ABYSSAL OF SUPRACONSCIOUSNESS -SUDHAKAR GAIDHANI (India) / Translated from Marathi By Dr.Tejaswini Patil Dange (India)

 
SUDHAKAR GAIDHANI (India)
 
 
ABYSSAL OF SUPRACONSCIOUSNESS
 
In the bottomless depths of the abyssal of the supra-consciousness, there is huge treasure of the Cognition (perception). It is so deep that the person plunges into it and swims as per one’s capacity.
Any poet can dive into the bottomless depths of aperture of creativity with practice and try to search for the bottom of it. There, he can try his best to capture the innovative idea beyond perception of touch e.g. he persudes a gold fish; finds at the end, he succeeds in capturing it. However, if his creative grip is not enough powerful, that abstract (supernatural) image entraps the poet in the whirlpool of its transforming glimpses changing every moment which are beyond the feeble hands of the poet. In that state of bewilderment (perplexity), the poet tries to reach the homogeneity (oneness) with that creative impulse, unknowingly getting to consciousness through his incompetent efforts to capture it. In this process, he achieves the creative outcome to some extent, but he is unable to estimate the reception because ambiguous creativity is affected by the perplexity (bewilderment) so, the poem seems to be irrelevant or inapt.
But if the creative talent / grasp is not loose, it is like the seizure of on alligater, the dreamy delinquescence creative image is pleased with the talented poet and she herself along with her family of beautiful images surrenders herself to him in creation.It is coherence of images. Then the etaerio of rational images devout themselves to make the cration more meaningful and suggestive. This process procreates a high quality, substantial and timeless creative work.
Though the poet loves this luminous lady of this abyssal of supraconsciousness, he must be accpted by her corelative images in the same way. The act of force may result in annoyance and the poet may be blamed for self-incomprehensibility. The Epic poet, saint Tukoba says:
 
“Tuka says his / words may drown
but the meaning / be afloat //”
 
According to Eliot, “Genuine Poetry can communicate before it is understood.” What is a poem? Thers is no unanimous agreement about the concept.
T. V. Sardeshmukh (Marathi Critic) says,” Poetry is a rhythmical memorable arrangement of words arising out of fervent emotional outburst (experience) (Andharyatra – pg- 142)
In my opinion, Poetry is a beautified (beautiful) outburst resulting out of deliberation of innermost thoughts. It becomes the nucleus of the poetry. It controls (balances) the surface, middle and bottom of the poem.
Poetry is not an easy-accomplishment. It requires to bear the scorching of the meditation-energy, only then the picture language of the letters (syllables) possesses the essence with immortality. Using broken bricks of words, one connot build castles of poetry.
In case of music, sculpture, painting, dance, acting, it takes a considerable time to assimilate the minute delicacies of the arts. After that the flowers of those arts blossom. But about poetry … No! it’s very easy. Something enters the mind, oozes through pen and is mixed with words… That’s called poem (for some).
Many times, it is imbibed on the minds of the readers that the readers are not mature enough to understand the poetry of some poets. These poems are too ahead of the present time. So, before birth of the knowledgeable reader, these poems do not get the readers and they die of neglect. And they do not get contextual references, even. The reason is, they are supposed to be beyond the meaning and time.
The poem can be abscure but if it is self-obscure! Then it can be counted as ‘MAD POETRY’ only.
When a beautiful but insane woman, talking absurdly, walks on the road; some exuberant men follow her; not to try to find meaning of her absurd talk but by attraction of her beautiful physique. The similar thing happens with the poetry of so-called famous poets. The images in their poetry lose their meaning and boost themselves. Such poems lose the very womb of the creation. The images in the poems should surrender to the implication of the poem. They should skillfully add beauty and opulence to the content/ meaning forgetting self-blessedness. Instead, if they betray the meaning in self-fuddle (self- intoxication); they prove the poem to be MAD and become killers of the meaning.
Though, being abstract (intangible) is a quality of any art, there is nothing abstract / intangible in this world. Every particle has its own colour, shape, etc. that is the framework. When it goes beyond normal level of understanding, we consider it to be abstract. But poetry is a communicative art. If that communiction is destructive instead of cohesive, the words can result in only explosion.
We don’t say the gold is beautiful, we say the (ornament) jewellery is beautiful. The moment, when a beautiful lady engrossed in observing her own beauty in a mirror realizes that she is more beautiful than the replica, is the magic moment of realization of aesthetic pleasure. That is the utmost grace.
When the realistic subject matter surrenders itself to the images and becomes more alluring, that is the meaningful collaborative grace of any artwork. The shadow experiences the represention of its own counter shadow.
“Poetry should be charming like the beloved”, said great Marathi poet Keshavsut. The devoted reader should be the lover of the poetry as a Yogi not as worlding (BHOGI). No poetry is proved to be a nymph by wearing jewellery and ornaments externally. A noble poem also stands nude before her ingenious devoted reader. Even in that state, she becomes the ‘Sadhana’ for him not the ‘Desire’. To such a devotee, poetry is experienced as a feminine elegance or Mahaakali (Goddess of Power). The needle weaves the clothes to cover the clothess; but it itself remains clothless still no one objects it for its clothlessness (nudity).
 
The poetry is also clothless, similarly!
 
The poet should create qualitatively and behave as well. The poetry should feel proud of her creator, not shame. Every poet should guard his poem. Wherever, whenever and before anyone, he should tend to see that she (poem) is not belittled just for the reciprocation of the applause. She should not be made to dance on the claps. Her dignity is the dignity of her creator. The poet should not expect the poetry to make much of himself. He should surrender himself to her feet and be blessed by her. In this case, the poet and the poetry are blessed. They experience divine union/ oneness (Advaita).
Sorrow is the core of everyones life including the poet. Expectation of sympathy to some extent is acceptable. In other trems, symathy is pity. The self-esteem of any poet, living a life of a marabout is greater than any kings treasures. The sky bows before his self-esteem. The self-centered poet wanders in the mist of self-sorrow searching for own tears; and begs before himself for it.
A poet is eclectic searcher of the dream-shadows. (or A poet is a dream searcher of the shadows.) An ascetic-hermit-poet can select the ripe ideas, images. So, he makes the garden of creativity bloom with the help of the expectant seeds (pregnant) with experimentation.
Satire and Irony are subparts of clan of poetry. The poetry, which is entertaining, comic and in the word order in semblance with poetry, appears cheap on the platform. One should not forget that the poet is also a prophet. He should be the first critic of self-creation. He should be able to evaluate in terms of its merits and demerits. He should understand the difference between mere appreciation and pure criticism; the life of the poem can be evaluated through it.
Though criticism is the process of creation through re-credence, critic gets credits by commenting on the poem of the poet. The genuine (genius) reader “रसिक” loves his poem and makes him great. Though he (genuine reader) wishes to be lover of the poem, the relation between the poet and the reader is like Krishna and Meera. The genius reader (प्रतिभागुण) is always an imperceptible artist. He is equally. important like the creative genius. So, the creative genius should honour the genius reader. The creative genius achieves the graces only through the sublime appreciation by the kind hearted readers about the genius creativity. Ultimately, the grace of the creative work is the honour of the appreciative aptitude of the reader.
Every creative work has relation with the personal biography of the creative genius and this biography is more relative with his previous birth, memories instead of the present life. What a man’s character is connected with ? In the mire of the mind. If this mire is settled in a calm, the transparent water is above; and it the mind is disturbed, it might be a puddle of impure water. I think that is the decent and indecent character.
When the mire of the abyssal is not getting settled, it affects the character negatively. Then the person is under the impact of bad instead of good and that is his deteriorated character. Everyone’s bottom of the mire of the abyssal is unsettled. It can be maintained as pure by self-meditation and for that, one has to be honest to the inner truth of the mind. The outer mind may be dishonest, the inner mind does not get affected by it because it does not take the side of untruth(lie). According to Dr. Harrer, the computer of one’s brain has amazing capacity to store on million-billion beats or hundred million books in it. The brain has genomes of memories.
This genome world is also not immortal, its mortal. However, it travels generation after generation through spermatozoon. In this journey, many genomes of memories die. Some survive. Those who survive, (they) get connected with the threads of previous-birth-culture. And it is proved to be man’s rebirth. Only man is born of man’s genes, not animals or birds. If someone tells it does; it’s a lie.
The previous birth is knowledge of accumulation of previous memories. Same excellencies can have knowledge of previous birth through (live) awakened genomes. That’s why any illiterate Bahinabai becomes a divine poetess of the pilgrimage of letters (Akshar Yatra).
The readers appraise the creative genius as the special gift of the God, but it is not the gift of God, it is the gift of the genomes and that is unattainable without (accomplishment) exercitation, Sadhana.
Poetry is a live emotional existence that has her own character. So, she can communicate with the reader giving him newer experience every time not repeated experience.
Everyone has ‘Ego’ Poet also has ego. The ego should be beautiful, whoever does it have. If the Ego is beautiful, it can create the artistic creation like Taj Mahal, if it is not, it can create only ‘Bibi ka Makbara’
Another important issue, spreading a misunderstanding that only ‘special people’ can have aesthetic feelings, a few people humiliated the masses. In the form of talent-seed, aesthetics lies in everyone’s heart; only that seed needs proper cultivation. If it is cultivated properly, the seed sprouts; it blossoms from all sides. But if the talent which is present, not tried any more?
Everyone of mankind is free to be whatever one wants to be as talent–aesthetics is present in them. The path to be a leader, a scientist, philosopher, poet – artist and even a saint is open to everyone. It needs relentless practical sadhana.
One attribute of any literary work is to take the reader into perception while another is to provide him the ecstatic joy. The ecstatic joy is like a shadow. The shadow of a thorny, poisonous- non-poisonous tree is cool. I like the shadows of clouds. They have watery feeling in them; they sport with the winds and are lost in droplets of water. Every human should communicate with one’s own shadow; I promise, your soul will be ecstatic; like the shadow soaked in the sun.
None is totally innocent in this world. The sweet music of the flute played by any dissipated / decadent person does please the ears of the listener. Saint Kanhopatra can be born of a prostitute. Consciousness and supraconsciousness are different essence, though their relationship is like mother – daughter.
Now what is meant by ultimate / supreme consciousness? This is quite difficult question. The supreme ecstatic joy can be in harmony with the supreme consciousness. But the one who knows / realizes,
how the process of homogeneity, can experience the joy of salvation or Nirvana. That emotional state is beyond words. So, sometimes we say, “hey, that moment was so ecstatic that I thought of being free through death”. Is this the same ultimate ecstatic moment? Can this supreme awareness stay in all humans all the time? No, (except certain exceptions) if this happens, Human Being will be equal to the Creator. He won’t be able to live a common life; as the creation and the Creator will not be different. That state can be like:
 
Plucking the leaf | seems like cutting the ear |
This supreme consciousness | is achieved then ||
 
While plucking a leaf from the tree, if one experiences the pains as if someone is stubbing one’s own ear, that is supreme consciousness and this empathetic feeling is beyond endurance of a common man. Actually, the whole humankind lives a common life. There are only a few ‘Supreme Humans’ who are born with such utmost consciousness. They are our saviours(liberaters) (muktidaate). Such cosmic empathetic compassion of supreme consciousness was in Jesus Christ. That is why while enduring the torture by inhuman torturers, he, the dearest son of the Lord , was begging to his father,
“Oh my father, these people are innocent. They don’t know what sin they are doing ! My Father, forgive them “.
This is the consciousness of cosmic empathetic compassion. This is Supreme Consciousness! Well. The artist, blossoming with intuition and the creative work created by him, are two different personae. So, the world praises the character of its creativity rather than the creator. The gold coin, whether it is in the hands of a marabout or a monarch, its value is the same. The same is with the artwork. It is detached from appreciation and criticism. But the artist may not be detached. After toiling in the soil, the farmer cultivates the crop in his farm, he expects the proper value of it! But there is radical difference between crops and artworks. Crops are seasonal and the artworks timeless.
The poet is a dearest son of the earth. …. Marabout of the counter creation and the friend of the accursed.
——-+———–+———
 
Footnotes-
 
Sadhana- sadhana is a ageneric term coming from the Yogic tradition that refers to any spiritual exercise that is aimed at progressing the Sadhana towards the very ultimate expression of his or her life reality.
Bibi ka Maqbara
(Tomb of the lady is in a black stones located in Aurangabad, Maharashtra -India.It was commissioned in 1660 by the Mughal emperor Aurangzeb in the memory of his wife.
Krishna-Meera
Meera better known as Meerabai,was a 16th century Hindu mystic poet and devotee of Lord Krishna. Meera speaks of a personal relationship with Krishna as her lover.
 
Translated from Marathi By Dr.Tejaswini Patil Dange (India)
 
 
 
 
DR. TEJASWINI PATIL
 
Head, Dept. of English in Arts and Commerce College, Kasegaon, (Sangli, M.S.).
Founder Director, INNSÆI, An International Journal of Creative Literature for Peace and Humanity. Her Marathi, Hindi and English poems have been published in 50+ national and international anthologies including South Africa, Romania, USA and UK. The poetry collections- (English)- ‘Talons and Nets’ translated into Romanian, ‘Verses of Silence’ and ‘A Glass of Time’ and Kaainat (Hindi) and a reference book: ‘Relations and Relationship’ are to her credit. She’s edited ‘Mystical Voices’, Tunisian Asian Poetry Anthology. Her poems selected for the Rio Grande Valley International Poetry Festival, Texas, USA.
Her awards are- State Level Mahila Samajratna Lifetime Achievement Award; International level ‘Master of Creative Impulse Award’, the International Honor of “A Great Poet and Writer Par Excellence”.
Her profile is included in the famous Coffee Table Book, 25 Women of Virtue; She’s Vice-President of Jagadguru Tukobaray Sahitya Parishad, Dist. Satara,(M.S.); Founder Director, Adishakti Mahila Rural Non-Agricultural Cooperative Credit Society, Karad, Dist. Satara, Maharashtra; Honorary Chief Editor, Amhi Aksharyatri, Monthly Marathi Journal; Member, Executive Committee, Shivaji University English Teachers’ Association, Kolhapur; Secretary, Tejaswini Multi-purpose Social Forum, Karad(Regd. NGO); Member, SangeetSurya Keshavrao Bhosale Kala Akademi, Kolhapur.
 
 

3 thoughts on “  ABYSSAL OF SUPRACONSCIOUSNESS -SUDHAKAR GAIDHANI (India) / Translated from Marathi By Dr.Tejaswini Patil Dange (India)

  1. Sincere congratulations, dear writer and poet, for the complexity and depth of your writing.
    Excellent composition!
    Respect and infinite appreciation!

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