42. A road Trip to Ganpati Pule (Part II) : A Memorial to Krishna Keshav Damle (“Keshavsut” or “Son of Keshav”) – The “Father of Modern Marathi Poetry” & A “Poet’s Poet”:

During our recent trip to Ganpatipule (in Ratnagiri District, in the Indian State of Maharashtra), a famous place for pilgrims and tourists on the western coast of Maharashtra, we learnt about the tiny, laid-back village of Malgund, near Ganpatipule which boasts of a beautiful, pristine sea-shore/beach, where several migratory birds arrive during the winters.

 Being avid bird-watchers, it was an opportunity which we did not want to miss out upon. Upon reaching the beach, we had the beach exclusively to ourselves, and the gentle waves of the Arabian Sea lapping on the beach made an eternal music of its own. While soaking in the beauty of the nascent sea-shore and sipping coconut water, we asked the coconut vendor as to why there was only a small flock of sea-gulls, curlews and Kentish plovers to be seen. He confided that migratory birds had come in huge numbers, but because of the Republic Day celebratory “mela” (village fair) held on 26.01.2015 on the beach, and the installation of several noisy rides, the most prominent being the giant Ferris wheel, the birds had been scared away.

Disappointed, we headed back, but, while passing through Malgund village we happened to see a road-sign indicating a diversion to the residence of a local Marathi poet “Keshavsut”. Always willing to learn more about local cultures and prominent citizens of the area, we followed the road-signs and came to his Memorial. This was a “find” for me, of which I became further intrigued and researched further:

Krishnaji Keshav Damle (07.10.1866-07.11.1905):

Krishnaji Keshav Damle (alias “Keshavsut” – meaning “son of Keshav”) was a Marathi poet living in Malgund village.  After an early education at Baroda, Wardha and Nagpur, he studied at Pune in New English School, where prominent Freedom Fighters like Bal Gangadhar Tilak and Gopal Ganesh Agarkar, among others, were on the teaching faculty. Their influence kindled in Damle an intense feeling of Nationalism and doing away with discriminatory age-old traditions against the so-called Depressed Classes.

Damle passed his high school matriculation examination with much difficulty. Disillusioned, he gave up further studies and settled for low-salaried jobs to support his family. His radical views on the social structure of his time led him into direct confrontation with his superiors/employers & often he had to switch jobs because of ideological differences with them. He was always in financial straits, and because of his low-paying jobs, he had to contend with several hardships. Nevertheless, he remained resolute to his Reformist and Revolutionary views, till the very end. He was well-versed in Marathi, English and Sanskrit and was influenced by the poetry of Marathi Saints and English poets like Wordsworth, Keats and Shelly.  

Forced by adverse circumstances to become a maverick, undeterred he continued with his passion to write poems which marked a complete departure from traditional Marathi poetry. During his lifetime, as with several great men, he received scant recognition and his works were treated with derision. It was only after he passed away that his poetry was published by his brother Sitaram Keshav Damle under the title “Keshavasutanchi Kawita” (“Keshavsut’s poems”) and became instantly popular with the masses.

He shunned tradition-bound poetry and the cruel and inhuman social traditions and customs which were the norm of the day. Although a high caste Brahmin himself, he vociferously condemned untouchability and chided the Brahmins for their hypocrisy and high handedness. He became the harbinger of a new and vibrant thought and approach in Modern Marathi poetry and transformed the role of a poet into that of a social revolutionary who inspires people to revolt against a society mired in age-old discriminatory traditions.

Not only this, his poetry delved deep into the mysteries of life and struck a mystical note. He was also the first Marathi poet to write on different aspects of Nature.

He heralded a new era which completely revolutionised Marathi poetry in form, content and fervour. He handled such subjects in his poetry which poets were reluctant to address because of traditions, such as – personal relationships, romance, poets and poetry, social rebellion, open-mindedness, humanism, nationalism, expression of mystical experiences and nature. As this free form of poetry was being expressed for the first time, his poems, though few in number, proved to be revolutionary and thought provoking. Various streams in Marathi Literature/poetry today on the subjects written upon by him have their origins in Keshavsut’s poetry.

No wonder then, that, he has been called the “Father of Modern Marathi Poetry”. Such were his works serving as an inspiration to/influence on future generations of Modern Marathi poets, that, he is also referred to as a “poet’s poet”.

His poem “Khidakikade Mauj Pahavayas” was published in 1885 when he was 19 years of age. His last poem “Harapale Shreya” was written in 1905, just six months before his passing away.

He passed away in November 1905, a victim of a plague epidemic, at a young age of thirty-nine.

His contribution to Marathi poetry:

A total of 135 poems are attributed to him which were published by his brother posthumously in the publication titled “Keshavasutanchi Kawita”. 

"Nava Shipahi" as displayed on a board inside Keshavsut's house at the Memorial in Malgund

"Tutari" as displayed on a marble plaque at the Memorial
Among them “Nava shipahi” (The New Soldier), “Tutari” (Trumpet/Bugle) uphold human dignity, give a fervent call to do away with age-old obsolete customs and traditions and emphasize upon social equality, fraternity and liberty for everyone/all. His approach transcended the obstacles placed by caste, religion and nationality. “Tutari” proved to be quite revolutionary, so much so, that a Reformist Society titled “Tutari Mandal” was established. Some other of his popular poems were:

“Amhi Kon” (who are we?), “Zhapurzha”, “Murtibhanjan” (Breaking of an idol/iconoclast), “Gofan”, etc. which achieved instant popularity.

His poem “Satariche Bol” (melodies/songs played on the “Sitar” an Indian musical instrument) shared the poet’s mental anguish and his realisation that fortitude and forbearance alone will enable one to tide over difficult and unbearable phases of life.

Before and during Keshavsut’s time, the field of Marathi Literature had been dominated by the literate Brahmins. There was little concern for the discrimination against the lower castes which was reflected only in some verses, beginning in the late 19^th century, around the time when the Mahars were beginning to express themselves.

Nevertheless, it was “Keshavsut” who championed their cause through verse at the expense of being derided for his works and being near ostracised by his Brahmin brethren, leading to severe hardships on him.

He wrote several poems viz, “Labourer”, “A worker forced to starve” etc. to espouse their cause. In “Nava Shipahi” (“New Soldier”) he wrote, vehemently,

“Neither a Brahmin, nor a Hindu, nor am I of any sect, only those who have fallen are the ones who circumscribe the Universe”

In ‘The First Question of the Untouchable Boy” he lamented, inter alia, after a Mahar child’s mother explained to him that a Brahmin boy had cursed him, because “we are low and they are high”:

“How would she know, that highness in this world is built

on sin and glory on the degradation of others” .

Then again, on human nature, he wrote, as from a husband enquiring about the well-being of his wife:

“Feel your hands; check in your heart,

you will also find there, my nature, as well as my perversity”.

During this period, Brahmin reformers like M.G. Ranade and G.G. Agarkar had also associated themselves with the Mahar Reformist Movement for the upliftment of the depressed classes.

Before Keshavasut, traditional Marathi poetry was penned in advanced Marathi which was understood only by literate persons. Keshavsut, by using easy to understand Marathi language, brought poetry into the life of the common man. Before him, poetry was confined mostly to religion, spirituality and folk legends. He brought a free, spontaneous approach to poetry and gave expression to the common man’s joys, sorrows, emotions, desires and hardships. He brought realism into Marathi poetry and introduced the Sonnet (a popular form of English Poetry) into Marathi Poetry terming it “Suneet”.

Keshavasut’s poetry was far before Gandhi and Ambedkar’s times, nevertheless, he anticipated the “social revolution” which was launched by the two in much later years.

The second half of the 19^th century was full of protest and reform, but only Keshavsut among the literary figures put social consciousness into poetry. No proper literature reflected the increasing awareness of the Mahar Reformist Movement, as such, Keshavsut’s contribution to the Reformist Movement through his poems stands out as a significant contribution at this time.

In the 20^th century several modern Marathi novels were written and the Mahar Movement became a full-fledged awareness leading to several protests of social, religious and political disabilities, but there was little connection between literature and the progress and increasing vociferousness of the Mahars. The newspapers of Dr. B.R. Ambedkar, which began in 1920, occasionally contained poems and stories, but these were generally read by only those in the Reformist Movement. (For more on the discriminations faced by him, as well as, Dr. Ambedkar’s yeoman work on temple satyagrahs, drawing water from reservoirs on equal footing as the upper classes, rejection of Hinduism in 1935, mass conversion to Buddhism, penning/drafting the Indian constitution and Commemorative coins issued on him, please refer my post as follows:http://exclusivecoins.blogspot.in/2011/10/45-dr-bhimrao-ramji-ambedkar-father-of.html).

 The Movement against casteist discrimination gained strength through “Jalsa”, (play), songs, poems, polemics, newspapers and educated people joining the movement giving it an impetus. Nevertheless, Keshavsut’s work stands tall as a beacon and inspirational light for all generations to come – equality for all, if need be through Revolution and Reform.

Keshavsut was a successful revolutionary in poetry just as Bal Gangadhar Tilak was in politics and Agarkar was in socialism.

An Award has been set up by his grandson Rajabhau Damle and “Ashay Sanskrutik” titled “Kavivarya Keshavsut Smruti Puraskar” which is given to promising outstanding poets of this day.

 “Keshavsut Smarak” (meaning “Keshavsut Memorial”):

A bust of Keshavsut on display inside the Memorial

A Memorial is being raised in honour of Keshavsut by the “Konkan Marathi Sahitya Parishad” at Malgund village to commemorate his unparalleled contribution to Marathi poetry.

I was proudly told during my visit to the Memorial, at the entry fee counter (entry fee is a paltry sum of Rs.5/- which goes towards the upkeep of the upcoming Memorial) by a local resident who lives near the Memorial that it was only the second Memorial to a great poet, after the Memorial at Shanti Niketan to honour Rabindranath Tagore.

As a visitor enters, he/she comes face to face with the old house which has been restored to its original shape and look where Keshavasut was born. Apart from a few articles on display which relate to Keshavasut’s time, the house presents a barren look.

                                Karobi Boudi outside the Poet's restored house

                           

                    Newspaper cutting informing the visitors about the Memorial

                 Articles belonging to Keshavsut's time on display

We were about to leave, feeling that very little seemed to have been done to honour the memory of such an esteemed poet, and I could’nt help asking at the ticketing counter whether apart from the restored house, the Sahitya Parishad had done anything else to honour this great poet’s memory.

 The ticketing counter boy enthusiastically pointed out to another building at the back of the house, while mentioning that we should also visit the “new building” to have a full assessment of the poet’s work as well as the Memorial.

We came upon two big halls – one of which was a Library-cum-Reading room and the other was a Reference Cell which was exclusively meant for researchers of Literature, which also had a quiet study-room. I was particularly happy to see a lot of young students making full use of the library facilities. The other Hall is meant for various cultural and literary activities, including seminars, workshops, book readings etc. In the second Hall, pen-portraits and photographs of well-known modern Marathi poets beginning with Keshavasut will be displayed. The Memorial Complex will also be having an open auditorium and a guest room.

Some of Keshavsut's poems placed outside the second Hall in which they will be finally displayed

 Just as one enters the Complex, one notices several rectangular black marble slabs on which Keshavsut’s popular poems have been etched in gold lettering – an apt tribute, for each one of his works are indeed worth their “weight in gold” for the discerning and liberal minded readers of Marathi verse!! These, I was told, will also be placed in the second Hall.

                        Books on sale at the Memorial.

            Entrance to the Second Hall titled "Aadhunik Marathi Kavya Sampada"(meaning "Modern Marathi Poetry Wealth")

                      The interior of the Second Hall

 I do wish that the efforts of the “Keshavsut Smarak Vyawasthapan Samiti”, Malgund in completing the Memorial are also supplemented/funded by the State Government and the Memorial is completed at the earliest and adequate publicity be given to the Memorial, which is coming up in the nature of a Literary Tribute to the memory of the “Father of Modern Marathi poetry”.


Links:

1) A Road Trip to Ganpati Pule - Ganpati's sands