Tuesday, August 31, 2010

Poem featured on Asia Writes

http://www.asiawrites.org/2010/08/featured-poem-revelations-by-rk-singh.html

REVELATIONS

Widening cracks leaking roofs
choked drains in the courtyard
water logging and myriad
such small things make rains a pain

there’s no romance in rainbow
I can’t shape colours of morning
morning shapes my colour:

I’m the victim of my views
that shape my head each day
realities and yoga conspire

drinks and pills deride from clothesline
flowers and trees speak in grey
compost of years oozes no wisdom

whatever the poetry it stinks
idols on the beasts and cattle
overload the carriage
I can’t deliver the burden

prostrate and worship
touch the feet foolishness
make me small frustrate
sitting in the dust degrade

it’s long fog with blurred sight
virtually blind no seer
no revelations


--R.K.Singh

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Monday, August 30, 2010

Riza Laha translates some of my poems into Albanian











That autumn tree

from this window

looks like a young woman

naked

exciting birds

to come

kiss and play

tomorrow

when spring will return

she will be too lovely

to touch



Kjo pemw vjeshte

qwnga kjo dritare

duket si njw grua e re

lakuriq

qw eksiton zogjtw

tw vijnw

tw puthen, tw luajnw

neswr

kur tw thehet pranvera

ajo do tw jetw po kaq e afrueshme

pwr ta prekur





3



I feel her hyaline influx

in my deep love leaps

from the soul with subtle glows

her breath runs through my veins:

this vassal of the flesh blushes

as I drink the infinite in her





E ndjej zbaticwn qelqore tw saj

nw kwrcimet e thella tw dashurisw











4



I clasp your hands

and feel the blood

running savagely

through your arteries

in tulip silence



Unw shtwrngoj duart tuaja

dhe ndjej gjakun

qw tw rend egwrsisht

nwpwr arteriet

pwr t’u strukur

nw turliapnin e heshtjes



5



Is it the perfume

or your body

that makes the night

drunken?



your lush lips

ripple fire

in beautiful silence



your fragrance radiates

flowers and water



can I seek

my voice

in your breasts?



Wshtw parfumi

A trupi jot

Qw e ka bwrw natwn

Tw pirw?



Buzwt e tuaja tw harlisura

Gurgullojnw zjarr

Nw heshtjen e mrekullueshme





Aroma jote rrezaton

Lule dhe ujra



A mund ta kwrkoj

Zwrin tim

Mes cicave tuaja?





6

Blind

I see her beauty

deaf

I hear her melody

ignorant

I partake of her knowledge

poor

I share her wealth





in-drawn

her vision reigns my heart

yet the darkness of dust

veils my being

I don’t understand

the hidden words

though I sit

under her tree of love

she’s still away from me

just one pace

if I could take

I enter

the pavilion of eternity





edhe i verbwr

ia shikoj hijeshinw

edhe i shurdhwr

ia ndjej melodinw

injorant

ja, marr sa mund nga dijet e saja

i varfwr

e ndaj çfar kam me tw

sa herw shikoj piktura

vizioni i saj mw pushton zemrwn

tani errwsira e pluhurit

mbulon si njw vel qwnien time

unw nuk arrij t’i kuptoj dot

fjalwt e fshehta

derisa rri

nwn pemwn e saj tw dashurisw



Ajo - swrish larg meje

wshtw tamam atje

nwse do ta mbwrrij ndonjwherw

do tw hyja nw

tw pwrjetwsisw

shatorre.





7



The best poetry

is a woman

concrete, personal, delightful

greater than all



poezia mw e bukur

wshtw njw grua:

konkrete, personale, e hirwshme

dhe mw e madhja nga tw gjitha.



8



What is

this light

without rays

shining

in your eyes?



Çfar wshtw

kjo dritw

pa rreze

qw ndrin

nw sytw tuaj?

-------

mother's theresa poem






1

NWNW



E ndjej prurjen twnde qelqore

nw kwrcimet e mia misterioze tw dashurisw

qwnga shpirti me qw digjet pa u ndjerw

fryma e saj rend mes venave tw mia:

Ky vasal i tw skuqurws

ndwrsa unw pi pafundwsinw te ajo



2

KUR AJO SHFAQET ME NGJYRA TW NDEZURA



Dashuria wshtw burim

qw shpwrndahet nga trupi i saj

gjithandej me thirrje alegorike

duke ndriçuar vetveten

dhe mua

qw shkrihem i twri nw njw

sa mw shfaqet e me ngjyra tw ndezura

Ajo.





3

AROMA E SAJ E SHENJTW



Ndwrsa ulem tw shplodhem

nw pwr rrudhat e tw sajws

fytyrw

unw ndjej

tw skuqurwn e saj

qw flakwron nw sytw e mi

aroma e saj e shwnjtw

mw digjet pwrbrwnda;

njw detw me paqe

shumwfishohet

nw mwndjen time.





4

NW THELLWSIRAT E QWNIES SIME



Nw çdo minut

dhoma ime

ka prezencwn e saj;

unw e ndjej duke folur atw

nwpwr

tw qetwsisw

thellwsirat e mia.





5

ASNJW PWRGJIGJE, ASKUND



Unw nuk mund ta gjej atw

as nga trupi, as nga lwkura, as nga tw pwrkulurit e saj:

Parfumet gwnjejnw

sikurse bwjnw

tingujt e hymneve tw shnwjtw

nwpwr shpresa

qw nuk marrin pwrgjigje

kurr....



-- Ram Krishna Singh

Indi

Shqipwruar nga Riza Lahi









1

MOTHER



I feel her hyaline influx

in my deep love leaps

from the soul with subtle glows

her breath runs through my veins:

this vassal of the flesh blushes

as I drink the infinite in her





2

HER GLOWING PRESENCE



Love is efflux

from her body spreading

all roound the parabolic hue

enlightens the self

my being I merge

in her glowing presence







3

HER HOLY SCENT



As I repose

in the wrinkles

of her face

I feel her crimson

glow in my eyes

her holy scent

grows inside

a sea of peace

multiplies

in the mind







4

IN MY DEEP



The room has her

presence every minute

I feel she speaks

in my deep

silently









5

THERE'S NO ANSWER



I can't know her

fro the body, skin, or curve:

the perfume cheats

like the scred hymns chanted

in hope, and there's no answer


-- Ram Krishna Singh

Indi

Shqipwruar nga Riza Lahi


Ram Krishna Singh ka lindur më 31 dhjetor 1950 në Varanasi, Indi dhe atje është profesor universiteti , shef katedre, për shkencat sociale dhe humane. Jep Leksione për poezinë indiane në anglisht.Është recensent i 160 vëllimeve dhe autor i 36 librave të botuar. Është përkthyer në 20 gjuhë të huaja, si në frëngjisht, spanjisht, rumanisht, kinezçe, Siberisht, kroatisht, sllovenisht, japonisht, bullgarisht, gjemnisht, italisht, portugisht, greqisht, esperanto, në gjuhët tamil, penxhab, hindu dhe bangla.Profesor Ram Krishna Singh është antar i “UNESCO ALSED-LSP Netëork”;” All-India PEN”; “English Language Teachers’ Association of India”; “Ëorld Cultural Council Circle of Friends”, “International Ëriters and Artists Association”;“Ëorld Poetry Intercontinental” dhe “ Society for International Development”. I ka dedikuar një poezi edhe nënë Terezës.Është hera e parë që vjen në gjuhën shqipe dhe hera e dytë që vjen një cikël i tillë poetik nga India, pas përmbledhjes së të madhit Rabintronath Tagora

RIZA LAH






----------------

xxx

Kjo pemë vjeshte

qënga kjo dritare

duket si një grua e re

pa asnjë rrobë veshur

që eksiton zogjtë

të vijnë

të puthen, të luajnë

nesër

kur të thehet pranvera

ajo do të jetë po kaq e afrueshme

për ta prekur



xxx

Unë shtërngoj duart tuaja

dhe ndjej gjakun tënd

të rendë egërsisht

nëpër arteriet

për t’u strukur

në tuliapnin e heshtjes



xxx

Është parfumi

a trupi jot

që e ka bërë natën

të pirë?

Buzët e tuaja të harlisura

gurgullojnë zjarr

në heshtjen e mrekullueshme

Aroma jote rrezaton

lule dhe ujra

A mund ta kërkoj

zërin tim

mes cicave tuaja?

xxx

Edhe i verbër

ia shikoj hijeshinë

edhe i shurdhër

ia ndjej melodinë

injorant

ja, marr, sa mund nga dijet e saja

i varfër

e ndaj çfar kam me të

sa herë shikoj piktura

vizioni i saj më pushton zemrën

tani errësira e pluhurit

mbulon si një vel qënien time

unë nuk arrij t’i kuptoj dot

fjalët e fshehta

derisa rri

nën pemën e saj të dashurisë

Ajo - sërish larg meje

është tamam atje

nëse do ta mbërrij ndonjëherë

do të hyja

në të

përjetësisë

shatorre.


xxx

Poezia më e bukur

është një grua:

konkrete, personale, e hirëshme

dhe më e madhja nga të gjitha.




xxx

Çfar është

kjo dritë

pa rreze

që ndrin

në sytë tuaj?



xxx

Galiç nën diell

ajo po ndan

farët e bardha nga të verdhat

duke përshpejtuar mitrën e saj

e prap falënderon

që ishte gjallë



xxx

Në mënyrë misterioze

arrin t’i fshehë

të gjith pasionet e saja

duke vështruar drejt përpara

sikur nuk më ka vënë re .



xxx

Koha me shira

vazhdoi të gërryjë

guackën e vdekjes

pak nga pak

lanë pikturat

që kish fshehur fytyra

1

NËNË

Ky cikël që vjen më pas i kushtohet humansites shqiptare Nënë Tereza

E ndjej prurjen tënde qelqore

në kërcimet e mia misterioze të dashurisë

qënga shpirti me që digjet pa u ndjerë

fryma e saj rend mes venave të mia:

Ky vasal i të skuqurës

ndërsa unë pi pafundësinë te ajo

2

KUR AJO SHFAQET ME NGJYRA TË NDEZURA

Dashuria është burim

që shpërndahet nga trupi i saj

gjithandej me thirrje alegorike

duke ndriçuar vetveten

dhe mua

që shkrihem i tëri në një

sa më shfaqet e me ngjyra të ndezura

Ajo.


3

AROMA E SAJ E SHENJTË

Ndërsa ulem të shplodhem

në për rrudhat e të sajës

fytyrë

unë ndjej

të skuqurën e saj

që flakëron në sytë e mi

aroma e saj e shënjtë

më digjet përbrënda;

një detë me paqe

shumëfishohet

në mëndjen time.


4

NË THELLËSIRAT E QËNIES SIME

Në çdo minut

dhoma ime

ka prezencën e saj;

unë e ndjej duke folur atë

nëpër

të qetësisë

thellësirat e mia.


5

ASNJË PËRGJIGJE, ASKUND

Unë nuk mund ta gjej atë

as nga trupi, as nga lëkura, as nga të përkulurit e saj:

Parfumet gënjejnë

sikurse bëjnë

tingujt e hymneve të shnëjtë

nëpër shpresa

që nuk marrin përgjigje

kurr....

-- Ram Krishna Singh

Përzgjodhi dhe shqipëroi Riza Lahi

____________________________________________________________________________________

Riza writes in an email on Septer 29, 2010 to R.K.Singh and others:

Dear friends.
Coming from Italy, I could not find Any copy of “Oblisk” in all book shops of
Tirana (Albania), where I live. Maybe becouse of that nice poetic bounch
published in speaking edition of our cultural magasine. Let congratulate our
Indian friend Ram Krishna Singh for that especial contribute , and wish to
celebrate his birthday, at 31th of coming decembre with another succes like this
one, or bigger.
Ps. By the way, everybody who has any poem dedicated to Mother Theresa, in
English , may send only in coming week, becouse after that day, the publisher
of the book dedicated to Mother Teresa, mr Mehmet Gezhilli, will starte the
printing process.
In this collection published in “Obelisk” , it’s publisher,mr Roland Lushi, has
included and the poem dedicated to Mother Theresa, which will published again
in the speaking book.
Let repead again , as far as I am informed, as much as poems are published in
“Obelisk” , has been published in Albania only from Rebintronath Tagora – a
book. Hope to have in Albanian another book from Indian petic property .
With respects from Albania, Riza Lahi.
____________________________________________________________________________________

Again, on September 30, 2010, Riza writes:

friend
I think to send together the magazine "Obelisk" and the book.that means to wait three or four weeks.Otherwise, I will send immediately the copy of "Obelsik".
The publisher promised me to find a copy this couple of days.
were two pages and in the presentation was mentioned (You may see by your own in Albanian ) that it is the second time after R>Togora from Indian poetry ( I have translated and another Indian poet, but only a poem).
I should suggest to think together, how could we find the ways to publish complet your poetic book.
With deep considerations Riiza


___________________________________________________________________________________

I would consider myself lucky if my entire book is translated into Albanian and published there. Whatever earning is made out of such publication, I would love it to go to the charity of Mother Teresa or any other organization Rizas think best.
It is indeed very flattering to know that after the Nobel poet, Rabindranath Tagore, it is my poems from India that have been translated into Albanian
and made available to a larger audience in Albania.

--R.K.SINGH

Friday, August 20, 2010

My Sweetoo On His New Tricycle


My Sweetoo in the Garden




Labels:

Thursday, August 12, 2010

Poetic Style in Syed Ameeruddin's Poetry

Poetic Style in Syed Ameeruddin's Poetry

By



Rajeev Ranjan, M. Phil;

R. K. Singh, Professor;

M. Mojibur Rahman, Associate Professor;

Indian School of Mines, Dhanbad







Syed Ameeruddin has a considerable poetic output but he has not been academically explored by researchers and critics. Even various anthologies published in the last three decades have not given him the place he deserves. The study has been an attempt to reverse the trend by examining Ameeruddin's structural and textural characteristics.



Ameeruddin is a poet who reflects Indian sensibility in the choice of his themes, symbols and imagery, and use of the English language. He effectively Indianizes the medium at lexical and syntactical levels according to his thematic requirements and needs of communication. He coins new words by blending or collocating them with words of other languages such as Hindi, Sanskrit, Urdu or Arabic. His innovations in the form of local borrowings, calques, translations and code mixing or mixing of elements of Hindi/Urdu/Tamil language makes him distinctly Indian. In fact the way he uses the English Language for communicative purpose is indicative of his attempt to acculturate English language.



His semantic or syntactical attitude is at best pragmatic in the sense that his rhetoric is guided by his native literary and cultural context which values stylistic embellishment. It is perhaps for this reason that Ameeruddin tends to borrow words and phrases of Sanskrit, Arabic and Hindi and indulges in phrase mongering with polite diction and moralistic tone. He is on the whole readable and communicable and his poems echo deeper meaning and broader vision even as his metaphoric expressions make him complex, thoughtful and serious. His sincerity of purpose, that is, a spiritual self discovery through the discovery of the country's spiritual past, however, is unquestionable.



Syed Ameeruddin is rich in his expression of Indian spiritual influences, Indian myths, legends and culture, and the socio political condition prevailing in the country. The poet himself believes in expression of Indian rich tradition and culture.



Syed Ameeruddin writes with a social and moral purpose with a view to changing the fabric of the society where man recognizes man, religion recognizes religion, and people abide by the concept of oneness of humankind. His poetry supports values of humanity, peace, love and harmony, just as the poet insists on respect and preservation of nature and ecological balance.



Ameeruddin's poetry revels with rebounded thought rather than spontaneous thoughts. He deliberately gives a twist--spiritual or metaphysical--to the various aspects of his vision. His adjectives tend to overload the texture of his poems. A poem like ‘Eloquent serenade' echoes Walt Whitman with the Waste Landish awareness. He mixes up so many things in a single poem that it appears more a padding than a genuine poetic feeling. His poetic flights cross over a wide spectrum, cycling and recycling with linguistic liberty and verbal profundity.



The present study seeks to explore Ameeruddin's poetic style. Style is the linguistic expression or literary manner in which the poet couches his views, ideas, thoughts, messages and visions. It includes discourse features of the poem as gleaned from the form, symbol, imagery, versification, mood, attitude, tone, diction, language, etcetera. As Vinayak Krishna Gokak says, "Style is really the exploitation, by the writer or poet, of a few of the possibilities selected out of many, under each of the following heads, to give a faithful and sensitive expression of his vision : language; rhythm; thought; imagery; mood; and attitude."1



With his predilection for complexities of ideas and thought, and a tendency to turn inward, Syed Ameeruddin tends to be complex and evocative in his use of language. Sometimes he leaves his sentences incomplete, piling phrases upon phrases, or using sentence fragments in his attempt to construct impressive epithets or metaphors that mix with his narrative, descriptive or interrogative explorations. For example:



"Life, a criss-cross crisis

Amidst dwindling destinies

Delirious dreams

And diabolic disillusions.



World, a frenzied humdrum existence

of banality and triviality

of nauseating human experience

of cerebral jigsaw puzzles

of bated breath and

Spiritual destitution.



Reality, an elusive enigma

Between here and hereafter

A ravishing rainbow

Between life and death

A hazy horizon

Between material and metaphysical.



Deliverance, a dialectic

Of existence and evangelic

Poised on the horns of a dilemma,

The ambiguity and the ambivalence.



Then, what is Nirvana ?

Reflecting on the smoky layers

Of gloom and solace,

and seeing -

meaning in ambiguity."2



Sometimes his sentences are very short and simple, but ideas gradually turn complex:



"I am a wanderer. I am a nowhere man.

Gypsy river runs through my bones.

I walk with the thunder,

And share its magnificent pride.

I am a wanderer. I have a goal. A purple purpose.

Long is the Journey. I must wander.

Dark are the woods. Its time for me to go ...

I have long buried the memories

Of fractured sunsets

And long forgotten lovetimes.



My search stormed my quest quaked.

My secret grief of

Humanity and existence rigmaroled : ..."3



In his earlier poem he uses a lot of ellipses and exclamations which suggest some kind of a tension which he seeks to resolve pursuing his thought structure in a context. In fact, through a complex of thought pattern, imagery and linguistic devices, Ameeruddin seeks to add depth and force to his poetry. He may appear simple at some stage but soon he becomes complicated, intentionally or unintentionally, as he manoeuvres his way through his struggle of the mind, body, and soul. There may be some flashes of insight here and there but in most of the poems one notices a sort of surrealistic rambling, nostalgic sentiments and subjective musings as noticed in several poems, including his ambitious collection Visioned Summits (1995) .



The poet's style may remind one of the style of Krishna Srinivas on the one hand and T. S. Eliot and Walt Whitman on the other. Most of his metaphors, imagery and phrasal constructions have distinct influence of Krishna Srinivas just as when he uses Sanskrit, Arabic or Hindi words, he seems to be recreating the Waste Landish style in certain poems. One notices a lot of culture bound expressions such as Tandava, Nirvana, Moksha, Maqfirat, Dharma, Adharma, Iswar, Allah, Buddha Poornima, Bodhi tree, Mahaprasthan, Aham Brahman, daridranarayan, Anal Haq, Moksha, etcetera. These are typical Indian culture words for which synonyms are not available in English.



Ameeruddin also presents several mythical characters. He uses either the name of deities or other religious or legendary characters : Ram, Krishna, Shiva, Parvathi, Radha, Shakuntala, Urvasi, Menaka, Rambha, Guru Nanak, Mohammed, Kabirdas, Khawja Ajmeri, Ram Krishna, Vivekanand. Gandhiji, etcetera. All these are direct examples of Indianness rather than Indianization because these are the proper names in Indian context. The poet also uses proper name of places : Kurukushetra, Gurudwara, Masjids, Kailasanatha, Ayodhya, Bombay, Punjab, Kashmir, India, etcetera.



In his poetry we also find register bound lexical items based on Indian social culture such as shankh, mehandi, patni, pati-dev, ardhangini, dampatya, izzat, khandan, dulhan, rathyatra, padyatra, salam, Ameen, om shanti. etcetera.



Ameeruddin also uses typical Indian adjectives for some well known iconic figures : ‘Maryadapurushottam' used for Lord Ram, or ‘Yugaprush' used for Ghandhiji and epithets like Niskama Karma and serva jana.



He hybridizes English as in ‘Bhakti Singers in the poem ‘My India' and makes plural of native nouns such as Yogis, munis, rishis, sufis, fakirs, masjids, avatars, etc.



The poet offers typical Indian collocations such as Ram and Rahim as in the poem ‘Carrion Carnage.' He seems to translate typical Indian expressions as in "interior of my soul", hidden dream", "moon floors", "bruised heart", "hunting memory", "hidden dream", "purple moment", "hissing hope", "Dark savage sky", "lilting lips", "smithereen realities", "Snaky arm", "Fugitive moon", "liquid moon", "Moon-bathed", "trembling moon", "dreaming eyes", "Opaque mind", "hungry arm", "Oncoming storm", "empty river", etcetera.



Sometimes Ameeruddin coins words like ‘halvesonned', ‘whirly', ‘wind', ‘twillighty dawn', twilighty tapestry, etcetera to express his unique thoughts.



Ameeruddin uses verbal sounds to create deeper impact through alliteration, euphony, and onomatopoeic often on the verge of mysticism:



"Again… Mysterious – Unheard--Unimaginable ...

Innumerable sounds of Distraction ... Broke out.

From that ... a deadly thunder bolt flashed ...

It roared ... roared ... roared ... thrice ...

Each uproar ... conveying a Supreme sense ...

Thrice it resounded ... with significant Meaning ...

BH... K... TI... YO... GA !!

...GNA... NA...YO ...GA !!

...KA...R...MA... YO... GA!!4





Syed Ameeruddin also makes use ‘Hyperbole' to show his emotional musing:



"My enchantress

You are my poetic quest

You are my souls search

You are my hearts longing

You are my minds fancy

You are my dreams diana

You are my emotions Radha

You are my passions Parvathi

You are my spirits Shakuntala ..."5



Ameeruddin writes poetry in free verse like other contemporary poets but for musical effect he creates internal rhyme, alliteration and assonance:



"A teacher, poet ; enjoyed the

Pleasures and pangs of being

A lover, husband, father, friend and foe."6



Here the poet creates alliteration through the repetition of |p| , |f| and |r| sound:



"The night light burned, and we slept

Keeping the love we have we had stored inside.

We undressed in silent submission

Into the rippling force of the whirlwind."7



Here the poet creates internal music through the repetition of |i|, |t| and |s| sound.



Ameeruddin's style is also in tune with poetic themes which widely stress the Indian thought and philosophy as enshrined in the Vedas, Upanishad, Gita, Quran, Buddhism, Sufism and Jainism.



The poet also uses several Indian mythical characters as well as symbol and imagery which reflects his serious outlook. The varieties of symbols and imagery he piles in various poems show his thought provoking concept and emotional and sentimental mindset.



Ameeruddin offers different moods in his poetry. Sometimes he looks as a philosopher to follow divine principles of ‘Bhakti Yoga,' ‘Gnana Yoga' and ‘Karma Yoga'; and sometimes he shows the mood of Nirvana. In love poems he depicts romantic and passionate mood and shows love and physical relationship to celebrate life as also to find the supreme bliss. In some other poems, Ameeruddin demonstrates a satiric and ironic mood to present his social consciousness. Thus, his different moods add variety to his poetry.



Syed Ameeruddin's poetic attitude is comprehensive. He echoes the path of universal brotherhood, Universality of God and human values. Keki N. Daruwalla opines, "Art has an aesthetic function. It gives the soul and your heart a different dimension. Religion and poetry came through the same upsurge of the soul."8 Syed Ameeruddin shows a similar attitude in his poetry giving to the soul and heart aesthetic pleasure. To quote R. K. Singh, Syed Ameeruddin's intellectual and spiritual response to the "present social debris" invites exploration of the part for a "New scintillating saga."9 The poet's intellectual and spiritual attitude makes him a poet of the high order who thinks about world peace and welfare of mankind. He sounds sincere.



Ameeruddin uses simple diction and vocabulary in his poetry. He avoids using complex words. Even in his concept of universal religion and brotherhood and philosophical ideas, Ameeruddin tries to be simple. As M. Mujeeb says," Mr Ameeruddin's diction is simple and lucid and his style sincere and effective."10 For example,



"Next morning we woke up

To the twilighty radiance of morning sun

Lilting, juvenile breeze of the dawn

Tickled us into fresh vistas of smiling grass

I held your dew-twinkling face

On my serene palms--

And saw you vibrant as new leaf

Fresh from the cosmic touch,

Newly plucked-- and washed in rain.

Then, I planted a fresh kiss on your rosy cheek."11



The poet enjoys experimenting with words and ideas, be it love, nature, family or philosophy. He is also form-conscious. Without a good and well constructed form to think about good poetry is impossible. Syed Ameeruddin mostly writes long and short descriptive poetry in the form of "Ode"12 Where he elevates and elaborates the theme of the poem in stanzaic structure. "Value of Timelessness", "Dome of Gold", "Peace in the age of Space", "The Dreadfull Doom to Come", "Where all this leads to ..." "Despair of our Age, Life is a mysterious ... mystery," ‘A craze for supreme beauty,' "Life is a Journey,' ‘My India', "Eloquent Serenade", "Carrion Carnage", ‘Blessings' are some examples of his craftsmanship as an ‘Ode' writer.



Thus, we find that Syed Ameeruddin's style is simple and effective. He has an understanding about form and structure but sometimes length of certain poems make them thematically weak and loose vis-a-vis the compactness of his phrasal construction elsewhere. But his style is notable as far as Indianisation of English is concerned. The way he uses the English language clearly makes him sound a non-native speaker who makes poetry serious, philosophic, metaphysical, mystic, and thought provoking.

WORK CITED



1. Gokak, V. K. An Integral view of poetry : An Indian Perspective. New Delhi : Abhinav publication 1975 p. 158.
2. Ameeruddin, Syed "Ambiguity" Visioned Summits. Madras : International Poets Academy 1995 p. 75-77.
3. ...."Eloquent serenade." Ibid p. 35-36
4. ....What the Himalaya ... said". What the Himalaya Said ... and Other Poems. Madras : Kalaivendhan Publications, 1972 p. 23.
5. ...."My Enchantress ... " Petallic Love Times. Madras : Poets press India, 1988 p. 32-33.
6. ..."Lover & Wanderer" A Lover and A Wanderer. Madras : Poet press India, 1980. p. 25-26.
7. Ibid p. 20.
8. Quoted from The Quest (June, 2008) pp. 81-83
9. Singh, R. K. Recent Indian English poets : Expressions and Beliefs. New Delhi: Bahri Publications, 1992. p. 18.
10. Mujeeb, M. What the Himalaya ... said and Other Poems. op. cit. p.9.
11. ...."Petallic love Times" Petallic Love Times Op. cit p. 23.
12. Gokak, Vinayak Krishna "Introduction" The Dreadful Doom to Come and Other Poems. Madras : Poets press India, 1974 p. 4.