By Prof. Dr. Navneet Kaur
Mother India has been remarkably authored by the phrasal monarch Arbind Kumar Choudhary, and it consists of 99 Indianised versions of Arbindonean Sonnets. In this breathtaking anthology, the cultural culmination, mythical monarchy, patriotism, spiritual sanctity, and lyrical outburst bloom and zoom from one sonnet to another with great poetic perfection and vision.
Most of these Arbindonean Sonnets contain three rhymed quatrains and one rhymed couplet that brings to light the junction of phrasal words wreathed artistically—just like the beads of a garland.
When we read this engaging work, we find that the painterly painting of the strife-stricken society created by the poet brings to light the greatness of Mother India, while the cluster of mythical gods and goddesses prepares a fertile literary ground for the mythical monarchy of India across the globe. The friendly relations, cultural culmination, and above all, Vasudhaiva Kutumbakam make India the superpower of humanity. In the book, our Father of the Nation, Mahatma Gandhi, has been presented just like the messiah of the downtrodden and deprived voices, while Sardar Patel has been depicted as the master of the unification of India. Vinoba Bhave’s Bhoodan Movement is not less than any other movement in Indian history, while Subhash Chandra Bose has been given the title of the man of iron with great might and mane.
India has been heralded and addressed by a number of names such as Hindustan, Aryavarta, Jambudweep, and many others. It has remained a land of gods, goddesses, saints, messiahs, gurus, and incarnations from times immemorial. The rhymed passages, various examples of personifications, alliterations, and assonances, striking imagery, phrasal clusters, and sensational presentation are the prime poetic qualities of the book Mother India that make it a great work of art in Indian English poetry. Buddha has been presented like the celestial Sultan of Hindustan, while Mahavir enlightens the intellectual knight for the sound sight of the society. Indians have been reflected as witty as Vidur amidst many a Bhasmasur.
As a social critic, the socialists have been presented as selfish as Dhritarashtra. This couplet contains a cluster of phrasal words—
"The merchant of doom is he / Who breaks a butterfly on the wheel for the social butterfly?"
Here lies another couplet that is the best example of alliteration—
"Pitambar of Porbandar / Perfumes the passage for the pauper."
These fruits—Ramphal, Sitaphal, Hanumanphal, Amritphal, and several others—enliven the cultural messiahs time and again.
India has been referred to as the mythical capital, cultural capital, historical capital, religious capital, and Yoga capital in one Arbindonean sonnet with great poetic beauty. Life is the treasury of misery on this virgin territory. Shravan Kumar’s parental love, Modi’s diplomacy, Vibhishan’s dedication to Janakiraman, Ambedkar’s pang of untouchability, Savitri’s supreme sacrifice for Satyavan, the cultural river Ganga, Kashinath dynasty, and many others leave behind a sense of fragrance for one and all. The uncompromising approach of Vajpayee with corruption makes him the king of morality in history.
"Horse trading is a curse for Vajpayee like bird of passage / Who embraces defeat from one vote for morality purpose?"
The concept of love has been caged in the couplets of this book—
"What the eye does not see / The heart does not miss?"
Indian cultural heraldry is the artillery of his poetry amidst many a starry territory.
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