Panun Dod-Panaen Dag | Exploring the Depths

Dr. Rafiq Masoodi’s magnum opus, “Panun Dod-Panaen Dag” (“My Pain, My Affliction”), traverses cultural and linguistic boundaries, delving deep into the human experience. Recently translated into numerous languages, including English, Punjabi, Assamese, Gujarati, Tamil, Telugu, Rajasthani, and soon to be in Bengali, Khasi, and Malayalam, this collection serves as a poignant testament to Masoodi’s prowess as an orthodox Kashmiri poet.

The odyssey through “Panun Dod-Panaen Dag” embarks with the evocative poem “Za Doh” (“Two Days”), recounting the poet’s pilgrimage to Makkah. This initiates a transformative journey, exploring identity, spirituality, and the nuances of existence. From the introspective musings of “Shohrat” (“Fame”) to the haunting imagery of “Wans Gayam Dazan” (“I Will Return One Day”) and the poignant lamentation of “Khun i Nahaq” (“Innocent Blood”), Masoodi’s verses resonate with raw emotion and profound introspection. In “dangivotch,” Masoodi reflects on his birthplace, lamenting societal changes where recognition fades, a sentiment echoing across Kashmiri villages. Another poem addresses the proliferation of graveyards, a grim reminder of the conflict’s toll. Poems like “ba chsai praran” and “rishta faraeb” transcend explanation, touching on themes of brotherhood, peace, suffering, and pain. Late Professor Rahman Rahi lauded Masoodi’s endeavor, praising its depth and resonance.

Dr. Masoodi’s mastery of language, diction, metaphors, and similes is evident throughout the collection. Each word is meticulously chosen, each image crafted with precision, weaving a tapestry of imagery that encapsulates the human condition with unparalleled depth and nuance. Whether depicting the beauty of nature, the agony of loss, or the yearning for spiritual fulfillment, Masoodi’s language is both evocative and lyrical, inviting readers to immerse themselves in Kashmir’s rich cultural landscape.

As an orthodox Kashmiri poet, Masoodi infuses his work with cultural authenticity and tradition. His language reflects the unique dialect and cadence of Kashmiri poetry, preserving the rich heritage of his homeland while pushing the boundaries of artistic expression. Through his poetry, Masoodi bridges tradition and modernity, offering insights into the timeless struggles and aspirations of the Kashmiri people.

While “Panun Dod-Panaen Dag” possesses undeniable merits, it is not devoid of complexities. Interpretation is subjective, and certain aspects may pose challenges to readers. Nevertheless, Masoodi’s contribution to modern Kashmiri poetry is immense. Late Professor Rehman Rahi hailed Masoodi’s diction, observation, and style as unique, setting a trend for future generations of writers.

To sum up, “Panun Dod-Panaen Dag” stands as a towering achievement in contemporary Kashmiri poetry, showcasing Masoodi’s unparalleled talent and the enduring power of artistic expression. As Masoodi prepares to release his fresh collection, “BEPAI TALA’ASH,” one can only anticipate the same success and acceptance, further enriching the literary landscape for years to come.

The author is regular GK contributor.