My Visit to Kaleshwara Mukteshwara Temple, Kaleshwaram (Telangana)

  

Prowda Saraswati

                                            

Sculptures on Saraswati's temple

                                  

Haritha Hotel

                             

Sub-shrines around Pradakshinapatha

 Banks of Godavari and Pranahita rivers

This famous temple is located in Kaleswaram in Mahadevapur Mandal, near Ramagundam. It is one of the three sacred lingas (Srisailam, Draksharamam, and Kaleshwaram) in Telugu states from which the region got its name as Trilinga. The special feature of this Shiva temple is that one can see two lingas on the same pedestal. To the south of this temple the river Godavari flows in confluence with Pranahitha. So this is called Sangama where the Godavari and the Pranahitha join with Saraswathi that follows underground from the temple. This place is revered as second Kashi and many devotees perform holy ablutions and tarpanams for the liberation of their ancestors. The presence of Kala and Shiva at the same place signifies the rare combination of life and death, implying that life and death are not different.

 There is a spacious corridor leading to temple premises. The welcome arch is decorated with two lingams. After passing through the main tower at the entrance, Nandi Mantapa is seen in front of the main temple where one can see a beautiful idol of Nandi. There are four doorways to enter the temple from four directions and four Nandis are seen near four doorways. In Mukha mantapa the idols of Shringhi and Bhringhi are seen. In the sanctum two Shiva Lingas are seen on the same pedestal. The first Shiva Linga was installed by Kala or God of death. The second Shiva Linga is called Mukteshwara which has two holes on its crown. The water poured over this, flows through a secret passage and is said to join the Godavari River outside. Devotees have to worship Kaleshwara first and later Mukteswara as per tradition.

 Devotees can themselves enter the sanctum and do pooja and Abhishekam to the main deities. One has to take Rs.300/- to perform abhishekam in inner sanctum. Abhishekam is done here from 7.00 a.m. to 12.30 p.m. and from 3.30 p.m. to 6.00 p.m.  Shiva Parvati Kalyanam is done daily from 9.30 a.m. to 10.3o0 a.m. other poojas like Satyanarayana Vratham, Kalasarpadosha Nivarana pooja and Navagrahabhishekam,  Navagrahahomam are done here. The temple is open from 4.30 a.m. to 1.00 p.m. and from 3.30 p.m.to 8.00 pm.The temple is crowded during weekends, Mondays and during Maha Shivarathri and during  Navarathri festival days. 

Adjacent to this temple there is another shrine for Goddess Parvati who is called “Shubhananda Devi.” A little further one can see another temple for Saraswathi with a mukhamantapa. Around the circambulatory path one can see many sub-shrines of gods and goddesses. Idols of Durga, Dattatreya, Lord Vishnu, Sri Kashi Vishveshwara, Sri Bala Rajeshwara, Vijaya Ganapati, Maha Ganapati, Swarnakarshana Bhairava, Kala Bhairava, Sri  Bhairava, Veera Bahdra, Sri Kartikeya, Anjaneya, Mastyavatara Murti , Jyesta Devi and Lord Surya. A little further one can see another temple for Saraswathi with a mukhamantapa. The Goddess is named “Prowda Saraswathi”.There is a separate temple for Rama along with Sita and Lakshamana.

There is Adi Mukteshwara temple just two kms away from this temple. One can see a Shiva Linga with two holes in the sanctum. The temple priest said that Lord Mukteshwara moved from here to the present temple after Kala did penance. Here white Vibhuti stones were found on digging. Now one may not locate them.

In Skandapurana, the Kaleshwara Khanda mentions that River Goddess Godavari did penance here and requested Lord Shiva to stay here and give salvation to people who take bath in the river and worship Lord Shiva. Hence lord Shiva stayed here as Mukteshwara that is one who gives Mukti or moksha to devotees. Lord Kala finding that no one came to his world, requested Shiva to help him. Lord Shiva suggested that he should also install a Shiva Linga on his name as Kaleshwara beside Mukteshwara. Those people who do not worship Kaleshwara first before worshipping Mukteshwara would go to hell. The God of death installed a Shiva Linga (Kaleshwara) beside Mukteshwara on the same pedestal.

 As this temple is on the banks where two rivers which join just like in Kashi, this place is considered as another Kashi. Just before entering the temple on the western side, one can see a four-sided arch for devotees to pass through. This is called Yama Konam with Akhanda deepam called “Ganda Deepam”. People believe that people who go through this passage are saved from sufferings of Yama Loka. People pour oil into the vessel containing “Ganda Deepam”. Just a few steps down there is a large area where one can see an Audumbara tree (fig tree) with a statue of Lord Dattatreya. Many devotees come here and light lamps and go round the tree.

The temple was constructed by the Kakatiya king, Rudra Deva in twelfth century. The temple was constructed in Kakatiya style of architecture. Later Kakatiya kings and Vengi rulers also worshipped Lord Shiva and developed this temple. In 1140 A.D. Kakatiya king, Prolaraju II, visited this temple. Vellanki Gangadhara, Minister to King Ganapatideva, did much to improve this temple. In Kolipaka edict it was written that the daughters of Sri Vishweshwara Shivacharya, Kundamamba and Yelamamba (Guru of King Ganapatideva) were said to have installed one thousand and one hundred and sixteen Shiva lingas here.

Kakatiya king, Prataparudra, distributed gold worth his weight by performing Tulabhara ritual. In 1397 King Devaraya visited this temple and performed Pooja here.   Sri Shankaracharya came here and spent some time doing penance here. In 2000 A.D. Sri Bharatitheerthaswamy, Head of Shringeri Mutt, came here and installed various gods and goddesses in sub-shrines and also participated in renovation activities and Mahakumbhabhishekam. The Telangana Government also spent liberally to improve the facilities in this temple. The temple authorities and T.T.D.  provide accommodation facilities here. There also many private hotels also to provide accommodation here. It would be better if water and toilet facilities are provided here for the convenience of devotees. 

There are not many shelters for devotees to sit and relax. There are very few trees on the road leading to temple. So, there is much scope to develop greenery in and around. There are three routes to reach Kaleshwaram. The route from Hyderabad to Kaleshwaram via Warangal is 265 kms by road and via Karimnagar is 295 kms. Now there is a shorter route from Chennur and recently two bridges have been constructed over Pranahita river to reduce the distance and duration of travel. The road runs through a dense forest for nearly 30 kms. One can enjoy viewing the dense forest where many monkeys are seen playing on the  branches of the trees.

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          11th January, 2022                          Somaseshu Gutala

 

 

My Visit to Cheeryal Lakshmi Narasimha Swamy Temple, Cheeryal (Telengana)

      

      

      

Sri Mallaram Eshwarayya, the founder of this temple

         This temple is located very close to Hyderabad. It is 10kms from ECIL Cross Roads and 5 kms before Keesera Gutta. It is connected to ECIL X Road by a four-lane road. Many city people visit this temple to enjoy the peaceful surroundings. The big lake before we enter the temple, with green paddy fields and trees refreshes one’s mind. The temple arch one of the biggest arches in Telengana region is very attractive with colourful carvings. On the top of the arch the idol of Sri Lakshmi Narasimha Swamy along with Lakshmi is seen flanked by idols of Ganesh and Hanuman bearing the Sanjeevani Mount. On the extreme ends two idols of Abhaya Anjaneya Swamy are seen. On the pillars of the arch the idols of Jaya and Vijaya and Garuda are seen. This is an exquisite specimen of architecture which captures the attention of the devotees.

         The parking space before the temple is very spacious and there is a place assigned for breaking coconuts. There is a shoe stand just beside the parking place. On the way to the temple one can see stalls selling pooja material and a hotel. The temple hall is very colourfully painted with sculptures of various gods. Around the Pradakshina Patha (circambulatory passage) one can see the ten incarnations of the Lord Vishnu. The idol of Lakshminarasimha in the centre is very attractive. The idol of the founder (Sri Mallaram Eshwaraiah) is seen in a niche. There is a tortoise-pond behind with a beautiful statue of Lord Vishnu reclining on the serpent-bed in the middle of the pond. Inside the sanctum the idol of Shanta Narasimha with Lakshmi is seen under the shade of Adi Sesha.

         There are many sevas done here. Every Friday Abhishekam is performed. Swarnapushparchana is done to the main lord. In every month on Swathi Nakshatra day, Swamy Kalyanam is done. There is a big hall for performing various rituals Satyanarahyanavratam, Sudarshana Homa, Annaprashana and Upanayanam. Many people make their wishes (Sankalpa) standing before Dwajha Stambham with a coconut in their hands and go round the temple for eleven, twenty-one or forty-one times. After their wish is fulfilled, they again come here and go round the temple for forty-one times. Many devotees come here on Saturday and spend the night here. The following day they do pradakshinas. Devotees believe that their wishes would be fulfilled if they sleep five Saturdays in this holy temple. The devotees who come here should not close their eyes before the main deity but look at the Lord with devotion. Here the devotees should come in traditional dress.  People wearing T-shirts and jeans are not permitted.

          In 2015 the temple authorities constructed a choultry with 41 rooms with all facilities. On the days of Poornima and Amavaasya also, many devotees come here to spend the night and do pooja on the following day. So, this Lord is called “Sankalpa Siddhi Narasimha”. On every Tuesday special poojas are done to Lord Anjaneya and Lord Subrahmanaya. Kalasarpanivarana Pooja is also done on this day. On every Wednesday special poojas are done to Maha Ganapati. Special Poojas are done during the months of Kartik and Margasirsha months and on Vaikunta Ekadashi. In this temple Brahmostavams are celebrated in the month of April every year for three days. 

          There are many sub-shrines in this temple like, Maha Ganapati andAnjaneya. At the back of the temple near the choultry, one can see the shrines of Bangaru Mysamma, Nalla Pochamma and Subrahmanhya. These idols were found in the field of Ishwaraiah. 

          Regarding the founding of this temple, the credit goes to Mallaram Eshwarayya who is a staunch devotee of Lord Narasimha. He had a vision of Lord Narasimha who asked him to go to Yadagiri and worship the Lord there. He went there and brought a picture of Yadagiri Narasimha and kept it in his pooja room and lit Akhanda Deepam. Many people visited his pooja room and worshipped the Lord. Later His son, Mallaram Lakshminarayana too worshipped the Lord and received Narasimha mantra from Guru. Inspired by Lord’s vision he got Narasimha idol made on April19th 2007, and kept it in his pooja room. Later he thought a temple would be a suitable place to worship the Lord. So, in his field guided by the Lord he selected a suitable place and laid the foundation stone and did Pranapratishta on May 1^st 2008. While digging the field, he saw a serpent as if blessing him. So, a shrine for Naga devata is seen in the temple. The shrines of Grama Devatas (Village goddesses), Bangaru Mysamma and Nalla Pochamma have been renovated.

          In this temple the traditions followed by Yadagiri temple priests are followed here since devotees believe that Cheeryal Narasimha is a manifestation or Amsha of Yadagiri Lakshmi Narasimha. Many temples of Narasimha are seen in hill-caves. But here the Lord is seen on the ground floor and so devotees can go round the Lord to get their wishes fulfilled. Many Telugu serials’ shooting is done here. Telengana Chief Minister, Sri K.C.R visited this temple to fulfil his vows. The working hours of this temple are from 6.00 a.m. to 12.30 p.m. and from 4.00 p.m. to 8.00 p.m.  On Saturdays and Sundays, the working hours are from 6.30 a.m. to 2.00 p.m. and from 4.00 p.m. to 8.00 p.m. For city people this is a very nearby place to visit and spend peaceful time and worship the Lord who is regarded as very powerful and who removes obstacles and fulfils the wishes of devotees who pray to him with sincere devotion.

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       29th December, 2021                                                     Somaseshu Gutala

My Visit to Kotilingeshwara Temple (Siddipet)

                 

                          

                           

Kotilingeshwara temple was established in 1979 by Swamy Sri Madanananda in Indira Nagar located nearly 2.5 kms from Siddipet bus stand on the highway towards Medak. A welcome arch with idols of Lord Shiva and Parvati with Lord Ganesh and Lord Subrahmanya on either side greets the devotees. The temple tower is beautifully decorated with figurines of Lord Shiva and his Parivar (family). On the back side of the tower one can see the figurines of Sri Kalahasthiswara and that of Kannappa worshipping Shiva. A beautiful Nandi statue is seen in the hall facing the inner sanctum.

 Sri Madanananda Swamy had a vision to build a temple with one crore Pardhiva Lingams (lingams made of clay). Searching for a suitable place  Swamiji arrived at Koppole village  by the blessings of Koppole Sangameshwara. He asked his devotees to write the name of the village where they want a temple on a piece of paper and keep at the feet of Sangameshwara Swamy. He ordered one of his devotees to pick up one piece of paper. The piece of paper contained the name of Siddipet. So Swamiji arrived at Siddipet and stayed at Sharabeshwaralayam. His devotees made one crore Shiva lingams made of clay (Parthivalingams).   Philanthropists and people at Siddipet also extended financial support. In May 1979, Swamy performed Yantrasahita Vigrahapratishta.The main idol was brought from Varanasi. In the sanctum Shiva Panchakshari-written manuscripts were buried beneath the main idol at a depth of one foot. Divine symbols of Chandra Rekha, Bhasma Rekhalu, Parvathi and Ganga Devi are seen on the main idol in the temple. Once a cobra with Shiva lingam mark on its hood arrived on the bag containing the Parthiva lingams and stayed there for four hours to shower blessings on the devotees. 

There are twelve sub-shrines in the temple hall. The central hall or mukha mantapa is supported by thirty-six pillars. The mukha mantapa is beautifully painted with green, pink and gold colours.  The temple walls are decorated with beautiful carvings and designs. There are other halls like a sacrificial hall to conduct homams and yagnas, a library and a function hall to conduct marriages.

 The Sadananda Ashram where Swamy lived provides accommodation facility. There is an independent Vedic Patashala in Ashram premises. The subshrines in and around the temple are those of Sri Raja Rajeshwari, Gayathri Devi, Anjaneya, Dattatreya, Subrahmanya,  Santoshi Mata,Adi Shankaracharya, Murali Krishna, Navagrahalu, Sri Pashupainath, Sai Baba,Tulasi Mata, Chandishwara and Madanananda Swamy and Sri Shiva Sthupam. Just near the entrance before entering the Mukhamantapa. 

There is a big hall where one can see one hundred and eight lingams along with idols of Uma Maheshwara. Every Monday Shiva Kalyanam is performed here. Special poojas are done during festivals and on Shiva Rathri. The temple is open from 6.00 a.m. to 7.00 p.m. This temple has become a holy pilgrimage spot for all devotees. One can spend peaceful time in the serene surroundings of temple which has many beautiful shrines with exquisite sculptures and idols. The nearby tourist places are: Sarabheswaralayam(2 kms), Kondapochamma Sagar, Sangameshwara Temple (20kms), Ananthasagar(30kms), Siricilla Textile City(34kms) and Vidya Saraswathi Kshetram(60kms) from Siddipet.

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    19th December, 2021                          Somaseshu Gutala

  

My Visit to Komuravelli Mallanna Temple, Komuravelli (Siddipet Dist.)

 

             

                                 

                               

Konda Pochamma

 This temple is a popular pilgrimage place for many people of Telangana region and Maharashtrian people. The presiding deity is Komuravelli Mallikarjuna Swamy popularly known as Komuravelli Mallanna, an incarnation of Lord Shiva. This deity is also called Khandoba by Maharashtrian devotees. This temple is constructed in Kakatiya and Chalukya syle and is located on a hill in Komuravelli village of Siddipet district in Telangana State. This pilgrimage spot is nearly 85 kms from Hyderabad and 22kms from Siddipet. Mallanna along with his two consorts, Golla Kethamma and Balija Medalamma are seen in a cave. A Shiva Linga is seen just below the deities. The idols are made of clay and are believed to be 500 years old.  The idol of Mallanna is of eight feet and is colourfully painted in blue colour and is decorated with golden crown and ornaments. Mallanna looks majestic with a curled moustache holding a trident and a hand-drum (dhamaruka) in his two upper hands. He holds a sword and a pearl bowl filled with bandari (turmeric powder) in his lower hands.  His arms and waist are decked with ornamental serpents made of gold. Three demon-heads of Tripurasuras (slain by Lord Shiva) are seen in front of the main idol. Utsava vigrahas of Lord Mallanna and Lord Veerabhdra are seen beside the shrine. On the way out to exit one can see beautiful painted sculptures of various gods and goddesses. 

 At the entrance of the temple there are big statues of Saint Renukacharya and Saint Basaveswara seen on either side of the temple outside. There is a big plum-tree (Ganga Regu ) considered very sacred  by devotees. People go round the tree and tie their votive offerings to the branches of the sacred tree. There is a shoe-stand and also a store room to keep devotees’ belongings. Mobiles are not allowed and they should be deposited in the store room. In Mukha  Mantapa there are fresco carvings of Lord  Veerabhadra, Saint Renukacharya and Lord Ganapati and sages in sitting position.

  The deity is worshipped mainly by Kurumas(shepherds), Golla folk (cowherds) and Balijas(farmers) of this region. Devotees offer prayers to Maallanna with the help of Oggu priests who draw a rangoli called “Patnam” in front of the Lord inside the temple and also in the temple verandah. The devotees bring bonums (rice cooked in new pots) and place them on rangoli designs.  The story of Mallaanna called “Oggu Katha” is sung by priests playing music on drums. The story narrates how Mallanna married Medalamma also called Bramarambika. According Oggu folk story, Mallanna was born to Veera Shaiva couple, Madiraju and Madamma and was believed to be an incarnation of Shiva and who came down to this world to protect his devotees. A festive fair (Jatara) is held on every Sunday and Wednesday from Sankranti festival to Ugadi(Telugu New Year). Kalyonotsavam (marriage ceremony) for Lod Mallanna and His holy consorts before Sankranthi. Lakhs of devotees come here to offer bonams in new pots. Veera Shaiva Priests after worshipping Lord Veera Bhadra and Bhadra Kali do fire-walking ritual in early dawn carrying idols of God (Utasava Vigrahas). A subsidiary temple for Sri Renukacharya, a Veera Shaiva saint, is seen beside the main temple.

 Next to Mallanna’s temple is seen Yellamma’s temple on the nearby hillock. She is considered as Lord Mallanna’s sister. A little farther away there is Saligrama Hanuman temple.  Navagrahas are seen on an elevated platform. If one climbs a few steps further, there is a cave temple for Veera Bhadra along with an idol of a sacred Shiva Linga and Nandi. There is a temple for Konda Pochamma at a distance of 20kms from this place. Devotees worship Konda Pochamma and offer bonams on Tuesday.

In Mallanna’s temple, turmeric powder called Bandari is applied on the brows of devotees. The main entrance tower, the compound wall, Mukhamantapa and cottages are painted in yellow.  There are separate passages for entrance and exit from the cave temple. Devotees can avail quick darshan by paying one hundred rupees each. Devotees buy Bandari packets from pooja stall as they believe that bandari protects devotees from all diseases. Outside the temple there are many stalls selling pooja materials. There are many photo studios with replicas of inside view of the temple and images of various gods and goddesses. One can get photographed standing beside these replicas. The Endowments Department renovated the temple mantapams and choultries. Nearly two hundred rooms are made available for devotees’ accommodation by Komuravelli Devasthanam Board. But there are too many beggars obstructing the devotees and pursue them asking for money. The outside surroundings and temple premises are not cleanly maintained. The menace of beggars should be solved as early as possible.

 The temple is open from 4.30 a.m. to 8.30 p.m. and from 12.00 p.m. to 3.00 p.m. Th darshan timings are from 6.00 a.m. to 12.00 p.m. and from 3.00 p.m. to 7.00 p.m.

My Visit to Shiva’s Temple at Marpadaga near Siddipet (Telangana)

 

 

                                          

                     

                         

                   

After two and a half years’ confinement in home during Covid times, God has given me an opportunity to visit this famous Shiva temple located in a small village in the scenic natural rural setting surrounded by paddy and cotton fields. Sri Vijaya Durga Sametha Santhana Mallikarjuna Swamy temple was built during the rule of Kalyani Chalukya kings. Though the temple is small, it has a beautiful temple tower with the idol of Durga flanked by the majestic idols of Mahalakshmi and Maha Saraswati with typical features as described in Devi Purana. The statue of Nandi in front of the temple also looks very beautiful decked with gold-painted ornaments. In the entrance hall or Mukha Mantapa, one can see the beautiful idol of Lord Ganesha and Lord Hanuman smeared with Sindur. In the inner sanctum one can see two Shiva Lingas side by side. Adjacent to this temple there is a separate shrine for Goddess Vijaya Durga in sitting position with eight hands holding weapons, a beautiful idol made of black granite. In the Mukha Mantapa one can also see two guardian deities of Chandi and Mundi standing on either side. In the inner sanctum utsava vigrahas are seen.

This temple came into limelight when the Telengana Chief minister, Sri Chandrasekhara Rao, performed Sahasra Chabdiyagam in 2006 under the supervision of Dr. Harinatha Sharma of this village. The temple of Vijaya Durga was constructed on 25^th October, 2009. Forty-five days after this event, on December 9^th, the Central Government announced Telangana State Formation.  This temple is just ten kilometers away from Siddipet.  Marpada is in Kondapak Mandal in Siddipet district. This village is on the border of the Siddipet District and Warangal District. The village is surrounded by lush green fields. Tiny tiled houses are seen on both sides of narrow lanes. The temple is located in spacious premises. There is immense scope for development of this temple. If the roads and transport facility are improved, and publicity about this historic temple is given, one can expect many more pilgrims. The temple is open from 6.00 a.m. to 8.00 p.m. Special poojas are performed in this temple during Sravana and Kartika months. Abhishekam is done to the Goddess Vijaya Durga on every Tuesday and Friday. Rahu Kala Pooja, Rudrabhishekam and Kumkumarchana are also performed here. Though the priests are North Indians, they are well-versed, and perform poojas with great care and devotion. One can experience peace of mind and devotion in this holy temple.

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A Note on W.H. Auden’s Poem “ The Unknown Citizen”

 

                                      

    

This poem, a satirical elegy, was published in 1939 shortly after Auden moved from England to United States. This poem was published on 6^th January, 1940 in the “New Yorker’ and appeared in Auden’s first collection “Another Time” (1940). This poem is a satirical elegy and a critique on the standardization and regimentation of modern life suggesting that people lost sight of what it means to be an individual when they focus exclusively on the status symbols and markers of achievement like having the right job, the right number of kids, the right car and so forth.

 

This poem builds a frightening picture of a world ruled by total conformity and state of oppression in which the bureaucratic government dictates and spies on every movement of its citizens in their daily lives. This poem pokes at and criticizes the modern world for granting too many powers to the state that oppresses common people through close surveillance. This poem mocks at the attitude of the state which tries measure a person’s happy life in terms of materialistic possessions without taking into account his individual tastes and preferences. The modern society in an effort to optimize production had made everyone the same and robbed life of individuality and freedom. The poem also makes a sharp attack on the evil intentions of advertising which misleads people and encourages them to make purchases as a way of expressing their individuality. The repeated mention of the Government departments is another way to make fun of the standardization of modern life and modern man’s obsession with brands, celebrity culture and media. 

 

In this poem W.H. Auden interprets the predicament of an average citizen who was forced to lead a life inconformity with state-made rules and regulations just for the sake of his survival. In the name of equality and promotion of common good, the state enforces the principle that everyone must follow the rules if things are to run smoothly. This poem is an elegy delivered by the government for a citizen who recently died after retirement. The setting of the poem is a cemetery with a marble monument to commemorate JS/07M378, the number given to the unknown citizen. Though the government seems to know everything about him, he is for all practical purposes an unknown citizen without any specific name. He is just reduced to a number without any individuality. Although many facts about the citizen are known, he remains unknown because the details highlighting his individuality are ignored.

 

He was basically a perfect citizen because he did everything, he was supposed to do in order to serve his society. He worked in the same job till he retired apart from a break when he served in the war. His employer Fudge Motor Inc was fine with him. He had the proper insurance and his health records show that he only needed to stay in the hospital one time. The public opinion department asserts that he always had the right views on big issues. He had a wife and five children, the correct number of human beings according to the department of Eugenics in order to optimize the gene pool. He let the children’s teachers do their work without questioning their teachings. It is ridiculous to ask whether he was happy since we would have known if there was anything wrong with him.

 He conforms to set standards and practices dictated by the mass organizations and institutions that shape the society. The unknown citizen was being honoured for his conformity just like a soldier for his sacrifice. The bureaucrat acts as a speaker and pays tribute to a model citizen identified only by numbers and letters. He speaks in an impersonal and clinical way expressing the detached view of the state.

 

 According to Bureau of Statistics the unknown citizen was a good worker who never got fired. He was praised as a saint because he meekly followed the rules and was acclaimed as a role model. He maintained the standards expected of him by those in power. He was a part of the Union but never broke rules except during the war time. So, he was treated as a popular member of the workforce. He is not a scab who returns to work before the strike has achieved its goals. Though scabs are considered cowardly, they have at least individual thinking to take their own stand for their own personal gains. The Social Psychology investigated his background when he died and found that all was normal according to his mates.

 He bought a newspaper every day and read the propaganda dished out by the biased press and had no adverse reaction to the advertisements in that paper. “He had “everything necessary to the modern man”. He moved with times and bought all modern gadgets like the Frigidaire, a radio, a phonograph and a car.  He adhered to all societal rules. According to researchers of Public Opinion, he was an average citizen who was conditioned to routine and had not questioned the norms of the society. “When there was peace, he was for peace: when there was war, he went.” He led a settled life and obeyed the government when he was called for war services. The unknown citizen was described with words like “normal”, “right”, “sensible”, “proper” and “popular” to indicate that he is the ideal citizen. The citizen is unknown because in the statistical data the man’s individuality and identity are not at all considered.  The professionals in the poem such as the bureau of statistics, ‘Social Psychology”, “Eugenics” are also persons devoid of any individuality. The evidence of his life shows that the unknown citizen is just one more cog in the faceless, nameless bureaucratic machine.

The poem begins with ABAB pattern and then switches to a rhyming couplet (AA, BB) pattern after which the poem follows an irregular rhyme scheme. The lines from 8 to 13 follow the pattern ABBCCA. The rhyme scheme is not regular throughout the poem though mostly rhyming couplets are used. In some lines though same number of syllables are used, they are not in iambic pentameter. They are often 11 or 13 syllables long with differing lengths.

The tone of the poem sounds monotonous filled with dry facts without any humane feeling and sentiments. It reflects the image of bureaucracy and the state as a faceless, indifferent and cruel machine. It manipulates, exploits and keeps all under its control even without their awareness. Just like in Orwells’1984” and Huxley’s “Brave new World”, ideas such as freedom of speech, nonconformist and individual expression are not entertained. According to Auden “Poetry is not concerned with telling people what to do, but with extending our knowledge of good and evil.”

 This poem is renowned for its wit and irony in exposing the stultifying and anonymous qualities of the bureaucratic and totalitarian governments which do not care about individual choices and freedom of thinking. This poem shows how the state, the government and the bureaucracy become a faceless, indifferent and cruel machine and how it manipulates, exploits and keeps all citizens under its ruthless control without their knowledge or awareness. As a leading spokesman of his generation Auden warned people against the dangers of totalitarianism. As a detached observer, using an ironic and discursive style he could accommodate the language of prose and the concerns of science. He tried to interpret the times to diagnose the ills of the society and deal with the intellectual and moral problems of public concern.

 

The main type of irony used in this poem is situational irony. The state is honouring the situation of a man who was compelled to lead in conformity with state-run rules and regulations. It is also ironical that the state does not know the name of the person whom it has honoured. The unknown citizen is praised as a “saint” in the modern sense of an old-fashioned word, ironically implying that he is not a saint in actual sense but a person who blindly obeys the state without any sense of independent thinking and freedom. This poem is also a satire as it is making fun of the person it pretends to celebrate. The poem ends with a rhetorical question “Was he free? Was he happy?” to emphasize the point that the citizen was neither free nor happy.

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           11th November, 2021                   Somaseeshu Gutala

 

A Note on W.H. Auden’s Poem “The Managers”

 

                         

                  

 

In this poem “Managers” (1948), W. H. Auden contrasts the lavish and luxurious life of ancient kings with the banality and convention-bound life of so-called modern tyrants designated as “Managers”. This poem was written in post-war period when a new class of workers, the professional corporate managers, were emerging. The new corporate bureaucracies mirror the military structures that had effectively managed the war efforts. Just like in military, in these new organization structures, employees lost their identities and became mere numbers. Auden, in this poem, wants to remind that these workers are not mere numbers but have their own faces. As Auden said;” The mere making of a work of art is itself a political act”. “It reminds the management … that the managers are people with faces, not anonymous numbers.”  

According to Auden the hero of modern poetry is “the man or woman in any walk of life who … manages to acquire and preserve a face of his own”. This poem is a snapshot “of men working too hard in rooms that are too big.” Auden wrote this poem in free verse using apt language tinged with sarcasm and realistic approach. The whole poem is a juxtaposition between the dictatorial approach of ancient kings and the too much restricted and slavish condition of modern bureaucrats who are not at all happy and free but slog on just to show off their status and position in the society.

 

In the first fifteen lines the poet portrays the ample freedom and authority enjoyed in past by those in power. The ancient kings lived a luxurious life in palaces with huge meals in the company of girls and had scope to acquire more knowledge. They rode on horses or were carried uphill in palanquins. For them to rule was a pleasure. Nobody questioned their decisions and judgements. It is as easy for them to write a death sentence on the back of a card and continue playing with a new set of cards. In ancient times there were great heroes, saints, philosophers, poets and diplomats. The poet refers to the famous painting of Francesco Bianchi Ferraris who painted the picture of Arion riding on a dolphin in 1509-1510 inspired by Ovid’s poem “Fasti”. The ancient kings behaved with absolute authority like Caesars enjoying and drinking with their friends.

 In contrast, the present day managers work too hard confined in spacious rooms and are reduced to mere figureheads without any power and freedom to act. They have a meagre lunch of sandwiches served at their tables which they hurriedly swallow without having enough time to eat; they are busy going through their papers which need a couple of secretaries to file. They are surrounded by so many problems that no smiling face can reduce their stress and tensions. Unlike ancient rulers they are not free to express their views and opinions openly. They sweat in the heat holding discussions on frivolous matters amidst the cluttering noise of type-writers that never stop but “whirr like grasshoppers in summer heat.” They have no time to notice the sweet smell of flowers that drift” from woods unaltered by our wars and our vows.”

 They have no time to listen to the songs of birds which do not care to vote. They have no time to notice the distinguishing marks of lovers by instinct. Ironically the police are trained to observe such lovely couples. The modern managers are busy with their work sitting with bent heads late into the night unmoved “like a god or disease.” They feel tired and weak and at the same time try to blame others for their desperate condition. Still, they show off their high status and position before “the bow of the chef or the glance of a ballet dancer.” They work hard not because they love their profession or have the ambition of growing rich. It is a necessary risk testing their skills and placing them in difficult situations. It is as risky and difficult as performing a surgery or carving a sculpture. But still, they crave to be in high position under the false impression that they belong to a select prestigious cadre and are above the common crowd and are safe and immune from any disaster. Their heavy gait and careworn faces do not deserve any sympathy and they do not thank others who show sympathy towards them. 

 

Thus, in his poems Auden compares the ordinary work life in 1948 to that of being an insect or cog in the larger machinery of administration. The workers are deprived of their individual identity and reduced to mere anonymous figures. This type of dull institutional system strips life of poetry and grandeur. Auden tried to interpret the times and diagnose the ills of the society and deal with intellectual and moral problems of the society. He tried to analyse and comprehend the individual life in relation to the society and the human condition in general. He expressed his dislike for the Government which imposed too many complicated rules to curtail the freedom of the average person and his suspicion of science without human feeling and confirmed his faith in a Christian God. During the war time, Auden was regarded as the leading spokesman of his generation and as a political writer warning against the dangers of totalitarianism.

We find in his writings, a detached attitude with ironic observation and a discursive style that could accommodate the language of prose and the concerns of science. Just like modern poets Auden favoured concrete imagery and free verse though employed a great variety of intricate and extremely difficult technical forms. His highly regarded skill is that he thinks in terms of both symbols and reality at the same time. He always used language that was interesting in texture as well as brilliant verbally. According to Austin Clarke, Auden was “liberal, democratic and humane.” Monroe K. Spears in his first systematic critical account “The poetry of Auden: The disenchanted Island” (1963) stated that Auden’s poetry can offer the reader “entertainment, instruction, intellectual excitement and a prodigal variety of aesthetic pleasures, all in a generous abundance that is unique in our time.” While British critics treated his early work as his best, American critics favoured his middle and later work as more worthy and significant.  “Overall, Auden’s poetry was noted for its stylistic achievement, its engagement with politics, morals, love, religion and its variety in tone, form and content.

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            31st October, 2021                     Somaseshu Gutala

PLAY THY PART

                     

                           

                                         

                               

1)   A floating miracle assuming myriad forms

       So flexible, so smooth and calm

       Cheering so many eyes with her charm

       So shines thy pliant nature friendly and warm.

 

2)     The purling stream by the mountain side

         So gracefully through pebbles glide

         Unhindered by boulders flows beside

         Just like thee taking everything in her stride.

3)     The whirling western wind from cloudy height

         Shaking mighty trees with lashing might

         Carpeting the ground with leaves fallen with fright

         Reminds me thy vibrant attitude bright. 

 

4)     The laughing lilies on blue misty hills

         Makes our hearts throb with fragrant thrill

        Our feelings swell and flow like mountain rill

         Likewise, your smiles with joy our bosoms fill.

 

5)      When the tree with so many fruits abound

          Shakes herself free a load of apples red and round

          A heap of rubies ripe shining on the ground

          Reflects thee who in giving true joy found.

 

6)      Like the bird flying through gloomy clouds and gales

          With colourful wings unfazed over the vales;

          As her voice echoes a melodious merry tale;

          Likewise, your efforts move, not stagnant and stale. 

 

7.       Like the coloured spectrum of rainbow in the sky 

          Like the shimmering glow of butter-flies

          Like the blooming lotus blossoms at sunrise

          Make me happy to see thy growth mature and wise.

 

8)      So many pretty things flash before my mind

         To speak about you, so liberal and kind;

         In simple ways immense pleasure, you find

         You play your part with zest that God assigned. 

   

  (With many, many best wishes to my daughter, Sri, on her birthday) 

  16th October, 2021                Somaseshu Gutala   

A NOTE ON W.H. AUDEN’S POEM “NIGHT MAIL”

 

                           

 

Wynstan Hugh Auden (1907-1973) was a versatile personality who brought significant changes with socialist fervour in the field of arts and made innovative changes in style, content and tone. He participated actively in the fields of politics, morals, love and religion. As an important member of the “Oxford group” he rejected the traditional poetic forms of Victorian writers and was influenced by literary modern writers like T.S.Eliot. All his works are noted for their humanitarian content, democratic spirit and technical innovation in literary forms.

 This poem was written in 1936 to accompany the documentary film of the same name. The film is concerned with a London, Midland and Scottish Railway (LMS) mail train travelling from London to Scotland. It was produced by the GPO  to publicize the work of the British general Post Office. This film was directed by Harry Watt and Basil Wright and was narrated by John Grierson and Stuart Legg. Some of the lines of the poem were cut and changed to fit the film. The basic intent of the film was to reveal how the mail was distributed all over cities and villages by the train. The rhythm of the film matches the train’s movement and a sense of dreamy loneliness pervades much of it. Auden’s poem was read in the closing few minutes of the documentary film. This poem was set to music by Auden’s friend, Benjamin Bretten.

 In this poem, the train is personified as a person who travels crossing many hurdles and reaches her destination on time. She passes through grasslands, cotton fields, rocky terrain and industrial townships. The night mail carries mail across the country by night. Here the “blank-faced coaches” refers to compartments carrying no passengers. She shovels white steam over her shoulder as she moves forward.

 In spite of her fast rhythmic movement, the night mail did not disturb the sleeping people who were dreaming about news about war and letters from their dear people. The poet shows the train as a socialist symbol transcending the barriers of social status and rank. The train crosses the borders overnight bringing letters, cheques, and orders for both the rich and the poor. Though the way is steep she moves with steady speed and arrives at the destination on time. She noisily passes through the silent miles of grasslands. Birds peer at her and sheep dogs cannot alter her course. The dwellers sleep on undisturbed by the passing train while the jug gently shakes due to vibrations caused by the train. 

In the dawn she descends into Glasgow. There she heads towards dark furnaces set up like “gigantic chessmen”. All of Scotland eagerly crave for her arrival for men want news and letters from their near and dear. She carries many letters of different sorts and for all people such as receipts, invitations, applications, declarations of love, gossip from around the world and news both “circumstantial” and “financial”. She also brings personal letters from family members, letters with doodles in the margins, letters from all over Europe, letters of condolences all written on papers of every color imaginable. The letters have all tones and styles such as chatty, friendly, cold, boring, clever, stupid, long and short. Some are typed, some are printed and some are misspelled. Thousands still sleep dreaming night mares. They are asleep in Glasgow and Edinburgh. They dream on but they hope that when they wake up, they will have letters. The line “And none will hear the postman’s knock/Without a quickening of the heart’) refers to their intense desire to know that they are remembered by someone else as the mail comes. Their hearts will pound when they hear the knock of the postman on their doors since “Who can bear to feel himself to be forgotten?”

  

 This is a twelve- stanza poem that is divided into stanzas of varying length.  The first part of the poem is made of eight four-beat rhymed couplets to echo the rhythm of the running train. The second section of the poem describes the train’s descent into Scotland. The landscape has a touch of industrial township with dark furnaces. Stanza nine has eight lines, stanza ten has nineteen lines, stanza eleven has three lines and stanza twelve ends with seven lines. This poem is written as a conclusion to a film about the delivery of the mail. The meter of the poem resembles that of a moving train down the tracks. It is very steady, builds up speed and at the end slows down. The second section has eight lines with irregular meter. Scotland was eager to hear about war news as Hitler was becoming increasingly aggressive. In the third section the excitement of the crowd receiving all the letters is described though most of them were asleep when the train was passing by. Auden realistically shows the vast array of things sent by post. People are knit together by this correspondence, no matter how trivial the mail might seem. The diversity of people and communications is mirrored by the kinds of paper” of every hue/the pink, the violet, the white and the blue." 

In the final section Auden depicts local people asleep in their warm beds dreaming of local things and monsters. Soon they will be awake and eager to know about the mail they would get. The end of the poem asks “after all, who can bear to feel himself forgotten?” This poem celebrates human connections and sweet, memorable relationships. The poet viewed the night mail as a socialist symbol which serves all transcending the barriers of race, rank and status. The train is personified as a calm, methodical and kind being who is always on tome despite “the steady climb” as she barely disturbs the countryside.

The poet also used many figures of speech to enhance the effect of the moving train in keeping with her movement. The repetition of word or phrase at the beginning of multiple lines in succession (Anaphora) is seen in this poem to create emphasis. (“Letters for the rich, letters for the poor”) and (“Letters of thanks, letters from the banks / “Letters of joy from the girl and the boy”). A list of phrases, items or actions may be mentioned. The repetition of initial consonant at the beginning of words (Alliteration) is seen words like “birds, bushes, blank-faced”. The use of sibilance (alliteration of soft vowels such as “s” and “sh” to create a prolonged hissing and rushing sound. (“Shovelling white steam over her shoulders/Snorting noisily as she passes”). The use of enjambment (run-on lines) is used to show the smooth movement of the train. (“Down towards Glasgow she descends/Towards the steam tugs yelping down the glades of cranes). The use of repetition for giving emphasis is seen (“Letters with holiday snaps to enlarge in/Lines with faces scrawled in the margin/Letters from the uncles, cousins, and aunts/ “Letters to Scotland from the south of France/” Letters of condolence to Highlands and Lowlands”).

 The whole poem is the personification of the train as a brave lady moving forward with steady movement and perseverance facing many hurdles with a sense of determination. In the sentence “she snorts noisily as she passes by the wild bent grass” the train is personified as an animal. This poem is a fitting conclusion to the documentary film which highlights the services provided by the Railway and the Postal departments.

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  (Dedicated with humble regards to Sri (Late) Y.N.Sastri, the Saviour of Railway Pensioners and who did yeoman service for protecting the rights of pensioners at national level.).  He worked as Chief Controller in Secunderabad and after retirement in the capacity of President for All India Retd. Railwaymen Federation, he rendered invaluable and commendable service for pensioners for nearly thirty years. He was a born leader. an orator,  a writer and an actor. To quote, he was " a multi-faceted personality with a zeal for pensioners' welfare, social, cultural and sports activities; above all a trade union leader and a freedom fighter with leadership talent. A leader of conviction, devotion to duty and determination combined with a high degree of knowledge and vast experience." 

I humbly dedicate this essay to him since like the "Night Mail" in Auden's poem, he stands for dynamic nature, courage to overcome difficulties and selfless service with timely action and straightforward nature without any inhibitions.

           

      9th October, 2021                                   Somaseshu Gutala