Poetry as an Expression of Emotions and Aesthetics

Human emotions vary from person to person. This admirable tendency, if it finds a response to express itself, may contribute a lot to the literature. Expressing such a thought that generates response using language as a module only gives rise to impressive poetry. A poet who knows how to find a proper route to channel his emotional flow is considered a poet of the masses. Assessing the superiority of poetry on the merit of the reader’s range of understanding is a challenging task for the poets.

A poem that may find a good reader can declare that piece of poetry a masterpiece, yet if the same composition fails to find a genuine reader, the result is obvious. So, a poet must not only be evaluated on account of his linguistic artistry but also by weighing his emotions to evoke genuine sentiment to either reach the demands of his readers or lift them to the domain of his own created space. Thus, a reader and the poet share a space where both conquer each other’s requirements. Keeping these postulates into consideration, both the poet and his readers at times find a common thread to enjoy the aesthetic beauty of the verses, or at times a fissure gets birth that widens the chasm to the extent that if left unaddressed, the poet is cut off from his people, and he turns out to be a dead poet.

Throughout the world, poets have ruled our emotions and addressed human agonies and joys equally. As for Kashmir, we have been blessed with poetry, especially Sufi poetry, which, to date, stands unparalleled both in terms of its content and form. So we are carrying this legacy from generation to generation.

We have produced poets of repute who have earned both name and fame in their respective fields; one such name is Professor Shad Ramzan, who has not only contributed through his verses but has also aided our Kashmiri language with his efforts to bring together different elements of Sufi poetry to reshape his contemporary compositions. Professor Shad Ramzan is an eminent figure in contemporary Kashmiri poetry, renowned for his mastery and innovation in the field. His contributions to the ghazal and nazm forms have breathed new life into traditional structures through infusing them with Sufi philosophy and experimental approaches.

Through his work, he not only expands the thematic scope of these forms but also bridges the gap between tradition and modernity. His verses capture the essence of human experience with poetic grace, appealing to diverse audiences. In the societal sphere, Professor Shad Ramzan has played a pivotal role in elevating the status of Kashmiri poetry, fostering a deeper appreciation among both literary connoisseurs and the wider populace. His ability to resonate with diverse audiences reflects his commitment to making poetry accessible and relevant in today's world. In essence, Professor Shad Ramzan emerges as a beacon of inspiration, enriching the literary landscape with his profound insights and visionary approach. His contributions are not limited to traditional genres but also extend to innovative approaches.

By bridging the gap between tradition and modernity, his work offers a pathway for cultural continuity amidst the shifting sands of time. His verses evoke a sense of longing, love, and transcendence, capturing the essence of human experience with poetic grace. So, Professor Shad Ramzan is a literary icon whose significance extends beyond traditional boundaries, serving as a testament to the enduring power of art to transcend boundaries and unite hearts in the pursuit of beauty and truth.

The current translated anthology showcases Prof. Shad’s expertise in framing his ideas in a well-established rhyme. His literary acumen can be felt for the reason that he has always addressed human emotion, which, in reciprocity, has made him a poet of the masses. His technique is a blend of classical and contemporary forms. Many of these poems carry historical factualities, yet he has not failed to aid them with emotions to exhibit his own response and the faith of the masses connected to these facts. He has created a unique blend of history, observation, and reactions of the people, and thus he has been able to find a bridge to make the connection possible.

Frighten is the nettle tree of the boneyard

today too, in anticipation, is an outcry all over

in a state of wonderment, lamenting thoroughly

orbiculating the songs of death:

'Oh! Death why are you devoid of mercy?

(you) have by wiles occupied the graveyards

Has a window of the confine of death ever been left ajar?’

The torch and blossom of Thy feast is by reason of the weariness of Ali (AS)

Thy melody of treble and bass is by virtue of the event of the Karbala...

The concept of religious literature is to engage the mind and enlighten spiritual intelligence. The author has analyzed a good section of poetry written with a religious theme, using his faith and emotions attached to it for the appraisal of the elements of spiritual intelligence. Prof. Shad is open to expressing his belief by taking recourse to human language without either adding honey-coated attributes or suppressing a general idea governing the common masses. Apart from applying the strict system of rhythm, his Nazms carry a common narrative, making them a cooperative attempt at art and cognitive content.

The diction in the Nazms is more from his own poetic box than a borrowed entity from his contemporaries or ancestors. One of the major contributions of any poet is to guide his readers and poetry lovers by performing a pulsating exercise of diction that not only adds appeal but also helps a reader understand the state of the mind of a poet and his mastery over the language. Most often, it happens that a composer misses his target either by incorporating images of yore or taking help from cliches, but Prof. Ramzan is aware of these facts, and he employs what befits his requirements. He stays original both in content and form, yet he has experimented a lot in bringing many facets to his verses. In one of his nazms, Who Could Gulp Down the River?, the poet has set himself on a journey to expound on the legends of yore and peep down the annals of history.

The entire nazm is a dialogue between the poet and the legends, which is unlike Sochkral’s and Dr. Iqbal’s dialogue between mind and the soul. His dialogue is different for the reason that he has summoned legends to seek the answer that lies in his mind. Right from Qabeel to Lal Ded, Sheikh-ul-Aalam, Khawaj Habibullah Nowsheri, Habba Khatoon, Mehjoor, Sochkral, Rehman Rahi, Niyam Sahab, Rahim Sahab Sopori, Shamus Faqir, Waza Mehmood, Ahmad Batwari, Ahmad Dar, Ahad Zargar, and Samad Mir, the entire nazm is a blend of Sufi and modern ideology, wherein Prof. Shad is gluing different fragments of the historical verses carrying varied themes, irrespective of the current. This poet stands out in style for the reason that he has put forth a subject of his interest in a dialogue form to make this long poem a genuine piece of literature. The poem is a quest to find a harmonious response from the bards of yore, which actually connects the poet with his rich past, which he is not only cherishing but also helps a reader find a lost connection.

By: Dr. Mushtaque B Barq