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The Nature of Modern Thai Poetry Considered with Reference to the Works of Angkhan Kalayanaphong, Naowarat Phongphaibun and Suchit Wongthet

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The Nature of Modern Thai Poetry Considered with Reference to the Works of Angkhan Kalayanaphong, Naowarat Phongphaibun and Suchit Wongthet THE NATURE OF MODERN THAI POETRY CONSIDERED WITH REFERENCE TO THE WORKS OF ANGKHAN KALAYANAPHONG, NAOWARAT PHONGPHAIBUN AND SUCHIT WONGTHET Thesis submitted for the Ph.D. degree of the University of London by Suchitra Chongstitvatana School of Oriental and African Studies March 1984 ProQuest Number: 10670120 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10670120 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 ABSTRACT This study is an attempt to explore the nature of modern Thai poetry through the works of some well-recognized poets of today, namely Angkhan Kalayanaphong, Naowarat Phongphaibun and Suchit Wongthet. The exploration into the nature of modern Thai poetry serves ultimately to reveal the nature of the art of Thai poetry. The analysis of the works of these poets reflects the significance of 'convention' in the creation of 'modernity'. The study is divided into six chapters: Chapter I : 'Convention' and 'modernity' in modern Thai poetry: a study of Angkhan Kalayanaphong1s Lam Nam Phu Kradu'ng Chapter II : The nature of Angkhan's modernity Chapter III : The nature and significance of verse forms in Thai poetry: a study of Naowarat Phongphaibun Chapter IV : The influence of 'oral tradition' in modern Thai poetry Chapter V : The creation of symbols in modern Thai poetry Chapter VI : On the formation of Thai poetical convention and Thai concepts of poets and poetry Through the structure of the study emerges the fact that the exploration of 'modernity' is inevitably the explor­ ation of various aspects of 'convention'. Therefore, the discussion in Chapter VI forms a valid conclusion of the study. It is essential to observe that a firm belief in the relationship between the nature of language and poetry in that language is an underlying 'theory' of the approach of the study. This 'theory' is re-confirmed through the examination of various texts on Thai versification. The study is intended as a 'tribute' to a rather unexplored domain of modern Thai poetry or, at least, as an invitation and inspiration for future exploration to come. -4- CONTENTS PAGE ABSTRACT 2 ACKNOWLEDGEMENTS 5 A NOTE ON TRANSLATION AND TRANSCRIPTION 7 CHAPTER I: 'Convention' and 'modernity' in modern Thai poetry: a study of Angkhan Kalayanaphong's Lam Nam Phu Kradu'ng 8 CHAPTER II: The nature of Angkhan's modernity 70 CHAPTER III: The nature and significance of verse forms in Thai poetry: a study of Naowarat Phongphaibun 117 CHAPTER IV: The influence of 'oral tradition' in modern Thai poetry 159 CHAPTER V: The creation of symbols in modern Thai poetry 213 CHAPTER VI: On the formation of Thai poetical convention and Thai concepts of poets and poetry 246 EPILOGUE 297 BIBLIOGRAPHY 299 -5- ACKNOWLEDGEMENTS I would like to express my deep gratitude to my supervisor, Professor E.H.S. Simmonds, for his kind guidance throughout, the study and to his inspiring advice on the translation of the poetical texts. I am grateful to Dr. Manas Chitakasem for his constant interest in the work and his willingness to help, and to the late Mr Peter Bee who provided me with interesting articles at the beginning of the study. I wish also to thank Mrs. J.M. Jacob for her kind information on Khmer poetics and poetry. I am very grateful to the Governing Body of the School who granted me the scholarship for three years and thus enabled me to complete the study. It is a pleasure to acknowledge the kindness of Angkhan Kalayanaphong who allowed me a discussion with him on Thai poetry in Bangkok in January 1983. The encourage­ ment I received from my friends is also invaluable. My thanks go to Mademoiselle Denise Habasque for helping with the typing of the first draft of the thesis, to Madame Kluaymai Deschamps for providing the poem used as the epilogue, to Miss Siraporn Thitathan for her gift of Chak Ma Chom Mu1ang, to Mr. D. Na Pombejra for helping with the historical dates and to Mr. P. Assavavirulhakarn for lending various books for the study. -6- Special gratitude is due to the South East Asia room of the SOAS library which served as an academic 'refuge' and a memorable 'office' for the writing of the thesis. The most precious spiritual support and inspiration come from my loving family and parents. I thank them with all my heart for always helping me to realize my dreams. -7- A Note on Translation and Transcription It is important to emphasize here that the translation of all the poetical texts in the study should be considered only as a convenient instrument for academic discussion. It is not in any way an attempt to produce or re-create any kind of anthology of modern Thai poetry. Though great care and attention has been employed in the translation so as not to destroy or distort the original meanings, the limitation of time makes it impossible to aim at the original poetic beauty. Nevertheless, if the translation helps to clarify the discussion in the sdrvdy, its function is considered sufficiently fulfilled. The transcription of Thai texts is based on the General System of the Royal Institute of Thailand, with some modification. -8- CHAPTER 1 CONVENTION AND MODERNITY IN MODERN THAI POETRY: A STUDY OF ANGKHAN KALAYANAPHONG'S LAM NAM PHO KRADU'NG CHAPTER 1 Convention and Modernity in Modern Thai Poetry: Study of Angkhan Kalayanaphong1s Lam Nam Phu Kradu'ng tu u fn vhvu/lvi vnumm • * V V I A vinriu 1 v «=» Ivmvi^nTb im tfjyhfiufitfij nfl'nftuiJ'm fntmwu v iStNtlu yh n v h *4 <- Ifi'lSVllAIUVIfl'mPl unlan <- < V V ^ V lauucnivintJitiiMip LWflVlfninttlJrtTUfl V ^ V i m s m biwag gqjajntu A 4 v ifltnntn <=j <=i 4 a 1 m m rtn u nJatN iikn 1 v t\ UtiJfi'Hi'nvMtJvn ‘rivhfmtffnu * h u l i l nnfi i V nowiinvifMmT^ l i l u t n m u u I i v V ' Vo 4 ^ nomUtUtfiJU %/ fn ^ fllv n 5) nfAvi VltlVITTW • V * duvniifm 'infbm flUJ'SU lanSu Vi'E3Un<VMUd ^ Vlf]Tl fwrnnsjovifijj -10- V *=» «i' * * I'nrn^fTrifiM $<jU tifi1 I I V v 1 wfT'iuvmihim t q <3 v\lnunvit]ij The Poet's Testament I wrap the sky around myself to keep away the cold and eat starlight late at night to take the place of rice. Dewdrops scatter below the sky for me to find and drink, and out my poems flow to greet the morn, to last the age. My heart, sacrificed to its grave, gains unworldly powers; the spirit flies to lands of dreams the far side of the sky. It seeks divinity in Heaven and brings it back to earth to soothe the sand and grass, bringing happiness, bringing peace. My purpose in composing poems is to salvage the soul. 2 Translated by Allen Ginsburg ^"Angkhan Kalayanaphong, Kawlniphon (Bangkok, 1964), p. 5. 2 Sathirakoses-Nagapradipa Foundation, Three Thai Poets (Bangkok, 1978), p. 12. -11- The above Thai poem translated by a famous American poet, Allen Ginsberg, is written by one of the best known and highly recognized Thai contemporary poets, Angkhan Kalayanaphong. The translation, though not strictly accurate to the original Thai version, should be able to tell western readers quite a lot about this Thai poet. Those who are accustomed to the conventions and tradition of Thai poetry will certainly find this poem rather striking. It is not very common for a Thai poet to assert his 'testament' so explicitly and personally. In the old days, it was understood that most Thai poets worked under the patronage of the king and the nob­ ility or they were kings or nobles themselves. Thus, it is natural that their 'testament' was quite different from Angkhan's testament as a poet. Through the long history of Thai poetry we have works written in praise of the king like Lilit Yuan Phai, Lilit Taleng Phai or to entertain the king by the story and the pleasing sounds of poetry like Lilit Phra Lg or to gain religious merits by composing religious works like Traiphum Phraruang, Mahachat Khamluang, Phramalai Khamluang, but the poets hardly asserted anything personally as the purpose of composing poetry. Here, Angkhan not only chooses to be very personal but also very spiritual as he declares that his purpose of writing poetry is to 'salvage the soul'. This fact perhaps helps to emphasize the comment of one Thai critic, M.L. Bunlu'a Thepayasuwan that Angkhan could be considered 'one of the poets who mark the turning-point of Thai -12- poetry . '1 Angkhan Kalayanaphong was born in Nakornsrlthammarat in the South of Thailand in 1926. He went to study paint­ ing and sculpture at Silpakorn University in 1946, and his poetry was first published in the University's magazines. Later on he gained much recognition when his poems appeared in the Social Science Review. The translation of the poem above by Allen Ginsberg made him known internationally and the English version of his poems also appeared in Tenggara, Malaysia, Solidarity, the Philippines and Quadrant, 2 Australia. Angkhan's first book Kawiniphon was published in 1964 by the Social Science Association of Thailand Press.
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