolto and ball of pop-corn were among my delicacies. I could not remember that I was in misery and suffering and or had a great a desire to run away from my plight.

I don't think that one would develop a desire to get out of the misery when one lives in it. When deeply ingrained in misery, one would not feel one experiences 'suffering'. The constant desire in such a person's mind is to acquire 'luxury' which is beyond their reach. Only a person, who suffers in the hell, could realistically imagine the zest of nectar.

The zests that can be perceived through five senses in the heaven would come to mind in the hell. It is a strong and firm feeling. It is only the mind of the poor who is suffering that perceptions of Kokanada Veenava, Kalpa vriksha or Surabi Dena would arise. My personal opinion is that only a very rich person, could practice renunciation or give up luxuries.

My mind was stimulated, due to the influence from the poetry of Colombo era and Sekara's work that drifted through various directions, making multiple shades and shadows. It may be the reason why I could not settle down to a quiet life.

'The first step towards

Creating a splendid Society

Is to build a world

Capable of providing

Food and beverages

Clothing Housing'

I plunged into my path based on this idea enunciated by Sekara in his anthology of poetry entitled 'Prabhudha'. I was overwhelmed with the desire to reach the goal. I scarified a lot to achieve this goal. I walked on a tight rope disregarding risks. Despite the nature and facets of challenges before me, finally I was able to sit even with nobles on the same stage, overcoming several challenges.

In most instances in my life, I made decisions notwithstanding risks. One example of this behaviour is my subsequent choice of 'Stock Market' to invest money.

I knew clearly that most of those who belonged to my class had no strength, courage or interests in making such decisions. The people of lower middle class select State Banks to invest even a negligible amount of money. They think that their money would be safe in State Banks. However, those whom I know from upper middle class did their transactions with Private Banks. Was the money 'unimportant' for them?

But I knew well that one that slips away quickly is the one tiptoed.

Footnotes

Sekara- A celebrated Sinhala poet, who's literary name is Mahagama Sekara

Rajatilaka Lionel ha Priyantha- One of Mahagama Sekara's seminal works

Boolto - A cheap variety of toffee

Suffering' (Dukkha) - the literary meaning of Dukkha is much more than suffering in English.

Kokanada Veenava- A red lotus shaped Veena

Kalpa vriksha - A wish conferring divine tree that is a common trope in Sanskrit literature.

Surabi Dena - A wish conferring sacred cow

'Prabhudha'-Title of an anthology by Mahagama Sekara

 

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