THE POWER OF POETIC METER

Ven. Tirikunamale Ananda Mahanayaka Thera, the author of the book, and Prof. Dissanayake.

By Prof. Wimal Dissanayake

The Venerable Tirikiunamale Ananda Maha Nayaka Thera has written a reverential commemorative poem, titled Guru Dev Samara, celebrating the life and times of his teacher the Reverend Ampitiye Rahula Maha Thera. It is a poem that deserves the critical attention of discerning readers primarily because of the dexterity with which the author has handled his chosen poetic meter and commanded it to perform a number of functions related to the vitality of the poetic text

Guru Dev Samara consists of 130 stanzas written in conformity to the drutha vilambitha meter. As I will explain later, the choice of this meter is indeed a happy one. It serves to enhance the willed intensity of the poetic text. Guru Dev Samara in clearly modelled on Munidasa Cumaratinga’s celebrated poem the Piya Samara. The title of the Reverend Ananda’s poem is reminiscent of Munidasa Cumaratunga’s poem the Piya Samara. Moreover, both poems can be termed biographical poems. The Reverend Ananda Thera has stated that he regards Munidasa Cumaratunga’s poem as an inspirational model for his own work.

Guru Dev Samara is both a lyrical poem and a narrative poem. It consists of 130 stanzas that are more or less independent, and therefore work as lyrics. On the other hand, the various incidents of the Reverend Ampitiye Rahula’s life that the author has selected for poetic representation are connected by a faint narrative outline. However, it is as a lyric poem that I value it more and hence that will be the focus of my short article.

The lyric is an expansive and inclusionary concept that shelters a number of sub-genres such as sonnets, elegies and ballads. Originally, this term signified songs performed to the accompaniment of the lyre. the music generated by sonic means and the music of ideas are vital to the ambitions of the lyric. Moreover, we can identify several other features associated with the lyric genre. The unmistakable presence of the subjectivity of the poet, the intensity of the produced emotion, the frequent deployment of apostrophe as a privileged rhetorical stratagem, the idea of performativity and the poetic articulations inhabiting a constantly unfolding present are chief among them. While these features are common across cultures, it is also important to bear in mind the fact that there are different cultural emphases and inflections as well. Reverend Ananda Thera’s Guru Devi Samara, contains many of these features linked to the lyric genre.

Throughout the poem, the author has deployed the drutha vilambitha meter with remarkable skill. It is not currently a popular meter among modern Sinhala poets; it gained wide circulation during the Matara period. It is indeed a highly demanding meter that all but the most self-assured of poets venture to harness. Gunadasa Amarasekera claims that this meter exudes an intimacy and sonic allure that is perfectly consonant with the aims of Reverend Ananda. I find this meter highly appropriate to the intentions of this poetic text. The dualism of absence and presence that courses though the poem is incarnated in the metrical movement. The Reverend Rahula, the protagonist of the poem, is dead, but he is also vitally present through the evocations of memory. As deconstructionists would find interesting, this duality is upended by generating a semiotic immortality. The movement of the drutha vilambitha meter with its interplay of speediness (drutha) and measuredness (vilambitha) aids in this effort. The focus on Time and the reflexive transcending of Time are suggested through the sonic collocation of the meter.

Few modern Sinhala poets would be able to handle this meter with the dexterity that Reverend Ananda has. It needs a great power of discipline and mastery over language. Guru Devi Samara is an exemplification of poetic discipline at its best. This is important in that the authority of discipline indexes the inordinate self-discipline that the hero pf the poem, the Reverend Ampitiye Rahula displayed in his life. Here the form enacts the theme. Gunadasa Amarasekera asserts that this poem stands out from the general run of modern Sinhala poetry. One reason for this is the extreme competence with which the poet has handled the drutha vilambitha meter in the way that Munidasa Cumaratunga had a few decades ago in his Piya Samara.

Jonathan Culler, who is one of the most consequential theorists of the lyric, has demonstrated how meter, rhythm, alliteration, assonance and other sonic effects are central to the power of the lyric. I wish to quote a passage from his book Theory of the Lyric which points this out. ‘there seems widespread agreement among poets and theorists about the centrality of rhythm to lyrics. Valery, like other poet, evokes rhythm as the key element in the genesis of a poem. It was born like most of my poems, from the unexpected presence in my mind of a certain rhythm. T S Eliot concurs, observing that a poem may tend to realize itself first as a particular rhythm before it reaches expression in words, and that this rhythm may bring to life the ides of an image. We know poetry is rhythm writes Yeats, distinguishing the rhythms that pick up and spectrally convey a tradition from the mechanistic cadences of music hall verse it is the rhythm of a poem that is the principal part of art. Statements about the fundamental character of rhythm, such as Nicolas Abraham’s claim that rhythm produces in the reader the fundamental effect of the entire poem, come from poets, critics, and historians of all stripes’. The Venerable Ananda Thera is fully aware of this fact as evidenced in the texture of his poem.

A distinguishing feature of the lyric is the frequent use of apostrophe. Jonathan Culler argues that this is a defining feature of the lyric. In poetry, an apostrophe designates a figure of speech in which the poet addresses an individual, mostly absent, an abstract idea or a thing. One of the clearest example is a nursery rhyme that we all learned in our childhood.

Twinkle, twinkle, little star
How I wonder what you are
Up above the sky so high
Like a diamond in the sky.

There are very powerful lyrics whose power derives from the deployment of apostrophe. This is evident in the following sonnet by John Donne, titled Death, Be Not Proud.

Death, be not proud, though some have called thee Mighty and dreadful, for thou art not so

For those whom thou think’st thou dost overthrow

Die not, poor death, nor yet canst thou kill me

Poets in general are lured to this trope, though some like Pablo Neruda find it compellingly attractive. He has written 225 odes, addressing a broad array of subjects ranging from abstract concepts like time, poverty and happiness to mundane things like scissors, a pair of socks and a cake of soap. This is a poem addressing a cake of soap.

That’s what
You are
Soap, pure delight
Fleeting smell
That slips
And sinks like a
Blind fish
In the depths of the bathtub.

As I stated earlier the eminent theorist Jonathan Culler has made the apostrophe a cornerstone of his theory of the lyric. The Reverend Ananda has made in his poem made use of poetic apostrophe with great sensitivity. The object, the hero, of the poem is the Venerable Ampitiye Rahula Thera. He is now dead. However, the poet, throughout the poem addresses him in the unfolding present as ‘oba’ (you) as if he were alive. This plays into theme of presence and absence that animates the poetic text which I identified earlier. Munidasa Cumaratunga, too, displayed a laudable ability to press into service this rhetorical strategy to great effect.

Guru Dev Samara displays a remarkable congruence of form and vison. Although this is a slim volume consisting of 130 strophes, there is a copiousness to it that grows out of the author’s desire to select the dynamism of Buddhist culture as his chosen province. The Nobel prize winning Irish poet Seamus Heaney once made the following astute observation, ‘Technique, as I would define it, involves not only a poet’s way with words, his management of meter, rhythm and verbal texture; it involves also a definition of his stance towards life…it involves…a dynamic alertness that mediates between the origin of feeling in memory and experience and the formal ploys that express these in a work of art..,it is the whole creative effort.to bring the meaning of experience within the jurisdiction of form.’

Ven. Ananda validates this broad notion of technique and he is very skillful in bringing his experience within the jurisdiction of form. For example, his syntax is supple and persuasive; it negotiates the dictates of meter in a way that the thematic meaning is unobtrusively reinforced. Earlier I alluded to the fact that the temporal structure of this poem serves to enact its theme. The metrical energy of the poem propels the narrative and theme forward reassuringly. So Reverend Ananda is employing the idea poetic technique in the way that Seamus Heaney envisaged and promoted.

As a consequence of the able ways in which the experience and concept of Guru Dev Samara are brought under the jurisdiction of form, we see how Reverend Ananda’s deeper sub-text of affirming Buddhist values though the lived life of his poetic hero is achieved. Jonathan Culler has maintained- quite rightly in my view- that although there is an ostensible person or object that is overtly addressed by the poet, his or her real intention is to address the reader. The reader becomes a part, a character, of the communicative event. In this poem, the real and deeper intention of the poet is to convey to the reader and affirm the importance of Buddhist humanistic values. This desire to address the reader stealthily is regarded by Culler and others as a hallmark of the lyric.

Finally, I wish to touch upon a topic that I had discussed a few weeks ago under the title The Lyric as a Communicative Event in the pages of the Midweek Review. In it I asserted that the quadrangular relationship between the poet, persona, text and reader leads to a dynamic communicative event and that envisioning this is a most productive way of conceptually framing the lyric. Revered Ananda Thera’s poem is illustrative of this fact. The poet has established a vital relationship between the poet, his poetic persona, the text and reader whom he addresses as he persuades him or her to appreciate the relevance of Buddhist humanist values.

The distinguished literary critic Helen Vendler once remarked that that, ‘lyric is not narrative or drama, it is not primarily concerned to relate events, or to reify contesting issues. Rather, its act is to present, adequately and truthfully, through the mans of temporally prolonged symbolic form, the private mind and heart caught in the changing events of a geographical place and a historical epoch.’ She also claims that ‘the fundamental aim of lyric is to grasp and perpetuate by symbolic form, the self’s volatile and transient here and now. To my mind, Helen Vendler’s remarks are too restrictive. Scholars like Culler have pointed out the need to consider lyric as public discourse which derives its authority from sonic devices such as meter and rhyme. An interesting feature of reverend Ananda’s Guru Devi Samara is that it reaffirms the importance of this line of thinking.

This poem is by no means flawless; it has its own share of weaknesses and deficiencies. Some of the stanzas are too prosaic and close to reportage to carry an emotional charge. Some of the strophes are too laden with didacticism and consequently unable to lift themselves off the page. It would have been more productive to depict the protagonist of the poem in more complex terms focusing on inner tensions and the intricate workings of heart and mind. Despite these deficiencies, this is a poem that merits close attention. The poet’s indubitable gifts and his firm discipline are evident throughout. His language, for the most part, recognizes the richness of lucidity. The aspect that I wish to focus on in this article is the poet’s adroit use of a demanding meter. This poem serves to promote a useful discussion on the being of a lyric, especially the functionality of meter. As one reads Tirikunamale Ananda Maha Nayaka Thera’s poem, one is inexorably drawn into a multi-faceted conversation regarding the ontology of the lyric.