दिव्य नर्मदा : हिंदी तथा अन्य भाषाओँ के मध्य साहित्यिक-सांस्कृतिक-सामाजिक संपर्क हेतु रचना सेतु A plateform for literal, social, cultural and spiritual creative works. Bridges gap between HINDI and other languages, literature and other forms of expression.
In English literature free verse is most preferred form in poetry. Formlessness in poetry facilitates the poet to express himself without worrying for prosodic particulars (meter, rhythm, and rhyme etc.). The global poetics is placing increasing imphasis on the mind poem in place of the page poem. The spark of a poem ignites in the mind of poet / reader as oppose to the shape it takes on the page.
English being a global language has many different lingual forms, vocabulary and pronunciation in different parts of the world. Hence, English poetry in different nations have different influences of local dialectics end poetry forms. Main forms of page poems are Acristic Poem, ABC Poem, Cinquain Poem, Circle Poem, Concrete Poem, Couplet Poe, Diamante, Haiku, Limerick, Name Poem, Ode, Parody Poem, Quatrain Poem, Sonnets, Who-What-When-Whwre-Why Poem etc. Poets try to follow local poetry forms in English as for as possible though can't follow completely in all aspects.
Historicity in poetry is not same in different parts of the globe, is differs and effects the English poetry in different ways. For example while writing English Doha the Gan-niyam of Hindi pingal can not be followed, though in couplets padant-tukant (similar pronunciation in the end of lines) can be followed up to some extent. Similarly in English Gazal radeef (padant) can be maintained up to some extent but to maintain kafiyaa (tukant) is not always possible. Free verse facilitates the poet to concentrate over the thoughts and style.
Modern English Poetry represents the disordering and mixing of styles. One may call it fusion as in the field of music & dance as oppose to pure forms different mixed forms are more popular. In Chinese poetry Hu Bashi the first proponent of Chinese Poetry drawn following guidelines in 1917.
2. Do not imitate ancients
3. Observe grammer
4. Do not groan when not sick
5. Get rid of cliches & formulaic expressions
6. Do not use illusion
7. Do not observe parellelism
8. Do not avoid colloquial words & expressions.
In present times grammer bent beyond it's traditional constraints, substance depends on poet's sensibilities.
In America L=A=N=G=U=A=G=E school redefined the semantic presentations of poetry and said Poetry is a materialization of language. According to Jean-Paul Satre 'Language is meant not for poetry in which words are treated as things but is meant for grasping the world, bringing it under control and redeeming it.
French poet Mallarme claimed that a poem is nothing but the words. Burns is in between the two opposite camps - fir him poetry is a means of resisting the cognitive appropriation of language.
American critic Elder Olson rightly observed: 'The chair is not wood but wooden, poetry is not words but verbal.' If so then it is possible to translate or reincarnate a poem in another language and it becomes possible for a poem to to be adopted to newer forms. This is present functionalist and not formalist view of poetry. Here poetry becomes a tool in bringing social, economic and political changes to masses inspite being study material for few.
Poetry in modern age is not only a literal activity but also a means of social, political and economic reforms. In a country like India Poetry reaches from the richest class of society to the poorest one at a time and leave different effects on different classes of the people. In this age of economic and social revolution poetic currency i.e. currency of thoughts works efficiently in ways more than one. It is most powerful instrument of intellectual trade and sociopolitical change. In the same time it is an art that must be current with times. In present era of social-political-economic reforms and changes the poetic currency must be at par with time. In this era of multidimensional activities and developments across the sphere as well as across the nation the role of poetic currency becomes most powerful. Hence, the poetry must reflect multiplicity of the social, economic, religious, cultural and political heritage and requirements at the same time.
The effect of poetic currency can very easily be seen and valued in the mass meetings of different leaders and public representatives. As compare to individualism in prose fiction, the poetic current cuts the bindings and make the public feel togetherness. This is what make difference in the addresses of a party leader without public base and a mass leader with public base. Time witnessed this poetic essence at the most in Netaji, Nehruji and Atalji whereas minimum with Devegaudaji and Soniaji. Present dynamic prime minister Modiji added a new dimension to it. In place of poetic slogans (Indepence is our birth right -Lokmanya Tilak, Jay Hind -Netaji, Satyamev jayate- Nehru, Jay Jawan Jay Kisan -Shastri ji, Garibi Hatao -Indira ji). Modiji added poetic equations to it as and when required. For example 3Ss = Speed, Space & Scope, 3Ps = Population, Power & Project, 3 Ds = Democracy, Demography & Demand.
In present socio-political scenerio the poetic currency bridges the gap in between the policy maker Government and the ultimate objects common people.
1. Dr. Sadhna Verma, MA, PhD, Asstt. Professor, Deptt. of Economics, Govt. Mahakaushal Autonomous College for Arts & Commerce, Jabalpur, m. 8085387320.
2. Er. Sanjiv Verma 'Salil', DCE, BE, MIE, MA (Economigs & Philosophy), LL.B., Dip. Journalism, Ex. Divisional Project Engineer MPPWD. -samanvayam, 204 Vijay Apartment, Napier town Jabalpur 482001, m. 94251 83244 Email: firstname.lastname@example.org
Dr. Jitendra Arolia Editor-In-Chief Research Scholar- An International Refereed e-Journal of Literary Explorations, +91-9926223649