Abstract

DUSHYANT KUMAR GHAZAL

Sunita Kumari

Volume: 2 Issue: 4 2012

Abstract:

Defining poetry, Acharya Vishwanath wrote, "Vakyam Rasatmak Kavyam," meaning that only a sentence filled with emotion is poetry. A sentence that brings us joy when read or heard, or that moves us emotionally, is what we call "poetry." In ancient times, poetry was composed with this very idea in mind. In epics, a single rasa was even conceptualized, meaning that a single rasa should predominate in poetry, with the other rasas serving as its supporting elements. For example, in "Ramcharitmanas," the rasa of peace appears as a secondary rasa. If we judge the poetry of the present era on this criterion, perhaps only a few works would meet this definition. In today's materialistic and intellectual era, poets have come to view their works not as food for the heart but as food for the intellect. Accordingly, they have begun to write poems steeped in various theories. As a result of this, after independence, Hindi poetry rapidly went through various theories (such as Prayogvad, Nayi Kavita, Nakenvad, Contemporary Poetry, Akavita, Sahaj Kavita, Yuyutsuwadi Kavita, Navgeet, etc.) and countless theories were started to establish the prestige of the individual. As a result of these theories, the poetic quality in poetry declined. People started considering themselves poets just by writing prose lines in poetry. Seeing such creations, we doubt the talent and reputation of those poets and poems. Ghazal writer Saraswat Mohan 'Manishi' has expressed this in this way -

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References

• Dushyant Kumar, Dhaap in the Shadows Urdu Ghazal Tradition, Government Era
• Republic Special Issue Dr. Naresh, Hindi Ghazal Craft and Structure
• Saraswati Mohan 'Manisha', drop by drop of pain
• 1/ Editor/2 Dr. Wazir Agha, The Mood of Urdu Poetry
• 1/4 Editor 1/2 Vishwanath Prasad, Document Ghazal Special Issue
• 1/ Editor/2 Dr. Sardar Mujawar, Hindi Ghazal in the eyes of Ghazal writers
• Gyan Prakash Vivek, the development journey of Hindi Ghazal