Relationship between Literature and the Physical Environment

                    Ted Hughes: An Ecocritical Study

                               By: Pawan Kumar Sharma

                      Sarup Book Publishers Pvt. Ltd New Delhi

                                  Pages 235+14,      Rs. 750/-

                                    IBSN-978-81-7625-793-0

                                               Year 2012

                       Book review by Dr. Sanjeev Gandhi  

Eco-criticism is the study of literature and environment from an interdisciplinary point of view where all sciences come together to analyze the environment and brainstorm possible solutions for the correction of the contemporary environmental situation. Eco-criticism is an intentionally broad genre that is known by a number of names: "green cultural studies", "eco-poetics", and "environmental literary criticism" are also popular monikers for this relatively new branch of literary criticism. This approach offers a deeper cultural critique of the postmodern industrial and technological age that unfolds before us as an inescapable reality fraught with immense consequences. The present book is Pawan Kumar Sharma’s attempt to look the poems of Ted Hughes as eco-critical point of view.

Sharma finds that the poetry of Ted Hughes has brought mankind closer to the nature and its complete working. Throughout the vast panorama of his poetry there is only one story – a single vision. Standing apart from both nature and man, the poet experiences intense realties of mortality, social enlargement and violent and threatening world where the collapse of civilization seems an immediate reality. This estrangement and alienation become the obsessive concern and gradually broadens the cultural concerns of Hughes’ ‘measured verse’.

Ted Hughes constantly deplores modern man’s broken bond with nature and strives to assimilate them to each other. But his poetic vision places him on the other side of the Romantic- modern consciousness in poetry. In his case nature is neither moral nor benevolent, but it is malevolent and demonic. For Hughes this malevolent is merely nature’s otherness and must be welcomed, not fought against. Thus, in man – nature dichotomy Hughes’ poetry marks a major shift by tipping the balance in favour of nature in the relentless war of attrition and supremacy between the two.

What Sharma points out is that for Hughes the humankind has broken the umbilical cord with Mother Nature and it is the suicidal act of man emanating from his ignorance and arrogance and that has brought spiraling violence and destruction in the universe. Hughes fully justifies the claim of nature to regain the lost space and perhaps to displace man. His poetic journey unhesitatingly reflects this dilemma in the form of a congruence of environmental themes and apocalyptic rhetoric. His deep ecological sense sees man as part of an organic universe, living best by acknowledging its wonder and rejecting the temptation to force his will upon it.

In the chapter “Encountering the Egocentric Ethics” Sharma discusses Ted Hughes’ first three collections, The Hawk in the Rain, Lupercal and Wodwo. Here the effort has been made to present the primary contention that Ted Hughes is opposed to the fundamental character of anthropocentric and egocentric ethics of modern civilization. The dichotomy between the instinctual and rational mode of existence presented throughout these collections is mainly an expression of poet’s firm conviction that man in the industrialized world is completely devoid of vitality and vigour of a genuine life force which, in the present day world, is typified in the world of animals. The writer underlines various tactics used by Hughes to serve admirably his eco-critical perspective to relegate the civilized human world to a level of insignificance in comparison with the grace and self assurance of the primitive world of animals. The anthropocentric and egocentric self here comes face to face with those forces in the nature which are outside the range of moral choice and rational control, forces man has to live and die with.

The chapter “Confronting the Demonic in Nature” has been focused on single volume Crow. While high-lighting the poet’s strategy of subverting the Enlightenment heritage of the Christian world by putting aside the entire positives of his immediate cultural surroundings, the chapter focuses on Hughes’ attempt to foreground the existential dichotomy of the Heideggerian eco-philosophy through the tortuous journey of crow’s struggle and survival. Hughes, according to Sharma, here succeeds in establishing the centrality of the demonic will of nature as the basis of everything in existence.

Chapter “Locating Alternative Horizons” mainly deals with Gaudete. Ted Hughes by adopting the mode of an eco-feminist offers alternative existence through a transformation of the state of consciousness. The poet makes an egocentric male consciousness go through a ritualistic process of transformation, finally to change into a superior and sacred egocentric feminine consciousness.

“Rediscovering Ecological Spirituality” is focused on the protagonist’s psychological journey towards transformation and regeneration. Here Sharma finds Ted Hughes finally achieving reconciliation and reintegration with nature. This he does by threading the path shown by eco-friendly Oriental philosophies which profess the essential oneness and sacredness of life as reflected in various forms of life.

Through this book Sharma provokes readers to explore: Do man and nature form a continuum, echoing each other? Does consciousness heightened by Cartesian presumption estrange man from nature? Is history – man shaped and shaping man – a disruption of nature? Is not the version of Eden myth a yearning for an impossible reintegration with nature? Is not the contemplation of nature by turning away from history an intensification of subjectivity which can never anyway heal the intrinsic breach between man and nature?   

The book is an attempt to make an assessment of the poetry of Ted Hughes from eco-critical perspective centered in the dynamics and dialectics of man’s relationship with nature in the contemporary form of life.    

  

           

एक मकड़ी थी. उसने आराम से रहने के लिए एक शानदार जाला बनाने का विचार किया और सोचा की इस जाले मे खूब कीड़ें, मक्खियाँ फसेंगी और मै उसे आहार बनाउंगी और मजे से रहूंगी . उसने कमरे के एक कोने को पसंद किया और वहाँ जाला बुनना शुरू किया. कुछ देर बाद आधा जाला बुन कर तैयार हो गया. यह देखकर वह मकड़ी काफी खुश हुई कि तभी अचानक उसकी नजर एक बिल्ली पर पड़ी जो उसे देखकर हँस रही थी.

मकड़ी को गुस्सा आ गया और वह बिल्ली से बोली , ” हँस क्यो रही हो?”

”हँसू नही तो क्या करू.” , बिल्ली ने जवाब दिया , ” यहाँ मक्खियाँ नही है ये जगह तो बिलकुल साफ सुथरी है, यहाँ कौन आयेगा तेरे जाले मे.”

ये बात मकड़ी के गले उतर गई. उसने अच्छी सलाह के लिये बिल्ली को धन्यवाद दिया और जाला अधूरा छोड़कर दूसरी जगह तलाश करने लगी. उसने ईधर ऊधर देखा. उसे एक खिड़की नजर आयी और फिर उसमे जाला बुनना शुरू किया कुछ देर तक वह जाला बुनती रही , तभी एक चिड़िया आयी और मकड़ी का मजाक उड़ाते हुए बोली , ” अरे मकड़ी , तू भी कितनी बेवकूफ है.”

“क्यो ?”, मकड़ी ने पूछा.

चिड़िया उसे समझाने लगी , ” अरे यहां तो खिड़की से तेज हवा आती है. यहा तो तू अपने जाले के साथ ही उड़ जायेगी.”

मकड़ी को चिड़िया की बात ठीक लगीँ और वह वहाँ भी जाला अधूरा बना छोड़कर सोचने लगी अब कहाँ जाला बनायाँ जाये. समय काफी बीत चूका था और अब उसे भूख भी लगने लगी थी .अब उसे एक आलमारी का खुला दरवाजा दिखा और उसने उसी मे अपना जाला बुनना शुरू किया. कुछ जाला बुना ही था तभी उसे एक काक्रोच नजर आया जो जाले को अचरज भरे नजरो से देख रहा था.

मकड़ी ने पूछा – ‘इस तरह क्यो देख रहे हो?’

काक्रोच बोला-,” अरे यहाँ कहाँ जाला बुनने चली आयी ये तो बेकार की आलमारी है. अभी ये यहाँ पड़ी है कुछ दिनों बाद इसे बेच दिया जायेगा और तुम्हारी सारी मेहनत बेकार चली जायेगी. यह सुन कर मकड़ी ने वहां से हट जाना ही बेहतर समझा .

बार-बार प्रयास करने से वह काफी थक चुकी थी और उसके अंदर जाला बुनने की ताकत ही नही बची थी. भूख की वजह से वह परेशान थी. उसे पछतावा हो रहा था कि अगर पहले ही जाला बुन लेती तो अच्छा रहता. पर अब वह कुछ नहीं कर सकती थी उसी हालत मे पड़ी रही.

जब मकड़ी को लगा कि अब कुछ नहीं हो सकता है तो उसने पास से गुजर रही चींटी से मदद करने का आग्रह किया .

चींटी बोली, ” मैं बहुत देर से तुम्हे देख रही थी , तुम बार- बार अपना काम शुरू करती और दूसरों के कहने पर उसे अधूरा छोड़ देती . और जो लोग ऐसा करते हैं , उनकी यही हालत होती है.” और ऐसा कहते हुए वह अपने रास्ते चली गई और मकड़ी पछताती हुई निढाल पड़ी रही.

दोस्तों , हमारी ज़िन्दगी मे भी कई बार कुछ ऐसा ही होता है. हम कोई काम start करते है. शुरू -शुरू मे तो हम उस काम के लिये बड़े उत्साहित रहते है पर लोगो के comments की वजह से उत्साह कम होने लगता है और हम अपना काम बीच मे ही छोड़ देते है और जब बाद मे पता चलता है कि हम अपने सफलता के कितने नजदीक थे तो बाद मे पछतावे के अलावा कुछ नही बचता.

ON THE WAY TO THE GALLOWS By: Kartar Singh Sarabha

On the judgment day 
Before the gods 
These will be my words, my statement: 
I am a servant of Indians 
India belongs to me 
Yes, Indian I am 
One hundred percent Indian 
Indian is my blood and my caste 
This is my only religion 
My only tribe, my only clan 
I am a particle of the ravaged India's ruins 
This is the only name I have 
The only hallmark, the only address 
Oh, Mother India this was not be my fate 
My good fortune 
That with every movement of mine 
I could have worshipped your feet 
O Mother India 
If my head is offered 
My life is sacrificed 
In your service 
Then, I would understand 
Even in my death 
I will attain 
A life of eternity. 

Yash Chopra : The King of Romance

The king of romance of Indian cinema Yash Chopra bid farewell to this mortal world on 21^st Oct. The veteran director / producer made his debut in film industry as assistant director in early fifties and then directed many mile stone movies in Bollyhood. He wanted to hang his boots after Jab Tak Hai Jaan starrer Shahrukh Khan and Katrina Kaif. Once he said “I don't believe in politics and bloodshed in the name of religion. I want to die with my boots on” that is why before he say goodbye to his work life said him goodbye.

Yash Chopra did many experiments with his films. In Waqt he started multi starrer trend, and the film is acknowledged as a 'found film' of the 'lost and found' genre, and after this he exploited almost every aspect of love. Love triangles find meanings in his films.  His first independently produced film Daag, a melodrama about a man with two wives, was a great success. Then Trishul and Divar are considered as classics in Hindi cinema and he gave angry young man to Indian cinema. In movie Kabhi-Kabhi he presented the other side of love i.e. pain and agony of an unsuccessful lover and in Silsila the very cleverly used the gossip of Amitabh’s personal life to make his film super hit.

His films are the classic examples of pictorial beauty and melodious songs. In Chandani the music of Shiv Hari (Pt. Shiv Kumar Sharma  and Hariprasad Chaurasia) brought back the musical genre, and Lamhe was just the extension. Darr made Shahrukh Khan a star and Dil to Pagal Hai gave a new dimension to his acting.

It was Chopra’s aesthetic talent that made his films looks larger than life. Giving love its due, he had understandably linked his scripts to the life of a common man. The stories were made more colourful by a spray of the Punjabi culture. Romance, music and a European setting were his signature touches.

Chopra's career had spanned over five decades and over 50 films. He is considered among one of the greatest filmmakers in the history of Hindi cinema. He won several film awards, including six National Film Awards and eleven Filmfare awards including four Filmfare Awards for Best Director. The Government of India honoured him with the Dadasaheb Phalke Award in 2001 and the Padma Bhushan in 2005 for his contributions towards Indian cinema. BAFTA presented him with a lifetime membership for his contribution to the films. Beside this he received France’s highest civilian honour, Legion of Honour. He was honoured by the Swiss Government for rediscovering Switzerland and recently, he was presented a Special Award by Ursula Andres  on behalf of the Swiss Government. . He was bestowed  Dr. Dadabhai Naoroji Millennium Lifetime Achievement award in 2001, honorary Doctorate in Art by the Leeds Metropolitan University in Yorkshire, National Kishore Kumar Award by the Government of Madhya Pradesh. In October 2010 he was given the Outstanding Achievement in Cinema award at The Asian Awards.

Sunil Dutt: On and Off Screen Hero

                                                                                            

Sunil Dutt was one of God’s great gifts to humanity. He was undoubtedly one of the most acclaimed and talented Bollywood actors of all times, a compassionate human being, social activist and politician. He wore many hats and excelled in the plethora of roles that came his way - both on and off screen.

Born as ‘Balraj Dutt’ on 6^th June 1930, in the village of Khurd, in Jhelum district which is now in Pakistan, he lost his father when he was only five and his mother at 23. Life had taken him through the trauma of partition.  After partition, his family moved to Mandoli, a small village on the bank of river Yamuna, which is now a part of the Yamuna Nagar district of Haryana. A few years later, Dutt moved to Mumbai, to fulfill his long cherished dream of acting. There, he gained admission in Jai Hind College, as an undergraduate, and also took up a job.

He started his career as an announcer on the Hindi Service of Radio Ceylon, the oldest radio station in South Asia. From there, he moved on to films, debuting in the film industry with the movie ‘Railway Platform’, released in 1955. The next year, he was seen in ‘Ek Hi Raasta’. The first big hit came Dutt’s way was ‘Mother India’ (1957) the  film in which he co-starred with Nargis, as her short-tempered son. During the shooting of the film, a fire erupted at the sets. It is said that Dutt saved Nargis from the fire and won her love.

Dutt was one of the stars reigning over Bollywood in the 1950s and 1960s. He appeared in a number of box-office hits, including ‘Sadhna’ (1958), ‘Sujata’ (1959), ‘Mujhe Jeene Do’ (1963), ‘Khandaan’ (1965) and ‘Padosan’ (1967). During this time, he also did a number of films with B.R. Chopra and ended up delivering hits like ‘Gumraah’ (1963), ‘Waqt’ (1965) and ‘Hamraaz’ (1967). One of the most memorable films of Dutt, as a director and actor, is ‘Yaadein’ (1964), a unique movie in which he was the only actor in the cast.

Dutt tried his hands on production with his first film being ‘Man Ka Meet’ (1968), in which he introduced his brother Som Dutt. His next venture came in ‘1971’, when he produced, directed and starred in the big-budget period film ‘Reshma Aur Shera’ (1971). The movie turned out to be a huge failure at the box office. However, this did not deter Dutt and he was seen in a number of successful films, like ‘Pran Jaye Par Vachan Na Jaye’ (1974), ‘Nagin’ (1976), ‘Jaani Dushman’ (1979) and ‘Shaan’ (1980). Dutt also starred in Punjabi religious movies, in the 1970's, including ‘Man Jeete Jag Jeet’ (1973), ‘Dukh Bhanjan Tera Naam’ (1974), and ‘Sat Sri Akal’ (1977). In 1981, he appeared in ‘Rocky’ (1981), the movie which served as the launching pad of his son, Sanjay Dutt’s career. From ‘Rocky’ onwards, Dutt started appearing as a character actor. Amongst his last films were ‘Parampara’ (1992) and ‘Kshatriya’ (1993). Thereafter, he retired from the film industry. His last screen cameo was in Rajkumar Hirani's immensely popular laugh riot 'Munnabhai MBBS', where he played on-screen father to his son Sanjay.  

In 1982, he was appointed as the Sheriff of Mumbai, an apolitical titular position. The position was bestowed on him by Maharashtra government, for the period of one year.  Dutt contested his first Lok Sabha elections after the assassination of Mrs. Indira Gandhi in 1984. He was a personal choice of the late Rajiv Gandhi. Winning the Mumbai North West seat in his maiden attempt he retained it in the 1989 and 1991 elections. However, the arrest of his son, following Hindu-Muslim clashes in Mumbai, put a brief break on it He  did not contest the 1996 and 1998 elections as he was preoccupied with a case against his son Sanjay by the Mumbai police. He won the 1999, 2000 and 2004 elections. After U.P.A.-I came to power in 2004; Dutt became the cabinet minister for Youth Affairs and Sports (2004-2005).  As a minister, he not only had time to hear the plight of sportspersons, he also made a concerted effort to improve the standard of Indian athletes by taking up several initiatives. His death, on 25^th May 2005, put an end to his term as a cabinet minister. 

Sunil Dutt got married to actress Nargis on 11^th March 1958, one year after the release of their film ‘Mother India’. The couple had a son and two daughters. He helped Nargis to form the Ajanta Arts Cultural Troupe, which roped in several leading actors and singers of the time, and performed at remote frontiers to entertain the Indian soldiers; it was the first troupe to perform at Dhaka, after the Indo-Pakistani War of 1971 and the formation of Bangladesh. Later when Nargis worked for the cause of spastic children the role of Dutt was unforgettable. Nargis became the first patron ofThe Spastics Society of India.  But soon she was diagnosed with pancreatic cancer and underwent treatment for the disease at Memorial Sloan–Kettering Cancer Center in New York. Upon her return to India, her condition deteriorated, and she was admitted to Breach Candy Hospital in Mumbai. She sank into a coma on 2 May 1981 and died on 3 May 1981.

After the death of Nargis, he set up a foundation in memory of his wife. The foundation is indulged in cure of cancer patients. During his life, Dutt also sponsored the India Project, a Nobel Peace Prize-nominated organization similar to Operation Smile. It is involved in the treatment of Indian children with facial deformities. Besides being a big supporter of secularism, he was totally against the concept of dowry and it is said that he told his wife to come in the same dress that she wore during the wedding to his house. He also made a film "Yeh Aag Kab Bujhegi" on this topic

            Dutt received Film-fare Best Actor Award, for Mujhe Jeene Do in 1963, for Khandaan in 1965, for Milan in 1967. In 1995 Filmfare Lifetime Achievement Award, in 1998 Star Screen Lifetime Achievement Award, in 2001 Zee Cine Award for Lifetime Achievement and in 2005 Phalke Ratna Award, by the Dadasaheb Phalke Academy were bestowed to him. He was awarded with the Padma Shri, India's fourth highest civilian award, by Government of India and received the "Glory of India Award", by IIAF, London

 
            Fate seemed to have meted out a never ending spate of tragedies in Dutt's life, but bitterness and self pity seemed to find no place in his soul, in spite of his receiving one shattering blow after another. All tragedies failed to deter the man from following his first love -- cinema -- and he served the community through politics. After his wife's death, he lost himself in politics and his involvement in it was complete. When Dutt spoke about the country, he spoke selflessly from the heart. He can perhaps, best be described in his own words while quoting the philosophy of the Bhagvad Gita. 'You are just expected to perform your duties and not expect any rewards. As a citizen of India, I am concerned with giving my best’.

Shiv Kumar Batalvi: The Keats of Punjabi Literature

              Shiv Kumar Batalvi: The Keats of Punjabi Literature

                                    (His Death Anniversary falls on 7^th May)

                                                                                                          

                             Zindgi us ke liye ik maut thi
                             Who pa gaya hai zindagi darasal mar jane ke baad. 

Poetry has been a part of Punjab’s culture as an important feature of Punjabis’ living experience since at least, and probably long before, the time of the first major Punjabi poet, Baba Farid (1173-1265). During the following centuries, it took many different and distinct forms and besides producing a long line of distinguished poets in the Sufi and kissa (epic love story) tradition, its oral tradition encompasses a wide variety of popular poetry in its folk songs and verse-dramas on the themes of religious mythology. The classical period of Sufi and kissa Punjabi poetry came to an end at the turn of the 20th century.

By then, Punjabi poets had already started adopting modern verse forms. Bhai Vir Singh was the first Punjabi poet who introduced free verse in Punjabi poetry. During the first half of 20th century, Punjabi poetry went through the process of a complete transformation from traditional to modern with the political, economical and cultural changes that were taking place in India and the rest of the world. The world wars on international front, Marxist/Leninist revolution in Russia and India’s own independence struggle on the national level brought about several changes in the life and outlook of people that were also reflected in Punjabi literature.

By the time Shiv Kumar Batalvi started writing poetry in late 50’s, the classical Punjabi poetry period was already long over and post-partition poetry was represented by many emerging progressive and modern trends, dominated by Prof. Mohan Singh, Amrita Pritam and other stalwarts of modern Punjabi poetry.

Shiv was not just a poet of a few dozen popular poems nor was his poetry limited to a couple of topics. He was a very versatile poet of many different styles and a wide range of subjects. Throughout his brief poetic career, his poetry shows a continuous progression from the early pangs of birha (separation from loves ones) to increasingly complex emotions and different reactions to his inner sufferings and towards society at large. His sense of his own identity also went through many changes. He travelled a great distance from his first collection of poems Peeran Da Paraga (A Handful of Pains), published in 1960, to his last major work Mein Te Mein (Me and Myself) published in 1970. 

Peeran Da Paraga (A Handful of Pains) is Shiv’s first published collection of poetry consisting of 25 poems. It includes poems that he had written between 1957 and 1960 expressing pain and sorrow of separation and his desire for death. It includes some of his early popular poems.  Lajwanti (The Shy Maid) came single year after the publication of his first collection Shiv appeared to have arrived at a level of maturity that was not as prominent in his earlier poetry. This collection has some remarkable poems on many different subjects. In all of his poetry, there are certain subjects that he has touched upon once, writing a memorable poem on it, and then never coming back to the same subject. In this collection, Sheesho, an exceptionally beautiful and comparatively long poem, falls in that category. Shiv’s description of the exploitation of a poor village girl by the rich landowner is remarkable both for its poetic qualities and for Shiv’s heart wrenching pity and compassion about the poor girl’s plight. A long poem, Geet (A song -Uchcian paharan diya ohle ohle soorja – O Sun, hiding behind the high peaks of mountains) is an example of Shiv’s mastery of describing natural scenery:

The sun peeks out
From behind the high mountains, 
Planting little seedling of light.
It crushes the yellow sunshine 
Into small pieces, 
To make anklets for the mountaintops!

Ankle deep in the wind
Flow fragrances,
The birds fall asleep.
Through a clump of green trees
A water channel flows
Piping a melody!

Seeing the blue lotus
In the mirror like water
The drooping leaves weep.
The wind has tied
Tiny anklets around its feet,
And stamps her heels as she walks!
………….

[Translation: Suman Kashyap]

A totally different mood from the sadness of some of his other poems, dominates another poem by the tile of Geet (A Song):

Where rivulets of perfume flow,
There my beloved lives.
Where passing breezes halt,
There my beloved lives.

Where dawn arrives on little bare toes,
Where night throws henna-beams on feet.
Where fragrance bathes in moonlight,
There my beloved lives.
…………

[Translation: Suman Kashyap].

Atte Deean Chirian (The Sparrows of Kneaded Flour) is quite different from the previous two collections, both in matter as well as in its various themes. Shiv experimented with different themes under a dominant mood of sensuous feelings. He also returned back to the topic of birha in Shikra (A Falcon) and couple of other poems. Once again, there are poems in this collection that display his wide versatility of subjects, including various themes that are limited to single poems, i.e., Hijra (Eunuch) and Zakham (A Wound). Shiv also further experimented in some poems by writing them in the prevalent style of expressing post-modern consciousness. Shiv was awarded the first prize from the Language Department of Punjab for this collection.

Mainu Vida Karo  is another collection of songs full of symbols of death and pain of separation that he expressed in different forms .

Assan Taan Joban Rutte Marna
Mur Jana Assan Bhare Bharaye
Hijar Tere di kar Parkarma
Assan Taan Joban Rutte Marna

(I am going to die in the season of youth,
I am going to depart without emptying my contents,
After completing a cycle of separation from you,
I am going to die in the season of youth)

            Loonan  is an epic-like verse play and is considered by many of Shiv’s critics as his masterpiece and most significant literary achievement. Shiv reworked the theme of Puran Bhagat, a mythical folklore of Punjab about the implications of marrying a young girl with an old man. In the traditional story the young wife is depicted as an evil villain in her relationship with the grown-up son of her husband from his first marriage. Shiv wrote his poem from the perspective of injustice to the young wife. He altogether changed the traditional character of Loonan that is portrayed in the legend as a wicked, lustful and cruel woman. He made Loonan a sympathetic character and challenged the male dominated society to reconsider their norms and moral values. Shiv was awarded Sahitiya Academy award for this book in 1967.

            In Loonan, Shiv presents a remarkably incisive and insightful appreciation of women’s sufferings in a patriarchy and exposes its moral values as the tools that force women to sacrifice their individuality to fit in various roles assigned to them. Reading the deliberate politics of the monarchical discourse in the legend, Shiv presents it from women’s point of view. More importantly, Shiv rejects the glorification of patriarchal assignment of women’s role and instead

            Mein Te Mein (Me and Myself) is a long narrative poem that is written in a very different style and on themes that Shiv had not fully explored before. With this book, Shiv reached the height of his poetic evolution and practically the end of his poetic career. It is in the form of a monologue in search of his identity and inner self that is being torn apart by the demons of past and emotional responses to different events in his tortured life. The poem depicts the tragedy of modern man’s life in many different settings. There appear many autobiographical elements in this poem and it can be considered as an investigation by the poet of the complexities of his own life.

            One of the most prominent aspects of Shiv’s poetry is its ever-increasing popularity that has continued to grow since his death and has surpassed all other Modern Punjabi poets. Besides more than 20 books and numerous articles that have so far been published on his life and poetry, his poetry has also been the research topic of many doctoral theses at various Indian universities. Perhaps the most important market-based indicator of the popularity of Shiv’s poetry is the large number of recordings of his poems made for commercial audio albums by Indian and Pakistani Punjabi singers, including: Surrinder Kaur, Jagjit Zirvi, Pushpa Hans, Assa Singh Mastana, Mohinder Kapoor, Jagjeet Singh, Chitra Singh, Kuldip Deepak, Jagmohan Kaur, K. Deep, Dolly Guleria, Bhupinder Singh, Mitali Singh, Kavita Karishnamurthi, Deedar Pardesi, Jasbir Jassi, Neelam Sahani, Nusrat Fateh Ali Khan, Shazia Manzoor, Ghulam Ali, Tufail Niazi, Shaukat Ali and others. Hans Raj Hans released an album in October 2002 solely based on Shiv’s poems.

             Other than Punjabi Sufi and Qissa poets of classical period, no Punjabi poet except Shiv Kumar Batalvi has ever gained mass popularity on such a large scale. Shiv’s popularity has now reached a point where ignoring it as a yardstick to measure the significance of his poetry will amount to a contempt of the collective mind of Punjabis. He has hit a chord with the psyche of Punjabis of all backgrounds. A closer look at his poetry reveals that the success and popularity of Shiv’s poetry, to a large extent, has its genesis in following the centuries old traditions of classical Punjabi poetry. Not in its purpose, content or message, especially of Sufi and religious poetry, but in skillfully adopting the diction, vocabulary, symbolism and many of its other important aspects. By imbibing the essential elements of classical Punjabi poetry, Shiv articulated an acute historical sense and combined it in the most aesthetically pleasing way in his otherwise contemporary poetry.

            At a time when many of his contemporaries were looking towards the western and, in particular, the progressive literature from around the world to learn new techniques of writing poetry, Shiv Kumar Batalvi took his inspirations from the classical literature of his own land. He adopted many of its techniques to express the crisis of disintegration of human soul as he saw it in his own life and time. In most of his poems, the listener and reader encounter the same familiar characteristics of Punjabi classical poetry: simple language and idiom of village folks; celebration of death; lyricism; images and metaphors of rural Punjab and skillful depictions of Punjabi culture. Shiv stands out among all Punjabi poets in his unique representation of various colours and shades of Punjabi culture.

Mahatma Mangat Ram ji: A Man of God

            Mahatma Mangat Ram Ji: A Man of God

                                    

                                

India is, and has been a land of saints since the beginning of history. Gurudev Mangat Ram ji stands in this great tradition connecting the past with our present and with the future of mankind. He was the most profound advocate of the path of spiritual progress which leads to self-realization. The very path was not propagated by Sh. Mangat Ram ji but by a number of spiritual teachers like Vasisht and Patanjali in the ancient times and saints like Kabir, Dadu, Guru Nanak in the medieval times.

Sh. Mangat Ram ji was born in a pious family in village Gangothian Brahman of Rawalpindi (Pakistan) on 24^th November 1903. He lived a life of immaculate purity. Prayers and meditation were the reigning passion of him, right from the tender age of 3 to 4 year. The quest of Eternal Truth or the Supreme Being went on increasing with years. No comfort and no pleasure of the world lured this young seeker from the path of intense love of God. His remembrance, His worship, His devotion, His meditation, His vision, His glory, His grace and His service alone counted Young Mangat and nothing else.

In the age of thirteen he realized self. He lived a life of deep meditation, austerity and inward solitude. This twentieth century saint, through his deep insight, revived the ancient “Samata” spirit of Upnishads. His philosophy, the vision of life, was shaped through the divine inspiration he derived from mining ancient wisdom.

Like Kabir or Guru Nanak Mangat Ram ji has bequeathed to the people, a rich treasure of God-inspired Vani in simple, lucid, current Hindi-Urdu language. The verses complied in a book called Granth Shri Samata Parkash which covers about 1500 pages. To the seekers of truth the book provides a clear cut guidance concerning the path of yoga, knowledge, detachment, selfless-service, right-conduct, right-association, the glory of God, supreme joy of Samata and several related topics. In addition, his utterances have been collected and published in Shri Samata Vilas (Prose) and this book has been translated in English. Shri Samata Vilas contains the saint’s exposition on the various facets of Dharma, Current beliefs,rituals and means of upliftment of individual and society.

In his books, he basically laid down five cardinal principles which can help mankind to achieve self-realization. These are: Simplicity, Truth, Selfless-service, Right-association and Meditation. And as criteria for holy men, he referred to five virtues, namely: Desirelessness, Humility, Detachment, Equanimity and Dedication. All these virtues adorned every bit of the life of this great saint.

According to this great saint God is the core of Universe. He is the life of Universe. He is Eternal and free from joy and sorrows. From Him has emerged all creation and in Him it abides. With in all beings He is present. He is complete with supreme might. He is Peerless and Incomparable. He (though present in all beings) is totally unaffected by the desire evil of desire or anger. Without Him there is nothing and yet He is free from any attachment. One, who realizes Him, merges in Him fully. By realizing Him, all worldly desires vanish and one attains contentment. Without Him nothing has ever existed nor will ever exist. Vedas, Upnishadas, Koran, Bible, and all holy books describe His glory and yet He is indescribable.

Sh. Mangat Ram ji always advocated reverence towards prophets, gurus and saints of all religions. At one place in Shri Samata Parkash this point is specially stressed. He points out that it is the glory and light of the Supreme Being which is manifested itself through the perfect souls and their teachings. Revelation of the Creator corresponded to the mode of love adopted by men of God who achieved freedom and became liberators for the people. They laid down principles with due regard to their environment of time and place. There is no difference in the substance of their teaching.

He believes that Ram Rajya is possible only when there is moderation in desire (for the comforts of life). In other words, there should be restraint from the life of ostentation and luxury. People should be free from superstitions and their faith should be firm in the Supreme-Self. There should be mutual affection among those serving the State (rulers and bureaucracy) and the people. Those serving the country should be impartial, free from greed and persons of high characters. Education should promote values. There should be strict control on drugs (narcotics) etc. and harmful articles of consumption. All business should operate within certain norms and constraints of time. There should be separate schools for boys and girls. To stress the same point, he says that the imparting of education should be accompanied by character building. Everyone should get that type of education for which he is best fitted. The rising wealth of state should be used more and more for the spread of education. All people should have the opportunity and assistance to rise to their constructive capability. Righteous principles i.e. simplicity, truth, selfless-service, equality and love towards others should be propagated to the maximum extents. Those serving the state should have a high sense of responsibility and dedication to public duty.

On analyzing the outcome of luxurious and materialistic life, the saint comes to the conclusion that it is vanity and ego in man which compels him to make such discoveries so as to establish supremacy by one stronger over the weaker or one such country over the other and so on. Even if man extends his knowledge to such extent that he may fully establish control over the natural celestial powers such as the sun, the moon, the air and water etc. It is impossible to get rid of the inner turmoil and turbulence from within the human mind. He, therefore, opines that all right thinking men and statesmen of the world to start the search for truth instead of their probe in matter. He believes that the cause of concern for humanity today is not the achievement of scientific knowledge or inventions but it is the devilish mentality of human mind which is responsible for utilizing these for destructive purposes.

Mahatma Mangat Ram ji left this mortal world on Feb.4^th 1954. His last message was “the mission of this body has been completed. Every seeker will find his answers in the books (Shri Samata Parkash and Shri Samata Vilas).”His teachings will keep on enlightening humanity till eternity.       

Shaheed Udham Singh: A Tribute

                Udham Singh also known as Ram Mohammad Sigh Azad is a symbol of the unification of the three major religions of India: Hinduism, Islam and Sikhism. Singh was a Marxist and militant nationalist. He is considered one of the best known revolutionaries of Indian freedom struggle. He had been referred as “Shaheed-i-Azam” by Pt. Nehru in 1962 in the daily Partap: “I salute Shaheed-i-Azam Udham Singh with reverence who kissed the noose so that we may live.”

Udham Singh alias Sher Singh was born on 26^th December 1899 in Sunam in the district of Punjab in a peasant family headed by Sardar Tehal Singh who belonged to Jummu clan of Kamboj lineage. Tehal Singh was a watchman on the railways crossings. Sher Singh’s mother Narayan Kaur died in 1901 and his father in 1907. He along with his elder brother Mukta Singh was admitted to Central Khalsa Orphange Putlighar, Amritsar. Both brothers were administered the Sikh initiatory rites at the orphanage and received new names. Sher Singh became Udham Singh and Mukta Singh became Sadhu Singh. Sadhu Singh died in 1917 which was also a great shock to young Udham Singh. While at orphanage, Udham Singh was trained in various arts and crafts. He passed his matriculation examination in 1918 and left the orphanage in 1919.

The brutality of Jallianwala Bagh Massacre left an indelible impression on the mind of Udham Singh. He mainly held Michael O’Dwyer responsible for the tragedy and this incident proved a turning point in his life. He turned to revolutionary politics and dedicated his whole life to the cause of people.

He moved from one country to another to achieve his secret objective that is to avenge Jalianwala Bagh Massacre, aiming ultimately to reach his prey in Landon. At various stages in his life, Singh went by various names: Sher Singh, Udham Singh, Udhan Singh, Udey Singh, Frank Brazil, and Ram Mohammad Singh Azad. In 1924, he reached America and there he actively involved with freedom fighters of the ‘Ghadar Party’. He spent three years in revolutionary politics and organized oversea Indians for the freedom struggle. He returned India in July 1927 on the orders from Bhagat Singh. He was accompanied by 25 associates from the U.S. and brought a consignment of revolvers and ammunition. 

On August 30, 1927 he was arrested at Amritsar for the possession of unlicensed arms and copies of prohibited paper of Ghadar Party called Gunj-i- Ghadar. He was prosecuted by the colonial masters and sentenced to five years rigorous imprisonment. He stayed in jail for four years and missed the peak of Indian revolutionary period and the actions of menlike Bhagat Singh and Chander Shekhar Azad.

Udham Singh was released from jail on Oct. 23, 1931. He returned to his native place Sunam but constantly harassment from police on account of his revolutionary activities led him back to Amritsar and then finally to England in 1934. In Landon he purchased a six-chamber revolver and always remembered his real objective that is to take revenge the massacre. Despite several opportunities to strike Michael O’Dwyer, he awaited perhaps he wanted to kill him when this could make more impact and to internationalize the event.

At last the opportunity came on March 13, 1940, almost twenty one years the massacre. A joint meeting of the East India Association and the Royal Central Asian Society was scheduled at Caxton Hall, Landon and among the speakers was O’Dwyer. Singh concealed a revolver in a book specially cut for the purpose and managed to enter in the hall. At the end of the meeting when O’Dwyer moved towards the platform to talk to Lord Zetland, Singh fired and O’Dwyer died immediately, Zetland was also struck because he was secretary for state in 1919 in India. Udham did not intend to escape. He was arrested and prosecuted.

During his prosecution facing the judge he exclaimed: “I say down with British Imperialism. You say India does not have peace. We have only slavery. Generations of so called civilization has brought us everything filthy and degenerating known to the human race. … All your British Imperialism will be smashed. … I am talking about the British government. I have nothing against the British people at all. I have great sympathy with the workers of England. I am against the imperialist government.”

Magistrate Atkinson sentenced him to death. On July 31, 1940, he was hanged till death at Pentonvile Prison. As with other executed prisoners, he was buried later that afternoon within the prison ground.  In July 1974, Udham Singh’s remains were exhumed and repatriated to India at the request of his cousin. He was later cremated at his birth place Sunam.

Udham Singh represented the best traditions of the people of Indian Subcontinent: courage and the spirit of self sacrifice in the fight against oppression, and unity in struggle irrespective of religious, communal or ethnic background. Today, when the forces of exploitation and fascism are becoming dominant in our society, the importance of heroes like Udham Singh has increased many folds.