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Koshur Music

An Introduction to Spoken Kashmiri




Waves-An Appraisal

Prof. S.N. Wakhloo

Prof. S.N. WakhlooMajboor's Waves, printed and published in a delightful get-up, is the English translation of some of his Kashmiri poems culled from his various colourful poetical gardens. The poet has titled this thin volume Waves. Undoubtedly, his mind is a perennial river in which there is ebb and flow of the waves of deep thoughts and intense feelings. Hence these poems are such waves. This work is a cocktail of the reflections and observations expressed in beautiful words.
It is disadvantageous to attempt a critical estimate of the translated poems when the poems in original Kashmiri language are not incorporated along with the translations. But the translator Arvind Gigoo has done a commendable job as his translated poems keep in place on their own independent strength without losing the realistic flavour of the poet's original utterances. The poems in the English translation are of high order of merit. The drawings of Vijay Zutshi are done artistically, and fittingly illustrate the purport of the poems they are supposed to do.
Majboor created and followed the bent of his own nature and turned to no one for a mentor or model. He is a self fashioned man, but poetry cannot sprout on a dry sandy track; it must have the oasis of inspiration and influences. As is obvious, Majboor spent his lifetime in the paradisiacal environment of nature, and "impulse from the vernal wood" has implanted aesthetic sensibility in his mind. Besides, the poems reveal that his soul has been drawing stimulation from the springs of his elementary experiences. Although his inspiration is set free from the literary reminiscences, and sought his own individual; path but having studied the vast Kashmiri and Hindi poetic literature, it is psychologically impossible not to dray. out some elixir from the fountainhead of the old Muse. All this hay enabled him to strike fine chords of our turbulent times.
Majboor is a poet and he does not set his aim for the search of ideas, which he regards as the proper end of a philosopher, but he has allowed the emotion of an intelligence which does not refuse itself the human privilege of feeling to come out in half tones through his work. This is illustrated in his poem Snowman. This poem shows that his aspiration to reality is more courageous, bold and violent.
The inner world is no less a reality to Majboor, and so his psychological curiosity gives itself scope in deep ruminations which tantamount to auto-psycho-analysis. This has given originality to his poems like a modern poet. The very first poem Portrait of a Child, in which much is unsaid, reveals how in retrospection he feels that his childhood had a purity of soul which got defiled as he grew up. In some poems like The New Millennium and To The Swan he has an epic imagination which spent itself in an alle­gorical evocation.
Majboor warmly espoused the cause of the poor and bitterly denounced the wealthy drones that abound in society . He is troubled by the present moral disquietitude and degradation. He finds how selfishness turns man into a wolf. The Topsy-turvy Tree shows Majboor's graphic power in which he mirrors the restlessness and pensiveness due to the topsy-turvydom of ethical values. The vultures have destroyed the culture, and the prestige of ancient sages has vanished.
Majboor is not a revolutionary or a progressive in the sense in which fiery souls like Rehman Rahi, Firaq and even Nadim are. But the poignancy of his suffering leads him to humanism. The poem The Hungry Man shows his mood of dis­gust against the existing order of facts and society . Social consciousness is his forte. Some of his poems are replete with sym­bolism and the mention of Stone in the poem is a symbol of stone-­hard life of a poor man.
Yet it is for his ethical force that Majboor would best be remembered. This feeling at the bottom of his consciousness is incontrovertible enough. As a catalyst to this there is the intellectual cynicism. He clear sighted realism is mixed with irony and satire. There is pathos to be found in his poems. In the Hungry Man we can read the mystery of fate, with which the poor man consoles himself. All the same the mood of his thought is pessimistic.
Style is the man. Majboor is lucid, cryptic and skilful. His social interpretation has shaped itself an adequate instrument of sweet language and a free verse voluntarily shorn of all regular measure.
But all said and done, these poems demand from the reader an intense effort of mental synthesis and understanding which in the present day life is a great strain on the reader. The intellectual cynicism and gloom is needlessly intensified. In conclusion it may be said that Majboor's peculiar power of sensitive sympathy creeps into the reader's heart and nestles there.

Arjan Dev Majboor



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