The Poet : A Priest in a
Town of Agnostics ?
"The intelligent layman no longer
looks to poetry for insight into our times. The only surprise is how
poets
got away with it for so long... The game's up now." These are the words
of Tim Love, in his article titled 'The Great Poetry Hoax'. He
has
placed an illustrative list of "ploys", some of which poets use to
create
an illusion, much as stereograms give the effect of depth though they
have
none, and make the reader believe that a poem is significant :
--putting
bold, unsupported declarations at key points
--adding
some emotive words in key places
--name-dropping
: an initial quotation or dedication or allusions
--dealing
with a serious subject ( death, god, poetry, etc )
--using
extensive white space
--adding gnomic semantic gaps, removing
punctuation
or fracturing syntax
--using
obscurity or ambiguity to overload the processing of language ( if
readers
find a text hard to read, they may think it profound )
--repetition
and chanting
--ostentatious
display of credentials... authenticating the text so that readers
question
their own abilities rather than the poet's.
One may dismiss Tim Love as Tim
Hate.
It is not possible, however, to ignore Dana Gioia, the well-known
American
poet-cum-critic. A few years back he created a furore by publishing a
provocative
essay in Atlantic Monthly : 'Can Poetry Matter?'. "We live in a
society where not only do ordinary people not read poetry, but even
most
novelists, dramatists and literary critics no longer read it", he says.
"An art that speaks only to its practitioners is a diminished
enterprise,"
and, in such a situation, poets are at best like "priests in a town of
agnostics."
We live in a world where the gross
tenets
of consumerism and cost-benefit-ratio demand the utility-rating, if
any,
of poetry. Information technology asks for specifics of the 'problem'
and
an exactitude of the 'solution' in its programming technology. Everyone
is keen for "client-satisfaction'. Arts, culture, languages and poetry
are being placed as sub-categories under the 'directory' of
'Entertainment'.
In such an environment, poetry is not only affected, it gets more and
more
marginalized. High-end poetry never had a mass-base, but it had a
clientele
group of connoisseurs or rasikas. The number of poetry rasikas
is dwindling.
The problem is not illiteracy; "The real issue is aliteracy --- being
able
to read, but not doing it", as Rebecca P Heath puts it.
Poetry is the art of articulating the
unsayable. True. Its medium, however, is language. A
language embodies
a community of people and their way of being. It is a unique mental
framework
that gives special form to universal human experiences. Languages are
the
most complex products of the human mind, each differing enormously in
its
sounds, structure and pattern of thought [ Jared Diamond ]. Ethnologue
2000 Edition has listed 6809 living languages, out of which
sixtytwo
percent are of Asian ( 32 % ) and African ( 30 % ) origin.
Unfortunately,
however, the world has become a hospice for dying languages. As per one
estimate, more than half of the world's languages may be extinct by the
end of twentyfirst century. The death of languages is being caused by
the
interplay of multiple forces, such as urbanization, industrialization,
modernization, globalization, migration, tourism development and
expansion
of telecommunication and internet technology, enforced bilingualism,
dominance
of predatory languages, State policy on languages and education, and,
above
all, the attitude of speakers. As mentioned in a report published in
Times
(International edition) :
In the Indian context, Sanskrit, Pali
and Prakrit are extinct since long. The Tribal languages are either
dead
or moribund. Most of the major Indian languages are imperilled. English
being the "language of empowerment", the children of even the middle
class
and lower class are being put into English-medium schools where the
scope
for learning
the State language is virtually non-existent. Only Karnataka
has enacted a legislation making the teaching of Kannada mandatory in
English-medium
schools following the CBSE or ICSE pattern of education. Thus the
speakers
of the societal class which produces most of the poets, writers and
connoisseurs
of literature prefer English-medium education for their children. The
repercussions
are obvious. It is necessary to replicate the Karnataka pattern
countrywide.
Let me put on record that I am an admirer of English language and
literature.
I consider Indian-English as an Indian language. At the same time, I am
concerned about the creative growth of other Indian languages.
In Greek, eon signifies the
state
of what is. Heidegger argues that it is our knowledge of eon
and our propensity to describe eon
in language which have increasingly
obscured eon from us, as
existence becomes inauthentic when narrators
get
enmeshed in descriptions. Thinking is only thinking when it recalls in
thought the eon, that which
this word indicates properly and truly,
that
is unspoken, tacitly. Using this argument, Jeremy Hayward observes, in
his study on perception entitled 'Perceiving Ordinary Magic :
Science
and Intuitive Wisdom', "When language and thought are in this way
freed
from their bondage to description, they point beyond themselves to what
is. This is poetry. And poetry is, therefore, the highest, most
human
use
of language." The state of 'what is' has its
static-cum-dynamic
dimensions. In fact it may be perceived to emanate from the totality of
'realization', the spectrum of which, as per Indian seers, ranges from
'pratyaksha pramana or direct-experience and includes even 'anupalabdhi'
or absence-of-experience. In an interesting study exploring light and
vision,
Arthur Zajonc (1993) establishes, from medical histories, that a
healthy
eye is not sufficient for vision. There is a special contribution from
the brain or what he calls "light of the mind" which shapes what is
seen,
including patterns and colours. Zajonc's study offers many clues as to
how
poetry may affect that light-of-the-mind and thus transform what is
effectively
seen. Imagination thus gets ingrained into reality and the perception
of
reality.
Isn't poetry subversive too ? Perhaps
it is in a poem's power for, and its performance of, excess of what is
systematically denied by denotive, categorical performances of meaning,
that poetry's subversive potential pulses. "For it is precisely the excess
of a poem that allows the poet ( and the reader or hearer ) to contest,
leap beyond, spill over, exceed the conventional and constrained ways
in
which language and experience are performed." As Winterson (1995)
writes,
"It is the poet who goes further than any human scientist." It is
"Being-in-the-World",
as Heidegger put it, and, at the same time, viewing-beyond-the-world.
When Rexroth exclaims "Poetry is
vision
!", we may adopt the normative ( not descriptive ) connotation of
the
assertion. By vision he means the essence of poetry, the quality that
makes
true poetry, which is much more than form, structure, construction,
technique
or any other artifice. Poetic vision implies a dynamic transformation
of
experience, imagination and revelation, uniting the observer with the
observed.
In fact, in rare creative moments of visionary poetry, one may assert,
with Rexroth, "the craft is the vision and the vision is the craft !"
And
what will a poet do if he suffers from double vision ? Double vision is a
poetic
vision
of seeing art both as a representation of reality and as reality
itself.
One poet who admits to have been haunted by such a cannon is James
Merril.
Someone has called it double self,
a dramatic duplicity--- the moment
when
the poet "turns on himself, or turns, perhaps in a double sense, into
himself".
As Merrill himself stated, "I've tried, Lord knows, / To keep from
seeing
doubles." He could not, as he suggests.
One of the books which attracted
attention
in recent times is 'A Magical Clockwork : The Art of Writing
the Poem' by Susan Ioannou. She focuses on the mechanics of poetry
listing four areas of concentration : The Parallel World (
Assumptions,
Immediacy, and Movement), The Persona, The Image, and Sound.
In the penultimate chapter, titled 'Vision', she examines the
ways
in which poets have explored the world--- personal, natural, and
political
--- and is not hesitant to condemn those poets who stay "locked inward"
in their private solitude.
For a long period, poetry and polis
were interlinked. Activism and creativity were symbiotic. The 'split'
that
came is artificial. As Terrence Des Pres once wrote, what we lack is
not
a "political handling of poetry," but rather "a poetics of political
experience",
a poetics which does not falter before the complicated nature of a
literary-political
conscience." If politics implies being in "the thickness of life",
there
is no reason why poets should shun political themes.
One significant concept of the poetic
persona is the concept of 'witnessing'.
There are mythic connections
sustaining
this concept. The Muses, being the daughters of Mnemosyne ( the deity
for
memory, record and recall ), have the duty to bear witness to, record,
and commemorate the political and moral order which under Zeus has been
established. Saraswati, the goddess of creativity, is
visualized
as inhering the vocal chord of a poet-narrator and words of creative
truth
are said to emerge in the process. The concept of sakshi is
also
very significant in Indian thought. The role of the artist, the poet,
is
that of a witness ---- an active witness, not a passive bystander.
Muriel
Rukeyser goes a step further. She advocates to substitute the words
'audience',
'reader' or 'listener' by the word 'witness', for she feels that both
the
artist and audience are inextricably bound together, while witnessing,
within a relationship of what she calls artistic "exchange". Has poetry
a relevance in the public arena? Yes, she answers, YES in capital
letters.
Some poets view poetic creativity as
an act of communion. One may recall in this context an adage of ancient
Chinese culture, which ordains that there has to be a certain moment in
the poem where you 'raise the head'
----Yanng mei tu chi. That
meant :
to
raise the consciousness to see the huge universe in the context of the
poem. And they saw the poem as an object through which you come to
commune
with Tao or God.
In a poem titled 'A Letter to
William Carlos
Williams',
Rexroth reveals his vision of poetic commitment as interpersonal and
sacramental
communion. He prophesies that a young woman, walking one day in a
utopian
landscape by "the lucid Williams River," will tell her children that it
used to be the polluted Passaic in the Dark Ages. Just as the river
flows
through nature, William's veins, Rexroth's speech, history, the
imagined
woman and her children, as well as those of us who read the poem ----
flowing
like the way of Lao Tzu ---- so all participate in the universal
community
of all beings, revealed in poetry : "And that is what a poet / Is,
children,
one who creates / Sacramental relationships / That last always."
Dana Gioia, whom I cited earlier,
laments
that, "over the last half century, literary bohemia has been replaced
by
an academic bureaucracy" and poetry "has too often been paralyzed by
its
own sophistication." Academic art has the tendency to become too
knowing
and self-conscious. Poetry is a primal, holistic kind of human
communication.
A poet needs innocence as much as knowledge, emotion as much as
intelligence,
vulnerability as much as rigour. "I want a poetry that risks speaking
to the fullness of our humanity, to our emotions as well as to our
imagination
and intuition," says Gioia. "It is time to
experiment... time to restore a vulgar vitality to poetry and unleash
the energy now trapped in the subculture."
Let there be vigour and variety in
poetry.
*
*
This is the text of the Presidential
Address by Rajendra Kishore Panda in the inaugural session of the All India Poets' Conference organised
by Sahitya Akademi ( National Academy of Letters ) and Orissa Sahitya
Akademi
in 2001.