The E-book of poetry, Aatma Ki Nigraani Mein, evinces that Santoshi is a poet of affection and life. He has crafted a raft of love woven with a popular feel. The poet artfully weaves the poetic imaginations via bushes, landscapes, sceneries, birds, walking waters, stars, moon, and plant life in an ocean of affection, growing a lighthouse inside the densely darkish. Far from the net of duplicity, hypocrisy, and betrayal that sadly existent in every mode of the present-day, the poet shows the chambers of the human coronary heart with the warm temperature of love to make the sector a component of beauty. Interestingly, he now and then unearths the concept of love in a cup of tea. On witnessing the loving human beings amongst the armed bunkers, invisible behind the sandbags, he believes that the wrecked town still has a chance of survival.
Paul is a multi-dimensional poem that stretches from empirical aircraft to struggle. It is coupled with ecstatic theology; ultimately, the poet leaves the whole thing inside the fingers of the future. Inspecting the slab of wealth, mantles of family members, capital of friendship, final results of the newspapers, TV, mantras, ringing bells, and azans, he culminates the poem additionally into the coffers of love which a straw of grass teaches him sensibly:
aaj aisa laga/duniya ka sabse badda ameer/vahi ho sakta hai/jo sari prathvi se kar paaye pyar/aur yeh baat/mujhe kisie kitaab nay nahein/hari ghaas ki ek pati nay samjhayi.
The poet scathingly assaults the enemies of affection. He blames adversaries of love for all the murders. For him, the haters of love kill humans on one pretext or the other. He finds ‘love’ the cause of frustrations in all the assassins. Santoshi’s couplets have large reasoning, especially when a person kills another man because of hatred and spiritual fanaticism. This etymology can also be noted in the killings and the exodus of folks who are regarded as symbols of affection and peace:
In equal base, form, and fashion, each quantum starts with the same line but with special content like Santsohi’s love, which modifies the flights of materialistic area. The poet buys a cycle, but she is seen with a motorcyclist; he buys a bike, but she rides a vehicle. Now, obtaining her is a distant dream. He fears that if he buys a car, she will elope with all of us through the air.
The poet has dismantled the limitations of religion. He is unfastened from the prayers. He no longer keeps it in mind, God. He is not shackled within the chains. Limitations don’t divide his being. Though within the mist of mundane, he had forgotten love but now he sees it spreading on the planet:
The poet walks along the embankment of a river that has watched the fury and fume of ancient anecdotes. The flowing water likewise witnesses the likes and lifestyles of a civilization that was hammered at some point. Yet the murmuring water has usually induced and recommended living complete lives regardless of the occasions—the inner emotions of the poet run at par with the bodily waft of the water.
In the first poem, tambay ki Naak, the poet parodies the shining matters that are showy simplest but are incapable of feeling the inner splendor, the depths, and the aroma of existence. The poem also connects the existing to the ancient past. Taimur is known boldly; however, a few characters liable for death and destruction are left for the readers to discover.
The pony riders are a referential slur, including salt to the injuries. The poet digs out a 700-year-old buried incident and painfully connects it with the contemporary exodus of Pandits. With an obvious connection to Kashmir, he mocks heaven with picturesque beauty but concentrates on the wrong ideologies. The real paradise should be guy-centric, he believes.
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The poet now and then aspires to be a pin to fight untruth. He makes use of the phrase ‘chalk with twin connotations. For him, trickery is genuine conviction. He tries to make equal deception a ladder to attain the Almighty. Strangely, he has put faith in deception in place of God. It also unfolds the strength of faith in whatever shape, terrible or fake, optimistic or destructive. Santoshi’s utilization of some phrases is satirical.
He uses a pun in attacking individuals who trust that their betrayal is more pious than the affection of God:
Ishwar se zyada Vishwas hai/ Mujhe Apne choral par. Regarding the signs and logos of novelty marred by changing labels, artificiality, and deficient conviction, Santoshi believes that even sensible men like Budha, Kabir, and Tulsidas sound lifeless if they lack identity. He questions the readers about whether to be a massive call without individuality or to keep going with the originality of being a small poet.
M Okay, Satoshi glorifies small matters and offers them significance. He regularly compares matters to conform life-length ideas. The tiger’s sadness is contrasted with the flying butterfly. He makes darkness compromise with the mild. He has many roadmaps which don’t permit him to die. Comparisons are made between vegetation and stars. He prefers now not to be a celebrity or the moon, which owes light to the sun.
He relates dirt to the sky. He doubts that heaven which has no dirt. The poet places humor after love and lifestyles. The fog of pressure envelops the entire surrounding: stress, materialism, loss of belief, killings, betrayal, and degradation; he prescribes humor as the panacea. And there may be no better manner than to give up this evaluation with a line of Santoshi:
