A whiff of mystical poetry – Latest news from Jammu and Kashmir | Tourism

Pran Pandit
Book name: ‘La’lv’in-D’ag’, as I see it.
Author: Kusum Dhar Sharda
A book of Kashmiri poetry, titled “La’lv’in-D’ag”, written by Kusum Dhar Sharda, published in both “Devnagri” and “Nastaliq” scripts, in one volume, has been released in bookstores. Composed and designed by IILS DTP Center, Vinayak Nagar, Muthi, Jammu, the hardcover book, comprising 144 pages, is covered with a separate glossy dust jacket; and the marked price of the book is 300 rupees.
The colorful, artistically designed cover pages caught my attention at first sight and inspired me to immerse myself in the book without delay. I went through the “Nastaliq version” of the book, completely and thoroughly, in one sitting.
Through this detailed note, I share my personal opinions on the book. The literal meaning of ‘La’lv’in-D’ag’ is ‘the lingering pain’; and the eye-catching cover pages, in both Devnagri and Nastaliq, are more than consistent with the content of the poetry book.
A retired lecturer from the state education department, Kusum Dhar Sharda holds a master’s degree in ‘education’ and ‘music’. She is a renowned theatre, television and radio performer; and carved out a place for himself in the performing arts. She embarked on a new journey of yet another form of literary works of art of aesthetics, rhythm and meter.
After reading the contents of the book with great attention, without insisting too much, I am of the opinion that the majority of the poetic works of the author fall under the “mystical poetry” putting forward his “ultimate belief of reality”, reached through long life experiences and insight. The lyrics of “Om Shabd”, on pages 15-17; “Bhajan”, on pages 20-21; “Ghazal”, on pages 22 to 24; “Sansaar”, on pages 28-29; “Suz”, pages 30-31; “Man’h-Ka’l”, pages 32-33; “Aha’nkaar,” on page 36; “Aaczar”, on pages 37-38; “Sha’r”, on pages 45-46; “Aa’m’h-ta’v”, on pages 53-54; “Zaar”, on page 55; Gra ‘ha’st’, on pages 56-58; “Ra’va’n tyol”, pages 59-60; “Sa’n’draav”, on pages 63 and 64; “Sansar-sar”, on pages 65 -66; “Va’akh”, pages 70-71; and “Czaai”, pages 72-73, rooted in symbolism and imagery, reveal in unequivocal terms the intuitive experiences of the “unknown” of the author and her visualization of fantastic images, through the power of her imagination. The author’s efforts to get in touch with the personal concept of the “invisible God”, to attract “outside oneself” in nature and beyond , and weaving together mysterious and mundane life are mystical.
The following lines composed in “Sansar-saar”, on pages 65-66, are breathtaking. An illustration: “Sama’i pak’vun rozaan, czu-panjal-gur do’raan; deh sou’raan de zeeva, 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 runs out, clay meets clay, death and death are inevitable; and ‘time’ is precious”. The mystical verses are quite inspiring, challenging and moving.
The plight of the aborigines of his homeland due to a vitiated atmosphere and his own displacement from the land of the ancestors are underlying in his poetry. The echoes of the dichotomy of heavenly beauty, the praise of scenic charm and the nostalgic and tender feelings of one’s homeland, are reflected in “Yaad-vo’tr”, on pages 25-27; “Pa’shun”, pages 39-40; “Go’s’h”, pages 41-42; “Zooj”, on pages 47 and 48; “B’ah cha’s Batt’h koor”, on pages 61-62; “Bachaar,” page 69; “Czaai”, at (page 72-73; and “Aa’sh” (page 74-75.
Desiring the return of a quiet and peaceful atmosphere to Kashmir, the author poured out his genuine emotions and poignant sentiments in the following verse of “Aa’sh”, on page 74: “Resh-wa’ri, sa’ ni peer”-wa’ri pra’th shayi phola’n chic; bo’l-baash kara’n van’-ha’ri, pra’th shayi phola’n chic. “The land of Reshis, our land of peers will bloom, flowers will bloom everywhere; Mynas will vocalize in unison, flowers will bloom everywhere.
The author of the book composed two devotional songs in “Gurus ko’n” and “Leela” by turning to traditional knowledge. She devoted four pages of the book, page 49-52, to couplets of 4 lines, in two chapters. The 4 lines convey the full thought, with a rhyme scheme.
I have found no serious fault or omission on the part of the author in his first publication, and, therefore, I refrain from pointing out trivial and insignificant faults and omissions in the book, for the purpose of writing something critical thing.
The intense poetry of the author is free from dark illusions; it is particularly ornate, distinctive in style and rhythm. The poetic expressions of the author are captivating and eloquent. I am very impressed and recommend the book for everyone who knows Kashmir to read.
(The author is a retired police superintendent)

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