PROGRESSIVE WRITERS ASSOCIATION
A group of young intellectuals started this movement with the aim of addressing the needs of the common man in the context of the changing political, economic and social conditions. They believed such a concern for the societal needs expressed through art and literature can shape a nation in its formative years and guide its destiny through a progressive path.
Spearheaded by English poets like Stephen Spender and W.H Auden it was successful in generating vibrant debates in cultural and literary circles of the times. Initially Indian writers who chose to write in English, writers like Mulk Raj Anand, Jyoti Ghosh, Pramod Sen Gupta and M.D. Tasir, taking advantage of his stay in England where this association held its first meetings, brought the debates and introduced the ideas of the Progressive Writers association in Indian literary circles.
This movement was not just witnessed by Urdu literature alone though it was one of main languages which was benefited by it, but many other Indian languages like Hindi, Bengali, Marathi, Kannada, Tamil and Telugu literatures as well charted their future course of writing.
The draft of the manifesto of the Progressive Writers Association (PWA) was first formulated in London’s Denmark Street in 1935 and was later circulated in Indian literary circles in England and India and amongst both Indian English writers and the writers of Indian languages.
Undoubtedly it shaped the future of Indian literature as well as Indian writing in English. The manifesto talked mainly of six resolutions, namely, to establish writers associations in various Indian literatures, to initiate steps to publish magazines and hold conferences in collaboration with other organisations to develop cooperation between various literary organisations of varying ideologies, to work for the acceptance of a common link language across the country, to protect the rights of the writers and to assist them in publishing their work and finally, to work for freedom of expression.
In more ways than one, PWA had close similarities with Marxist literary movements across the globe and its concerns emanated from the socio-economic depressions caused by First World War and the rise of capitalist economies and the resultant rise of Communism in the global scenario. It was for this reason many writers stayed away from this movement as they saw it as a protest movement.
In Telugu literature while one can definitely assert that Sri Sri was familiar with the progressive movements that were sweeping India and the world there were many others who did not join this movement both in Hindi and in other Indian literatures. Though towards the end of his literary life Sri Sri claimed that he was not familiar with Marxism as socialist ideology at the time of writing Mahaprasthanam the contemporary events thus tell us a different story.
He was widely read and appreciated due to the sheer novelty of his themes, his extraordinary sense of rhythm and his command over his literary heritage and language of his land. If there were hundred people who read him there were hundred others who were wary of his ideas.
His poetry did not give him his daily bread too. Like many writers of his times, who were members of PWA, turned to writing for films for survival; Sri Sri too started writing lyrics for films. That kept him in the public domain as a poet constantly, though what he wrote for film was not akin to his avowed political ideology.
There was criticism against him that a poet who promised to usher in a whole new world by bringing down the heaven bound chariot wheels of Lord Jagannatha to earth, forgot his dream and started singing laurels for a heroine who sleeps in his heart and provokes him in his dreams.
There were others too in PWA who resorted to writing for films for survival. The industry gave them the daily bread and poet Gulzar in Hindi cinema, unlike Sri Sri, continued to bring literary anthologies even after entering Bollywood as a lyricist and director. Sri Sri never turned to any other form of creativity other than writing songs in films. And he did not write anything as spectacular as Mahaprasthanam after entering the cinema industry.
Some of his Mahaprasthanam poems were also used in films like Jayabheri, Aakali Rajyam and Pratighatana. He also wrote lyrics for Alluri Sitarama Raju based on the life of the well known revolutionary of the Manyam region who challenged the might of the British. The songs have an inspirational and nationalist fervor and it is easy to get carried away by the reformatory and revolutionary zeal of his poetry.
Sri Sri like many of his generation started writing for cinema purely for survival and his film songs too were marked for his unusual lyrical quality. Even the most popular one he wrote for the film Araadhana which euthe heroine of the hero’s dreams, stood the test of time and is fondly remembered even today though in theme imagery and language it is quite uncharacteristic of Sri Sri to pen such a song.
The love who sleeps in his heart and who eulogised challenges him in his dreams thus mesmerizes the lovers of music even today. Sri Sri’s hold on public imagination continued to charm the Telugu poetry lovers because of his entry into cinema field.
SRI SRI IN POPULAR CULTURE
It is not out of place here to go briefly into Sri Sri’s journey into the world of popular culture.
Though as a poet, Sri Sri mainly focussed on writing poetry based on his passion for poetry for common man, in cinema world Sri Sri exhibited a tremendous versatility and genius in writing lyrics for a variety of themes, situations, and scenes. It is easy to believe that his innate romantic fervour must have found expression while he was writing songs for films.
The contemporary literary critics however did not appreciate his shift to writing lyrics for films. Though some of his Mahaprasthanam poems were used in films, at times verbatim, in movies like Aakali Rajyam and Swarajyam (Nenu saitam– I too contributed), Palleturu, (polaalananni halaaladunni-after the fields are run through with ploughs), Kanyasulkam (aanandam arnavamaite – if happiness is a canyon).
In films like Padandi Mumduku Ranabheri (Maroprapancham The other world) and Ummadi bratukulu (Sramaika jeevana – beauty of labour) one finds the textual changes in the old songs probably done to suit the needs of cinema.
In addition to these, he wrote memorable lyrics for family-oriented movies like Todi-kodallu, Co-sisters in law (naluguru kalisi panichestumte, if people work together); Bhaagyadevatha, Goddess of Fortune (madini haayi ninde -my heart is filled with comfort); Abhimaanam, Affection (tallini mimchina daivam-not all, No God greater than mother) and so on. Maangalya balam, the power of marriage thread, Iddaru mitrulu, Two friends, are some of the other family-oriented movies.
His songs for mythological movies include Nartanashaala, The Dance Hall; Krishnatulabhaaram Weighing Krishna and nationalist songs appeared in historical films like Alluru Seetharamaraju (Teluguveera, levaraa!, Teluguwarrior, arise!); Pettandarlu, Feudal Lords and Bobbili Yuddam, The War at Bobbili.
SRI SRI AND FREEDOM MOVEMENT
The poet who was never a part of the ongoing freedom movement or who never claimed any allegiance to Gandhian thought penned songs like Ahimsaye ayudhamu, satyagrahame saadhanamu, Ramarajyame asayamu (non violence is the weapon, satyagraha is the way and ramaraajya is the goal) and one whose addiction to alcohol claimed his health in his later life preached kallu maanamdoyi baabayya, kallu terichi saagiraarandi baabayya (Give up the drink fathers, open your eyes and march forward in life, fathers).
A LIFE OF DUALITIES
One can only say Sri Sri’s life was an example of the dualities of life which he was constantly writing about in poetry. Whatever the compulsions behind writing these innumerable songs for films, it adds value to the corpus of Sri Sri’s literary writings.
The centenary year, celebrated in 2010, brought out every single facet of his literary life including film lyrics. Special mention should be made of one non-film song O Mahatma! O Maharshi a beautiful poem which effectively brings out through brilliant contrasting images dualities that surround the man in this world full of conflicts.
SRI SRI AND LITERARY MOVEMENTS
In late sixties and seventies Sri Sri guided the literary movements by giving his moral and vocal support to Digambara poets and the revolutionary poets. Many a time, as he grew older there were a number of people who used his name to be recognized as poets.
He had another collection of poems named Khadgashrishti which cannot be described as a match to his first collection of poems. As mentioned before, he engaged himself in encouraging young poets and was instrumental in the birth of movements like the ‘Digambara Movement and ‘Revolutionary Writers movement’ in Andhra Pradesh during the 70s.
Many young poets dreamed of writing like Sri Sri with his inspiration. In this context Sri Sri’s era can be described as one of the most defining moment for Telugu poetry during the 20th century.
SRI SRI AND A.I.R. (ALL INDIA RADIO)
In addition to poetry he also wrote a number of radio plays Vidushakuni Atmahatya being the most notable one, A Comedian’s Suicide.
All his letters and other prose writings too were compiled and republished by the shashtyabdipurti (60th birth day celebrations committee) committee. Vi ra sam (Viplava Rachayitala Sangham) the revolutionary writers’ association also published the poet’s complete works.
Not many people are aware of his writings other than poetry. However one should have no hesitation in saying that poetry was his first love and his beloved muse. One ardent admirer of Sri Sri, Mr. P Ashok Kumar plans to bring out a hundred volumes of and on Sri Sri out of which forty have so far released.
There is a relook at his writing with the celebration of his birth centenary and as many thinkers and academician paid tributes and called his poetic genius there was also a new insight into his poetry as the historic distance provided the necessary objectivity in way his work and times are thus far perceived.
It can be observed that the aesthetic structures created by Sri Sri still stand erect even after the collapse of his political ideology. It in a way reasserts the poet’s faith in poetry as his most beloved muse who gave sense and direction to his writings. His uncompromising and unconditional prioritization of aesthetic values over the political philosophy is the reason for his poetry standing the test of time. He never compromised on these literary values though he used his poetry as a vehicle to communicate his belief in Marxist philosophy.
SRI SRI AND MARXIST IDEOLOGY
During his life time Sri Sri never admitted that his poetry was written consciously to communicate his belief in Marxist ideology. In fact in the introduction to his reading of Mahaprasthanam for Videsaandhra Prachuranalu he clearly stated that in those days he was not aware that there was something called Marxist philosophy.
On hind sight one might find it hard to believe that his poetry is not an outcome of a conscious socialist thought. While his first collection paved the way for a new poetics, it continues to influence the literary tastes of the youth even now. It is fitting here to recall the introduction that a contemporary like Gudipati Venkata Chalam wrote for Sri Sri’s Mahaprasthanam.
Like Sri Sri Chalam was also a radical thinker and revolutionary writer. He was known more for his radical writings on women’s liberation and caste hierarchies in Hindu society. An atheist to the core, he began writing vehemently criticizing the superstitions in and around him but during the later part of his life be became an ardent believer in the spiritual greatness of the well known south Indian saint Ramana Maharshi and spent his life in the ashram of the guru in Arunachala hills.
He wrote the introduction for Mahaprasthanam which was called a ‘certificate of merit’. It was as critically acclaimed as the Mahaprasthanam itself, if not more. At one time Sri Sri believed that it was mistake to ask Chalam to write an introduction to his first collection of poems. Sri Sri felt that the foreward has attracted more critical attention than his work .
SRI SRI AND CHALAM
What is it then that Chalam said about Sri Sri that merits the title ‘The Certificate of Merit?’
According to him he was alerted to the impact of Sri Sri’s poetry by another poet, “when the whole world is swept off its old dust by the new wave poetry of Sri Sri, what are you doing here in this dark corner, pining for women?” Till then Chalam was unaware of Sri Sri’s poetry, an unforgivable crime indeed!
He read the poetry and loved it for its straight forward thought and vehemence. This poetry was variously defined by Chalam as ‘a battle cry that a poet makes till he achieves a compromise between his inner self and the world around him’, ‘With blood and tears Sri Sri’s created his new poetry as a tonic to the ailments of the world’. ‘The poems are the streams of blood flowing directly from the poet’s heart to those of the readers’.
Like Chalam, Sri Sri was humane, and believed in atheism during the early part of his life. Like Sri Sri Chalam abhorred the caste discriminations.
One thing that Chalam had and Sri Sri did not have was his sensitivity for women’s suffering.
Similarly one thing that Sri Sri wrote constantly and Chalam was silent about was the socialist dream of classless society and the a faith in the assertion of the proletariat. Yet, if one reads Chalam’s certificate of merit one is immediately drawn to the many inspiring qualities of Sri Sri’s poetry highlighted by Chalam.
It is widely believed and once admitted by the poet himself that at one time Sri Sri was even jealous of the popularity of Chalam’s introduction and was worried that it would surpass even the merit of his poetry and it could perhaps be the reason that in the later addition of the Mahaprasthanam this preface was not included.
One should read it also to know and recognize how the poet’s of Sri Sri’s generation read one another and had no hesitation in appreciating the merit of a contemporary poet which a disappearing quality in today’s literary circles.
SRI SRI – A CLASS APART
Many poets and critics who followed Sri Sri believed that in order to appreciate Sri Sri they should condemn the poetry of his contemporaries like Devulapalli and Viswanatha. However, there is no doubt that Sri Sri stands out as a stalwart amongst his contemporaries because of his courage to chart out a distinct path to himself and by the courageous way he stood for his convictions that poetry should address the concerns of the common man.