I know. Sharma. O.P. Bhatnagar: Ccritic of a big heart. [Jaipur: Rachana Prakashan, 2006]. Pages xviii +164, price Rs.325 / - . ISBN 81-89228-13-7
Over the years, I have known O.P. Bhatnagar as a visionary poet who seeks reality, discovers the truth, and hints at new paths. He is always keen to rebuild humans and humans, destroy fossil values, and look for alternatives to the illusion of light. His creative and critical work seems to me to be a stimulus to collective action.
But when I read his last episode of poetry "Cooling the Fire of Darkness" [2001], I was surprised to find that he was unusually negative, frustrated, and hopeless; perhaps, it was covered by "Synthetic Life Summary". However, when he thought: "We have a history, many of which are knots / before an Indian poet in English / just like the Eskimo trapped in the desert" [Cooling the Flame, p. 61], he sounds It is true. Some of the conclusions he had previously reflected in the article, such as "East and West meet British English poetry", "Today's New Indian English Poetry", and "Death and Sarrogini Naidu's Poetry".
Bhatnagar really cares about the power and future of Indian English poetry, and is indeed a big heart critic, such as I.K. Sharma wants to call him. OP Bhatnagtar: "The Critic of the Big Heart" is Sharma's tribute to OP Bhatnagar's genius. His literary vision focuses on the promises of many new poets, novelists and dramatists, giving the Ezekiel Indians the authenticity of English writing. that power. [See "Today's New Indian English Poetry"]. O.P. Bhatnagar also explores independent authors and critics to highlight their views.
Although it is regrettable that "established" poets and critics have denied O.P. Bhatnagar's recognition of the cause of promoting marginalization, however. Sharma evokes a fond of his connection with O.P. Bhatnagar, showing the inner strength of the late poet critic "to nourish ordinary grass" without destroying anyone [p.xvii].
As a considerate reader and critic, Sharma collected ten critical articles published by O.P. Bhatnagar in the early days to write this book. His introductory content relates to "the most profound chord in our emotional existence", as Prema Nandakumar wrote, and he dedicated this book to him.
I fully agree that I.K. Sharma wrote on OP's life in Amaravati and Delhi on pp.xiv-xv: not only did his health create darkness around him, but the academic community in Delhi also abandoned him. No one noticed him.
I know. Sharma tried to call O.P. Bhatnagar "a rare and criticized critics", citing Prema Nandakumar [from her letter to him]. In the first article, Bhatnagar convinced us that poets like Toru Dutt, Aru Dutt, Romesh Chander Dutt and Manmohan Ghose wrote their medium in Indian history and culture. Tagore and Srio Robindo are passionate about their poetic content, not the medium, without any artificiality or alienation, "exile or process nostalgia or loss of identity in the country or language" in Nissim Ezekiel, R. Parthasarathy or AK La Manukin. Kamala Das, I.K and other poets Sharma, Narsingh Srivastava and Jayanta Mahapatra wrote the feeling of "participating in creative behavior" rather than a demonstration of "Western attitudes", patterns or expressions.
In the second article, Bhatnagar mentions the naturalization of English, or the English localization that Braj B. Kachru calls, by several new poets "unspoiled emotions" such as Baldev Mirza, I.K. Sharma, Pravin A. Parikh, R.K. Singh, T.R. Srinivas, Mukund R. Dave, Niranjan Mohanty, Krishna Srinivas, Mahanand Sharma, D.V.K. Raghvachrayulu and many others. O.P. Bhatnatar [p. 43] points out that those who "keep in touch with a large number of new Indian English poetry today will not be shaken by the recognition that its language and aesthetic power are real and natural."
The third article discusses "death," which is a major concern in Batnagar's own poetry. Here, critics reflect the deaths of Sarojini Naidu and Sylvia Plath, Emily Dickinson, Rainer Maria Rilke and Adriene Rich. Sarojini Naidu sees objective death as a pleading of life [p. 51]. As he pointed out: "In a political-metaphysical self-sacrifice, surrender and painful philosophy, poetry that refuses death is for higher reasons, leading to the variability and unity of failure with infinite and higher existence. "[p 0.54].
The fourth article examines Indian political fiction in English "against its own political history and the logic of growth" [p. 58]. He discussed Murugan The Tiller [1927] of K.S. Venkatramani, who first proposed the ideals of rural reconstruction and rural economics in Gandhi. Bhatnagar also mentions Venkatramani's other novel "Kandan the Patriot" [1932], in which he reflects Rajhap Rao's Kanthapura, Mulk Raj Anand's Untouchable, Coolie, Two Leaves and a Bud and the Sword and the Sickle, R.K. Previously promoted the Gandhian ideology or Satyagrah. Narayan is waiting for Mahatma, and B Rajan is The Dark Dancer [1958], which sees politics as a way of life and faith. These novelists stand in stark contrast to others who were moved by the Indian tragedy. Important among them is the bus train of Khushwant Singh and Azadi of Chaman Nahal.
Bhatnagar also reflects the lack of political order in Gandhian values, as Manohar Malgaonkar's A Bend in the Ganges, Bhabani Bhattacharya's Ladakh's shadow and Nayantara Sahgal's description in Chandigarh's Strom. Indian political novelists have realized the "sustainable politics of poor politicians", just as they found meaning in Gandhi's humanism and secularism [p. 77].
Bhatnagar's review of more than a dozen novelists is profound and thorough. As people noticed when Manorama Modak's single is a wheel, this is the subject he explored in the fifth article, O.P. Bhatnagar reads novelists with sympathy and history. His view of VA's research by Shahane's Prajapati against the sixth article "The Image of India" is thought-provoking because the narrative aims to rebuild the spirit and vision of India's unity, despite its caste-prosperous social structure and disappointing contemporary reality. The irony is that, contrary to the mythical Prahapati, the modern Praia Patis is a power seeker, addicted to all kinds of violence. However, I agree with Bhatnagar's point on pages 107-109: Shahane's humanism is questionable.
The seventh article explores Indian short stories in the "colonial encounter" phenomenon of Mulk Raj Anand, Manohar Malgaonkar, Raja Rao and Ruth Prawer Jhabwala.
In the next article, O.P. Bhatnagar pointed out that Jawaharlal Nehru failed to inspire literary imagination, even though Shaha's Prajapatati seemed to be built after the vision of Nehru. "Nehru and English-Indian Fiction" is one of the best essays in the volume, an extension of the sixth article, cleverly placed before the "Gandhi English in Indian Drama".
In fact, Gandhi has a large share of Indian English novels, but few people encounter Gandhi in the drama. [I hope OP Bhatnagar is alive to watch Gandhigiri of Lage Raho Munnabhai!] The earliest image of Gandhi appeared in Bharati Sarabhai's poetry "People's Well" [1943], followed by KS in the 11th year after the death of Mahatma, Randappa's Gandhiji Sadhana. Gandhian's ideas also appeared in the legal counsel Khwaja Ahmad Abbas, Asif Currimbhoy in the truth experiment, Lakhan Deb in the murder of the prayer meeting, Shiv Kumar Joshi, who is never too long, R. Javanthinathan in Indian custody, MV. Mahamah's Ramazama and Gian Sinman of truth and tears. All of these playwrights show that Gandhi "is not dramatic, but the absolute image of truth, kindness, courage, justice, non-violence, abstinence, sympathy, faith, sacrifice, and universal wisdom" [p. 150]. The last article on the murder of Lakhan Deb at the prayer meeting and the murder of T.S. Eliot in the cathedral emphasizes that Indian dramatists provide a more effective model of human values than humans. Elliott.
O.P. Bhatnagar, as the pillar of Indian English writing, has an intrinsic belief in Indian English writers, so the book was produced very imaginatively. His de texte critical analysis, without tolerating others' views, has been well developed logically and convincingly presents a forward-looking mentality. His contribution to the Indian writing career will always be remembered as positive, powerful and valuable. I know. As an editor, Shama has made another major contribution to Indian English writing and is commendable.
Orignal From: O P Bhatnagar - A Big Heart Critic - Book Review
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