CHAPTER - SEVEN AESTHETICS SENSE IN POETRY WORKS OF

CHAPTER - SEVEN

AESTHETICS SENSE IN POETRY

WORKS OF NAGARJUN

CHAPTER - 7

ARTISTIC SIDE OF NAGARJUN'S POETRY

A writer expresses his feelings and emotions through his art, may

be, either in poetry or in prose. But if more importance is attached to the

artistic side, the themetical side grows weaker. A poet like Nagarjun is

well acquainted with this fact. For this reason the artistic side of his

poetry is not so strong he does not hanker after the expression side of

his poetry. Nagarjun's poetry deals with life and activities of the common

mass. So the artistic side of his poetry is according the subject matter

dealt with by the poet. His poetic language changes according to the

characters he has depicted in his poetical works. He has used the kind

of language which is generally adopted by the common mass of the

villages. It is a language containing words and phrases generally used by

the literate and the illiterate on various occasions. His poems are clothed

in a very simple and easy language. At the same time there are some

poems in which he has used the pure Sanskrit words. His vocabulary is

both archaic and modern. It is the artistic side of the poet which has

distinguished him from the poets writing poetry in between the sixties

and the seventies. He uses words from more than one language in his

poetry keeping this aspect of the poet's language in view Dr. Namwar

Singh has remarked.

216

'mphu'oti 3 yifiii ;r>i -tic lAm «n,

'TPIT T ^ ?fsfTcTT #i ^ fSiupfl if imu foil &, *rn snfiJRrtf f*rem

?5irmn fowfo if 3|fTR*f flifsirT jnr ' | ?

Nagarjun is a poet of the common people and the sole aim of his

poetry is to bring equality in society. He desires that these ideas should

be appreciated by simple people for whom he w rites. It is not that

Nagarjun cannot use standard language in his poetry. But by doing so he

would frustrate the very aim of his poetry. He uses a variety of language

rather intensely in order to fu lfil the main purpose for which he writes

poetry. He uses a number of metres in his poetry to make it

understandable to all. His poem 'M antra ' is enough to prove that

Nagarjun has a rich vocabulary and his style to express his ideas. He has

used a kind of language which suits everyone.

Under this heading we shall consider the various aspects of the

language by the poet.

7.1 Language :

Language is the best means of expressing our feelings even the

abstract ideas can be expressed in their concrete form by the help of

language.

A major change in the language took place after the independence

217

of the country. The new ideas and thought needed a kind of language

which could express them rather convincingly. It was so because of the

closeness of life to the language. A new dimension added to the

language after the independence was for the purpose of bringing life and

language closer to each other. It is for this reason that language adopted

this new dimension. Poets tried to revive the language which was almost

in a neglected condition and they provided it with a new life in order to

express their ideas and thoughts. The language of Nagarjun's novels can

be consider from this angle.

The poet has used his language according to the ideas stored in his

mind. This proves that Nagarjun is a great master of the various aspects

of language that he uses to express various kinds of feelings and

thoughts at great ease. He uses the language that can be understood by

all. A good variety of language used by the poet goes to prove the facts

mentioned above. The different aspects of language used by Nagarjun in

his poetry go to prove that he has a good command of the languages

used by him in order to express various kinds of thoughts.

The use of a kind of vocabulary belonging specially to the village

life has provided the poets language with a kind of vitality rarely found

in the works of other poets. Nagarjun seems to be fully aware of the fact

that the soul of poetry is the language used by the common people living

218

in the villages. The remarks of Dr. Ram Vilas Sharma can be viewed in

this aspect :

“3? m if gm w t Tfptc fefcT aff get, I i rfera -».«'rfrscr I rtP fR 3RT t v i m ?PT W5I ^ | I ‘3T*5t 5FcT tPP q?TO^ g f «St ERST R?f RT^t' RS T O

# 55 fe fr | gir erst Tmf Rft *n£t *irota tuft f i R?f cfra; tfFgkf w anritem i i t

The "Harijan Gatha” is a representative poem in this context.

‘’Tn gsn <r <H Wet sprit PunO if'WT vjpfl 3Ilir MrlR><? >

tw f t s> 3itoT f t iTm 3iii< fta ft *rrft ftibn? fta ai Rls n? ^

Nagarjun seems to be intimately connection with the life of village

people and he can present to lively and faithful picture of the miserable

condition of the villagers through his poetry. This can be illustrated

through the poem. "Newla" The language used by Nagarjun in his poetry

reflects the detailed picture of the life and activities of village folk. The

vocabulary of rural languages used by the poet in his poems is immense

and almost beyond calculations. The expressions like bhabhaker hansna,

Mulur Mulur Dekhana", Tukur Tukur Takna, etc. take us to the very core

of the feelings of those who use such vocabulary. Nagarjun's language

is immensely rich in this regard. It is the language used by the people and

it presents their real identity before us. In fact it is the force of the

language used by the poet that presents a true and realistic picture of

those people who use it to express their feelings,

Nagarjun's language has some influence of Sanskrit in this spoken

language because of his being an erudite scholar of that language. He

also displays his command of the Sanskrit metres used by him

consciously or unconsciously. Such an expression is found in the poem

"Pachhar Diya Mere Astik Ne".

sPr aaf ■aaact yaa-aitanm

sfrr at: tjafa i *

There are some other poems such as, "Raj Kamal Choudhury Ke

Liye" "Badal Ko Ghirte Dekha Hai" and "Dharti" etc where we come

across Sanskrit words used unhesitatingly by the poet. As the rural

vocabulary takes up deep to the core of the theme, the Sanskrit

vocabulary adds to the beauty of the poetic language some lines from the

poem 'Dharti' can be quoted here to illustrate the fact.

i - - Rhh aRRf a aw t - aaa, ffat - 'ggai aa - irm - tta aa tr ttra tftasf

anaattarp anal ^ fcai« - trot <a&na...... ntatft I aat ft troft r ^

S u c h a S y m b o l i c e x p r e s s i o n o f t h e e a r t h c o u l d h a v e b e e n p o s s i b l e

o n l y b y t h e v o c a b u l a r y u s e d i n t h e p o e m .

B u t i t i s t h e s t y l e b a s e d o n r u r a l v o c a b u l a r y t h a t h a s b e e n u s e d

m e a n i n g f u l l y a n d r a t h e r f o r c i b l y b y t h e p o e t . A f t e r a l l N a g a r j u n d e s i r e d

t o e p i t o m i z e t h e p e o p l e a n d t h e i r e n v i r o n m e n t b y d e s c r i b i n g t h e r e a l i s t i c

a s p e c t s o f t h e i r l i f e i n t h e l a n g u a g e u s e d b y t h e m . S o m e o f t h e p o e m s

m a y b e r e f e r r e d t o h e r e b y w a y o f i l l u s t r a t i o n . T h e p o e m " K h a t m a l " f o r

e x a m p l e , i s o n e w h i c h h a s b e e n c o m p o s e d o n f o l k t u n e .

sns %

h ’ H n m a

d l -T hr=T . Ctr-T TTcf t ' \

A g e n e r a l p e r u s a l o f N a g a r j u n ' s p o e m s w r i t t e n o n t h e r u r a l l i f e a n d

e n v i r o n m e n t e a s i l y r e v e a l s t h e k i n d o f a t t a c h m e n t t h e p o e t h a s w i t h

t h e s e d e s t i t u t e s . F o r m e r l y , h e u s e d t o w r i t e p o e m s u s i n g t h e k i n d o f

l a n g u a g e m e n t i o n e d a b o v e a n d s o l d t h e m i n t r a i n s . T h e p o e m s w r i t t e n o n

s u c h p a t t e r n s o n e " C h a n a J o r G a r a m " " A a o R a n i H u m D h o y e n g e P a l k i ' .

e t c a r e w r i t t e n i n t h e t u n e u s e d b y t h e p e o p l e o f t h e r u r a l a r e a s . T h e r u r a l

t u n e h a s b e e n u s e d r e f r e s h i n g l y i n t h e P o e m " A n u d a n " .

tffar ttr f r f t a $ mm fI vs

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Besides, the use of rural and Sanskrit vocabulary the poet has also

used some Urdu and English words to express the idea that occupies his

mind.

From the above discussions it appears that Nagarjun is a "Jan

Kavi" who knows full well how to express the identity of the people

through their language. He has used same adjectives which are hamed

after him, for example "Tihrio M uskan", "Kapuri (Dhoop)", "Nakhranjani"

Navyug, Nirajni (Adhunik) Sabda Shikari, 'Ikabal M urari' etc. which are

emphatically used in his poetry to convey the ideas as intended by him.

No other poet except M ukti Bodh has excelled him in this regard. These

adjectives coined by the poet have established him as a distinguished

figure in Hindi Literature.

In brief, the language used by Nagarjun in his poetry acquaints us

w ith the facts that it is quite capable of conveying the meaning in the

w ay he desired. It other words it is the language that is capable of

presenting the inner conflict rather intensely. It is other than the language

found in the books which presents his characters in the most lively way.

It is the document of the life of those whose oddities it tries to reveal in

an obvious and effective manner.

7.2 SYMBOLISM :

The poetry or Nagarjun has been written symbolically with a view

to expressing his ideas in a rather forceful and clear manner. For

example, the search of money by the young children in the sand on the

bank of river Ganga is nothing less than the 'Kaustubh mani' nor the sons

of the sailors are inferior to 'Chaturbhuj',

h > t S t i i f I - V h h l s j f f f i l f t ( j q ^ a t p p - E r m t i f f t

7d ’ fftn a t v T i t ^ a H t m t c

While estimating the dignity of labour the poet thinks that the

young men rowing the boat with oars are in no way inferior to Lord

Vishnu, the preserver of the universe.

af>t ^ aff, -rw; r > T T i t f t a i a a m % g r r a W , j <*,

Nagarjun does not agree to the view that Saraswati the goddess

of learning is imcompatible with Lakshmi, Goddess of wealth. This,

according to the poet is the doctrine made public by those who are quite

unaware of the importance of these goddesses. The poet maintains his

poem "Basant Ki Agwani" that the person who knows the importance of

wealth is self conscious and blessed with real charm of life.

223

tt^T 3tR % if TRffcfj...sfr ir

3Ft4 ft |^t? ^3I TO f p * *reft sntft i ?o

(i) Rigid Conventional Symbols :

One can locate a good deal of conventional symbols in the

progressivistic poetry of Nagarjun. For example we come across certain

symbols like "Lai Sabera" or Lai Bhawni" or Shanti, Dalar or economic

exploitation, 'Bible" for false peace. There are some radical experiments

also.

‘5PPT3r ^ 3THT4t fSfeRft et cf[ Ft-Ft 3tT%HTrt W fT W I Tjat ^H!lO 4 I ??

Almost all progressive poets have used symbolically the scythe and

the hammer, the Russian Symbols of poetry. Nagarjun has used Scythe

in the form of 'Bal Chandra'.

... JM«i Pi *><11 WIcTERT 1’ ^

I

Nagarjun has used unpleasant symbols such as "Mayavi Dasyu"

"Jangali Suwar" etc for the capitalists supporting war.

itar rPHn«:Rvii«i4'! creg

ScTlFef Pt?T rur-nriTi #r Tct ff .jfon Htrm *j3ir xilf: jq»r mtiff

tr«t-a F TT Fct f t h 'trnft ... / ' ^

224

(ii) Real Symbol :

Living presents are natural symbols in his poetry is quite natural

and inspiring He is a poet of the people and wants to grasp everything

other than those bound by tradition. The symbol of the butterfly w it its

seven coloured feather is a beautiful symbolic meaning made by

Nagarjun.

far at mrjm 3?r#s[*rarfr w i m # qfof f tm t f b d t r - n T T u f t F fs r r t ’ ’

In his poem Saundarva Prativoaita the poet has used tw o fishes

symbolically as divided and the exploited people and 'M aham uni' tortoise

on the exploiter. The poet has shown how the Mahajan group tries to

take the upper hand while the tw o groups (divided and exploited) one

engaged in fighting w ith each other.

(iii) Political Symbol :

The poems of Nagarjun has achieved great success in exposing

crookedness in politics and the politicians. Some meaningful symbol used

by him are "Bhoos Ka Putla" for 'N ehru ' "Jane Turn Kaisi Dayan Ho" has

been w ritten using Indira as a symbol of "Dekha Sabne Chirivakhana".

Stands for the Indian Parliament where the members of parliament and

the ministers more hither and thither like animals and birds. In his poem

"Baghin" Indira Stands as a symbol and through this poem the poet has

225

tried to bring home to us. The fearful and cruel administrative system of

the time. The poem 'Satya ' stands symbolically for the conditions

prevailing during the emergency and tries to prove how to the very

v ita lity of truth has been paralysed.

Nagarjun has w ritten several other poems where it places. Indira

as a symbol of crookedness and cruelty. A few lines of the poem "Pa

Gaya Hai" may be examined.

wtl if, FRpfi if

tbrrff ft t ai<;i ilRtmKcTTF % PtTFFf Fit t

ftt? wt, -fte i f tefetoR ^ ^ur-yuT tt£ % i' ‘

7.3 Image making process :

It is the pictorial and musical images that dominate the poetry of

Nagarjun, through their is no lack of the images dealing w ith ideas and

feelings. But the pictorial and musical images seems to be more

expressive than the images relating to ideas and thoughts. One can see

all kinds of images in his poetry. He is capable of creating images which

are identical to those created and shaped in his own mind.

Experiences gained practically become the base of poetry and

images used there in have a tremendous power of expression. The

226

experiences yet to be gained depend upon images which create weak and

lifeless picture. The progressive poets had never allowed images to

interfere with the main theme. It is for these reason that both the aspects

have a clear expression in their poetry.

• w flrtt T firrml t o o ^ it iTtrh i’ ^

These poetic lines create a pictorial and visible image. The moment

we hear these tines a visible picture of the swelling cloudsis with in side.

The reminiscence of his wife as expressed-in the poem "Yad Aati Hai

Tumhari Sindoor Tilkit Bhaal" during his sojourn in Sind creates image in

his mind.

Pr#T if ^ftfN?tqf % fatT t Stct antn fUctfra in?r i ^

The audible image also known as sound or musical image

composed of sound, metre, rhythm and rhyme has been beautifully

employed in the poem "Tan Gayi Readh".

*TT Tflft fitOt P T T p f r t t e i ’ \ c

The burst of laughter pleasant to both mind and ear takes us to a

happy state of mind. This mental condition have been reflected rather

elaborately in the lines that follow. Here the use of audio imagery is

worth notice.

r>7

'arnt fr aiTcnp f t P c ? '*KI stl^FTT | ' ^

In his poem "Badal Ko Ghirte Dekha Hai" the poet has created of

Mithila its culture and the Methodology references seems to touch his

sensitive mind in order to give a vivid and lively expression of the same.

amr hnmr ar aftafffnvu? smti arft ea [Va

aafOT mileraf tff a# ar fmr?t fhm I1

Again in his poem "Bahut Dino Ke Baad" the poet gives a touching

expression of his visit to in native land.

In "Talab Ki Machchliyan" and example of imagery has been due

to fully expressed.

tfi aai tx? atcr afmraa t w

ai w i atft it? artft a fa ri ’ ^

Here the poet with the help of synthesized imagery has very

pathetically expressed the complicated process of freedom.

As mentioned already, Nagarjun expresses the pictorial images

228

m o r e e f f e c t i v e l y t h a n th e t h o u g h t o r id e a e x p r e s s e d t h r o u g h th e m . S u c h

im a g e s h a v e b e e n u s e d in p o e m s l ik e " D e k h n a 0 G a n g a M a y a " ,

" K h u r d a r e P a ir " , 'B a s a n t K i A g w a n i ' a n d s o o n . T h e f o l l o w in g e x a m p le s

m a y b e c o n s id e r e d .

fdjfWi ft jfFRt t I ^FTtt I" 3TS RR RR

^3m smft

'fr'T 'FT f^viit"H TRJT | 3TR RTORTT I ^

T h e p ic t o r ia l im a g e s o f in d iv id u a ls c r e a te d b y th e p o e t a re a ls o

q u i t e e f f e c t i v e .

A n e x a m p le o f th e v e r b a l im a g e r y .

RT ft ip¥t If =fta MTfRTR TJHttfl- fe w fl «1T if RTtR ft W5f ^ ft

• D

RcrtlFf TF-tR^T tfFtrf I ” ^

7 .4 Satire :

N a g a r ju n is f a m o u s a s a s a t i r i s t a m o n g th e p r o g r e s s iv is t p o e t in th e

s h a r p n e s s o f h is s a t i r e - t o u c h e s th e v e r y c o r e o f th e h e a r t t h is s a t i r e s a re

a im e d a t in d iv id u a ls , s o c ie t y , f e u d a l o r g a n is a t io n s , c a p i t a l i s t i c s y s te m

a lo n g w i t h th e c o r r u p t a d m in is t r a t iv e s y s t e m t o r t u r e d w i t h c o n v e n t io n a l

im i t a t io n s o f f a s h io n s a n d a ls o th e s o c a l le d p r o g r e s s iv e w r i t e r s . H is

s a t i r e s e x p o s e th e r e a l i t ie s b y r e m o v in g th e m a s k s c o v e r in g s u c h u g ly

faces so that we can recognise them from close quarters. His satire

dazzles those was support commercial civilization. But the poet continues

his attack on them w ithout caring for a fig of their reactions. Tire remark

of Dr. Saiv Kr. Mishra can be suitably quoted here.

an t r ^ n j t r t t t e if I t e t e t t e t It, a fn ft g p $t f e £% r f r i f f f r i f r g g i f t K t t f l I ' a a j a g g i a a a # i f f 1 ^

The poet has no personal grudge against any individual. But if he

considers any actions of such individuals against the interest of the

general people he cannot control his feelings against them. He has great

respect for Gandhi like other people and has w ritten poems like 'Tarpan'

and 'Shapath' in his praise. But he does not hesitate to satirize this great

personality and he feels that he has got some link w ith the capitalists. He

has not even hesitated to pass ironical remarks about Nehru whenever

he has fe lt that his policies were in favour of the mill owners whom he

intended to grant a social status so that they would fo llow Lenin and

Delhi would march ahead of Pelking and Marshall Ayub would came to

Wardha to take lessons in Sarvodaya. In that case the Panchasheel of

Nehru would control the situation along w ith socialism.

ter #itn ^ vm sftrTF 'Tift rttT ttM 3?R

H r f g i r t n f i t r r l f i t e : , u a t e r t n n t e g ■ m m

iron jrmrr te n gnft. t e r I t e ft t o b i t e n 3 r y r g u t um, t r g f a r t e n r a i

TRa ttgnT-fPTR 7-fte if sitjt i gK

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The poet does not even spare Vinoba a great supporter of Nehru

and Indira Congress when he finds him very cleverly impessionating

'Sarvaday' in the name of general progress of mankind.

sSla frrot troif sjntan’irn *f airaTi aifit ann

T w ( n f a e r r R n i p t 3 n f e t R .

T r a f c r ^ ^ 3 ia a n t m u t k h *fr i ^

The poet satirical remarks as to w hy the common people lead a life

half starved and half naked who is responsible for all this is beautifully

and satirically expressed in his poem "Pret Ka Bayan".

'itrt-3tR-3fr?: ■ajiRrtf to if frog asFPr <?r1 Rr -Rr hui ^Tsf ft tm

^ m (gw aw £r ftt^m tnrff R p tfr o Enfa ■e r t t a t a f l R W f i ’ ^

Nagarjun is quite aware of the exploitation done in the name of

religion and like Kabir he attacks the exploiters squirely. His satiric

remarks about them pierce the very core of their hearts and they react

violently against him. Nagarjun calls them the Popes of India since it is

they who occupy the supreme position in corruption.

Some of the poet's satirical remarks are related to the

irresponsibilities of society for example, these satires that are about the

231

fashionable coquets who move about in dazzling cars but hesitate to

caste their votes for fear of getting their fingers tainted.

I'fi ; It R r il | |U + | c i| f a V I H I

T i l a t e r z Ttm?. q?ta i i a i r R i

. . . T O ^ TTI tfl TO f nma ^ t f r t i\z t ? T jit <tn?FT % a m T t i ^

'Soundarya Pratiyogita' is another example of Nagarjun's biting

satire. Here a couple of fish quarrel between themselves and for

establishing superiority over each other.

. afaw tjT? #ff % if arftrm |Nactilt aaa-tft aafcratcff a? mfa aw -rfl warff frtfl tfis " ' i ^

In brief, the status of Nagarjun's are 'C lassic' in the sense that

they have something in them to identify the poet as the fo llower of the

M arxist idealism. Nagarjun w ill be remembered by the people for his

sarcastic way of expression his thoughts and feelings. It w ill also have

some impact on other literatures w ritten in various region languages

through the length and breadth of the country. Actually, Nagarjun has

few equals so far as his satire w ith regard to the so called cultured and

civilised classes of society are concerned. He feels himself at ease w ith

the people of the proletariate class. People born and brought up in

commercial civilisation are stunned to hear remarks like 'Jeeto Nahin

232

Kudhata? Akharti To Nahin Inki Sohabat' such and other remarks of the

same nature can be abundantly located in poems like 'Ghin To Nehin A ti\

'Doodh Se Dhule Liwas'. In 'Pret Ka Bayan' the poet has satirised the

exploiting system of the post-independence era which is really pinching

and poignant. In his poem 'Master' the poet has exposed the so called

politicians "Bhush Ka Putla" in the same way contain some sarcastic

remarks which will be remembered for their poignant expression.

7.5 Metre

The progressivist poets generally consider the poetic creations to

be of standard which are free from metres and are written in free verse.

The poetry of Nagarjun is not an exception to this general rule, but he

has used metres here and there in his poetry without affecting the literal

meaning of the words used therein.

i) Anupras (alliteration) :

' Lalit Sasya Ki Lol Laharyan' is a good example of Anupras. In

'Yogiraj Aurobindo' the poet's satirical remark on Aurobindo

^ Ru-dH W T fftFFI ^

' ‘.lii -.KRAI n.Tef'T i-Mdf JTen-Wfl WTOc*) irc-tTR - m tTR, <nr a mTi r

233

(ii) Upma :

In his poem 'Sathi Bharadwaj' the poet is stunned to hear from

Nehru and Pant that the death of Bharadwaj was due to m alnutrition. He

expresses his anger and hatred by comparing these leaders to the owl.

t MR tFlff TaRtl ^

Criticising the Five Year Plans based on the wrong policies the poet

compares them w ith the 'H iccup of Hidimba' and 'Yaw ning of Sursa'.

The scene of the Ganges during the survey can be examined in this

context.

tfl’s-T if rttr <?t J|41 ya*i;.iir?k-ii I^TfM ^ gfeT M i ^

Here the comparison of the dry river w ith the hair(veni) of the

woman who has been separated from her husband expresses the

sensitive feelings of the poet's heart.

(iii) UTPREKSHA :

This metre has been used by the poet to express deep and

sentimental thoughts. This metre is well expressed in the fo llow ing lines

which depict the mental condition of a madcap who changes her mood

234

quite instantly.

VTif^cf f o s x r t p - g p J t w w t x w ^

®d(5< anat <£1 tPHI t: ^ t!

M<«Ud •?> ^ ?Tt Tt? I' ay

A woman goes to meet the poet with her child and the poet

speaks out emotionally :

'qfrt-fffT fegTt xt TM, . .^ TOW Ml itFT Ti? x^ncf

afrt -to ft srpt mT jt 'W f r F P T < ^ = n ’ ~

Another example of alteration when the poet goes to meet friend

Kedar at Banda.

‘3 xjn r-i# fc T a w I a rst4 M H ^ a ic f t ‘ W e t ' h H * t t I ’

In this poem 'Navada' we can see an example of Utpreksha,

'ffxj ftS Ttf|?R ctfT fffttiTH FI*St Xpdt xffe 'Tt

In these lines, the poet imagines the vermillion on the forehead of

an old elephant, seeing the blood of the young men on the metalled road

*>35

because of the injury caused by the bullets of the police. He thinks it

useless to derive a meaning from this scene that can be associated with

"Udit Uday Giri Manch Par Raghubar Bal Patang” .

(iv) Similarity in Metre :

Upma and Utpreksha are our traditional metres. Nagarjun has used

them at several places is a novel sense :

“at for jpft, anafi stft ftto

t R TT? i'u i 'h id tTeT^f rft W f t I ' ^

Nagarjun has shown some novelty in the use of 'Upamaya,

Vachak' and 'Dharma Luptoma' by the use of 'Upma' only.

' s R R T f e r T i m ^ ^

Htrw srrtrr r p rf; sir? mp

T i f f t n f , a i F m i , 3 i p f c c m n i ’ 3o

In the former part of the verse, he has made the 'Upmanas' clear

owing to' Abidha. Otherwise the poem would have appeared more

beautiful.

(v) Humanisation :

This new metre adopted by the Romantic poets from the west has

236

been used by all progressivist poets. Here are some nice examples from

Nagarjun.

^ fc fi tw TJrflfmr, iR tft T$! Vo

One more aspect of humanisation pertaining to nature,

Hiorrft T 'R

Nagarjun has also adopted the humanisation based on

progressivism.

Tte Rii 3nwirr ■hi m ft R=pm-F>.3n ^ i ’■= <r?

Nagarjun's 'Upm as' seem familiar to us because they have been

selected from our life. His lines 'Uchhal Rahe Turn Jyon Hirnauta' and

'Daridrata Kathal Ke Chhilke Jaisi Jibh Se Mera Lahu Chati Hai' are

familiar expression for the people of the villages they make us familiar

w ith acute poverty of those people who live in the villages to compare

the tongue w ith the piles of the jack fru it is based on the peculiar

imagination of the poet, having its link w ith the peasantry. It is the

farmers and the labourers of the village who speak through his poetry.

They are the source of the theme and craft of his poetry.

237

7.6 Scheme of Metre :

Nagarjun has written mostly in the free verse. He has not even

cared for rhythm. Whenever he has used metres it is the measured ones

that he has accepted.

(i) Matric {Measured) Metre :

Nagarjun has used measured metres wherever he has felt it

necessary. He has mostly used the metres containing 18, 16 or 24

measures, 'Chaupai' seems to be his favourite metre. But his 'make-up'

is different from that of Tulsidas.

Some of his Chaupais of 1 6 metres have been freed from the

metre known as 'Antyanupras' as in his poem 'Kalidas'.

rofiTro tnr-tnt «kiciMM6

^ ^ fl-16m fro m tpr tnt *t-i6 rofaroe tra-tnt ^nro-16 ^

See the use of 'Rola' Metre, free from rhyme - in his poem 'Basant

Ki Agwani'.

miff yt aiHthy if tfror ffrfl

m <41 cnfl snsf sfiipt m -’’

23B

The poem contains 21 lines but the poet has made no fresh use of

'Derh Sonnet'.

The poet, however, has used a new metre in which there are 19

'matras' and is 'Yati between 9 and 10 metres.

ggTf tjsicpT i a Ficft sr srn- 9+io i ^ ttto s r srst- 9+10.

t o Ru t o ! sft i tttT rd! 9+10 i rn Rfrn?i mfi 9+10

ftToT ITT ' i f t I •? T S 'TWl 9+10

m* tttR t ^ i s f r rform f i 9+10 a-H

In his poem 'Akal Aur Uske Baad' the poet has used 'Sarasi'

containing 27 matras having 'Yati' at 16 and 11 matras.

F T f f R l F f > T J p t q f m l T O f t T # t T T R T I 1 6 + 1 1

F J RfTf cTF F l- f l F frT F I HtT TTTT I 16+11

F T f t T l T T F T T iff ^ f t T T T R o M th lr tifi 7T5TT I 1 6 + 1 1

' I T f i r ' l l < I F T jt i f Y ! i f l t F f d n ‘. f f r l F U i I 1 6 + 1 1

'Ashtak' is the most favourite of the 'Parvas' used by the poet.

Most of his free verses have been written in this 'Parvas'.

dm « [ft-Fft firm s+s IRRrfrpfl I aTTRlftpft I 8+8

Nagarjun is not inferior to any progressivist poet in using the

rhythm, rhyme, metre and punctuation in his poetry nor about its get-up

and make-up.

2 T9

'Tan Gai Reerh', 'Dekhna 0 Ganga Maiya', 'Khurdare Pair',

'Nakheen Mukhra', 'Neem Ki Do Tahaniya', 'Jayati nakhranjani' etc. have

been written in the same prise-rhythm.

Thus Nagarjun seems to be intimately familiar with the feelings and

thoughts of the peasants and can fed their pulses. By reading his poems

we get the impression that we are talking and listening to someone living

in the village. His language , his proverbs and the idioms used by him

enhance the beauty of his poetry. The soul of his poetry can be traced

to the life of the farmers and their mode of living. He has spared mone

whom he has found guilty irrespective of power and position. Nagarjun

will always be remembered in Hindi poetry for the poignancy of his satire.

240

1. Dr. Ratan Kumar Pandey : Nagarjun Ki Kabya Yatra, p-106

2. Dr. Rambilas Sharma : Nayee Kabita Aur Astitwabad

3. Nagarjun : Chuni Hui Rachanaye-2, p-241

4. Pachar Diya Mere Astik Ne


6. Khatmal


8. Dekhna 0 Ganga Maiya

9. Khurdare Pair

10. Basant Ki Agwani


12. Balchandra - Sinduri Chand, Chhayabadi 'Chand' Se Tulaniya

13 Kaisa Lagega Tumhe

14. Satrange Pankhon wali

15. Pa Gaye Hai


1 7. Wahee : p-30

18. Tan Gaye Rird

19. Wahee


21. Talab Ki Machchiiyan

22. Gule Pak Ki ...!

23. Satrange Pankhon wali, p-314



n a a

26. Takli Mere Sath Rahegi

27. Pret Ka Bayan


29. Wahee : p-40

30. Yogiraj Arabinda

31. Mantra - Kabita

32. Sathi - Bharadwaj



35. Wahee : p-49

36. Wahee : p-66

37. Nawada


39. Wahee : p-1 6

40. Wahee : p-30

41. Wahee : p-31

42. Wahee : p-33

43. Kalidas

44. Basant Ki Agwani


46. Akal Aur Uske Baad

47. Aisa Kya Ab Phir Phir Hoga

O/l o

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CHAPTER - SEVEN AESTHETICS SENSE IN POETRY WORKS OF