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The poetic exposure of A.K.Choudhary

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The poetic exposure of A.K.Choudhary is essentially and undoubtedly romantic. Romanticism runs wonderfully across his verses. The more we read the more we get intoxicated with the effect of the essence of romantic wine. Romantic ingredients lie scattered through all his poems especially those which deal with Love and Nature. In fact the romantic pregnancy of his poems is conceived to such an extent that a host of literary scholars feel free to call him a true poet of romantic tradition in Indian English poetry. He became Keats in the intensity of sensuousness, pictorial painting, combination of mythology, flying imagination, melancholic outlet, love of sylvan world and pastoral forms and lyrical beauty. He became Wordsworth in the deep poetic philosophy and doctrine of the adoration of Nature. Like Wordsworth he finds the solace of life from the caring and lovely sylvan nature. This is powerfully witnessed in his poetic volumes Nature (2011). His poetry is like ‘a box where all sweets’ of romanticism ‘compacted lie’. (Bennet, 49) The blowing winds, the floating clouds, chirping birds, flowering rivers, incense bearing flowers, large canvas of meadow, spotted colours, jubilant moon, erected hills and mountains, dense jungles, rising sun, twinkling stars, moonlit and starlit night and all such things of nature consist of his poetic imagination. They are the fuels of poetic creation of verse amidst the materialistic degenerating winds blowing across the present environment. It is the beauty of nature which manifests itself in his poetic groves with a spontaneous lyrical fervor. It is the sacred nature which sanctifies his inspiration of poetry that powerfully makes a clarion call for natural order to turn this land of disgrace into fertile land for living being both biologically and spiritually. Love is treated as another wing to help the soaring of his romantic imagination. Sensuousness predominates over all his love poetry. His volume of poems ‘Love’ (2011) became the feast of romanticism combining the sensuousness and the sexual implication which are nothing but the inevitable law of nature.

Nature occupies a heavenly abode in the poetry of all ages. But the association with nature in the romantic poetry has almost become phenomenon. It is commonly accepted view that the Romantics were predominantly the nature poets. They wrote a great deal about nature. But they treated the things of nature variously. A.K. Choudhary sees to encapsulate all the eternal and spiritual blessing of Nature in his poetry. It is a source of eternal joy for his life. Nature is the treasury of his spiritual wealth and makes him the tireless lover of all that Nature offers to him. Nature becomes the haunt of his creative grove. The river, the meadows, the pastoral green farm give him comfort and pleasure as Wordsworth used to get the ‘soft inland murmur’ of the ‘rolling waters from the mountain springs’. (Bhattacharji, 94) The beauteous forms of nature, the landscape of Majuli became the yardstick of a love sick heart. Just by removing the veil of illusion and temptation of the limited mundane world when the poet peeps into the grand illuminating manifestation of Nature, his soul seems to be elated with a boundless happiness. The same feeling is reflected effectively with a racy style in his quatrain:

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“Nature is the divine treasury

Of Tom, Dick and Harry

That turns the century

For the old goose berry.”


The Sun and the moon

Shine for sanctification.” (Choudhary, 25)

The poet says:

“Nature is treasure trove and source of spiritual wealth with which I am attached to. To me Nature is friend, well-wisher and above all, a source of my spiritual sensibility where the insensitive chaps remain forever like the stranger. My sense organs feel delighted while I go on journey of Spring at Majuli. The treasure of love also lies in the lap of Nature. My heart leaps up on the eve of spring at Majuli.” (Nature, Preface, 1)

Majuli has become the holy land where the nature has poured down all her gift of beauty not only for the common folk but also for the man of poetic power. It became the inspirers of many a mused rhyme:

“Majuli’s satra and Brahmaputra

Steals the show for the aura

Of the Cenozoic era

Amidst many a cobra

On this land of cathedra.” (Choudhary, 32)

Here his poetry distinctly recalls Wordsworth who always seeks the inspiration and spiritual foundation of living from the Nature which to him is ‘all in all’. (Bhattacharji, 97)

Nature, to him, is the omnipotent force that pervades the life. It is that sublime force and superpower spirit that guides the course of the human beings in general and the poet in particular. The poet is always kept in tune with the clarion call of the festive natural world. Nature is the loving and caring mother of all living beings who are the foster children of nature. Poets of all ages have been shaped and nurtured by the nature and its varied objects and the poet A.K. Choudhary is marked with no exception of it. His heart remains at the very core greatly in sync with the tempestuous wind, roaring cloud, liven moon, lovelier flower, azure spring, mellow meadow, roaring clouds, glittering stars, stallion sun, running rivers, blooming buds, green pansy and spring fanfare. The staring spring, wintry cheese, lightning thunder of the rainy season and natural cacophony enthralls this poetic minstrel to a lot:

“Spring is the filter

Of natural pourboire

Enraptures the padre

Fide at amore.” (Nature, 1)

In an interview Choudhary opines his views:

“Nature is the universal code of conduct for all living beings on this planet that not only guides courses of life but also makes it speedy with morality from time to time. Natural beauty is the source of eternal joy for all of us.” (Singh, 57)

Here his attitude to nature prominently echoes the Wordsworthian philosophy which deifies the nature to spiritual level of the moral of the living being. Wordsworth in ‘Tintern Abbey’ says:

“………..well pleased to recognize

In nature and the language of the sense

The anchor of my purest thoughts, the nurse,

The guide, the guardian of my heart and soul

Of all my moral being.” (Bhattacharji, 98)

The perception of divine glory in the common natural things is the remarkable trait in his poetry. To him god manifests Himself in the different forms and shapes of the natural world. Nature is the earthly heaven where the poet truly does have the taste of manna dew. He is able to see the world through the celestial light of the glittering star. Nature becomes the granary of divinity for him:

“Nature cartulary

Is the divine granary

Like the glossary

Of the luminary.” (Nature, 42)

This light of divinity, like Wordswothian philosophy, replaces all the darkness of ignorance , oppression, subjugation, strife and sadness with a mystic delight which empowers the inward soul with an eternal spirit of divinity:

“The divine granary

Is the consectary

Of the inward glory

Against the dull sublunary.” (Nature, 46)

Again, the divine glory renders the man with an inward power which enables him to fight against all adversities and oddities of life of the ‘pestilence stricken multitudes’ (Bhattacjarji, 201):

“The inward glory

Of the starry luminary

Overwhelms the chill penury

Of Tom, Dick and Harry.” (Nature, 55)


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