E-book of poetry Aatma Ki Nigraani Mein evinces absolutely 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, plant life in an ocean of affection, growing a lighthouse inside the densely darkish. Far from the net of duplicity, hypocrisy, and treachery that’s sadly existent in every mode of the present day age, 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 the chances of survival.
Pul is a multi-dimensional poem that stretches from empirical aircraft to struggle. It is coupled with the ecstatic theology however;, 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, 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 a equal base, form, and fashion. Each quantum starts with the same line, however with special content like Santsohi’s loved who modifications the flights of materialistic area. The poet buys a cycle, but she is seen with a motorcyclist; he buys a bike however she rides a vehicle. Now obtaining her is a distant dream. He fears 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 does no longer keep 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 which has watched the fury and fume of ancient anecdotes. The flowing water is likewise witnessed to like and lifestyles of a civilization hammered at some point. Yet the murmuring water has usually induced and recommended to live complete lifestyles 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 amas connect the existing to the ancient past. Taimur is known as boldly; however, a few characters liable for the 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 700 years old buried incident and painfully connects it with the contemporary exodus of Pandits. With an obvious connection with Kashmir, he mocks heaven with picturesque beauty but concentrated on 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. And he tries to make the 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 treachery is more pious than the affection of God:
Ishwar se zyada Vishwas hai/ Mujhe Apne chhal par. Regarding the signs and logos of novelty that have been marred with the changing labels, artificiality, and deficient conviction, Santoshi believes that even within sensible men like Budha, Kabir, Tulsidas, guy sounds lifeless if he has no identity of his personal. He questions the readers whether to be a massive call without individuality or 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. 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 among vegetation and stars. He prefers now not to be a celebrity or moon, which owes light to the sun.
He elates dirt to the sky. He doubts that heaven which has no dirt. The poet locations humor after love and lifestyles. The fog of pressure envelops the entire surrounding, stress, materialism, loss of belief, killings, treachery, 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: