SRKSagar gaaru: Thanks for the information about the Tamil film and esp. in getting the music composer’s name right! The film version seems to have been released but not the Telugu one?!
I see that in Tamil also they used C. Ramachandra’s tune. You can listen to it here.
Robert Louis Stevenson in his essay “On some technical elements of style in Literature” opens his essay saying:
“There is nothing more disenchanting to man than to be shown the springs and mechanisms of any art. All our arts and occupations lie wholly on the surface: it is on the surface that we perceive their beauty, fitness and significance: and to pry below is to be appalled by their emptiness and shocked by the coarseness of the strings and pulleys.”
Stevenson, The Scot from 19th century, had written Treasure Island. He wrote Dr. Jekyll and Mr. Hyde. If there is no Dr. J & Mr. H -there is no Dorian Gray of Oscar Wilde. Being fond of all of them, inspite of his own cautionary remarks, I went ahead and read his essay to know what good poetry is and what good prose is.
I have also been disobeying Mr. Stevenson, by reading J. K. Mohana Rao, who had been systematically showing the springs and mechanisms of poetry. It is a non-stop disenchantment. I am reading him in Racchabanda Yahoo groups, (Rb) for 13 years now.
In there, in his ‘lessons’, as he is deconstructing and constructing poetry – to give examples – he took nature, bhakti, and love as his subjects. I think he chooses all in every lesson almost, not to excel in each but to nullify himself. To maintain a sense of neutrality towards the subject matter in his poems. Ultimately what he wrote in Rb are mere examples; he has to stick to his ‘lesson’ in prosody, and be in the garb of ‘a teacher.’
However, when there are words, I can’t ignore words. I read words. Meaning is everything to me. So, in his teaching examples I judge him. Aside, I think each time;
Mohana Rao is o.k. with nature as subject, he is terribly unconvincing in bhakti, and hopeless in love. I change my grades as I please.
One may say I should not be looking for ‘poetry’ in examples given to understand ‘prosody’. But I do. I think (like James Fenton) even as an example, you should not write poor poetry. That is setting a bad example. I think if one wants to teach ‘Form,’ they should follow the advice of Stanley Fish. Instead of real words and sentences, the teacher should use fake words and sentences. Then the student is not distracted by the ‘word.’ Then the form is brought out better. More importantly the sanctity of word is protected. To me, ultimately the power lies in the ‘word.’ In the ‘meaning.’
Of course, anything on the subject of poetry I say, a judge will rule – “Jurors, strike those words, she is an incompetent witness, she is not an expert and she has no business to talk about these matters.” While I agree, I won’t zip up. I say my words, and then let the police come and drag me out of the court.
Now, Let us look at this particular essay published right here in eemaata. The ancient poetry offered in the essay is exquisite, but they are not of essayist. The one piece of poetry he ‘constructed’ on his own, fails utterly. His argument about Kalidasa’s authorship does not have one leg to stand on. Why does he even want to bring it up in this essay? His understanding of why certain poems are poetic and musical are faulty. Stevenson, will simply have a fit.
Yet, I have to say even if his essay is mostly data collection, the data is of high quality. His selection of poetry each time, indicates his excellent taste in poetry. He will make sure we will be introduced to good prosodic poetry by hook or crook. Even if he messes up his assertions, the essay lets people think about them. Once after the publication of his essay, when other scholars offer information, he brings it to the table. He is primarily interested in learning. Not his own theory pusher and crusher of others’ research.
Study of prosody is J.K. Mohana Rao’s passion and he will continue on that path of course. It is a great study. I think Mohana Rao has done enough practice dissecting and examining the insides of poetry. He now knows lot of meters. It is high time He should write poetry. (Full of contradictions, he did already and he didn’t.) I like to bring up poet Gurram Joshua. He practiced and practiced describing everything and anything he saw – a dog, a bird, a spider-web, a man etc., – in metrical verse. And ultimately he could write fluently in verse without using prose.
Personally I think Mohana Rao has already written good ‘romantic poetry’. I said that time ago in Rb. I know, my opinion does not count. Rightly so, an author seeks validation from scholars, prosodists, and genuine poets. And Rb is not Ivy League.
Do I care! There are two poets I rank no.1. And no. 2. in romantic poetry. First rank goes to Goethe. 2nd goes to Pablo Neruda. Even if I can only read them in English, I still say so. Their poetry speaks to me. There is no number three. Yet. I will venture Mohana Rao has a fair chance of going into slot no. 3. In my list.
Now, it is time for me to politely close. What any writer does is his or her business. And may be an editor’s. Editors are treasure hunters. Look into Mohana Rao’s poems in racchabanda, beautiful poems to bring together under a few themes can be found. Poems in a collection don’t have to tell a story. But there has to be some cohesiveness. A volume does not have to be fat to attract. There are hardly 20 poems in the slender books I read of Goethe and Neruda. To put a good volume together is an editor’s job. A great editor heartlessly discards a lot and heartily brings out the best of an author.
మీ సూచన బాగానే ఉంది కాని ఎంతమందికి ఆ ఓపిక ఉంది. ఎంత మంది సంపాదకులు తమవంతు కర్తవ్యంగా, బాధ్యతగా నిర్వహించగలరు!
సా.వెం రమేశ్ తన కథల గంపలో వాడిన పదాలు కొన్ని, మీరన్నట్టుగానే తెలుగు తెలుసు అనుకునే వారందరికి అర్ధం కావు. ఉదాహరణకి కొన్ని పదాలుః చనుప, నెరవు, తెరువు, దడము, బడిమి, పుంత, నడవ, మయి, జాడ, ఓణి, కంతి, చొప్పు.
అందరికి అర్ధం కావనుకున్న వాటన్నింటికి తనే అర్ధం ఇచ్చాడు.
మాండలీకంలో వ్రాసే రచయితలందరుఉ ఈ సూచనని పాటిస్తే బాగానే ఉంటుంది.
జిక్కి పాడిన మూడు పాటలు గురించి Sreenivas Paruchuri అభిప్రాయం:
09/08/2018 5:14 am
SRKSagar gaaru: Thanks for the information about the Tamil film and esp. in getting the music composer’s name right! The film version seems to have been released but not the Telugu one?!
I see that in Tamil also they used C. Ramachandra’s tune. You can listen to it here.
కె. రాణి పాడిన కొన్ని పాటలు గురించి Sreenivas Paruchuri అభిప్రాయం:
09/08/2018 5:02 am
SRKSagar gaaru: It is K. Rani’s voice. I am traveling now. I shall provide the disc details in the next few days.
Bhavanaryana gaaru: I did not get your last sentence? Do I sound prejudiced in my writeup above?
కె. రాణి పాడిన కొన్ని పాటలు గురించి srksagar అభిప్రాయం:
09/07/2018 11:14 pm
Record label దొరికితే ఇస్తాను, 50’s పత్రికలు తిరగేస్తున్నాను
కాకిబొడ్డు గురించి Anil అట్లూరి అభిప్రాయం:
09/07/2018 9:45 pm
లలిత గారి ప్రశ్నే నాది కూడా! కాకిబొడ్డు అంటే ఏమిటో !
ఈ గోదారోళ్ళ పలకరింపులు భలే గుంటాయి.
కె. రాణి పాడిన కొన్ని పాటలు గురించి srksagar అభిప్రాయం:
09/07/2018 3:48 am
గీతము పాడుదున పాట సుశీల గారి గళం అనిపిస్తోంది ఒకసారి ఆలకించండి 1950 చిలుకులో పాడినదానిగా అనిపిస్తోంది?
జిక్కి పాడిన మూడు పాటలు గురించి srksagar అభిప్రాయం:
09/07/2018 2:33 am
మబ్బుల్లో జాబిల్లి – ఆరుద్ర రాసిన పాట. ఇది, పేదపిల్ల (1951?)
Aaraaro Aaraaro Aariraaro Amudhe – Jikki
తూరుపుగాలులు గురించి సంతోష్ అభిప్రాయం:
09/07/2018 1:38 am
చాలా చక్కగా సవివరంగా సమీక్షించారు. సమీక్ష చదువుతుంటే ఎలాగైనా కథలన్నీ చదివాలనిపించింది.
శ్యామలాదండకపు ఛందస్సు గురించి lyla yerneni అభిప్రాయం:
09/06/2018 1:53 pm
Robert Louis Stevenson in his essay “On some technical elements of style in Literature” opens his essay saying:
“There is nothing more disenchanting to man than to be shown the springs and mechanisms of any art. All our arts and occupations lie wholly on the surface: it is on the surface that we perceive their beauty, fitness and significance: and to pry below is to be appalled by their emptiness and shocked by the coarseness of the strings and pulleys.”
Stevenson, The Scot from 19th century, had written Treasure Island. He wrote Dr. Jekyll and Mr. Hyde. If there is no Dr. J & Mr. H -there is no Dorian Gray of Oscar Wilde. Being fond of all of them, inspite of his own cautionary remarks, I went ahead and read his essay to know what good poetry is and what good prose is.
I have also been disobeying Mr. Stevenson, by reading J. K. Mohana Rao, who had been systematically showing the springs and mechanisms of poetry. It is a non-stop disenchantment. I am reading him in Racchabanda Yahoo groups, (Rb) for 13 years now.
In there, in his ‘lessons’, as he is deconstructing and constructing poetry – to give examples – he took nature, bhakti, and love as his subjects. I think he chooses all in every lesson almost, not to excel in each but to nullify himself. To maintain a sense of neutrality towards the subject matter in his poems. Ultimately what he wrote in Rb are mere examples; he has to stick to his ‘lesson’ in prosody, and be in the garb of ‘a teacher.’
However, when there are words, I can’t ignore words. I read words. Meaning is everything to me. So, in his teaching examples I judge him. Aside, I think each time;
Mohana Rao is o.k. with nature as subject, he is terribly unconvincing in bhakti, and hopeless in love. I change my grades as I please.
One may say I should not be looking for ‘poetry’ in examples given to understand ‘prosody’. But I do. I think (like James Fenton) even as an example, you should not write poor poetry. That is setting a bad example. I think if one wants to teach ‘Form,’ they should follow the advice of Stanley Fish. Instead of real words and sentences, the teacher should use fake words and sentences. Then the student is not distracted by the ‘word.’ Then the form is brought out better. More importantly the sanctity of word is protected. To me, ultimately the power lies in the ‘word.’ In the ‘meaning.’
Of course, anything on the subject of poetry I say, a judge will rule – “Jurors, strike those words, she is an incompetent witness, she is not an expert and she has no business to talk about these matters.” While I agree, I won’t zip up. I say my words, and then let the police come and drag me out of the court.
Now, Let us look at this particular essay published right here in eemaata. The ancient poetry offered in the essay is exquisite, but they are not of essayist. The one piece of poetry he ‘constructed’ on his own, fails utterly. His argument about Kalidasa’s authorship does not have one leg to stand on. Why does he even want to bring it up in this essay? His understanding of why certain poems are poetic and musical are faulty. Stevenson, will simply have a fit.
Yet, I have to say even if his essay is mostly data collection, the data is of high quality. His selection of poetry each time, indicates his excellent taste in poetry. He will make sure we will be introduced to good prosodic poetry by hook or crook. Even if he messes up his assertions, the essay lets people think about them. Once after the publication of his essay, when other scholars offer information, he brings it to the table. He is primarily interested in learning. Not his own theory pusher and crusher of others’ research.
Study of prosody is J.K. Mohana Rao’s passion and he will continue on that path of course. It is a great study. I think Mohana Rao has done enough practice dissecting and examining the insides of poetry. He now knows lot of meters. It is high time He should write poetry. (Full of contradictions, he did already and he didn’t.) I like to bring up poet Gurram Joshua. He practiced and practiced describing everything and anything he saw – a dog, a bird, a spider-web, a man etc., – in metrical verse. And ultimately he could write fluently in verse without using prose.
Personally I think Mohana Rao has already written good ‘romantic poetry’. I said that time ago in Rb. I know, my opinion does not count. Rightly so, an author seeks validation from scholars, prosodists, and genuine poets. And Rb is not Ivy League.
Do I care! There are two poets I rank no.1. And no. 2. in romantic poetry. First rank goes to Goethe. 2nd goes to Pablo Neruda. Even if I can only read them in English, I still say so. Their poetry speaks to me. There is no number three. Yet. I will venture Mohana Rao has a fair chance of going into slot no. 3. In my list.
Now, it is time for me to politely close. What any writer does is his or her business. And may be an editor’s. Editors are treasure hunters. Look into Mohana Rao’s poems in racchabanda, beautiful poems to bring together under a few themes can be found. Poems in a collection don’t have to tell a story. But there has to be some cohesiveness. A volume does not have to be fat to attract. There are hardly 20 poems in the slender books I read of Goethe and Neruda. To put a good volume together is an editor’s job. A great editor heartlessly discards a lot and heartily brings out the best of an author.
Thanks,
-Lyla.
శోకము: ఒక పరిశీలన గురించి రాఘవ అభిప్రాయం:
09/06/2018 3:39 am
పూర్ణిమగారూ,
త్రివేణులు విడివిడిగా ఒకేసారి వెల్లువెత్తుతున్నపుడు వాటి సంగమంలో నిలబడినట్టుగా ఉందండీ. బాగా వ్రాసారు. అభినందనలు.
ఇట్లు
భవదీయుడు
బేతాళ కథలు: కథన కుతూహలం – 4 గురించి Anil అట్లూరి అభిప్రాయం:
09/05/2018 1:21 pm
మీ సూచన బాగానే ఉంది కాని ఎంతమందికి ఆ ఓపిక ఉంది. ఎంత మంది సంపాదకులు తమవంతు కర్తవ్యంగా, బాధ్యతగా నిర్వహించగలరు!
సా.వెం రమేశ్ తన కథల గంపలో వాడిన పదాలు కొన్ని, మీరన్నట్టుగానే తెలుగు తెలుసు అనుకునే వారందరికి అర్ధం కావు. ఉదాహరణకి కొన్ని పదాలుః చనుప, నెరవు, తెరువు, దడము, బడిమి, పుంత, నడవ, మయి, జాడ, ఓణి, కంతి, చొప్పు.
అందరికి అర్ధం కావనుకున్న వాటన్నింటికి తనే అర్ధం ఇచ్చాడు.
మాండలీకంలో వ్రాసే రచయితలందరుఉ ఈ సూచనని పాటిస్తే బాగానే ఉంటుంది.