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Koshur Music

An Introduction to Spoken Kashmiri

Panun Kashmir

Milchar

Symbol of Unity

 

 
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Majboor's Waves - A Review

Dr. R. L. Bhat

 
Over the three score pages, less two, Majboor Weaves patterns of love, longing and desolation, that must now be counted the essential fate of the displaced Kashmiri. Arjan Dev Majboor is a poet, an enduring poet of the Kashmiri, who has half a dozen collection of poetry books to his credit. He is also a researcher in the tradition of J&K Academy, of Art Culture and Languages and has written on various aspects of Kashmir history, art and culture over the long decades of his active life. He is a teacher by profes­sion, a villager by birth. All this adds up to a perceptive being whose intimations of the muses are scattered over this slim volume of translations of his poems. At times the perception gets pithy, at others it lingers in the nostalgia of the time and space that has sud­denly gone out of the reach of all the people exiled from the valley of their birth and dreams. In the tradition of old peers but in a new rhythm and language Majboor opens his heart to the swan talking of the visions snatched. image effaced by vicious hands:
 
A place for all
to go into a trance
Implore all
to restore peace in the valley
to secure all aching wounds y
and
to end grief.
 
For the first half of the twentieth century. Kashmiri poetry was dominated by Azad and Mahjoor. The second half began with Dina Math Nadim, and belonged to him. Nadim bestowed on Kashmiri poetry word, versatility and a knack for grab­bing the pith. Majboor's Waves is dedicated to Nadim. Nadim also bequeathed to Kashmiri poets a penchant for experimentation. Majboor is an experimenter in his own right. His Kashmiri poems composed of short lines form ribbons of undula­tion, like a long breath. Waves carries mosaics of words, laid one over the other. Majboor stops short of fragmenting words a la E.E. Cummings who reaches the pinnacle of experimentation of form. Probably the Urdu-Persian script imposed upon Kashmiri does not permit fragmenting words, else it would have been a worth seeing experiment. The experiments are there upon page after page, with words single, double and triplets tiered one upon the other, to tease their meanings out. Thus is raised the Snow-man. This is how the poet stands forlorn in the Wilderness.
 
I am stranded in wilderness
waiting for
the tree
the water
and
the light
 
Read alongside the sketch on the cover of the book, the picture become quite vivid.
 
Years ago Sahir sang: duniya ney, tujrubaat-o-hawadis ki shakl mein/jo kuch diya hai vahi lota raha hoon mein. All that the time teaches, all that the world imposes, all that the life snatches . . ..all that becomes the material and motivation of the poet some retain them and rise aloft with them, others insist upon returning to visit these shambles to draw upon the life and to taste more of its somber fare.
 
I melt slowly,
crack up leisurely,
and
drip because of the sun.
 
The ache pervades through most of the poems. Worn fantasies and unfulfilled desires peep through excruciatingly.
 
Each warm evening
wet memories
transfix my heart
and
cripple me
 
says the poet in Rootlessness. He ends the piece with more horrid details
 
The gaping wound
speaks
of broken man's
chopped fate
 
Talking of chopping, it appears that the original Kashmiri has suffered much chopping in translation. Since the author has chosen not to give the Kashmiri version (A pity. because Majboor's diction is evocative, if nothing else ! ), it is difficult to comment on the veracity of the translation. Two poems (The Fowl and True City) whose Kashmiri versions this writer could access are much at variance with the originals. Again, since the translation has been got printed by the author himself, it is difficult to say whose is the chopping hand, the poet's, or the translator's ? Or whose the choice ‘? All the same, in carries the poet's sanction. No complaints.
 
If anything, the Waves underscores the need for opening up the closed caskets of Kashmiri poetry and bringing the rich experiments and deep perceptions to a larger audi­ence. Good printing, a fine get up and half a dozen drawings by Vijay Zutshi make Waves a delightful presentation. Over its two dozen poems, the poet snatches at the variegations of life, per­chance to catch a lesson, perchance to uncover a lead, perchance to lift a veil and see through, for according to him, "The silence of the night and its solitude are a hope for the morning." Another time, another poet Nadim said, of the same night:
 
Raat moh-rum, is-ti-ra-bus
op chho shab-num, ky-ah va-nai.

(the night is privy to the travails the dew is a loud mouth, how'll I tell).
 
But poets are souls, possessed. Humans much have hopes and mornings to look up to.

Arjan Dev Majboor

 

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