The Festival of Consecration

Poets post their works-in-progress here for crit and commentary. We want poets who are serious about getting their work published.
Post Reply
Message
Author
RamanathanSiva
Posts: 127
Joined: 28 Aug 2020, 23:11

The Festival of Consecration

#1 Post by RamanathanSiva » 29 Sep 2020, 06:36

In the vast stretch of barren land
a colony needed a temple.
The elders thought up of Murthis
that had to be installed.
On the auspicious day
I watch the festivities
men in zari dhothis ,
women in eight yards saris
the whole village flitting about.
like children waiting for prasad.
The medicinal puja sticks
have been lighted
with the fire of mantras;
smoke rises high enough
to invite the eagles
and thrice is the word
around and around
the golden pagodas
the birds hover, Vishnu’s vehicle.
I am inquisitive.
I ask Uncle Mohan
‘why do our Gods
need to be energised,
why in grains, in water
and under the Peepul tree?
Why are the grains
filled inside the pagodas,
why is copper wire
brought from the pagodas
to below the earth?
What did our ancestors know about architecture?
How did they trap lightning and thunder?
How did they hold their monuments
against the fury of the wind?
I look at the sculptures
lying horizontal on grains
face chiselled with features
and await the ceremony
of eyes being opened
inside the sanctum sanctorum.

Sivakami Velliangiri






















---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Acres and acres of baren ground, a factory,
a housing colony, a cultivated forest
all that was need was a temple, a place to visit
In the early mornings and late evenings.

The temple at this board plant was to be a replica
of the one at the Paper Factory. The Deities
or the Murthis the same, even the pathways adhered
to the copied plan. This was newer, that is all.

On the auspicious chosen day, friends and relatives
were invited; they wore festive clothes, men
with zari dhothis, women silk saris, longer than usual.
The atmosphere reverberated mantras.

The sculpted deities had been readied, one mandala
underground, another in water, yet another immersed in grains.
Energy was captured in brass and copper pots and transferred
to the Gods and Goddesses. Homams performed in full grandeur.

Atop the temple, five golden pagodas were filled with the nine grains
and millet, sealed and showered with turmeric water, full 108 pots
one after another; turmeric both holy but also as an antiseptic.
Conch clarions proclaimed the installation of the idols.

The sculptors open the eyes of these Gods and Goddesses
in the sanctum sanctorum. To open means to chisel. The sky
showered rain to mark the event,the medicinal smoke fumes
from the homam rose up, eagles circled the sky, first invited guests,
the whole village folk flocked for prasad. Uncle Mohan,

showed me the thin sheets of copper wire that connected the pagoda
to the sanctum sanctorum and finally into the earth to act as earth
prevent thunderbolts and lightning from striking;a small empty space
marked each tier of the temple, air could pass through like the wind.

The nine grains in the pagoda remained alive for twelve years.
The whole ritual of consecration would be repeated then.
The old inebritated grains replaced by new live grains and millets
the seed bank of the ancient custom carried on. And so the saying goes

if you have witnessed one consecration it is worth visiting one hundred and eight temples.















Acres and acres of baren ground, a factory,
a housing colony, a cultivated forest
all that was need was a temple, a place to visit
In the early mornings and late evenings.T

The temple at this board plant was to be a replica
of the one at the Paper Factory. The Deities
or the Murthis the same, even the pathways adhered
to the copied plan. This was newer, that is all.

On the auspicious chosen day, friends and relatives
were invited; they wore festive clothes, men with zari dhothis
women silk saris, longer than their everyday wear.
The atmosphere reverberated mantras .

The sculpted deities had been readied, one mandala
in the underground, another in water and yet another in grains.
Energy was captured in brass and copper pots and transferred
to the Gods and Goddesses. Homams performed in full grandeur.

Atop the temple five golden pagodas were filled with the nine grains
and millet, sealed and anointed with turmeric water, full 108 pots
one after another; turmeric both holy but also as an antiseptic.
Conch clarions proclaimed the installation of the sculptures.

The sculptors open the eyes of these Gods and Goddesses
in the sanctum sanctorum. The sky showered rain to mark the event,
the fumes from the homam rose up , eagles circled the sky
as if invited, the whole village flocked for prasad. Uncle Mohan,

showed me the thin sheets of copper wire that connected the pagoda to the sanctum sanctorum and finally to the earth to act as earth
prevent thunderbolts and lightning striking;
even a small empty space marked each tier of the temple, air

could pass through like the wind. The nine grains in the pagoda
remained alive for twelve years. The whole process of consecration would be repeated then. The old grains replaced by new grains and millets
the seed bank of the ancient custom carried on. And so the saying goes

if you have witnessed one consecration it is like visiting 108 temples.

























When Uncle Mohan, little father came with his family
to the mud lanes of Mondipatti, we were glad
to have him with us, because he is the answer
to the ‘Tell me How, When and Whys.’

The Housing Colony was nearly self-sufficient
a forest with 68000 species was planted
peacocks crossed the road, birds fitted in artificial lakes
and all that it needed was a place of worship.

Do you know why they fill the pagodas with millets
and nine grains? one of the millets is also a shock absorber.
In times of famine and drought, seed grains in the pagodas.
Knowing buildings have to be protected, temple architects
brought down copper sheets one inch long, from the pagodas
to the earth, as lightning catchers, as thunder-breakers.
They also had open space for each storey
to allow the wind to work its way through,
and not knock down the building. Consecration
meant thorough painting had to be done
and repairs attended to. All the Deities
have to be re-energized, immersed in grains and water,
for one mandala each, and if any new Deity had to be installed,
the sculpted figure or figurine had to be laid down,
features marked except the eyes, and on that auspicious day
the sculptor chiseled the eyes and them, in the sanctum sanctorum,
In the presence of the chief Sthabathi.
Water from 108 pots was poured over these pagodas
and the fumes of medicinal plants purified the air
eagles circled the sky and the rains came at least a shower.

The grains and millets stored in the pagoda are seed-worthy
only for twelve years, so also our Deities lose their Shakthi.

The ancient kings thought of the people and the earth
in case of drought or famine, or extreme poverty,

They who came from the clan of Paari,
who is said to have left his golden chariot
for a creeper to entwine, so the emperor
walked back home to his palace,
so the saying goes, why worry
if we have the rains and we have a king like Paari?

Siva Ramanathan

Kenneth2816
Posts: 1619
Joined: 01 Jun 2008, 09:17

Re: What Consecration of a Temple Means

#2 Post by Kenneth2816 » 29 Sep 2020, 08:25

Fascinating piece. I am transported to an alien land,exotic and mysterious. I cannot offer any suggestions. I love it

User avatar
Billy
Posts: 1384
Joined: 22 Jun 2006, 10:56

Re: What Consecration of a Temple Means

#3 Post by Billy » 29 Sep 2020, 20:06

Engrossing. I will have to come back with suggestions for possible trimming.

RamanathanSiva
Posts: 127
Joined: 28 Aug 2020, 23:11

Re: What Consecration Means

#4 Post by RamanathanSiva » 08 Oct 2020, 23:34

Acres and acres of baren ground, a factory,
a housing colony, a cultivated forest
all that was need was a temple, a place to visit
In the early mornings and late evenings.T

The temple at this board plant was to be a replica
of the one at the Paper Factory. The Deities
or the Murthis the same, even the pathways adhered
to the copied plan. This was newer, that is all.

On the auspicious chosen day, friends and relatives
were invited; they wore festive clothes, men with zari dhothis
women silk saris, longer than their everyday wear.
The atmosphere reverberated mantras .

The sculpted deities had been readied, one mandala
in the underground, another in water and yet another in grains.
Energy was captured in brass and copper pots and transferred
to the Gods and Goddesses. Homams performed in full grandeur.

Atop the temple five golden pagodas were filled with the nine grains
and millet, sealed and anointed with turmeric water, full 108 pots
one after another; turmeric both holy but also as an antiseptic.
Conch clarions proclaimed the installation of the sculptures.

The sculptors open the eyes of these Gods and Goddesses
in the sanctum sanctorum. The sky showered rain to mark the event,
the fumes from the homam rose up , eagles circled the sky
as if invited, the whole village flocked for prasad. Uncle Mohan,

showed me the thin sheets of copper wire that connected the pagoda to the sanctum sanctorum and finally to the earth to act as earth
prevent thunderbolts and lightning striking;
even a small empty space marked each tier of the temple, air

could pass through like the wind. The nine grains in the pagoda
remained alive for twelve years. The whole process of consecration would be repeated then. The old grains replaced by new grains and millets
the seed bank of the ancient custom carried on. And so the saying goes

if you have witnessed one consecration it is like visiting 108 temples.

BobBradshaw
Posts: 2683
Joined: 03 Jun 2016, 21:03

Re: What Consecration Means

#5 Post by BobBradshaw » 11 Oct 2020, 04:28

I've noted before on earlier versions how I like the experience of being put in another place. And I love this image:

The sculptors open the eyes of these Gods and Goddesses.

For me it's the strongest image in the poem. Would you consider expanding it as part of the poem's close? Just a thought.

Right now the poem feels unnecessarily long. For example, I would start the poem at S2.

What are homams? I googled and only found "a leafless vine of India". I'm sure you're using homam in a different sense. The line "Homams performed in full grandeur" feels like the Narrator is telling us what should be experienced--instead of showing us. I would consider cutting the line.

Some lines feel like mere descriptions that don't heighten the language. For example

full 108 pots
one after another; turmeric both holy but also as an antiseptic.

This line isn't needed: "This was newer, that is all."

I like this line a lot. The details bring it alive:

they wore festive clothes, men with zari dhothis
women silk saris, longer than their everyday wear.

This poem has a chance of being special. There are lots of splendid details that the average English reader can relish. I would like to see 2 things in the next revision: a tighter poem overall and a stronger ending. The ending may work better with an audience familiar with these rituals and this saying, and therefore you may be reluctant to change it.

At any rate, I hope you won't take my suggestions the wrong way. They're meant to be helpful. This poem has a good foundation. It just needs a bit of work imho.

RamanathanSiva
Posts: 127
Joined: 28 Aug 2020, 23:11

Re: What Consecration Means

#6 Post by RamanathanSiva » 11 Oct 2020, 20:03

Thank you Bob. I will work on this.

Post Reply