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Song Celestial of Utmost Faith
|by Dr.Rama Rao Vadapalli V.B.|
Prayer comes from faith and devotion. Poets of yore expressed their devotion in composing the epics as devotional literature. A poet’s composition depends on scholarship and accomplishments. Perspicuity, the quality of expressing clearly comes from birth, upbringing and education. Sage Valmiki is the divine poet and his magnum opus is the treasure trove of sagacity and a guidebook for believers and the corpus of about 24,000 slokas would go on inspiring and elevating our sensibilities. Any attempt at composing any work on the theme of Srimad Ramayana is a benediction from the Supreme Power.
Holy Ramayana the hoary composition of Maharshi Valmiki has been acclaimed for centuries as aadi kaavya. It is a delectable account of the accomplishments, achievements and divine attributes of God in human incarnation. Rama katha has been the source device for ardent devotees to achieve salvation. Ever extolled by poets innumerable devotees sang Sri Rama’s praise down the centuries. Kavi samrat Viswanatha Satyanarayana who wrote Ramayana Kalpavriksha, was asked once as to why he wrote another Ramayana again. He replied humbly in reverence that it was written since his devotion was his own. In Bharat there is no village where there is no ram mandir. Devout Hindus feel it is a kind of worship to write about the divine lord. The cardiologist Dr Srilakshmi Adhyapak has written the book under review adding seventeen other poems of her own to the brief rendition of the great epic.
Devotees know and recite naamaraamayana every day. This book reminds us of that for its brevity. The seven kaandas excepting the last Uttara Kanda are sung in just twenty-one metrical poems in English.
Devout Hindus feel that it is great worshipful service to write about Sri rama. The cardiologist wrote the epic in just twenty-one poems. The first poem is ‘The Birth’ singing the glory of the entry of the divine into this human world.
Glory resounded in a glow radiant
The incidents, episodes and occurrences are all too well-known. The poet’s descriptions have inspiring perception with brilliant insights along with extreme brevity. The occasion of Sri Rama winning Devi Sita’s hand after a test superb is described thus:
Bending the bow with its string to unite
Sri Rama’s form and mien ignited Shoorpanakha’s passion worded thus:
In sculpted symmetry, his form divine,
After the abduction of Devi Sita by Ravana, ogre Maricha’s ruse is expressed thus:
Felled by princely arrows sharp,
The wonderful devotee Shabari is spoken about like this:
Fruits hand-picked for her lord,
Sundarakaanda acclaimed, revered and held securely in heart by devotees is the crown of this composition. Here is part of Hanuman’s quest described:
His devotee ardent southwardly bound,
Hanuman’s exploits are captivating. After devoutly delivering the lord’s signet is the emissary is justly transported to ecstasy:
Her benediction, a grace sublime,
Setubandhanam, constructing the bridge across the ocean, is a stupendous task. The poet calls it the divine bridge in the title of her poem. She briefly mentions Sri Rama’s ire and Sagara’s appearance. And then follows this:
Rocks varied upon tumultuous troughs,
Here breath-taking imaginative expression is coupled with brevity. The simian armies leaping to Lanka and the lord’s emissary going to the ten-headed and the battle following are expressed with utmost economy of words. ‘The Battle’ is given just six quartets ending thus:
Sons of the ten-headed ogre five
Kumbhkarna is allotted a whole poem titled ‘The Slumbering Giant’. Here is humour too with the result we know:
The battle to him, a game hilarious,
Hanuman’s devotion at the moment of crisis is described in just ten quartets concluding with the couplet:
The lord and his devotee, an embrace eternal,
“The Epic Battle’ took only eight quartets the last two concluding thus:
Its target an immortal energy within,
Gentle zephyrs sang in soulful symphony,
‘Return to Ayodhya’ is the last poem. It is joyous to all: the devout and to the people of Ayodhya then. The last two quartets reveal the poet’s ability to compose hymns and paeans with consummate skill and all all-surpassing devotion:
Shimmering lamps reflected in every eye,
The hoary epic in itself is a blessing of the Supreme Lord. The poet’s personality and intense devotion make her work ever memorable. The ‘other poems’ seventeen too reveal her poetic imagination and felicity of expression. They are about nature, the sky, the ocean, the trees, birds and colours presented with sonority and thoughtfulness.
Fumes pungent therein arose,
Coming to our history ‘Down the Annals of Time’ Srilakshmi describes how after the tryst with destiny things went awry and a great leader was killed.
Time relentless with winds of change,
”Om’ is a poem which needs to be quoted in full for it has the five elements and the supreme lord Shiva extolled in it.
Primeval energy in elements five,
God’s grandeur is sung in words in ‘The Earthen Urn’:
The potter’s wheel traces circles rhythmic,
Nature is the poet’s first love. The poem ‘Parrots in the Mango Tree’ is a sample and an illustration:
Shrieking, fluttering moss green wings,
Love of nature involves love of all: the sea, the sky, the birds, beasts, the seasons, colours and sweet smells. There is a poem ‘The Call of Spring’:
Clouds trace patterns esoteric,
“The Horizon” is a revelation of the things sublime:
Very like life’s journey eventful,
The poem ‘Sunset’ is one of the compositions suggesting the divine presence there.
The setting ball of orange plumes,
Almost everything in nature is in the poet’s ken though the poems are brief and not many. ‘The Serene Alcove’ is the offspring of the poet’s mystic bent of mind and her deep understanding of the human condition which includes tears in the nature of things.
Dwarfed by its colossal magnificence,
Poetic imagination moves around, above and below nature’s radiance, its dance, its rhythms. The Sublime inheres infinity and infinity includes the sublime. In the poem ‘Infinity’, we are told:
The conch hums the roar of the sea in its breast
‘The Flute Divine’ is the peak of ascension. The Supreme Divine, Lord Krishna is the supreme lover, sublime and ever captivating. Goes the poet’s paean thus:
Residing in all beings large and small,
The waters of the Yamuna swirl in whorls dark
Judging by the content and quality of the poet’s thought and expression, the avid reader expects more and more sonorous, sublime and soul-stirring compositions from the heart specialist-poet. As the blurb tells us the poet is devout with a deep interest in our mythology, creative writing and painting too. This book has five of paintings (which are colour paintings first) printed in black and white.
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