| |
|

Tripuraneni
Gopichand
|
About
the author:
Tripuraneni
Gopichand (1910-1962), of Tenali, Andhra Pradesh,
India, is a Telugu short story writer, novelist,
editor, essayist, playwright and film director.
His writings exhibit an exceptional interplay of
values, ideas and ‘isms’—materialism,
rationalism, existentialism, realism and humanism.
|
He
is well-known among Telugu literati for his psychological
novel—Asamardhuni Jeevayatra (The Incompetent’s
Life Journey). He was posthumously presented the
Sahitya Akademi Award for his novel, Panditha Parameshwara
Sastry Veelunama (Will of Panditha Parameshwara Sastry),
in 1963. Radical humanist, profound thinker, philosopher,
social reformer and an inveterate votary of truth,
Gopichand was a versatile genius, which reflects well in
his scintillating stories that are told in crisp language.
His stories pose many questions that challenge the wit of
readers. His birth centenary celebrations are set to
commence from September 2009.
|
The
wick, burning in the pramida[1]
with a steady flame, has quite a long snuff. The glow dimmed.
As she nears the lamp to trim the snuff, she is gripped by fear.
The snuff on the wick was like Sitammavaru[2]
sitting on the funeral pile. True, if the snuff is trimmed, the
lamp will glow better. But in that attempt, the light itself may
go off. Greed is a sure way to sorrow! She could not trim it. Who
is she to trim the snuff? Snuff is the need of the lamp. That
would be taken care of by the lamp itself. If it were felt good to
be off from the lamp, the snuff would itself drop. Why to acquire
that sin too as though there were not enough in store?
She
looks for a used matchstick. With it, she pushes up the wick. Like
a tender amaranth’s shoot, the wick leans to one side. As though
angered by it, the lamp makes chitput chitput sound. For a
second, it appears as almost extinguished. Her heart stops for
once. With great anxiety she rushes to her kid. He is of the
second month. He is suffering from a heart ailment. His eyelids
remained closed for long. Not moving his hands. Not even folding
the leg that was stretched earlier.
Light
has not extinguished. Nor has the kid in the bed moved.
Her
eyes are flooded with tears. Life is haunting her like a serpent.
Her
husband is dead. He died when she conceived this boy. She then
felt like committing suicide. But she could not ignore the fetus
floating in her womb. Whenever she was overtaken by the thought of
suicide, the fetus in her womb struggled as though gasping for
breath. She felt pity for it. It is for this child that she has
given up the attempt to commit suicide. It is for him that she has
lived.
“Amma”[3]
—calls the daughter, sitting opposite to her on the
cot. She fears. Fails to respond.
“Amma.”
She is hardly six years old. But will not give off her pursuit
half way. Her voice could at last surface out: “What amma?”
“Chittibabu[4]
is suffering from ailment, yes?” enquires daughter.
“Yes,
my child,” she sits holding her breath fearing what else she
would ask.
“It
would cure amma, don’t worry,” says the daughter.
She
felt vivified. “Will it get cured amma?”
“Certainly
will get cured.”
Saying
“ma-amme”[5], she pulls the
daughter into her lap. She hugs her tightly. Overawed by joy, her
body shuddered with horripilation. At once, her breasts swell up
with milk. Her eyes fill with tears. Blouse wets. Tears overflow.
She
anxiously asks her daughter, “Would it surely cure amma?”
“Oh!
Sure!”
“Ma-amme?”
Overjoyed, she closes her eyes. Boundaries blur. Limits melt.
Eyelids swamp in tears. Whole world becomes a storehouse of water.
In it there appears a banyan leaf. And on it, lies a small child.
As she opens her eyes, the child on the bed appears like Sheshatalpasai[6]
to her.
A
cool breeze blows. To protect the boy from it she covers him with
a cloth. Drop by drop she pours the medicine. And the child smacks
it.
“Have
you noticed amma, chittibabu’s acts? As though unaware of
it, drank the medicine in one swig,” says the daughter.
She
smiles at it. Fondly, runs her hand over her hair setting it
right.
The
wall clock strikes indicating the hour.
It
was purchased when she first came to her in-laws’ house. Years
have passed by since then. So many changes! Yet, the clock is
running in the same way—six in the morning to six in the
evening, again six in the evening to six in the morning, it is
circling in the same way with no change. Being used to it, we keep
thinking, but after all what is the relation between change in the
life and time? By usage, we assume that time is spent, but does
this ‘spent’ apply to time? Whatever is there, it is
there. Indeed, there is nothing like time at all.
Her
husband was fond of that clock. Had immense faith too, in it. He
moved all through his life by that clock. So long as he lived, the
clock too moved as though it is functioning for his sake. Now, it
is acting as though it is moving for itself. What a deceit? Why at
all to live by cheating others so much? Whenever it strikes hours,
it sounds as though it is saying, “I am moving for my own
sake”; “I am moving for my own sake”. It reminds her of her
husband. He was an innocent man. He used to believe everyone, for
he used to work for all. What use in cribbing at it today?
“What
are you thinking?” enquires her daughter.
He
used to think that all others are working for him. Nor did he know
that there is so much deceit.
“Nothing
amma,” said she. But her daughter does not appear to have
believed her.
“Amma,
sleep for a while.”
“Oh!
Don’t worry about my sleep, my child!”
“You
didn’t sleep even yesterday.”
“It’s
alright amma.”
“When
we fall sick, you tend us. If you fall sick, who would tend you amma?”
About
to say, ‘God’, but hesitates fearing that her daughter
may say, “Wouldn’t that god who tends you, care for me too?”
Instead, she says, “You go and sleep my child.” This answer,
however, doesn’t satisfy her. She says, “I shall look after chittibabu,
you lie down amma.”
“No
way, you go and sleep.”
“Amma,
I am not sleepy,” says her daughter and sits quiet for a while.
It’s not clear what she thought of in the meanwhile, she starts
talking again.
“Look
amma, chittibabu is struck with such a serious ailment.
Yet, we could put up with it. Had father been around, what an
amount of anxious-driven commotion he would have exhibited.”
She
didn’t speak, except to heave a sigh. What her daughter said was
true. If children are laid up with fever, he could not remain as
himself. He would become terribly worried. He made her too
restless. Indeed, makes the whole house anxious.
Every
minute, with a sad face, he would ask pitifully: “Will it
cure?” I used to pity him. Why, even felt like caressing him.
“Sure,
it will cure.”
Yet,
he would again ask, “Are you sure it would certainly cure?”
She was afraid that if she says anything hesitantly, something
untoward would happen to him. So she would always say feelingly,
“certainly it would cure.”
Then
he would ask, “Tell me the truth.”
He
expects me to say the truth.
He
would not leave me till I say to the effect, “True, it will
certainly cure. Check if I am wrong by tomorrow morning. Ask me,
if it is not cured.”
In
between these two children, she gave birth to a boy but he died
soon. And that disturbed him terribly for long. She had no faith
in hospitals—not that they don’t know midwifery, but
certainly, they don’t know how to raise children. They don’t
allow mothers feed caster oil to their newborn. Even when cool
breeze is blowing, they keep all the doors and windows open fully.
That’s why she didn’t want to go to hospital. But he had
immense faith in hospitals. So is his belief in doctors, too. It
is just to please him she got admitted in the hospital. That
delivery proved to be difficult.
Later,
she felt that it was good she got admitted in the hospital. Yet,
on the sixth day the child died. His sorrow was inestimable.
Watching him standing alone in the hospital compound under the big
tree pathetically, had wrenched her stomach violently. She had to
comfort him and get him home all by herself.
He
lamented, “Hadn’t we not gone to the hospital, the boy would
have survived.” She tried her best to impress upon him that it
was good she had been to the hospital. Yet, she could not heal his
wound.
“All
these bad things happen only to us, why?”
“Not
that we alone suffer; because these are our hardships we come to
know of them,” replied she. Her behavior had bewildered him.
He might have thought of her as made up of sterner stuff. After
all, how was he to know her sorrow—pangs of sorrow that she had
undergone silently within herself.
*
* *
* *
The
lamp is glowing. Snuff too is growing. The lamp is extinguishing
itself spreading light around. The snuff is growing, diminishing
the glow. Lamp does know the nature of snuff. Yet, it does not
stop creating snuff; it doesn’t matter even if it means death to
itself, for it feels happy quivering, growing and glowing even for
a while rather than living long with no growth. For that to
happen, it willingly burns itself. Allows snuff to form and grow.
Invites threat to itself even. It even lets its life become
momentary.
She
says lamp is the kumkum bottu[7].
She feels oil in the pramida is not in the reach of the
wick. Gets up, and like pouring water in the beds around plants,
she pours oil in the pramida. Then she calmly goes to the
child and sits near him. She senses a change in his condition. He
moves. Not only moves, but also closes and opens his fist. She
sees it. “Look! Amma, look, what babu is doing,”
says daughter happily.
“He
is playing, amma.”
Mother
sits fondly caressing the hand of the child. The child holds her
index-finger in his fist. Does not leave it. Neither does she want
her finger freed. Sits quietly.
Suddenly,
the child opens his eyes. How smartly he stares! He sees her as if
he had identified her as his mother. Stares at her as if looking
for her since ages and only today his desire to see her is
fulfilled. Mother also opens her eyes. He looks at her as if he
longed to see her. The minute he sees her, his eyes twinkle like
clear crystals—laugh within themselves.
“Era
na tandri?[8] What? What
makes you so merry?” asks the mother.
“Ammara”
reminds his sister. He gracefully shakes his body. In that
shaking, he releases his mother’s finger. He rubs his fist along
his face.
His
sister tries to make him laugh by saying, “chi, chi, chi,
chi.”
He
does laugh. But that laugh has no sound. He hasn’t laughed
openly. Rather, has laughed within himself. His laugh is like that
of the dissipation of dark clouds that cover the sky without
thunder. His virtual laugh makes his whole body laugh. His planks
blow upwards. Like a stiff bamboo blade, he pops up saying “uu”.
“Quiet,
my child, quiet; sleep,” entreats his mother.
“See
amma, you haven’t believed me,” says daughter.
“What
talli[9]?”
“Babu
is now alright.”
Her
body shudders at once. The hitherto shapeless fear that ran across
her whole-body has now acquired a shape.
“Will
it cure talli?” asks mother with a quivering voice.
“Oh!”
says daughter.
“Will
it certainly cure?”
“Certainly
it will cure.”
She
is about to ask, “Truly!” It almost comes over her lips. She
remembers her husband. He used to ask her in the same manner.
Suddenly, she feels shy. Her whole body transforms into a rasavahini
—a free flow of passion.
She
sees her husband.
She
becomes a new bride.
“How
are you?” asks her husband.
“Don’t
you know?”
“Yes,
I know.”
“Life
has been crippled … become a dependent … for everything.”
“Don’t
think like that.”
“Relying
on what, should I stop thinking that way?”
“Have
you forgotten what I said?”
“What?”
“You
should not think about life in terms of hardship, happiness,
death, and living. After all, in this world, it is no great deal
for a man to suffer hardships, becoming happy, to be born, and to
die. To live without bondage is what the ultimate triumph over the
life.”
“Yes!”
“What
‘yes’?”
“I
remember.”
“Remembering
is not enough. You are the ‘rememberer’. That is the
‘remembrance.’ As long as this differentiation remains with
you, it is tricky. You have to become ‘remembrance’ and
‘remembrance’ must become you.”
“I
am the ‘remembrance’. ‘Remembrance’ I am.”
He
disappears. Rasavahini becomes the body. Wick has busted at
once, but has not extinguished. Snuff has grown but has not
broken. She looks at it. Could not, however, stay focused on it.
That is a lamp. It has a wick. Wick in turn has snuff. This
is a cot. Over it are the cloths. Within them is the child. He has
an ailment. Right in front of her is her daughter. Before the
daughter is herself. She cannot see them all as independent
entities. Whatever that becomes of the aggregation of these
entities, appears as jeevitam—existence—for her. She
feels that there is some such thing.
Daughter
is dozing.
“My
child,” mother awakens her.
Daughter
opens her eyelids with difficulty.
“Sleep
amma, you can’t stay awake.”
Rubbing
her eyes, daughter says, “I can.”
“Listen
to me, not good for your health.”
“How
about you, then?”
“I
am elder.”
“Am
I too not elder? Look, how elder I am to babu,” she gets
up and stands on the cot.
“That’s
not what elderliness means, my child.”
“What
is it, then?”
“When
you really become elder, you would come to know.”
Daughter
changes the topic: “How quietly babu is sleeping!”
“He
has inherited his father’s trait.”
“How
about me?”
“Amma’s.”
Daughter
felt like sleeping.
Mother
senses it. Even my daughter is more like her father, she feels.
Daughter
lies down, covering herself with a blanket. Suddenly, as though
something struck in between, she says: “Everything has turned
out as I have said. I have said chittibabu will get cured,
and it has happened. I shall bathe him tomorrow by laying him on
my legs. Will you make sunnivundalu[10]
for me?”
So
speaking, she falls asleep. That is the way of children.
She
adjusts the blanket on the kid.
She
examines the boy by laying her hand on him. Fondly rubs his
cheeks. She starts reminiscing. Her father…her mother… her
brothers. It is after her brothers’ marriage but before her
marriage that her father died. Immediately after father’s death,
brothers have separated. Their lives have become different. They
started treating her and her mother as outsiders.
Her mother lived pitching her hopes on her. She wanted to marry
her off to a good man and retire aside. She gets married. Then her
mother longed to see her give birth to a child. She would often
say that she had no other desire. She gave birth to a
female-child. Her mother then looked forward to a male-grandchild.
She then wanted to see her granddaughter’s marriage. Except
that, she would say, there is no other desire for her. But had she
lived till then, she would have certainly aspired to see her great
grandchild. There is no end for aasa—aspiration. Aasa—hope—is
the very foundation of the life. Living means hoping for. The lamp
of hope keeps on glowing forever and in every circumstance. Her
husband always kept saying, “Questioning the purpose of living
is a meaningless question; living itself is a bliss.”
Snuff
drops. Lamp brightens. It brightens like the brightness of the red
lily in the pond. Suddenly it dawns.
*
* *
*
Published in Bharati, June 1949.
1.
Pramida—An earthen saucer like structure containing oil in which
a wick is lighted up to serve as a lamp.
2
Sitammavaru—Wife of Lord Rama. In the Ramayana, when Sri Rama
proclaims his resolution, “Which man descended from a great family
can take back with confidence… a wife who has gone and lived for
about a year in another man’s house?” leaving no room for Sita’s
remonstrance, Sita turns to Lakshmana and says, “Build me a
pyre, I pray you. Suspected and cast away by my husband, I cannot, I
will not, live any longer. Fire, consuming fire, is the only remedy
for this woe!” and once the chitaa (pyre) is made ready, she walks
into it. Modern day writers often use this scene—Sitammavaru sitting
on a funeral pile as an incarnation of the spirit of sorrow—to
convey metaphorically all the sorrow in the world in one word.
3.
Amma—Mother.
4.
Chittibabu—Pet way of addressing a young kid in the family.
5.
BeMa-amme—A way of calling a girl child, with overtone of affection.
6.
Sheshatalpasai—Lord Krishna lying on the banayan-leaf in a pond.
7.
Kumkum bottu—The vermillion dot that Indian women put on their
forehead.
8.
Era na tandri—Fond way of addressing a child, mostly by a mother.
9.
Talli—Mother, a fond way of addressing a daughter by mother.
10.
Sunnivundalu—A sweetmeat.
Comments
|