There is a wave of mourning in the world of Hindi literature due to the absence of the contemporary name of Kedarnath Singh of contemporary poetry. In these moments, there is a trend to use some phrases such as the end of an era.
Thinking about the era of Kedarnath Singh (July 7, 1934 – March 19, 2018) in this trend, it can be seen very clearly that ‘Kedar-poetry’ is poetic to become an idiom against idioms.
The poetry of Kedarnath Singh is like a primary text for those who come in modern poetry and Kedarnath Singh is like a school. At an age one has to move beyond this, but unfortunately in Hindi poetry, Kedar-Kavya has created some such tradition, which has a lot of drop-outs. It seems like after Kedar-poetry he did not read anything.
In some macro sense, even after completing his studies from JNU, DU, BHU, AU, he does not appear to be ‘faster than fifth five’ in the world of poetry. One sad side of this priority is that it makes the devotee not a vagabond, but a devotee; Makes the student not incomplete
This is because Kedar-poetry is easy to admire, Kedar-poetry is not easy. This cannot be done. Because all his possibilities have been absorbed by his creator.
The first book of poems of Kedarnath Singh came in 1960 under the title ‘Abhi, Absolute Abhi’ and the second in 1980 under the title ‘Land is cooking’. These 20 years are the defining years of both Kedarnath Singh and Hindi poetry. In these, Hindi poetry became the form that is known today as modern or contemporary or mainstream poetry.
In these 20 years, all the necessary and unnecessary movements of Hindi poetry took place and poets like Muktibodh, Dhumil, Raghuvir Sahai were recognized. With this, what is there in the poem, what should not be said, what should be said, what should be said, how to say it, how not to say it… is all decided.
A Vital Role Played
But in Hindi, poet-making is not done by poetry in all situations. Metropolis and post-awards also play a notable role in this. After Kedarnath Singh, these 20 years neither came in the life of any other poet nor Hindi poetry. Meanwhile, under the pressure of his acceptance and popularity, Kedarnath Singh was engaged in establishing and establishing the ineligibility somewhere.
A personal episode is remembered here. It was a coup in the summer of 2013, a young Hindi critic received a prestigious award for criticism in Hindi that evening. He came from Agra and this afternoon he decided that he would return to Agra only after meeting Kedarnath Singh. He was also accompanied by another poet-critic of Hindi. Between these two was the author of these lines.
Climbing the stairs of Kedar-Awas, the poet-critic asked the author of these lines to touch his feet, because I touch him, he has been my guru – at Jawaharlal Nehru University.
Kedarnath Singh’s feet had come so close that there was no scope for touch. He had to be saved for some immediate urgency.
This person was the first meeting of the author of these lines with Kedarnath Singh. He recounted a memoir involving Lev Tolstoy and Vladimir Korelenko in that meeting, saying, once upon a time, Tolstoy was sitting in a literary gathering. In this gathering, his lovers, fans, followers, disciples and sycophants were full. Most of them were doing evil to Koralenko, the then young writer, that he criticizes you a lot and often calls you bad. The central personality of the gathering and the meeting i.e. Tolstoy was completely unaware that Korelenko is also listening to this sitting somewhere behind in this meeting.
Tolstoy reprimanded those who were condemning Korelenko and said, “Shut up, you guys, Korelenko is very dear to me and has written a good novel.” Tolstoy was referring to Koralenko’s new novel, The Blind Musician.
Korelenko became very emotional on hearing this and came to Tolstoy, tearing the meeting and said sorry to me, I am Korelenko. Tolstoy embraced Korelenko.
Kedarji said that later Koralenko wrote in one of his memoirs that I came to Tolstoy’s arms that day and felt that this was the safest place in the world.
There may not be national mourning over the death of Kedarnath Singh, but he has been witness to an era of poetry. He saw the mood of Hindi poetry changing and changing. His stature is like Tolstoy in Hindi poetry, I would not say this, I do not have that much of a status. It is the style and pastime of Namwar Singh and Vishnu Khare. They keep telling everyone like Rabindranath Tagore, Bertolt Brecht and Roja Luksemberg.
But it can definitely be said that Kedarnath Singh’s poem is the safest place in the world for us in this unsafe world, which will probably remain as safe as it is in this world.