+ All Categories
Home > Documents > nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns...

nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns...

Date post: 18-Oct-2019
Category:
Upload: others
View: 6 times
Download: 0 times
Share this document with a friend
60
nfXnkfJ u"Ek gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns/ }?o^doPBh sZsK d/ gq;zr ftu 1H y[ZbQh eftsk dk Ppd ;z;ko ns/ ;zuko gqpzX T[sgfs gobT[ ;pd/ j't?Ò ;pd/ jh fco Ugfs j't?Ò 1 y[ZbQh eftsk d/ Ppd ;z;ko pko/ ;ztkd nkozG eoB bJh gkb tb/o/ (Paul Valerey) dh XkoBk, “Poetry is an art of language ; certain combinations of words can produce an emotion that others do not produce, and which we shall call poetic.2 r"bD:'r th j? ns/ gq;zfre th j?. T[AM sK jo Pkpfde ebk tzBrh PpdK dh tos'A pko/ T[u/u/ fXnkB dh wzr eodh j?, go eftsk PpdK dh u'D ns/ tos'A tZb'A G'ok p/fXnkBh BjhA MZbdh. PpdK d/ i[Z;/ s/ PpdK dh ;{\wsk dh gSkD ns/ w"fbe Bt/A GktK, nB[GtK, ;'uK bJh PpdK d/ fBnko/ noEK ns/ Bt/A nkg;h ;zpzXK dh PBk\s ns/ ebksfwe g/Pekoh w{b Pos j[zdh j?. fJe fbjkI Bkba t/yhJ/ sK eth PpdK d/ f;oie sK BjhA j[zd/, gozs{ PpdK d/ fBg[zB u'Deko ns/ ;[ji p[Dsheko Io{o j[zd/ jB. o?B/ t?b/e (Rene Wellek) s/ nk;fNB tko?B (Austin Warren) wjZstg{oB B[esk T[mkT[Ad/ jB fe n;b eftsk eh j?< fJ; pko/ feZE/ t/fynk ikt/< fJj j'AdtkB fet/A j?< ;kv/ bJh th fJj w;bk tZv/ wjZst tkbak j?. 1H r[o{ nwodk; ih, ;qh r[o{ rqzE ;kfjp, gzBk^117H 2H Paul Valery, Poetry and Abstract Thought, The American Poetry Review, Vol. 36, No. 2 (March/April 2007), p. 62. 193
Transcript
Page 1: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

nfXnkfJ u"Ekgzikph y[ZbQh eftsk dhnK ;zuko i[rsKL

doPBh ns/ }?o^doPBh sZsK d/ gq;zr ftu

1H y[ZbQh eftsk dk Ppd ;z;ko ns/ ;zuko gqpzX

T[sgfs gobT[ ;pd/ j't?Ò

;pd/ jh fco Ugfs j't?Ò1

y[ZbQh eftsk d/ Ppd ;z;ko pko/ ;ztkd nkozG eoB bJh gkb tb/o/ (Paul Valerey)

dh XkoBk, “Poetry is an art of language ; certain combinations of words can produce an

emotion that others do not produce, and which we shall call poetic.”2 r"bD:'r th j? ns/

gq;zfre th j?.

T[AM sK jo Pkpfde ebk tzBrh PpdK dh tos'A pko/ T[u/u/ fXnkB dh wzr eodh

j?, go eftsk PpdK dh u'D ns/ tos'A tZb'A G'ok p/fXnkBh BjhA MZbdh. PpdK d/ i[Z;/

s/ PpdK dh ;{\wsk dh gSkD ns/ w"fbe Bt/A GktK, nB[GtK, ;'uK bJh PpdK d/ fBnko/

noEK ns/ Bt/A nkg;h ;zpzXK dh PBk\s ns/ ebksfwe g/Pekoh w{b Pos j[zdh j?. fJe

fbjkI Bkba t/yhJ/ sK eth PpdK d/ f;oie sK BjhA j[zd/, gozs{ PpdK d/ fBg[zB u'Deko

ns/ ;[ji p[Dsheko Io{o j[zd/ jB.

o?B/ t?b/e (Rene Wellek) s/ nk;fNB tko?B (Austin Warren) wjZstg{oB B[esk

T[mkT[Ad/ jB fe n;b eftsk eh j?< fJ; pko/ feZE/ t/fynk ikt/< fJj j'AdtkB fet/A j?<

;kv/ bJh th fJj w;bk tZv/ wjZst tkbaaak j?.

1H r[o{ nwodk; ih, ;qh r[o{ rqzE ;kfjp, gzBk^117H

2H Paul Valery, Poetry and Abstract Thought, The American Poetry Review, Vol. 36, No. 2 (March/April

2007), p. 62.

193

Page 2: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

"What is the 'real' poem; where should we look for it, how does it exist? A correct

answer to these questions should solve several critical problems and open a way to the proper

analysis of a work of literature."1

o?B/ t?b/e s/ nk;NB tko?B B/ nkgDh g[;se Theory of Literature d/ b/y The mode

of existence of a literary work of art ftu ;kfjs d/ w"fye ns/ fbysh o{gK ns/ }?o^Pkpfde

ebk wkfXnwK dh j'Ad ;fEsh pko/ rzGho fuzsB g/P ehsk. ekrI ’s/ SghnK ekb/ nZyoK

tkbaahnK ;soK jh eftsk iK ;kfjs BjhA j[zdhnK. fJjBK SghnK ;soK d/ nkb/ d[nkb/

nDSfgnk iK nw{osB j'o pj[s e[M j[zdk j? i' fJjBK B{z eftsk iK ;kfjs ti'A wkBsk

fdtkT[Adk j?. T[go'es fuzse nkgD/ fJ; b/y ftu w"fyesk d/ d"o dk fBnKfJe soe

g/P eod/ jB. T[jBK w[skpe Skg/ykB/ s'A gfjb/ ;w/A d"okB th eftsk iK ;kfjs w"i{d

;h Gkt/A T[j w"fye o{g ’u jh ;h. fJ; bJh eftsk iK ;kfjs dh j'AdtkBsk bJh PpdK

dk ;soK ftu Sfgnk j'Dk ;kg/ye ;fEsh sK j?, fBog/y edkfus BjhA.

;zuko B{z ftjkfoe gZXo ’s/ d' e'NhnK—Pkpfde ns/ }?o^Pkpfde ftu torhfeqs

ehsk ik ;edk j?. Pkpfde ;zuko T[ukoBh ns/ PotDh gqfefonk ’s/ w[BZ;o j[zdk j?.

}?o^Pkpfde ;zuko fJPkfonK, ;?BsK, ftP/P fdqP ;fEshnK nXkfos j[zdk j?l go fJj

fdqP ;fEshnK wB[Zyh wB fpzpK s/ f\nkbK B{z jh gqfsX[fBs eodhnK jB. fJ; bJh

}?o^Pkpfde ;zuko ftu Pkpfdesk w{b'A ykoi BjhA j' iKdh. fdqPK ns/ PpdK dk fJe

;KMk r[D ;zuko^;ze/s eoBk j?. fJPkok, ;?Bs iK \k; fdqP th ;ze/se j[zd/ jB ns/

Ppd th gqsheksfwe YzrK Bkba ;ze/s eod/ jB. ;ze/s eoB dhnK d'jK dhnK ftXhnK

tZyohnK jB. fit/A u"Ae T[Zs/ joh pZsh dk f;rBb uZbD dk ;ze/se j[zdk j?. fpibh Bk

j'D dh ;{os ftu fJjh ezw N?qfce g[fb; tkbaaak \k; fJPko/ Bkba th eo b?Adk j? ns/ fJ;

ezw B{z ‘ub'’ Ppd tos e/ th ehsk ik ;edk j?. PpdK dh gqsheksfwesk pko/ ns/

T[jBK d/ ;ze/se wjZst pko/ feq;Nkco ekvt?Zb (Christopher Caudwell) dh XkoBk

1H Rene Wellek and Austin Warren, Theory of Literature, P 142.

194

Page 3: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

T[b/y:'r j?.

“id'A n;hA efjzd/ jK fe Ppd gqsheksfwe j[zd/ jB noEks gqshe s'A fJbktk e[M

BjhA j[zd/ sK ;kvk wsbp eh j[zdk j?< ;kvk wsbp j[zdk j? fe Ppd nkgD/ nkg ’u e[M

BjhA j[zd/, ;kvh fJjBK ftu e'Jh fdbu;gh BjhA j[zdh, ;r'A ;kvh fdbu;gh T[; uhI

ftu j[zdh j?, fi; dk ;ze/s T[j fdzd/ jB.”1 PpdK ns/ fJPkfonK Bkba brksko okps/

ekoB wB[Zy T[jBK dhnK ;{yw szdK pko/ ikDB bZr iKdk j?. ;zuko Bkba ;zpzfXs Pkpfde

}?o^Pkpfde t;hfbnK dk p[fBnkdh ezw ;zuko eoBk nEtk ;ze/sK B{z ;[MkT[Dk j[zdk j?.

ekft ftub/ PpdK dk ezw ;zuko eoBk th j[zdk j?, go f;o| ;zuko eoBk jh BjhA

j[zdk. ekft ftu fJeZb/ fpnkB dk w[Zb BjhA j[zdk, ;r'A nzdkI^J/ fpnkB dk w[Zb j[zdk

j?. fJZE/ PpdK B{z fJe \k; ekfte eqw ftu ftUAspZX j'Dk g?Adk j?. ekft d/ PpdK dk

i/ f;o| ;zuko eoBk jh gqekoi j't/ sK fco pkeh gqutBk Bkba'A ekft gqtuB dh tZyoh

gSkD ns/ j'Ad dk nkXko e'Jh BjhA pu/rk. eth eftsk ftu e'Jh w{b'A nDgSksk gqtuB

gq;s[s BjhA eodk. T[;dh y{p;{osh T[; gqtuB B{z tZyo/ ns/ w"fbe nzdkI ftu

nfGftnes eoB dh j[zdh j?. gkb tb/o/ dh fBwB dbhb, fJ; gZy'A do[;s j?,

"I do not pretend to be teaching you anything at all. I will say nothing you do not already

know; but I know perhaps, say it in a diferent order."2

fJj fpbe[b do[;s j? fe ekft ftu ej/ ikD tkbaa/ dh soshp th T[; d/ pokpo

wjZst dh bykfJe j[zdh j?. n;b ftu ekft nfGftnesh Bkba ;zpzfXs PpdK dh \k;

BthA soshp jh T[jBK B{z ekft dk o[spk fdtkT[Adh j?. ekft dh ftbZyD Pkpfde

soshp jh ekfte fodw T[gikT[Adh j?. w{b ftP/ nB[e{b \k; soQK d/ ;[Gkn tkbaa/ Ppd

jh ekft ftu ;wkT[D dh ;woZEk tkbaa/ j[zd/ jB. fBo'b f;XKstkdh Ppdktbh dk gq:'r

1H "What do we mean when we say words are symbolic. That is symbols and nothing else? we mean that

the words themselves are nothing, we are not interested in them, but in what they refer to."

—Christopher Caudwell, Illusion and Reality, People's Publishing House, New Delhi, 1991, p. 130.

2H Paul Valery, Poetry and Abstract Thought, The American Poetry Review, Vol. 36, No. 2 (March/April

2007), p. 62.

195

Page 4: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

ekft ftu BjhA j[zdk. eth dk w[Zy ezw gqGkth PpdK dh u'D eoBk, fodwe^pj[ X[Bhw{be

ns/ Y[ethA soshp d/Dh j[zdk j?. eth dh fJ; ;woZEk dh goy T[; t/baa/ j[zdh j? id'A

T[j fJe' noE tkbaa/ eJh PpdK ’u'A tX/o/ Y[et/A Ppd B{z nkgD/ ekft gqtuB dk fjZ;k

pDkT[Adk j?.

ekft ftu PpdK dh u'D ns/ g/Pekoh pko/ rzGho ;ztkd oukT[D tkbaah g[;se

Poetic Diction dk b/ye Owen Barfield th 'Poetic Diction' pko/ rZb eofdnK PpdK dh

\k; soshp B{z jh nfjw wzBdk j?.

"When words are selected and arranged in such a way that their meaning either arouses,

or is obviously intended to arouse, aesthetic imagination is recognizable as aesthtic, when it

produces pleasure merely by its proper activity. Meaning includes the whole content of a word,

of a group of words arranged in a particular order, other than the acutal sounds of which they

are composed."1

Ppd id'A nkgD/ e'Prs noEK GktK s'A nrb/ nEtk Gkosh ekft^Pk;soh

gozgok d/ X[Bh f;XKs nB[;ko ftnziBkw{be noE gqrNkT[Ad/ jB, T[d'A jh T[j ekftwJh

Ppd pDd/ jB. fBo'b e'Prs feZb/ Bkba pZM/ PpdK^noEK dk ekft ftu nzfsw wjZst

BjhA j[zdk. fe;/ eftsk ftu fJe s'A tXhe PpdK B/ fwbaae/ jh ekfte gqtuB dh f;oiBk

eoBh j[zdh j?. fJe Ppd s'A pknd d{;ok Ppd fJzM PpdK d/ nkg; ftu ;zrbh ;pzX

fJ; B{z GkPk ftfrnkB ftu bVhdko ;pzX (f;BN?rw?fNe ohb/PB) fejk iKdk j?, pDd/

jB. fe;/ th eftsk bJh PpdK d/ fJ; ;fj^;pzX iK Ppd ;w{jK dk fJe pZMtK wjZst

j[zdk j?. fJZE/ fJj fIeo:'r j? fe jo Ppd dk nkgDk fBnkok Gkt y/so j[zdk j? ns/

eftsk ftu pkeh PpdK Bkba fwbaa e/ fJj T[; Gkt y/so ftu'A fe;/ fJe gqfsfBX P/v dk

;ze/se gqrNktk eodk j?. ;kB{z fJe rZb u/s/ ofjDh ukjhdh j? fe ed/ th, fes/ th

Ppd uzr/ iK wkV/ BjhA j[zd/ Ppd f;o| Y[Zet/A^nY[Zet/A j[zd/ jB. eftsk dk ;kok

1H Own Berfield, Poetic Diction, p. 41.

196

Page 5: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

dko'wdko jh Y[Zet/A PpdK dh Y[ZethA soshp ’s/ j[zdk j?. nzro/Ih eth ;ekbo

ekbfoi dh ekft pko/ XkoBk Poetry is the best words in best order fJ;/ rZb dh rtkjh

Godh j?. Northrop Fry dh g[;se The Educated Imagination ftu ;kfjs pko/ fdZsh XkoBk

fe ;kfjs ftu ej/ rJ/ d/ Bkba'A fet/A fejk frnk j?, tX/o/ wjZstg{oB j[zdk j?, th fJ;

gZy s'A r"bD:'r j?.

"In literature it is not what you say, but how it's said, that's important."1

fJ; ftu e'Jh PZe BjhA fe eftsk iK ;kfjs ftu ej/ ikD dk Yzr wjZstg{oB

j[zdk j?l go n;hA ej/ rJ/ ns/ ej/ ikD d/ Yzr d'jK B{z ;wkB: ns/ p[fBnkdh wjZst

d/ XkoBh wzBd/ jK. i/eo n;hA ;kfjs ftu f;o| ej/ ikD d/ Yzr B{z jh ;ot'swsk fdzd/

ojKr/ sK ;kfjs wkBth u/sBk B{z ft;skoB tkbaaak j? iK BjhAl fJj p[fBnkdh ;tkb

T[mkT[D dk ;kB{z e'Jh jZe BjhA j't/rk. fJ; bJh ;kvh iku/ ekft iK ;kfjs ftu fejk

frnk ns/ ej/ ikD dk Yzr d't/A jh ;wkB: wjZst d/ bykfJe jB. vkH jfoGiB f;zx

X[Bh s'A b? e/ Ppd, tke ns/ t;s{ B{z ;kfjse feos dhnK tZy^tZy gosK Bkba

;zpzfXs do;kT[Ad/ jB. T[jBK nB[;ko, “;kfjse feos d/ eJh od/ iK gosK j[zdhnK

jB. jo gos dk nkgDk T[g^gqpzX j? ns/ T[j fJe tv/o/ gqpzX dk nzr th j?. gfjbh

gos X[Bh dh j?. fJj w[ZYbh gos j? ns/ fJ; s'A fpBK ekft ouBk ;zGt BjhA. fJ;/

gos d/ T[Zgo noE^fJekJhnK d{ih gos dh f;oiBk eodhnK jB. noE fJekJhnK

fJe d{i/ Bkba fwbaae/ tke^:'iBk dh ouBk eodhnK jB. Ppd, tke nkfd noE ouBk

dh gos jB. fJ;/ gos T[Zgo t;s{ w{osh T[;odh j?. t;s{^w{osh ;kfjs ;z;ko dh

;G s'A tXhe wjZst tkbaah gos j?.”2 Y[ZethA Pkpfde tos'Aekoh, ;jkfJe fuzBQ,

fJZE'A sZe fe ;soK d/ nzr^;zr ofjzdh ykbh EK dk th eftsk ftu nkgDk wjZst j[zdk

j?. nkX[fBe :[r d/ ftef;s seBheh t;hfbnK ns/ fGzB^fGzB gqeko dh SgkJh

;wZroh ns/ SgkJh d/ YzrK^sohfenK B/ ;|/ T[Zgo eftsk dh ftUAspzdh d/ Bt/A1H Northrop Fry, The Educated Imagination, p. 46.

2H vkH jfoGiB f;zx, ;kfjs Pk;so, gzBk 20H

197

Page 6: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

nk:kw ;Ekfgs ehs/ jB. fJZE/ fJj fIeo:'r j? fe ;kfjse feos dh fJeZbh fdZy

jh wjZstg{oB BjhA j[zdh. i/eo e'Jh feos gqtuB dh shposk ns/ fdZy ftu

;[w/b pDk bt/ sK fJj fe;/ th soQK dh fJefjoskw{be feos Bkba'A tX/o/ gqGktekoh

j't/rh.

eftsk iK ;kfjs ftu gq;zfre noE tZv/ wjZst d/ bykfJe j[zd/ jB. PpdK d/

e'Prs noE iK ;wkB: noE (General Meaning) ;gPN j[zd/ jB. gq;zfre noE

(Contextual Meaning) fe;/ ;zouBk d/ PpdK d/ nkg;h ;zpzXK ’u'A noE ;koEesk rqfjD

eod/ jB. ekft pko/ nkw s"o ’s/ fJj fPekfJsK ;[DB B{z fwbaadhnK jB fe fJj xZN

;wM g?Adk j? iK eftsk B{z ;wMDk pj[s n"yk j?, eftsk gVQd/ jK ;kv/ eZy gZb/ BjhA g?Adk

t}?ok^t}?ok. eftsk d/ ;zuko pko/ fJj fPekfJsK nkw jB ns/ fJjBK fPekfJsK d/

ekoB jB, ekft PpdK dk pj[noEe (Ambiguous) j'Dk ns/ gq;zfre j'Dk. ftP/P gq;zr

ftu pZM/ Ppd gq;zr B{z ftuko/ fpBk ;jh vhe'v BjhA ehs/ ik ;ed/. Ppd d/ gq;zrkoE

B{z ;wMD bJh n;hA ;[oihs gkso dh }Ib dhnK ;soK t/yd/ jKL

fJ; ndkbs ’u pzd/ fpoy j' rJ/

|?;b/ ;[DfdnK ;[DfdnK ;[Ze rJ/.

;XkoB BIo Bkba t/yhJ/ sK pzd/ fpoy BjhA j[zd/l go id'A eth fJZE/ w[ZdsK s'A

|?;fbnK dh T[vhe eod/ pzfdnK B{z fpoyK d/ fujB ftu o{gKsfos eodk j? sK fJj fpoy

nkgDk noE ft;sko eo wB[Zyh fpzp pD iKd/ jB. fJZE/ fpoy d/ e'Prs noE sK ;kB{z

f;o| fJzBh ikDekoh d/Dr/ fe fpoy eh j[zdk j?. go id'A n;hA fJ; P/no ftub/ fpoy

B{z ndkbs ’u c?;b/ ;[DfdnK^;[DfdnK ;[ZeD tkbaa/ pzfdnK d/ gq;zr Bkba i'V e/ ;wMKr/

sK fJj fpoy dk ;ze/s tZyok ns/ ft;fsqs j' ikt/rk. fJ; soQK gq;zfre noE nkgD/

\k; noE s'A tZyo/ ns/ t;hj noEK tkbaa/ pD iKd/ jB. ekft dk Ppd ;z;ko

pj[ noEsk tkbaa/ gq;zrkoE d/ IohJ/ nkgD/ fBPfus, fBoXkfos, e'Prs dkfJfonK s'A

nZr/ t;hj, ft;fsqs noE d/D bZrdk j?. eftsk ukj/ T[j y[ZbQh j't/ iK Szdw{be, fJ;

198

Page 7: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

Pkpfde gqrNkt/ ’u e'Jh c/o pdb BjhA j[zdkl f;o| e[M pkjoh spdhbhnK tkgodhnK

jB. nKsfoe gZXo ’s/ eftsk B{z eftsk j'D bJh fijV/ p[fBnkdh sZsK s/ ;o{g dh b'V

j[zdh j?, T[j SzdpZX eftsk bJh th T[j jh jB ns/ y[ZbQh eftsk bJh th T[j jh jB.

y[ZbQh eftsk dk ;zuko gqpzX

Encyclopedia Britannica ftu wB[Zy B{z ;zuko eoB tkbaaak iht (Communcating Creature)

fejk j?.1 “The World Book Encyclopedia ftu ;zuko B{z w{bG{s wkBth feqnk (Basic Human

Activity) do;kfJnk frnk j?.”2 fJ; ftu osk th ;zd/j BjhA fe ;zuko w{bG{s wkBth

feqnk j? i/ nfijk Bk j[zdk sK wkBth ;z;ko J/Bk ft;fsqs, J/Bk ftPkb ed/ Bk j[zdk. Xkofwe

ns/ dkoPfBe wB"sK w[skfpe fPq;Nh d/ eos/ B/ fPq;Nh f;oiBk t/baa/ fJe \k; X[B (ehsk

g;kT[ J/e' etkT[, fs; s/ j'J/ by dohnkT[—;qh r[o{ BkBe d/t ih) T[ukoh, fi;d/ gqfscb

ti'A fPq;Nh j'Ad ftu nkJh. f;Zy wZs ftu fJ; B{z Unzeko, fjzd{ wZs ftu Uw nkyd/

jB ns/ fJ;kJh wZs ftu fJ; X[zB B{z Logos nkyd/ jB. fJ;bkw ftu fJ; X[zB B{z e[zB

nkfynk iKdk j?. ;kvk wB'oE fJZE/ XowK dhnK wB"sK dk ftPb/PD eoBk BjhA, ;r'A ;zuko

d/ p[fBnkdh wjZst tkbaa/ B[es/ B{z geVBk ns/ ftukoBk j?.

;zuko w{b o{g ftu d' gqeko dk j[zdk j?—X[Bhw{be ;zuko (Verbal Communication)

ns/ fdqPw{be ;zuko (Non-Verbal Communication). X[Bhw{be ;zuko B{z n;hA GkPkJh

;zuko iK Pkpfde ;zuko th efj ;ed/ jK. fJ; ftu Pkpfde X[BhnK d/ fuzBQw{be

gqrNkt/ dh gqfefonk T[ukoBh s/ PotDh ;zpzXK okjhA ;keko j[zdh j?. GkPkJh ;zuko ftu

wB[Zy dhnK T[ukoBh s/ PotDh fJzdohnK ekoiPhb j[zdhnK jB. fdqPw{be ;zuko iK

}?o^X[Bhw{be ;zuko nZyK ns/ ;goPK okjhA B/go/ uVQdk j?. fJ; ftu nZyK, BZe ns/

;w[Zu/ ;oho d/ pkjoh Gkr Bkba ;zpzfXs fJzdohnK dh G{fwek j[zdh j?. nZyK B/ fdqP

t/y e/ fdwkr B{z f;rBb d/Dk j[zdk j?, BZe B/ nkgDh ;[zxD Pesh okjhA ;[B/jk d/Dk j[zdk

j? ns/ pkeh ;ohoe nzrK B/ ;goP okjhA gqkgs ;[B/j/ B{z fdwkr sZe gj[zukT[Dk j[zdk j?.1H Encyclopedia Britannica, Vol. IV, p. 1005.

2H The World Book Encyclopedia, Vol. III, p. 711.

199

Page 8: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

r{zr/, p'ba/ ftnesh nkgD/ GktK B{z fJPkfonK, ;?BsK ftu o{gKsfos eoe/ jh ;zukfos

eod/ jB.

;zuko d/ }?o^GkPkJh wkfXnw Bkba'A GkPkJh wkfXnw tX/o/ t;hj doi/ tkbaaak j?.

Gkt/A GkPkJh wkfXnw ;zuko dk tZvk t;hbk j?, go fJ; Bkba th ;" ch;dh s/ g{ok^;{ok

;zuko j' ;eD dh rkozNh BjhA j[zdh. feT[Afe Ppd ;w{os j[zd/ jB, PpdK ftu

nfGftnes nB[Gt nw{os, nfdZy j[zd/ jB. fJ; eoe/ Pkpfde ;zouBk ;zukfos j'

e/ th e[M ;zukfos j'Dh pkeh ofjzdh j?. fJe ftnesh dk nB[Gt d{;ok ftnesh fiT[A

dk fsT[A rqfjD eo bt/, fJ; dh ;zGktBk xZN j[zdh j?. nB[Gt d/ e[M P/vi iK fInkdk

P/vI dh ;KM j' ;edh j? go g{oh dh g{oh ;KM BjhA j[zdh. fe;/ rqfjD eosk dh fizBh

tX/o/ nB[Gt ;KM j't/rh T[Bh jh fPZds Bkba T[j ouBk B{z wfj;{; eo/rk. Gkt fe fJj

rqfjD eosk e'ba npdb o{g ftu BjhA gj[zudk. fJj ;zGt j[zdk j? fe rqfjD eosk

gqtuB eosk Bkba'A fe;/ ftbZyD iK tZyoh nzso^fdqPNh Bkba T[; gqtuB B{z i'V e/

t/y/. GkPkJh \k; s"o ’s/ ;kfjse ;zuko nB[wkBs ;zuko gZXsh B{z nzrheko eoB tkbaaak

tX/o/ j[zdk j?. d' tZy' tZyohnK j'AdK, d' tZy' tZyo/ gqsyD, d' tZy' tZyohnK rqfjD

;fEshnK ;ko/ gZXoK ’s/ ;wkB: gj[zu tkbaahnK BjhA j[zdhnK. nkX[fBe GkPk ftfrnkBh

;'f;T{o d/ nfjw GkPkJh ;zebg b?Ar (Langue) ns/ g?o'b (Parole) fJ; ;fEsh B{z

tX/o/ do[;s Yzr Bkba nfGftnes eod/ jB. ;'f;T{o b?Ar B{z ;wkfie iK ;w{fje wzBdk

j? ns/ g?o'b iK T[uko B{z ftneshrs wzBdk j?. e'Jh th T[uko sd jh ;zukfos j'D d/

:'r j't/rk i/eo T[;dh ouBk GkPk iK b?Ar w[skfpe j'Jh j't/rh. fJZE/ fJj th fIeo:'r

j? fe ftneshrs T[uko nEtk g?o'b jh GkPk nEtk b?Ar dh fBowkDekoh eod/ jB.

fJT[A b?Ar ns/ g?o'b d[tzdw{be foPs/ ftu pZM/ j[zd/ jB. n;hA GkPk ns/ ;kfjs d/ ;zpzXK

dh fBoy goy eoBh j't/ sK ;'f;T{o dk b?Ar^g?o'b dk ;zebg p/jZd ;koEe f;ZX j[zdk

j?. T[dkjoB ti'A ;kfjs dh nkgDh b?Ar nEtk GkPk nEtk ;kwkB: B/w gqpzX j?. fJ;

GkPk ’u'A ftneshrs g?o'b nEtk T[ukoK d/ o{g ’u ;kfjse feosK iBwdhnK jB.

200

Page 9: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

fJ; soQK nZv^nZv ;kfjsekoK d/ nkgD/ nkgD/ ;kfjse T[uko nEtk g?o'b pDd/ jB.

fJj g?o'b fwbaa e/ jh ;kfjse b?Ar dh fBowkDekoh eod/ jB. fJ; soQK ;kfjse T[ukoK

dhnK tZyosktK j[zfdnK th ;kfjse GkPk nEtk b?Ar d/ fJe ;w{fje YKu/ s'A gqGkfts

ns/ ;/fXs j[zdhnK jB. o'wB i?ep;B b?Ar d/ ;w{fje g;ko B{z GkPk d/ ;KM/ e'v ti'A

ftukodk j?. T[; B/ Pkpfde ;zuko (Verbal Communication) gqfefonk dk S/ tZy^tZy

nzso^;zpzfXs sZsK dk ;zuko wkvb1 gq;s[s ehskl i' fJ; gqeko j?L

Pkpfde ;zuko dh gqfefonk ftu tesk ns/ ;o'sk p[fBnkdh ns/ ihtzs

eVhnK jB. tesk ;o's/ B{z ;zd/P d/Dk ukj[zdk j?. ;zd/P d/D bJh tes/ dk ;o's/ Bkba

;zgoe Io{oh j?. e'v dk ;zpzX ;zd/P dh GkPk nEtk b?Ar dh ;w{fjesk Bkba pDdk j?

ns/ gq;zr dk ;zpzX ;zd/P dh nfGftnesh d/ o[\ Bkba j[zdk j?. ;' fJj ;gPN j? fe;/

GkPkJh ;zd/P B{z tes/ s'A ;o's/ dofwnkB ;zukfos j'D bJh ;zgoe, gq;zr ns/ e'v

tor/ gVktK ftu'A r[IoBk g?Adk j?.;zuko fezBk e[ T[fus j[zdk j?< fJj tes/^;o's/ dh

gq;zr, ;zgoe ns/ GkPkJh e'vK pko/ ;{M ’s/ w[BZ;o j?. i?ep;B ;ohoe wkfXnw ns/

wkBf;e fJe;[osk dh G{fwek B{z th ;zuko gqfefonk ’u ;jkfJe sZsK ti'A wkBsk fdzdk

j?.

o'wB i?ep;B GkPkJh ;zuko gqfefonk d/ S/ w{b sZsK d/ nkXko ’s/ GkPk d/ S/1H Roman Jakobson, Closing Statement : Linguistics and Poetics, Thomas A Sebeok, (Ed) Style in

Language, p. 353.

gq;zr(Context)

;zd/P(Message)

;zgoe(Contact)

e'v(Code)

tesk(Addresser)

;o'sk(Addressee)

201

Page 10: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

gqekoiK B{z fBwB nB[;ko do;kT[Adk j?.1

i?ep;B fe;/ th GkPk ;zouBk (Verbal Structure) B{z fJjBK T[go'es S/ gqekoiK

’u'A fe;/ fJe gqekoi Bkba ;zpzfXs wzBdk j?. fJe gqekoi Bkba ;zpzfXs j'D s'A Gkt fJj

BjhA fe T[j GkPkJh ;zouBk e/tb fJe' gqekoi sZe wfjd{d j? ;r'A fJj fe fJe gqekoi

dh ;[o Gko{ j'D ekoB T[j e/Adoh ;fEsh ftu ofjzdk j? ns/ pkeh gqekoi T[; d/ ;jkfJe

pD iKd/ jB. fi; fe;/ ;zd/P ftu fijVk gqekoi gqw[ysk rqfjD eo iKdk j?, T[jh T[;

;zd/P dk gqw[y gqekoi j' fBZpVdk j?.

;"f;T{o ns/ o'wB i?ep;B dhnK ;EkgBktK Bkba ;ztkd oukT[D Bkba ;kv/

nfXn?B dk wB'oE GkPk ftfrnkfBe BjhA j' iKdk. gzikph y[ZbQh eftsk d/ ;zuko B{z

;wMD fjZs T[; B{z fJe GkPe ;zouBk ti'A ftukoBk th ;kv/ nfXn?B dk fJe e'D pDdk

j?. y[ZbQh eftsk dk fJeZbk GkPk ftfrnkfBe nfXn?B Bk^ek|h j?.

ikoiHJ/Hfwbo nB[;ko, GkPk d/ gqGktPkbh gq:'r bJh ftnesh e'ba GkPk dh

ftnkeoB d/ frnkB s'A th fes/ fInkdk frnkB j'Dk ukjhdk j? ns/ fJj frnkB

fBwBfbys gzi gZXoK ’s/ ;zrfms j'Dk ukjhdk j?—

1H ftnesh e'ba GkPk dhnK X[BhnK dk frnkB

2H tke ouBk dk frnkB

3H GkPk dh Ppdktbh ns/ PpdK d/ nkg;h ;zpzXK dk frnkB1H Roman Jakobson, Closing Statement : Linguistics and Poetics, Thomas A Sebeok, (Ed) Style in

Language, p. 357.

;ze/se(Referential)

ekfte (Poetic);zpzXkswe (Phatic)

nfXGkPe(Metalingual)

Gktg{oe(Emotive)

fefonkswe(Conative)

202

Page 11: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

4H nkbk d[nkbk, fi; ftu ftnesh ofjzdk j? ns/ fi; pko/ T[j rZb eodk

j?—T[; dk ;zebgh frnkB (Conceptual knowledge)

5H nzs ftu T[; e'ba ftPtk;K dk f;;Nw (System of beliefs) j'Dk ukjhdk j?,

fi; okjhA T[j ;[Db tkbaah rZb dk w[bKeD eodk j?.”1

nkw GkPkJh tes/ dk ezw ;[B/fjnK d/ ndkB^gqdkB se wfjd{d j[zdk j?.

;kfjseko iK ftP/P tes/ dk ezw ;[B/fjnK d/ ndkB^gqdkB eoB sZe ;ze[fus BjhA

j[zdk. T[; B/ ;[B/jk th ;zukoBk j[zdk j?, ;[B/j/ d/ ;kfjse ;[Gkn B{z th ebkswe,

;[jiksfwe pDkJh oZyDk j[zdk j?, sK i' fJj ;[B/jk ;kfjse ;[B/jk pD ;e/. y[ZbQh eftsk

GkPk ftfrnkBh bJh e'vpZX ;[B/j/ s'A tZX e[M BjhA j't/rh. go eth bJh, gkme bJh

T[j ;[B/j/ s'A fJbktk th pj[s e[M j't/rh. eth bJh, gkme bJh T[j GkPk ;zouBk s'A

fJbktk ;fGnkukfoe f;oiBk th j't/rh.

gzikph y[ZbQh eftsk d/ ;zuko gqpzX dh id'A n;hA rZb eod/ jK sK y[ZbQh eftsk d/

;zuko Bkba ;zpzfXs tkgoB tkbaahnK spdhbhnK dh x'y^gVskb eoBh ;kv/ bJh

nfBtkoh j' iKdh j?. y[ZbQh eftsk ftu tkgoh nfijh jh fJe spdhbh j? y[ZbQh eftsk

ftu Pkpfde Bkba Bkba }?o^Pkpfde i[rsK dk dkyab j'Dk. fJjBK }?o^Pkpfde i[rsK

’u'A ;G s'A nfjw ;w{os ekft d/ bZSD jB. y[ZbQh eftsk ’u j[D e/tb GkPkJh T[eshnK

d/ ;zuko dh jh ;wZf;nk BjhA ojh. y[ZbQh eftsk ftu }?o^GkPkJh nEtk doPBh

gZyK—rqkfcae;, ftPokw fuzBKQ, rfDse fuzBQK nkfd B/ y[ZbQh eftsk dh GkPk ns/ ;zuko

Bkba fJe BtK nk:kw i'V fdZsk j?. fijVk fe nkT[Adk Gkt/A PpdK d/ Bkba jh j't/, go

PpdK s'A tZyoh ftnkfynk s'A fpBK ;zukfos BjhA j[zdk. Gkt/A fJj ;w{os fuzBQ jB s/ ebk

o{g jh go fJj Pkpfde ebk s'A tZyo/ j'D eoe/ tZyo/ nfXn?B wkvb dh wzr eod/ jB.

;wekbh gzikph y[ZbQh eftsk ftu ;w{os ebk tzBrhnK B{z ;G s'A gfjbK Pkwbaa eoB

tkbaaak eth d/t j?, i' ;ftNiob?Av ftu ofj fojk j? ns/ T[j fJe gqf;ZX g/ANo th j?.1H George A. Miller (Ed.) Communication, Language and Meaning, p. 8. T[Xfos, ;[fozdo e"o,

nkX[fBe gzikph eftsk dhnK ;zuko ftXhnK, nko;h gpfbPoI, fdZbh 1991, gzBk 23H

203

Page 12: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

Pkpfde ebk s'A tZyo/ wkfXnw Bkba ;zpzfXs j'D eoe/ jh PkfJd T[;B/ eftsk ftu

;w{os ebk iK doPBh ebktK dk gq:'r P[o{ ehsk. fJ; s'A wro'A i;tzs i|o nkfd B/

nkgDh y[ZbQh eftsk ftu tZy^tZy gZXoK s/ ;w{os ebktK dk Gog{o gq:'r ehsk.

nzro/Ih d/ b|IK Concrete Poetry B{z n;hA gzikph ftu ;w{os ekft nkfynk j?.

gzikph ftu Gkt/A ;w{os eftsk dk ;[szso wjZst BjhA j?, go fJj y[ZbQh eftsk ftu

fe;/ Bk fe;/ gZXo ’s/ d\b d/ ojh j?. fJB;kJheb'ghvhnk nk| fpqN?fBek ftu

Concrete Poetry pko/ t/otk fJ;dk wzst ;gPN eodk j?L

Concrete poetry, poetry in which the poet's intent is conveyed by graphic patterns of

letters, words, or symbols rather than by the meaning of words in conventional arrangement.

The writer of concrete poetry uses typeface and other typographical elements in such a way

that chosen units—letter fragments, punctuation marks, graphems (letters) morphemes (any

meaningful linguistic unit), syllables, or words (usually used in a graphic rather denotative sense)-

and graphic spaces form an evocative picture.1

fJj ;gPN j? fe gzikph ekft ftu jkb/ se ;w{os ekft dk nkgDk ;[szso

nkXko ;Ekfgs BjhA j' ;fenk. gzikph y[ZbQh eftsk d/ IohJ/ fJ; dh jkIoh Io{o bZrh

j?. gzikph y[ZbQh eftsk d/ ;zuko gqpzX ftu fJ; }?o^Pkpfde ebk wkfXnw B{z fJ;

wkfXnw d/ T[g:[es ebk e'v^;zdK okjhA jh vhe'v ehsk ik ;edk j?l BjhA sK fJj

;w{os ebktK, rqkfcae; nkfd fJe np[ZM p[Mkos jh pD/ ofjDr/. n;hA y[ZbQh eftsk

ftu fJjBK ;w{os ebk tzBrhnK d/ w{b'A fto'Xh BjhA jK, go ;zuko dh ;wZf;nk BfiZmD

bJh ;kB{z fJjBK ebk tzBrhnK dh fBoy^goy bJh ;ztkd s'oB dh th b'V j?.

2H y[ZbQh eftsk d/ doPBh sZs L PBk\s ns/ gVu'b

(T) y[ZbQh eftsk dh ;sopzdh ns/ j'o i[I L ftfGzB gfog/y

;kfjse ;zuko bJh fJe wjZstg{oB B[esk fJj j? fe fe;/ th ;kfjse f;oiBk

1H http://www.britannica.com/EBchecked/topic/131318/concrete-poetry

204

Page 13: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

dk f;oie T[; dk gfjbk gkme th j[zdk j?. T[;dh f;oiBk fiBQK noEK ftu f;oih rJh

j[zdh j?, T[; B{z T[j pj[s ikDdk j[zdk j?. fJj ;zGt j? fe e'Jh d{;ok T[gG'rh (gkme)

f;oiBk d/ gfjb/ gkme nEtk T[; d/ f;oie s'A th tX/o/ shpo ns/ ftbZyD noE^p'X

dk s[nkoca eotk d/t/. fJj fBPfus j? fe gqekfPs j'D tkbaah jo f;oiBk d/ gkme

f;oie s'A tZyo/ j'Dr/ iK fJj fe e'Jh f;oie nkgDh f;oiBk eofdnK fJ; rZb dh

fdbh stZe'A oZydk j? fe gkme T[;dh f;oiBk B{z ;kekokswe j[zrkok d/D. fJ; bJh

f;oie dk fJj |oI pDdk j? fe T[j nkgDh f;oiBk B{z f;oie ti'A th ns/ gkme ti'A

th t/y/. nfijk eoe/ T[;dh f;oiBk ;zuko dh ;wZf;nk s'A w[es j' ;edh j?. f;oiBk

ftu f;oie B/ nB[GtK iK siofpnK B{z jh gkmeK Bkba ;KMk eoBk j[zdk j?. ;zuko fJ;

rZb ’s/ fBoGo eodk j[zdk j? fe f;oie nkgDk f;oiBk Xow fBGkT[AfdnK nB[GtK,

siofpnK (nkgD/ iK ekbgfBe) dk fezBk e[ ;XkoBheoB eo ;fenk j?< nB[GtK,

siofpnK d/ ;XkoBheoB d/ gZXo ’s/ c/b j'Jh f;oiBk nkgDh f;oiBksfwe nkGk

r[nk b?Adh j?. vkH jfoGiB f;zx eo'u/ dhnK XkoBktK B{z nkXko pDkT[AfdnK eftsk d/

;zuko d/ p[fBnkdh B[efsnK pko/ fbyd/ jBL

“nfGftnesh d{i/ sZe gj[zuD s'A gfjbK nkg ebkeko se gj[zudh j?. ekrI

T[Zgo T[ZsoB s'A gfjbK eftsk eth se gj[zuDh ukjhdh j?. eo'u/ nB[Gt B{z jh

nfGftnesh wzBdk j?. T[;dk eEB j? fe id'A n;hA e'Jh th ‘gqGkt’ rqfjD eod/ jK,

n;b ftu T[;B{z nkgD/ gqsh gqrN eod/ jK. fJj ;zuko dk p[fBnkdh B[esk j?HHHid'A eth

nkgDk nB[Gt ekrI T[Zgo T[sko b?Adk j?, T[d'A th T[j ouBk B{z pko pko gVQdk j?. T[j

oudk th j? s/ gVQdk th j?. T[;dh ;zs[PNh d' ekoBK eoe/ j?L gfjbk w?A nkgDk nB[Gt

gqrNk fbnk j?, d{ik, w/ok gqrNkfJnk nB[Gt ‘;jh’ j?, noEks T[;dk ;zuko j' ;edk

j?.HHHi/ eth dk T[uko T[; d/ nkgD/ gqsh ;gPNsk Bkba ;zufos j[zdk j?, sK nk; pZMdh

j? T[j d{finK sZe th gj[zu ;e/rk.”1

1H vkH jfoGiB f;zx, ;kfjs Pk;so, r[o{ BkBe d/t :{Bhtof;Nh, nzfwqs;o, 2010, gzBk 30H

205

Page 14: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

fJj fpbe[b do[;s j? fe i/eo eth dk T[uko T[; d/ nkgD/ gqsh jh n;gPN

ofjzdk j?, nEtk ;zukfos BjhA j[zdk sK T[;dk d{i/ gkmeK se ;jh o{g ftu ;zukfos j'Dk

;zGt BjhA. ;zuko pko/ d{;ok wjZstg{oB B[esk fJj j? fe eth iK f;oie B{z nkgDh

eftsk iK f;oiBk d/ ;zuko B{z T[u/usk d/Dh ukjhdh j?< iK fJ; tZb'A fBoT[u/u ofjDk

ukjhdk j?< n;hA fgZS/ fIeo eo u[Ze/ jK fe f;oie B/ nkgD/ nB[GtK, siofpnK dk

;XkoBheoB eoBk j[zdk j? sK i' T[j d{finK dk fjZ;k pD ;eD. ;XkoBheoB dk wsbp

fJZE/ ;obheoB edkfus BjhA. i/eo eth nkgDh eftsk d/ ;zukfos Bk j'D s'A G?n^Ghs

j' e/ f;oiBk eo/rk sK T[j ;obheoB dh gZXo ’s/ ubk ikt/rk. T[;dh ouBk eftsk

j'D dh pikfJ eftsk dh ftnkfynk j' ikt/rh.

“i/ ouBk ;w/A ebkeko J/; ;'u ftu fgnk oj/ fe w/oh ouBk B{z b'e fet/A

;theko eoBr/ sK T[;dh fposh e[M Bk e[M Io{o yzfvs j't/rh, fJekrosk v'b ikt/rh

s/ ebk^feos T[; d/ nkgD/ nB[Gt B{z g/P eoB dh pikJ/, nB[Gt dk T[j' nzr g/P

eo/rh i' b'eK B{z ep{b j't/rk. ;thfeqsh dk P"e nfGftnesh dh ftbZyDsk bJh

jkBhekoe j?. ;' fJe soQK Bkba fJj T[fus jh j? fe ouBk ;w/A ebkeko ;zuko^Xow

gqsh T[u/uk fXnkB Bk d/t/.”1

;XkoBheoB ns/ ;obheoB d/ G/d B{z do[;s o{g ftu ;wM/ p}?o Bk eftsk

;zuko^Xow fBGk ;edh j? ns/ Bk ekft^Xow. eftsk iK fe;/ th ;kfjse f;oiBk B/

gkme Bkba B/Vsk th pDkT[Dh j[zdh j? ns/ T[; B{z N[zpD bJh fJe r?g th pDkT[Dk j[zdk j?.

;woE eth iK f;oie fJ; BIdheh ns/ r?g s'A GbhGKs ikD{z j[zd/ jB. nfijk j'D

eoe/ Bk sK T[jBK dh eftsk ;zuko^jhDh j[zdh j? ns/ Bk ekfte I[zpP s'A w[es nfs

dh ;obhfeqs. y[ZbQh eftsk dh f;oiBekoh B{z, jo ;kfjse f;oiBekoh B{z ;zukfos

eoB bJh, T[;d/ ebksfwe, ;[jiksfwe w[Zb wjZst B{z poeoko oZyD bJh fJjBK

B[efsnK s'A Nkbk BjhA tZfNnk ik ;edk.

1H vkH jfoGiB f;zx, ;kfjs Pk;so, gzBk 30H

206

Page 15: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

pqfjwzv ftu rshPhb toskfonK d/ wow B{z ikBD dh u/PNk u'A T[gi/

fBy/V^;{soK ’u'A fe;/ tosko/ B{z T[;dh gqfeosh d/ fbjkI Bkba Ikjo (Manifest) ns/

pksB (Latent) d' gqtorK ftu ftGkis eoe/ ;wMD dk nkjo ehsk iKdk j?. fJjBK

gqtorK dhnK tZy^tZy b'VK s/ wzstK bJh BK tZy^tZy j' ;ed/ jBl go p[fBnkdh o{g

ftu fJj j[zd/ Ikjo^pksB jh jB. BK pdb d/D Bkba fJjBK dh ekoiPhbsk dk ftjkfoe

\k;k BjhA pdbdk. Ikjo gqtor gqsZy iK ;w{os j'D eoe/ fInkdk T[bMtK BjhA j[zdk.

pksB gqtor nw{os, ngqsZy j'D eoe/ fJ; pko/ d' N[Ze fBoBk d/Dk w[Peb j[zdk j?.

;w[Zuh f;oiBPhbsk Ikjo^pksB dh vkfJb?efNe; Bkba gqtkfjs j[zdh j?. Ikjo pksB

fJe d{;o/ s'A tZyo/ ;[Gkn tkbaa/, ftbZyD Io{o j[zd/ jB, go fJj fJe d{i/ d/ fto'Xh BjhA

jB. ;w[Zuk ;kfjs fuzsB fJjBK d'jK gqtorK ns/ fJjBK Bkba ;zpzfXs T[g gqtorK ’s/

jh nkXkfos j[zdk j?.

“fJe ;kfjse feos dh j'Ad ftXh d/ p[fBnkdh nkXko fBPfus eoB bJh

fJjBK ftu'A ;kvk ;zpzX e/tb Ikfjo$gqsZy$sZE$fdZy (Appearance) ns/ pksB

ngqsZy$;Zu$;ko (Essence) d/ dkoPfBe gqtor Bkba j?. fdZy ns/ ;ko jo fJe

tosko/ dh j'Ad ftXh dk fJe p[fBnkdh ns/ wjZstg{oB gfjb{ j?, fijVk gqfeosh, ;wki

iK ftuko ;z;ko dh ;jh ;wM ns/ ftfrnkfBe ftPb/PD bJh w[Ybk nkXko j?.”1

fe;/ nfXn?B d/ c'e; ftu fJe gqtor j[zdk j?, fe;/ d/ c'e; ftu d{;ok ns/

e'Jh nfXn?B wkvb fJjBK d'jK gqtorK d/ ;fwbs nzso;ko ’s/ T[;fonk j[zdk j?. Ikjo

pksB dh vkfJb?efNe; Bkba ;ztkd oukJ/ p}?o fe;/ ouBk pko/ gqwkfDe$;ktk fuszB j'Ad

ftu BjhA nkT[Adk. pj[shnK jkbsK ftu n;hA nkgDhnK ;hwktK eoe/ fe;/ fJe gZy

sZe wfjd{d ofj iKd/ jK. f;ZN/ ti'A ;kvh fJj ;hwk ;kv/ nfXn?B dh ;hwk pD iKdh

j?.

;kfjs f;oiBk dk tZvk o{VQrs No?Av tZv/ gZXo s/ gqtkfBs s/ gqufbs ;[fBPfus

1H vkH oftzdo f;zx oth, fto;k s/ toswkB, gzBk 142H

207

Page 16: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

B/wK sfjs feskpK$ekrIK ’s/ ftUAspZX eoB Bkba tkp;sk j?. fJjBK gqufbs o{VQ

ftUAspzdhnK dhnK tzBrhnK Bkba jh ;kfjs dhnK tZy^tZy tzBrhnK dk gqzgfoe s"o ’s/

fBoXkoB j[zdk ofjzdk j?. Jh^;kfjs dh nkwd Bkba ftUAspzdh d/ fBPfus, fBoXkfos

o{VQ g?okwhNo pdb oj/ jB. ;kfjse gqtuBekoh dh ftUAspzdh fJ; d/ Ikjo gqtor

Bkba ;zpzfXs j[zdh j?. nzsohth nEtk pksBh shposk Bkba ;ws'b ekfJw Bk oZy ;eD

tkbaah ftUAspzdh e/tb Ppd nkvzpo sK j[zdh j?, fwnkoh eftsk nytkT[D dh jZedko

ed/ BjhA j[zdh. tZv/ nB[Gt jh ftnesh dh ebgBkPhbsk B{z pbPkbh pDkT[Ad/ jB.

pbPkbh ebgBk eftsk dk ;ktk nkXko fsnko eodh j?. nB[Gt, ebgBk, ekft^fdqPNh

eftsk d/ pksBh gqtor dhnK e/Adoh eVhnK jB. eth dh GkPk B{z rqfjD eoB dh

;woZEk, GkPk B{z ebk ;[ji d/ T[usw, gqfswkBe, gqwkfDe YzrK Bkba ftUAspZX eoB dh

iku ns/ ;woZEk eftsk d/ doPBh nEtk Ikjo gZy B{z wIp{sh gqdkB eodh j?. fJZE/

fJj fIeo:'r j? fe n;hA eftsk d/ fe;/ fJe gZy pko/ tX/o/ T[u/u BjhA eoBk

ukj[zd/. eftsk d/ tZv/ wzst bJh d'jK gZyK dh nkgDh^nkgDh EK j?. d'jK dh ;z:[esh

ns/ ;ztkd Bkba eftsk tX/o/ skesto j' ;edh j?.

;kfjse feosK d/ doPBh (Visual) wjZst B{z ;keko eoB tkbaah p[fBnkdh eVh

;kfjse feosK dh ;so (Line) j[zdh j?. fdqPtkB gZXo ’s/ ;|/ T[Zgo ftUAspZX ;so

dhnK tzBrhnK s'A ;fji Gkn nB[wkB bZr iKdk j? fe fJj ;kfjse feos fe; ftXk

Bkba ;zpzfXs j?. tkose Bkba ;zpzfXs o{gkekoK dhnK ;soK br–gr fJe;ko nEtk ;|/

d/ yZp/ jZE tkbaa/ jkPhJ/ s'A ;Zi/ jZE tkbaa/ jkPhJ/ sZe fBozso iKdhnK jB. tkose dh

g?oQktzv t/baa/ g?oQ/ dh nkyoh ;so ;Zi/ jZE tkbaa/ jkPhJ/ s'A gfjbK w[Zedh j? ns/ Bt/A g?oQ/

dh gfjbh ;so yZp/ jZE tkbaa/ jkPhJ/ s'A E'Vk jN e/ P[o{ ehsh iKdh j?. ekft ftu

;sopzdh dh ;fEsh w{b'A tZyoh j?. don;b ekft ftu ;so dk p[fBnkdh wjZst j[zdk

j?. ekft ftu ;soK dh ;[fBPus frDsh tkbaa/ o{gkeko th j[zd/ jB. jkfJe{ fszB ;soK

tkbaaak, o[pkJh uko ;soK ftu nfGftnes j'D tkbaaak o{gkeko j?. fJjBK s'A fJbktk ;kvh

208

Page 17: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

wZXekbh ekft^gozgok \k; s"o ’s/ r[opkDh ftu nPNgdh, fss[e/, u"s[e/ nkfd ;soK

nkXkfos ekft^tzBrhnK fwbaadhnK jB. nkX[fBe o{gkeko }Ib P/noK ftu nfGftnes

j[zdh j? ns/ br–gr jo P/no d' ;soh j[zdk j?. eJh tko ft;fsqs nkeko tkbaa/ P/no

dhnK d' ;soK B{z uko GkrK ftu th ftUAspZX eo fbnk iKdk j?. ekft d/ jtkb/ Bkba

rZb ehsh ikt/ sK ;sopzdh ekft dk nfjw i[I pDdh j?. ;sopzdh dh NkfJg Bkba ekft

dk w[jKdok jh BjhA pDdk, ;r'A ekft dh NkfJg dk th fBoXkoB j[zdk j?.

ekft B{z iK fe;/ th soQK d/ gqtuB B{z rqfjD eoB d/ nfjw Yzr d' jh jB. fJe

Yzr dk ;zpzX j? T[ukoBh^PotDh gqfefonk Bkba ns/ d{;o/ Yzr dk doPBh gqfefonk Bkba

j[zdk j?. T[ukoDh^PotDh gqfefonk ’u T[ukoe ;o's/ dofwnkB tZy^tZy gZXoK dh

;KM ns/ tZyosk j'D tkbaa/ ;zuko dh r[Dtsk B{z fBoXkfos eodh j?. d{;o/ gk;/ doPBh

gqfefonk ftu doPe ns/ fdqP dofwnkB tkgoh gqfefonk nEtk fdqP dh ebksfwe

;fEsh ns/ doPe dh gqsZyD fdqPNhl j'D tkbaa/ ;zuko dh ;fEsh fBoXkfos eodhnK

jB. fJZE/ fJj fIeo:'r j? fe Bk fdqP jh fJe soQK d/ j[zd/ jB ns/ Bk jh doPe fJe

soQK d/ j[zd/ jB. fi; fdqP Bkba ;kvk ;zpzX j? T[j j? Pkpfde fdqP. Pkpfde fdqP

}?o^Pkpfde fdqPK Bkba'A tX/o/ ;zukowJh tX/o/ g?qeNheb j[zdk j?. }?o^Pkpfde fdqPK d/

nkgD/ e'v j[zd/ jB, nkgDh nPpdh GkPk j[zdh j?. }?o^Pkpfde fdqPK dk doPe t/y/

fdqPK B{z Pkpfde GkPk ftu nB[tkd eodk j?. fJZE/ ;G e[M nB[wkBs jh j[zdk j?.

Pkpfde ftUAspzdh d/ gqeko ns/ nkeko d'jK dk ;kfjs o{gkekoK dh NkfJg fBoXkfos

eoB ftu d\b j[zdk j?. Pkpfde fdqP dh ;kfjs ftu fJe fNgheb tzBrh th fwbaadh

j?, fJ; B{z ;w{os eftsk (Concrete Poetry) fejk iKdk j?. gzikph y[ZbQh eftsk ftu

fJ;dk x/ok t;hj j' fojk j?. ezeqhN iK ;w{os eftsk d[tZbh ebk j?. fJ; ftu

Pkpfde fuZso Pkpfde nfeqsh T[bheh iKdh j?, fi; ftu \k; ekft ns/ fuZso dk

;wBt? j?. nfij/ fNgheb o{gkekoK B{z SZv e/ fInkdkso o{gkeko ;|/ T[sbh nkgDh

;so^;fEsh Bkba nkgDk fdqP gqGkt pDkT[Ad/ jB. fJZE/ fJj th ;gPN eoB:'r j? fe

209

Page 18: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

fdqP^gqGkt jh ouBk BjhA j[zdk. i/ fe;/ fbys ftu fbys j'D d/ p[fBnkdh gqwkfDe

gqfswkB jkIo BjhA j[zd/ sK f;oca fJe fdqP gqGkt Bkba T[j fbys eftsk ejkT[D d/ :'r

BjhA j' iKdh. gzikph ftu ;|/ T[Zgo eftsk dh ftUAspzdh nEtk e'ok fdqP gqGkt f;oiB

tkbaah iK eftsk dk G[bKdok f;oiB tkbaah eftsk tZv/ gZXo ’s/ fwbaadh j?. go nfijh

eftsk f;tkJ/ ekrI yokph d/ j'o e[M ;kekokswe BjhA eodh.

y[ZbQh eftsk dk f;ob/y

eftsk iK fe;/ th j'o ;kfjse feos dk f;ob/y nkw s"o ’s/ fJ; rZb ’s/

nkXkfos j[zdk j? fe T[j feos d/ e/Adoh wjZst B{z T[ikro eoB tkbaaak j't/. y[ZbQh eftsk

ftu f;ob/y d' soQK d/ wjZst tkbaa/ j[zd/ jB. fJe f;ob/y T[j i' eftsk d/ e/Adoh

wjZst, ;o'eko B{z T[ikro eod/ jBl go eftsk T[jBK dh j'Ad^nDj'Ad Bkba gqGkfts

BjhA j[zdh. d{;o/ f;ob/y T[j i' e/tb eftsk d/ e/Adoh wjZst B{z jh T[ikro BjhA eod/

;r'A ;koEe ekft^:{fBN ti'A th G{fwek fBGkT[Ad/ jB. n;hA fJj ;theko u[Ze/ jK fe

y[ZbQh eftsk bJh ;soK dh e'Jh ;hwk BjhA j[zdh. y[ZbQh eftsk fJe ;so ftu th j'

;edh j? s/ fJe s'A tXhe ;soK ftu th. fJe ;so tkbaah eftsk dh noE^;koEesk

dh fBoGosk T[; d/ f;ob/y ’s/ jh j[zdh j?. n;hA fgZS/ i;tzs dhd ns/ |\o^IwkB dh

fJe ;soh eftsk dhnK T[dkjoBK d/ u[Ze/ jK. fiBQK ftu fJj ;gPN jz[dk j? fe fJe

;soh y[ZbQh eftsk f;ob/y s'A fpBK s;Zto jh BjhA ehsh ik ;edh. nfij/ w"e/ y[ZbQh

eftsk d/ f;ob/y dh G{fwek pkeh ;kfjse fbysK s'A tZyoh s/ tX/o/ n;odko o{g ftu

ftykJh fdzdh j?. fJ; rZb ftu osk th ;zd/j BjhA fe y[ZbQh eftsk dk f;ob/y tZv/

w[Zb^wjZst tkbaah eftsk eoe/ jh e'Jh nkXko oZydk j?l i/eo eftsk nkgDh ekfte

;woZEk T[ikro eoB s'A n;woZE j't/, sd eftsk d/ f;ob/y dk e'Jh tZvk w[Zb^wjZst

pkeh BjhA pudk. fe;/ ebksfwe, ;zihdk f;ob/y dk w[Zb ;w[Zuh eftsk dh ebksfwesk

Bkba jh noEtkB j[zdk j?. fJeZb/ f;ob/y d/ ;jko/ e'Jh Pkpfde ;zouBk eftsk

nytkT[D dh jZedko BjhA j[zdh. ;zs[fbs s"o ’s/ ekft ;zouBk B{z vhe'v eofdnK fJj

210

Page 19: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

gsk bZrdk j? fe eftsk ftu f;ob/y s'A b? e/ jo Ppd, jo ;so, ftPokw fuzBQ, ekft

pzd nkfd ;G fJe \k; ;zrmB okjhA fJe e'fvv ;Noeuo f;oid/ jB. fJjBK ftu'A

fe;/ B{z th wB|h eoe/ n;hA eftsk d/ tZv/ noEK sZe BjhA gj[zu ;ed/, i/ gj[zu th

ikJhJ/ sK ;kvh fJj gj[zu nX{oh jh j't/rh.

gzikph y[ZbQh eftsk dh fdqP ;fEsh ns/ ;sopzdh

gzikph y[ZbQh eftsk dh ftbZyD fdqP ;fEsh ekoB ns/ ftbZyD nfGftnesh

ekoB fJ; dk w[jKdok ftbZyD j?. feskp d/ ;|/ ’s/ yZp/ jZE tkbaa/ jkPhJ/ s'A P[o{ j' e/

;Zi/ jZE tkbaa/ jkPhJ/ s'A gfjbK y[ZbQh eftsk dh ;so dk nzs j[zdk j?. nkw s"o ’s/ y[ZbQh

eftsk dhnK ;soK fJe ;wkB nEtk pokpo bzpkJh tkbaahnK BjhA j[zdhnK. fBZehnK^tZvhnK

;soK dk ;[w/b nEtk }?o^;w;soh ftXkB y[ZbQh eftsk dk nfjw ns/ gfoGkPeh i[I

j?. ;so frDsh nkXkfos o{gkeko ns/ SzdpZX ekft tzBrhnK ;w;soh B/wK nkXkfos

j[zdhnK jB. y[ZbQh eftsk dhnK ;soK ’u j"ohi"BNb fGzBsk s'A fJj Gkt edkfus BjhA

b?Dk ukjhdk fe fJjBK ’u toNheb fGzBsk th j[zdh j?. y[ZbQh eftsk dhnK ;soK ftu

j"ohi"BNb fGzBsk d/ pkti{d toNheb ;ws'b jkIo ofjzdk j?. toNheb ;ws'b s'A ;kvk

Gkt T[gobh ;so d/ j/mbh ;so Bkba pDB tkbaa/ ;zpzX s'A j?. y[ZbQh eftsk ftu ;soK

dh fBPfus frDsh dk e'Jh o{VQhrs nkXko BjhA j[zdk. fJe ;so tkbaah y[ZbQh eftsk th

j' ;edh j?. SzdpZX eftsk iK }Ib ftu xZN s'A xZN d' ;soK j[zdhnK jB. fJe ;so

tkbaah y[ZbQh eftsk ftu eftsk d/ f;ob/y ns/ ftPokw fuzBQK nkfd dk wjZst th

noE^Gog{o j[zdk j?.

;so, gzesh, s[e ns/ gd dk fBy/Vk

;so d/ ;wkBnoEh Ppd gd, s[e ns/ gzesh jB. tk;st ftu gd ns/ s[e

dk tX/o/ ;zpzX Szdw{be ekft^ouBk dh ;so Bkba pDdk j?l id'A fe ;so ns/ gzesh y[ZbQ/

noEK Bkba tkp;sk jB. fJjBK dk T[u/u/ s"o ’s/ Szd Bkba ;zpzfXs j'Dk e'Jh Io{oh BjhA.

GkJh ekBQ f;zx BkGk ofus wjkBe'P ftu ;so B{z gzesh, fbyh j'Jh nZyo o/yk nkfynk

211

Page 20: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

frnk j?.”1 gzfeœ (gzesh) B{z ;so d/ noEK ftu fbnk frnk j?.2 “gd B{z ‘Szd dk uoD,

s[e nEtk s[e dk fjZ;k fejk frnk j?.”3 “s[e B{z th ‘Szd dk uoD iK Szd d/ uoD dk

nzfsw nZyo wzfBnk frnk j?.”4 fJ; soQK fJj ;gPN j' iKdk j? fe gd ns/ s[e

Gkt/A ;so d/ noEK ti'A jh tos/ iKd/ jB, go fJjBK dh tos'A Szd d/ uoBK B{z do;kT[D

bJh ehsh iKdh j?l id'A fe ;so ns/ gzesh Szd d/ uoBK se wfjd{d BjhA jB, nEtk

y[ZbQ/ noEK ftu bJ/ ik ;ed/ jB. id'A n;hA y[ZbQh eftsk d/ ;zpzX ftu fJjBK PpdK

dh ftjkfoe tos'A eoKr/ sK ;kv/ bJh ;so ns/ gzesh Ppd jh Y[Zet/A j'Dr/. T[go'es

uko e'NhnK s'A fJbktk fJe e'Nh tke th j?. tke dh tos'Aekoh dk gZek^ghvk nkXko

ftnkeofBe B/wK B{z nzrheko eoB Bkba jh B/go/ uVQdk j?. eosk, eow, fefonk d/

;[fBPfus seBheh eqw^B/wK d/ nkXko ’s/ tZy^tZy fe;wK dhnK tke pDsoK j'Ad ftu

nT[AdhnK jB. eftsk dhnK ;soK ftu eosk, eow, fefonk, ftP/PD nkfd dk eqw

;fEo ftnkeofBe B/wK tkbaaak BjhA j[zdk. fJ; bJh eftsk bJh tke, gd, s[e dh pikfJ

gzesh iK ;so jh tX/o/ Y[etK j?. y[ZbQh eftsk bJh \k; s"o ’s/ ;so tX/o/ wjZstg{oB

j?.

y[ZbQh eftsk dh ;so dk nkeko

y[ZbQh eftsk dh ;so fJe Ppd dh th j' ;edh j? ns/ fJe s'A tXhe PpdK dh

th. y[ZbQh eftsk dh ;so d/ neko pko/ e'Jh gZek^ghvk B/w ftXkB BjhA j?. y[ZbQh

eftsk dh ;so bJh fJj Io{oh j[zdk j? fe ;Zi/ jZE tkbaa/ jkPhJ/ s'A gfjbK T[; B{z w'Vk

fdZsk ikt/ sK i' y[ZbQh eftsk tkose s'A tZyoh fdZy tkbaa/ nkgD/ wkvb B{z ekfJw oZy

;e/. y[ZbQh eftsk dhnK ;soK fe;/ frDkswe g?okwhNo B{z nzrheko BjhA eodhnK, fJ;

dk wsbp fJj th BjhA fe fJj }?o^fodwe j[zdhnK jB. y[ZbQh eftsk dh ;so eth dh

T[ukoBh fodw d/ ;wftZE ezB;NqeN j[zdh j?. eftsk d/ nKsfoe fodw w[skpe fJe s'A

1H GkJh ekBQ f;zx BkGk, wjkB e'P, gzBk 147H

2H T[jh, gzBk 787H

3H T[jh, gzBk 740H

4H T[jh, gzBk 595H

212

Page 21: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

pknd d{;oh ;so nkg' nkgD/ nB[e{fbs nkeko ;fjs fBozso bVh ftu s[odhnK

ofjzdhnK jB. eftsk dh ;so ftu jkIo PpdK dk fJe d{;o/ Bkba ;fjukoh ;zpzX j[zdk

j?. Ppd pknd Ppd, ;so pknd ;so fJe \k; fodwe eqw f;oi b?Ad/ jB. fJj

BjhA fejk ik ;edk fe eth ;[u/s j' e/ \k; eqw ftu Ppd ns/ ;so f;oidk j?. eth

nzdo PpdK$;soK dh fodwe ;zouBk B{z f;oi ;eD dh nEkj ;woZEk j[zdh j?. go

T[;dh ebksfwesk T[; d[nkok f;oi/ fodfwe g?NoBK Bkba jh T[ikro j'Dh j[zdh j?. fJ;

soQK ;gPN j? fe gzikph y[ZbQh eftsk ;sopzdh ;zpzXh fe;/ fBPfus iK gZe/ ghv/ B/w

ftXkB i' fe frDksfwe j't/, B{z nzrheko BjhA eodh. frDsh$;so nkeko d/ ;kt/ j'D

d/ pzX/I s'A w[es y[ZbQh eftsk ftu ;soK dk nkeko^gqeko fJ;d/ ;koEe ekft T[ukoK

d/ ;[ji ;fjuko Bkba j'Ad ftu nkT[Adk j?.

y[ZbQh eftsk dh ;so doPBh (Visual) ns/ PotDh (Aural) d[tzX ’u'A jh T[;odh

j?. wB[Zy d[nkok Pkpfde gqtuB ns/ Pkpfde gqsZyD:'r P?nK B{z rqfjD eoB d/ d' nfjw

;o's jB— fJe nZyK okjhA ns/ d{;ok ezBK okjhA. doPBh PotDh ;[w/b Bkba tkp;sk

jkbsK ftu nZyK ns/ ezB fJe ;KMh fodfwe gqfefonk iK nB[Pk;B pDk b?Ad/ jB. fJ;

d[tzdw{be nB[Pk;B dk gkbD eoB tkbaah y[ZbQh eftsk doPBh ns/ PotDh d'jK gZXoK ’s/

;zs[bB ns/ go;go fodfwe fJe;[osk ekfJw oZydh j?. eftsk f;oiB t/ba/ eth d/

c'e; ftu nZy ns/ ezB d't/A jh ;wkB: o{g ftu j[zd/ jB. T[j eftsk B{z ;|/ T[Zs/

Ppd^Ppd, ;so^;so ftUAspZX th eo fojk j[zdk j? ns/ Bkb^Bkb T[j eftsk B{z T[uko

th fojk j[zdk j?. eftsk dh ;|/ T[Zgo ftUAspzdh dk ;zpzX nZyK Bkba nEtk doPBh j[zdk

j? ns/ eftsk d/ T[ukoB dk snZbe PotD^gqfefonk nEtk ezBK Bkba pDdk j?. y[ZbQh

eftsk feT[Afe Szd^s[eKs d/ fBPfus wkgdzvK B{z nzrheko BjhA eodh, fJ; eoe/ fJ;dk

Szd nkXkfos ;w[Zu/ ekft^o{gkekoK Bkba'A tZyok nEtk y[ZbQ/ ekft o{gkeko tkbaaak nkgDk

T[ukoBh s/ doPBh ;bhek j[zdk j?. id'A y[ZbQh eftsk eftsk BjhA bZrdh, T[d'A T[; eftsk

B/ Io{o jh fJj ;bhek gqGkth$;zs[fbs j' e/ BjhA fBGkfJnk j[zdk.

213

Page 22: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

eftsk d/ doPBh g;ko s'A Gkt fJj th BjhA fbnk ikDk ukjhdk fe eftsk tKr

fd;D tkbaah jo Ppd ;zouBk eftsk jh j't/rh. eftsk torh e'Jh P?n eftsk BjhA j[zdh

f;o| eftsk jh eftsk j[zdh j?. fJ; bJh ;kvh gfjbsk eftsk d/ eftsk j'D pko/ jh

j't/rh. i/eo eftsk eftsk j't/rh sK eftsk fd;D tkbaaak ezw y[d^o"n jh j' ikt/rk. fJj

BjhA fe eftsk dk iK Pkpfde gqtuBekoh dk e'Jh doPBh wjZst BjhA j[zdk, eftsk dk

doPBh wjZst j[zdk j?l go eftsk d/ eftsk j'D d/ wjZst ’s/ nkXkfos j[zdk j?. ;kB{z

y[ZbQh eftsk d/ eftsk j'D d/ tZv/ wjZst B{z ;wMD dh b'V j?, fJ; wjZst Bkba ;zpzfXs

ftuko o/yktK nkgD/ nkg jh o[\f;o j' ikDrhnK. y[ZbQh eftsk dk T[ukoB ns/ fJ;dh

fdqP ;fEsh fJe d{;o/ d/ fet/A g{oe pDd/ jB< feZE'A sZe g{oe pDd/ jB, nZy ns/ ezB

dh d[tZbh ;fEsh y[ZbQh eftsk d/ jtkb/ Bkba ftukoB:'r j?.

"Poetry inself a fundamental duality, in the eye and ear, as seen/heard, a duality

complicated, however, by the appearance of free verse. Arguments about the historical or

ontological procedence of the aural over visual line. therefore miss the point; these forms are,

for us, now both realities; the important question is how they interaffect each other-whether, for

example, the break at line and demands an audiotory pause in performance."1

GkPk d/ nfXn?B dk nkXko GkPkJh X[BhnK d/ T[ukoB B{z wzfBnk iKdk j?. GkPkJh

T[uko Bkba'A GkPkJh fbys d[i?b/ doi/ ’s/ j[zdh j?. GkPkJh X[BhnK d/ ;w[Zu/ T[ukoK B{z

j{ p^j{ fbys ftu Ykb ;eDk, i/ n;zGt BjhA sK efmB Io{o j[zdk j?. eth tesk

nkgDh eftsk T[ukofdnK PpdK d/ Bkba Bkba Ppd'A pkjo/ jktK^GktK dk i' nkGk wzvb

ezB;NqeN eodk j?, T[j c"oh th j[zdk j? ns/ n?efNt th j[zdk j?. ekft^fbys g?f;t j[zdh

j? ns/ T[;B{z irkT[Dk g?Adk j?. fJe jh eftsk fJe T[ukoB t/baa/ tZyoh j't/rh, d{i/

T[ukoB t/baa/ tZyoh ns/ fbys ftu tZyoh. tZyoh s'A Gkt fJZE/ fto'Xh j'D s'A BjhA, ;r'A

ftbZyD j'D s'A j?. Gkt/A T[uko B{z fbys ftu w{b T[uko d/ B/V/ oZyD d/ pj[s ;ko/ Yzr

1. Encyclopedia of Poetry and Poetics, "Line", p. 696.

214

Page 23: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

sohe/ w"i{d jB, fJ;d/ pkti{d T[uko ns/ fbys ftu tZyosk pDh ofjzdh j?. y[ZbQh

eftsk dh f;oiBk th T[uko ns/ fbys d/ d[tZb/ ;zpzXK okjhA j[zdh j?. ;[o, dpkT[,

xNkT[, d[jokT[, g"i, bwekT[ okjhA T[ukoD t/b/ ns/ ftfGzB fuzBQK okjhA fbys ftu fBo'b

PpdK^pkjo/ j'o gqGkth jkt^Gkt ftnes ehs/ iKd/ jB.

}?o^fBozsoh Szd ns/ s[eKs

y[ZbQh eftsk f;XKse gZXo ’s/ fBPfus, fBoXkfos fBozso Szd ns/ s[eKs s'A

w[es j[zdh j?. Szd ftXkB ns/ fBPfus s[eKs B{z nzrheko sK BjhA eodh j?, go y[ZbQh

eftsk dh y{p;{osh ns/ ekftesk ’u fijVh uhI fJik|k eodh j't/, pkPos/ fe T[j

wekBeh frDksfwesk d/ x/o/ s'A pkjo j't/, B{z ngDkfJnk ik ;edk j?. ;kB{z fJj u/s/

ofjDk ukjhdk j? fe y[ZbQh eftsk SzdpZX eftsk dh fto'Xh BjhAl ;r'A fJj d't/A

nkgDh^nkgDh ftbZyDsk dhnK XkoBh jB. y[ZbQh eftsk dh ftbZyDsk B{z B[e;rq;s

pDkT[D tkbaah wekBeh ftXh ;thekoBh sK rbs j?l go fijVh ekft^i[rs y[ZbQh eftsk

dh ftbZyDsk B{z jkBh gj[zukJ/ fpBK T[;B{z tX/o/ gqGktPkbh, ;[jiwJh s/ pj[X[Bhw{be

pDkt/ T[; B{z oZdDk ikfJI BjhA. y[ZbQh eftsk dh nfijh jh wjZstg{oB i[rs

}?o^fBozsoh Szd ns/ s[eKs j?, fijVh fe y[ZbQh eftsk dh ftbZyD nkGk B{z y'ok BjhA

bkT[Adh ns/ y[ZbQh eftsk d/ Pkpfde ;[ji B{z gquzv pDkT[Adh j?. fBPfus Szd^s[eKs

nXkfos eftsk ftu s[eKs B{z fJe wekBeh ftXh ti'A tofsnk iKdk j?, go y[ZbQh eftsk

ftu }?o^fBozsoh s[eKs nkgD/ o{VQ \k;/ s'A w[es j[zdk j?. fJj eftsk B{z Bho;sk s'A th

pukT[Adk j? s/ eftsk B{z tkoseh fdZy s'A th w[es oZydk j?. fJE/ fJj ;gPN eo d/Dk

th Io{oh gqshs j[zdk j? fe }?o^fBozsoh s[eKs y[ZbQh eftsk ’u b?n T[gikT[D tkbaah fJe

i[rs Io{o j?, go fJj eftsk dh nkXkoG{s b'V BjhA. fJ; s'A fpBK th y[ZbQh eftsk

eftsk j' ;edh j? ns/ fJ; dh tos'A Bkba th.

vkH r[o{w/b B/ nkgDh g[;se ‘y[ZbQh eftsk d/ wkgdzv’ ftu y[ZbQh eftsk dh ;so

B{z doPBh fpzp, PotDh fpzp ns/ s'b fszB GkrK ftu tzv e/ y[ZbQh eftsk dh ;so d/

215

Page 24: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

wjZst B{z T[ikro ehsk j?.1 fJZE/ vkH r[o{w/b B/ nzro/Ih d/ Rhythm Ppd dk gzikph

T[bEk s'b ehsk j?. id'A n;hA y[ZbQh eftsk dh ;so dh rZb eoKr/ sK ;kv/ bJh Rhythm

dk Y[ZetK gzikph pdb b?n j't/rk. s'b dk ;zpzX SzdpZX ekft dhnK ;soK d/ tIB Bkba

sK pDdk j?, go n;hA y[ZbQh eftsk dh ;so B{z s'b dh XkoBh wzBhJ/ iK ;Ekfgs

eohJ/, fJj nkgk fto'Xh dbhb j't/rh.

y[ZbQh eftsk d/ iK y[ZbQh eftsk dh ;so d/ doPBh fpzp dk ;zpzX eftsk dh ;|/

T[Zgo ftUAspzdh Bkba ;zpzfXs j?. fJ; ftu e'Jh PZe BjhA fe y[ZbQh eftsk ;|/ T[Zgo

nkgDh ;sopZX ftUAspzdh eoe/ gSkDh iKdh j?. fJ; d/ gSkD/ ikD B{z jh n;hA eftsk

dk nzfsw (Absolute) ekfte r[D BjhA wzB ;ed/. ;kB{z fJZE/ y[ZbQh eftsk d/ doPBh fpzp

B{z ;kg/ye noEK ftu jh ;wMDk ukjhdk j?. feT[Afe fdZy d/ gZXo ’s/ y[ZbQh eftsk

bZrD tkbaaak jo e'Jh Pkpfde gqtuB Io{oh BjhA fe eftsk j't/. y[ZbQh eftsk tkbaah fdZy

ftu fe;/ ;N'o d/ pkjotko ;N'o Bkba ;zpzfXs jdkfJsK th fbyhnK j' ;edhnK jBl

T[jBK B{z n;hA y[ZbQh eftsk BjhA nky ;ed/. ;' y[ZbQh eftsk dh ;so dk doPBh gZy

fJe B[esk sK j?, go fJj fBoBkfJe iK fBog/y B[esk BjhA. fJ; rZb dk ;G B{z gsk

j? fe fes/ th y[ZbQh eftsk tkose tKr, ejkDh tKr ftUAspZX BjhA j[zdh, ukj/ T[j e'Jh

w?rIhB j't/, ukj/ T[j e'Jh g[;se j't/. y[ZbQh eftsk dh nkgDh gSkD/ ikD :'r

ftUAspzdh j[zdh j?. fJ; rZb ftu osk ;zd/j BjhA fe fBoh ftUAspzdh d/ nkXko ’s/ th

e'Jh eftsk eftsk BjhA j' iKdh.

eftsk dk ;zufos j'Dk doPBh ns/ PotDh d[tZbh gqfefonk ’s/ nkXkfos j[zdk

j?. e[M o{gkeko f;o| gVQ/ jh ikD/ j[zd/ jB go eftsk B/ gVQ/ ikD d/ Bkba^Bkba ;N/Ih

gkm tb'A T[ukoB :'rsk dk f\nkb th oZyDk j[zdk j?. T[AM jo eth dh jo eftsk

T[ukoB:'r j't/, fJj th e'Jh bkIwh Pos BjhA. id'A eftsk B/ gVQ/ ikD s/ T[uko/ ikD

dk ;KMk Xow fBGkT[Dk j't/, T[d'A eftsk dhnK ;soK B/ T[ukoBh :{fBNK dk o{g XkoBk

1H vkH r[o{w/b, y[ZbQh eftsk d/ wkgdzv, gzBk 130H

216

Page 25: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

j[zdk j?. fJj T[ukoBh :{fBN eftsk d/ T[ukoBh^PotDh ;bhe/ d/ nB[e{b j'D/ nfBtkoh

j[zd/ jB. fbys gkm tKr T[ukoBh gkm dh tZyoh N?e;N j[zdh j?. Gkt/A T[ukoB T[;/

fbys gkm dk jh j'Dk j[zdk j?l go id'A T[j fbys gkm T[ukoB gkm ftu o{gKsfos j[zdk

j? sK T[j fbys gkm s'A ftbZyD N?e;N pD iKdk j?. fbys gkm dh ;zukoB gqfefonk

fbys ns/ gkme dofwnkB tkgodh j?. T[ukoB gkm dh ;zufos gqfefonk ftu

T[ukoe, T[ukoB ns/ Po'sk fszB fXoK Pkwbaa j[zdhnK jB. fBPfus jh fszB fXoK tkbaah

;zuko gqfefonk tX/o/ efmB j't/rh, tX/o/ u[D"shnK tkbaah j't/rh. fJZE/ fJj th fIeo:'r

j? fe jo eth uzrk tesk th j't/, fJj e'Jh Io{oh BjhA. y[ZbQh eftsk dhnK ;soK dk

tZy^tZy gqeko d/ ftPokw fuzBQK dh tos'A Bkba doPBh wjZst tXdk j?. id'A gkme

eftsk B{z gVQdk j? sK ;fji/ jh ftPokw fuzBQK d/ Gkt B{z ;wM b?Adk j?. id'A tesk eftsk

T[ukodk j? sK T[;B{z eftsk d/ ftPokw fuzBQK d/ Gkt gqrNkT[D bJh tZyohnK T[ukoB

i[rsK dh tos'A eoBh g?Adh j?. }?o^Pkpfde gqrNkt/ B{z ftP/P T[ukoBh bfjI/ okjhA

nfGftnes eoBk nkgD/ nkg ’u efmB gqfefonk j?.

;sotzv (Line Break) L y[ZbQh eftsk dh ;so ed'A ns/ fet/A w[Zedh j? ns/ BthA

;so feZE'A P[o{ j'Dh j[zdh j?< ;soK dk f;BN?rw?fNe$g?okfvrw?fNe iK yVt/A ns/ b/

Nt/A o{g dofwnkB eh ;zpzX j[zdk j?< fJj j[zdk th j? iK BjhA< fJjBK ;tkbK B{z ;wM/

p}?o y[ZbQh eftsk dh ;so dh ;zouBk, ;so w'V/ pko/ ;ztkd BjhA oukfJnk ik

;edk. i/wi ;ebh (James Scully) nkgD/ fBpzX Line Break ftu eftsk B{z fJe P?n

ti'A BjhA, ;r'A fJe ftjko ti'A fJ; s'A th tX/o/ ;wkfie ftjko ti'A wkBsk fdzdk j?.

fit/A eftsk ;wki nB[e{b j[zdh j?, T[t/A jh ;sotzv eftsk nB[e{b j[zdh j?. ekft

i[rs ekft ftjko dk gqekoi j[zdh j?. ekft ftjko ;wkfie ftjko ’s/ T[;fonk j[zdk

j?, T[; nB[;ko,

"A poem is not a thing but a practice—a social practice. At the very least it is a social

function. But any poem is socially conditioned, constituted, and effected insofar as it is produced

217

Page 26: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

by, about, through, and for. Line breaks, as poetic practice, threaten to rupture the ideological

prophylaxis imposed on all production or potential production by routine behavior, routine 'per-

ceptions' and routine 'truth'

...poetic technique is a fuction of poetic practice, poetic practice is itself subsumed under

soical practice. This is one of the many reasons why there can be no neat, unproblematical way

to wrap up discussion of it.1

ebk tzBrh Gkt/A e'Jh th j't/ Pkpfde ebk iK e'Jh j'o fJj ;wkfie ftjko dk

gos" j[zdh j?. i/wi Pebh nkgDh XkoBk B{z fJ; e/Adoh B[es/ d/ bV bkT[Adk j?. ;wkfie

ftjko nZr'A fGzB^fGzB nkofEe, gdkofEe, wkBf;e, ;fGnkukfoe nkfd jkbsK d/

ftjko ’u'A ezB;NqeN j[zdk j?. ;wkfie ftjko nkgDh ebksfwe, ;[jiksfwe gj[zu dh

shposk ns/ o/Ai w[skpe fe;/ Pkpfde gqtuB B{z ekft^gqtuB ti'A wkBsk fdzdk j?. ;wK

gk e/ nfijk ekft^gqtuB ekft^ftjko pD iKdk j?. ekft ftjko ekft ;zouBk pko/

nu/s, nw{osB wkgdzvK, f;XKse wkBsktK, gqufbs ohshnK dk fBowksk j[zdk j?.

ftneshrs ekft^ouBktK nkgD/ w"fbe ebk^g?NoBK okjhA fJ;B{z Pesh s/ ;thfeqsh

gqdkB eotkT[AdhnK jB. fJj ekft^ftjko dh ntu/sBh ;{M jh j[zdh j? fe ekft pko/

\k; nkb'uBkswe f;Zfynk^dhfynk s'A fpBK th e'Jh ;XkoB gkme ekft d/ uzr/ wkV/

j'D dh jkwh Godk j?. y[ZbQh eftsk d/ ;so^w'V/ dh fJ;/ ekft^ftjko ’s/ nXkfos j'D

dh i/wi ;ebh dh XkoBk B{z ;kB{z fJ; gq;zr ftu ;wMD dh b'V j?. y[ZbQh eftsk dk \k;k

nw{osB Bkba ;zpzfXs j?. nw{osB Bkba ;zpzfXs j'D dk wsbp fJj th edkfus BjhA

fe fJ; dk e'Jh B/w^gqpzX BjhA j?. fJ; dk B/w gqpzX ekft^ftjko d[nkok jh fBofws

j[zdk j?. ekft ftjko d[nkok fBofws B/w gqpzX yV'Qs iK iw{d dh nt;Ek ’u ed/ BjhA

j[zdk. fJj w[;b;b o{gKsfos j[zdk ofjzdk j? ns/ nkgD/ nkg B{z BftnkT[Adk th ofjzdk

j?.1H James Scully, Line Break, The Line in Postmodern Poetry, Robert Frank and Henry Sayre, (ed.) p. 111,

114.

218

Page 27: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

fJj ;gPN j? fe i/eo y[ZbQh eftsk dk eth y[ZbQh eftsk d/ ;so w'V/ B{z ;[uZi/

ekft^ftjko s'A T[bN ftUAs/rk sK T[;dh eftsk ;|b eftsk BjhA j't/rh. jK, i/eo

;so w'V/ ;zpzXh T[j gqufbs ekft^ftjko s'A ftbZyD gj[zu ngDkT[Adk j?l i/eo T[j

;woE s/ ;kekokswe j't/rh sK T[j th Bt/A ekft^ftjko dh f;oiBk eoe/ Bt/A

ehoshwkB ;Ekfgs eo/rh. go nfijk BjhA j' ;edk fe e'Jh ekft^ftjko ;wkfie

ftjko s'A nfGZi j't/ ns/ e'Jh ekft, ekft^ftjko s'A w[es.

s[eKs (Rhyme)

nzro/Ih Rhyme d/ pdb ti'A gzikph ftu s[eKs Ppd tofsnk iKdk j?. s[eKs

d/ Pkpfde wknB/ sK s[eOnzs noEks s[e d/ nzs iK nk\ho ftu nkT[D tkbaa/ Ppd s'A

pDd/ jB. ;kvh iku/ nzro/Ih Rhyme dk Y[etK gzikph Pkpfde pdb ‘s[eKspX’ j'

;edk j?. feT[Afe jo s[e dk nzs j[zdk ns/ jo s[e d/ nzs ftu e'Jh Bk e'Jh Ppd j[zdk

j?. fJ; bJh ;kv/ s[eKs dk noE dkfJok j'o ;gPNsk dh wzr eodk j?. SzdpZX eftsk

ftu ;wX[Bh s[eKs (Rhyme) dh tos'A j[zdh j?. fJZE/ fJj fIeo:'r j? fe }?o^;wX[Bh

s[eKs sK jo eftsk ’u j[zdk j?. ;G s'A gfjbK n;hA nzro/Ih Rhyme dh gfoGkPk t/yd/

jK—

"Correspondence of sound between words or the endings of words, especially when

used in poetry."1

;gPN o{g ftu nzro/Ih Rhyme d' PpdK d/ ;wX[Bh w{be j'D dh ;fEsh dk

gqrNktk eodk j?. s[e dk ;zpzX Szd–w{be ekft Bkba jh pDdk j?. SzdpZX ekft d/ fJe

;koEe i[I B{z s[e fejk iKdk j?. n;hA y[ZbQh eftsk bJh s[e dh pikfJ ;so Ppd

tosd/ jK. fJ; dh ;sopzdh d/ g?NoBK dh rZb eod/ jK. sd ;soK d/ nzsb/ Ppd B{z

s[eKs efjDk ikfJI j?< y[ZbQh eftsk dh ;so d/ nzs ’s/ nkT[D tkbaa/ PpdK B{z ;soKs

th fejk ik ;edk j?. ;soKs dk ftjkfoe s"o ’s/ gqubB Bk j'D eoe/ Gkt/A n;hA th

1H Oxford Concise English Dictionary, 2004

219

Page 28: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

jkb/ nkgD/ nfXn?B ftu EK^g[o^EK s[eKs Ppd jh tofsnk j?, go y[ZbQh eftsk dh ;so

ns/ SzdpZX ekft dh s[e dofwnkB ;zebgrs tZyosktK B{z ;thekofdnK s[eKs dh

pikfJ ;soKs Ppd y[ZbQh eftsk d/ ekft^Pk;soh ;o{g B{z ;jh soQK befPs eodk j?.

SzdpZX eftsk ftu pb?Aeto; B{z SZv e/ fBozso o{g ftu ;wX[Bh s[eKs dh tos'A

ehsh iKdh j?. y[ZbQh eftsk pko/ n;hA gfjbK th ;gPN eo u[Ze/ jK fe fJj Szd^s[eKs

d/ fBozso wekBeh B/wK B{z nzrheko BjhA eodh. go fJj efjDk th }bs j? fe y[ZbQh

eftsk s[eKs B{z }?o^fBozso s"o ’s/ th ngDk BjhA ;edh. gzikph d/ gqfsGktB PkfJo

nkgDh eftsk ftu fes/ fes/ nEtk }?o^fBozsoh s[eKse S'jK d/ e/ nkgDh y[ZbQh eftsk

B{z o"fue pDk b?Ad/ jB.

s[eKs pBkw nzs:kB[gqk;L

GkJh ekBQ f;zx BkGk B/ wjkBe'P ftu s[eKs dk d{ik BkT[A nzs:kB[gqk;

do;kfJnk j?. T[jBK B/ nB[gqk; d/ gzi tor—S/ekB[gqk;, ftqs:B[gqk;, Pqs:B[gqk;,

bkNkB[gqk; ns/ nzs:kB[gqk; ;theko ehs/ jB. nzs:kB[gqk; B{z nZr'A S/ GkrK ftu

torhfeqs ehsk j?—

‘Szd dhnK s[eK d/ nzfsw nZyo dh “s[eKs” ;zr:k j? ns/ fJ; s[eKs dk BkT[A

jh “nzs:kB[gqk;” j?. ethnK B/ nzs:kB[gqk; Sh gqeko dk ebfgnk j?—;otKs:,

;wKs: ftywKs:, ;wKs:, ftywKs:, ;wftywKs: ns/ fGzBs[eKs:H

(a) ;otKs: nB[gqk; T[j j? fe ;ko/ uoDK d/ nzfsw gd fJe jh tIB d/ j'D

ns/ fgSbk nZyo Gh fJe' j't/H

T[dkjoD—

nfws s/i ir i'fs gqek;h,

nkfd nS/d nG? nftBk;h,

gow sZs gowkoE ftek;h

nkfd ;o{g nkyzv T[dk;h

220

Page 29: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

(b) ;wKs: ftywKs: nB[gqk; T[j j? fe N"Ae gd Bkba N"Ae dk ns/ fi;s gd

Bkba fi;s dk tIB ns/ nZyo fwbaa/.

T[dkjoD—

r[D w[d wzrb w{b

;G ekt; e' f;X eos,

ntr[D okj' Bk G{b

;[y ;zgfs e' i' jos

(c) fi;s Bkba fi;s dk nzfsw tIB ns/ nZyo fwbaa/, go N"Ae Bkba Bk fwbaa/.

fJj ;wKs: nB[gqk; j?.

T[dkjoD—

fJzdqkB fJzdq,

pkbkB pkb,

ozekB oze,

ekbkB ekb,

(d) ftywKs: nB[gqk; ftu N"Ae gdK dk nzfsw tIB ns/ nZyo fwbaad/ jB ns/

fi;s gdK d/ nDw/b j[zd/ jB.

T[dkjoD—

;kbkjh ;bkfj,

J/sh ;[ofs B gkJhnk

Bdhnk ns? tkj

gtfj ;w[zfd B ikDhnfjÒ

(e) gfjb/ uoD dk d{i/ Bkba nzfsw tIB ns/ nZyo fwb/ ns/ shi/ uoD Bkba

u"E/ uoD dk ;ww/b j't/, fJj ;wftywKs: nB[gqk; j?L

T[dkjoD—

221

Page 30: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

r[Bh rB T[dko,

wfjwk ngko,

nk;B nGzr,

T[gwk nBzrH

(f) i/ ;ko/ uoDK d/ nzfsw nZyo ns/ tIB fGzB^fGzB (tZy' tZy) j'D, sd

fGzB^s[eKs: nB[gqk; j?L

T[dkjoD—

fes' ekb phs:' GJ/ okw okiz,

;p? Psq[ ihs/ wjK i[ZXwkbh

fco:' uZeq uko'A fdPK wZX okwz,

G:' Bkw sKs/ wjKueqtoshH”1

GkJh ekBQ f;zx BkGk B/ Gkosh ekft gozgok ’s/ nkXkfos s[eKs dk d{;ok nfjw

BkT[A nzs:kB[gqk; ;[MkT[AfdnK fJ; d/ tZy'^tZyo/ gqekoK B{z eftsk dhnK fw;kbK Bkba

;gPN ehsk j? i' fe s[eKs d/ fByVt/A ;zouBkswe B/wK$gfjb{nK Bkba s[nko|

eotkT[AdhnK jB. nkw s"o ’s/ ;kvh tke|hns s[eKs dh ;XkoB e'Nh sZe jh wfjd{d

j[zdh j?, id'A fe s[eKs dhnK \;bsK s/ g?NoBK d/ nzrK^G/dK pko/ ikDekoh bkIwh j?.

nzro/Ih ftu s[eKs dhnK tzBrhnK fit/A fe Syllabic, imperfect, semi rhyme, half

rhyme, para rhyme, tail rhyme, internal rhyme, eye rhyme, holo rhyme, mind rhyme nkfd gqufbs

jB. fJj tzBrhnK s[eKs d/ tZy'^tZyo/ g?NoBK Bkba ;zpzfXs jB. fJjBK ftu'A mind

rhyme nfijh tzBrh j?, fi;dk nkXko GkPk d/ wkBf;e gqGkt Bkba j?. id'A n;hA nkgD/

wB ftu e'Jh Ppd fustd/ jK sK ;kv/ wB ’u T[; dk fto'Xh Ppd th ikrdk j?. id'A

n;hA fwZmk nkyd/ jK sK e"Vk Ppd th Bkba jh uZb fojk j[zdk j?. nzro/Ih tkbaa/ PpdK

d/ n?;/ wkBf;e gqGktK B{z Mind rhyme dk BK fdzd/ jB.

1H GkJh ekBQ f;zx BkGk, wjkB e'P, gzBk^62H

222

Page 31: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

;kvk ;zpzX y[ZbQh eftsk d/ nfXn?B Bkba j'D eoe/ s[eKs pko/ pj[s/ ft;Eko ’u

ikDk ;zGt BjhA. y[ZbQh eftsk ftu s[eKs dh G{fwek pko/ ;ztkd oukT[AfdnK p[fBnkdh

gfjb{nK ’s/ o"PBh gkT[Dh ;kvk |oI ;h. y[ZbQh eftsk bJh p[fBnkdh B[esk fJj pDdk

j? fe fJ; ftu fe;/ th gqeko dk s[eKs nk ;edk j? go T[j nkgD/ Szd tkbaa/ fBozso

iK frDshw{be bfjI/ ftu BjhA. fJ; Bkba y[ZbQh eftsk dk y[ZbQkgD ns/ ftbZyDsk j'Ad

oZyd/ jB. y[ZbQh eftsk dk y[ZbQkgD pjkb oj/ ns/ T[;dh ftbZyDsk poeoko oj/l fJj

jh y[ZbQh eftsk dk p[fBnkdh nkXko j?.

(n) y[ZbQh eftsk dk w[jKdok ns/ ftPokw fuzBQ nKeD (Punctuation) L ftjkfoe

gfog/y

Pkpfde gqtuB B{z rqfjD eoB d/ gZy s'A Ppd ;z;ko Bkba ;kvk tkj d' gqeko Bkba

g?Adk j?. fJe j?— w"fye, fJ;dk ;zpzX wB[Zy dhnK T[ukoBh s/ PotDh fJzdohnK Bkba

j?. d{ik j?— fbysh iK doPBh, fJj fd;D:'r iK gVQB:'r j[zdk j?. fJ;B{z wB[Zy

nkgDh t/yD:'rsk, gVQB:'rsk d/ IohJ/ rqfjD eodk j?. ftokw iK ftPokw fuzBQ nKeD

dk w[Zy o{g ’u ;zpzX fd;D:'r iK gVQB:'r tkbaah d{;oh Po/Dh Bkba pDdk j?. w"fye o{g

’u ftPokw fuzBQK d/ pdb ti'A tes/ dh T[uko^e[Pbsk s/ ;o's/ dh ;[DB^;{M Bkba

nkgDh EK ;o{g Xkod/ jB. fit/A Iho' fpBK B"A BzpoK dk ftek; BjhA j[zdk. T[t/A jh

ftPokw fuzBQK dh ehws Gkt/A PpdK d/ pdb ti'A BjhA nKeh ik ;edh, go GkPk B{z

ftftX, ftek;wJh pDkT[D ftu ftPokw fuzBQK dh G{fwek s'A fJBekoh BjhA j'fJnk ik

;edk. \k; s"o ’s/ gVQB:'r, fd;D:'r PpdK dk ezw^eki i/ ftPokw fuzBQK s'A fpBK

n;zGt BjhA sK w[Peb Io{o j?. GkPkJh PpdK, fcefonK iK tkeK B{z mhe Yzr Bkba

gVQB, T[ukoB, gqrNkT[D d/ bJh, ;[uZi/^;[uko{ ;zuko bJh ftPokw fuzBQK dk gq:'r

fBjkfJs Io{oh j?. fizBK fJjBK dk gq:'r Io{oh j?, UBk fJjBK d/ rbs gq:'r s'A puDk

iK mhe gq:'r eoBk th Io{oh j?.

ftPokw fuzBQK dh gSkD GkPkJh nZyoK iK PpdK d/ ;jkfJe fuzBQK ti'A ehsh ik

223

Page 32: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

iKdh j?. ekft^gqtuB ftu noE^uwe fJjBK dh tos'Aekoh ’s/ jh fBoGo eodh j?.

nzro/Ih ftu e[Zb u"dK ftPokw fuzBQK dh tos'A ehsh iKdh j?. gzikph ftu vzvh (g{oB

ftPokw fuzBQ d/ fuzBQ s'A fpBK brgr ;ko/ ftPokw fuzBQ nzro/Ih tkbaa/ jh jB s/ T[jBK

dk tos'A ftXkB th nzro/Ih tkbaaak jh j?. gzikph d/ pkeh ;kfjs o{gK tKr gzikph y[ZbQh

eftsk ftu th ftPokw fuzBQK dh tos'A Io{oh b'V ti'A ;keko BjhA j' ;eh. ;kvh pj[sh

eftsk ftu fJjBK dh tos'A wB'wBh d/ w/b/ tKr j?. fbyd/ fbyd/ i/ wB ehsk fes/ vzvh

bk fdZsh, fes/ ;tkbhnk fBPkB, e"wk, ft;fwe fuzBQ bk fdZsk, BjhA sK Bk ;jh. fJ;d/

Bkba jh v?P, Ppd b'g fuzBQ nkfd dh tos'A eJh tko b'V s'A fpBK jh ehsh iKdh j?.

fJjBK fuzBQK d/ gqrNkt/ d/ do[;s YzrK B{z ;wMD ns/ do[;s tos'A eoB bJh gzikph

ethnK B{z ;[u/s j'D dh b'V j?.

gzikph y[ZbQh eftsk ftu ftPokw fuzBQK dh tos'A d/ tZy'^tZyo/ g?NoBK s/ T[jBK

dh b'V ns/ wjZst B{z iKuD^goyD bJh, y[ZbQh eftsk d/ w[jKdo/ B{z T[xkVB bJh

ftjkfoe gj[zu dk ;jkok b?Dk nfsnzs Io{oh j?. nfijk eoB bJh gzikph y[ZbQh eftsk

ftu tos/ ikD tkbaa/ gqw[y ftPokw fuzBQK d/ ;o{g s/ gqekoi B{z gzikph y[ZbQh eftsk ’u'A

jtkfbnK ;fjs ;gPN GKs ;wMDk gt/rk. gzikph y[ZbQh eftsk ftu tos/ ikD tkbaa/

gqw[y ftPokw^fuzBQK dk ;o{g, tos'A ftXh s/ gqekoi fJ; gqeko j?L

(1) vzvh (.) L fJj tke iK ;so d/ nzs ’s/ nkT[D tkbaaak g{oB mfjokT[ tkbaaak ftPokw

fuzBQ j?. nzro/Ih ftu fJ;B{z full stop iK period efj fbnk iKdk j?. gzikph dh wZXekbh

eftsk ftu g{oB mfjokT[ bJh d' vzvhnK dk fJ;sw/kb ehsk iKdk ;h. nkX[fBe ekb

ftu d' vzvhnK dh EK fJe vzvh tkbaa/ g{oB mfjokT[ fuzBQ dh tos'A gqufbs j' u[Zeh j?.

gzikph y[ZbQh eftsk ftu g{oB mfjokT[ tkbaa/ fJ; ftPokw fuzBQ dh tos'A ehsh sK iKdh

j?l go fJ;dh tos'A e'Jh nfBtkoh P?n BjhA pD ;eh. fw;kb ti'A ;kv/ pj[s/ eth

fit/A—jfoGiB f;zx, ;[oihs gkso nkfd g{oh eftsk ftu pDdhnK ;kohnK EktK ’s/

fJ; fuzBQ dh tos'A Bk eoe/, f;o| nzs ’s/ jh tos'A eod/ jB. T[jBK dh pj[sh eftsk

224

Page 33: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

ftu nfijk t/fynk ik ;edk j?. fJ; soQK vzvh dh tos'A dk y[ZbQh eftsk ftu fBPfus,

gZek^ghvk, ekft^Pk;soh nkXko BjhA pD ;fenk. fJ;d/ pkti{d gzikph y[ZbQh eftsk

ftu fJ; fuzBQ dh tos'A d/ ;[zdo Bw{B/ th fwbaad/ jB. nfijh jh \{p;{os fw;kb ;kv/

i[Mko{ eth gkP dh eftsk ‘b'jk’ ’u'A t/y ;ed/ jKL

s[;hA b'j/ dh eko M{Nd/ j'.

w/o/ e'ba b'j/ dh pzd{e j?.

w?A b'jk ykXk j?.

s[;hA b'j/ dh rZb eod/ j'.

b'jk id fgxbdk j?,

sK Gkc BjhA fBebdh.”1

gzikph y[ZbQh eftsk ftu nzro/Ih dh oh;/ nzro/Ih d/ Full stop (H) B{z g{oB

mfjokT[ d/ ftPokw fuzBQ ti'A tosD dk ftobk^NktK o[MkB th ;kjwD/ nkfJnk j?.

fJ;dh T[dkjoB i;tzs dhd dh ‘ewzvb’ g[;se dh eftsk ’u'A t/yh ik ;edh j?L

b?` w?A pzd eodk jK

fJj eEkH

;'rzX yKdk jK XVed/ gZEo ’s/ jZE oZye/

fe w?A s/o/ ;kjK ’u i/jVh ybpbh SZvh ;h

T[;B{z nkgD/ ;kjK ’u tkg; b?Adk jKH2

nzro/Ih d/ full stop dh tos'A Bkba noE^;zuko dh gZXo ’s/ eftsk ’u e'Jh

tZyok tkXk^xkNk BjhA tkgodk. ftPokw fuzBQ vzvh dh \k;hns fJj j? fe ;kvh r[ow[yh

nZyoK dh pDktN d/ bJh tX/o/ Y[ZetK, iutK j?. fJ; bJh i/eo n;hA oh;' oh; uZbD

dh fposh SZv e/ g{oB mfjokT[ bJh nkgD/ ftPokw fuzBQ vzvh dh jh tos'A eoh ikJhJ/

sK fJj e'Jh fwjD/ tkbaah rZb BjhA j't/rh. gkP dh eftsk ‘b'jk’ dh T[dkjoB n;hA1H ;zg{oB gkP ekft, u/sBk gqekPB, b[fXnkDk, 2002, d{ik n?vhPB, gzBk^35H

2H i;tzs dhd, ewzvb, b'erhs gqekPB, uzvhrVQ, 2004, gzBk^67H

225

Page 34: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

t/y u[Ze/ jK. T[;B/ J/Bh ;gPN s/ Y[ZethA tos'A ehsh j? fe gkme fJe^fJe ;so B{z

pVh ;gPNsk, do[;s mfjokT[ ns/ ;kj rsh Bkba gVQ ;edk j?.

(2) ft;fwe fuzBQ (`) L ft;fwe fuzBQ g{oB mfjokT[ w"e/ n;uoisk dk gqrNktk eoB

tkbaaak ftPokw fuzBQ j?. nzro/Ih ftu fJ;B{z exclamation mark iK sign of exclamation efjzd/

jB. nzro/Ih ftu gqfsft;fwe iK ft;fwe fto'Xh GktK B{z gqrNkT[D iK fuzBQs eoB

bJh fJ; fuzBQ B{z T[bNk (¡) eo fdZsk iKdk j?. gzikph y[ZbQh eftsk ftu ft;fwe fuzBQ

dh tos'A ek|h j'Jh fwbaadh j?. fJ;dh fInkdkso tos'A ;zp'XBh bfjI/ d/ T[ukoBk Bkba

ehsh iKdh j?. ;zp'XBh bfjI/ Bkba ;zpzfXs ft;fwe ;fEsh dh T[dkjoB ;H;H whPk dh

eftsk ‘nkyo ed'A sZe’ ’u'A t/y ;ed/ jKL

ed'A sZe

nkyo ed'A sZe

yZp/ jZE j' e/ ;Ve ’s/ s[o/Ark`1

fJ; s'A fJbktk ft;fwe fuzBQ dh tos'A nD^;zp'XBh bfjI/ ’u th ehsh iKdh j?.

fJZE/ fJj tes/ d[nkok ;o's/ B{z ;[DkJ/ iK ;zp'fXs ehs/ ik oj/ gqtuB dk o{g j[zdk j?

f;ZXk ;zp'XB BjhA. fJ;dh fJe gqgZe T[dkjoB vkH dhtkB f;zx ekb/gkDh dh eftsk

‘nkBzd’ ’u'A g/P j?L

nkBzd`

jK, nkBzd`

tos'A Bkba tXdk j?

tos'A Bkba cbdk j?

wodk BjhA

iKdk BjhA

fJjdk P[o{ BjhA

1H ;H;H whPk, eZu d/ t;so, bkj"o p[Ze Pkg, b[fXnkDk, 1992, shik n?vhPB, gzBk^16H

226

Page 35: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

nkyho BjhA.”1

;XkoB ft;fwesk s'A fpBK shpo ft;fwesk iK nfs ft;fwesk dh ;fEsh d/

gqrNkt/ bJh fJe s'A tX/o/ ft;fwe fuzBQK dh tos'A eo bJh iKdh j?. fJj rZb fXnkB

’u ofjDh ukjhdh j? fe gqtuB dh ;wK^;fEsh Y[ethA j?. ft;fwesk dh b'V j? th iK

f;o| ft;fwe fuzBQ gkT[D ykso jh ft;fwe fuzBQ gkfJnk ik fojk j?. nfs ft;fwesk

dh ;fEsh dh T[dkjoB bJh doPB p[ZNo dh eftsk ‘eftsk s/ eth’ d/ d' nzsb/ pzd

t/y/ ik ;ed/ jBL

fit/AHHH

i[nkp dh sbp ftu

pzdk

;[nkb G[Zb iKdk j?

eftsk```

s{z w/o/ ftu'A ed/ ed/

fJt/A nb'g j' ikBh J/A

feXo/HHH HHH”2

(3) gqPB;{ue fuzBQ (<) L gqPB;{ue fuzBQ iK ;tkbhnk fBPkB g{oB mfjokT[

Po/Dh dk ftPokw fuzBQ j?. gzikph y[ZbQh eftsk ’u fiBQK ftPokw fuzBQK dh fInkdk tos'A

j[zdh j?, fJj T[jBK ’u'A fJe j?. fJ;dh tos'A w[Zy o{g ftu d' soQK Bkba j[zdh j?. fJe

sK eh, ed'A, fezBk, feZE/, feZXo, feZdK nkfd gqPB;{ue PpdK tkbaa/ tkeK ftu j[zdh j?.

d{ik eJh EktK ’s/ e'Jh th gqPB;{ue Ppd BjhA j[zdk, go ekft^;so iK ekft^fceo/

dk bfjIk gqPBtkuh j[zdk j?. fJjBK d' Po/DhnK B{z pkjoh gqPBtkuh Po/Dh ns/ nKsfoe

gqPBtkuh Po/Dh ftu torhfeqs eoe/ th ;wfMnk ik ;edk j?. pkjoh gqPBtkuh

Po/Dh ftu gqPB;{ue Ppd j'D ekoB tke d/ ;tkbhnk tke j'D dk e'Jh G[b/yk BjhA

1H vkH dhtkB f;zx ekb/gkDh ouBktbh, GkPk ftGkr, gzikp, 1993, gzBk–288H

2H doPB p[ZNo, yVktK, u/sBk gqekPB, b[fXnkDk, 2001, gzBk^67H

227

Page 36: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

ofjzdk. go, nKsfoe gqPBtkuh ekft^tkeK ftu gkme B{z gqPB;{ue fuzBQ s'A fpBK

eJh tko nkw tke ns/ gqPBtkue tke ’u fBy/Vk eoB ’u w[Peb nkT[Adh j?. fJ;

bJh y[ZbQh eftsk ftu xZN'^xZN nKsfoe gqPBtkuh Po/Dh tkbaa/ ekft^tkeK ftu

;tkbhnk fBPkB nKeD dh b'V pDh ofjzdh j?. fJjBK d'tK ;fEshnK iK Po/DhnK Bkba

;zpzfXs T[dkjoBK n;hA i;tzs dhd dh g[;se ‘ewzvb’ ’u'A t/yKr/. gfjbh T[dkjoB

dk ;zpzX pkjoh gqPBtkuh Po/Dh Bkba j?. T[;dh eftsk ‘SZs’ u'A bJh T[dkjoB fJ;

gqeko j?L

w/o/ T[FZgo e"D drV drV d"Vdk j?<

fJ;/ jh SZs nzdo fuD/ j'J/

w/o/ g[oy/ fes/H”1

nKsfoe gqPBtkuh Po/Dh Bkba ;zpzfXs T[dkjoB T[;dh eftsk ‘r/Ad’ ’u'A g/P j?L

nktkI w/o/ nzdo c;h j'Jh

iK w?A nktkI d/ nzdo<”2

y[ZbQh eftsk Bkba ;zpzfXs fJjBK ;soK ’u fes/ e'Jh gqPB;{ue Ppd BjhA j? go

gqPB;{ue fuzBQ d/ Bkba fJjBK ;soK dh gqPBw{be ;[o pko/ gkme B{z ;gPN j[zdk j?.

(4) nZyo b'g fuzBQ (’) L nZyo b'g fuzBQ B{z nzro/Ih ftu Apostrophe fejk

iKdk j?. fJ;B{z gzikph ftu S[ZN^wo'Vh th fejk iKdk j?. gzikph ftu nZyo b'g

fuzBQ dh tos'A d/ nkXko ’s/ nkfd nZyo b'g ns/ nzs nZyo b'g d' Po/DhnK pDdhnK

jB.

(T) nkfd nZyo b'g L nkfd nZyo b'g fuzBQ dh tos'A gzikph ftu pj[s ehsh

iKdh j?. Gkt/A fe fJj tos'A e[M frD/^fwE/ PpdK sZe jh wfjd{d j?. ftu Ppd bJh

’u, T[FZs/ Ppd bJh ’s/, jtk bJh ’tk fby b?Ad/ jK. ns/, T[FZs/ d'jK bJh s/ fbyDk

seBheh s"o ’s/ do[;s BjhA j?—

1H i;tzs dhd, ewzvb, b'erhs gqekPB, uzvhrVQ, 2004, gzBk^40H

2H T[jh,gzBk^25H

228

Page 37: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

ns/

s/

T[Zs/

T[FZs/, ns/ d'tK dk noE p'X w{b'A tZyok j?. fJ; bJh ;kB{z fJjBK d'tK

dh tos'A ’u fBy/Vk oZyDk ukjhdk j?L

ns/ = s/

T[Zs/ = ’s/

do[;s sK fJj j't/rk fe n;hA :'ie ns/ B{z fJzM jh fbyhJ/ go ;kvh nkds gZe

ikD eoe/ n;hA fJ;B{z s/ th fby ;ed/ jK. go, T[FZs/ B{z ;kB{z nZyo b'g fuzBQ gkJ/ p}?o

BjhA fbyDk ukjhdk.

(n) nzs nZyo b'g L gzikph ;kfjs ftu iK gzikph y[ZbQh eftsk ftu nzs

nZyo b'g fuzBQ dh tos'A pj[s xZN fwbaadh j?. fJ; ftu nkfd nZyo b'g tkbaa/ fuzBQ B{z

T[bNk eoe/ (‘) fgZS'A iK nzs s'A b'g ehs/ nZyo dh EK gkfJnk ik ;edk j?. fJ;dh

fJe uzrh T[dkjoB n;hA ;[oihs gkso dh eftsk ‘w?A fiZE/ yVk jK’ ’u'A t/y ;ed/ jKL

fJj fijV/ b'e w/o/ nk;/ gk;/ B/

fJjBK d/ jZEK ftu i' e[M BjhA j? T[j

fe;/ nctkj Bk‘ uke{

fe;/ nctkj Bk‘ gZEo

fe;/ nctkj Bk‘ c[ZbK dh fGZih vkb pD iKdk.”1

(5) Ppd b'g fuzBQ (HHH) L Ppd b'g fuzBQ fszB fpzd{nK dk fJe ;w{j j[zdk j?. fJj

nDnkJ/ iK SZv/ rJ/ PpdK dk ;{ue j[zdk j?. fJ;B{z nzro/Ih ftu Ellipsis fejk iKdk j?.

fJj nk u[Ze/ PpdK d/ nkfd, wZX ns/ nzs fszB ;fEshnK ftu fes/ th nk ;edk j?.

gzikph y[ZbQh eftsk ftu fJ; dh tos'A ek|h ehsh iKdh j?. Gkt/A fJ; dh tos'A ’u

1H ;[oihs gkso, jB/o/ ftu ;[brdh toDwkbk, b'erhs gqekPB, uzvhrVQ, 2003, gzBk–104

229

Page 38: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

}bshnK th ek|h fwbaadhnK jB. n?t/A jo ;so d/ nZr/ fgZS/ iK fes/ th Ppd b'g fuzBQ

bk d/D Bkba e'Jh pj[sk nDfejk BjhA fejk iKdk. nDfejk iK nDnkfJnk ej/ iK nkJ/

d/ Bkba jh wjZst rqfjD eodk j?. ;' fJe sK ;kB{z fJ; rZb bJh ;gPN j'Dk ukjhdk

j? fe y[ZbQh eftsk ftu fiZE/ th fes/ Ppd b'g fuzBQ nkfJnk j? UE/ Bk nkJ/ Ppd dh

;g/; pDdh th j?. ;zGt o{g ’u ;kB{z fJj wfj;{; j'Dk ukjhdk j? fe fJE/ e[M j'o

nkfynk ik ;edk j? iK fJZE/ e[M SZfvnk frnk, ofj frnk j?. i/eo nfijk BjhA

bZrdk sK ;kvk Ppd b'g fuzBQ n?t/A c?PBh j?. T[;dk ebkswe nkXko e'Jh BjhA j?.

eftsk d/ f;ob/y s'A b? e/ nzsbh vzvh sZe jo P?n ’u e'Jh Bk e'Jh owI j't/ sK jh

eftsk dk gqGkt T[ZdkswJh pDdk j?. gzikph y[ZbQh eftsk d/ nkXko ’s/ n;hA Ppd b'g

fuzBQ dhnK fszB ;fEshnK B{z fJ; gqeko ftuko ;ed/ jKL

(T) nkfd Ppd b'gL nkfd Ppd b'g fe;/ th ;so d/ P[o{ ftu nkT[Adk j?.

;so d/ nkozG ftu jh Ppd b'g fuzBQ fJj ;{fus eo fdzdk j? fe e[M nDfejk,

nDnkfJnk ofj frnk j?. fJj nDfejk iK nDnkfJnk BjhA j[zdk, ;r'A ikD^p[ZM e/

SZfvnk frnk j[zdk j?. pj[sh tko SZfvnk frnk Ppd ;fGne ;wki ’u ngqtkBs iK

;b?Ar Bkba ;zpzfXs Ppd th j[zdk j?. nkfd Ppd b'g dh nfijh tzBrh i;tzs dhd dh

eftsk ‘GkDi/ dh tb?s c/oh’ u'A t/yh ik ;edh j?L

s/ GkJh ;kfjp s[;hA efjzd/ j'

fe wK B{z rkb Bk eZY'`

HHHJ/j' ijh wK dhHHH

wso/Jh uzrh

ihjB/ BthA fIzdrh fdZsh j?

n?P eod/ jK.”1

ikD^p[ZM e/ SZv/ rJ/ PpdK s'A fpBK ;Zuh^w[Zuh e[M Ppd nfij/ j[zd/ jB, i'

1H i;tzs dhd, ewzvb, b'erhs gqekPB, uzvhrVQ, 2004, gzBk^105

230

Page 39: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

Ppd b'g fuzBQK okjhA nkgDh j'Ad dk nfj;k; eotk fdzd/ jB. T[j eftsk s'A pkjo ofj

e/ th eftsk dh f;oiBk ftu :'rdkB gkT[Ad/ jB.

(n) wZX Ppd b'gL wZX Ppd b'g fuzBQ, fe;/ th ;so d/ ftu^ftukb/ iK

nkfd Ppd s'A pknd ns/ nzsb/ PpdK s'A gfjbK nkT[Adk j?. tX/o/ ;gPNsk bJh doPB

p[ZNo dh eftsk ‘G[ZbD u/sk’ B{z T[dkjoB ti'A t/fynk ik ;edk j?L

tes dk sekIk iK T[wo dk

G[Zb iKdk jK

B/Vb/ fwZsoK d/

fujo/HHHBKHHHgs/

fdBHHHfsZEHHHfsT[jko

nZiHHHeZbQ s/ Gbe”1

(J) nzs Ppd b'gL nzs Ppd b'g fuzBQ ;so d/ nzs ’s/ nkT[Adk j?. nkfd,

wZX ;fEshnK Bkba'A fJ;dk dkfJok tX/o/ t;hj j[zdk j?. nzs ftu nkT[D tkbaaak Ppd b'g

fuzBQ n;hw j[zdk j?. fJj fJ; rZb dk th rtkj pDdk j? fe i' fejk frnk j?, T[; tork

iK T[;s'A th nZr/ fejk ikDk jkb/ pkeh j?. gq;s[s PpdK B{z ngq;s[s j'o BthA fdPk,

j'o BtK nkeko p\P ;ed/ jB. nzs Ppd b'g B{z ftjkfoe gZXo ’s/ ;wMD fjs n;hA

fJBebkph eth gkP dh eftsk ‘T[vfdnK pkiK wro’ ’u'A fJe T[dkjoB t/yKr/L

T[v rJ/ jB pkI u[zMK ’u b? e/

;kvh u?B dk gb fpsk ;eD dh ykfjP

d';s' j[D uZfbnk ikt/

T[vfdnK pkIK wroHHH.”2

;' Ppd b'g dhnK fJjBK tzBrhnK ns/ fJjBK d/ seBheh ftjkfoe gZyK pko/

ikDekoh eth ns/ gkme d'jK bJh ;"yk okj pD ;edh j?. p/b'V/ Ppd b'g fuzBQK dk y[ZbQh1H doPB p[ZNo, yVktK, u/sBk gqekPB, b[fXnkDk, 2001, gzBk^86H

2H ;zg{oB gkP ekft, u/sBk gqekPB, b[fXnkDk, 2002, d{ik n?vhPB, gzBk^69H

231

Page 40: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

eftsk ftu e'Jh w[Zb^wjZst BjhA j?. fiZE/ b'V j't/, T[ZE/ fszB fpzd{nK d/ ro[Zg tkbaaak

fwnkoh fuzBQ jh tosDk ukjhdk j?. i/eo g{oh ;so ykbh SZvh fdykT[Dh j? sK fszB^fszB

fpzd{nK tkbaa/ uko^gzi ro[Zg E'VQh^E'VQh ;g/; pknd nzfes eo d/D/ ukjhd/ jB. fJ;

Bkba n;hA Ppd b'g fuzBQ dh w{b GktBk s'A T[bN th BjhA j'tKr/, ;kvh eftsk dk seBheh

gZy th ;jh j't/rk. ;kvh nDej/, nDnkJ/ B{z gq;s[s eoB dh ekft^ftXh do[;s

j't/rh.

(6) i'VBh (^) ns/ v?P (—)L gzikph i'VBh B{z nzro/Ih ftu hyphen fejk iKdk j?.

fJj ftP/P noE T[sgkdB bJh d' iK tX/o/ PpdK B{z i'VB tkbaaak fuzBQ j?. d' PpdK d/

ftueko fpBK fe;/ ;g/; s'A fJ;dh EK j[zdh j?. v?P dk fuzBQ i'VBh d/ fuzBQ s'A E'VQk bzwk

j[zdk j?. fJ;dk ezw i'VBh s'A tZyok j[zdk j?. v?P dk fuzBQ nkgD/ s'A gfjb/ ns/ wrob/

PpdK ftu tZyosk iK nbfjdrh dk ;{ue j[zdk j?. fJj tZyosk ftuko d/ gqeoB dh

j' ;edh j?, ftuko d/ bfjI/ dh j' ;edh j?. gzikph ftu i'VBh ns/ v?P d/ fuzBQK pko/

jkb/ sheo pj[sh ;gPNsk BjhA pD ;eh. i'VBh d/ fuzBQ B{z jh v?P dh EK ’s/ tose/

d't/A ezw i'VBh Bkba jh ubkJ/ iKd/ jB. nfijk eoB Bkba PpdK dh noE ;koEesk

;zeN rq;s j' iKdh j?. nfijh ;zeN ;fEsh dh T[dkjoB i;tzs dhd dh eftsk ‘nkdwh

s/ d';s Bkba fJe' t/baa/ rbpks’ ’u'A g/P j?L

nZXh oks i' gZs/ ir g?Ad/ ;B

pkoP nzdo

s{z BZu T[FZmdk ;?A

j?okB j[zdk ;h^gkDh fezB/ ozr SZvdk j?`

rzXe fSbDh ukj[zdh ;h i' B[ZeoK nzdo'A

iVQh p{NhnK nzdo'A XVeD

;G rkfJp B/H”1

1H i;tzs dhd, ewzvb, b'erhs gqekPB, uzvhrVQ, 2004, gzBk^58H

232

Page 41: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

‘;h^gkDh’ gzikph dk e'Jh Ppd i'V BjhA j? ns/ Bk jh eth B/ Ppd i'V ti'A

tofsnk j?. ‘;h’ ns/ ‘gkDh’ d/ ftueko v?P dh pikJ/ gkfJnk frnk iK g? frnk i'VBh

dk fuzBQ ;zpzfXs g{oh ;so d/ noEK Bkb rVpV eo fojk j?.

fJj ftPokw fuzBQ gkT[D/ Io{oh jB, do[;s gkT[D/ T[; s'A th Io{oh jB. i'VBh

dh PkBdko T[dkjoB doPB yNeV dh eftsk ‘;[zdo Broh dk j"oo u?Apo’ ’u'A t/y

;ed/ jKL

Bk G[ZbDk

id'A th ikt' ;[zdo^Broh

o'I^rkovB, o"e^rkovB, Mhb^;[yDk

pkJh s/ ;skoK ;?eNo dh

nfs^nkX[fBe o"De sZeDkHHH”1

fJ; soQK i'VBh dk nkgDk wjZst j? ns/ v?P dk nkgDk. n;hA fJjBK B{z

obrZv BjhA eo ;ed/. i/eo eoKr/ sK fco ;kvhnK fbysK B[e;dko ofjDrhnK.

eJh tko nfijhnK rbshnK gq?FZ; tkfbnK ekfwnK dh nD;wMh iK nbg;wMh ekoB

th j[zdhnK jB go b/ye iK eth tb'A go{c gVQB s'A pknd rbsh gq?FZ; tkbaa/ dh BjhA ofj

iKdh. ;' ;kB{z fJjBK pohe rbshnK tZb fXnkB d/Dk ukjhdk j?. i'VBh s'A pknd v?P

d/ d' g?NoB t/yD/ Io{oh jB. fJj d't/A g?NoB ;kv/ i[Mko{ eth gkP dhnK eftsktK ’u'A

bJ/ rJ/ jB. gzikph y[ZbQh eftsk ’u tosh ikD tkbaah v?P d/ fJj ;[zdo Bw{B/ jBL

(1) feT[A fejk iKdk j? n;hA fiT[Ad/ jK

Iok ;'u'—

fe ;kv/ ’u'A fezfBnK e[ dk Bksk j?

fIzdrh torh fe;/ P?n Bkb`”2

(2) w/o/ e'ba pVk e[M j?1H doPB yNeV, T[bN/ o[\ gotki, u/sBk gqekPB, b[fXnkDk, 2010, gzBk–87H

2H ;zg{oB gkP ekft, u/sBk gqekPB, b[fXnkDk, 2002, d{ik n?vhPB, gzBk^72H

233

Page 42: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

Pkw j?—PoQkfNnK ’u fGZih j'Jh

fIzdrh j?—B{o ’u GZydh j'Jh

ns/ w?A jK—‘n;hA’ d/ M[owN ftu fxfonk j'fJnk.”1

gfjb/ Bw{B/ ftu v?P s'A pknd BthA ;so P[o{ j[zdh j? ns/ d{i/ Bw{B/ dhnK fszB/

;soK ftu v?P s'A pknd T[jh ;so nZr/ uZbdh j?. J/E/ t/yD tkbaah rZb fJj j? fe v?P

s'A pknd eftsk d/ gqtuB ftu c"oh spdhbh tkgodh j?. fJj spdhbh ej/ rJ/ ns/

j'D dh spdhbh j?. v?P s'A gfjbK fejk frnk j? ns/ v?P s'A pknd j'D dh rZb nkT[Adh

j?. d{;oh T[dkjoB dk B{z ftPb/PD eod/ jKL

fejk frnk j'D ;fEsh

Pkw j?— PoQkfNnK ’u fGZih j'Jh

fIzdrh j?— B{o ’u GZydh j'Jh

ns/ w?A jK— ‘n;hA’ d/ M[owN ftu fxfonk j'fJnk.

fJ;d/ fJj e'Jh nzsw g?NoB BjhA jB, j'o th g?NoB sbkP/ ik ;ed/ jB. go

;kvh Io{oh b'V j? i'VBh ns/ v?P ftub/ coeK B{z ;wMD dh ns/ do[;s o{g ftu

nkgDhnK fbysK ftu tosD dh.

(7) e"wk (,) L e"wk jbe/ mfjokT[ tkbaaak ftPokw fuzBQ j?. fJj tke ftu ;{uh d/ o{g

ftu doI tZy^tZy tzBrhnK d/ BktK, ftP/PDK nkfd B{z fBy/VfdnK T[jBK dh pDdh

gSkD eokT[D dk ;{ue pDdk j?. gzikph y[ZbQh eftsk ftu fJ;dh tos'A ek|h fwbaadh j?.

ftP/PDK, BktK B{z e"fwnK d[nkok gqdkB ehsh rJh nbfjdrh Bkba ;zpzfXs fJe g[\sk

fw;kb n;hA doPB yNeV dh eftsk ‘r[o{^nfXnkge’ ’u'A t/y ;ed/ jKL

s{z ikD/ iK Bk ikD/

i' s?B{z ikgdk T{Dk, nX{ok, eZuk j?

T[j nfXnkge, r[o{, pkg e'Jh j'o BjhA

1H ;zg{oB gkP ekft, u/sBk gqekPB, b[fXnkDk, 2002, d{ik n?vhPB, gzBk^77H

234

Page 43: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

s/ok nkgDk jh pZuk j?.

s{z wzB/ iK Bk wzB/A.

s{z ikD/A iK Bk ikD/A.”1

(8) g[Zm/ e"w/ (“”) L g[Zm/ e"fwnK B{z nzro/Ih ftu Inverted Commas iK quotation-

marks fejk iKdk j?. g[Zm/ e"w/ d' gqeko d/ j[zd/ jB— fJefjo/ g[Zm/ e"w/ ns/ d'jo/ g[Zm/

e"w/. nkw s"o ’s/ d'jo/ g[Zm/ e"w/ fe;/ d/ fiT[A d/ fsT[A bJ/ j'J/ gqwkD B{z nzfes eoB

tk;s/ j[zd/ jB. fJefjo/ e"fwnK B{z fe;/ dh ejh iK fbyh rZb B{z f;ZXk nkgD/ PpdK ftu

fbyD t/baa/ nzfes ehsk iKdk j?. fJ; s'A fJbktk g[Zm/ e"fwnK dh tos'A ftP/P gqeko dh

p'bh w[jkto/ iK tZyoh rZb bJh th eo bJh iKdh j?.

y[ZbQh eftsk ftu fJefjo/ iK d'jo/ g[Zm/ e"fwnK dh tos'A nkw tos'A Bkba'A tZyoh

j[zdh j?. eftsk ftu eth B/ e'Jh ;w{os gqwkD iK jtkbk BjhA d/Dk j[zdk. eftsk ftu

e'Jh T[u/uh iK eth tZb'A f;oi/ fe;/ ekft^gkso dh ftP/P rZb B{z e"fwnK Bkba nzfes

eo fbnk iKdk j?. nfij/ jh ekft^gkso dh rZbpks dh fw;kb vkH irsko dh eftsk

nX{ok nkdwh u'A t/yD Bkba rZb tX/o/ ;gPN j' ;edh j?L

w/o/ nzdobk wB[Zy

nkgDh nktkI nzdo uhfenk

‘w?A wPhBh nkdwh BjhA

w/o/ nzdo y{B j?, nfj;k; j?

w/o/ nzdo G[Zy j?

s/ fgnk; j?.’

‘i/ fBozso fSDK s'A

N[ZNk fojk sK

T[; frorN dh eNh j'Jh g{S tKr{z

1H doPB yNeV, T[bN/ o[\ gotki, u/sBk gqekPB, b[fXnkDk, 2010, gzBk–82H

235

Page 44: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

fJe fdB fBofizd j' iktKrk w?A.’1

d'jo/ g[Zm/ e"fwnK bJh bkb f;zx fdb dh eftsk ‘bkb g{op’ ’u'A T[dkjoB

g/P j?L

fJj rhs T[jdk rk fojk

i' nkydk

“g{opK dh g"D nZi

gZSwK s/ Gko{ j?”

fJj rhs T[jdk rk fojk

i' nkydk

“b'eK d/ fto'Xh ;ko/

tZv/ XBh

;kwoki

i's/dko

ekrIK d/ P/o jB”2

(9) d[fpzdh (L) L d[fpzdh B{z nzro/Ih ftu colon fejk iKdk j?. fJj g{oB mfjokT[

Bkba ;zpzfXs ftPokw fuzBQ j?. d[fpzdh dh tos'A uZb oj/ gq;zr s'A nZr/ j'D tkbaah T[u/uh

i'VBh d/ ;zdoG ftu ehsh iKdh j?. fInkdkso fJ;dh tos'A fefonk o{gK s'A pknd j[zdh

j?. fJ;B{z tX/o/ uzrh soQK ;gPN eoB fjs n;hA ;[oihs gkso dh y{p;{os eftsk

‘g[b’ dh T[dkjoB t/y ;ed/ jkL

w?A fiBQK b'eK bJh g[b pD frnk ;K

T[j id'A w/o/ s'A bzx e/ ik oj/ ;B

w?A ;[fDnK w/o/ pko/ efj oj/ ;BL

T[j feZE/ ofj frnk j? u[Zg fijk pzdk1H vkH irsko, nDw[Ze ;co, ezuB f;zx (;zgkH), u/sBk gqekPB, b[fXnkDk, 2005, gzBk^300H

2H bkb f;zx fdb, Bkr b'e, u/sBk gqekPB, b[fXnkDk, 2007, gzBk–94H

236

Page 45: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

PkfJd fgZS/ w[V frnk j?

;kB{z gfjbK gsk ;h fe T[; ftu dw BjhA j?.”1

(10) r'b po?eN (()) L r'b po?eN B{z nzro/Ih ftu round brackets iK lunulae efjzd/

jB. uZb ojh rZb B{z id'A tZyo/ s"o ’s/ ;gPN eoB bJh, fNZgDh d/D iK ftnkfynk

eoB dh b'V j[zdh j? sK T[; fNZgDh iK ftnkfynk B{z r'b po?eN ftu fby fdZsk iKdk

j?. gzikph tkose ftu sK fJ;dh tos'A pj[s ehsh iKdh j? go gzikph y[ZbQh eftsk ftu

fJ;dh tos'A pj[s xZN fwbaadh j?. ;kvh gkfe;skBh gzikph eftsk ftu fJ;dh tos'A

dhnK \{p;{os T[dkjoBK fwbaadhnK jB. po?eN dhnK j'o th tzBrhnK fwbaadhnK jB

go T[jBK dh y[ZbQh eftsk ftu tos'A BjhA ehsh iKdh. r'b po?eN dh tos'A dh nfijh

jh \{p;{os fw;kb |\o IwkB dh eftsk ‘ui’ u'A g/P j?L

goeko dh ykbh w'oh nzdo

g?B;b xZs'—(gfjb/ xV b")

goeko dh ;{Jh d/ po'po

g?B;b nZr/ eZY'

(BjhA sK dkfJok BjhA tj/rk)

p; j[D mhe J/`

;{Jh ekrI d/ nzdo vkYh u'G d/t'

s/ j[D goeko B{z f;foUA cVe/

r'b Gtk e/

ekrI T[FZs/ dkfJok gkT[.”2

n;hA t/y ;ed/ jK fe fJ; g{oh eftsk ftu eth B/ d' tko po?eN dh tos'A ehsh

j?. d't/A tko jh fNZgDh^B[wk eEBK B{z po?eNK ftu oZfynk j?. ;' eftsk ftu fNZgDh

1H ;[oihs gkso, jB/o/ ftu ;[brdh toDwkbk, b'erhs gqekPB, uzvhrVQ, 2003, gzBk–29H

2H |\o IwkB dh u'DthA eftsk, fsqb'e f;zx nkBzd (;zgkH ns/ nB[H), gzikph :{Bhtof;Nh, gfNnkbk, 1984,

gzBk–68)

237

Page 46: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

iK ftnkfynk dh eJh tko b'V j[zdh j?. i/eo n;hA T[; fNZgDh iK ftnkfynk B{z fpBK

po?eN d/ ekft gqtuB d/ Bkba jh i'V d/JhJ/ sK eftsk d/ ;obhfeqs j'D dk ydPk pD

iKdk j?. ;' fJ; soQK ftPokw fuzBQ po?eN dh y[ZbQh eftsk ’u tos'A ns/ wjZst

r"bD:'r j?.

fJjBK ftPokw fuzBQK s'A fpBK th e[M j'o fuzBQ pkeh jB, go T[jBK dh y[ZbQh

eftsk ftu tos'A BjhA j[zdh. ;' fJj ;gPN j? fe ftPokw fuzBQK dh tos'A wjZstjhD

BjhA. go, ;kB{z d[otos'A s/ do[;s tos'A ftu coe gsk j'Dk ukjhdk j?. sd jh n;hA

nkgDh y[ZbQh eftsk dk w[jKdok tX/o/ ebksfwe pDk ;eKr/.

3H y[ZbQh eftsk d/ }?o^doPBh sZs

}?o^doPBh gZXo ’s/ y[ZbQh eftsk th T[t/A jh eftsk j'D dh nfXekoh j[zdh j?

fit/A fe;/ j'o gqeko dh eftsk. e'Jh th ;kfjse feos sd jh ;kfjse feos nytkT[D

dh nfXekoh j[zdh j?, i/eo T[j ;kfjse j'D d/ xZN' xZN wkgdzvK dh e;tZNh ’s/ yoh

T[sodh j't/. ;kfjse feos d/ doPBh sZs ;w{os j'D ekoB tX/o/ ;gPN gqGkt tkbaa/ j[zd/

jBl id'A fe }?o^doPBh sZs nw{os j'D eoe/ n;gPN \k;/ tkbaa/ j[zd/ jB. fJ; bJh

y[ZbQh eftsk d/ }?o^doPBh sZsK pko/ ;kg/ye ;ztkd jh oukfJnk ik ;edk j?. fBog/y

iK nzfsw XkoBk ;Ekfgs eoBh nkgk^fto'Xh ekoi j't/rk. y[ZbQh eftsk bJh th j'o

;kfjse f;oiBktK tKr eth dh ebgBk Pesh, nB[Gt, ekfte b?n nfjw }?o^doPBh

sZs jB. fJj sZs ns/ doPBh sZsK Bkb fwbaa e/ jh eftsk dh f;oiBk eod/ jB.

(T) ebgBk

ebgBk B{z nzro/Ih ftu Imagination fejk iKdk j?. eB;kJhI n"e;c'ov fJzrfbP

fvePBoh ftu fJ; dhnK ftnkfynktK ehshnK rJhnK jBL—

(1) The faculty or action of forming ideas or mental images.

(2) The ability of the mind to be creative or resourceful.

gfjbh ftnkfynk ftu ebgBk B{z ftuko ;zrqfjD eoB tkbaaak sZs wzfBnk frnk

238

Page 47: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

j? ns/ d{ih ftnkfynk ftu wB dh f;oiBkswe :'rsk dk nkXko wzfBnk frnk j?. fJ;

fbjkI Bkba ebgBk dk ftukoK d/ ;zfrqjD eoB ns/ ftukoK B{z f;oiBkswesk dk doik

d/D ftu Gog{o :'rdkB j[zdk j?.

w?ef;w r'oeh ebgBk B{z d[BhnK pko/ fpzpK d/ o{g ftu ;'u/ ikD tkbaaak eow wzBdk

j?. T[j frnkB s/ ebgBk B{z wB[Zy bJh d' tZvhnK T[;ko{ PeshnK ti'A wkBsk fdzdk j?.

“nkgDh j'Ad ekfJw oZyD d/ ;zrokw ftu pzd/ ftu w"i{d nkgk oZfynk dh o[uh

B/ T[;B{z d' pbtkB T[;ko{ PeshnK gqdkB ehshnK jB—frnkB s/ ebgBk. frnkB,

fijVk fe p'X ftGkr dh jh fJe bVh j?, dk Gkt e[dosh nwbK ns/ ;wkfie ihtB

dhnK jehesK B{z t/yDk goyDk ns/ T[BQK dk Nkeok s/ nfXn?B eoBk j?. fJe Ppd ftu

frnkB dk Gkt j? ;'uDk. ebgBk th n;b ftu d[BhnK pko/ ;'uD dk jh fJe eow j?,

go fJZE/ fpzpK d/ o{g ftu ;'funk iKdk j?.”1

pqfjwzv ftu ;[zdosk^eo{gsk, em'osk^e'wbsk, ;fjisk^n;fjisk, soshphnK^

p/soshphnK ;G e[M nkg' nkgDh \;bs ;fjs ftdwkB j?. wB[Zy dh ebgBk Pesh

fJjBK i[IK B{z ;fGnkukoe, ;wkfie, G{r'fbe nkfd g?AsfVnK s'A noE ns/ doik fdzdh

j?. fJjBK noEK ns/ dofinK ekoB jh P?nK d/ uzr/ wzd/ j'D pko/ rZb s[odh j?.

ebgBkPhb jo e'Jh j[zdk j?l go ebkeko ns/ ;XkoB pzd/ (Io{oh BjhA fe ebkeko

n;XkoB j't/) dh ebgBkPhbsk ftu nzso j[zdk j?. fJe b/ye fJe ebkeko j[zdk j?,

go jo b/ye ebkeko j't/, fJj Io{oh BjhA. fJZE/ ftbhnw i/H b"Ar (William J. Long)

dk fJj efjDk fe “;kv/ e'ba b/ye pj[s B/, go ebkeko xZN B/” do[;s ikgdk j?.

"...in literature, which is the art that express life in words that appeal to our own sense

of the beautiful, we have many writers, but few artists.2

fe;/ ftnesh d/ ebkeko j'D, f;oiBkswe j'D iK Bk j'D dk w;bk T[;dh

1H w?ef;w r'oeh, ihtB s/ ;kfjs, r[bIko ;zX{ (nB[H), Bt:[Zr, fdZbh, 2011, gzBk 43H

2H William J. Long, English Literature : Its History and its Significance for the life of the English

Speaking World, Mapla Press, New Delhi, 2012, p. 3.

239

Page 48: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

ebgBk dh shposk d/ doi/ ’s/ fBoGo eodk j?. n;hA Ppd tosd/ jK ;zt/dBk.

;zt/dBk s'A Gkt ;zOt/dBk noEks ;t?Ot/dBk. fJ; dk y[ZbQk Gkt fJj pDdk j?, d{finK

dh t/dBk nEtk d{finK d/ dod B{z nkgDk dod iK nkgDh t/dBk wzBDk. ebkeko iK

f;oiBkswe pzd/ d{finK d/ dod B{z d{finK dh t/dBk B{z nkgDk dod nkgDh t/dBk ti'A

nksw;ks eod/ jB. d{;o/ dh ghV B{z, d{;o/ d/ dod B{z nkgDk dod wfj;{; ehs/ fpBK

j'o i' woIh j'fJnk ik ;edk j?, go ebkeko BjhA j'fJnk ik ;edk.

ebgBk fBokg[ok f\nkbh T[;ko BjhA j[zdh. fit/A dh fe;/ dh fdqPNh ns/

fdqPNhe'D j'Dr/, T[t/A dh jh T[;dh ebgBk ns/ ebfgnk j'fJnk ebk wkfXnw j't/rk.

P?nK B{z t/yD^iKuD, s[bBkT[D, w[bKfes eoB tkbaaak eow^gqfseow ;kv/ fdqPNhe'D ns/

fdqPNh dh ;fEsh ;gPN eo fdzdk j?. jo ;fGnkukoe f;oiBk dh f;oiBekoh ftu

gqEw gqsZyD j[zdk j?. gqsZyD s'A jh nZr/ gfoebgBk j'Ad ftu nkT[Adh j?. fJZE'A jh nZr/

edw^do^edw f;oiBekoh dk gqtkj rshtkB j[zdk j?. s[bBkswe, skofee, ;kt/

BIohJ/ s'A ebgBk sZe g[Zih P?n fBPfus jh tv/o/ noEK B{z ;keko eoB tkbaah

ebk^t;s dk o{g Xkodh j?. i/ T[j tZvh ebk^feos Bk th pD/ xZN' xZN r"bD:'r ebk

feos Io{o j't/rh.

;kfjs Pkpfde ebk wkfXnw j?. wkBth ;fGnsk ’u Pkpfde GkPk ;G s'A

g[\sk ;zuko t;hbk j?. fJj th fIeo:'r j? fe }?o^Pkpfde ebktK, fdqP ebktK dh

ftnkfynk th PpdK B{z Iohnk pDkT[Adh j?. fJ; bJh PpdK ftu ebgBk, PpdK ftu

nfGftnesh ;kfjs d/ fjZ;/ nkJh j?. ebgBk dk \k;k jw/PK ;zGktBk (Possibility) tkbaaak

j[zdk j?. fJ; d/ c'e; ’u tkgoB:'r j[zdk j?. ebgBk ’u fJ; rZb dk dkntk BjhA j[zdk

fe fJj fJzM jh j?, ;r'A fJj rZb nkXko pDdh j? fe fJj fJ; soQK j' ;edk j?. j'D

ns/ j' ;eD ’u tZvk nzso j[zdk j?. j'D dh ;hwk j[zdh j?, fBPfus tes j[zdk j? ns/

fBPfus ;g/; j[zdh j?. j' ;eD dk ;zpzX nBzs Bkba j[zdk j?. ebk iK ;kfjs fJe \k;

;w/A Bkba ;zpzfXs j[zfdnK j'fJnK th ;w/A Bkba ;kg/ye ;zpzX ftu j[zd/ jB. BkoEo"g

240

Page 49: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

cokJh, “ebgBk irs ftu ekbgfBe ;zGtsk B{z wkBsk fdzdk j?. T[; w[skpe i/eo

;Zuw[Zu e[M tkgodk j? sK T[j ebgBk irs ’u'A ekoi irs ’u ubk iKdk j?.

"It's (imagination) the power of constructing possible models of human experience. In

the world of the imagination, anything goes that's imaginatively possible, but nothing really happens.

If it did happen, it would move out of the world of imagination into the world of action."1

fi; doi/ dh ebgBk dh b'V j'o fe;/ th ekft^o{g iK o{gkeko B{z g?Adh j?, T[;/

doi/ dh ebgBkPhbsk dh b'V y[ZbQh eftsk dh f;oiBkswesk bJh th g?Adh j?. fJZE/

fJj fIeo:'r j? fe ekft dhnK ;kohnK p[fBnkdh y;bsK iK sZs y[ZbQ/ ekft o{gK bJh

th UB/ jh nfBtkoh j[zd/ jB, fizB/ fe j'o fe;/ fBPfus o{gkekoe g?NoBK tkbaa/ ekft o{g

bJh nfBtkoh j[zd/ jB. ebgBk Bk SzdpZX j[zdh j? ns/ Bk y[ZbQ/ o{g tkbaah j[zdh j? iK fJj

fe ebgBk o{gjhD j[zdh j?. ebgBk id'A o{gKsfos j' e/, j'o ;fjukoh sZsK Bkba fwbaa

e/ ekft ftu Ybadh j?, T[d'A fJ; B{z g{ot^;zebgBktK nXkfos fe;/ \k; ftXh, o{gkeko

Bkba ;zpzfXs eo fdZsk iKdk j?. ebgBk pko/ \k; rZb fJj j? fe fJj pj[s tZvh T[;ko{

Pesh j?, fijVh fe ;koEe s"o ’s/ wB[Zy d/ fjZ;/ jh nkJh j?. ;kB{z fJj u/s/ ofjDk

ukjhdk j? fe jo T[;oh j'Jh ebk tzBrh dhnK BhjK ’u ebgBk jh j[zdh j?. skofee

ftjkfoe ftPb/PDK nXkfos ftfrnkfBe bZGsK th P[o{nksh d"o ftu gfoebgBk

(Hypothesis) jh j[zdhnK jB. ;fGnsk dh T[;koh ebgBk d/ doi/ B{z ;gPN eo fdzdh

j?. ebgBk eoBh f;ykJh BjhA iKdh, fJj pzd/ d/ fjZ;/ nkfJnk eoskoh r[D j?.

ebgBkPhbsk Bkba brksko ;KM oZyD tkfbnK dh ebgBk ’u shposk dk doik tXD

d/ nk;ko j[zd/ jB. T[AM ebgBk th T[j jh T[Zuh iK tZvh eo ;edk j?, fi; dh P?nK

B{z d/yD tkbaah fdqPNh T[Zuh s/ rzGho j't/rh.

(n) nB[Gt

nB[Gt jo fJe dk nkgDk^nkgDk ns/ nkgDh soQK dk j'D eoe/ tzB^;[tzBsk d/

1H Northrop Frye, The Educated Imagination, Indian University Press, Bloomington, 1964, p.9.

241

Page 50: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

\k;/ tkbaaak j[zdk j?. T[j nB[Gt i' ebk wkfXnwK ftu Yba e/ ebk gq/whnK B{z nkgDk

bZr/, nkgD/ B/V/ dk ikg/, T[j gqwkfDe nB[Gt ejkT[D dk jZe jk;b eo b?Adk j?.

gqwkfDesk nkgD/ nkg ’u r[zMbdko p[Mkos j?. ebk y/soK dh gqwkfDesk ebkekoK ns/

ebk gq/whnK B{z ;fji Gkn jh gsk j[zdh j?. ebk dh gqwkfDesk wkBth u/sBk B{z ft;skoB

d/ tZv/ wzstK Bkba jh j' ;edh j?.

The Blackwell Dictionary of Western Philosophy ftu nB[Gt (experience) d/ doI

fJzdokI ftu i' n;hA nkgDhnK fJzdohnK d[nkok rqfjD eod/ jK, i' n;hA d{;fonK Bkba

okps/ s'A f;Zyd/ jK iK i' pkjoh ;q'sK ns/ ;kvh nzsoht dh vkfJb?efNe; ’u'A g?dk j[zdk

j?, B{z nB[Gt fejk frnk j?.

That which contrasts to what is merely thought or to what is accepted on the basis of

authority or tradition. In philosophy, experience is generally what we perceive by the senses

(sensory experience) what we learn from others, or whatever comes from external sources or

from inner reflection. In this sense, experience is associated with observation and experiment...

In philosophy the relation between experience as a state of consciousness and independent

objects of experience becomes a focus debate.”1

ftef;s u/sBk tkbaaak jo ;wkfie gqkDh nB[Gt eodk j?. tzB^;[tzBhnK ihtB

;orowhnK s'A T[j nkgDh ;koh fIzdrh nB[Gt eodk ofjzdk j?. fit/A^fit/A ihtB dhnK

;orowhnK tXdhnK jB, nEtk T[jBK dk x/ok ftPkb j[zdk j?, T[t/A T[t/A nB[Gt th

Bt/A ns/ tZyo/ j[zd/ jB. eJh d|k nDfust/ nB[Gt pzd/ B{z nuzfGs eo fdzd/ jB, T[;

B{z ikgdk j? fe fJT[A fe; soQK j' frnk. jo nB[Gt d' wjZstg{oB gqGktK tkbaaak j[zdk j?

T[j jB— B?r/fNt gqGkt ns/ g"i/fNt gqGkt. i/eo nB[Gth pzdk B?r/fNt, g"i/fNt dh gSkD

eo bt/ ns/ T[; B{z nwb ’u b? nkt/ sK nB[Gt dh ;koEesk ekfJw j[zdh j?. w?ef;w

r'oeh B?r/fNt^g"i/fNt gZyK B{z ihtB d/ ukBD/ s/ jB/o/ gZyK Bkba ;zpzfXs eodk j?.

1H The Blackwell Dictionary of Western Philosophy, Blackwell Publishing, U.S.A, 2004, p. 240.

242

Page 51: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

“ihtB d/ ukBD/ s/ jB/o/ d'jK gZyK dk frnkB pzd/ bJh Io{oh j?. pzd/ dk frnkB

nEkj j'Dk ukjhdk j?. fizBk jh T[; dk nB[Gt fte'fbsok j't/rk UBh jh T[;dh gdth

T[Zuh j't/rh ns/ T[;dh fdqPNh dk y/so th UBk jh u[V/ok j't/rk.”1

jo pzdk fit/A G"fse gZXo ’s/ ;wkB: sZsK dk pfDnk j'D eoe/ th d{;o/ Bkba'A

fGzBsk oZydk j?, T[t/A jh jo pzdk nzsohth ;'uK, ykfjPK, ekwBktK, neKfynktK o[uhnK

d/ gZXo ’s/ th d{;o/ Bkba'A fGzBsk oZydk j?. fJjBK fGzBsktK eoe/ jh ;z;ko ’u

tzB^;[tzBsk ftdwkB j?. gqfeosh y[d th nB/e ozrK tkbaah j?, T[; ’u'A T[gihnK ns/ T[;

Bkba ;zpzfXs f;oiBktK th pj[ ozrhnK pj[tzBhnK jB. ;kvk ;zpzX fJZE/ ;fGnkukoe

f;oiBktK dh Pkpfde ebk tzBrh gzikph y[ZbQh eftsk Bkba j?. fJ; dh f;oiBk feT[Afe

pj[tzB/ nB[GtK Bkba j[zdh j?, fJ; bJh fJ; ftu tzB^;[tzBsk dk j'Dk ;XkoB s/ ;fji

rZb j?. ;kv/ nfXn?B dk ;wZf;nkeko y[ZbQh eftsk dh tzB^;[tzBsk BjhA j?. fJZE/ ;kv/

nfXn?B dk ;wZf;nkeko fJj j? fe jo ebkeko, jo f;oie T[go'es nB[;ko \k;

soQK dhnK o[uhnK, ykfjPK ns/ \k; soQK d/ ;[Gkn tkbaaak j[zdk j?. T[j f;oie id'A sK

nkgDhnK o[uhnK, gfjbsktK ns/ ;[Gkn d/ nB[e{b f;oiBktK eodk j?, T[d'A T[;dh

f;oiBk T[; \k; tzBrh ftu skes tkbaaah ns/ fJe;[o j[zdh j?. id'A T[j f;oie

nkgDhnK o[uhnK, ukjsK, gfjbsktK s'A T[bN nkgD/ nkg B{z ;opKrh f;ZX eoB dh

o[uh d/ sfjs eftsk iK ebk f;oiBk eodk j? sK f;oie s/ f;oiBk ftubh b'VhAdh

fJe;[osk s/ fodw Gzr j[zdh j?. jo ebkeko nkgD/ nkg ’u ftP/P j[zdk j?, go T[;dh

ftP/Psk ;kg/ye j[zdh j?. T[;B{z ftP/P ebk tzBrh ’s/ tX/o/ nkp{o jkf;b j[zdk j?, T[j

tzBrh T[;d/ tX/o/ B/V/ j[zdh j?. fJ; bJh e'Jh ebeko nkgD/ nB[e{bs ebk tzBrh B{z

tX/o/ gqgZesk Bkba fBGkn ;edk j?.

fgqz;hgb ;zs f;zx ;/y'A ebkeko dh ;kg/ye ;fEsh B{z dkfJfonK Bkba ;zpzfXs

eod/ jB. T[jBK w[skpe eth iK ;kfjseko dk fJe dkfJok j[zdk j? ns/ T[; dkfJo/ d/

1H w?ef;w r'oeh, ihtB s/ ;kfjs, gzBk 71H

243

Page 52: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

nzsors jh T[j uzrh ouBk eo ;edk j[zdk j?, go id'A T[j nkgD/ dkfJo/ s'A pkjo ik

e/ ouBk eodk j? sK T[;B{z ;|bsk BjhA fwbaadh.

“fJe eth iK ;kfjseko dk dkfJok Xkofwe o[uhnK tkbaa/ b'eK dk j't/rk, d{i/ dk

n;o pj[sk B"itkBK T[s/ j? feT[Afe T[; ftu fe;/ fJPe d/ nB[Gt dk uwseko j?. shik

fJe fJBebkph j? s/ T[; dk dkfJok gfjb/ d' s'A tZyok j?. fco fJjBK dkfJfonK ftu

S'N/ dkfJo/ j'Dr/. ;{|h, ojZ;tkdh, ;[Xkoe o[uhnK d/ dkfJo/, T[uhnK wZX s/ BhthnK

Pq/DhnK d/ dkfJo/ nkfd.

go fJ; d[gZysk dk ;kfjs iK eftsk d/ wep{b j'D T[s/ pj[s G?Vk n;o BjhA

g?Adk, ;r'A pj[s tkoh fJj fe;/ ;wki d/ pj[ozrh j'D dk ekoD j[zdh j?, s/ T[; ;kfjs s/

;wki d/ nwho j'D dh ;{ue. jK, fi; ;w/A i' dkfJok ;wki ftu gqXkB j[zdk j?, T[;

;w/A T[;d/ ;kfjseko iK eth dh gqXkBsk ekfJw j[zdh j?.

tX/o/ coe T[; jkbs ftu g?Adk j?, id e'Jh eth T[; dkfJo/ tkbaah eftsk fby/

fi; bJh :'r nB[Gt dk T[; ftu nGkt j't/. eJh tkoh fe;/ xZN pbtkB iK xZN

n;o tkbaa/ dkfJo/ dk eth tX/o/ n;o tkbaa/ dkfJo/ bJh, fJe g[oksB ftukoK tkbaa/ dkfJo/

dk eth BthA T[wo d/ gkmeK bJh, Xkofwe eth fJBebkph b'eK bJh iK wZX Pq/Dh

ftukoK s/ GktK tkbaaak eth wId{o fe;kBK bJh fbyD dk P"e eodk j?. go nB[Gt dh

ewh d/ ekoD T[;dh BthA soI dh eftsk T[; Bt/A dkfJo/ B{z g;zd BjhA nkT[Adh. T[BQK

B{z T[j fcZeh fijh, p/o; fijh ikgdh j?. nfijh jkbs ftu T[j eth fSZEk g? e/ fJj

frbk eodk j? fe b'eK nkgDhnK i[zvhnK pDkJhnK j'JhnK jB s/ T[; i[zvh ftu fe;/

Bt/A nkdwh B{z o;kJh jkf;b BjhA.”1

fJj mhe j? fe ;wekbh ;kfjse jbfenK dh r[ZNpzdh ’u pj[sh tko uj/fsnK

}?o^uj/fsnK dk g{ok^g{ok f\nkb oZfynk iKdk j?. eJh d|k T[jBK dh n"eks s'A tZX

uouk s'A b? e/ T[Zu/ fJBkwK^;BwkBK sZe ehshnK ikD tkbaahnK i[rspzdhnK ;kfjse

1H fgqzH ;zs f;zx ;/y'A, ;kfjsnkoE, gzB/ 17^18H

244

Page 53: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

fwnkoK B{z wkBsk d/D dh pikfJ fBZih w[|kdK dh tbrD sZe wfjd{d j' iKdhnK jB.

r[Dtsk dh pikfJ eJh tko d' Bzpoh gfjb{ Gko{ j' iKd/ jB. fJj ;wekbh ;fwnK dk

fJe ;Zu j?, ;Zu fJj th j? fe fwnkoh fbysK, fwnkoh b/ye Gkt/A E'VQ/ ;w/A bJh

BIo^nzdkI j' ikD, go T[jBK dh nkgDh r[Dtsk eoe/ T[u/oh ;g/; pD jh iKdh j?.

T[jBK dh EK ed/ BjhA y[Z;dh. uzrh fbys fpBK XV/pzdh s'A th nkgDk f;Zek ubk b?Adh

j?. i/eo fbysK fBo'b XV/pzdhnK d/ nk;o/ jh uZbdhnK j[zdhnK sK fJ; d[BhnK B{z

nbftdk efj rJ/ b/yeK fiBQK dk j[D e'Jh XVk BjhA, \sw j' rJhnk j[zdhnK. fw;kb

ti'A nkX[fBe PkfJoK gkP ns/ fPt e[wko tor/ ethnK dk ekft T[BQK dh }?o^w"I{drh

’u th wjZstjhD BjhA j'fJnk. ;' uzr/ nB[Gth ethnK d[nkok ouh ik ojh y[ZbQh eftsk

nkgDh r[Dtsk eoe/ nZi th wjZstg{oB j? ns/ nZr'A th wjZstjhD BjhA j't/rh. fJ;

bJh b'V j? nkgD/ nB[Gt B{z tX/o/ gqgZe pDkT[D dh ns/ ekbgfBe nB[Gt B{z fJsBh

shposk Bkba wfj;{; eoB ns/ nfGftnes eoB dh fe ekbgfBe nB[Gt B{z f;yobh

shposk Bkb wfj;{;D s/ gqrNkT[D dh.

fgqz;hgb ;zs f;zx ;/y'A nB[;ko, “nB[Gt d/ u/sB j'D dk eftsk iK j'o ebk ftu

fJe gqwkD fJ; rZb'A th fwbadk j? fe fJj nB[Gt tX/o/ eoe/ ekgbfBe j[zdk j?. fJj

mhe j? fe ihtB ftu pE/ok nB[Gt ;[Gkte jh gqkgs j[zdk j?. eJhnK dk fJj nksw

nB[Gt pj[s v{zxk iK ftPkb j[zdk j?. go fe;/ th eth iK ebkeko dk nksw nB[Gt

T[;dh eftsk iK ebk bJh ek|h BjhA j' ;edk. nfijk eth fJe nZX bzwh eftsk iK

E'VQhnK t?fDe eftsK (eftsktK) nkgphsh d/ nkXko g[o fby ;edk, go fJjBK

(eftsktK) dk ;wkfie w[Zb pj[s E'VQk s/ fJjBK dh ubzs pj[s ;"Vh j't/rh. fe;/ iht

dh nkg phsh th nkgD/ ftubh f;Zfynk iK wB'josk s'A tX/o/ noE xZN jh do;k ;edh

j?. fJ; bJh eth iK ebkeko d/ nB[Gt dk ekbgfBe j'Dk pj[s Io{oh j?.”1

fit/A fe n;hA ebgBk pko/ gfjbK th fIeo eo u[Ze/ jK fe ebgBk ebeko dh

1H fgqzH ;zs f;zx ;/y'A, ;kfjsnkoE, gzBk 64H

245

Page 54: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

f;oiBk bJh ebkeko dk fdqPNhw{be p[fBnkdh nkXko j[zdh j?. ebgBk edkfus th

wfjI f\nkbh T[vkD jh BjhA j[zdh, ;r'A fJj T[j ghvh rzY j[zdh j? fi; ftu d{i?b/ nB[Gt

nkgDh d{i?bsk rtk b?Ad/ jB ns/ gqEwsk jkf;b eod/ jB. i/ d{i?b/ nB[Gt gqEwsk

jkf;b Bk eod/ j[zd/ sK fposKsekoK, eEkekoK d[nkok f;oi/ d[yKs gVQ, ;[D, t/y e/ fe;/

dhnK nZyK ed/ Bw Bk j[zdhnK. ;' ebkeko e'ba nB[Gt ekbgfBe j'Dk th Io{oh j? ns/

gqgZe j'Dk th Io{oh j?.

ebkeko dh ebk B/ d{finK ’u gqtkB uVQBk j[zdk j?. d{i/ T[;dh ebk B{z gqtkB feT[A

eoB< fJj nfjw w[Zdk j?. d{i/ T[;dh ebk B{z sd jh gqtkB eoBr/, w[Zb gkT[Dr/

i/eo T[j nkgDh ebk ftu T[jBK dh rZb eo/rk, T[jBK dh t/dBk nfGftnes eo/rk.

“e"D ikD/ ghV gokJh” ihtB dh fJe ;op^gqtkB ;ZukJh j?. go eth s/ ebkeko dk

fJe tZvk ezw fJ; gokJh ghV B{z ikBDk j?. fijVk ebkeko iK eth nkgDh ghV ftu

jh yfus j?, T[j pj[s fuo nkgDh ebk iK eftsk okjhA gkmeK B{z ;zs[PN BjhA oZy

;edk. pj[s S/sh T[;dh feos s'A gkme nZe ikDr/.”1 ;kfjs dh j'Ad ftXh d/ p[fBnkdh

nkXkoK d/ gZy s'A ;/y'A ;kfjp dh fJ; XkoBk dh gq;zfresk pDdh j?. eth iK ebkeko

dhnK feosK ftu gq;s[s nB[Gt ;ko/ d/ ;ko/ T[; d/ fBZih j'D fJj Io{oh th BjhA ns/

;zGt th BjhA. eth iK ebeko d/ T[;dh feos ftu fijV/ nB[Gt nkgD/ BjhA j[zd/,

T[jBK B{z T[; B/ ekbgfBe nB[Gt okjhA nkgD/ nB[Gt pDkT[Dk j[zdk j?. fBZih nB[GtK

Bkba }?o^fBZih nB[Gt ob e/ jh g{ot^;zebfgs ebk feos B{z w[ezwb eod/ jB. fJZE/

fJj th toDB:'r j? fe ;w{os fdqPK, ;EkB, fJfsjkf;e gksoK, skoh\K nkfd pko/

fBZih ns/ gqgZe fe;w d/ nB[Gt dh b'V j[zdh j?. fJe fposKseko B{z nkgD/ nfij/

fposKse gqtuB B{z w[ezwb eoB bJh fdqPK, ;EkBK, xNBktK gksoK nkfde dh ;fEsh

B{z ;wMD, nksw;ks eoB ns/ nkgD/ nB[Gt dk fjZ;k pDkT[D bJh p/jZd

;[u/s w[PZes eoBh g?Adh j?. nfij/ nB[Gt edkfus th e'oh ebgBk d/ ;jko/ gqgZesk

1H fgqzH ;zs f;zx ;/y'A, ;kfjsnkoE, gzBk 65H

246

Page 55: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

rqfjD BjhA eod/. fJjBK dh gqgZesk bJh ftt/ePhb ebgBk dk ;jkok pj[s Io{oh j[zdk

j?. eth iK ebkeko dh P?nK B{z d/ye/ s/ nksw;ks eoe/ nkgD/ nB[Gt ftu YkbD dh

gqfefonk jh T[; d/ f;oie j'D dh IkwB pDdh j?. d{finK d/ nzdo T[soB bJh

ebkeko e'ba d{finK B{z ;e?B eoB tkbaah nZy ns/ ;{M (sense) dk j'Dk nfsnzs Io{oh

j[zdk j?.

“eth iK ebkeko ftu Pesh j'Dh ukjhdh j? fe T[j d{i/ ftneshnK d/ ihtB

dk ebgBk okjhA Gkrh pD ;e/ s/ i' T[; Bkba phs ojh j? iK phsh j? T[; B{z ebgBk ftu

nkgD/ T[go tos ;e/. fJj ekbgfBe Pesh ;z;feqsh, ftdtsk, fJfsjk; s/ doPB

tZb shpo o[uh s/ ;wkfie ekoi Bkba ihAdh ikrdh n;bh jwdodh s'A jh gqkgs j'

;edh j?. fi; eth ftu fJjBK r[DK ftu'A fe;/ r[D dk gqrN nGkt j't/rk, T[; eth dh

ekbgfBe nB[Gt dh Pesh T[; jZd sZe ;hfws j't/rh.”1

w[ZbtkB, ebksfwe, ;[jiksfwe fwnkoK d/ w[Zb wjZst B{z ekfJw oZyD tkbaah

f;oiBk d/ nB[Gt ukj/ T[j fBZih nB[Gt j'D, ukj/ T[j ekbgfBe nB[Gt j'D jw/Pk

gqgZe ns/ I[zw/tkokBk j'Dr/. nfij/ nB[GtK d/ fgZS/ eth iK ebkeko B/ nkgD/ nzsohth

T[wkj, T[sPkj, brB ns/ g"i/fNt T{oik B{z yofunk ns/ bj{ pkfbank j[zdk j?. fi;

eoe/ T[; dk nfBZih nB[Gt th fBZih tKr jh nfGftnesh b?Adk j? T[j fes/ th w;B{Jh

iK pBktNh BjhA bZrdk.

(J) y[ZbQh eftsk ftu b?n (Rhythm)

e[dosh f;oiBktK ns/ e[dos tkfJnk wB[Zyh f;oiBktK ;G fJe nB{mh b?n

ftu jh rshtkB jB. pqfjwzv ftu ftdwkB joes eoB tkbaah jo P?n \k; b?n eoe/

jh joes ’u ofjzdh j?. wB[Zy dk ;oho \k; B/w^pZX b?n gqfefonk d/ nzsors jh

T{ois ns/ joes:'r ofjzdk j?. b'VhAdh b?npZXsk ’u id'A ewh nkT[Adh j? sK ;ohoe

YKuk o'r^rq;s j'fJnk ;wfMnk iKdk j? iK pzdk ;fji wfj;{; BjhA eodk. y{B dk

1H fgqzH ;zs f;zx ;/y'A, ;kfjsnkoE, gzBk 64H

247

Page 56: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

dpkn, ;kj gqfefonk nkfd ;G \k; fodwesk ftu jh ekoios ofjzd/ jB. mhe fJ;/

soQK Pkpfde ;z;ko nkgDh fBnkoh ihtzs j'Ad oZydk j?. fJ; d/ nkgD/ fodwe B/w j[zd/

jB fiBQK eoe/ e'Jh feos \k; wjZst bJh ikDh ikD bZrdh j?. ftnkeofBe B/wK

nXkfos tkose fbysK dh nkgDh fBPfus fodwe soshp j[zdh j?. ekft ebk Bkba

;zpzfXs fbysK nkgDh^nkgDh soQK d/ b?n^g?NoBK B{z nzrheko eodhnK jB. fit/A Szd

s[eKs B{z ngBkT[D tkbaa/ ekft^o{gkekoK dh ;[fBPfus frDkswe fodw j[zdh j?. gzikph

ftu fJj frDkswesk nkw jkbsK ftu nZyoK iK wksoktK nXkfos j[zdh j?. nzro/Ih

ftu T[ukoyzvK dh frDsh ns/ dpkT[ nXkfos b?n g?NoBK B{z ngDkfJnk iKdk j?. fJj

;gPN eoBk bkIwh j? fe ;w[Zu/ ftPt ftu e/tb frDkswe b?n nXkfos ekft jh BjhA

ofunk iKdk. }?o^frDkswe nEtk r[Dkswe b?n nXkfos ebksfwe ekft ofunk

frnk th tZv/ gZXo ’s/ fwbadk j?.

fbys :[r s'A gfjbK nEtk w"fyesk d/ :[r ftu gqtuB Gkt/A T[j ;kfjse j't/

iK }?o^;kfjse j't/, B{z :kd oZyD bJh PpdK B{z \k; b?nw{be, ekfte soshp ftu

ftUAs fbnk iKdk ;h sK i' fJj gqtuB ghVQh^do^ghVQh w"fye gZXo ’s/ ;"fynK gq;kfos

j[zd/ ofjD. fJZE/ ;kfjse }?o^;kfjse Pkpfde ouBktK dh ftUAspzdh ftu Szd dk

d\b j[zdk j?. ;w/A dh BIkes ns/ c"oh b'V ;wK gk e/ o{VQh dk o{g XkoB eo rJh. ek|h

bzwK no;k Szd^s[eKs d/ nzsors j'JhnK ouBktK gVQB^;[DB tkbaa/ Szd^s[eKs B{z jh

ekft dk fJe' fJe nkXko EkgD bZr/ ns/ ekft ftu b?n T[gikT[D dk fJe' fJe t;hbk

th Szd^s[eKs B{z jh wzBD bZr/. nfijk j'Dk ;[Gkfte jh ;h feT[Afe bzw/ ekb yzv ftu

T[j Szd nXkfos gqtuBK B{z Xkofwe ns/ j'o tZy^tZy gZXoK ’s/ ;[DB^gVQB d/ nkdh

j' u[Ze/ ;B. ;kB{z fJj u/s/ ofjDk ukjhdk j? fe Szd ftu e/tb eftsk jh BjhA ouh rJh,

;r'A e'P, nk:[ot?d s/ j'o ftfPnK d/ rqzE th SzdK ftu jh ou/ iKd/ ;B. fJ; s'A ;kps

j[zdk j? fe Szd dh tos'A e/tb ekft ftu fodw g?dk eoB bJh jh BjhA ehsh rJh, ;r'A

jo soQK dhnK fbysK B{z Szd ns/ s[eKs ftu ftUAspZX ehsk iKdk ;h. w"fyesk d/

248

Page 57: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

;w/A ftu th s/ P[o{ P[o{ d/ fbysh d"o ftu th.

y[ZbQh eftsk dh \;bs jh fJj j? fe fJ;B/ e'Jh th ;fEo (static), fBPfus

frDkswe ;zouBkswe g?NoB rqfjD BjhA eoBk j[zdk. jK fJj do[;s j? fe y[ZbQh eftsk

}?o^fBozsoh Szd ns/ s[eKse g?NoBK (Irregular Metre and Rhyme Patterns) B{z nzrheko

eo ;edh j?, pkPos/ fe T[j fJ;dh wIp{oh Bk j'D. fJ; soQK y[ZbQh eftsk dh fodw

frDshw{be j'D dh pikfJ r[Dkswe fodw d/ x/o/ ftu ubh iKdh j?. frDkswesk tKr{z

r[Dkswesk dk e'Jh gZek^ghvk B/w gqpzX BjhA j[zdk. r[Dkswe fodw PpdK dh nKsfoe

;fEsh s/ ;o{g ’s/ tX/o/ e/Adfos j[zdh j?. fJZE/ fJj fIeo:'r j? fe i/eo y[ZbQh eftsk

ftu PpdK dh frDsh^fwDsh dk e'Jh b/yk^i'yk BjhA j[zdk sK fJ;dk fJj wsbp th BjhA

fe y[ZbQh eftsk ftu p/ f;o g?o Pkpfde gqrNktk iK wB^woIh dh Pkpfde ftUAspzdh

jh eftsk j' ikt/rh. fJj ;gPN j? fe ekfte gqrNkt/ Bkba ;zpzfXs PpdK B/ fJe \k;

soshp (Order) ftu jh ekfte gqGkt f;oiBk j[zdk j?. i/eo eth T[; soshp s'A T[bN

wBwoIh dh Pkpfde ftUAspzdh ns/ ;sopzdh eodk j?, sd T[; dh ouBk xZN' xZN

eftsk ejkT[D d/ :'r sK BjhA j't/rh, j'o i' woIh j't/.

;kfjs fJe Pkpfde ebk j? ns/ ;kfjseko PpdK dk ebkeko. ;kfjseko dh

ebkekoh jh PpdK d/ ebkswe gqrNkt/ Bkba ;zpzfXs j[zdh j?. eftsk ftu ftuko th

wjZstg{oB j[zd/ jB, go ftukoK dk gqrNkT[ Yzr fJ; s'A th tX/o/ wjZstg{oB j[zdk j?.

eftsk tkbaaa/ T[jh ftuko fe;/ n\pko dh \po iK ;kXkoB tkeK okjhA th gVQ/ iK ;[D/ ik

;ed/ jB. go id'A eth T[BQK ;XkoB \poh ftukoK iK nkw tkeK ftu fpnkB ehs/ ik

;eD tkbaa/ ftukoK B{z ekfte PpdK dh gkj bkT[Adk j?, sd T[j ftuko T[u/o/ T[Zdks ;o{g

ftu, tZX gqGkth s/ ebkswe ;[ji w[Zb d/ XkoBh j' iKd/ jB. T[jh ftuko n\pkoh

\po j' ;ed/ jB, T[jh ftuko ;kXkoB p'b ukb ’u gqrNkJ/ ik ;ed/ jB ns/ T[jh

ftuko eftsk ftu j' ;ed/ jBl |oe f;o| ekft ftXh dk j?, Pkpfde soshp d/

ekfte j'D Bk j'D dk j?.

249

Page 58: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

Gkosh ekft^Pk;so ftu Ppd d/ ftnziBkw{be ns/ owDhesk Gog{o gqrNkt/

B{z ekft s;Zto ehsk frnk j?. gZSwh ekft Pk;so ftu fJjBK d/ ;wkBnoEh Ppd

'Ambiguous' nEtk ‘pj[ noEh’ B{z ekft gqrNkt/ dk nfjw r[D wzfBnk iKdk j?.

pj[noEsk dk ;zebg nkgD/ nkg ’u fttkdwJh j?. feT[Afe pj[ noEsk iK d' noEsk

B{z n;hA ekft dk nfjw r[D ;theko eod/ jK sd pj[s ;kok ekft iK ;kfjs d' noEh

iK pj[noEh j[zfdnK th fBwB doi/ dk ekft iK ;kfjs j[zdk j?. fw;kb ti'A gkg{bo rhs

t/y/ ik ;ed/ jB i' ;G s'A tXhe d' noEh j[zd/ jB go fJjBK B{z n;hA fwnkoh ekft iK

;kfjs ftu P[wko BjhA eo ;ed/. fJ; G[b/ykekoh, GqKshw{be ;fEsh s'A puD bJh ;kB{z

pj[noEsk B{z B?r/fNt pj[noEsk ns/ g"i/fNt pj[noEsk d' Pq/DhnK ftu torhfeqs eo

b?Dk ukjhdk j?. fJ; Bkba T[Zsw ekft ns/ fBwB ekft dk w;bk jZb j' ;edk j?.

gkg{bo rhsK dh d' noEsk iK B?r/fNt pj[noEsk dk wsbp f;o| s/ f;o| jbek

wB'oziB eoBk j[zdk j?. id'A fe g"i/fNt pj[noEsk iK ekfte pj[noEsk ekft^;[ji d/

wkBth u/sBk B{z ft;skoB tkbaa/ tZv/ wB'oE Bkba ;zpzfXs j[zdh j?. ;' gzikph y[ZbQh eftsk

bJh g"i/fNt pj[noEh Pkpfde P/vi nEtk ftnziBkw{be owDhe noE T[gikT[D tkbaa/

PpdK dh tos'Aekoh wknB/y/I j[zdh j?. Szd^pZX eftsk ftu fJj tos'Aekoh fBPfus Szd

B/wK d/ nzsors fodwesk g?dk eodh j?. y[ZbQh eftsk ftu fJj tos'Aekoh PpdK dh

nKsfoe ;'Mh ns/ fJe;[osk Bkba fodw T[gikT[Adh j?. pfjo{Bh fodwesk B{z wkgD d/

;kv/ e'ba ;?AeV/ frDkswe g?wkB/ jB id'A fe nKsfoe fodw B{z nB[Gt d/ gZXo ’s/ ns/

gqufbs ekft^ohshnK Bkba skbw/b d/ nkXko ’s/ jh gofynk iKdk j?. fJe Pkpfde

b?n ftu eth, tesk eftsk nfGftnes eodk j?. fJe Pkpfde b?n ftu gkme,

;o'sk eftsk rqfjD eodk j?, id'A fJjBK d'jK, gZXoK s/ b?n ftu eth fJe;[osk pDkT[D

ftu ;cb j' ikt/, sd y[ZbQh eftsk dh nKsfoe b?n dh e'Jh ;wZf;nk BjhA j't/rh.

y[ZbQh eftsk dh fodwesk ’u ;wZf;nk T[; t/ba/ jh nkT[Adh, id'A eth f;o| b/ye iK

tesk j[zdk j?. i/eo eth gkme ns/ ;o's/ tKr Pkpfde GktK B{z wkDB tkbaak gkme ns/

250

Page 59: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

;o'sk th j't/ sd y[ZbQh eftsk d/ fodw ’u Bk j'D pko/ J/B/ fsZy/ ;tkb ed/ Bk T[ZmD.

ekft ftu b?n iK fodwesk fes'A cV e/ BjhA gkT[Dh j[zdh. ;G Ppd

nkgDh^nkgDh noE^;koEesk ns/ fodwesk oZyd/ jB. eth dk ezw j[zdk j? nkgD/

gqge nB[Gt Bkb eftsk ftUAsfdnK PpdK dh fodwe shposk dk T[u/uk f\nkb oZy/

fJ; bJh T[; B{z PpdK dh u'D, fsnkr, soshp, X[Bh ns/ PpdK dh ;{\wsk dk nfj;k;

j'Dk Io{oh j[zdk j?. y[ZbQh eftsk ftu b?n g?dk eoB bJh e'Jh Ppd \k; BjhA j[zdk, e'Jh

Ppd nkw BjhA j[zdk. eth B{z fJ; rZb bJh ;[u/s j'Dk ukjhdk j? fe fJj Io{oh BjhA

fe jo Ppd jh eftsk ftu Pkwb ehsk ikt/ iK eftsk bJh, ekft^GkPk bJh Y[etK

j't/.

fit/A fe fgZS/ th fIeo ehsk frnk j? fe y[ZbQh eftsk ftu b?nksfwe S'jK

frDkswe sZsK^ftXhnK dh pikfJ r[Dkswe sZsK ftXhnK ’s/ fBoGo eodhnK jB.

y[ZbQh eftsk ftu b?n T[gikT[D bJh dpkT[, d[jokT[ ns/ }?o^fBozsoh Szd^s[eKs

nXkfos ftXhnK ;jkJh j[zdhnK jB. n;hA fJjBK ftXhnK pko/ ;zy/g uouk eoKr/.

dpkT[ (Stress)

y[ZbQh eftsk dh ;zouBk fJe s'A tXhe PpdK Bkba j'Ad n\fsnko eodh j?. T[AM

sK ;ko/ PpdK dk nkgDk^nkgDk wjZst j[zdk j?. e[M Ppd e/Adoh wjZst tkbaa/ j[zd/ jB

ns/ e[M Ppd ;jkfJe PpdK ti'A G{fwek fBGkT[Ad/ jB. eftsk dh nKsfoe ;zouBk dh

Io{os nB[;ko eth B/ fiBQK PpdK B{z tX/o/ c'e; ftu fbnkT[Dk j[zdk j?, T[jBK PpdK Bkba

T[j dpkn p'Xe Ppd tos e/ T[jBK B{z \k; wjZst tkbaa/ Ppd pDk fdzdk j?. fJj th

y[ZbQh eftsk dh fJe ekft^i[rs j? s/ fJ; i[rs d/ IohJ/ ekft^T[eshnK \k; gqGkt

tkbaahnK pD iKdhnK jB. dpkT[ dh i[rs dk w{b ezw ekft^;zouBk ’u w"i{d T[u/u/

gqtuBK ’s/ c'e; eoBk j[zdk j?. fJ; c'e;heoB ’u nkT[D tkbaa/ T[u/u/ PpdK dh nkgDh

fodwe ftP/Psk j[zdh j?.

eftsk ftu dpkT[ dh EK fBPfus BjhA j[zdh ns/ Bk jh dpkT[ bJh e'Jh Ppd

251

Page 60: nfXnkfJ uEk gzikph y[ZbQh eftsk dhnK ;zuko i[rsKL doPBh ns ...shodhganga.inflibnet.ac.in/bitstream/10603/33225/10/10_chapter_4.pdf"What is the 'real' poem; where should we look for

fBPfus j[zdk j?. gzikph ftu nkw s"o ’s/ jh, Jh nkfde PpdK B{z T[jBK PpdK d/ w{jo/

bk fbnk iKdk j?, fiBQK Bkba dpkn g?dk eoBk j't/. coK;h;h y'ieko w?E{foB n?wHv"Bv'

dh dpkn pko/ wkBsk th e[M nfijh j?—

“Stress has no fixed position in the phrase, not even a fixed position on a particular

word, but that it various according to the nature of the thought or emotion expressed.”1

fJj do[;s j? fe eftsk ftu dpkT[ fe;/ T[u/u/ s"o ’s/ tos/ rJ/ PpdK Bkba

BjhA g?Adk ;r'A ;kv/ GktK, nB[GtK ns/ ftukoK d/ gqrNkt/ d/ T[jBK dh gqfeosh d/

nB[;koh j'D Bkba g?Adk j?. dpkT[ dk fJj gZXo pVk ;{\w ns/ nzsohth j[zdk j?.

d[jokT[ (Repitition)

eftsk ftu d[jokT[ th fJe nfjw b?nksfwe i[rs j[zdh j?. fJj d[jokT[ e/tb

PpdK dk jh BjhA j[zdk ekft^g?NoBK, i[rsK dk th j' ;edk j?. fJe jh eftsk ’u eJh

tko eth fJe jh g?NoB iK i[rs d/ d[jokT[ Bkba jh ;w[Zuh eftsk f;oi b?Adk j?. eJh

tko pdbt/A g?NoBK ns/ i[rsK B{z th ngDk b?Adk j?. Pkpfde d[jokT[ d/ gZy s'A gzikph

y[ZbQh eftsk ftu eJh tko j[Ze^bkfJB iK e/Adoh wjZst tkbaah ;so B{z jo pzd d/ nzs

’s/ d[jokfJnk iKdk j? ns/ eJh tko nKsfoe gZXo ’s/ e[M PpdK d/ d[jokT[ Bkba \k;

fodw g?dk ehsh iKdh j?. fJj ;gPN j? fe Pkpfde d[jokT[ i/eo p/b'Vk d[jokT[ Bk pD/

sK fJj y[ZbQh eftsk d/ Ehwe c'e;heoB s/ b?nksfwesk ftu fJIk|k eodk j?.

}?o^gq;zfre Pkpfde d[jokT[ f;tkfJ Pkpfde nkvzpo s'A j'o e[M ;kekokswe gqGkt

BjhA gkT[Adk. d[jokT[ dh i[rs bJh e'Jh \k; pZM/ B/w BjhA jB. fJj eth dh nKsfoe

;'Mh ’s/ jh fBoGo eodk j? fe T[j Pkpfde gqrNkt/ B{z fezBh e{ ;{\wsk Bkba

;wMdk$ftUAsdk j?.

1H Mathurin M. Dondo, Verslibre A Logical Development of French Verse, Librarie anciene Honore

Champion, Paris, 1972, p 52.

252


Recommended