Poetry (Sindhi) (Post 1980) by 1980, the Impact of Social Realism and Grey Shades of Nai Kavita (New Wave Poetry) Waned and Fresh Phase of Sindhi Poetry Emerged

Poetry (Sindhi) (Post 1980) By 1980, the impact of social realism and grey shades of Nai Kavita (new wave poetry) waned and fresh phase of Sindhi poetry emerged. In this phase gloom of earlier Nai Kavita came to be replaced by radiant rays. Nai Kavita continued, but with an altered idiom and content. Along with noted Nai Kavita poets Anand Khemani (b.1933), Shyam Jaisinghani (1937 - 2009), Harish Vaswani (1940 - 2013), Vasdev Mohi (b.1944), Prem Prakash (b.1946), Namdev Tarachandani (b.1946) etc., estab lis hed poets of metrical poetry also ventured into Nai Kavita ; notable among them are M. Kamal (1925 - 2010), Arjan Hasid (b.193 0) and Krishin Rahi (1932 - 2007). They stamped their identity as poets of significance in this form too . Nai Kavita influenced entire spectrum of Sindhi Poetry but its influence on Ghazal form was deeper. Narayan Shyam (1922 - 1989) was considered a poet of delicate sensibility. He assimilated some finer elements of Nai Kavita in his Ghazals. Later, Azadia khanpoi Sindhi Ghazal ji Antholog y ( An Anthology of Post Independence Sindhi Ghazal - 2008) edited by Arjan Hasid highlighted many traits of new wave poetry. Ghazal has been important vehicle of expression for Sindhi poets. Vasdev Nirmal’s (1936 - 2017) Deewan - e - Nirmal (2014) (A Collection of Ghazals based on alphabetical order of Radeefs - refrains) was second Deewan after Lekhraj Aziz’s (1897 - 1971) Surahi ( 1966 ) (though Aziz had included other forms of poetry too in his Surahi ). Post 1980, many Ghazal collections appear ed, some of them being Arjan Hasid’s six collections including Sahitya Akademi Award (1985) winning Mero Siju (Soiled Sun - 1984) ; four collections of Gope Kamal including Sahitya Akademi Awardee book Sija Agyaan Buku (2011); other Sahitya Akademi award winn ing Ghazal collections being M. Kamal’s Baahi jaa Waaris (Inheritors of Fire - 1986); Vasdev Mohi’s Barfa jo Thahyal (Made of Ice - 1996) and Laxman Dubey’s Ajnaa Yaad Aahe (Yet in Memory - 2008) Continuing with content of post 1980 poetry, nature occupied imp ortant place in Sindhi Poetry. Poet s instead of being observers of terrestrial objects and celestial bodies became one with them to convey their reflections and feelings. Earlier poets depicted nature and carried allied sentiments, but poets and nature were two different entities. This was an important shift which determine d the changing contours of Sindhi poetry and underlined neo - romanticism in it. But in the first deca de of the 21 st century , the above mentioned trend of nature being centre of the content almost ceased to be pronounced. In this decade nature is no longer frequently alluded to. This shift is worth noting as well. In this period the attitude of the poet is different from that of ‘modernist’. It is rather, the very opposite of it. P oetry presents positive outlook towards life, it brings smile and hope even under inopportune circumstances. During this period four important Anthologies of poetry appeared: Sin dhi Nai Kavita ji Anthology (Anthology of Sindhi New Wave Poetry - 2009) edited by Prem Prakash; Sindhi Nai Kavita ji Choonda Tanqeed (Select Criticism of Sindhi New Wave Poetry - 2011) Edited by Namdev Tarachandani. Both collections encapsulated Nai Kavita (N ew Wave Poetry) and its critical evaluation; third was Praha khanpoi (Post Dawn - 2007; Anthology of Post Independence Sindhi Indian Poetry) edited by Moti Prakash, and fourth was Jadeed Sindhi Shairia jo Intekhaab (2011) (Anthology of Modern Indian Poetry - Sindhi - 1950 - 2010) Edited by Vasdev Mohi. Both of these anthologies included variety of metrical forms of poetry and also Nai Kavita . These four anthologies give a good peep into Sindhi poetry. Besides, during t his period, Sindhi poetry evolved some specific and special forms. Inder Bhojwani (1918 - 1992) had created an important poetic form - one line poem called ‘Tanhaa’ in the seventh decade of the 20 th century . This form is equivalent to half of a ‘Doha’ or ‘Sor tha’ . It has 24 ‘maatras’ and it adheres to the concept of ‘Yat’ (pause) also . This form found acceptance by many poets like Satish Rohra (b.1929) and he brought out entire book of Tanhaas (2005), similarly Ghanshyam Sagar also popularized this form with h is book Sipun Manjh Moti ( Pearl within Oyster - 2006). Prabhu ‘Wafa’ (1915 - 2012) evolved a form known as ‘Panjakara’ in his Sahitya Akademi award (1981) winning book Surkh Gulab, Surhaa Khwab (Red Roses, Fragrant Dreams - 1980) . In this form first line of ‘ Choupada’ (Quatraints) is repeated as a refrain and a form of five lines is created. Thus the effect of ‘Choupada’ is enhanced. Gopal Thakur ( 1940 - 2013 ) evolved a new form which consist ed only of four words in Haif Tinheen,Vatan Visaryo ( Damn Th em! Who for got Motherland - 2004). This form, called ‘ Chau - akhraa ’ is proving to be quite popular. Complete books of poems focused on a single character also have been written viz. ‘Mankkoo’ (Vasdev Mohi - 1992), Vaapsi (Coming Back - 1999) and Naeen Shuruat (New Beginning - 2015) both by Gope Kamal , are such examples. Beauty of the books is that, though all the poems are concerned with one single character, each of the poems is complete and independent in its elf . Besides in Sindhi poetry, Haiku is a variant from its original Japanese format as to its being three quarters of Sortha with its 11 , 13, 11 maatraas and Sortha’s usual rhyming scheme. A strong element evident in post 1980 poetry is creative use of language. There are many examples of n ew combinations and compounds , new constructions, moving assertions , and unique picturesque expressions, which rarely found place in the earlier Sindhi poetry. The language used by poets in their poetry is such that it has become a part of poetry’s nervous system. Due to this factor , creation appears to be breathing. The language, being in itself a potent vehicle of manifestation, poetry has now discarded the figures of speech, which were considered its ‘ornaments’ earlier. This period’s poetry does not dep end on adornments. Bibliography: Sindhi Sahit jo Mukhtsar Itihas (2016) by Kanaiyalal Lekhwani; Post Independence Anthologies of Sindhi Poetry referred to above and several literary magazines viz . Rachna Quarterly, Koonj bimonthly, Sipoon Quarterly, etc. Va. Mo. .

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