Through the eyes of a poet

Syed Shamsul Haq (December 27, 1935 --September 27, 2016), the unequivocal 'Sabyasachi' (ambidextrous) wordsmith of modern Bangla literature, absorbed poetry, art and history in his own unique way and blended it in his creations. In a conversation with The Daily Star a couple of years ago, he shared his literary influence and drive, his vision of how art and poetry are intertwined, and deconstructed one of his most famous works. Excerpts:

“Imagery lies both in poetry and painting; while poetry predominantly revolves around images, painting generates newer imageries. Emergence of new words in poetry might be scarce, but the visuals around us are in constant flux. Sometimes poets reshape old ideas and use age-old words in a newer fashion. Yet, there are poets who discovered images and incorporated those in their works. 'Pakhir Nirer Moto Chokh Tuley Natorer Bonolata Sen' is Jibanananda's invention. Again, in the line 'Banglar Mukh Ami Dekhiachhi, Tai Ami Prithibir Roop Khujitey Jai Na Aar', here 'Bangla' and 'Prithibi' are not images, but when they reflect into each other, they form a beautiful image that Das discovered…the beauty of eternal Bengal in the earth and vice versa.”

“I regard Rabindranath Thakur one of my greatest predecessors. He is the greatest poet of Bengali literature. Unlike others, I remember him differently because I have learnt my craft from him,” said Syed Haq. “Though Tagore nurtured almost all the genres of literature, art, music and culture, we evaluate him prioritising his angik (viewpoint) rather than his speech. His creation of stance is innovative with regard to his speech. We cannot reach him in these times; because the time we witnessed, such as the country's partition, shedding blood for language, military rule, genocide and Liberation War of which Tagore experienced nothing. These happenings have greatly influenced my whole perception.”

About his famous poem “Amar Porichoy”, Syed Haq commented “I wrote 'Amar Porichoy' at a point when I was inspired to write a short history of Bangladesh for young readers. It was to enable them to learn the history and backdrop of our identity. Later, I changed my mind to express my feelings through the most antique form of literature --poetry. Thus, the poem was written and in 1993 but for some reason I do not know, for about 15 years it was not noticed. But suddenly, it surfaced and everybody recites and quotes from it and I am very happy that it gives you a patriotic passion revisiting the roots of our identity. I have tried to include the four pillars -- nationalism, secularism, socialism and democracy -- the essence of the Liberation War. I have tried to assimilate that through my poetic effort… excerpts like, 'Ami To Eshechhi Barendrabhum-e Sona Masjid Theke, Ami To Eshechhi Matir Deul Aaul Baul Thekey' or 'Ami To Eshechhi Zainul Ar Aban Thakur Theke, Ami Tho Eshechhi Geetanjali O Agniveena'r Theke' evoke that essence. The most antique work of poetry is to represent a feeling into a memorable sound pattern. The technique is thousands of years old that I have used in the poem.”

“Poetry is a kind of performance. Like WH Auden I believe 'poetry is inspired dialogue.' And the way I hear it in my cranium, I try to reproduce that. Many tell me that I perform my poetry beautifully. In reply, I say that I simply transmit it -- just as I receive it.”

The French literary critic and theorist Roland Barthes believes that the death of an author makes readers more responsible towards the creations of the author. He concludes his essay, Death of the Author thus: “The birth of the reader must be at the cost of the death of the author.” Here judgment or the birth of a reader takes a prominent place. How will he judge his poetry as a reader? In reply, Syed Haq said, “The moment I am involved in a creative endeavour, an elevation takes place within me. Later, when the job is finished, I am an ordinary man like others. I am no more the poet who wrote it. And I always view my writings as a reader, as a man outside them, and not as a poet who wrote them. If I am asked to evaluate my poetry, I must say it is still miles to go; many things to do. I am not at all happy to see the trend of Bangla poetry, especially in Bangladesh. I don't really come across a good metaphor; a good image. Most of the poems I come across are not even complete and seem unfinished, repetitive and loud. Being loud is not a fault. Nazrul was loud! In poetry, there are two voices -- the private voice and public voice. Nazrul was perhaps the first public voice in our whole milieu of Bengali poetry. But when it seems contrived and doesn't come from within, it generates confusion and appears as if you are trying to attract an audience by being loud,” he concluded.