The influence of Tagore on Mahagama Sekera

by Liyanage Amarakeerthi

(Text of the speech delivered at a Panel Discussion held at Svami Vivekanda Cultural Center in Colombo, on January 12, 2024 to commemorate Mahagama Sekera. Sekera was an influential a poet, a novelist, a painter, a lyricist, a filmmaker, and a literary scholar, and he died in 1976 at the age of 47)

This panel is primarily about the ways in which Mahagama Sekera’s art was shaped by Indian thought. Since ‘Indian thought’ encompasses a great deal of philosophical schools and religions, including Buddhism, there is no Sinhala art which has not been shaped, one way or another, by something ‘Indian.’ So, I must be specific and quite narrow in my focus. Hence, the focus on Tagore.

Gurudeva Ravindranath Tagore has inspired us, Sinhala people or Sri Lankans in multiple ways. As the panel today will amply demonstrate, Tagore’s influence can be seen in nearly all domains of our art scene. In the field of music, perhaps, his influence is the most pronounced. The Sinhala term for influence is abhasaya – a Sanskrit word, and it means ‘light’ or ‘reflection’. Gurudeva’s light has been quite pervasive in Sinhala art scene, though in recent times the significance of that light has been forgotten to some extent.

In this speech, I want to remind ourselves of that significance by focusing on the poetry and literary thought of Mahagama Sekera – one of our greatest modern poets. In doing so, however, I will be highlighting what I consider to be the most important lesson we could have learnt from Gurudeva Tagore. I have been arguing for more than a decade now in my Sinhala writing that Tagore’s strong critique of ethnic and cultural nationalism, a line of thought that could have enriched our cultural and political thought, failed to make a significant impact on the Sinhala language intellectual world. But it is never too late to rediscover that aspect of Tagore, and Mahagama Sekera’s work provides us with an opening into that rediscovery.

Many are Sri Lankan scholars and artistes who studied at Shanti Niketan, and all of them brought back some of aspects of Tagore’s thought. The most influential among them is perhaps, Ediriveera Sarachchandra, who later became a great playwright, a novelist, and a scholar in literature. And he is, arguably, the most important renaissance figure in the 20th century.

His days at Shanti Niketan are beautifully described in his memoir, Pin aeti Sarasavi varamak Denne. The influence of Tagore has certainly helped Sarachchandra and others to discover ‘our own traditions’ in art. Sarachchandra’s turn to folk theater to find an indigenous form of modern theater may have been encouraged by what Gurudeva did in the field of theater in the early 20^th century. Tagore’s influence on the field of Sinhala music has been pointed out by many knowledgeable scholars.

While paying tribute to Gurudeva for everything we have learnt from him, one must also recognize the fact that we have also missed one of the key lessons of Tagore. The lesson is the importance of cultivating a critical distance from nationalism, especially from ethnic nationalism, and the need of learning critically from Western modernity, especially science.

Tagore saw Western scientific, technological, and artistic achievements as human achievements that can be shared with all humanity. While critiquing Western colonialism and fighting to defeat it, Gurudeva had this to say, “Neither the colourless vagueness of cosmopolitanism, nor the fierce self-idolatry of nation-worship, is the goals of human history. And India has been trying to accomplish her task through social regulation of differences on the one hand, and the spiritual recognition of unity on the other. She has made grave errors in setting up the boundary walls too rigidly between races…”(Tagore. Nationalism. 2009: 34).

Gurudeva’s belief in our shared humanity did not make him a thinker floating in the sky, and he was an inter-culturalist thinker. The rooted cosmopolitanism of Tagore is a lesson we have either overlooked or insufficiently learnt. Sarachchandra, who was the most known intellectual to be influenced by Tagore and his legacy never mentioned Gurudeva’s brilliant critique of nationalism. The renaissance generation of Sinhala literary culture in the middle of the 20^th century, especially the intellectuals associated with the University of Peradeniya, were ready to learn from the world rather than being parochially restricting themselves to what was taken as indigenous tradition. But their openness was not articulated as it was often done by Tagore. For example, Gurudeva once said,

“That our forefathers, 3,000 years ago, has finished extracting all that was of value from the universe, is not a worthy thought. We are not so unfortunate, nor the universe so poor. Had it been true that all that is to be done has been done in the past, once for all, then our continued existence could only be a burden to the earth…( The Makers of Modern India. 2012: 188).”

Sekeara did not live long enough to articulate his intellectual positions in non-literary writings- a mode in which Tagore was remarkably prolific. But Sekera’s worldview is quite close to Tagore’s.

Mahagama Sekera, to repeat my main argument, provides us with an opportunity to revisit the Tagore we have missed. At numerous places in Sekera’s poetry one finds moving calls for an ethnic unity and harmony in Sri Lanka. For example, in Mak Nisada Yath, he imagines that Sri Lanka’s scientific and technological development would result in greater ethnic unity and stronger integration of diverse cultures:

“From the exhaust pipes
Of hydro-powerhouses
Comes out the rings of white fumes
Like an embryo of a future dream.
Seen on the other side,
Is the mountain rage of sapphire,
And this river descends from
Under the shadow of the mountain peak
Adorned with the Buddha’s footprint.
Sebastian.Nadaraja Mohamad
When this electricity
Lightens up
This country tomorrow
We will unite
At the peak of Sri Pada mountains!!

Constant call for ethnic unity is found in many other poems of Sekera. Originally published in 1964, many years before the beginning of Sri Lanka’s civil war, these poems indicate an impending danger of ethically motivated political violence. Perhaps, the resurgence of Sinhala ethnic nationalism in the decade of 1950 has made Sekera worried about the eventuality that ethnic and cultural hype would bring about.

In addition to expressing his fears about the rise of ethnic nationalism, Sekera’s rooted cosmopolitanism is seen in his openness to the literary developments in the West and elsewhere.

Sekera’s poetry during the 1960s shows that he has been interested in what was happening in Western poetry. His collection, Heta Irak Payai (1963) attests to the fact that modernist poems of Ezra Pound, E.E. Cummings, or the French symbolists have shaped his art during that decade. Sekera was one the first Sinhala poet to experiment with the way poems are printed on page. Many poems in that collection are printed to make poems to something look at rather than something to be read.

When matured as a poet, he gradually moved away from such modernist experimentalism to Sinhala folk traditions and to narrative poems but without losing touch with the literary developments after modernism. In his narrative poems, he was still within the modernist tradition by using style of free verse which came into Sinhala in the early 1940s. The ‘free verse’ is a style defended and promoted by the ‘Peradeniya School’- a group of poets and critics who were educated at Western universities. Sekera seems to have kept close contact with such Avant Garde groups in Sri Lanka and elsewhere.

Though he was still using free verse style in the main, Sekera’s thematic vision was shaped by Asian philosophical traditions. For example, the narrative poem, Prabuddha, what considers to be his masterpiece, has numerous references to Upanishad, Bhagavat Geeta, Dhammapada, and other such texts. And the poem portrays a musician, who attempts to lead a refined and enlightened life without getting caught in capitalist consumerism and Westernized individualist life. Thus, Sekera has made a conscious attempt to learn from both the West and the East.

Sekera’s work, to sum up this section, demonstrates a cosmopolitan literary and artistic vision, which was not the mainstream of his time, especially during the 1970s. That literary cosmopolitanism has been directly and indirectly shaped by Gurudeva Tagore. If Sekera’s sensibilities, to be specific, are not shaped by Tagore, one sees a remarkable kinship between the thoughts of the two literary figures. Much like Tagore, Sekera was a poet, a writer of short fiction, a novelist, a lyricist, a filmmaker, a painter, and so on. In that sense too, Sekera looks to be modeling himself on Tagore. With his openness to new media, new art forms, I am sure Tagore would have made films if he were to live a decade or more.

Tagore was a rich thinker in whose fertile mind the best of the West or of modernity mingled into a fine synthesis with Asian thought. As Amartya Sen correctly puts it, Tagore was not just a rationalist objectivist. He believed in epistemological heterodoxy i.e. the existence of many forms of truth. “…While Tagore believed that modern science was essential to understanding physical phenomena, his views on epistemology were interestingly heterodox.

He did not take the simple ‘realist’ position often associated with modern science” (Argumentative Indian. 2005: 104.). In Sekera, I see a beginning of a wonderful synthesis of rationalist thought and visionary qualities found in Asian thought that cannot be rationally explained. All his narrative poems, Nomiyemi (1973) in particular, move away from naturalist realism into a realm of poetry where rationality and irrationality meet in a fine synthesis. This aspect of Sekera would have refined so much better in the next decade of his life. Sadly, that crucial decade never arrived.

In addition, in creating that poetic realm, Sekera often taps into Sinhala folk wisdom. In the famous section his mother the narrator of Prabuddha says,

‘Having walked over forests and jungles,
bringing all kinds of reeds home,
dying them in red, green, and so on
weaving mats in various designs,
You showed me, my mother,
This entire universe also has a certain design.

I did not know my mother,
That your face was a mirror
that reflected those days,
My own mind these days,
In those sunken eyes
I never saw happiness nor sadness.
Did you take in all suffering and comforts,
With a great sense of equanimity?
And, by doing so, did you gain peace and calmness of mind?
I earned money, fame, and glory.
I had palatial houses, cars, vehicles, and so on.
But none of them gave me peace of mind.
Had you realized that truth,
Without any of those material things?

Maknisada yath , (It was because..,) 1964 , the first of his long poems (or narrative poems) makes it abundantly clear that he has been heavily influenced by Ravindranath Tagore, especially by Geethanjali. For one thing, Sekera sees the divine in the everyday life of working people. For him divine is not necessarily in a supernatural place beyond this world.

“…when I open my eyes and look around
This is what I see:
Tractors
Factories
Airplanes
Machines
Electrical lights
The greatest secret of the world,
Electricity,
are gods.
The factories
Are the temples.

If there is an all-powerful god
Who creates this mother earth
And trees and plants
And all beings on it,
Who created machines
Rockets
I plead to Him
For one thing
Please grant us a powerful hand
And powerful mind.”

It is not difficult to see a shadow of Tagore’s though in these lines. Gurudeva Tagore, unlike Mahatma Gandhi, defended the technological advances of modernity. After this opening section Sekera explains why he is asking for a ‘powerful mind:’

Where there is a mind without fear
And no head is bent down [in submissiveness],
Where awareness is independent
And the world is not divided by narrow walls of indigenousness
Where there are words spring from the depths of truth

…

Where, the pure stream of water, which is reason,
Has not evaporated in the deadly dessert of outdated conventions,
Where you have led human minds forward towards
refined thoughts and actions
to such a kingdom liberation
My father, please wake my country up!! (71-2).

All of us know that the ideas and words in this excerpt are taken from Tagore- the famous 35^th poem of Gitanjali. To the contemporary reader this section might look like plagiarism. Typically, poets borrow things from other poets without being accused of stealing. After all, the idea of plagiarism is something quite modern and Western. All South Asian classics, especially the classics in modern South Asian languages such as Sinhala, have borrowed metaphors, stories, and even entire sections from the classical literary works in Pali and Sanskrit. Numerous sections of classical Sinhala poems are re-tellings of some sort. But to be fair by Sekera, when this section was turned into a song and the lyrics were published in a book, he acknowledged the fact that it was adaptation.

Though indebted to Tagore in the section above, Sekera pushes Tagore’s poetic thought a bit further.

“It was the man who,
Made the world emerge from the darkness.
It was the man who made the world fertile up to this day
It was the man who created God.
To create the mental kingdom of liberation

At least partially,
It was the man who shed
tears,sweat and blood up to this point (72).”

It is clear here that Sekera sees humanity to be more powerful than divinity. In fact, divinity is an offshoot of human efforts to make the world a better place. He goes onto celebrate the scientific advances humans have made. In fact, in the book cited, originally published in 1964, Sekera says, “in 25 years, humans will go to the moon,.. by that time, there will green grasses growing on the moon to welcome humans.’

Barely four years after the book’s publication, humans indeed landed on the moon, and, though for the green grass on the moon we will have to wait a while, Sekera’s optimism about human capabilities has a strong foundation. In that too, one can see the influence of Tagore. In many literary works of Tagore, one finds divine-like power among ordinary, working people, and the supernatural powers emerge out of extremely mundane situations. Some short stories of Tagore, such as “A single night,” are wonderful examples of such instances. This essay does not have space to deal with those stories.

Though Tagore was not entirely a rationalist thinker and an objectivist, he believed that science could help human beings to create a better life for themselves. His belief in modern science was one of the key points at which he differed from Mahatma Gandhi. Tagore and Gandhi disagreements on science have been documented by scholars and numerous times by Amartya Sen.

In 1934, Bihar was struck by an earthquake that killed thousands of people. Gandhi said that it was divine punishment for untouchability. Tagore, who was also working on untouchability along with Gandhi disagreed strongly and argued that such unscientific views about natural phenomena could propagate such interpretations among masses (Sen 2005: 103-4). For Tagore, untouchability was something to be defeated by socio-political reforms. In that sense, Sekera is much closer to Nehru than to Gandhi among the makers of modern India.

**

I argued earlier that Sekera’s attitude towards modernity and science is akin to that of Tagore’s. Sekera may have recognized that Pundit Nehru inherited Tagore’s appreciation of modern science and technology. In hearing Nehru’s death, Sekera wrote a song in which he correctly recognizes some salient aspects of the first prime minister of India.

The great river of thought
that comes from the past to the future
overflowed your noble heart and came forward.
Without dividing the humanity
Into segment with its many branches
That river of thought flowed treating everyone equally.
With your eyes that sees
All three times
You saw today
The world that comes into being tomorrow.

Tagore’s novels such as The Home and the World, and Gora that turn his cosmopolitan sensibilities into arresting literary expressions are much superior literary works compared even to the best of Sinhala literature. And there is nothing comparable with Tagore’s books Nationalism, The Religion of the Man among the books written by Sinhala literary writers. Sekera’s work too shows such limits. Though some of them are local masterpieces, we would expect much greater work from him. Unlike Tagore, Sekera died young. It seems to me that by the time he died, he was looking for the best modes to turn his sensibilities into literary or artistic expressions.

One can easily detect a major reason for Tagorean cosmopolitanism to be overshadowed in Sinhala cultural and political scene: the most important founding father of Sinhala nationalism, Anagarika Dharmapala, intensely disliked Tagore. And Dharmapala’s modern day disciples such as Gunadasa Amarasekara propagated for decades a kind of extreme nationalism that has no regard or understanding of rooted cosmopolitanism of Tagore.