Latest news with #ArbindKumarChoudhary
Hans India
16 hours ago
- Entertainment
- Hans India
Exploring poetic profundity
Arbind Kumar Choudhary is a poet in a thousand—one who refuses to become a mere puppet to any writer or stylistic convention, as he frequently asserts in interviews. A true suitor of the poetic world, he plays with words, styles, proverbs, techniques, and other poetic devices as if they were the erogenous zones of his beloved. His abundant use of phrasal, proverbial, mythical, pictorial, explored, and colloquial language, combined with a racy style of versification, has earned him the distinct label of 'Arbindonean' in the ideal world of poetry. The anthology 'Arbindonean Literature: A Critical Perspective' contains 17 striking critical papers by prominent professors, including one interview, offering deep insights into Choudhary's poetic craftsmanship. Prof. S.C. Dwivedi observes that Nature serves as the universal constitution that fills Choudhary's heart with joy and molds his poetic life towards perfection and spiritual vision. Rivers, lakes, jungles, meadows, clouds, stars, plants, animals, and flowers glitter across his nature poems, establishing him as a true poet of Nature. Terms like Majuliscape, riverscape, islandscape, skyscape, and other rural sceneries recur throughout his poetry, reminiscent of the Romantic poets. Imagery such as moonlit nights, starlit skies, hen nights, and glittering springs stir deep emotions in sensitive readers. His concept of love transcends time and space, shining like Shakespearean stars. He also critiques modern concepts of marriage, gigolos, commodified relationships, lesbianism, and homosexuality as unnatural deviations from nature. Prof. Mahashweta Chaturvedi, poet C.R. Roy, and Prof. Mahendra Bhatnagar are among the ardent admirers of Arbindonean sonnets. Prof. R.A. Singh remarks that Choudhary's ideas, style, and thoughts are wholly his own, solidifying his place as an original figure—an 'Arbindonean'—in English literature. His unique use of phrasal words such as full-throated perverse and sworn friend, along with new coinages like Ramariam, lovearium, and loveology, as well as his use of colloquial and compound words, justifies the title 'Phrasal King' of Indian English poetry. The intensity of phrasal expression in his verses has inspired a worldwide following of phrasal verse enthusiasts. Western mythical figures—Mary, Helen, Jupiter, Cynthia, Adonis, Jove, Melpomene, Terpsichore, Isabella, Venus, Phoebe, Demeter, Mercury, Oestrus, Zeus, Scylla, and many more—populate his poetry from beginning to end, earning him the title of 'MythicalMaster' in Indian English literature. As Prof. Mahendra Bhatnagar affirms, his mythic command is unmatched. The various facets of Arbind Kumar Choudhary's poetic art speak volumes about his refined poetic sensibility, intense passion for exploring the human psyche, and an authentic metaphysical vision. He is undoubtedly one of the most promising poets of this generation, destined to earn acclaim for himself and bring distinction to Indian poetry in English. His poetic collections—such as 'Melody', 'Love', 'My Love', 'Loveoid', 'Loveoscope', and 'The Poet'—demonstrate his mastery of language and the maturity of his artistic voice. Through his poetry, he reflects on the modern individual's ordeal in a world bereft of empathy and ethics, yet ultimately advocates for universal brotherhood and love. Choudhary's romantic essence can be detected throughout his work, shaped by the influence of the Romantic poets, especially John Keats. As Prof. M.P. Singh notes, his Keatsian touch is evident in both style and substance. Having been honored with numerous literary awards, Arbind Kumar Choudhary stands as one of the most versatile poetic geniuses to emerge from the fertile literary soil of India. His works are richly layered with proverbial and pictorial expressions, emotional and satiric tones, free and rhymed verse, and mythical, ethical, and historical references. Lyrical brilliance, emotional intensity, and Spenserian grandeur light up his verses. Choudhary's poetry is more vocal than sound, more fragrant than flowers, shinier than the sun, and more glittering than stars. He pioneers innovative poetic features—rhymed verses, mythic blending, new word formation, and a unique poetic temperament—establishing himself as a true 'literary drunkard' in the best possible sense.
Hans India
11-05-2025
- Entertainment
- Hans India
The Mantra of Mother India
'Mother India' has been remarkably authored by the phrasal monarch Arbind Kumar Choudhary and comprises 99 Indianised versions of Arbindonean sonnets. In this breathtaking anthology, cultural culmination, mythical monarchy, patriotism, spiritual sanctity, and lyrical outbursts bloom and zoom from one sonnet to another with great poetic precision and vision. Most of these Arbindonean sonnets contain three rhymed quatrains and one rhymed couplet, which bring to light the fusion of phrasal words, artfully woven like the beads of a garland. As we delve into this engaging work, we find a painterly depiction of a strife-stricken society that highlights the greatness of Mother India. The inclusion of mythical gods and goddesses lays fertile literary ground for India's mythical monarchy to shine globally. Themes of camaraderie, cultural synthesis, and above all, the spirit of Vasudhaiva Kutumbakam, elevate India as a superpower of humanity. In this work, the Father of the Nation, Mahatma Gandhi, is portrayed as the messiah of the downtrodden and voiceless, while Sardar Patel is depicted as the architect of India's unification. Vinoba Bhave's Bhoodan Movement is equated with the greatest movements in Indian history, while Subhash Chandra Bose is glorified as a man of iron—mighty and majestic. India, heralded and addressed by names such as Hindustan, Aryavarta, and Jambudweep, has remained a sacred land of gods, goddesses, saints, messiahs, gurus, and incarnations since time immemorial. The book's poetic brilliance shines through its rhymed passages, personifications, alliterations, assonance, striking imagery, phrasal clusters, and sensational presentation—making 'Mother India' a masterpiece in Indian English poetry. Buddha is revered as the celestial Sultan of Hindustan, while Mahavir enlightens the intellectual knights for the betterment of society. Indians are depicted as wise as Vidur amidst a world of Bhasmasurs. As a social critic, the poet presents socialists as selfish as Dhritarashtra. Consider this couplet filled with phrasal richness: 'The merchant of doom is he / Who breaks a butterfly on the wheel for the social butterfly?' Another couplet exemplifies alliteration: 'Pitambar of Porbandar / Perfumes the passage for the pauper.' Fruits like Ramphal, Sitaphal, Hanumanphal, and Amritphal symbolically revive India's cultural essence time and again. India is referred to as the mythical, cultural, historical, religious, and Yoga capital in one of the Arbindonean sonnets, crafted with poetic beauty. Life is portrayed as a treasury of misery on this virgin land. Shravan Kumar's filial love, Modi's diplomacy, Vibhishan's loyalty to Janakiraman, Ambedkar's struggle against untouchability, Savitri's ultimate sacrifice for Satyavan, the cultural river Ganga, the Kashinath dynasty, and many others leave behind an eternal fragrance. Vajpayee's uncompromising stand against corruption earns him the title of the king of morality in Indian history. Horse trading is portrayed as a curse to a man like Vajpayee: 'Like a bird of passage / Who embraces defeat from one vote for morality's sake?' The concept of love is captured poignantly in the couplet: 'What the eye does not see / The heart does not miss?' Indian cultural heraldry becomes the artillery of Choudhary's poetry amidst many a starry territory.
