It’s only been two song posts, but I have had to go through my entire Bhaavageethe stock to find the right song to post each time. It means I need to inventorize my head with respect to this page, because, as much of a simple pleasure this is for me, I certainly hope it lends a little exposure to the ‘culture’ that is a language such as Kannada, to people. This does not mean I post this with the sole intent of reaching out to the non-Kannada-speakers, I hope my writing isn’t that narrow hearted or preachy. Indeed, I am rediscovering this language myself, I so thought was my own for the last twenty six years.
I was hoping to get to this song sometime, considering it is perhaps the closest to an anthem I will ever have in life. (Heavy, much) But there was a problem. The very moment I published my first post I realised I have taken upon myself an intimidating task. There are poets, and then there are poets. And most of these Bhaavageethe’s that I so dearly love, have been written by the latter category. From B. R. Laxman Rao’s sheer simplicity in expressing such lucid thought, G. P. Rajaratnam’s melodic lines, to the Nerudic romanticism of K. S. Narasimhaswami, the overwhelming emotions and eroticism of Da. Ra. Bendre, several many more; I am a mere mortal at best. With a curious mixture of dread and excitement, I approach every poem, hoping I do justice to the great ones’ works…
Now of the poets mentioned above, specific mentions missing are quite a few, I will talk about three now. One of the trio, is an unsung literary genius of Kannada literature. While his work itself matches Shakespeare in eloquence, and any great writer across the world for volume, he was so humble that he referred to himself as Mankuthimma (A village simpleton kind of a character). Of the other two, two of the only three deemed rAshTrakavi’s (Poets of the State/Nation) of Kannada, one of whom is even aptly titled the rasarushi (A sage of essences). The Rashtrakavi who wrote this wonderful poem is Dr. G. S. Shivarudrappa. The other two of the three I mentioned, it is apt that we talk about them in a later, more dedicated post.
ede thumbi haaDidenu, andu naanu.
From the innards of my heart, did I sing that day.
manaviTTu kELidiri, alli neevu.
With such intent attention, had you heard what I did say.
indu naa haaDidaru, andinantheye kuLithu,
If I am to sing again now, grant me an audience,
kELuviri saakenage, aduve bahumaana.
lend me an ear, that prize, I covet the most.
haaDu hakkige bEke, birudu sanmaana..
Won’t a song bird still sing, whether or not an award it might bring? #1
ella kELali endu, naanu haaDuvudilla,
Now, that I want to be heard, is not why I sing
haaDuvudu anivaarya, karma nanage.
Inevitably mine is my fate, endlessly to sing.
kELuvavariharendu, naa balle adarinda,
I know thus, that the generous will hear me, always
hADuvenu maidumbi, endinanthe,
Fervently, I shall sing forever, as ever before… #2
So, shut their ears if someone should,
Not in the least bit worry, I would! #3
#1 The first verse of this beautiful poem conveys all that needs to be said. This song bird reference is in fact, so absolute, it is continually used in popular cinema, and all of which I consider to be homage to the great Dr. GSS. While we see people all round us doing the best they can, to harness their skills in return for monetary gains (absolutely nothing wrong with that), it seems startlingly simple and romantic to look up to a tiny song bird that sings for no apparent benefits. Of course, one might argue that the bird is perhaps courting, and singing with the hope of finding somebody to love. But don’t we all do things so very similar?! And all would agree, finding someone to love, especially in the animal kingdom is more of an expense than a monetary benefit.
#2 This verse can very easily be misinterpreted to be the declaration of a very selfish artist, as can the whole poem infact. On the contrary, it is the humble confession of an artiste who has completely submitted to his/her art. Trivial things that the ego desires, like having an audience, is not what drives the art. While with even more humility, the poet has already exclaimed in the first verse that to have an audience is the greatest prize a singer could ask for, it is a clarification that, audience or not the singing wouldn’t stop. (I did not intend to rhyme that. Sorry.)
Another point to note in this verse is the escalation of feeling intended in the poem. Either it is not possible to translate this the right way, or my own command of English is that much weak, I will clarify. The first line of the poem, ede thumbi haaDidenu refers to an earnest, sincere, heartfelt rendition from the artiste already, by indicating that the song comes straight from the chest/heart. As the poem reaches it’s crescendo, as it does in this line, haaDuvenu maidumbi, endinanthe, the poet delightfully ups the ante in saying literally, as ever he sings, with his whole body, just as earnest…
If that is not a selfless state of being, I don’t know what is.
#3 Again, I have to shamefully disclaim that my translation does no justice to these last two lines of ultimate emancipation. In my opinion, when the poet talks of someone with their ears shut, rather than someone literally shutting their ears or not accepting an art, it is more to do with one’s presence not being acknowledged. And the last line, nanagilla chinthe is best said in Kannada and that is that. Chinthe just means “worries”. So these two words, which translate to “Worries, I have none” I feel, just does not indicate just how deep, the simplicity of the statement is, in the context of the poem. I hope this elaborate explanation of it, does something for a better understanding of it.
I think I will pick up a love poem sometime soon. Although I have been known to indulge in that which is cheesy, what can I say, I love cheese.
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