The inner expedition in the course of heedful manifestation escorts a receptive mind to resolve incongruities of thought, emotion, occurrence, and action. This resolution often lures the poets to peep down their spines to find a way out. This labyrinth, if left unguarded, would further divide into lanes, but the poets, geniuses, and lesser gods delve unfathomably into the maze and explore the minutiae of the creative landscape. They carry with them memories from the very foundation of creation and run their experience through the vital pathways of sensory membranes. The transcendental ridge assists poets in becoming architects of their own destinies, which are frequently manifested as poetry, which serves as currency for them to survive in the mysterious city of imaginations. The current English version of Kashmiri poem: My Insanity is Hinting at Lal by Jinab Basheer Chiragh is one such attempt wherein, the bard is by means of his ‘collective karma’ anxiously adequate to perk up the needs of his society. The poem is an imprint of his uncertainties that he carts on his shoulders to find the solution. He has, like an insane entity, asked for the rational conclusion of his prolonged ailment from the “risen ones,” as he is well conscious of the fact that day-to-day matters can be better sorted on the podium of a refined soul.
Basheer Chiragh’s metaphors are brand new in texture but carry the ancient coarseness created by agony that his “individual karma” has experienced. So this poem is an overstretched canvas of his vital membranes, enriching conscious information to polish his enormous reservoir of standard and specific information. The poet has fashioned “elemental and evolutionary karmas” to seek the cause of the misery of his character. The poet has vividly crafted the centre of attention by displaying the sorry state, and the poet has administered inspiration into the sufferer’s very serum to combat situations in the same breath. The poem in the middle depicts Volta because the bard’s worldly torment has encouraged him to inquire about the meditational stance, as the brooding appears to the poet, at the very least, to be enlightenment. The voice in the poem too has produced a projection that initially promotes the agonised experience, but with the passage of time, this projectile approach has altered into a potential tone. Basheer Chiragh, like all mature poets, has evoked a sense of responsibility that calls for a simplified version of society. Since the poet has chosen Lal, as she has been attributed by carrying a garland of embers around her neck as a mystic principal of Habs-e-dam, to take stock of the situation, the poet is encouraging the mystic of Kashmir to come into view as the creditable source of vision. The poet wishes to visualise his untitled poems being titled by the mystic in order to see the rest of the poetic source in its hitherto unexplored form. On the one hand, the bard is sensitising his resources, while on the other, he warns him to stand firm because the society’s ailment may torment him beyond repair.
My Insanity is Hinting at Lal
I have turned insane, why have you been agonized over?
the heaven is disrobed
you are on your own
if you have the grit
come unfurl the wings
a close watch on the course of the moon has worn-out you
haven’t you be in close proximity to your much adored one
you are hanging about ‘imprisoning the breath’!
you have garlanded your neck with the basket of embers
would you proclaim Sirr ul-Israr !
let you step up
the unheard letters of my city shall make you weep
if at all you have ‘might’ grant them the voice
endow them the creditable source of vision
grant them appealing interpretation
offer them a title,
a form..!
Basheer Chirag’s poetry is jam-packed with fractured, ignorantly made universes. His poems represent a vast cosmic molecular dance in which the average man who has lost the ability to fully participate in life has been touched by his understanding. A simple man who has become entangled in a web of selective engagement is depicted by the poet. Chiragh’s suffering is shared by everyone because human desire has become a curse as an unwitting mission of self-destruction.
The flow of the poem is running like a cascade through the bedrock of the poet’s exposure to an unimaginable chasm of common narrative. The poem is an excellent example of enhancements and intentions to let the masses know that intentions alone can liberate one from agitation and negativity and leave an enormous impact on how one can craft his destiny.
The poem has set up a guideline for those who want to perform and elevate the downtrodden. Chiragh’s light has explored the recesses of negligence and lethargy. He has seen light at the end of the tunnel. His approach as a poet is optimistic, as he has not let his poetic energy go to waste but has tightly held the rope of mysticism for better yield. He is hopeful to get his voiceless voice registered for the sake of obtaining a theme that, to him, has been erased by the wheel of time. Reading Basheer Chirag’s verses is helpful for multiple reasons: he serves as a link with our roots; his identity as a general voice of his times is encouraging enough to lure the contemporary poets to ponder over his poetic growth; his metaphors and idioms seem to germinate from the soul of his own and don’t carry the odour of the barrow, which in many cases has spoiled many; and lastly, he has maintained a proper structure of the nazm that is a sign of a mature poet.
In addition to writing about their contribution, we need to read our Kashmiri poets in order to connect them with the voice of the world and give wings to their lyrical excellence. Considering my restrictions, I felt obligated to help them in some way.
ABOUT THE REVIEWER
Mushtaq B.Barq is a Columnist, Poet and Fiction Writer. He is the author of “Feeble prisoner, “ Wings of Love” and many translation works are credited to the author like “ Verses Of Wahab
