In this poem, however, we see the rasika ‘coming in’ from the outside. Or, looked at another way, while the poem showcases the rasika as a figure essential to the poet (and, consequently, his poetry), it also positions him as the ‘taker’, as someone who is ‘on the outside looking in’ and accepting the ‘gifts’ that come his way. The poem ends in the suggestion that the poet’s final happiness lies in the rasika‘s wholehearted embracing of the poem that has been sent forth. To elaborate, in Rasika, we see the poet speaking not simply of the every heart’s need for ‘a kindred spirit’, but his own specific need for the rasika, for ‘the kindred heart’ ready to accept the ‘song offering’ he wishes to send forth. It seems to me that this poem is more intimate than the two other (translated) poems concerning the rasika. Poem Details: From the collection “ಉಯ್ಯಾಲೆ”, first published in 1938. The song- essence was forgotten in your gaze, The same reflection’s found in every heart! The essence of a peeled sad-happiness is joy That song you sing’s not yours – it’s mine! I hope you enjoy both recitations!ĭoes the koel not sing in the burgeoning spring? I’ve played the part of the poet ( kavi) in both. Specifically, Appa has played the part of the rasika in our Kannada ‘duet’ and Amma has played the same part in our English ‘duet’. Note: I am very pleased to say that I have finally managed to collaborate with both Amma and Appa on the same poem. But first - here are the poem and its translation.
To see what I mean, please read the afterword. Now with this poem, it seems to me that Bendre “goes a step further” in expressing his relationship with the rasika. What’s more, please note that in the introduction to Rasika, I have offered some samples from Bendre’s prose that express his views about the relationship between the poet and the rasika. (In both poems, we see Bendre speaking to the rasika: in allusive fashion in the former and more directly in the latter.) Indeed, I myself have published two of those poems on this very website. This sentiment is supported by Bendre’s many ‘statements’ on the subject in his prose writings as well as by the several poems he wrote about it. Indeed, it wouldn’t be wrong to say that Bendre’s raison d’etre for writing and publishing his poetry - especially in his later years, after people had begun to call his poems complicated and incomprehensible and obfuscatory - was his belief that the best (kind of) poetry was a ‘give and take’ between the kavi (poet) and the sahrudaya (the appreciative kindred spirit).
I am fairly certain no other “major poet” in world history has written as many poems concerning the rasika, the sahrudaya, the kindred-spirit as Bendre has.