K.V. Raghupathi’s War Poems: A Thematic Study
T. V. Ramana
Abstract
The phenomenon of war is not new. Two categories of poets responded in their own unique ways and wrote about the terrible effects of war: combatant poets and noncombatant poets. The poetry of the early days of the war was full of enthusiasm and optimism. After the world wars, themes moved from being hopeful to being angry, sad and illustrate a sense of purposelessness. Among the contemporary Indian poets writing in English, K.V. Raghupathi has appropriately and delicately addressed the ongoing wars, evoking strong feelings in the readers. The poems selected for study include "War Clouds," "Images of Afghanistan: The Fallen Angel," "An Assault on Innocent Blood," "Whose Blood is this, Dad?", and "Gaza is on Fire". These poems portray the grim realities of war, including death, destruction, and human suffering. The study brings out how the poet renders the images in a moving way, employing striking imagery to convey the emotional and physical devastation experienced by the people caught in the crossfire of war. The conclusions of the study highlight the important qualities besides a poignant commentary on the human cost of war, urging readers to reflect on the futility of violence and the urgent need for peace.
Key Words: war, human history, contemporary, death, destruction, human suffering, image, imagery.
Introduction
The phenomenon of war is not new. When life first began on Earth, it existed. Wars and other conflicts grew more complex and common as humankind developed. Over ten thousand wars have been waged on this planet since the dawn of human history, and over five hundred wars since the second World War. When reading about our conflicts, both recent and historical, one can question whether history has taught us anything. Why does humanity still fight wars despite the deaths, damage, misery, and bloodshed? Where can we find hope in these hopeless times, and how do we make sense of all the violence around us? Perhaps the answer is art, which includes writing, music, and painting.
In particular, poets of different continents and various languages responded in their own unique ways by illustrating the terrible outcomes in their poetry. William Butler Yeats penned "I think it better that in times like these / A poet's mouth be silent" in response to a request for a war poem in 1915 (“On Being Asked for A War Poem” https://eliteskills.com/c/17092), yet he and many other war poets continued to create poetry about what would come to be known as the First World War. The first psychologist to study war is thought to have been William James. In his essay "The Moral Equivalent of War," James makes the case that people have been drawn to warfare because it fosters a sense of belonging and identity in them as well as enables them to fulfil their higher human purpose of tolerance and sacrifice. The Great War broke out four years after this piece was published. According to many reports, there was much celebration at the start of the conflict.
Two categories of poets wrote about the terrible effects of war: those who responded to the war from the outside without taking part in it as non-combatants, and those who were active participants in it. According to George Walter, over two thousand poems about the war were written by established writers. Only a small portion is known today, and many poets well-liked by readers in their day have become obscure. These poets focused on the misery of war, the anguish, sorrow, and hatred directed at those who carry out war. In contemporary British literature, Wilfred Owen (“Anthem for Doomed Youth” 1917), Siegfried Sassoon (“Counter-Attack” 1918), and Rupert Brooke (“The Soldier” 1914) were soldier-poets. Robert Graves (“Recalling War”), Edward Thomas (“This Is No Case of Petty Right or Wrong”), David Jones, Ivor Gurney, and Isaac Rosenberg changed the history of English literature by their work, which blended caustic irony, uncompromising reality, and a feeling of tragic futility.
In a 2020 article for the St Austin Review about American WWI poet John Allan Wyeth, Dana Gioia writes, "The First World War changed European literature forever. The horror of modern mechanized warfare and the slaughter of nineteen million young men and innocent civilians traumatized the European imagination. For poets, the unprecedented scale of violence annihilated the classic traditions of war literature — individual heroism, military glory, and virtuous leadership. Writers struggled for a new idiom commensurate with their apocalyptic personal experience. European Modernism emerged from the trenches of the Western Front.” (https://en.wikipedia.org/wiki/War_poetry)
The poetry of the early days of the war was also full of enthusiasm and optimism. A good example is “Men Who March Away” by Thomas Hardy, published in September 1914 expresses faith and optimism. In “War Girls” by Jessie Pope, women supported the war effort by taking over jobs that were typically done by men before the war. Although they were not in uniform, the poem points out that they too fought the war in their own way. Rupert Brookes “The Soldier”, published in 1915, the same year as the death of the poet (although perhaps written a year earlier), illustrates the passion and patriotism with which one dies for ones country. This poem too, is optimistic and hopeful in its tonality, even though the theme at large is martyrdom. The soldier in the poem sees a higher purpose in dying for his country.
Once the early years of the war were over, there was a shift in the kind of poetry that was being written. The themes moved from being hopeful to being angry, sad and illustrate a sense of purposelessness. This is depicted in the 1916 poem “The Poet as Hero” by soldier and poet, Siegfried Sassoon. A similar sense of dread and abandonment is visible in the 1916 poem “The Messages” by Wilfred Wilson Gibson. The mention of death that had a celebratory tone at the beginning of the war, now haunts the mind of the poet.
Another telling poem comes from Seigfried Sassoon in 1916, written as a conversation between Christ and the Soldier. In this poem, we sense existentialism. The narrator questions the purpose of life, religion, and in a sense, war. These ideas also found their representations in paintings. Echoing the poetic lines is a painting by James Clark, titled “The Great Sacrifice” (1914). It depicts a soldier lying dead at the foot of a cross. Wilfred Owen, whose poetry is studied as a part of the syllabus in many schools and colleges, is best known for his war poetry. His most telling poem on the futility of war is “Dulce et Decorum Est”. Owen fought the war and was the recipient of bravery medals. He died on the battlefield one week before the Armistice of 1918. In this poem, he describes the brutal and gory reality of war and in the last stanza of the poem, borrows a Latin Phrase from the Roman poet Horace “Dulce et Decorum est Pro Patria Mori” (which means: it is sweet and fitting to die for ones country).
Not much has changed. Wars rage on in different countries. News reports suggest that one child was killed every quarter of an hour in the Israeli bombings of Gaza. This would mean that at least a dozen innocent lives were perhaps lost while this article was being written. Can revisiting the pain in the poems of the First World War remind us of the value of peace? Is it possible that we have found solace in their words, and our angst found a vent in their voice? Or perhaps that their rhythmic expression of trauma and horror has allowed light to creep into our hearts? They spoke then, but their words still ring of truth. Many more have spoken before, in-between, and after. But, are we listening?
K.V. Raghupathi's Poetry
K. V. Raghupathi
Among the contemporary Indian poets writing in English, K.V. Raghupathi has appropriately and delicately addressed the ongoing wars, evoking strong feelings in the readers. K.V. Raghupathi is a prolific Indian writer, born in 1957 in a Telugu-speaking family in Andhra Pradesh. He holds a Ph.D. in English literature and has made significant contributions as a poet, though he is a novelist, short story writer, book reviewer, critic, and columnist. Throughout his four-decade writing career, Raghupathi has authored over thirty books that include a diverse range of literary writings like poetry, short stories, and novels. He has so far published thirteen poetry collections. His first book of poetry, a long narrative philosophical discourse poem, Desert Blooms was published in 1987 by Writers Workshop, Kolkata. His other poetry collections include as follows: Echoes Silent (1988), The Images of a Growing Dying City (1989), Small Reflections (2000), Voice of the Valley (1990/2003), Wisdom of the Peepal Tree (2003), Samarpana (2006), Orphan and Other Poems (2010), Disperses Symphonies (2010), Between Me and the Babe (2015), On and Beyond the Surface (2018), The Mountain is Calling… (2018), and Transition (2022). His poetry is known for its rich philosophical, ecocritical, spiritual, and metaphysical themes replete with vivid imagery and deep symbolism. His recent poetry, however, delves into deep subjects like war that causes human suffering and the quest for freedom.
Methodology
K.V. Raghupathi is not a direct participant in the war. In that sense, he may be regarded as a noncombatant poet. Yet he has emerged as a deeply sensitive poet from South India, responding to war in his inimitable style, unlike the British war poets, capturing its horrendous images using rich imagery and symbolism. The poems selected for study include "War Clouds," "Images of Afghanistan: The Fallen Angel," "An Assault on Innocent Blood," "Whose Blood is this, Dad?" and "Gaza is on Fire," which appeared in different online and print journals. Incidentally, "Images of Afghanistan: The Fallen Angel" and "An Assault on Innocent Blood" are included in his thirteenth collection, Transition (2022). These poems portray the grim realities of war, including death, destruction, and human suffering. The poet has addressed the conflicts in different regions: Afghanistan, Ukraine, Israel, and Gaza in a sensitive manner.
The study is limited to these five poems and no significant comparison has been made between him and the other British war poets who have written about war. It brings out how the poet renders the images, employing striking imagery to convey the emotional and physical devastation experienced by the people caught in the crossfire of war. The pictures have a strong aesthetic appeal. They depict the devastating effects of the conflict in Afghanistan, the Gaza Strip, Russia, and the Ukraine in a moving way.
The final conclusions of the study highlight the important qualities that these five poems possess.
Analysis and Discussion of Five War Poems
I
In "War Clouds," the poet skillfully paints a vivid picture of the impact on the environment and people, revealing the stark contrast between the once vibrant city and its current state of ruin. Through poignant observations and personal reflections, the poem evokes a sense of hopelessness and despair, underscoring the devastating toll of war on both human lives and the environment.
The poem begins with the use of powerful imagery which is evident in the portrayal of smoke and rubble, where the poet employs the image of smoke rising from the rubble to convey the aftermath of war. Smoke constantly figures in this six-part poem.
Smoke from the rubble
like the lingering morning mist on the treetops
drifting across. (1-3)
This pervasive element of smoke “devouring the land and the sky” symbolizes destruction, obscuring visibility and serving as a haunting reminder of the consequences of conflict. The description of buildings in ruin, bending under the weight of war, and the land devoured by smoke and “the sun leaks only a silver of smoke” paints a poignant picture of the physical devastation caused by warfare.
In this smoke-filled city, the poet introduces a compelling contrast, highlighting, truce is invisible, but “visible is the hatred/ making multiple patterns" (7-8) that persist despite the absence of overt warfare. This nuanced portrayal emphasizes the underlying tension and conflict that lingers, even in moments of supposed peace and hope, the poet says poignantly “is a thin wafer that is never sold in a kiosk!” (10). The poet skillfully weaves these elements together, creating a narrative that goes beyond a mere description of war, delving into the complex emotions and dynamics at play in the aftermath of conflict.
The second part of the poem carries the images vigorously. In this smoke-filled city, the poet says, “there no sign of birds flitting” (11), drones and helicopters are seen like “flying saucers” (12), trees lay like “dead soldiers” (16) and the folk are scattered “like flowers in the wind” (19). The city groans, the anonymous protagonist describes, “a dog howls/unable to find its master in the debris (22) and “a bearded man screams/unable to trace his siblings and children” (23-24).
The poet juxtaposes two anonymous victims narration of their tales in the third and the fourth parts. In the third part the poet tells us that once the city was beautiful “with love and warmth over time” (30), “children playing and betting in the streets” (33), and “the old exchanging pleasantries and tales” (34). But “now anguish reigns, tears like runnels/as if branching off from the depths of the heart flowing/amidst shambles” (35-7). Now the citys “blank face stares back at me” (38). In the fourth part, an unnamed protagonist declares poignantly that he will not “stay long to narrate the tales of sorrow” (41). “By then the city will have taken on different shapes;/all my generations will have gone to their private graves/beyond recognition” (42-44).
In the fifth part, the poet alludes indirectly to the lengthy tunnels that the terrorist organisation Hamas in the Gaza Strip excavated out of the earth. In such dark tunnels “deep as well” (48) the poet states, “there are no dreams/there are no hopes” (51-2) but “only sparks fly/with no endings/but longing for more blood” (53-55). In such a hostile demoniac environment hatred reign far supreme “that squints your eyes and holds your breath” (56). With doubts creeping in, the poet asks himself, “Is this the only path for light/that runs like tears on razor blades?” (57-8). In the sixth and final part of the poem, the poet states that “we are in trauma/losing everyone and everything in the war quake” (59-60). He admits that he has never sown the seeds of hatred, but rather it “grew bright like a tulip bearing crimson blood” (62); “its warmth, still keeps/its warmth, still bitter” (63-4) and everywhere every grave unfolds “the painful phantom memories” (68).
The poem explores the trauma of loss and the futile pursuit of light in the midst of darkness, symbolized by sparks flying with no endings. The concluding lines reveal the deep emotional scars and the bitter warmth of memories that persist even in the face of destruction. The analogy of the tulip bearing crimson blood and its warmth turning bitter captures the complex emotions associated with war, where beauty and brutality coexist. Overall, "War Clouds" is a powerful and evocative poem that captures the human toll of war, portraying the resilience and enduring pain of those who witness its destructive force.
II
Raghupathi penned the six-part poem, "Images of Afghanistan, The Fallen Angel," immediately after the Taliban retook control of Afghanistan, particularly the Kabul city on August 15, 2021, two decades after the US-led coalition forces collapsed. The poet continues his exploration of the impact of war, this time focusing on the consequences, the powerful images blending them with moving imagery. The poem vividly captures the desperation of people at the airport, attempting to escape the escalating violence. The transformation of Kabul airport from a gateway to freedom into a symbol of chaos reflects the profound shift from past freedom to the current war-torn state. Through evocative language, the poet paints a multifaceted picture of war, encompassing violence, displacement, loss, and the transformation of familiar spaces into scenes of chaos and uncertainty.
The poem skillfully weaves key war narratives and themes into its verses, creating a powerful depiction of the human tragedy resulting from the war in Afghanistan. The portrayal of violence and loss of life sets the tone, beginning with a scene in the first part of the poem where an individual is dragged out of a car and shot, accompanied by the haunting sounds of "Allaho Akbar." The poet questions, “Is life worth living to die at the nozzle for no crime?” (10) The narrative in the second part of the poem captures the desperation of people trying to escape the violence, with the airport devolving into a chaotic scene reminiscent of an old railway station.
There were no rules on the tarmac and the runway.
Soon, the airport was transformed into an old railway station
and the stranded flights like trains to pick up the tyrannized. (13-15)
People fleeing the country “scrambled like the flood victims for food.” (16) Symbolism plays a crucial role as flights taking off with people clinging to the wings become a metaphor for the elusive nature of freedom, harshly underscored by pilots throwing off those clinging to the wings like "fireballs." (23) The poem reflects on the fleeting nature of “Twenty years of hard-won freedom” (29) comparing it to a delicate "paper kite in the sky." (30) In the “battered valley” (32) the poet says, “Only the boom of bullets, the shrieks of shells heard” (33). Amidst this, the poet questions, “Is freedom so fleecy as cloud?” (31)
"Suffering of Innocents" unfolds as a poignant narrative within the poem, emphasizing the plight of innocent victims. The heartbreaking scenes include babies thrown “over razor wire like food packets to the quake victims” (43) and the separation of families, vividly portraying the innocence caught in the crossfire of war. Displacement and abandonment become central themes as the poem portrays people refusing to return to their homes, fearing bullets,
Crowded, the airport looked like a confusing marketplace.
People jostling and surging with wheeled suitcases,
mothers like langurs holding their babies, children clutching their fathers
refused to return to their abandoned homes
to fall prey to the tuft of bullets. (59-63)
The poet compares the Kabul city with a patient “bleeding with no doctor in the vicinity/ to stitch the split skin and bones.” (67-8) Abandoned machinery stands as silent witnesses to the war memorial, further emphasizing the enduring impact of conflict.
The poet confronts the silence of activists, feminists, and liberalists in the face of escalating violence against women in "Silence Amidst Violence." This powerful section (VI) of the poem juxtaposes gun-toting men seeking blood, money, and power against the silence of those who could speak out against the atrocities. It raises questions about complicity and the responsibility of those with the power to speak against injustice. The concluding stanzas express a yearning for peace, questioning the duration it takes for hard-earned freedom to dissolve in the grave. “How long does it take to dissolve the hard-earned freedom in the grave?” (74) The little innocent girl, obviously a victim, poses this question to a passer-by. The plea for a place where "sleep and silence merge" reflects the profound desire for a world free from the anchorage of grief.
Can you show me a place where sleep and silence merge?
Can you show me a house where there is no anchorage for grief? (76-7)
III
The six-part poem "An Assault on Innocent Blood," which was first published in the Springdale, Colorado, USA-based Knot online magazine and then included to Transition: A Collection of Poems (2022), explores the intricacies of war in greater detail by focusing on the conflict between Russia and Ukraine. The poem is divided into six sections, each addressing different aspects of the human experience during conflict. In the first section, the poet laments the absence of mellifluous human voices and the musical notes of singing birds, replaced by the harsh sounds of gunshots, booms, and blasts. The vivid imagery of a darkening cobalt sky yielding to ruby flames underscores the destruction and chaos caused by war. The poet questions whether a poem can replace the brutality of war and erase its scars from memory.
The long poem opens with auditory elements of gunshots, booms, and blasts create a vivid and chaotic soundscape, immersing the reader in the violent nature of war. The poet refers to Russia's senseless invasion of Ukraine as “an assault on innocent blood” (1) in the opening line. Where normally there would be human voices and singing birds, now there are only cries of panic-stricken men and women rushing to railway stations and borders in thousands like a mass migration.
They hear only the cries and shouts of men and women in subzero temperature
rushing like captive horses let loose from the cage,
flocking like cocks and hens to the railway stations and bus stops panic-stricken
crossing the borders in thousands like the Masai Mara Migration. (7-10)
The focus shifts, in the second part, to a proud young armed man from a neighbouring land, witnessing the death and suffering of his comrades. The poem raises questions about the morality and consequences of one person's actions affecting an entire nation. The imagery of comrades bleeding and dying like shot birds evokes a deep sense of helplessness and loss. The metaphor of ambition being poison highlights the destructive nature of unchecked power and personal agendas in times of war. The protagonist of the poem, that is, the poet himself, says that a poet can only sing sadly to the sound of gunfire and falling blood, but soon becomes despair that a poem can hardly replace gunshots, booms, and blasts and a dirge can scarcely take away the memories of war.
What can a poet do except sing sadly
to the tuft of shots and falling blood?
Can a poem replace gunshots, booms, and blasts?
Can a dirge erase the scars of war from memory? (11-14)
The poem reflects on the contrasting perspectives of soldiers and their families. The soldiers face horror and isolation in a foreign land, feeling like mythical Greek soldiers, while their families dream of their return. The soldiers grapple with the purpose of their mission and who they are truly fighting for, while feeling forced to stay until the land surrenders. The poem questions the concept of freedom and the conflicting ambitions that can result in harm and oppression.
They know they are for freedom to choose,
the other for freedom to occupy by force. (35-6)
A young armed man from a neighboring land witness his comrades, Russanso Avansky, dying in a war-torn country. He questions if humanity should suffer for one man's flaw, as his comrades spent hours searching in the snow-laden land, dreaming of returning home in a foreign land. The protagonist faces horror in an alien land, resembling a Greek soldier. He is asked to stay until the land surrenders, highlighting the conflict between freedom to choose and force.
In the fourth part of the poem, the narrator wakes up to a missile hitting Kyiv city, he initially mistakes it for an accident. He is determined to fight for his country's safety, despite not being a trained soldier. He pledges to defend his country with every ounce of his blood.
I am not a trained soldier.
But the spirit is splendid to defend to the very end.
But that comes at the cost of my life that I know I cant mend. (45-47)
In the fifth part of the poem, the poet describes another series of visual experiences from the conflict. A boy crossing a train with a Ukrainian flag holds his father's hand, confused but excited. He watches hundreds throng platforms, grim faces, and crowded trains, unaware of war's horror and the need to yell at it.
He watches them board the train, already crowded
but doesnt even fuss, playing with the flag
he doesnt know where they are heading to.
He doesnt know war is hell to yell at it. (55-58)
The mother, glum, watches bombs exploding while he plays with no space. A boy in the crowd reciprocates the joy, making others proud and cheerful.
The fight for freedom is for triumph over hate, despite the harsh conditions and enemy forces. The hope of “freeing the world from the scourge of war” (72) is “too distant, like stars” (73), the poet laments. In such a horrendous situation, “Hope in human war is like a surviving kangaroo amid a bushfire.” (74) The poem concludes with a reflection on the different perspectives of the dead, the dying, and the living. The dead know neither victory nor defeat, and the living know not how to suffer. (77-78)
The poem is a moving exploration of the human cost of war, touching on themes of sacrifice, innocence, and the complex motivations that drive conflicts. The vivid imagery and thought-provoking questions contribute to the depth and emotional impact of the poem.
IV
"Whose Blood is this, Dad…?" the six-part poem penned by the poet immediately after the Hama terrorists invaded Israel on its border and killed approximately 1400 Jews and foreigners. Each part offers a distinct perspective on the consequences of conflict. The poem expands the thematic exploration to the cyclical nature of violence and war, focusing on the impact on generations of Jewish people in Israel. The emotional turmoil experienced by individuals witnessing the horrors of war takes centre stage, questioning the morality and ethics of such conflicts. Symbolic imagery, including a rose-coloured poppy on hands and a collapsed head, serves as a powerful metaphor for the visceral impact of war on individuals and the visual representation of bloodshed. The reference to reopening Pandora's box suggests that the memories of war are like a box of evils that, once opened, cannot be easily closed.
The first part of the poem opens with the child questioning the fathers blood on his hand, “Whose blood is this, Dad/that shines like the rose-coloured poppy/on your hands?” (1-3) The father's head collapses beneath a wrecked rafter “like a broken bough/before the answer trickled from the blood.” (5-6) Bullets echoed, causing buildings to split. The child's plea burned, but the mother fell on the shot. Discordant notes ceased, illustrating the harsh realities of war: “War can be like that!” (17) The imagery of a child's plea, a mother falling with “an ice cream cone in hand,” (13) and the sounds of bullets embellishing the quiet hours convey the immediate and chaotic consequences of war.
On October 7, 2023, the poet describes that the world begins with “Dracula's blood dripping”, (23) streets filled with fear, and war looms. A Jewish woman, a lone survivor, walks in a deserted street, aiming to save her race. “Nothing tastes so good as ones race.” (35)
The third section of the poem introduces a personal perspective, sharing a visceral experience related to the warmth and foul smell of blood. The section questions the progression of history and the irony of moving toward a Stone Age mentality despite supposed progress. It explores the concept of moving into the Stone Age, a time where history has taught us to move forward. It highlights the loss and tragedy of the past, but also the struggle to convert it into laughter and glee. But now “blood trickles like the menstrual blood between the thighs.” (37) The poet suggests that we must “move into the future” (39) burring the past. But sadly, the poet says, we are “moving into the Stone Age.” (38) He questions, “Cant we convert them (Tears of loss, tears of tragedy) into pearls of laughter and glee?” (40-1)
The sky is filled with blood-stained flames, and despite prayers, the poet asserts in the fourth part, “God will not respond to your hatred!” (66) In a city filled with war, logic and ethics cannot address the bloodshed and killing.
In a city where the war wails and howls
we cannot address the bloodshed and killing
using logic and ethics. (73-5)
The poem shifts its focus in the fifth section to a far-off land where hatred prevails, and conflicts persist. In a distant land, hatred reigns supreme, conflicts remain deadlocks, with deserted streets with “bodies strewn like dead fish” (79) and “mutilated cars as silent witnesses to heinous crimes.” (80) Symbolically, the visual scenes of war move with the synagogue bell at Buchau ceased ringing, and wet grounds grew rotten. The symphony of artillery, gunfire, and tanks echoed, highlighting the irony of war and the illusion of existence.
Your messages will never be delivered
as the synagogue bell at Buchau ceased ringing
wet grounds with blood smell rotten
spooky rats scamper and dogs sniff for fresh life
then comes again the symphony of artillery....
the roar of gunfire, the marching of tanks
the gun-toting masked men
these bitter notes of blind fate punctuate life forever
the irony of war....and the illusion of existence.
(83-91)
In the last section, the poet states that in such a land ridden with conflict and bloodshed, “nothing but hatred grows in this land/like parthenium.” (92-3) The land grows with hatred, and a lack of longing for love. People call it “the land of screams and wails”, where the sun rises with little hope. The speaker reflects on their unhappiness and the pain they cannot handle, stating that they are struggling just for survival. They run without eating or sleeping, hoping to live another day. Being dead is easier than alive, and “Peace is like the Red Sea bleeding in the twilight!” (114)
Overall, the poem employs vivid and metaphorical language to depict the human suffering, loss, and enduring impact of war. It reflects on the cyclical nature of violence and the profound emotional toll it takes on those caught in its midst.
V
"Gaza is on Fire," another poem on war penned by K.V. Raghupathi has to be read as a companion to the earlier poem, “Whose Blood is this …Dad?” It presents a poignant portrayal of the devastating impact on the historical city of Gaza. The poem, presented in six parts, effectively captures the heartbreaking conditions faced by men, women, and children in the midst of the conflict. The repeated phrases "Gaza is on fire" and "Gaza is bleeding" create a stark and distressing image of the ongoing conflict. “Nothing blooms in blood/except bleeding memories in silence.” (14-5) The poet's use of vivid imagery, describing scenes of destruction, loss of life, and the emotional anguish of those affected, immerses readers in the harrowing reality of continuous shelling. Through evocative language and vivid descriptions, the poet emphasizes the human cost of such conflicts, shedding light on the profound consequences resulting from violence committed in the name of God, religion, and ideology.
The selected lines from the poem, including "there is only smoke in the sky/ on the ground, all around" (25-6), “The city is decked out in a dark grey suit” (27), and "only thick clouds of smoke rising/like the brown foam from Niagara Falls," (47-8) paint a vivid picture of the war-torn landscape. The questioning tone of "Why is the sky not blue/but bleeding?" (60-61) further emphasizes the brutality of the conflict and its impact on the environment. The line "only the sorrow flows like the Nile" (65) carries a profound emotional weight, suggesting that amidst the physical destruction, the emotional suffering is vast and relentless.
The use of metaphors, such as "rockets lighting up the sky like a swarm of fireflies," (11) vividly captures the constant threat and danger faced by the people in Gaza. The poet addresses the futility of violence committed in the name of God, questioning why such atrocities are carried out. The repetition of phrases like "Gaza is on fire, burning," (8) "Gaza is bleeding, suffocating," (9) and "Gaza is on fire, blazing and bleeding" (130) create a rhythmic and powerful impact, emphasizing the ongoing and relentless nature of the conflict.
Conclusion
In these poems, war images are not merely descriptive; they serve as powerful symbols that evoke deep emotions, emphasizing the human suffering, destruction, and lasting impact of war on individuals and communities. K.V. Raghupathi's masterful use of vivid and visceral language ensures that the reader confronts the harsh realities of conflict, fostering a profound reflection on the human cost of contemporary war.
K.V. Raghupathi visualised various war elements are highlighted, painting a vivid and evocative picture of the impact of conflict. Here are some key war elements emphasized in the poems:
Destruction and Desolation: Images of buildings in ruins, rubble, and smoke convey the physical devastation caused by war. The aftermath of conflict is depicted through the portrayal of cities and landscapes in shambles.
Human Suffering: The poems delve into the human cost of war, portraying the anguish, pain, and despair experienced by individuals caught in the midst of conflict. Descriptions of wounded and dying individuals, families separated, and the loss of loved ones highlight the emotional toll of war.
Sounds of War: Auditory elements like gunshots, booms, and blasts are recurrent in the poems, creating a visceral experience for the reader and emphasizing the chaotic nature of war. The poems use sounds to underscore the violence and trauma associated with armed conflict.
Bloodshed and Loss: Imagery related to blood is a recurring motif, symbolizing the violence, sacrifice, and loss inherent in war. The poems explore the consequences of shedding innocent blood and the enduring impact on both individuals and communities.
Forced Migration and Displacement: The poems depict the mass movement of people fleeing war zones, emphasizing the displacement and upheaval caused by conflict. Descriptions of crowded airports, desperate attempts to escape, and the plight of refugees highlight the human consequences of war.
Hatred and Ambition: The poems delve into the darker aspects of war, exploring themes of hatred, ambition, and the pursuit of power that often underlie conflicts. The consequences of unchecked ambition and the resulting poison that affects societies are highlighted.
Symbolic Imagery: Symbolic elements such as smoke, fire, and shattered landscapes serve as powerful metaphors for the broader impact of war on both the physical and psychological aspects of life. The use of symbolism helps convey deeper meanings and emotions associated with the war experience.
Yearning for Peace: Amidst the vivid war imagery, the poems also express a longing for peace. The juxtaposition of destruction with the hope for a different future creates a poignant contrast.
Overall, these poems serve as a powerful and emotional commentary on the human toll of conflict, urging reflection on the senselessness of violence and the enduring strength of those who endure it.
K.V. Raghupathi's poems use powerful and evocative language to bring attention to the multifaceted and devastating aspects of war, emphasizing the human experience amid conflict and the profound consequences it leaves in its wake. The five poems of K.V. Raghupathi offer a poignant commentary on the human cost of war, the loss of innocence, the displacement of families, and the search for hop amidst chaos urging readers to reflect on the futility of violence and the urgent need for peace. Additionally, there is a recurring theme of questioning the justification for violence in the name of various causes.
KV Raghupathi is well-known for rendering his soulful voice of the dire conditions of the looming war clouds across the world through his five war poems. The poet beatifies the dreadful war scenes with his passion like the director of the blockbuster movie, KGF. Very few master hands can do this heart rendering narratives irrespective of region and religion. The poet, thus, addresses the immediate and long-term consequences of war, emphasizing the resilience of the people and their determination to rebuild despite the challenges.
Works Cited:
Raghupathi. K.V. (2022). Transition: A Collection of Poems. Ukiyoto Publication.
Raghupathi, KV “Whose Blood is this, Dad?” Https://Drkvraghupathi.blogspot.com.2023
Raghupathi, KV “War Clouds” Https://Drkvraghupathi.blogspot.com.2023
Raghupathi K.V. “Images of Afghanistan: The Fallen Angel.” Erothanatos A Peer-Reviewed Quarterly Journal on Literature Vol. 6 Issue 1, May 2022.
Raghupathi K.V. “Gaza is on Fire” https://www.glitteratiquillwithspark.com/post/gaza-is-on-fire-a-poem-by-k-v-raghupathi
Walter, George, ed. (2006). The Penguin Book of First World War Poetry. Penguin UK.
Working as a Lecturer in English, Government Degree College for Men(A), Kadapa, Andhra Pradesh, T. Venkataramana has over two decades of teaching and experience. Currently, he is working for his Ph. D. on K.V. Raghupathis works at Dr. B.R. Ambedkar State Open University, Hyderabad. He has participated in a number of seminars and conferences and presented papers. His articles have appeared in journals and books with ISBN. He is credited with having edited the book, The Poet Speaks: Interviews, Conversations, and Dialogues with K.V. Raghupathi (2023)
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