Runkni wadi moreo son re champano plant

- Window seat-Udayan Thakkar

Raman Soni has defined Karunaprashasti (Elegy) as 'a poem dealing with the death of a person, depicting his memory and virtues and finally resulting in a comprehensive reflection on death or life'. Nhanalal in his epic poem 'Pithurapan' paying homage to his father Dalpatram says:

It's been twelve years!

Under the veil of death,

You are still in sight

Entries pre-game.

Father! Flowers to the letter

The same spring

There is a nightingale, like that

There are memories, aha!

Ramnarayan Pathak composed the sonnet 'Chellu Darshan' on the death of his wife, the last lines of which are:

Found fire near you!

Tuj pass different points,

Say, Adhik Bhavan Mangal

Isn't that beautiful?

Umashankar Joshi complains in the poem 'Sad Gaat Motabhai':

What should we say to time?

Although missing nine,

Of the five fingers

Fingers crossed.

The five sons of Pandu

The bones of Hemala were strained,

Stay at the end of religion

What happened to you next?

Manilal H Patel has composed a sonnet titled 'Bhitar Maan' - Beloved person parhares wearing panetar. (Sign of farewell.) His kanku bikhere kesudan. (The poet's favorite character appears everywhere.) Kanku's particles fall into the poet's eyes. (Weeping in the night) A person who has gone is a poor person. (Dissolution of the bone ?) Anhydrous seam. (Allegory of the empty eye.) Undeclared, the sonnet pauses, maintaining the majesty of death:

The glow of your eyes

Burning lamp in the house

A still hidden marriage

I inside you

Balmukund Dave has composed an excellent song in memory of his dead son:

Runkni Vadi Moryo

Son Ray Champa Plant:

We did not know Jatan Ji

In Ushar um Bhomka

Shenan re gothe, of whom

Nandanvan Hoy Re Watan Ji?

The test of compassion is that the emotion does not become inflexible. 'The act of concealing and revealing is the work of art.' Imtiaz Dharkar's English poetry collection 'Over the Moon' lives up to this test. This poet was born in Pakistan, lived in India for years, got married

Then settled in Wales. The subject of most of the poems in the collection is the death of a husband. The main character of the poems is tragic. Who died, where, when, under what circumstances, how many years of marriage -

Such information is not given in the poems, the work is done from the inscriptions. Recounting the events with her husband one after another, the poetess does not glorify death but life itself. Sensitivity, restraint, allusion and passion are the poetic hallmarks of Imtiaz.

'Vagadau' should be poetry. The husband told the story of blackberry picked in childhood to the poetess. The poetess sets out to find Blackberry. After the stampede, they find a raspberry at a place called Nanerch. Their sandals are sinking into the mud, the spikes are rustling. Meanwhile, the childish hand of the husband with torn sleeves comes out from the fence and opens his fist to the poetess. Inside is a sweet and sour treasure. The poet eats raspberries, one by one. Her husband's baby, whose womb is still young, echoes in her mouth. (Hint of a kiss.) The poet's 'unbounded motion' (in the language of B.K.Thakor's 'Joo no Pierreghar') in her husband's childhood.

In the poem 'Kosh Bandho Nahi', the train is late. The poet and her husband are sitting on seats 22 and 23 of coach 'B', drinking coffee. The poet reassures,

'Never mind, it's not like you're standing soaking wet on the platform, and I'm at home wondering where to find you?'

(Now knowing that the husband is no longer alive, the devotee can see the irony of this saying.) The poet continues, 'Time has stopped for us. My hand feels the warmth of your hand. We are running out of time. We admire time as if it were an artefact. It doesn't matter, even if the train is late. '

(Both tourists know they don't have a leisurely time, enjoying the breeze.

In 'Pachhi' the reaction of the husband is described.

'We have done everything the way you like it. Your brother brought you a pair of shoes from a distant village. The wedding suit you wore. Someone cut the hair. Homages were paid, bells were rung, prayers were sung, your funny stories were told. Then everyone went home. After finishing the work of dying, you also came back, we are home.' Death is a part of life like any other activity. The husband, after his death, is to remain in the life of the poetess. Since the husband is mentioned in the poems not in the third person (he), but in the second person (you), the closeness of the relationship and the liveliness of the deceased are shown.

'Ghar Zurapo, Old Mumbai' is the subject of the now defunct 'Naz Cafe', built on a hill in Mumbai's Hanging Gardens. A portion of it is required.

'I take you to Naaz Cafe / If it's not closed.../ On the sticky circles of tea cups on the table, in Naaz Cafe / Hand in hand we stand / Knee to knee / In applause, the stock market, Taj Mahal Hotel, Sassoon Dock, Gateway / We sip drinks, at Naz Cafe / You steal kisses from me / We sit at Naz Cafe / Until the day slips off the map and sinks into the Arabian Sea, until / I take you to Bombay / If its name had not slipped into the sea, / I'll take you to a place called Bombay / If it's there, if you're here / I'll take you to Naz Cafe' The hinge-like stanza of the poem (on which the whole poem turns) comes almost at the end - 'If you If you were here.' Poet lost everything-

Went to Bombay, went to Naz Cafe, husband also went. This is a poem of desire created to remain unfulfilled. Not a kiss, not a drop, not a tear. Imtiaz has a knack for turning grief into compassion.

Bhavabhuti has said, 'Eko rasa: karunaiva, nimitta bhedat.' - There is only one Rasa, and that is Karunarasa: all others are its subtypes.