WORKS OF SUPRASANNA

LITERARY WORKS OF SUPRASANNA

Kovela Suprasanna Charya is an eminent poet, critic, commentator reviewer and Editor in Telugu literary world. He Published seventeen poetry works and ten books on literary criticism (list Annexed). He wrote one book on the flow of thought by name “DEEPAVRIKSHAM”. Nearly seventeen books have been edited and Published under his supervision (list Annexed). The book ‘ANTARANGAM’ is a collection of Prefaces forewords written by him. He also published a book by name ‘VEDASUKTA SOURABHALU’ a commentary on some Veda Suktas’. Suprasnna started writing Poetry from his tender age of 9 and 10 and never looked back. He has published his first poetry work ‘HRIDGITA' in the year 1954 along with his cousin. But from 1958 onwards he started publishing his own Independent works on poetry and criticism.

As a poet and critic Suprasanna is maintaining his identity in the contemporary literary field. He has full command on Vastu (content) (subject) Sabda (Word) and Abhivyakti (expression). He wrote free verses (vachana kavita) and also Poetry with meter. The content of the poetry decides the form. In this aspect he is not rigid and he is flexible (Niyatikritam & Niyama Rahitam).

For his entire poetical works “contemporary man” is the centre with all his struggle and conflicts for his existence and his relations with cohumanbeings, society, nature, animals and universe. Modern man is struggling continuously to establish harmony and peace in his consciousness. In the industrial and urban civilization man feels loneliness in spite of all earthly and material comforts. He is fearsome with his limitations and struggles to direct his life towards the path of Harmony and Unity. The scientific invention and the advancement of technology are questioning the very existence of man, nature, animals on the Globe and have failed to establish stability and peace in the society. This contemporary situation prevailing in the society and world has made the poet sad. The sadness in the depth of the heart of the poet has moved him much. Apart from this the poet has got inspiration from the Personalities and works of Renaissance of India, freedom struggle along with deep inspiration gained from the Epics, the Puranas, the Upanishads and the Vedas. He struggled to establish human religious spiritual values in the society through his works. And he also directed the path of universal man. For him poetry is the media to express indepth feelings and experiences of collective human consciousness, and through his poetry he takes off the reader from contemporary world to the universal experience.

Indepth study of his entire poetry compiled in seventeen works clearly picturises the journey of the poet from classical poetry to Neoclassical poetry. ‘ADHUNA’ THEJASCHAKRAMU, DHUKHAYOGINI, HRIDGITA’ ANANDALAHARI are one set of poetical works which deal with indepth experience of sorrow Bhakthi and Yoga. But the later poetical works RITMBARA PONDICHERI GEETHALU PANNENDU, SATHANKURA KANNEETI KOLANU SAMPARYAM, SEPHALIKA, MANI SETHUVU related to the Neo classical trend and deals with the Inner and outer conflicts of universal Man and his evolution and transformation of consciousness most easthetically and eloquently. In an interview the poet expressed. (On the conflicts Prevailed in the society) that the “pure materialistic world came to exist by disowning the theory of illusion but the renaissance spirit ignited by Sri.Ramakrishna, Dayananda Swamy Vivekananda SriAurobindo, Sri Ramana Maharshi, Jiddu Krishna Murthy, Sivananda Murthy and other great Personalities, have totally transformed the outlook of philosophy of life. The poet has imbibed the same light in his consciousness and adopted an integral and unified life principle which reflected in his entire poetry. Either pure traditionist or pure materialist can not understand this integral approach towards life.”
His earlier works ‘DHUKHAYOGINI’ ‘ADHUNA’ ‘THEJASCHAKRAMU’ may be related poetical work of classical trend but the characterization of Ravana Urmila, Seetha etc. are beyond traditional outlook. The works deals with the Human story with spiritual touch. But the later works defers with content outlook and depiction.

In 1967 the poet coordinated in publishing ‘CHETANAVARTAMU’. It is an Anthology of collection of poems written by four poets with an ideology of national Integration and an Integral approach towards life. It has become a trendsetter and questioned and challenged the literary trend of DIGAMBARAKAVITA and the values it tried to impose on the society. The ‘CHETANAVARTAMU’ exposed the hallowness in the values and pessimistic and distractive attitude of ‘DIGAMBARAKAVITA’. If we really speak CHETANAVARTAMU is not an outcry on the trend of ‘DIGAMBARAKAVITA’ but it is a powerful poetical expression of the MIND OF THE NATION. Suprasanna wrote an extensive, powerful and indepth preface to the first collection of ‘CHETANAVARTAMU’ expounding the contemporary socio, political, economical, cultural trend in the nation and in the literary world and also strived for establishment of value system with national spirit in the country. Many scholars contemporary poets critics appreciated the preface and the spirit of ‘CHETANAVARTAMU’.

RITAMBARA (1974)

The next commendable work of the poet is ‘RITAMBARA’ which is an anthology of 37 free verses published in 1974. The poems are reflection of contemporary socio, political, cultural aspects with great patriotic vision. The basic content of poem is Man and his struggle his directionless path, pitiable condition and his aspiration for liberation from poverty, alianation, depression, sorrow and fear. The social outlook of the poet is fully exploded in ‘RITAMBARA’. In this Anthology the poet clearly revealed in many poems the natural imbalance and environmental pollution / destruction of forests and its results on human generation. Further he depicted the negative impact of science and technology on the universe and pathetically felt the distorted relations prevailed between man and nature in the society. In some poems he voices the patriotic spirit and praises the glory of Mother Bharat. For him the future generations are sons of the Mother India. Some of the poems in RITAMBARA glorifies the optimistic spirit of the contemporary generation and aspires to open new horizon in the human consciousness.

PONDICHERI GEETHALU PANNENDU (1975):
“PONDICHERI GEETHALU PANNENDU” (Tweleve Lyrics of Pondicheri) is a new experiment poetry in Telugu literature, wherein the poet expounded he experience experienced from morning to evening when he visited Sri Aurobindo Ashram at pondichery. Here the Tweleve represents the 12 Hrs of time from morning to evening. Further twelve numbers is symbol of Tweleve Petals in ‘ANAHATA CHAKRA’. It is exquisite poetry of flow of experience. In one aspect it expresses the journey in the physical plane and symbolically it expresses the spiritual journey also. Hence every experience gained by the poet interpreted it easthetically and spiritually. For him nothing is useless. Every thing surrounded is an expression of divine light. Sri Aurobindo said ‘All Life is Yoga’. The same spirit is profoundly explicited in the poems and also symbolised the journey of man from conscious to the highest consciousness.

PANCHALARAYA SATHAKAMU(1977)

Another work ‘PANCHALARAYA SATHAKAMU’ is a flow of expression of Bhakti and Saranagati purely based on “VISISTADWAITA”. This 108 poems composed by the poet basing on the experience had by seeing the ‘PANCHALARAYASWAMY’ near to his town. Most easthetically composed poems reveals the ‘VIRAHA’ (Separation) of Jeevas from the God.

SATANKURA(1987)
In 1987 Suprasanna published ‘SATANKURA’. This work is a turning point in his literary life. ‘SATANKURA’ is an explosion of easthetic experience, blended with earthly events in 100 poems. Every poem is an expression of indepth experience in three planes of human consciousness. By reading the poems in ‘SATHANKURA’ the reader performs journey from conscious to sub conscious and from there to collective consciousness. That means he travels from physical contemporary experience to highest universal experience. Here ‘SATANKURA’ means “Hundred sprouts”. The mother earth is ‘SATANKURA’. SATA is not confined to hundred literally. ‘SATAMANANTAM BHAVATI’, Veda says “ANKUR NAVO DBHIDI’ AMARAKOSAM Says. As such ‘SATANKURA’ represent this creation.

The first poem itself reveals the highness of the poetry. This ‘KAVYA’ is an expression of oneness of the universe. It touches the aspiration of a man and his struggle in the physical and mental and spiritual planes. Man is not confined body and mind. He is pure consciousness. All his activities are not confined to physical plane alone. Man is the combination of Body, mind, Chitta and Ahankara. As such man is the bridge between “Vykta and Avyakta” matter and spirit. Modern science has agreed this phenomenon. The root and foundation of the ‘SATANKURA’ lies in this unity of matter and spirit. Most of the poems depicted in ‘SATANKURA’ evolves from earthly / physical experience and travels to higher planes of consciousness.


STHUTI PRABHANDHAMU(1958);
SRI NRISIMHA PRAPATHI (2001) ;

Poetries of pure devotion written by the poet on different occasions. In Sthuti Prabhandhamu, Agni Suktam, Devi Pooja and Sri Nrisimhodaharanam are included. Sri Nrisimha Prapathi is pure personal poetry written in adoration of Sri Yoga Nrisimha Swamy.






KANNEETI KOLANU (POND OF TEARS) (1995)

It is an anthology of poetry written by the poet since 1978 and published in the year 1995. In this book of poetry both the free verses and poetry with meter can be seen.

In this anthology most of the poems related to the contemporary society, common man and his struggle, conflicts, his strained relations with nature its impact on human life, concept of death and the roots of this creation etc., The basic foundation of his poetry lies in the three planes of consciousness.

Further a deep sorrow continuously surrounded in human life is depicted in this poetry. Hence it is named as ‘KANNEETI KOLANU’. Human life itself is ‘Pond of Tears’. But man has to conquer this sorrow and perform journey towards eternity while in the body. Until he achieves this goal he has to lead the life uncompromisingly what ever comes on his way.

For the poet this modern culture is a big ‘Madman’s path’. The modern culture, industrialisation, urbanisation strained relations with nature aimless life, haunting for money, enmassing wealth by corruption, all these have saddened the poet and he himself has become the ‘Pond of Tears’.

In this Kavya, analysis of time and space, life of a universal man, deep experience of the inner planes of human consciousness and contemporary conflicts in family, socio political cultural spheres, hope in the future etc., are powerfully depicted.

In the ‘Pond of Tears’, the individual sorrow of the poet has merged in the feeling of separateness from Universe. That means ‘The mother earth’ is suffering and doing penance to evolve herself into the highest planes of consciousness in the universe. This is ‘SRUSHTI KUMULU’. In ‘SAVTHRI’ Sri Aurobindo has said that
“The earth has wheeled abandoned into hollow gulf
she forgets her spirit and her fate”.
“The same state of consciousness of ‘The Earth’ is elucidated in this Kavya in the poem ‘KANNEETI KOLANU’.





KRISHNARASMI (1996)

Suprasanna wrote a beautiful ‘Kavya’ (Poetry) by name ‘KRISHNARASMI’. It is ‘BHAVAKAVYA’. Here BHAVA means ‘MAHA BHAVA’ which refers ‘KRISHNA BHAVA’. In this poetry no story related to Krishna is depicted. It is purely a flow of experience of ‘KRISHNANUBHAVA’. He elucidated the complete subject with admirable lucidity in this KAVYA.

This poetry is divided into eight cantos. Each canto contain sixteen poems. Krishna was born as the eighth child. Sixteen represents completeness (PURNA).
Suprasanna wrote this Kavya as a Part of his spiritual journey. In this Kavya Krishna is ‘YOGISWARESWARA’. He is the ‘PARAVAK SABDA AND PARABRAHMA’. The poems in this Kavya search their origin and find their roots. Hence the poet himself flows in the poems, and his search for Krishna is in the under current. The Kavya tries to establish unity between form and formless, Bhakti and Yoga and external worship and inner worship. This unity can be achieved through ‘DHYANA’. In DHYANA, the form and sound merges in sound less state. This ‘KRISHNA RASMI’ allow the readers to merge in silence or soundless state.

This poetry is an expression of ‘KRISHNANUBHAVA’ that the poet has experienced in his life. That is why in preface Sadguru Sri Sri Sivananda Murthy has said that “It is a poetry evolved from the penance (Thapas) did by a literary personality”

In this poetry the poet’s very special expression can be seen in each and every poem. Pure Telugu idioms and colloquial way of expression can be experienced. The poet has created a special language for this ‘KAVYA’ which is beautiful lucid and harmonious.

The poetry depicts how the aspiration of Jeeva can bring the blessings (ANUGRAHA) of Eswara (The God) to the earth. The story of Sri Krishna in Bhagavata and how it is symbolically depicted in “Yoga Sadhana” in the contemporary world is the main theme of this ‘KAVYA’. The story of “Jeeva or Sadhaka” who aspires for the highest plane of consciousness is centered in this Kavya.
SREE NIRUKTI (1998)

Suprasanna has published ‘SREENIRUKTI in the year 1998. It is an easthetic exploration and description for “LAKSHMI ASHTOTHARA SATHANAMAS” Each name of Sri Lakshmi is visioned and illumined in each poem. As such it is a beautiful compilation of 108 poems. This type of experiment has not been done earlier by any poet in Telugu literature. It is an easthetic flow. Bhakti flows as under current. This poetry is a commentary for the names mentioned in the ‘Stotra “Sri LAKSHMI ASHTOTHARAM’. It is an independent and pure poetry embedded in the most easthetic language.
Sri Maha Lakshmi is not only a god of wealth but also the diety of beauty, unity and harmony. In the preface the goddess Sri Maha Lakshmi is invited (AVAHANA) finally the Kavya has been offered to her through NIVEDANA. In the middle he offered prayers, puja and Arpana (surrender). ASTHADASA SHAKTHI PITAS’ The eighteen spiritual and pilgrim centers stationed for Goddess in India has been remembered and adored in this work.

In the ‘ASHTOTHARA’ the first three names are PRAKRITI, VIKRITHI and VIDYA The poet remembered Sri Maha Lakshmi, Maha Kali and Maha Saraswathi through first three poems.

In the 108 names of Sri Maha Lakshmi the name PADMA repeated Twelve times in the stotra. The poet’s imagination has no boundaries in commenting these twelve names All the Jeevas are padmas. She resides in the hearts of Jeevas. Here poet prostrates to the Goddess who resides in the lotus centered in the heart of Jeevas.

In Indian literature ‘The Lotus’ has a special significance and symbolic meaning. ‘LOTUS’ is symbol for beauty, and also symbol for ‘charkas’ of astral body. In another vision ‘LOTUS’ is symbol for the entire universe and creation. Suprasanna has projected the goddess Sri Maha Lakshmi as projected in Stotra literature, Tantra, yoga Panchasastra, sakta, samhita, srividya, srivaishnavi literature.
In one aspect this entire creation is Sri Maha Lakshmi The creation is the symbol for expansion of consciousness. Further Sri Maha Lakshmi is external form of Eswara (Eeswarabhivyakti)

SEPHALIKA (2003)

SEPHALIKA is a lyrical poetry published in the year 2003. It is a collection of sixty poems on one theme and on one style of expression. In his preface ‘ A Glorious anthem of love’ Sri Dr. Elchuri Muralidhar Rao has summarised the work as “ The work therefore is not only a poetical production of considerable charm but also an unfailing document a devoutness that illustrates finally the use of memorable lyric poems in the service of religion and love, affection and attachment cherishing and devotedness adoration and tender passion, rapture and enchantment and deservedly holds a respectable placement in contemporary literature.”

The style in depicting the indepth experience of a poet in SEPHALIKA is unique and admirable. SEPHALIKA means the flower ‘PARIJATHAM’ which is a flower with a divine fragrance. Easthetic and divine fragrance is filled in the poetry with penchant. ‘SEPHALIKA’ is a symbol for the creative universe. In the first poem the poet entered a big flower garden. There he experienced “Thousand flowers, Thousand colors, Thousand fragrances Thousand Specialties” here the thousand represents infinite. One flower called the poet said that “I have blossomed for your sake. Oh infinite explorer and eternal traveler, my birth is for your sake” then the poet asked the flower who are you? The flower said ‘I am SEPHALIKA’ you are the branch of spirit existed in me’

Here the Jeevas are symbolized through flowers, in many poems. In another plane the creation itself is a big flower. The petals are Jeevas.

‘SEPHALIKA’ is the inner world of the poet. Here the poet is universal poet who travels from the very beginning of creation and who represents the three planes of consciousness and the experience engulfed in it. In one poem it is said that “I am entering the root of the earth and climbing the sky like a creeper and wondering in the worlds and non worlds. Where ever I exist in any form you are watching me through your two eyes” After prolonged time- you have not appeared. Once again I was awakened. You along with you one swan and lion. I don’t know something is following. The mane of lion, the wings of swan are glooming with golden color’ once again I am seeing you as ‘SEPHALIKA’.

For him SEPHALIKA is beloved and beautiful mother, daughter friend goddess Lalitha and every thing.

Through ‘SEPHALIKA’ the poet performed eternal journey from earthly consciousness to universal consciousness.(In his view the world’ is the stage or playground for staging a human drama) and finally he reached a stage and speaks “My word with the divine wings has crossed the blue sky and oceans and reached this house”. This Kavya Concludes with the mantra.

Sneha Mayi, Dhyana Mayi, Gnanamayi
Prema mayi
Jeeva Mayi, Thyagamayi, Bhavamayi
Gandha Mayi
Thapo mayi, Kripamayi, Dheeksha Mayi,
Thejo Mayi.
Anandamayi, Chaitanya Mayi, Satya Mayi parame.

Finally the Poet speaks with the mother “You are with me and occupied my entire planes but you made me to search all these time. You are the Queen of my ‘Chitta’ but you are playing the play of hide and seek. Every one knows you but you are unknown to me. However in every minute and in every particle, I am experiencing you. You are “Pratyaksha and Apratyaksha vibhavavu”


MANI SETHUVU(2003)

Suprasanna published ‘MANI SETUVU’ (A Hymm to the Divine Mother) in the year 2003. It contains 15 cantos. Each Canto contains twenty poems. As such the Kavya contains three Hundered poems. It is ‘DEVI THRI SATHI’. It is not Mythological and not even contains a single story in the Kavya. It is a world of experience. Plane of esthetic and mysticity. It bridges the earth and heaven. The poet has adored the supreme mother with Three hundred poems.

This entire creation is a play of mother. Hence the experience of human beings merits and demerits, ups and downs, sorrow and happiness, movement of time, experience of death, results of karma play of human consciousness and its place in universe etc are revealed in the poetry. Here, the poetry i.e., MANISETHUVU and the supreme mother are one. The poet identities himself with the poetry and the supreme mother. There is no difference between the three. That means here poetry is the flow of consciousness of the poet. The consciousness of the poet flowered as poetry and the fragrance of the poetry is the divine consciousness.

In ‘MANI SETUVU’ the poet revealed each and every subtle experience to the mother. It is the poetry of easthetic journey performed by the poet. It is the poetry of play of consciousness spread in the entire creation.

Further In this Kavya the supreme mother is no other than the Mother Bharat’. For real Indians India is not a piece of land covered by geographical boundaries. She is the mother Durga Bhavani, and Mahishasura Mardini. Bankimchand, SriAurobindo visioned India as mighty shakthi. This spirit and vision inspired the poet.

Dr. Premananda Kumar in her preface aptly said that “Three hundred Meditative Verses of the mother prefaced by thirty three verses which offer obeisance to the Guru to the personal diety to the poets personal vision of the eternal woman who forms the life force of man kind, ‘MANI SETUVU’ is the latest series of poems by Dr.Suprasannacharya that a romantic spiritual glow and all of them touched by the wand of Aurobindonian inspiration”.

PREETHI PUSHKARINI (2004)

Suprasanna published this Kavya in the year 2004. It is a unique poetry wrote by him. ‘PREETHI PUSHKARINI’ is one of the names of Sri Maha Lakshmi. The name of the poetry reveals the divineness of the love. The essence and content of the poetry is ‘Love’. It is pure and divine love which exists between man and woman in Indian Context. Man performs journey from pure love (PRANAYAMU) to salvation i.e., (PRANAVAM). In Indian context the love exists between wife and husband is beyond best. In the poetry the poet vivified the different planes of love in the human consciousness.

In the first stage the wife is the lover of the poet, where his entire love flows and merges. It is the base for the existence of the world. In the second stage she is the great inspirer to create the poetry. Here love towards his wife flows as poetry. She is the root cause for the easthetic experience of the poet. In the third and final stage she is the adoring diety of the poet. She is ‘UPASYA DEVATHA’. The poet has visioned and experienced the greatness of love in the three planes of consciousness.

The woman described in the poetry is not a physical woman. But she may be the imaginative personality of a man. In principle man in woman, woman in man is the secret of creation. She was created by ‘ADYAKAMANA’ of the creator. Hence the woman in the poetry is imaginary in one plane. The poet enjoys with her, offers obeisance and gets inspiration from her. His entire life with the woman in different stages and different planes of consciousness is beautifully elucidated in the poetry. He takes the experience of love from physical plane to spiritual plane. (ADI PRAJAPATI SHATARUPALU ABINAVAMUGA NELAPAI NADAYAD- INA LEELATHOCHE) The Union with the women is the union between PRAJAPATI and SHATARUPA (It is the first moment in the creation). He called it ‘PREMASAMADI’ Here Samadhi represents the spiritual experience. In this poetry the poet described the continuous experience or ‘Madhurya’ in pranava. But not described the experience of separation i.e ‘Viraha’. This is unique and alien to the concept of ‘Poetry of love’.

AS A CRITIC

As a Visionary and Integral critic Suprasanna Published Ten books between 1971 and 2004 (List enclosed). Apart from this he published the book ‘ANTARANGAM’ collection of prefaces wrote by him on different works written by other literacy personalities.

From his early years Suprasanna started writing poems and criticism simultaneously. Now he is the foremost well known and established critic in Telugu literature. Mudigonda Veerabhadraiah another well known critic in Telugu literature has aptly said that “He is a critic who is fully conscious of the value of tradition and culture in creative writings. In every work of his he has attempted to probe the cultural and traditional influences with exemplary meticulousness”.

Suprasanna evolved his own style of criticism on different subjects and objects of Telugu literature. His indepth knowledge and study of Indian literature and western easthetics, and the works of Sri Aurobinodo and Viswantha Sathya Narayana in particular contributed much to the criticism. His way of criticism is unique and resourceful to contemporary and future critics and Research scholars.

His criticism spreads its wings in different branches of Literature, like epic classical, neo classical progressive allegorical archetypal symbolic spiritual etc., (He took the help of modern psychology in some cases to analyze the subject in correct perspective) In some essays he revealed some historical secrets and in some essays he has given direction to approach the classics (“MAHAGRANDHALU SAHRIDAYA CHARAMU”) and to understand in correct perspective. In some essays he analysed the roots of creativity KAVITVAMU SRIJANA BHOOMIKALU. In some essays he defined the differences between symbols and archetypes.

Chekuri Rama rao well known critic in Telugu literature has wellsaid that “Suprasanna has introduced new philosophies and new way of techniques in literary criticism. Every poetry will have multiple layers and has to be unveiled the layers to know the indepth inner meaning of that poetry is philosophy of criticism. That means each poetry will have multiple layers and not two layers is his establishment. He established, elaborated and expanded this principle of literary criticism. Another important principle established by him is that the qualities of great poetry and poet can be seen in his early works analysed and applied this to the works of “Viswantatha Sathyanaryana”.

His essays on criticism provokes serious thinkers. He proposed and established the following new principles and philosophies in Telugu criticism.

1) He is the first critic who proposed and propagated the “Neo Classical trend” in Telugu literature. Not only that he analyzed the qualities of Neo Classical trend and clearly shown the principles between classical and Neo Classical works.
2) He is the first critic to introduce the Archetypal allegorical in literary criticism.
3) He is the first critic who introduced the Philosophy of ‘VISWA LAYA’ in approaching the classics like ‘VEYIPADAGALU’ and other works.
4) He is the first critic who studied the classics on the background of ‘CONTEMPORANITY AND UNIVERSITY’.
5) He is the foremost of critic who approached the different works with the help of modern psychology like Young, Froid and others.
6) In his criticism he clearly said the negative aspect of modern telugu critics and gave the clear approach to be adopted.
7) He established the Integral criticism of Telugu Literature (‘SAMANVAYA VIMARSA’)
8) Finally he struggled to establish the highest values in literary criticism.
9) Socio, Political economical cultural easthetic aspects of a literary work took the most important place in his criticism.
10)In his critical essay the contemporary literary movements like NAVYA KAVITHA, BHAVA KAVITHA, ABHYUDAYA, SAMPRADAYA, NAVYASAMPRADAYA movements its merits, demerits weaknesses, and its contribution to literature has been elaborated.
11)He is an expert and is specialized in analyzing the Viswanathasathya Narayana’s works.