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Wednesday, March 11, 2009
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Tuesday, March 10, 2009
Sunday, March 8, 2009
AN INTERVIEW : MAHENDRA BHATNAGAR
Bilingual Poetic Voice:
An Interview with Mahendra Bhatnagar
Dr. Nilanshu Kumar Agarwal
Mahendra Bhatnagar is one of the significant post-independence voices in Hindi and Indian English Poetry. Rooted deep into the Indian soil, his poems reflect not only the moods of a poet but of a complex age. He was Professor and Head, Department of Hindi, Jiwaji University, Gwalior. This senior Professor of Hindi has ten volumes of poems in English besides several collections in Hindi. His works have been translated into a number of Indian and foreign languages. This bilingual poet, scholar and critic talks to Dr. Nilanshu Kumar Agarwal about various issues of literary creativity.
NKA : What are the major themes of your poetry?
MB : I am writing poetry since Nov. 1941, in Hindi. Work on English versions began in 1952-53. That time, English versions were published in HINDI REVIEW, a prestigious English magazine of Nagri PracharSabha (Varanasi, U.P.). It was edited by Professor Ram Avadh Dwivedy, formerly Professor and Head, English Department, Banaras Hindu University, Varanasi (U.P)
As far as major themes (topics / subjects) of my poetry are concerned, they can be easily seen or understood by reading my poetry collections.
From the very dawn of my poetry writing, I am writing on social, economic, national, political and cultural aspects. Of course, I am also writing from the beginning of my poetic career on nature, love, optimism (tendency to look upon the bright side of things), life’s drawbacks, disappointments, deceits, despair, pains, sufferings, shallowness of people etc.
Span of my poetry is divided into two parts. A—Period before independence (about six years). B— Post-independence period.
I am not attached to any political dogma or any political party; though there are very clear tones in my poetry as far as the left thinking is concerned. I believe not only in Gautam Buddha’s philosophy but also in the views, thoughts and reasoning of Karl Marx and Gandhi. I am of the opinion that free thinking is absolutely necessary for every intellectual, and genuine writer and poet.
NKA: You have written poetry both in Hindi and English languages. Out of the two, which one is closer to your heart?
MB: It’s obvious that writing poetry in Hindi — my mother tongue — is closer to my heart. Though, I wrote several short poems originally in English, my poetic works are translated into English either by me or by reputed Indian English poets and professors in colleges / universities.
NKA: Did you feel comfortable in creating poems in English? My personal belief is that poetry is a spontaneous activity, which can not easily come out in an alien language. So, your English poetry may not be directly from the heart. What do you say?
MB: Expression of the heart and mind is more natural in one’s mother-tongue. There is not much need of efforts in it. Expression in mother-tongue is an inherent element. That’s why writing poetry in mother-tongue is also easier.
As everyone is not a master of English or of any other language other than one’s mother-tongue, it is absolutely necessary to understand and grasp the peculiar specialties of that language. Otherwise, writing poetry will prove totally un-poetic. Language accomplishment is possible only if you are familiar to that language. As, I never went to England nor remained in touch with English speaking society; hence my expression in English will only be bookish. Of course, I learned English. I read several poems in English. The medium of my higher education was English. English language and literature remained compulsory subjects up to graduation level for me. I have no hesitation to say that I want to see my existence in the history of Indian English Poetry. I am happy to see that through English I got global wide readership. Internet too is a powerful medium of spreading my poetry.
The second part of your question is rather related to the definition of poetry. It is an established fact that poetry is a spontaneous activity. This fact can’t be denied. But, this is true only in writing lyrical poetry. Descriptive poetry requires time and patience. That is a more conscious effort. Poetry is not a meaningless utterance of a crazy or a sentimental man. There should be nothing mystical in poetry. Emotions and thoughts are indispensable elements of poetry. Poetry comes from the heart under the strict censorship of the mind. Poetry writing is not a society-aloof affair. In all forms of art communicability is essential; language may be alien or home.
NKA : Some of your poems are translated too. What, in your view, are the essential qualities of an excellent literary translation? Do you find these traits in your translated work?
MB : Not some, most of my poems are translated into English. Nine volumes of my poetry are already published. They are :
[1] Forty Poems of Mahendra Bhatnagar
[2] After The Forty Poems
[3] Dr. Mahendra Bhatnagar’s Poetry
[4] Exuberance and other poems
[5] Death Perception : Life Perception
[6] Passion and Compassion
[7] Poems : For A Better World
[8] Lyric-Lute
[9] A Handful Of Light
Two more volumes are forthcoming.
Translating poetry is really a difficult task. Translators must have good command over both the languages; only then perfect translation work is possible. But, this does not always happen. Translators should be faithful in translating poetry. Nothing new (may be better) should be added. On the other hand simply literal translations are not considered as good translations. Inherent ideas of the poet must get place in translations. In my opinion this is the basic condition of a good translation.
As far as translations of my poems are concerned I am satisfied. I myself took great pains in putting appropriate words in translated versions of my poems. I consulted several dictionaries, including bi-lingual. I really feel proud and I am really very happy to register that my talented translator-friends are very competent, worthy, decent, and of very high caliber. A few of them are poets of international repute. It’s really very astonishing that I got their sincere cooperation. It’s nothing; except my good luck!
NKA : What is the source of poetry in you? It is said that poetry emerges out of intense emotional experience of the poet. I suppose, it must also be the case with you. Your comments, please.
MB : Yes, the source of creating poetry lies in ‘intense emotional experiences.’ This is the first and most essential element of poetry. ‘Thought’ comes next. Other elements are imagination and, language and style.
I am of the opinion that without noble and high thoughts, poetry remains a thing of luxurious merriment only. We call a poet a ‘RISHI’ (a sage). He is a torch-bearer of the society too. He is not a jocular / jester. Nor does he represent only the vulgar appeals of licentious persons. Such things are not synonyms of ‘emotion’. Please note.
NKA : Your collection Poems : For A Better World is written with a zeal to reform the world. The satirical tone is prevalent throughout. For instance, in ‘Invoking Modern Man’, you say:
Again and again
Our God incites us
To kill other’s God!
Is not the reformist zeal a sort of burden on the principle of pure poetry? Poetry should be read for sheer aesthetic pleasure. The moralist’s purpose should be minimized in it. Didacticism in art sometimes stifles the aesthetic value of it. What do you say about this dichotomy of two ideals — ‘art for art’s sake’ and social documentation in art? How should we describe Mahendra Bhatnagar’s poetry? Is he a creative poet of complete enjoyment or a poet with a mission? Please tell something.
MB: ‘Art for art’s sake’ or social documentation in art — both factors are often discussed in poetics. There is nothing new in it. We cannot undermine the importance of aesthetic values in poetry. But as I have already expressed only enjoyment should not be the aim of writing poetry. The poet must be realistic and visionary. I agree didactism minimizes the influence of art and poetry. Thus the poet must be cautious in expressing his mission; otherwise peoples’ hearts will not stir. We cannot favour negligence towards artistic approach in poetry; though it is fundamental to see what the inner contents of your poetry are. Thoughts of the poet must be healthy. Literature is created for the welfare of the society. Man and society are in central pivot. At times poetry becomes the dutiful weapon of social revolutions. Poetry has many shades. One-sided version is not justified. Mainly utility should be the criterion of poetry. You cannot boycott expressions of nature’s beauty and love. It has its own utility. It softens the heart and makes the man more humane. Tender feelings are also a part of life. How can we ignore them?
NKA : What are the formative influence on you?
MB : You mean, influences in giving shape to poetry. A far as the structural construction of poetry is concerned I do not do much labour. I wrote metrical compositions in the beginning of my poetic career. Afterwards I inclined towards blank-verse or free-verse. I feel comfortable in writing free-verse; but not without metre and rhymes. Of course, there is no regular metre and rhyme. Hindi poet Nirala wrote such free-verse. But, framework of my poetry is rather new and original. Most of my poems give glimpse of free-verse; but actually they are metrical under discipline. There are internal rhymes also in my poems; though not regular. I wrote very few prosaic poems. Poems written in prose style are often not impressive. A sort of tone or tune may be there. In fact I write poetry in my own style. I tried my level best to create poems having modernistic expression.
NKA : As a Senior Professor of Literature, what do you think are the reasons for the diminishing of the interest of the youth in literature? The young men and women hardly care for literary icons. The really meritorious students do not go for higher studies in the fields of Literatures. They opt for the careers in Engineering Science. What factors are responsible for this apathetic attitude towards literature? What are the possible remedies for this tangling problem?
MB : I think, the main and the foremost reason of the diminishing choice of the youth for literature is purely and clearly economic. One has to earn money for himself and for his family. Everyone wants to live safe. Everyone wants to live a smooth and easy going life. Everyone wants to enjoy all the boons of the present scientific and technical progress. That’s why young people are also running to get more and more monetary gains. Literature doesn’t provide such gains to a large majority of people.
As far as the diminishing interest in literature is concerned there are other factors too. Obsolete literature has no charm in it; however rich that may be. The age has changed. Scientific achievements have changed totally our thinking. Today’s youth is more realistic. Only that literature will become popular which possesses the realities of the time. God-centered devotional literature has lost its relevance. Though we are secular and modern yet in Hindi literature you will find a major thrust on old-fashioned devotional utterances. In the curricula of schools and colleges there is no agreement with the times; students are rather compelled to read the literature, concerned only with Ram-Sita & Radha-Krishna. We must search human values in current literary arena of our times. That will surely create interest in the readers.
Secondly, literary works must be simple and clear. Communicability should be the primary condition of literary writings. Unfortunately, today’s literature is not fulfilling this urge. Most of the present literature is difficult to understand. Complicated expressions are often overlooked. We want to read that literature which is healthy in thoughts, lucid in expression and bright with artistic skills.
NKA : Who are the other contemporary bilingual authors and poets writing in Hindi and English languages? What should be done to promote bilingual writings in India? Are there certain associations for this purpose?
MB : I am not much aware of other bilingual poets and authors. Bilingual poetry is very useful; especially with English as one of the languages. I write poetry in Hindi and English. Hindi versions of my poetry are read throughout India. Most of my Hindi poems are translated into English and are available in nine volumes. These English translations help the non-Hindi speaking readers very much. They easily grasp the contents of the poems more correctly. With the help of these English translations my poems got translated into other Indian languages, viz Tamil, Telugu, Kannad, Malyalam, Banglaa, Manipuri etc.
Mrs. Purnima Ray (mother-tongue Banglaa) translated my poems very successfully in French with the help of these bilingual poems. Mrs. Purnima Ray taught French at Burdwan University, Burdwan, West Bengal, India. Her French translations are published in book-form — A Modern Indian Poet : Dr. Mahendra Bhatnagar : Un Poèt Indien Et Moderne, with English versions. This bilingual collection (English & French) got global publicity. Mr. Seifi Hino, a well known Japanese poet, translated my poems into Japanese, with the help of the above mentioned English-French bilingual collection; as he knows French also. Japanese versions are published in GENDAISHI KENKYU (International bilingual — French & Japanese — Magazine / Published from Yamagata — shi / Japan)
Publishers also publish such bilingual collections easily; due to their quick sale in a wider area of the country and abroad.
NKA : What are the major issues / themes before the contemporary creative writers in India?
MB : Msajor issues / themes before the contemporary writers in India today are not new. They are almost same as were in a few last decades. I think, secularism should be given top priority. Writers must attack by their writings on the communal forces.
Other issues too are clear viz. corruption in politicians, officers and contractors, bribery, social crimes, terrorism, cruelty and murder, robbery, rape and oppression of women, increasing alcoholism, immorality of the police, poverty, unemployment, burden of taxes, business of educational institutions, adulteration, religious wild excitements, bad character of doctors and advocates, expansion of capitalism, irresponsible media and so on.
NKA : One great problem, involved in creative writing, is that publishers do not easily come forward in publishing the books of new authors. In most of the cases, the authors are charged money for the publications of their books. How can this problem be solved? Can e-publishing be an alternative? Are there certain problems in the publication on Internet too? I think the people do not take the Internet publications much seriously. They just go cursorily over the whole text. Moreover, very few people are armed with the facility of Internet. So, what is the way out. Your views about all this.
MB: Now-a-days everything is commercialized. Publishers publish only those books which are easily salable. Poetry books are not much popular amongst readers, because most of the poets are writing highly difficult poetry. The problem of communication is foremost in the field of poetry writing today. Fake and incompetent poets are seen in abundance. They are writing a lot of trash poetry. In the name of blank verse or free verse poets are writing poetry in prosaic form. Such poetry doesn’t appeal the common man.
It’s true now-a-days genuine poets also are facing difficulties in publishing their works. On Internet too we see a lot of raw and rubbish poetic matter. Of course, we find standard matter in e-magazines and in blogs of reputed poets. The popularity of internet is increasing in the educated class of society. No doubt, Internet is a satisfactory channel for the poets to display their works.
NKA : You are associated with a number of literary figures and organizations. Will you mention some, whose cooperation has assisted you in moulding / shaping of your literary sensibility?
MB : Oh, I am not much associated with literary figures and associations. My movements are limited. I am afraid of travel, mostly alone. That’s why I am not able to take part in outside symposiums, lectures, meetings etc. I do not attend Kavi-sammelans (poets’ meet). I even do not go to conduct viva-voce tests of research scholars or attend meetings of several academic, literary and audition (AIR) committees, though universities are ready to give expenses of air-journey or hired taxi for this purpose.
I am connected with a few literary personalities only through correspondence or through internet. I am not associated to any group of writers. I was never supported by any ‘Mahant’ (eminent chief of literature). That is why, I suffered a lot. My writings didn’t come in limelight; as it should be. I have carved out a niche for myself in the field of literature through my own efforts. People know me only through my writings.
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The interviewer Dr.Nilanshu Kumar Agarwal is Senior Lecturer in English at Feroze Gandhi College, Rae Bareli, (U.P.), India. His interviews with a number of contemporary literary figures, as well as his research papers, book reviews, articles and poems have appeared in publications, including The Vedic Path, Quest, Confluence, Pegasus, IJOWLAC, The Journal, Promise, The Raven Chronicles, Yellow Bat Review, Carved in Sand, Turning the Tide, Blue Collar Review, Bridge-in-Making, Hyphen and South Asian Review.
Thursday, March 5, 2009
AN INTERVIEW : Dr. Mahendra Bhatnagar [CV]
DR. MAHENDRA BHATNAGAR
LITERARY LEGEND SPEAKS
An Interview : By Anil Kumar Sharma
Dr. Mahendra Bhatnagar — a living literary legend — a prolific perennial source of creative cascades in his unique style-revered and adored all over the world — especially across national literatures and scholars especially academia, has been too kind enough to give a detailed interview to — Anil K. Sharma — to reveal the intricacies of the complex journey of life spanning more than Eight decades wherein from his childhood to the youthful days to the evening of life, a spectrum of cherished memorabilia of longings, struggles, suffocations — all mixed together in the human journey streaked with hurdles, handicaps and hard realism coupled with idealism, realism, lamentations and struggling spirits, — all inflaming the torch of literature in the inequitable world of ruthless socio-economic disparities — present a scenario of the past, present and future. The timeless conversation shall prove to be eternal in its ethos for research scholars and lovers of literature as a light house to anchor the shores.
EXCERPTS :
Q. As you hail from a family of an educationist, undoubtedly, your grooming manifests in your writings, would you tell something about your clan of learned people and the environ around you of your infant days?
I saw this beautiful planet ‘Earth’ first on 26th June 1926 at Jhansi; a historical town of great martyr Queen of Jhansi, Smt. Laxmibai; at my maternal grandfather’s residence.
My father late Sh. Raghunandan Lal Bhatnagar (1900-1959) was a renowned educationist of Gwalior State. He was a sportsman, a boy-scout and an Aryasamajist. My mother late Smt. Gopal Devi Bhatnagar (1902-1977) was a religious minded woman. I have three brothers and two sisters. I was married on 12 May 1952 (Sudha Rani Bhatnagar) and have three sons — a Doctor, a Bank Branch Manager & a famous Artiste (a light-music Singer)
I received my primary education at Jhansi, Morar-Gwalior, and Sabalgarh-Morena. Got higher education in the colleges of Gwalior state viz. Victoria College, Gwalior & Madhav College, Ujjain. Syt. Atalbihari Vajpai (a Hindi poet & later Ex. Prime Minister of India) was my college-fellow in Victoria College, Gwalior. I got bachelor degree in 1945 (Agra University) and post-graduate degree in Hindi Literature in 10948 (Nagpur University) and Doctorate Degree on the novels of Premchand in 1957 (Nagpur University).
Q. Do you still remember the days of your college and the reminiscences of the teacher-taught relationships and bondings? The indelible impact of their teaching and shaping of your persona?
During the span of my education in schools and colleges, my teachers were genuinely devoted to teaching. I was influenced very much by them; especially Mr. F. G. Pearce & Sh. Shivmangal Singh ‘Suman’. I remember them even todayI worked in manifold capacities viz. as Member (in Boards, Councils, Selection Committees. One of the judges in several Award Committees etc.) Chairman, Specialist in Research Institutions, Academic Committees & Literary organizations.I retired as Professor on 1 July 1984. After retirement I worked on a U.G.C. major research project on The Stories of Premchand & also worked as Professor in ‘Indira Gandhi National Open University’ (Centre : Jiwaji University).
Q. How did you perceive the odds in the teaching profession; the struggles against the malpractices and corruption all around in academics?
My experience of working in academic institutions is bitter. There is a lot of corruption in universities. Not only clerks but Heads, Officers, Members of Syndicate, Vice-Chancellors, and boy-lecturers (regarding counterfeit research works) also are indulged in malpractices (dishonest use of position for personal gains). In my educational career I was forced to resist them and thus suffered in different ways and in different spheres.
Q. Besides the teaching profession, how did you begin to write — was it a sort of giving outlet to your pent of sentiments of righteousness?
In childhood, I used to listen to Shreeramcharitmanas ( an epic written by a famous Hindi poet Tulsidas) from my mother. My father also used to utter Vedic Hymns daily in morning and evening; which attracted me very much. This environment attracted me towards poetry and music. Afterwards when I joined school, I came in contact with several Hindi poets of curriculum. An urge of writing such poems used to generate in me. Grotesque rhyming of metrical compositions astonished me very much. During this period, I heard Kavi-sammelans and Mushairas (poets’ meet / presentation of poetic art) as well. Seeing the applause of the poets by the public, I also felt to earn literary fame likewise. Thus, I also began writing grotesque type poetry and used to relate to my elder sister; who used to laugh loudly while listening them. Now, there is no existence of these co-called elementary poems.
Of course first, I began (1941) poetry writing in Hindi. Poetry writing in English and translating my own poems in English began from 1950. These poems were published in ‘Hindi Review’ — a prestigious literary monthly magazine in English, published by ‘Nagri Pracharni Sabha’, Varanasi. Poems were published in several other magazines also viz. ‘Literary Half-Yearly’ (Mysore), ‘The Contemporary Indian Literature’ (New Delhi), ‘Macron’ (Hubli), ‘Dhara’ (Delhi) etc. My first poem in Hindi was published in ‘Vishal Bharat’ — a literary monthly magazine of repute, published from Calcutta and first collection of poems ‘Taron Ke Geet’ ( Poems on Stars) in 1949.
Q. Who inspired you the most amongst the icons of Indian culture and literature — because one cannot exist in isolation, what have you to say?
Like others, a few poets and thinkers also inspired me. In the beginning, I was impressed and inspired by Ravindra Nath Tagore and Premchand. Compassion of Gautam Buddha, progressive thoughts and moral values of Mahatma Gandhi and Vivekanand, and economic aspect of Karl Marx influenced me very much. These thinkers shaped my mental horizon and practical life. My actions and writings are still governed by them. Kabir, Tulsidas, Biharilal, Pant, Nirala, Bachchan, Dinkar, Milind] Suman etc are my favourite Hindi poets.
Q. You must have seen turbulent times during your student life as the freedom struggle was at its climax, did you participate in one way or the other, was there some sort of impression left on your mental screen?
During my student’s life I was very active in all spheres. It was pre-independence time. The countrymen were fighting for their independence under the leadership of Mahatma Gandhi, Jawahar Lal Nehru and Subhash Chandra Bose. My father was a government servant; hence even family members were not allowed to join the National Independence movement. But hiding myself from my father I used to take part in students’ processions; against British rule in 1942 (‘Quit India Movement’). But I escaped every time from the eyes of police and CID.
I took part in ‘Prabhat Pherees’ and in anti-gamesters processions also (1944-45)
I wrote fiery poems against exploitations by foreign rulers and Raja-Maharajas of Indian States. I wrote poems on Gandhi Ji and ‘Jai Hind’ militants.
Q. Please tell us something about your literary activities as a social activist.
Yes, my main field was literary. I organized literary societies and associations in each and every town in which I lived. My working area remained Bundelkhand, Chambal region and specially Malwa (Ujjain, Dewas, Dhar, Indore, Mhow, Mandsaur). At present I am residing in my home town Gwalior.
I took part in several literary seminars organized either in my town or nearby. I participated as a representative member of Madhya-Bharat region in the seminar organized by ‘Sahitya Akademi’, New Delhi, in Indore on ‘Lenin Centenary Celebrations’ (1970).
Q. why did you choose the teaching profession? Was there something special about the profession or you had a passion for teaching and writing?
After my graduation (1945) I was forced to do service; because the economic condition of my family was very weak. I became a Geography-Hindi teacher in Model High School, Ujjain (1945-46). Afterwards I joined the Gwalior State Government Service (continued in Madhya-Bharat & Madhya-Pradesh States) and served in several educational institutions. In every school and college I had to work hard regarding extra-curricular activities and other administrative assignments given by the Principals or by the Universities. Writing was never my occupation. I wrote only when I was strongly inspired at personal emotional level or due to inevitable social-economic-political circumstances.
Q. Do you have some classics in your mind which influenced you and guided the course of your writings?
As far as the classical literature and writers are concerned, this is my weakness. I have no background of Sanskrit and my English is not so strong; so that I may read and understand their eminent classics in their right context. Several times I tried to read classic works but never engrossed in them. They did not inspire me. Thus, I never completely and thoroughly read them in my life. I do not say that all classics are irrelevant today. Of course, I used to read their translated versions in Hindi; whenever I got an opportunity. Really, I am interested in new current literary works; rather than in intellectual exercise or in reading mythological epics. I never inspired to become a literary intellectual giant. It is not in my nature and against my temperament. I always wanted to remain natural, easy going and simple.
Q. You seem to be a rationale in approach, but do you express your ardent feelings in your writings?
I do not believe in any sort of ritual and style. They all are testimony of human backwardness. Ritual ceremonies are the creation of a particular class of the society only to obtain its selfish ends. This class deceives people having trust in God. This class has its very deep roots in each community. Priests, bishops, maulwi-mulla etc are befooling innocent people daily in the name f worship or so called emancipation. They discarded religion. In fact humanism is the only religion of human beings. Every person primarily is a human being; afterwards a Christian or Hindu or Muslim. But fanatics do not think like this. They are full of violent and unreasoning enthusiasm. The mental make up of modern world is scientific. Modernists believe in reason. Things which have no existence, should not be accepted. Spirituality is the purity of heart and mind or soul (thinnest matter invisible by human eyes). Spirituality is not a material thing. But, it is not supernaturalism also. As long as man does not solve the mystery of death and search the other / next world; uncertainty will naturally prevail. I expressed these thoughts in my several poems.
Q. Your writings are the epitome of humanism, but seldom preach the path of religiosity, do you have any notional purpose?
I also do not believe in literature having any sort of bigotry, fanatic and blunt didactic expressions. Literature is neither propaganda nor canvassing any point of view. Giving instructions or preaching is not the field of literature. Writers should try to put their independent views in an artistic way in their creative works. Only then their writings have a meaning.
Q. Should the writers be activists in literature — expressing their considered convictions of humanity, equality, peace amongst the casteless and classless society?
Yes, writers do support social reforms in there own way. Our society is now disorganized. Capitalism has deconstructed the whole scenario of socialism and people have assumed coldness to other’s pains and sufferings. Even the government has turned a deaf ear to the cries of the poor and the downtrodden. What other results will we expect from such situation except social conflict? We, the poets have to raise the scepter of judgment to arouse feelings and emotions which have been dead in modern society.
Social conflicts should get expression in poetry, novels, stories etc. only to uplift the society. Struggle is the sign of progress Writers must remain vigilant and strengthen the voice of progressive forces. Casteism is a curse for the society. We are marching in building a classless, casteless and race less social structure. That will take shape only if economic ditch is lessened. Reformation comes through literature in a much more effective form due to its richness in artistic and beautiful expression. Aimless writing is nothing but only a luxurious enjoyment — cheap and worthless.
Q. Do you favour the economic independence of women for emancipation of the subjugated gender called fairsex?
My poetry favours independence, because I believe that each and every nation can progress when citizens are economically strong and independent. Economic independence does not mean that people should be strong economically by way of capitalistic measures but it should be an equality based on socialism. So my plea in the poetry remains the economic equality which people may say — Economic independence, predominant.
Q. Wide spread exploitation of ignorance and innocence is seen everywhere; how do you react to the sad plight of vulnerable segments of society?
Being essentially as realist, I have always tried to voice the feelings of the persons who have been the victims of destiny, life and time. My focus remains to eradicate the pillars of exploiters of humanity by the medium of poetry and create a candid and enlightened vision in the minds of my readers so that they may rise and fight the devils of injustice and liberate the humankind from the shackles of slavery of ignorance.
Q. Would you elaborate the progressive humanism which has been reflected in your poems and your critics do make point out of your complete works?
My utmost effort in the humanism is that I have tried to re-establish the broken pillars of progressive humanism. I have tried to widen the frontiers of my imagination in the field of human sympathies as well as to cover all feelings and pains of common men, women and children of modern society within the orbit of my poetry.
Besides, my special focus on the modern middle and lower classes and the national and humanistic approach towards the decadence of human civilization and its values has made me more courageous and cosmopolitan in this regard.
Some of my best works of humanism are — ‘Poems : For A Better World’, ‘Passion and Compassion’, ‘A Handful of Light’.
Q. You are known as a great humanist in literature; a crusader of a cause of mankind, how do you bridge the two streams of ‘art for arts’ sake and realism in literature?
In literature, realism is a special way of thinking. According to realistic thinkers one should depict a real / true picture of life in one’s creative works. This thought is not against any practical idealism. However, unfortunately most of the writers in the name of realism describe only the backwardness or ugly picture of the society or man / woman. This is one-sided picture or realism. The beautiful and graceful side of human life should not be neglected. Because the main aim of realist writings is to increase the anger and feelings of revolt in the people against the corrupted set-up of the society and administration; hence the dark side only gets prominence. I believe in the expression of realistic social environment of the times; in which an ideal hinted or sounded itself.
Actually, it denotes vigorous revolt against immorality. Thus the progressive forces of the society should accept it. We must defend each movement of advancement of an idea or cause.
Q. Your absence in the award ceremonies is conspicuous, do you dislike the award ceremonies or the hidden sycophant agenda of the organizers of such programmmes?
I never cared for awards. I do not write poetry for the sake of awards. We see now-a-days writers are trying their level best to get anyhow awards from different institutions. Sycophancy to rise is the worst thing for writers. No genuine writer will prefer sycophancy for his success. Award publicity has no meaning. Main thing is the worth of your writings. We should think, how much time our writings will sustain.But I feel no enthusiasm for such awards and honours rather I dislike going and receiving awards or honours in arranged programmes by organizers. I prefer to remain absent in such arrangements.
Q. Are you satisfied after playing your innings in the field of teaching and writing? Do you expect from the reading public, activists and writers of your clan busy in proliferation of humanism?
As far as my achievements in creative writings are concerned, I am well satisfied. Eleven volumes of my poems — ten in English & one in French — are published till date. Two books on the criticism of my poetry in English are also published. On Internet, several websites are displaying my poems (in English, French, Hindi, Nepali). I have several independent BLOGS of mine on Internet also. Research work on my writings is also in progress in many universities of India.
My poems and articles / book-reviews on my works are being published from time to time in several standard literary magazines of India and abroad. In Hindi (my mother tongue) my complete literary writings are published in seven volumes. What more do I expect!!
Q. Do you have any message to the budding writers and poets, so that the goals set by your writings become milestones?
I have only one message to the new generation of writers and poets : Try to establish your own identity; do not follow any ‘ism’. Have a clear vision; but not a static viewpoint.
LITERARY LEGEND SPEAKS
An Interview : By Anil Kumar Sharma
Dr. Mahendra Bhatnagar — a living literary legend — a prolific perennial source of creative cascades in his unique style-revered and adored all over the world — especially across national literatures and scholars especially academia, has been too kind enough to give a detailed interview to — Anil K. Sharma — to reveal the intricacies of the complex journey of life spanning more than Eight decades wherein from his childhood to the youthful days to the evening of life, a spectrum of cherished memorabilia of longings, struggles, suffocations — all mixed together in the human journey streaked with hurdles, handicaps and hard realism coupled with idealism, realism, lamentations and struggling spirits, — all inflaming the torch of literature in the inequitable world of ruthless socio-economic disparities — present a scenario of the past, present and future. The timeless conversation shall prove to be eternal in its ethos for research scholars and lovers of literature as a light house to anchor the shores.
EXCERPTS :
Q. As you hail from a family of an educationist, undoubtedly, your grooming manifests in your writings, would you tell something about your clan of learned people and the environ around you of your infant days?
I saw this beautiful planet ‘Earth’ first on 26th June 1926 at Jhansi; a historical town of great martyr Queen of Jhansi, Smt. Laxmibai; at my maternal grandfather’s residence.
My father late Sh. Raghunandan Lal Bhatnagar (1900-1959) was a renowned educationist of Gwalior State. He was a sportsman, a boy-scout and an Aryasamajist. My mother late Smt. Gopal Devi Bhatnagar (1902-1977) was a religious minded woman. I have three brothers and two sisters. I was married on 12 May 1952 (Sudha Rani Bhatnagar) and have three sons — a Doctor, a Bank Branch Manager & a famous Artiste (a light-music Singer)
I received my primary education at Jhansi, Morar-Gwalior, and Sabalgarh-Morena. Got higher education in the colleges of Gwalior state viz. Victoria College, Gwalior & Madhav College, Ujjain. Syt. Atalbihari Vajpai (a Hindi poet & later Ex. Prime Minister of India) was my college-fellow in Victoria College, Gwalior. I got bachelor degree in 1945 (Agra University) and post-graduate degree in Hindi Literature in 10948 (Nagpur University) and Doctorate Degree on the novels of Premchand in 1957 (Nagpur University).
Q. Do you still remember the days of your college and the reminiscences of the teacher-taught relationships and bondings? The indelible impact of their teaching and shaping of your persona?
During the span of my education in schools and colleges, my teachers were genuinely devoted to teaching. I was influenced very much by them; especially Mr. F. G. Pearce & Sh. Shivmangal Singh ‘Suman’. I remember them even todayI worked in manifold capacities viz. as Member (in Boards, Councils, Selection Committees. One of the judges in several Award Committees etc.) Chairman, Specialist in Research Institutions, Academic Committees & Literary organizations.I retired as Professor on 1 July 1984. After retirement I worked on a U.G.C. major research project on The Stories of Premchand & also worked as Professor in ‘Indira Gandhi National Open University’ (Centre : Jiwaji University).
Q. How did you perceive the odds in the teaching profession; the struggles against the malpractices and corruption all around in academics?
My experience of working in academic institutions is bitter. There is a lot of corruption in universities. Not only clerks but Heads, Officers, Members of Syndicate, Vice-Chancellors, and boy-lecturers (regarding counterfeit research works) also are indulged in malpractices (dishonest use of position for personal gains). In my educational career I was forced to resist them and thus suffered in different ways and in different spheres.
Q. Besides the teaching profession, how did you begin to write — was it a sort of giving outlet to your pent of sentiments of righteousness?
In childhood, I used to listen to Shreeramcharitmanas ( an epic written by a famous Hindi poet Tulsidas) from my mother. My father also used to utter Vedic Hymns daily in morning and evening; which attracted me very much. This environment attracted me towards poetry and music. Afterwards when I joined school, I came in contact with several Hindi poets of curriculum. An urge of writing such poems used to generate in me. Grotesque rhyming of metrical compositions astonished me very much. During this period, I heard Kavi-sammelans and Mushairas (poets’ meet / presentation of poetic art) as well. Seeing the applause of the poets by the public, I also felt to earn literary fame likewise. Thus, I also began writing grotesque type poetry and used to relate to my elder sister; who used to laugh loudly while listening them. Now, there is no existence of these co-called elementary poems.
Of course first, I began (1941) poetry writing in Hindi. Poetry writing in English and translating my own poems in English began from 1950. These poems were published in ‘Hindi Review’ — a prestigious literary monthly magazine in English, published by ‘Nagri Pracharni Sabha’, Varanasi. Poems were published in several other magazines also viz. ‘Literary Half-Yearly’ (Mysore), ‘The Contemporary Indian Literature’ (New Delhi), ‘Macron’ (Hubli), ‘Dhara’ (Delhi) etc. My first poem in Hindi was published in ‘Vishal Bharat’ — a literary monthly magazine of repute, published from Calcutta and first collection of poems ‘Taron Ke Geet’ ( Poems on Stars) in 1949.
Q. Who inspired you the most amongst the icons of Indian culture and literature — because one cannot exist in isolation, what have you to say?
Like others, a few poets and thinkers also inspired me. In the beginning, I was impressed and inspired by Ravindra Nath Tagore and Premchand. Compassion of Gautam Buddha, progressive thoughts and moral values of Mahatma Gandhi and Vivekanand, and economic aspect of Karl Marx influenced me very much. These thinkers shaped my mental horizon and practical life. My actions and writings are still governed by them. Kabir, Tulsidas, Biharilal, Pant, Nirala, Bachchan, Dinkar, Milind] Suman etc are my favourite Hindi poets.
Q. You must have seen turbulent times during your student life as the freedom struggle was at its climax, did you participate in one way or the other, was there some sort of impression left on your mental screen?
During my student’s life I was very active in all spheres. It was pre-independence time. The countrymen were fighting for their independence under the leadership of Mahatma Gandhi, Jawahar Lal Nehru and Subhash Chandra Bose. My father was a government servant; hence even family members were not allowed to join the National Independence movement. But hiding myself from my father I used to take part in students’ processions; against British rule in 1942 (‘Quit India Movement’). But I escaped every time from the eyes of police and CID.
I took part in ‘Prabhat Pherees’ and in anti-gamesters processions also (1944-45)
I wrote fiery poems against exploitations by foreign rulers and Raja-Maharajas of Indian States. I wrote poems on Gandhi Ji and ‘Jai Hind’ militants.
Q. Please tell us something about your literary activities as a social activist.
Yes, my main field was literary. I organized literary societies and associations in each and every town in which I lived. My working area remained Bundelkhand, Chambal region and specially Malwa (Ujjain, Dewas, Dhar, Indore, Mhow, Mandsaur). At present I am residing in my home town Gwalior.
I took part in several literary seminars organized either in my town or nearby. I participated as a representative member of Madhya-Bharat region in the seminar organized by ‘Sahitya Akademi’, New Delhi, in Indore on ‘Lenin Centenary Celebrations’ (1970).
Q. why did you choose the teaching profession? Was there something special about the profession or you had a passion for teaching and writing?
After my graduation (1945) I was forced to do service; because the economic condition of my family was very weak. I became a Geography-Hindi teacher in Model High School, Ujjain (1945-46). Afterwards I joined the Gwalior State Government Service (continued in Madhya-Bharat & Madhya-Pradesh States) and served in several educational institutions. In every school and college I had to work hard regarding extra-curricular activities and other administrative assignments given by the Principals or by the Universities. Writing was never my occupation. I wrote only when I was strongly inspired at personal emotional level or due to inevitable social-economic-political circumstances.
Q. Do you have some classics in your mind which influenced you and guided the course of your writings?
As far as the classical literature and writers are concerned, this is my weakness. I have no background of Sanskrit and my English is not so strong; so that I may read and understand their eminent classics in their right context. Several times I tried to read classic works but never engrossed in them. They did not inspire me. Thus, I never completely and thoroughly read them in my life. I do not say that all classics are irrelevant today. Of course, I used to read their translated versions in Hindi; whenever I got an opportunity. Really, I am interested in new current literary works; rather than in intellectual exercise or in reading mythological epics. I never inspired to become a literary intellectual giant. It is not in my nature and against my temperament. I always wanted to remain natural, easy going and simple.
Q. You seem to be a rationale in approach, but do you express your ardent feelings in your writings?
I do not believe in any sort of ritual and style. They all are testimony of human backwardness. Ritual ceremonies are the creation of a particular class of the society only to obtain its selfish ends. This class deceives people having trust in God. This class has its very deep roots in each community. Priests, bishops, maulwi-mulla etc are befooling innocent people daily in the name f worship or so called emancipation. They discarded religion. In fact humanism is the only religion of human beings. Every person primarily is a human being; afterwards a Christian or Hindu or Muslim. But fanatics do not think like this. They are full of violent and unreasoning enthusiasm. The mental make up of modern world is scientific. Modernists believe in reason. Things which have no existence, should not be accepted. Spirituality is the purity of heart and mind or soul (thinnest matter invisible by human eyes). Spirituality is not a material thing. But, it is not supernaturalism also. As long as man does not solve the mystery of death and search the other / next world; uncertainty will naturally prevail. I expressed these thoughts in my several poems.
Q. Your writings are the epitome of humanism, but seldom preach the path of religiosity, do you have any notional purpose?
I also do not believe in literature having any sort of bigotry, fanatic and blunt didactic expressions. Literature is neither propaganda nor canvassing any point of view. Giving instructions or preaching is not the field of literature. Writers should try to put their independent views in an artistic way in their creative works. Only then their writings have a meaning.
Q. Should the writers be activists in literature — expressing their considered convictions of humanity, equality, peace amongst the casteless and classless society?
Yes, writers do support social reforms in there own way. Our society is now disorganized. Capitalism has deconstructed the whole scenario of socialism and people have assumed coldness to other’s pains and sufferings. Even the government has turned a deaf ear to the cries of the poor and the downtrodden. What other results will we expect from such situation except social conflict? We, the poets have to raise the scepter of judgment to arouse feelings and emotions which have been dead in modern society.
Social conflicts should get expression in poetry, novels, stories etc. only to uplift the society. Struggle is the sign of progress Writers must remain vigilant and strengthen the voice of progressive forces. Casteism is a curse for the society. We are marching in building a classless, casteless and race less social structure. That will take shape only if economic ditch is lessened. Reformation comes through literature in a much more effective form due to its richness in artistic and beautiful expression. Aimless writing is nothing but only a luxurious enjoyment — cheap and worthless.
Q. Do you favour the economic independence of women for emancipation of the subjugated gender called fairsex?
My poetry favours independence, because I believe that each and every nation can progress when citizens are economically strong and independent. Economic independence does not mean that people should be strong economically by way of capitalistic measures but it should be an equality based on socialism. So my plea in the poetry remains the economic equality which people may say — Economic independence, predominant.
Q. Wide spread exploitation of ignorance and innocence is seen everywhere; how do you react to the sad plight of vulnerable segments of society?
Being essentially as realist, I have always tried to voice the feelings of the persons who have been the victims of destiny, life and time. My focus remains to eradicate the pillars of exploiters of humanity by the medium of poetry and create a candid and enlightened vision in the minds of my readers so that they may rise and fight the devils of injustice and liberate the humankind from the shackles of slavery of ignorance.
Q. Would you elaborate the progressive humanism which has been reflected in your poems and your critics do make point out of your complete works?
My utmost effort in the humanism is that I have tried to re-establish the broken pillars of progressive humanism. I have tried to widen the frontiers of my imagination in the field of human sympathies as well as to cover all feelings and pains of common men, women and children of modern society within the orbit of my poetry.
Besides, my special focus on the modern middle and lower classes and the national and humanistic approach towards the decadence of human civilization and its values has made me more courageous and cosmopolitan in this regard.
Some of my best works of humanism are — ‘Poems : For A Better World’, ‘Passion and Compassion’, ‘A Handful of Light’.
Q. You are known as a great humanist in literature; a crusader of a cause of mankind, how do you bridge the two streams of ‘art for arts’ sake and realism in literature?
In literature, realism is a special way of thinking. According to realistic thinkers one should depict a real / true picture of life in one’s creative works. This thought is not against any practical idealism. However, unfortunately most of the writers in the name of realism describe only the backwardness or ugly picture of the society or man / woman. This is one-sided picture or realism. The beautiful and graceful side of human life should not be neglected. Because the main aim of realist writings is to increase the anger and feelings of revolt in the people against the corrupted set-up of the society and administration; hence the dark side only gets prominence. I believe in the expression of realistic social environment of the times; in which an ideal hinted or sounded itself.
Actually, it denotes vigorous revolt against immorality. Thus the progressive forces of the society should accept it. We must defend each movement of advancement of an idea or cause.
Q. Your absence in the award ceremonies is conspicuous, do you dislike the award ceremonies or the hidden sycophant agenda of the organizers of such programmmes?
I never cared for awards. I do not write poetry for the sake of awards. We see now-a-days writers are trying their level best to get anyhow awards from different institutions. Sycophancy to rise is the worst thing for writers. No genuine writer will prefer sycophancy for his success. Award publicity has no meaning. Main thing is the worth of your writings. We should think, how much time our writings will sustain.But I feel no enthusiasm for such awards and honours rather I dislike going and receiving awards or honours in arranged programmes by organizers. I prefer to remain absent in such arrangements.
Q. Are you satisfied after playing your innings in the field of teaching and writing? Do you expect from the reading public, activists and writers of your clan busy in proliferation of humanism?
As far as my achievements in creative writings are concerned, I am well satisfied. Eleven volumes of my poems — ten in English & one in French — are published till date. Two books on the criticism of my poetry in English are also published. On Internet, several websites are displaying my poems (in English, French, Hindi, Nepali). I have several independent BLOGS of mine on Internet also. Research work on my writings is also in progress in many universities of India.
My poems and articles / book-reviews on my works are being published from time to time in several standard literary magazines of India and abroad. In Hindi (my mother tongue) my complete literary writings are published in seven volumes. What more do I expect!!
Q. Do you have any message to the budding writers and poets, so that the goals set by your writings become milestones?
I have only one message to the new generation of writers and poets : Try to establish your own identity; do not follow any ‘ism’. Have a clear vision; but not a static viewpoint.
Wednesday, March 4, 2009
Biodata : Mahendra Bhatnagar
DR. MAHENDRA BHATNAGAR
Dr. Mahendra Bhatnagar's is one of the significant post-independence voices in Hindi and Indian English Poetry, expressing the lyricism and pathos, aspirations and yearnings of the modern Indian intellect. Rooted deep into the Indian soil, his poems reflect not only the moods of a poet but of a complex age.
Born in Jhansi (Uttar Pradesh) at maternal grandfather's residence on 26 June 1926; 6 a.m.
Primary education in Jhansi, Morar (Gwalior) and Sabalgarh (Morena); Matric (1941) from High School, Morar (Gwalior); Inter (1943) from Madhav College, Ujjain; B.A. (1945) from Victoria College, - at present, Maharani Laxmi Bai College - Gwalior; M. A. (1948) and Ph.D. (1957) in Hindi from Nagpur University; L.T. (1950 ; Madhya Bharat Govt.)
Places of work — Bundelkhand, Chambal region and Malwa.
High School Teacher from July 1945. Retired as Professor on 1 July 1984 (M.P. Govt. Educational service).
Selected once for the post of Professor of Hindi Language & Literature, in Tashkent University, U.S.S.R. (1978) by UGC & ICCR (NEW DELHI)
Principal Investigator (U.G.C. / Jiwaji University, Gwalior) from 1984 to 1987.
Professor in the IGNOU Teaching Centre of Jiwaji University, Gwalior in 1992.
Worked as Chairman \ Member of various committees in Indore University, Vikram University, Ujjain & Dr. Bhimrao Ambedkar University, Agra.
Worked as a member in the managing committees of 'Gwalior Shodh Sansthan', 'Madhya Pradesh Hindi Granth Academy' & 'Rashtra-Bhasha Prachar Samiti, Bhopal'.
From time to time, poems included in various Text-Books of curricula of Educational Boards & Universities of India.
Worked as one of the members in the Audition Committees of Drama / Light Music of All India Radio (Akashvani) - Stations Indore and Gwalior. Contracted Song-Writer of All India Radio \ For all Radio Stations (Light Music Section). Broadcast many poems, talks and other programmes from Indore, Bhopal, Gwalior and New Delhi (National Channels) Radio Stations.
Conducted and directed many literary societies in Ujjain, Dewas, Dhar, Mandsaur and Gwalior.
Appointed as one of the Award-Judges by 'Bihar Rashtra-Bhasha Parishad, Patna' (1981 & 1983), 'Uttar Pradesh Hindi Sansthan, Lucknow' (1983), 'Rajasthan Sahitya Akademi, Udaipur' (1991,1993,1994) & 'Hindi Sahitya Parishad, Ahmedabad, Gujrat (2001).
Poems translated, published and broadcast in many foreign and Indian languages.
Eleven volumes of poems in English :
[1] ‘Forty Poems of Mahendra Bhatnagar’ [Selected Poems — 1]
[2] 'After The Forty Poems' [Selected Poems — 2]
[3] ‘Dr. Mahendra Bhatnagar’s Poetry.’ [Selected Poems — 3]
[4] 'Exuberance and other poems.
[5] ‘Death Perception : Life Perception’
[6] 'Passion and Compassion'
[7] 'Poems : For A Better World'
[8] 'Lyric-Lute'
[9] 'A Handful Of Light'
[10] New Enlightened World
[11] Dawn to Dusk
One volume of translated poems in French ('A Modern Indian Poet : Dr. Mahendra Bhatnagar : Un Poèt Indien Et Moderne'.)
Works published in seven volumes in Hindi - three of Poems (comprising sixteen earlier collections), two of Critical articles, one on Premchand ( Research work) and one of Miscellaneous writings.
Published research & critical studies :
(1) Living Through Challenges : A Study of Dr. Mahendra Bhatnagar's Poetry
(2) Poet Dr. Mahendra Bhatnagar : His Mind And Art.
(3) The Poetry of Mahendra Bhatnagar : Realistic & Visionary Aspects [forthcoming]
Received awards, four times ( 1952, 1958, 1960, 1985. ) from Madhya Bharat & Madhya Pradesh Govts.
Edited literary magazines 'Sandhya' (Monthly) and Pratikalpa' (Quarterly) from Ujjain.
Member Advisory Board : Indian Journal of POSTCOLONIAL LITERATURES [Half-yearly / Thodupuzha-Kerala]
Adviser : 'POETCRIT' (Half-Yearly / Maranda, H.P.),
Adviser : ‘VICHAR-DRISHTI’ (Quarterly / Delhi / Patna)
Adviser : ‘Lokmangal’ (Quarterly / Gwalior, M.P.)
Adviser : ‘Vangmaya’ (Quarterly / Aligarh, U.P.)
Patron : www. creativesaplings.com
Contact : 110, BalwantNagar, Gandhi Road, Thaateepur,
Gwalior — 474 002 (M.P.) INDIA
Phone : 0751-4092908 / M-9893409793
E-Mail : Mahendra1926@ibibo.com / drmahendra02@gmail.com
Dr. Mahendra Bhatnagar's is one of the significant post-independence voices in Hindi and Indian English Poetry, expressing the lyricism and pathos, aspirations and yearnings of the modern Indian intellect. Rooted deep into the Indian soil, his poems reflect not only the moods of a poet but of a complex age.
Born in Jhansi (Uttar Pradesh) at maternal grandfather's residence on 26 June 1926; 6 a.m.
Primary education in Jhansi, Morar (Gwalior) and Sabalgarh (Morena); Matric (1941) from High School, Morar (Gwalior); Inter (1943) from Madhav College, Ujjain; B.A. (1945) from Victoria College, - at present, Maharani Laxmi Bai College - Gwalior; M. A. (1948) and Ph.D. (1957) in Hindi from Nagpur University; L.T. (1950 ; Madhya Bharat Govt.)
Places of work — Bundelkhand, Chambal region and Malwa.
High School Teacher from July 1945. Retired as Professor on 1 July 1984 (M.P. Govt. Educational service).
Selected once for the post of Professor of Hindi Language & Literature, in Tashkent University, U.S.S.R. (1978) by UGC & ICCR (NEW DELHI)
Principal Investigator (U.G.C. / Jiwaji University, Gwalior) from 1984 to 1987.
Professor in the IGNOU Teaching Centre of Jiwaji University, Gwalior in 1992.
Worked as Chairman \ Member of various committees in Indore University, Vikram University, Ujjain & Dr. Bhimrao Ambedkar University, Agra.
Worked as a member in the managing committees of 'Gwalior Shodh Sansthan', 'Madhya Pradesh Hindi Granth Academy' & 'Rashtra-Bhasha Prachar Samiti, Bhopal'.
From time to time, poems included in various Text-Books of curricula of Educational Boards & Universities of India.
Worked as one of the members in the Audition Committees of Drama / Light Music of All India Radio (Akashvani) - Stations Indore and Gwalior. Contracted Song-Writer of All India Radio \ For all Radio Stations (Light Music Section). Broadcast many poems, talks and other programmes from Indore, Bhopal, Gwalior and New Delhi (National Channels) Radio Stations.
Conducted and directed many literary societies in Ujjain, Dewas, Dhar, Mandsaur and Gwalior.
Appointed as one of the Award-Judges by 'Bihar Rashtra-Bhasha Parishad, Patna' (1981 & 1983), 'Uttar Pradesh Hindi Sansthan, Lucknow' (1983), 'Rajasthan Sahitya Akademi, Udaipur' (1991,1993,1994) & 'Hindi Sahitya Parishad, Ahmedabad, Gujrat (2001).
Poems translated, published and broadcast in many foreign and Indian languages.
Eleven volumes of poems in English :
[1] ‘Forty Poems of Mahendra Bhatnagar’ [Selected Poems — 1]
[2] 'After The Forty Poems' [Selected Poems — 2]
[3] ‘Dr. Mahendra Bhatnagar’s Poetry.’ [Selected Poems — 3]
[4] 'Exuberance and other poems.
[5] ‘Death Perception : Life Perception’
[6] 'Passion and Compassion'
[7] 'Poems : For A Better World'
[8] 'Lyric-Lute'
[9] 'A Handful Of Light'
[10] New Enlightened World
[11] Dawn to Dusk
One volume of translated poems in French ('A Modern Indian Poet : Dr. Mahendra Bhatnagar : Un Poèt Indien Et Moderne'.)
Works published in seven volumes in Hindi - three of Poems (comprising sixteen earlier collections), two of Critical articles, one on Premchand ( Research work) and one of Miscellaneous writings.
Published research & critical studies :
(1) Living Through Challenges : A Study of Dr. Mahendra Bhatnagar's Poetry
(2) Poet Dr. Mahendra Bhatnagar : His Mind And Art.
(3) The Poetry of Mahendra Bhatnagar : Realistic & Visionary Aspects [forthcoming]
Received awards, four times ( 1952, 1958, 1960, 1985. ) from Madhya Bharat & Madhya Pradesh Govts.
Edited literary magazines 'Sandhya' (Monthly) and Pratikalpa' (Quarterly) from Ujjain.
Member Advisory Board : Indian Journal of POSTCOLONIAL LITERATURES [Half-yearly / Thodupuzha-Kerala]
Adviser : 'POETCRIT' (Half-Yearly / Maranda, H.P.),
Adviser : ‘VICHAR-DRISHTI’ (Quarterly / Delhi / Patna)
Adviser : ‘Lokmangal’ (Quarterly / Gwalior, M.P.)
Adviser : ‘Vangmaya’ (Quarterly / Aligarh, U.P.)
Patron : www. creativesaplings.com
Contact : 110, BalwantNagar, Gandhi Road, Thaateepur,
Gwalior — 474 002 (M.P.) INDIA
Phone : 0751-4092908 / M-9893409793
E-Mail : Mahendra1926@ibibo.com / drmahendra02@gmail.com
[महेंद्रभटनागर / स्ववृत्त]
महेंद्रभटनागर
द्वि-भाषिक कवि — हिन्दी और अंग्रेज़ी।
सन्1941 के लगभग अंत से काव्य-रचना आरम्भ। तब कवि (पन्द्रह वर्षीय) 'विक्टोरिया कॉलेज, ग्वालियर' में इंटरमीडिएट (प्रथम वर्ष) का छात्र था। सम्भवतः प्रथम कविता 'सुख-दुख' है; जो वार्षिक पत्रिका 'विक्टोरिया कॉलेज मेगज़ीन' के किसी अंक में छपी थी। वस्तुतः प्रथम प्रकाशित कविता 'हुंकार' है; जो 'विशाल भारत' (कलकत्ता) के मार्च 1944 के अंक में प्रकाशित हुई।
लगभग छह वर्ष की काव्य-रचना का परिप्रेक्ष्य स्वतंत्रता-पूर्व भारत; शेष स्वातंत्र्योत्तर।
हिन्दी की तत्कालीन तीनों काव्य-धाराओं से सम्पृक्त — राष्ट्रीय काव्य-धारा, उत्तर छायावादी गीति-काव्य, प्रगतिवादी कविता।
समाजार्थिक-राष्ट्रीय-राजनीतिक चेतना-सम्पन्न रचनाकार।
सन्1946 से प्रगतिवादी काव्यान्दोलन से सक्रिय रूप से सम्बद्ध। 'हंस' (बनारस / इलाहाबाद) में कविताओं का प्रकाशन। तदुपरान्त अन्य जनवादी-वाम पत्रिकाओं में भी। प्रगतिशील हिन्दी कविता के द्वितीय उत्थान के चर्चित हस्ताक्षर।
सन्1949 से काव्य-कृतियों का क्रमशः प्रकाशन।
प्रगतिशील मानवतावादी कवि के रूप में प्रतिष्ठित। समाजार्थिक यथार्थ के अतिरिक्त अन्य प्रमुख काव्य-विषय — प्रेम, प्रकृति, जीवन-दर्शन। दर्द की गहन अनुभूतियों के समान्तर जीवन और जगत के प्रति आस्थावान कवि। अदम्य जिजीविषा एवं आशा-विश्वास के अद्भुत-अकम्प स्वरों के सर्जक।
काव्य-शिल्प के प्रति विशेष रूप से जागरूक।
छंदबद्ध और मुक्त-छंद दोनों में काव्य-सॄष्टि। छंद-मुक्त गद्यात्मक कविता अत्यल्प। मुक्त-छंद की रचनाएँ भी मात्रिक छंदों से अनुशासित।
काव्य-भाषा में तत्सम शब्दों के अतिरिक्त तद्भव व देशज शब्दों एवं अरबी-फ़ारसी (उर्दू), अंग्रेज़ी आदि के प्रचलित शब्दों का प्रचुर प्रयोग।
सर्वत्र प्रांजल अभिव्यक्ति। लक्षणा-व्यंजना भी दुरूह नहीं। सहज काव्य के पुरस्कर्ता। सीमित प्रसंग-गर्भत्व।
विचारों-भावों को प्रधानता। कविता की अन्तर्वस्तु के प्रति सजग।
.
26 जून 1926 को प्रातः 6 बजे झाँसी (उ. प्र.) में, ननसार में, जन्म।
प्रारम्भिक शिक्षा झाँसी, मुरार (ग्वालियर), सबलगढ़ (मुरैना) में। शासकीय विद्यालय, मुरार (ग्वालियर) से मैट्रिक (सन्1941), विक्टोरिया कॉलेज, ग्वालियर (सत्र 41-42) और माधव महाविद्यालय, उज्जैन (सत्र : 42-43) से इंटरमीडिएट (सन्1943), विक्टोरिया कॉलेज, ग्वालियर से बी. ए. (सन्1945), नागपुर विश्वविद्यालय से सन्1948 में एम. ए. (हिन्दी) और सन्1957 में 'समस्यामूलक उपन्यासकार प्रेमचंद' विषय पर पी-एच. डी.
जुलाई 1945 से अध्यापन-कार्य — उज्जैन, देवास, धार, दतिया, इंदौर, ग्वालियर, महू, मंदसौर में।
'कमलाराजा कन्या स्नातकोत्तर महाविद्यालय, ग्वालियर (जीवाजी विश्वविद्यालय, ग्वालियर) से 1 जुलाई 1984 को प्रोफ़ेसर-अध्यक्ष पद से सेवानिवृत्त।
कार्यक्षेत्र : चम्बल-अंचल, मालवा, बुंदेलखंड।
सम्प्रति शोध-निर्देशक — हिन्दी भाषा एवं साहित्य।
अधिकांश साहित्य 'महेंद्रभटनागर-समग्र' के छह-खंडों में एवं काव्य-सृष्टि 'महेंद्रभटनागर की कविता-गंगा' के तीन खंडों में प्रकाशित।
.
सम्पर्क :
डा. महेंद्रभटनागर
सर्जना-भवन, 110 बलवन्तनगर, गांधी रोड, ग्वालियर — 474 002 [म. प्र.]
फ़ोन : 0751-4092908 / मो. 98 934 09793
E-Mail : drmahendra02@gmail.com
drmahendrabh@rediffmail.com
Mahendra1926@ibibo.com
.
'महेंद्रभटनागर की कविता-गंगा'
खंड : 1
1 तारों के गीत
2 विहान
3 अन्तराल
4 अभियान
5 बदलता युग
6 टूटती शृंखलाएँ
खंड : 2
7 नयी चेतना
8 मधुरिमा
9 जिजीविषा
10 संतरण
11 संवर्त
खंड : 3
12 संकल्प
13 जूझते हुए
14 जीने के लिए
15 आहत युग
16 अनुभूत-क्षण
17 मृत्यु-बोध : जीवन-बोध
18 राग-संवेदन
.
प्रतिनिधि संकलन
19 गीति-संगीति [प्रतिनिधि गेय गीत]
20 कालपृष्ठ पर अंकित [सामाजिक यथार्थ से सम्बद्ध]
21 जीवन-राग [जीवन- दर्शन से सम्बद्ध]
22 चाँद, मेरे प्यार! (प्रेम-कविताएँ)
23 इंद्रधनुष (प्रकृति-चित्रण)
24 महेंद्रभटनागर की कविता-यात्रा [प्रतिनिधि कविताएँ]
.
अद्यतन काव्य-कृतियाँ
25 अनुभूतियाँ : एक हताश व्यक्ति की
26 विराम
.
मूल्यांकन / शोध
[1] महेंद्रभटनागर की काव्य-संवेदना : अन्तःअनुशासनीय आकलन
डा. वीरेंद्र सिंह (जयपुर)
[2] कवि महेंद्रभटनागर का रचना-कर्म
डा. किरणशंकर प्रसाद (दरभंगा)
[3] डा. महेंद्रभटनागर की काव्य-साधना
ममता मिश्रा
[4] महेंद्रभटनागर की कविता : परख और पहचान
सं. डा. पाण्डेय शशिभूषण 'शीतांशु' (अमृतसर)
[5] डा. महेंद्रभटनागर की काव्य-सृष्टि
सं. डा. रामसजन पाण्डेय (रोहतक)
[6] डा. महेंद्रभटनागर का कवि व्यक्तित्व
सं. डा. रवि रंजन (हैदराबाद)
[7] सामाजिक चेतना के शिल्पी : कवि महेंद्रभटनागर
सं. डा. हरिचरण शर्मा (जयपुर)
[8] कवि महेंद्रभटनागर का रचना-संसार
सं. डा. विनयमोहन शर्मा (स्व.)
[9] कवि महेंद्रभटनागर : सृजन और मूल्यांकन
डा. दुर्गाप्रसाद झाला (शाजापुर)
[10] महेंद्रभटनागर की सर्जनशीलता (शोध / नागपुर वि.)
डा. विनीता मानेकर (तिरोड़ा-भंडारा / महाराष्ट्र)
[11] प्रगतिवादी कवि महेंद्रभटनागर : अनुभूति और अभिव्यक्ति /
(शोध / जीवाजी वि., ग्वालियर)
डा. माधुरी शुक्ला (स्व.)
[12] महेंद्रभटनागर के काव्य का वैचारिक एवं संवेदनात्मक धरातल
(शोध / सम्बलपुर वि., उड़ीसा)
डा. रजत कुमार षड़ंगी (कोरापुट-उड़ीसा)
[13] डा. महेंद्रभटनागर : और कृतित्व (शोध / कर्नाटक वि.)
डा. मंगलोर अब्दुलरज़ाक बाबुसाब (गदग-कर्नाटक)
[14] डा. महेंद्रभटनागर के काव्य का नव-स्वछंदतावादी मूल्यांकन
(शोध / दयालबाग डीम्ड वि., आगरा)
डा. कविता शर्मा (आगरा)
[15] डा. महेंद्रभटनागर के काव्य में सांस्कृतिक चेतना
(शोध / कानपुर वि.)
डा. अलका रानी (कन्नौज)
[16] महेंद्रभटनागर के काव्य में युग-बोध
(शोध / ललितनारायण वि., दरभंगा)
डा. मीना गामी (दरभंगा)
.
CRITICAL STUDY OF
Mahendra Bhatnagar's Poetry
[1]The Poetry of Mahendra Bhatnagar :
Realistic & Visionary Aspects
Ed. Dr. O.P. Budholia
[2]Living Through Challenges :
A Study of Dr.Mahendra Bhatnagar's Poetry
By Dr. B.C. Dwivedy.
[3] Poet Dr. Mahendra Bhatnagar :
His Mind And Art / (In Eng. & French)
Ed. Dr. S.C. Dwivedi & Dr. Shubha Dwivedi
.
Works :
Forty Poems of Mahendra Bhatnagar
After The Forty Poems
Exuberance and other poems
Dr. Mahendra Bhatnagar's Poetry
Death-Perception : Life-Perception
Poems : For A Better World
Passion and Compassion
Lyric-Lute
A Handful of Light
New Enlightened World
Dawn to Dusk
.
Translations :
In French :
A Modern Indian Poet : Dr. Mahendra Bhatnagar :
UN POÈTE INDIEN ET MODERNE
Tr. Mrs. Purnima Ray
.
In Tamil :
Kaalan Maarum,
Mahendra Bhatnagarin Kavithaigal.
In Telugu :
Deepanni Veliginchu.
In Kannad & In Bangla :
Mrityu-Bodh : Jeewan-Bodh.
In Marathi :
Samkalp Aaani Anaya Kavita
In Oriya :
Kala-Sadhna.
In Malyalam, Gujrati, Manipuri, Urdu, Sindhi.
In Czech, Japanese.
.
Links :
HINDI
.
www.kavitakosh.org/mbhatnagar.htm
www.blogbud.com/author 5652
www.srijangatha.comwww.swargvibha.com
www.sahityakunj.net
www.anubhuti-hindi.org
www.vangmaypatrika.blogspot.com
www.swarsrijan.blogspot.com
http://www.sahityashilpi.com/
ENGLISH-FRENCH
ENGLISH
(1) www.poetrypoem.com/mpb2 [Selected Poems 1,2,3]
(2) www.poetrypoem.com/mpb4 [‘Exuberance and other poems’ /
‘Poems : For A Better World /Passion and Compassion]
(3) www.poetrypoem.com/mpb3[‘Death-Perception : Life-Perception’ /
‘A Handful Of Light’]
(4) www.poetrypoem.com/mpb[‘Lyric-Lute’]
(5)www.anindianenglishpoet.blogspot.com [‘…A Study Of Dr. Mahendra Bhatnagar’s Poetry’]
(6)www.mahendrabhatnagar.blogspot.com [ Critics & Mahendra Bhatnagar’s Poetry]
PATRON :
www.creativesaplings.com
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