However much social media is despised for its tendency to have dehumanised and alienated people from the real world, for letting instant gratification and customised projections creep into the human psyche, it has certainly connected people from all across the world coming from varied backgrounds, topologies, languages and socio-cultural sensibilities in a way which could have been never envisaged before.
The exchange is far more accelerated and the exposure to the 바카라other바카라 is ever-increasing and enmeshing.
This is how I met Nilanjan Hajra, on a social media platform through a random algorithm of fancy hashtags. This had been my first ever interaction with a Bengali and thus, my interface to Bengali literature and his to Kashmir바카라s literary landscape. We connected immediately. This is the beauty of art, that it has its own universal language which addresses the basic condition of us all 바카라 our humanness.
During our multiple interactions, I would acclimatise Nilanjan with the genesis and genres of Kashmiri poetry and as he showed keen interest in taking it to the Bengali audience, we both thought of working on translating some important texts which would be our contributions to our respective languages and literature.
It was during this course of time that Nilanjan introduced me to Shankha Ghosh and his Himalayan stature in Bengali poetry. Considering Nilanjan바카라s seasoned hand at Bengali and Urdu literature and his expertise in the field of translations, I had to take it seriously and delve into the world of Shankha Ghosh바카라s poetry. Since I couldn바카라t read Bengali, he sent me English translated version of his poems done by Dilip Kumar Chakraborty.
Robert Frost has said, 바카라Poetry is what is lost in translations바카라. But then the very act of translations is a necessary evil. We cannot translate exactly, but we must translate adequately to introduce passionate readers to the multi-universe of the poet. And thus, I could acquaint myself with Shankha Ghosh바카라s poetry through translations only.
Being a poet and translator myself, that too from the land of Lal Ded and Habba Khatoon, I understand how much of a baggage and performance pressure one is under when you have had a lineage of great poets in your culture and literary history. Whether one sees it or not, agrees with it or not, there is an unfair comparison with what one has written in the present, with those great poets who have set precedence in the past. Shankha Ghosh, too, comes from the land of Rabindranath Tagore, and I was very curious to know how much of
Tagore is exuded in his diction and content. This was my early benchmark. As I lay my hands on the book, I realised that it was an unfair expectation and comparison.
By the time I finished reading this book of selected fifty poems; Ghosh had revealed himself to be an independent, individual voice that appealed to Kashmiri sensibilities as much as it could to Keralite or Russian ones. And by this, I want to establish that he is a universal poet who appeals to the basic, common, pristine conditions of humanness irrespective of who gets to read him across borders, languages and cultures.
Ghosh바카라s poems make us travel through the landscapes of every rational mind and sensitive heart which want to question the true nature of being, the dynamics of projecting images, our relations with higher power and the ultimate quest of all philosophies 바카라 death.
In his poem 바카라Crowd바카라, he continues the legacy of great poets like Allama Iqbal in Urdu and Rehman Rahi in Kashmiri when he addresses the higher power with the tone of assertiveness and fearless inquisitiveness, 바카라How much more should I bend, God, 바카라.바카라.바카라. This gives us an idea of how Ghosh has moved beyond conventional ideas of divinity and sacrosanct while decently remaining inside the periphery of Gnosis. This reflects an intimate bond between the Seeker and the Sought and an ambience that nurses intellectual quest for the Sacred rather than compartmentalising Divine in the dormant chambers of superstition and dogma.
Another very important and recurring theme of Ghosh바카라s poetry is his engagement with the idea of being. Most of these poems are replete with inward-looking soliloquies, dissections on human consciousness and self-awareness, and then how this idea of being is falsely manifested outside by maladapting to societal norms.
In his poem 바카라Frog바카라, Ghosh initially tries to paint a vivid image of a perfect house with fish, birds, flowers and other things and by the end of the poem surprises the reader by taking an inward detour as, 바카라바카라in the glass case in their hearts/actually an old frog dances바카라.
Similarly, in the poem 바카라Body바카라, it is so interesting to see how he puts the most important question of all times in such an innovative, easy-looking casual dialogue with the doctor, 바카라Doctor, something is out of order in my body/I feel it바카라.바카라.
He again tries to take us to the same plain in his poem 바카라No바카라 when he begins as, 바카라바카라This face or that face: all are the same바카라바카라바카라 and concludes the poem as, 바카라바카라.What next? /From feet to head, from head to feet/ What next?....바카라 leaving the reader in a state of suspended awe.
As much as Ghosh is concerned with unveiling the nature of being, he is also conscious of the fact that a lot is being projected on the outside, which betrays an authentic expression of self and hence, our social transactions. He tries to stir the same in his poem 바카라Foolish, not social바카라 when he writes, 바카라Do you feel like wearing a human body at last/ after taking off the demon바카라s dress?바카라 In another poem with a very interesting title, 바카라The Face is Hidden by Hoardings바카라 Ghosh concludes the poem with these lines: 바카라The talk about my face / Looms alone on the alley바카라s corner/ Only my tired mask keeps / Hanging on the hoarding,바카라 alluding to the fake, incongruent personalities we all project onto the surroundings.
Ghosh comes across as someone very observant and keen about the system and conventions in place. There are elements of rebellion and undercurrents of cynicism in his poems as well. A rebellion seeking freedom from complacency and conformity. In 바카라Puppet Dance바카라, as he tries to depict someone who is being controlled by strings, he finally gives the subject his much-desired independence in these lines, 바카라I moved on my own/ so none could ever buy me바카라바카라.
In another poem 바카라Radhachura바카라, I was personally awestruck by the kind of imagery that was employed by Ghosh to assert the nature of seeking freedom and growth and defying the clutches of overused tradition when he writes, 바카라Even that seasonal flower-pot/ might burst suddenly/by the undercurrents of hesitancy,/the smaller heads spurting/ past the bigger ones,/ did the gardener say that?바카라
There were two poems in the book, titled 바카라Black & White바카라 and 바카라A Letter to Black Friend,바카라 which may suggest that Ghosh has had a socialist, egalitarian view of society. But the number of such poems is too less in the anthology so as to qualify him as a socialist poet for now.
The most dominant theme, however, which spans most of the poems in this anthology, is 바카라funeral pyre바카라 바카라 alluding to one바카라s transition to another world or death. To me, it is somehow the most representative element of Ghosh바카라s poetry which places him in the league of great existential Urdu poets such as Jaun Elia, Ahmad Nadeem Qasmi, et al. All across his poems, Ghosh wants to depict the struggles he has had with his constant companions like void, emptiness, blankness and how he carries the same to the funeral pyre. To him, the funeral pyre seems to be the culmination and beginning at the same time, of a new dance, newer dimensions, newer life.
In 바카라Funeral Pyre바카라, Ghosh writes, 바카라Go, run away,/saying this my body bends/Funeral Pyre바카라, thus wishing to detach himself from what is left behind and embrace what is to come, with utmost curiosity. Again in one of my favourite poems from him, 바카라Dharma바카라, Ghosh depicts the image of him being in the cremation ground while the funeral pyre is being prepared. It is here he speaks about one of the favourite symbol of existentialism 바카라 a void, as 바카라Tell them, let the void stand on my breast,/ spread her ankle-length hair,/ let the stars light up her crown. Let them run away/, communicating to us his inability to make sense of what is around and what is constantly within.
Ghosh seems to be so aware and conscious about the impermanence of life and of the impossibility of escape from death, that he has glorified and visualised his own, in so many different ways. In 바카라Smash my Banner바카라 he writes, 바카라I want to say: Go to hell! Damn you! May you die!/ But I can't say it because just before that/ You yourself/smash with you own hands my banner, my soul/바카라. How lucidly he embraces and embodies mortality of everything in his work. In another such poem 바카라Trimeter바카라, he again emphasises on the same recurrent theme of inescapable death, 바카라You have no creed except/to withstand axe on the breast/ You have no creed except / to fill in this blank/바카라.
One can gauge how much multi-layered Ghosh바카라s verse is 바카라 marked by the usage of so many dense metaphors and allusions 바카라 when he writes in 바카라The Waves within Emptiness바카라 Because the failing hair, silver ashes of the pyre,/ the speeding last tram바카라 All longed for shelter바카라../ Do you know emptiness only? Don바카라t you know/ There are so many waves within emptiness?/바카라
It has been a riveting experience for me to read Ghosh. Though I cannot comment on the language and aesthetics of the original, all I can make out from the translated version is that he is a poet of great foresight, fine sensibilities, deep emotions, unmistakable observation and refined thinking. He masters the art of poetry by being able to communicate maximum tales with minimum words. His interrogative style and then offering answers subsequently reminds me of Plato바카라s Republic and Persian poetry바카라s distinctive 바카라Dialogue바카라 genre, qualifying Ghosh as a remarkably learnt poet for me who has an eye on world literature.
I am immensely grateful to Nilanjan Hajra for this enriching experience of introducing Shankha Ghosh to me.
I conclude this piece in the words of Ghosh:
A few words overflow in human tongues for some time
And then die down, we only roam with their corpses,
And that you adorn with tunes and passions 바카라
Did you ever know
There is so much darkness in rhythm?
(Rumuz is a multi-lingual poet and translator based in Kashmir. She can be reached at rumuz.e.bekhudi@gmail.com, Rumuz e Bekhudi on Facebook and @rumuzb on Instagram. Views expressed in this article are personal and may not necessarily reflect the views of Outlook Magazine)
