Noted Marathi poet Shrikrishna Raut who skillfully handled the genre of gazal in Marathi literature is less known for his spiritual quest. It was in the 90s that he realized what he really needed to compose. The amusement of composing Gazals was fruitfully replaced by abhangas. The physical world of gazals was transformed into a spiritual one in which the search for ultimate began.
It was a tryst with Tukaram. Reading of Sant Tukarams Gatha, followed by an insightful interpretation of it, proved a turning point in his ether to literary career. Abhangas of Sant Tukaram not only influenced me, but also brought a dramatic change in my outlook. It was then that I experienced the Divine presence and my writing underwent a sea change, he reflects.
Prof Shrikrishna Raut was recently awarded Bhagwanbaba Kavya Puraskar sponsored by Date Pratishsthan in Wardha for his collection of abhangas -- Tuko Badshaha. Though the collection was published of late, most of the abhnagas were composed during the 90s. Like the legendary Sant the poet also realised the illusory world and the ultimate truth of life. The abhangs are of two genres: the poet identifies himself with Sant Tukaram who reflects on the present day social scenario.
donhi dolyatun / wahe Chandrabhaga / kaltondya dhaga / na ye laj
ghadate nirjala / roj ekadash i/ wawar upashi / tahanale
nako rahu ubha / aabhali pasar / kar shetawar / abhishek
while sometimes the poet establishes his legacy with Sant Tukaram ----
mukhatun mazya / bole Tukaram / toch aatmaram/ abhangacha
Most of them speak about the universality of worship through pure Bhakti. He also inherits the spirit of bhakti from Namdeo, Dnyaneshwar and Chokhoba when he says
sphure namyacha / aamha bhatkibhav / zalo umrao / Pandhariche
brahmanandi tali / lawi Dnyandeo/ aamha kay bhev / kalache te.
The poems are composed in the Bhakti tradition of Sant Tukaram. The poet has imitated Sant Tukarams style of composing abhangas both in form as well as in content. Dr Sadanand More, the heir of Sant Tukaram in its 8th generation has remarked in the foreword to the collection Tuko Badshaha that Shrikrishna Raut has revived the form of abhangas as he has revived the tradition of bhakti. Like Tukaram, Shrikrishna Raut has experimented with language by expressing in the language of the masses.
The poet calls Sant Tukaram as God of poetry. He says ---
Kavitecha dev / Tuch ek Tukya
Tuch ek raja / nagdiche pik / baki zikzik / udharichi
In one of the poems the poet says
Tuko Badshah / dei shabdadan / kari dhanwan / lekhanila
The most singular influence on his spiritual explorations has been that of Sant Tukaram. He feels Tukaram has clutched him.
kay karu aata/ dharale Tukyane / jagane sukhane aatopale
Tukaram shwas / Tukaram dhyas / sada aaspas / Tukaram.
At times he feels that he is no different from Tukaram. Through his apt use of imagery of the present day, he emphasizes on his oneness with Tukaram.
hubehub zalo / tuzyachpasaun / tuzach kalon (clone) aahe na mi
khan tashi mati/ bap tasa lek / masala to ek / tuza-maza.
The poet self-effacingly describes himself as a fool, helpless who is wearied of the world, worshipping Vitthal. He urges God Vitthal to come to visit him. It is the urge of bhakti that has found expression he says.
dhav tuch aata / ghenya mazi bhet / sod sod wit / tatadine because
chorles deva / tuch maze pay / sangtos kay / nachnyala
The poets physical disability finds beautiful expression here. For him the God Vitthal is the only dhanwantarywho can cure all the diseases of modern man.
junya madhawani / vaidya hawa juna / janel jo nana / rogkala
yuge aththawis / ubha witewari / khara dhanwantari / ekmev
Shrikrishna Rauts compositions make one realize the power of words when they take a form of abhangas. Here the images spontaneously come from a blend of the life of the poet, the language spoken in the surrounding and the advait meaning of life.
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● दै. हितवाद, नागपूर / दि. १७ जून २०१८ ●
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