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On 10 December 1950, William Faulkner began his Nobel Prize acceptance speech with these words, “I feel that this award was not made to me as a man, but to my work – a life’s work in the agony and sweat of the human spirit, not for glory and least of all for profit…” As art transcends the artist, poetry transcends the poet. Faulkner further elaborated upon the importance of artwork over the artist in an interview with The Paris Review in 1956. Referring to the futility of conflict over the authorship of Shakespeare’s works, he contends, “…what is important is Hamlet and A Midsummer Night’s Dream, not who wrote them, but that somebody did. The artist is of no importance. Only what he creates is important.”
This is what I had in mind when I started editing 100 Great Indian Poems and its companion volume 100 More Great Indian Poems. The poetry anthologies I have come across have a clear emphasis on ‘the poets,’ illustrated in the titles such as Ten Twentieth Century Indian Poets, Twelve Modern Indian Poets, Nine Indian Women Poets or 60 Indian Poets. These My Words, edited by Eunice de Souza and Melanie Silgardo, which could be otherwise daunting and inaccessible to common people, may be an exception. These lines from De Souza’s poem ‘Meeting Poets’ are telling –
I am disconcerted sometimes
by the colour of their socks
the suspicion of a wig
the wasp in the voice
and an air, sometimes, of dankness.
Best to meet in poems:
cool speckled shells
in which one hears
a sad but distant sea
A general reader does not need to know which prizes a poet has won, how many books has s/he published or which festivals has s/he attended; the charm and force of an individual poem is sufficient to move the reader. Poetry survives the poets because of its timeless and intrinsic value. Therefore, I don’t understand the obsession of the 20th century anthologists of Indian poetry with the poets.
I was fascinated with Rashmirathi by Ramdhari Singh Dinkar while growing up as a child in Bihar. I chanced upon my father’s worn-out copy of this book at home when I was in class four. The magic that I had felt in the sound and energy of words in Rashmirathi stays with me till date. This Hindi epic tells the story of Karna, Krishna, Pandavas and Kauravas. It was my first lesson in literature as well as in politics and diplomacy. I memorised the third canto by heart as I often read it. I still do. I have unsuccessfully tried to translate this work into English. The magic of native words is lost in translation; and therefore, verses from Rashmirathi do not find a place in the anthology of great Indian poems. For the similar reason of untranslatability, several other great poems could not fit into this anthology.
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