Haiku & simplicity etc.
STADIGAD.US.ORACLE.COM (STADIGAD@us.oracle.com)
05 Dec 95 11:23:25 -0800
Parigi: Haiku padyaalu are simple in meter and at
the same time profound.
Ans: Simplicity in meter/metre is one thing and profoundness is
another. Our theory of chandas starts starts with the first
chanda has only one letter. The last chanda the theory goes
to address has 26 letters. All those composed of more than
26 letters are collectively called `uddhura maalaa' vritta
class. The first, chanda for the sake of record atleast on our
thread is `Sree'. It is one guru (U) on each line. That
is all. [ example: aa / ram / bhin / chen ]
Being so tiny, it has no praasa and yati to position.
Now for porfoundness, it is the calibre of the poet to make
some poem appear profound. The metre and language cann't make
a poem profound. I think in Kalpavriksha, VSN has used some
3 letter chandas. I am sorry, I can not recall which or where.
Parigi:They have a mystic quality
Ans: Again, the mystic quality of a poem is on purpose as intended
by the poet and nothing to do with the language & metre.
Parigi:But, I would now stick with my export policy
Ans: This is what I like most.
Parigi: if you exclude the fourth line in Vemana padyam, it is
a beauty in brevity.
Ans: No need. Most times, vEmana's poetic beauty makes each
pada complete in it own right. for some examples, consider,
"uppu kappu rambu - okka pOlika nundu"
"pushu landu - puNya purushulu vErayaa"
"kanchu mrOgunaTlu - kanakambu mrOgunaa?"
"urvi janula kella - unDu tappu"
"tappu lennu vaaru - tama tappu lerugaru"
"cheppu tineDu kukka - cheraku teeperugunaa?"
and so many.
Taking the poAem as whole, still there is brevity, as the last
line is only a makuta - some thing like a (authority) stamp."
It is the poetic beauty and brevity that goes to impress the
people it addresses. He is not a loner, see pOtana's line:
"ooraka raaru mahaatmulu"
It has become a proverb.
So, it is the poet that makes a difference. Metres are tools
and the poet knows how to employ them.
- Syamala Rao
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