Exploring poetic profundity

Hans India

12 hours ago

Arbind Kumar Choudhary is a poet in a thousand—one who refuses to become a mere puppet to any writer or stylistic convention, as he frequently asserts in interviews. A true suitor of the poetic world, he plays with words, styles, proverbs, techniques, and other poetic devices as if they were the erogenous zones of his beloved. His abundant use of phrasal, proverbial, mythical, pictorial, explored, and colloquial language, combined with a racy style of versification, has earned him the distinct label of 'Arbindonean' in the ideal world of poetry.
The anthology 'Arbindonean Literature: A Critical Perspective' contains 17 striking critical papers by prominent professors, including one interview, offering deep insights into Choudhary's poetic craftsmanship.
Prof. S.C. Dwivedi observes that Nature serves as the universal constitution that fills Choudhary's heart with joy and molds his poetic life towards perfection and spiritual vision. Rivers, lakes, jungles, meadows, clouds, stars, plants, animals, and flowers glitter across his nature poems, establishing him as a true poet of Nature. Terms like Majuliscape, riverscape, islandscape, skyscape, and other rural sceneries recur throughout his poetry, reminiscent of the Romantic poets. Imagery such as moonlit nights, starlit skies, hen nights, and glittering springs stir deep emotions in sensitive readers. His concept of love transcends time and space, shining like Shakespearean stars. He also critiques modern concepts of marriage, gigolos, commodified relationships, lesbianism, and homosexuality as unnatural deviations from nature. Prof. Mahashweta Chaturvedi, poet C.R. Roy, and Prof. Mahendra Bhatnagar are among the ardent admirers of Arbindonean sonnets.
Prof. R.A. Singh remarks that Choudhary's ideas, style, and thoughts are wholly his own, solidifying his place as an original figure—an 'Arbindonean'—in English literature. His unique use of phrasal words such as full-throated perverse and sworn friend, along with new coinages like Ramariam, lovearium, and loveology, as well as his use of colloquial and compound words, justifies the title 'Phrasal King' of Indian English poetry. The intensity of phrasal expression in his verses has inspired a worldwide following of phrasal verse enthusiasts.
Western mythical figures—Mary, Helen, Jupiter, Cynthia, Adonis, Jove, Melpomene, Terpsichore, Isabella, Venus, Phoebe, Demeter, Mercury, Oestrus, Zeus, Scylla, and many more—populate his poetry from beginning to end, earning him the title of 'MythicalMaster' in Indian English literature. As Prof. Mahendra Bhatnagar affirms, his mythic command is unmatched.
The various facets of Arbind Kumar Choudhary's poetic art speak volumes about his refined poetic sensibility, intense passion for exploring the human psyche, and an authentic metaphysical vision. He is undoubtedly one of the most promising poets of this generation, destined to earn acclaim for himself and bring distinction to Indian poetry in English. His poetic collections—such as 'Melody', 'Love', 'My Love', 'Loveoid', 'Loveoscope', and 'The Poet'—demonstrate his mastery of language and the maturity of his artistic voice. Through his poetry, he reflects on the modern individual's ordeal in a world bereft of empathy and ethics, yet ultimately advocates for universal brotherhood and love.
Choudhary's romantic essence can be detected throughout his work, shaped by the influence of the Romantic poets, especially John Keats. As Prof. M.P. Singh notes, his Keatsian touch is evident in both style and substance. Having been honored with numerous literary awards, Arbind Kumar Choudhary stands as one of the most versatile poetic geniuses to emerge from the fertile literary soil of India. His works are richly layered with proverbial and pictorial expressions, emotional and satiric tones, free and rhymed verse, and mythical, ethical, and historical references. Lyrical brilliance, emotional intensity, and Spenserian grandeur light up his verses.
Choudhary's poetry is more vocal than sound, more fragrant than flowers, shinier than the sun, and more glittering than stars. He pioneers innovative poetic features—rhymed verses, mythic blending, new word formation, and a unique poetic temperament—establishing himself as a true 'literary drunkard' in the best possible sense.