“He was dubbed mad and even called epileptic; the fact is that he was never understood,” says ‘Isaikkavi’ Ramanan, whose script ‘Bharati Yaar’ is being dramatised by a group of theatre enthusiasts. B.S. Raman, son of veenai Balachander, is at the helm of the production, which will be a part of the annual event conducted by Vanavil Panpattu Maiyyam to commemorate the Mahakavi’s birth anniversary (December 11). Rehearsals are on in full swing with Raman calling the shots and Mrs. Shanta Balachander as a keen observer.
“That was my 11th draft,” laughs Ramanan, who also plays the poet. “I kept modifying. Something new occurred every time I visited the script,” he explains. Because Subramanya Bharati was an extraordinary person. “He was a pioneer journalist, a cartoonist, a capable translator who could work with several languages, a philosopher, revolutionary... He was one of the trend-setters in the poetic prose style of writing,” Ramanan describes his favourite poet, whose works he has been absorbing for the past 45 years.
“I should have been born 400 years later,” the poet himself states in the play. “Do you think India will get independence?” Replies Bharati: “Yes, I see a free India. I’m seeing things, which will happen much later.” The poet’s words proved prophetic. In the SB Creations’ production, Bharati, the man, comes under the spotlight, the poet just waiting to be invoked. “He was full of compassion, had unswerving faith in his principles and believed in equality. He was steeped in tradition but could chide someone yielding to superstition. “Give that money to the poor man, instead of throwing it into the sea just because your mother told you,” he tells Yadugiri, daughter of Mandyam Srinivasachariar and an ardent admirer of his poetry. Bharati calls her his Pudumai Penn.
God and nation
The political climate of the time is woven into the story. “To Bharati, God and country were synonymous,” observes Ramanan. Of the two, he chose the latter. He could have attained Yoga Siddi had he carried his spiritual pursuit to its end. Many stood by him in his poetic struggle. Bharati was clear that his pen could do wonders. “I want my songs to reach every household. They should be freely available,” he said. So it was.
“You don’t get caught, your songs are vital for this penance,” cautions Subramanya Siva, in jail. So Bharati moves to Pondicherry, where he is taken care of by a devoted but candid Kuvalai Krishnamachariar (a surprise cameo by Vijay Siva) — the Kannan of ‘Engirundo Vandaan...’
The narrative, of course, would be incomplete without song and dance and there is a liberal dose of Bharati’s songs. The interesting aspect is that each song gets a context. For instance, ‘Manadhil Urudhi Vendum’ is born as the poet is mesmerised by the rhythmic sound as a woman pounds rice — dum... dum.
Most heart-warming is the earthy portrait of Bharati’s wife Chellammal (Dharma Raman). “No, no. It was not a tragic life that she led with the firebrand revolutionary. Yes, they had their inevitable arguments and she did show her frustration, but surely they loved each other,” says Ramanan, whose research included Chellammal’s book. Seeni Viswanathan, Ilandai Ramaswamy were among the other authors he read up for the play.
It was S.B.S Raman’s idea to do a play on Bharati and Isaikkavi Ramanan was the automatic choice for script. “The mantle of Bharati also fell on me because the family thought having soaked in the poet all my life, I could bring him alive,” explains Ramanan. Directed by Raman, the play involves a host of actors. Bharadwaj Raman has taken care of the musical aspects, the songs rendered by various musicians — ‘Kakkai Siraginilae’ alone sung by Ramanan on the stage — and the dance sequences choreographed by Shobana Ramesh and Lalitha Ganapati.
‘Bharati Yaar’ will be presented by Vanavil Panpattu Maiyyam in association with Bharat Kalachar on December 9, 6 p.m.
