Pran Pandit
Name of Book : ‘La’lv’in-D’ag’, as I see.
Author: Kusum Dhar Sharda
A Kashmiri poetry book, titled ‘La’lv’in-D’ag’, authored by Kusum Dhar Sharda, published in both ‘Devnagri’ and ‘Nastaliq’ scripts, in a single volume, has hit the bookstands. Composed and designed by IILS DTP Center, Vinayak Nagar, Muthi, Jammu, the hardback book, comprising 144 pages, is covered with a separate glossy dust-jacket; and the marked price of the book is rupees 300.
The artistically designed colorful cover-pages of the book caught my attention at first sight, and prompted me to delve into the book without delay. I went through the ‘Nastaliq version’ of the book, completely and thoroughly, in one sitting.
Through this comprehensive note, I am sharing my personal views about the book. The literal meaning of ‘La’lv’in-D’ag’ is ‘enduring-pain’; and the attention-grabbing cover-pages, both in Devnagri and Nastaliq, amply conform to the content of the poetry book.
A retired lecturer from state education department, Kusum Dhar Sharda holds Master’s degrees in ‘Education’ and ‘Music’. She is a renowned theatre, television and radio artist; and has carved out a niche for herself in ‘Performing Art’. She has embarked on a new journey of yet another form of art literary works of aesthetic, rhythm, and metre.
After going through the content of the book with great attention, without overemphasizing, I am of the opinion that majority of poetic works of the author fall within the ambit of ‘Mystical poetry’ bringing to fore her ‘ultimate belief of reality’, attained through long experiences of life, and insight. The lyrics of “Om Shabd”, at pages 15-17; “Bhajan”, at pages 20-21; “Ghazal”, at pages 22-24; “Sansaar”, at pages 28-29 ; “Souz”, at pages 30-31; “Man’h-Ka’l”, at pages 32-33; “Aha’nkaar”, at page 36; “Aaczar”, at pages 37-38;”Sha’r”, at pages 45-46 ;”Aa’m’h-ta’v”, at pages 53-54;”Zaar”, at page 55;”Gra’ha’st”, at pages 56-58; “Ra’va’n tyol”, at pages 59-60; “Sa’n’draav”, at pages 63- 64; “Sansar-saar”, at pages 65- 66; “Va’akh”, at pages 70-71; and “Czaai”, at pages 72-73, rooted in symbolism and imagery, reveal in unequivocal terms the author’s intuitional experiences of ‘unknown’, and her visualizing of fantastic images, through the power of her imagination. Author’s efforts of making contact with personal concept of the ‘invisible God’, drawing ‘out of self’ into nature and beyond, and weaving together the mysterious and mundane life are mystical.
The following lines composed in “Sansar-saar”, at pages 65- 66, are mind blowing. An illustration: “Sama’i pak’vun rozaan, czu-panjal-gur do’raan; zeeva’s deh sou’raan, me’tzi me’tza gatzaan; vaa’nsah cha’s mok’laan, samai sye’tha ba’lwaan.” “Time is most powerful, running like a galloping horse; after the person’s life depletes, clay meets the clay, death and dying is inevitable; and the ‘time’ is valuable”. The mystical verses are quite inspiring, stimulating and stirring.
The pitiable plight of the aborigines of her home-land due to vitiated atmosphere, and her own displacement from the land of ancestors run undercurrent in her poetry. The echoes of the dichotomy of the paradisiacal beauty, the praise of scenic charm and her homeland’s nostalgic and tender feelings, are reflected in “Yaad-vo’tr”, at pages 25-27; “Pa’shun”, at pages 39-40; “Go’s’h”, at pages 41-42; “Zooj”, at pages 47-48; “B’ah cha’s Batt’h koor”, at pages 61-62; “Ba’haar”, at page 69; “Czaai”, at (page 72- 73;and “Aa’sh”(page 74-75.
Craving for the return of tranquil and peaceful atmosphere in Kashmir, the author has poured out her genuine emotions and poignant feelings in the following couplet of ‘Aa’sh’, at page 74: “Resh-wa’ri, sa’ni peer’-wa’ri pra’th shayi phola’n posh; bo’l-baash kara’n van’-ha’ri, pra’th shayi phola’n posh.” “The land of Reshis, our land of peers shall blossom, flowers shall bloom everywhere; Mynas shall vocalize in unison, flowers shall bloom everywhere.”
The author of the book has composed two devotional songs in “Gurus ko’n” and “Leela” by turning to the traditional lore. She has devoted four pages of the book, page 49- 52, for 4-line couplets, in two chapters. The 4-liners convey the full thought, featuring a rhyme scheme.
I did not find any serious fault or omission on the part of author in her maiden publication, and, therefore, I refrain from highlighting trivial and trifling flaws and omissions of the book, for the sake of writing something critical.
The intense poetry of the author is free from obscure illusions; it is peculiarly ornate, distinctive in style and rhythm. The poetic expressions of the author are engrossing and eloquent. I am highly impressed, and recommend the book for reading by all Kashmiri knowing.
(The author is a retired Superintendent of Police)
Follow our WhatsApp channel
