Triveni Journal

1927 | 11,233,916 words

Triveni is a journal dedicated to ancient Indian culture, history, philosophy, art, spirituality, music and all sorts of literature. Triveni was founded at Madras in 1927 and since that time various authors have donated their creativity in the form of articles, covering many aspects of public life....

ENGLISH

First Person Singular. By P. R. Ramachandra Rao, “- Kshara”. Malakpet, Hyderabad - 500036.

As stated by the author these vignettes are not essays in biogra­phy. They are not pegs to hang a tapestry of events. It is a narration of certain encounters and experiences which the author considered worth recording for his inter-actions with persons of interest and consequence. The focus is on the persons and things. Certainly, the book does not present biographical sketches, because biography is in a loose sense life-writing. Yet, it shows interesting glimpses and revealing sidelights on men and women who are nationally and internationally prominent. Some of them are less known figures but not lesser lights. Of course we know, the heroes of the dominant type are not always and everywhere the real makers of human history. There are low-profile men behind figures of high credentials who silently decide the issues and break new ground. We find that the author always maintained his dignity and balanced judgement when he interviewed the so-called celebrities who strut like a peacock or bestride the world like a Colossus. This is a refreshing trait in an interviewer.

Although the author seems to have drawn his material copiously from his diary notes, the book is not a mere chronicle or catalogue but a charming narration of inter-actions with a wide spectrum of specimens of humanity. The gallery of his mini-portraits with situational focus includes prominent Indians like Mahatma Gandhi, Jawaharlal Nehru, Subhas Chandra Bose, Sarojini Naidu, C. Rajagopalachary, V. V. Giri, Sucheta Kripalani cheek Semmangudi, Shanta Apte, Rabindranath Tagore, Nandalal Bose, Sri Sri, Uday Shankar, K. K. Hebbar Ingrid Bergman, Rossellini; Spiritual leaders like J. Krishnamurthy, Ramana Maharshi and Chandrasekhara Saraswathi of Kanchi; Judges and legal Luminaries like Patanjali Sastry, Alladi Krishnaswamy, Rajamannar, T. R. Venkatarama Sastry, Nugent Grant, V. V. Ethiraj and V. V. Srinivasa Aiyengar; administrators and political personages like General Smuts, G. Parthasarathy, Marquis of Zetland, Senanayake, de Valera (Father of the Irish nation), Siocombe and Mirza Ismail; and professors, writers and journalists like Prof. S. Chandrasekhar, (Nobel Laureate), Mark Hunter, G. D. H Cole Kotamjaru Rama Rao, M. Chalapati Rao, Frank Maraes, R. K. Karanjia, D. F. Karaka and Raja Rao.

It is a comprehensive and yet by no means an exhaustive list. The author says “I have left almost untouched here my career at the Bar of some forty five years”.

The book presents juicy bits of information and little known facts about our Indian celebrities. While writing about his first encounter with Sarojini Naidu, the author describes how she allowed herself to be surrounded by “Captive admires” who were eager to applaud her customary barbs of abrasive wit. The sketch was clinched with the tell­tale comment: “I introduced myself and was promptly ignored by Her Eminence. She put me through a severe questioning of my qualifications. Obviously dissatisfied, she did not deign an interview”. About Subhaschan­dra Bose, the author notes: “He is his own supremely efficient Public relations man. He produced a methodically tailored portfolio of clippings on himself”.

In his delicious description of Mahatma Gandhi's utter simplicity, he says, “The post card he sent me on my book is my precious possession. He was easy of access. One could enter his presence without let. You could sit and participate in the goings around him. There were other planetary bodies around him supercilious. These worthies will be unnamed.”

The author’s encounters with Mahatma Gandhi, V. K. Krishna Menon, G. Parthasarathi are some of the best pieces.

Siocombe summed up his opinion of Jawaharlal Nehru as “an agnostic Lenin meekly obedient to the precepts of the Christian Tolstoy”.

Kotamaraju Rama Rao thinks “Nehru is a bundle of weaknesses, the chief of which is family-phobia. He must get his family into everything and he is their best showman. Every one of them is thoroughly mediocre.” M. Chalapati Rao “shares with Rama Rao the critical view of Nehru; thinks however, he has outstanding integrity and energy-strong points both”. The author’s comment is “No man, I suppose, is a hero to his editor”.

It is interesting to read the author’s views on art, European culture, the Soviet political system, his early experiences as a journalist and as a lawyer, the voyage to London, the flight to Ceylone, and the impressive calendar of his speaking assignments in Europe and America. His critical appraisal of the leading advocates of the Madras Bar and their arguing styles shows penetrating analysis and balanced judgements.

All things considered, the book ‘First Person Singular’ is decidedly one of the best books published in recent times. Its engaging style, literary flavour and occasional journalistic touches make it eminently readable.

A. G. K. MURTHY

The Magic of Magik (Selected writings); Published by A. G. K. Commemorative Committee 12-2-823/A/1/5, Maruthinagar, Mehdi­patnam, Hyderabad - 29. Price: hard cover Rs 10/- paper Rs. 60/

Most men possess an irrepressible urge to express themselves and choose their own favourite medium for self expression. Some have a talent for public speaking, some have a flair for writing others have a gift for expressing themselves in fine arts like painting, playacting and music and the list runs inexhaustibly. Among those who want to write, some diligently and deliberately cultivate the art while to some writing comes effortlessly and naturally. Late Sri A.G.K. Murthy (MAGIK to his friends and admirers), the author of the book has written 65 pieces in English and 15 in Telugu in an engaging style marked by clarity and vigour. Mr. Murthy plays the referee, commends and comments on men and matters in these assorted articles.

The present volume is a selection of his articles published in newspapers between 1975 and 78, a few of them dating beyond 1980. These articles under review reveal an intelligent and active mind at work, responding and reacting to the everyday happenings in life, the foibles and idiosyncrasies of his fellowmen placed high and low in life and the prejudices of the narrow minded. The readers notice the anguish and anxiety of the writer when things seem to go wrong. He expresses his ideas freely and fearlessly without inhibitions and with the courage of his conviction.

Most of the articles are written in a lighter vein, with a touch of irony here and a little of satire there. A strain of humour runs all through with an undercurrent of pathos when the writer speaks of himself.

The writer casts his net wide and has a rich variety of subjects in his catch. Everything is grist to his mill and nothing seems to be beyond his reach and he handles each subject with equal warmth and effortless ease making his views known on topics as far removed from each other as doctors, women’s lib, lotteries, dowry menace, Viswanadha worship, helmets, science and superstition, literary appreciation/criticism, Babas and miracles, politics, politicians and Presidents, Telugu traits, higher education and in-laws, to mention only a few from his mixed bag.

In all these articles, whether in English or Telugu there is a strain or tickling humour and gentle satire, never harsh and not al all abrasive. The writer enlivens and embellishes his articles with humourous anec­dotes and stories both contemporary and of the bygone years, which drive his point home.

Many of the articles in Telugu are Telugu versions of the articles written in English. The writer appears to be equally at ease in the Telugu articles. These like their English counterparts are short, fresh, bold and senstive. The essayist stands self-revealed as essentially a humanist.

I. V. Chalapati Rao.

Sri Satya Sai. The yugaavataara (The scientific analysis of Baba Phenomena) by S. D. Kulkarni B-7-8 Shripal apartments Pancha Pakhadi. Thane Pin 400602. Price not known.

The learned author of this work under review was once a nonbe­liever in Babas and their miracles. He with his son a renowned mathe­matician in America, is now an ardent devotee of Sri Sai Baba of Putaparthi. The how and why of this change is narrated herein. This is not just another biography. It contains something more. It explains the yogic and scientific basis of miracles. Validity, efficiency and scientific basis of Maharashtra in dealt with in a chapter, Patanjalis Yoga is explained. He asserts that Sri Sai Baba is an Avataara. The Indian theory of incarnation, and the symbolic meaning of the ten Avatara’s make an interesting study. How foreign scientists have failed to unravel the mystery of Baba’s miracles is narrated here. Incidentally Hindu view of God, life and consciousness, is correlated to and compared with the modern scientific theories, chapters of “Baba’s message” his “solution to world problems” and “Baba Shows the way”, should not be missed. The “Ten fold path to Divinity” as preached by Baba, printed here on the cover page, if put in practice, will usher in a new enlightened India. The author has done a commendable job of his work.

B. K. Rao
What is Hindusim? by Dr. Kulkarni, Shri Bhagavan Vedavyasa Itihasa samsodhana Mandira B/7 -8 Shreepal Apartments, Pinchi Pakhadi, Thane 400602 - price: Rs 20/-

Does Hinduism savour of communalism? An emphatic ‘No’is the answer of the author of this timely publication. A clear and documented exploitation here in of ten cardinal tenets of Hinduism, together with its broad outlines and philosophy; compared with those of the semetic faiths, brings to senses all those that or wolf on hearing the word Hindu, and unmasks the so called secularists. Christianity and Islam are also presented in their true colours. The author avers that the modern Christianity strayed far away from the original teachings of Christ. Main teachings of Islam are also presented. Without mincing matters he advises modern politicians to stop their appeasement policy and appeals to people of other faiths also to cultivate brotherly affection to others and thus pave a path for National integration. He has a piece of advice to women importance of Hindu Samskaras is also explained. All those that are interested in the welfare of India should read this book.

B. Kutumba Rao

New Perspectives in Indian Poetics Edited By M. S. KUSH­WAHA Argo Publishing House Lucknow 1991. Price: Rs/- 250.

This is a collection of articles intended to ‘critically examine’ some aspects of Indian poetics. These articles are supposed to be ‘unconven­tional, provocative, and highly original. By accident or necessity all the essays included in this volume revolve round an attempt at defining the term rasa.

According to Mukund Lath, rasa as conceived by Bharata “was the principle through which different arts could be successfully combined into a single whole” (p. 3). To S. S. Barlingay, Bharata wanted “to show how to transform the content that was in the poet’s mind into the stage language. It was this language - at least a part of it - that, I hold, was called rasa by Bharata”. (p. 34). V. K. Gokak in what he calls a psychological interpretation translates rasa as attitude! “The eight rasas (or stt­hayibhavas) set forth by Bharata are indicative of eight attitudes. The great mistake of Bharata’s successors was to interpret these attitudes or modes as mere sentiments” (p. 78).

V. K. Chari thinks of rasa as emotive meaning. “By rasa we mean of course, not the response evoked in the mind of the reader (rasasvada) which is not available for discourse, but rather the meaning of the sentence itself describing the facts and circumstances of the emotive situation. The question, now, is whether there is a special semantic function or dimension called emotive meaning, as opposed to the expressed sense of words (vachyartha)” (p. 86). Professor Chari knows that according to Anandavardhana the unexpressed meaning in a state­ment is more significant than the expressed meaning and also that the meaning of a statement is dependent not only on its grammaticla form but something else besides it. But he still asks if rasa is arthantara what is dhvani? He is dismayed at the ‘infelicities’ in the doctrine of rasa-dhavani (p. 94). Cannnot rasa be arthantara in a way that dhvani is not?

Professor S. C. Sen Gupta has his own animadversions on the theories of rasa and dhvani. He is dissatisfied with the whole gamut of Indian poetics. (p. 97). He is at a loss to understand the transcendental, unearthly character of rasa (p. 96). He is also aghast at the quantifica­tion of rasas into eight or nine of them. It is unfortunate that a very fine and senior scholar comes to the conclusion: ‘It is the defect of the Indian theory of aesthetics that it gives primacy to rasa, it minimizes the impor­tance of the person who embodies it’ (p.97). When even some of the finest modern scholars in the West have turned themselves away from the author and concentrated their attention on the inner dynamics of the work, why does professor Sen Gupta complain against the Indian aes­thetic? This shows how much we have become alienated from our own original approaches and to what extent we have immersed ourselves in Western system.

The height of absurdity is seen in G. S. Sivarudrappa’s lamenta­tion that Indian poetics is unlike the western ‘literary criticism’ (p. 103). According to him the Indian aesthetic is enmeshed in theorise like rasa, dhvani and vakrokti to the exclusion of what he calls ‘literary criticism’ . (p. 106). The Indian approach, according to him, can “contribute nothing to the understanding of the enjoyment of the work as a whole” (p. 106).

It is well-known that there existed a distinctive mode of writing in Ancient India. The Bhashya literature and Sutra literature had their own unique style and idiom to which the modern Indian Scholar has become an alien. While the traditional pandit, who has a feel for the language, is quite at home with terms like rasa, dhvani and the like and revels in them with great gusto, it is a pity that those who have been nurtured in the Western system often get confused by trying to understand these terms through their English equivalents. Many of these terms have no equivalents in the English language. We know that there are no English equivalents even for the Greek Catharsis and Hamartia.

Rasa has no English equivalent and its ramifications are many. If at all there is any English word that comes close to rasa it is ‘poetry’---­poetry that is in a dew drop, a falling leaf, a cloud or the starry sky. Where there is rasa there is poetry and where there is poetry there is rasa. From the statement rasayate it rasah one can infer that rasa has a communicative function as well.

When Bharata speaks of sringara rasa he is referring to poetry that communicates love. When he speaks of vira rasa he is referring to poetry that communicates the heroic. Likewise adbhuta rasa is poetic communication of the sublime or the fascinating. Vismaya rasa is poetic communication of the wonderful. Rasa involves juicy flowing, dripping; it is affective communication.

When a poet finds (or responds to) poetry in an object or phenome­non and gives expression to it in words it results in a poetic statement or utterance. Vakyam rasatmakam kavyam a sentence full of rasa is poetic composition.

Rasa is also the creative imagination. According to the Greek view a poet is a maker or creator. But according to the Indian view rasa is creator Himself -- rasa val sah so, it is the creative imagination that is important as it is identical with the creator. More than the poet it is his work that is important.

Rasa has several connotations but in poetics it is close to what we call poetry, poetic communication or the creative imagination. Is not poetic communication imbued with arthantara in a way that dhvani is not? Then what is rasa-dhvani? Rasa-dhvani is a theory that deals with poetic communication by means of evocation or suggestion. Is this not simple?

The Indian scholar must return to the Indian aesthetic if he wishes to make any original contribution to literary criticism.

V. Rama Murthy

TELUGU

Nawani Puwu By. Turaga Janaki Rani, Pratyusha Prachur­analu, 3-4-864/1, Barakatpura, HYDERABAD - 500027. Price: RS.20.

The Collection of short stories by Smt. T. Janaki Rani entitled “The flower that never laughed” deals with a variety of subjects with excellent penmanship. In the first story “Jaganmata” sheprotrays the firm deter­mination and self-confidence of a modern young lady showing a new angle of vision. In most of the stories the reality from women’s point of view has been described presenting their attitudes in different angles. These are not love stories and are not filled by vulgarity or violence to women. Smt. Janaki Rani penned these stories after keen observation of people around her, coupled with her own experience. Though the characters in these stories appear to be familiar they stand distinctly with a new inspiration as unique personalities.

Every story presents a true analysis of the society and kindles critical thinking, creating new enthusiasm among readers for the short story. She has published nearly 80 short stories during the last 40 years in various magazines and broadcast quite of few of them. This is her third publication of collected stories. There is a constant change in the attitude of the author corresponding to the change in the social structure, standards and values, she gives importance to love, sacrifice, mutual respect and family prestige, even sacrificing a little, individual liberty, rights and welfare of women.

This book containing a collection of 15 stories presenting an x-ray of men and women, will be an interesting and instructive reading contributing to the development of social awareness among the readers.

Prof. Chaganti Siva Subba Rao.

MAATA KACHERI BY TURAGA KRISHNA MOHAN RAO, Pra­tyusha Prachuranalu, 3-4-864/1, Barakatpura, HYDERABAD - 500 027. Price: RS. 25/-

This is a collection of 21 fictitious anecdotes written by late Sri Turaga Krishna Mohan Rao describing various funny situations. Most of the anecdotes are satirical on political leaders, social workers, film people, litigants, musicians, office workers, dramatists, speakers, journalists and women. Every episode evokes laughter in the reader. The importance of fun for a healthy life has been recognised and emphasized by many writers in the past but very few people can accomplish this through writing. The episodes presented by Mr. Krishna Mohan Rao proved his mastery of penmanship provoking laughter through depiction of funny incidents. At the same time there is a serious undercurrent beyond these light consequences pointing out the weaknesses, mischie­vous and ulterior motives of individuals corrupting our social life.

This collection, actually named as Maata Kacheri as the render­ings are likened to music presented in familiar conversational language, proves intelligible to the common reader, producing the desired bliss through Maata (word) used instead of Paata (song). This approach adopts an interesting methodology of life reforming the individual and society without directly blaming them of their ills and weaknesses, but by attracting them to take to the message, through a pleasant reading of commonplace funny incidents we come across, though we fail to under­stand their anatomy, which only a skilful writer like Mr. Krishna Mohan Rao can perceive.

Prof. Chaganti Siva Subba Rao

Like what you read? Consider supporting this website: