Pornpen Hantrakool


Mangesh Narayanrao Kale

Mangesh Narayanrao Kale is a poet, editor and visual artist. He is the editor of ‘Khel’, a Marathi literary magazine that has been involved with the Marathi literary movement for over a decade now. His published works include Mangesh Narayanrao Kalechi Kavita (Lokwangmay Griha, 2000); Shaktipatache Sutra (Lokwangmay Griha, 2004); Naal Tutalya Pratham Purushache Drishtaant (Abhidhanantar, 2007); and Trutiya Purushache Aagman (Poetrywala, 2012). His books, Shaktipatache Sutra and Trutiya Purushache Aagman won the prestigious Yashwantrao Chavan Kharad Puraskar (2006) and the Maharashtra Foundation Award (2011) respectively. The following poems are translated by Prakash Chavan.


Which basically means he can be whoever he wants to be whenever, wherever he wants to be
Which means no one can compete with him in disguise
He keeps arriving so cleverly in every century unknowingly
And every town, landscape, boundaries of a nation
He keeps conquering within a moment
Which means let there be no man, animal, bird, worm
He keeps in control his existence
Wherever his feet fall on the ground
From there on wards starts the boundary of his sovereignty
Which means he is sometimes Batu Waman
The conqueror of King Bali’s kingdom maliciously
Or else sometimes Nrisingha the belly-tearing monster
Hidden behind a pillar
Or else sometimes Matsya Kurma Varaha
Holding the Earth outwardly by balancing
That is Aryan means Shaka means Huna
That is Mughal means Turk means Arab
That is Yavan means Afghan means Irani
That is Pallhav means Med means Parsik
That is Kamboj means Bhallik means Kushan
That is Tatar means Barbar means Mangol
That is unknowingly how many disguises
He has worn in every century!


That is, there is found one another reference concerning the third person…

In the British rule in 1924 A.D. in the Kashmir province, ten or twelve miles far from Shrinagar, in the Bhairav Kundara cave, some ancient manuscripts were found by the research scholars of archeological department, and one out of them was very much worn out and was neglected for many years, that is, some part of this worn out document though got damaged out of the time factor, the composition in it was much earlier to the contemporary Abhinav Gupta’s times ,
that is centuries old as was proved from the same, that is, it was of 100 B.C. or 200 B.C. , concluded by the scribes and scholars of that time,
That is, Lollat, Uddhat, Shankuk, Kirtidhar were the great scholars whose names were mentioned in the worn out document in the preface of the editor of the document,
that is why an another conclusion can be deduced that the said document would have been a matter of curiosity and discussion among the scholars of the contemporary periods and in the latter period the document would have gone into new editions along with interpolations of their own,
That is, on one hand, there would have been attempts to clear the abstractness in the text of the contemporary period…
That is, such a kind of reference of the third person is getting found…
That is, in this text there is no direct or indirect reference of the originator of the text, so the author of it remained mysterious for a long time,
that is, the many logical views were put forth in the latter period and the logical view which majority of the scholars found right, from that it is said that there was a lot of possibility of writing of the text was by one of the hundred sons of Bharat,
that is, in this text all the direct or indirect premonitions were described of arriving of the third person and it was seen that there was an efforts and attempts madet to delineate his biography, that is, in the B.C. period there had been a practice of writing the realistic things in an imaginary style, the scholars of the next period found that the text could be a incomplete drama script and that is why for thousands of years it remained neglected…
That is, in that way, there is found one again a reference of the third person…
That is, the first inauguration of a text of the document was done in the Indradhwaj-Puja function with a special introductory praising song,
that is, there were present all Gods, Yaksha, Kinnar etc along with auspicious presence of Lord of the Lords, Indra; but in this gathering the image elevation done in the function by the Gods of the third person; and Nag, demons, slaves, patients, Bhilla tribe, the aliens, Berbers, etc the people of other castse and communities were described though their identity rather unjustifiable, the Nag
community got violent and tried to disturb in the performance of the drama relating to the text; and to avoid the hurt ego of the people as well as the Gods leading to conflict was controlled and stopped by Lord Brahama; and the text which was getting inaugurated was showed to let people know that all kinds of people were there whose biography was present and there was no intention of belittling anyone was to be convinced; and Lord Brahama had to made some changes in the text and then the inauguration was to be continued; and this fact was retained for keeping mutual goodwill…
That is, once again such references are to be found of the third person’s arrival…

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