Re: kottha kavithallO kavi samayAlu
uday bhaskar (srijna@hotmail.com)
Sat, 24 May 1997 10:56:10 PDT
I agree with Vasu Gaaru. Samayam okate cAladu Rama Rao Gaaru, Sandarbham kUda
teliyali.
Context is what distinguishes modern poetry from traditional, much more than
form.
The collection that you referred to (Kavitaa O Kavitaa) deals with issues
ranging from the uniquely modern tribulations of a single parent mother to the
humiliations of urban poverty to child labor in open cast mines and every other
"modern" problem that you can think of.
I do not have that collection with me, but from memory, I think this aspect is
discussed in the foreword.
May I point you to another similar collection called "I daSAbdapu yuDha
kavitalu" - a collection of modern poems that came out between 1971 to '80. This
was published by the Osmania University Poetry Circle (I think) with a foreword
by Sri Chekuri Rama Rao Gaaru. Once again, I think what you are looking for can
be found in the foreword of that book.
Regards,
Uday.
Nyayapathi Srinivas Gaaru wrote:
>Not necessarily. Not always. I did not understand many things about
>bhakti philosophy and Vaishnava Maaya or such-stuff when i read the
>most memorable (for its sheer aesthetic appeal) prabandham, manu caritra.
>
>But when i read some interpretations, i began to appreciate it more.
>So the claim that traditional poetry is a scalar sum of its words
>is incomplete/incorrect.
>
>Any express involved/deep-thought (poetry being one such) may need a bit
>of interpretation. This doesn't make that poetry bad, though!
>
>Getting closer to modern poetry doesn't imply a major paradigm shift.
>It actually is living in our own times.
>
>I can't say the same for the classics.
>One should be so familiar with alankaara Saastram, aanandavardhanuDu,
>all those do's and don'ts even to talk about them.
>It is like 'kuppuswaamayyar made difficult'.
>
>Ofcourse, genuine poetry (ancient/modern)
>communicates before it is understood.
>
>Modern poetry is what really is close to us.
>And, I agree.
>The literary/political 'isms' made it a bit more difficult
>but no serious reader should complain because times change
>and new-methods and new-techniques are what give poetry
>a new life.
>
>'Make it new' was what Ezra Pound said to poets.
>
>> While Dhvani plays some role in the older poetry,
>> it appears that a large fraction of the recent poetry is based on Dhvani
>> ...............................................................
>
>Your familiarity with the traditional tools and expressions should
>not be inhibotors.
>
>Quite a few modern poets said in several occasions that modern poetry
>HAS TO BE NECESSARILY SHALLOW. And that's a very deep statement.
>
>To break out of the old-shackles, poets invent new forms of
>expression and throwing-out all old phrases and styles is one such.
>
>The aesthetic appeal that modern poetry is capable of is never inferior
>to that which the traditional classics are admired for.
>
>> and never felt so helpless in trying to understand the poet. Imagery,
>>..............................................................
>
>Take a poem that most people like and we can discuss.
>
>> What I am trying to do: In essence, my very ambitious goal is to
>> identify all the tools one needs to understand this recent poetry as
>> clearly as the traditional one and then "build" those tools that do not
>> yet exist in any formal form.
>
>I'm sorry to say that this is academic trivia.
>You cannot dissect a joke and expect to see 'humour'.
>
>Regarding your comments on criticism, i agree that Telugu
>cannot boast of too many crictics but there still are good
>critics.
>
>One example i cite here is the review article by
>Sree Veleru on Jayaprabha's poem 'sparSaanu raagaanni aalapistoo'.
>(Serialized in Andhra Jyoti several years back)
>The above poem of hers is a LOT LOT better than her more often
>quoted 'coopulu' which most feminists love to quote and which
>is rather dull.
>
>--
>
>Regards & Thanks
>Vasu.
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