Why did kashmir dominate Shahid's poetry?
Answers
Answered by
1
hope help u
As violence and fear dominate life in Kashmir, expression through prose has become dangerous. Instead, people are resorting to poetry as the only way to reveal their pain, reflect their anguish and document the trauma of hidden tragedies.
In the process, the contours of Kashmir's poetry have changed. The stories of romance have been replaced by tales of bloodshed.
Irises, a token of grief and mourning that are traditionally grown in Kashmir's graveyards, are now the central metaphor rather than an idyllic image of the cold peaceful breeze on Dal lake - an emblem of Kashmir's natural beauty and once a favourite honeymoon destination
As violence and fear dominate life in Kashmir, expression through prose has become dangerous. Instead, people are resorting to poetry as the only way to reveal their pain, reflect their anguish and document the trauma of hidden tragedies.
In the process, the contours of Kashmir's poetry have changed. The stories of romance have been replaced by tales of bloodshed.
Irises, a token of grief and mourning that are traditionally grown in Kashmir's graveyards, are now the central metaphor rather than an idyllic image of the cold peaceful breeze on Dal lake - an emblem of Kashmir's natural beauty and once a favourite honeymoon destination
jasveersinghrap7f82w:
grt keep it up..!
Answered by
0
1Hey mate here is your answer _________
✌✌✌✌✌✌✌✌✌
Understanding Kashmir through the Poetry of Agha Shahid Ali
As a poet, Agha Shahid Ali (1949-2001), the well-known Kashmiri-American, had a
conspicuous allegiance to the aesthetics of art. However, in giving prominence to this
undeniable facet of his poetry, critics, in the words of Claire Chambers, have “soft-pedalled
the political message” of Agha Shahid’s poetry (1). Agha Shahid Ali comes across as a poet
who is intensely engaged in the charged politics or the tragic circumstances of his
motherland. The feature of his poetry lies in its brilliant combination of the aesthetic and
political. One is reminded of Prem Chand’s famous remarks, “We have to change the
standards of beauty” [Hamein husn ka mayaar badalna hoga], made at the opening
Progressive Writers Conference in Lucknow in 1936. The tension between the personal and
the historical generates new literary paradigms in Shahid’s poetry. It is here that Agha Shahid
takes the tradition to a new manifestation where his poetry can be studied, in the words of
Barbara Harlow, as “actively engaging in the historical process of struggle against the [forces
of] oppression, and assert thereby [its] own polemical historicity” (Harlow 37). Scholar and
critic, Professor M L Raina’s observation that Agha Shahid “has no ideological wares” comes
into contention. Shahid is a witness, but this witness is not a “dehistoricized” witness, just
poignantly reflecting on the horrors of human condition and existence. Agha Shahid is a
chronicler of pain; but this pain is not a “dehistoricized” pain. The waai
waai(suffering/lamentation) in Agha Shahid’s poetry, or, for that matter, the waai waai of
Kashmir of 1990s cannot escape its immediate situatedness or circumstances; it is, by no
means, an ahistorical or an existential cry articulated in perennial agony of human depravity.
While being part of a historical process, Agha Shahid’s poetry is “taking sides” against the
forces of brutality, injustice, or oppression. Agha Shahid’s poetry is more akin to the poetry
of the post-1948 Palestine, which, according to Palestinian poet, critic, novelist, and martyr,
Ghassan Kannafani, “emerged with a unique feeling of profound sadness more commensurate ... hope it helps you✌please mark me brainlist friend
✌✌✌✌✌✌✌✌✌
Understanding Kashmir through the Poetry of Agha Shahid Ali
As a poet, Agha Shahid Ali (1949-2001), the well-known Kashmiri-American, had a
conspicuous allegiance to the aesthetics of art. However, in giving prominence to this
undeniable facet of his poetry, critics, in the words of Claire Chambers, have “soft-pedalled
the political message” of Agha Shahid’s poetry (1). Agha Shahid Ali comes across as a poet
who is intensely engaged in the charged politics or the tragic circumstances of his
motherland. The feature of his poetry lies in its brilliant combination of the aesthetic and
political. One is reminded of Prem Chand’s famous remarks, “We have to change the
standards of beauty” [Hamein husn ka mayaar badalna hoga], made at the opening
Progressive Writers Conference in Lucknow in 1936. The tension between the personal and
the historical generates new literary paradigms in Shahid’s poetry. It is here that Agha Shahid
takes the tradition to a new manifestation where his poetry can be studied, in the words of
Barbara Harlow, as “actively engaging in the historical process of struggle against the [forces
of] oppression, and assert thereby [its] own polemical historicity” (Harlow 37). Scholar and
critic, Professor M L Raina’s observation that Agha Shahid “has no ideological wares” comes
into contention. Shahid is a witness, but this witness is not a “dehistoricized” witness, just
poignantly reflecting on the horrors of human condition and existence. Agha Shahid is a
chronicler of pain; but this pain is not a “dehistoricized” pain. The waai
waai(suffering/lamentation) in Agha Shahid’s poetry, or, for that matter, the waai waai of
Kashmir of 1990s cannot escape its immediate situatedness or circumstances; it is, by no
means, an ahistorical or an existential cry articulated in perennial agony of human depravity.
While being part of a historical process, Agha Shahid’s poetry is “taking sides” against the
forces of brutality, injustice, or oppression. Agha Shahid’s poetry is more akin to the poetry
of the post-1948 Palestine, which, according to Palestinian poet, critic, novelist, and martyr,
Ghassan Kannafani, “emerged with a unique feeling of profound sadness more commensurate ... hope it helps you✌please mark me brainlist friend
Similar questions