Samarpan by K.V. Raghupati is a poetic offering to Dhavanyaloka, a literary criterion centre formed by late Prof. C. D. Narasimaiah at Mysore where he feels divinity roaming to and fro, within and without when he pours out, “I am nothing/I stand and pay my humble salutations/At the racing feet of creation/Here in Dhvanyaloka(p.1).” In the celestial atmosphere of Dhavanyaloka, he becomes one with the cosmic nakedness- the Jeevatma with Parmatma and become ‘like Advaitin/Standing and rejoicing as one black coucal with its cherry eyes in the bamboo bush’ and experiences it all as ‘a time for celebration/a time for rejoice.’ In the homely and holy atmosphere of Dhavanyaloka the poet’s feelings get deeper and deeper, swaying and fleeting into eternity. His constant faith makes him safe, “I keep moving like a lone duck/Paying my humble respect to eternity.”(III, 3)
The poems of the collection are spiritual as well as full of natural colors. Simile, Metaphor, Personification, Alliteration, Onomatopoeia and Anaphora Figure of speech are frequently used with deft use of beautiful phrases. In his visits and revisits of many places the poet feels solace and ‘no anguish’ in the heart. Though being a non-entity in the city, he has his own identity which cannot be shared with others. He compares himself to the ‘multi-colored woodpecker/pecking the stem of life/to carve a hole to live in/far from the attack of human knowledge. With his celestial thoughts to be on the wings like a weightless flower with no self to be carried to the distant regions untraced.’(xv,16)
Almost all the poems are in autobiographical tone addressed to the poet’s own self, searching the unknown destinations of heart and soul. The poet ‘looks at his proxy consciousness and ponders over the palaces, lights, trees, birds, bees, stars, sky and other natural elements and even the human history with childlike curiosity, but in his cabin silence blows like mystical ‘Shivlinga’ which hints us towards the spiritual bent of poet’s mind and his personality absolutely drenched in its Ananda. The metaphysical experiences are felt by all sense organs of the poet. The poet is a master craftsman and weaves a chaplet of beautiful thoughts in a masterly manner. Each poem is spiritual outpouring and a record of divine ecstasy and euphoria enjoyed by the poet.
To sum up, it is unquestionably true that the collection is an album of the spiritual sketches drawn by the poet with full devotion and Samarpan to the Dhavanyaloka where the poet’s heart swayed and jubilated in the magnificent and glorious surroundings and earned the inspiration to ponder and pen about the philosophical aspects of life with a zeal of Samarpan.