Agyeya (S.H. Vatsyayan)
Angan ke Par Dvar
(Bharatiya Jnanpith, Varanasi; 1961)
(Sahitya Academy Awardee-Hindi-1956)
"Sri S.H. Vatsyayan 'Agyeya' (born 1911) is a distinguished Hindi poet, novelist and critic. Born with a restless spirit, Sri Vatsyayan has been an experimenter par excellence, not only in letters but also in life. He joined the revolutionary movement while still at college, was a prisoner and a detenu under British rule for several years, and later worked successively as an editor, it. lexicographer, a captain in the army, broadcaster and a visiting professor of literature and culture abroad. His writings have been no less varied. He has to his credit several works of short stories, travelogues, essays, belles-Iettres, criticism, editing, compilation and translation, besides poetry and novel, which are his forte. As a novelist he is best known for Shekhar. Ek Jivani, the life story of a young revolutionary in quest of truth and meaning of life. As a poet he soon made his mark as a foremost poet of the new Experimental School in Hindi poetry.
The Award book, Angan ke Par Dvar, is the latest collection of Sri Vatsyayan's poem and is the work of a mature mind in search of deeper values. For its remarkably creative use of the language and commendable restraint in emotional expression, it has been hailed as an outstanding contribution to contemporary Hindi literature." (Citation)
Angan ke Par Dvar is a collection of poems written by ‘Agyeya’ during the period 1959-61. Though ‘Agyeya’ has been opposed to Romanticism as such, yet in this collection, we find his individualism touching new egoistic heights and we also find the romantic element pervading them.
In the eighteen poems of the first section ‘Antahsalila’, we find an intensity unknown in his earlier poems. "Saraswari Putra" reveals a consciousness that is permeated by a deep innate satire which lays bare the environs within and without the temple in all its comprehensive dimensions. Poems like “Pahhan”, “Parai Rahen”, “Palakon ka Kampan", “Ek Prashna” and “Chiriya Ne Kaha”, reveal a rich world of feeling and experience, which emerges as a sure pointer to the poet's intensive endeavours and attainments both in the realm of feeling and expression. The felicity of expression and style of the poem “Ek Prashna” is a proof of the poet's capability to communicate profound personal experiences in an easy and intelligible diction.
In the second section ‘Chakranta Shila’, the author has given no titles to the poems. Most of his poems, according to the current idiom, are subjective and personal. Some poems do give expression - at least partly, if not wholly - to his latent spirituality. Some of his poems - which throw light on certain specific moods - leave him neither an experimentalist nor do they allow his inclusion in the ‘Nai Kavita’ fold. These poems have such a comprehensive and profound significance that they retain their abstrusity even in an easy and simple diction. There are a number of poems in this collection which are woven around ‘Mahashoonya’ (Great Void). The poet cherishes the wish to secure as a simile the writ of destiny scribed in its perch on the endless ‘Chakranta Shila’. The whole figure etched out by the poet for identification of the pearl emerges as a frog. It is not capable of raising an image but even so these poems - big and small have the power to project the poet's feeling and thought in a concrete form.
“Asadhya Veena” is a poem based on a current legend. Some scholars ascribe it - to Chinese origin and have also linked it with Buddhism. Whatever it be, there is not the least doubt about the potentiality, vitality and artistic excellence of this masterpiece. The “Asadhya Veena” is undoubtedly, a masterpiece and an invaluable contribution to Hindi poetry-bubbling with creative vitality.
Thus the three-dimensional poetic collection, Angan ke Par Dvar evokes spontaneous acclaim for the poet's creativity and his creative endeavour. This poetic compilation will, no doubt, be hailed as the next link beyond ‘Nai Kavita’ in the historical evolution of Hindi poetry. These poems are not rooted in experimentalism, they are synthetical compositions of feeling and emotional experiences.
Source: Sahitya Academy Awards – Books and Writers – 1955-1978
Published by Sahitya Academy. ISBN 81 7201 014 1)