Promila Kaul Pandita
Name of the book : ‘Vechay Roozum’ paper bound
Authored by: Jai Krishen Koul ‘Bezaan
Year of publication: 2020
Jai KrishanKoulBezaan, the well-known playwright, dramatist and actor of J&K has once again made his mark in the field of Kashmiri language and literature with his book Vechay Roozum. This book is a poetic collection of not only common place joys of a layman, but also serious reflections of a sensitive writer to a mature poet who has experienced spiritual bliss in varied forms. Beezan has strewn together his own experiences, the sum total of what he has felt over years, his pent up and carefully perceived metaphysical experiences. The book is divided into five sections and each section has poetry of distinctive characteristic.
First section of the book contains verses which talk about the inner perception of supreme divine force which is formless but omnipresent and omniscient in every creation of the world and nothing is outside but to realize it one has to make journey inwards consciously and continuously. Here, we can attribute the influence of Shivaism, especially that of Lal Ded on the writing of the poet. The reader is captivated to read to the last and enjoy the blissful journey of soul through heart.
The poet has not only talked about spiritual bliss but also dwelt upon balancing daily, accommodating every phase with contentment and without brooding or regret.
The poet has also reflected in a genuine manner about the futility of running after material gains when he says, “Nuun Kya Chuuy Yate Samsari Saare Haareeth Gaye—–Feereeth Thoorth Yame Baazaari, Saare Haareth Gaay……….”
In another composition from the same book, the poet has compared human heart to the musical instrument “RABAAB” that is built with the musical strings of never ending desires, which can be controlled by spiritual “bombs” that destroy the unwanted ego from us. What is beautiful usage of transferred epithet and symbolism!
The beautiful depiction of ‘Yatra Gangbal Harmukh” is a masterpiece. Although there are some words like ‘Ram Radhan’, ‘KrainkKooli’, ‘Burt Sheer’ which are not easily comprehensible to a common reader yet the powerful picturization of the divine abode is mesmerising.
The poetry section like “Krishen Zaman, “YatraVishnoDeevi, RaagnyaMaataMaanzgaam, Navratri DeevanHaanz” are written with such devotional passion that the reader is virtually transported into the world of reverence.
His heart filled love submerged tribute to his mother in his poem”Maaeg” is not only praiseworthy but unique as every word he speaks is nothing but tender offshoots of eternal bond of love, pains, sufferings and yet pure and pious feelings he has for his mother in particular.
Beezan’s composition on the feelings of jubilation and joy by farmers when spring comes and “Ggongle Teaa Krav” tells how eager the farmer is after snow has melted and spring has come. He wants to see his fields green again. He should get up leaving his laziness.
His poem on the priceless relationship of friendship “Aakh Moolul Khawaab”makes one spellbound. The choice of right words to suit the personified emotions is exalting.
“Koour”, and “Koouree Maaine” one of the most beautiful poems from the book celebrated daughters as blessings from God. It’s a heart throb celebrating birth of a girl as a divine entry into the family and how she makes everyone happy. It has both melody and beauty knit together.
The gazal section of the book also speak high of his poetic versatility. They are lore’s full of emotions that describe pain, agony, restlessness and even paucity at times to meet the loved ones.
In another section titled ‘Veedakh’ is worth contemplation. The wonderful poetic dialogue “Vaalur Soond Tae Vaaith Huund Aakh Aikes Haal Bavun” makes a resounding echoes in our subconscious self.
The last section paying poetic tributes is appreciable
The conclusion of the book by poetic opera “Goongul Teea Krav “seems an extension of the earlier poem with the same theme.
To conclude, it can be said that this book is differently composed and variedly presented. But there is a need of glossary or footnotes of many such terms which are not easily understood. There are some minor script mistakes which can be ignored. On the whole, this book is worth reading and a valuable asset in the field of Kashmiri language and literature.
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