Ever since I read the works of Samuel Taylor Coleridge, I would often think of the poems he could write if he was happier with the day light. The poet puts on the show of metaphors and fancy that hit a revolution into literature, but I wont suggest Coleridge to a young person who is new to the vivid troubles inflicted by the curious mind.
I admired Wordsworth for ever bit of word that shaped up for his love. The depiction of nature was not out of the fascination of the blur, rather the insticts that surface in raw senses.
In the recent past, my mind developed various conflicts. Ranging from my faith to the decadance of each day; nothing rhymed and made sense. Wordsworth seemed too happy, Coleridge would only help me dig deeper in grief. I was not stable to appreciate the extreme streams.
Aviral Kapoor is a 21 year old poet who could bring the two extremes together in synchrony. His book Dunkeheit is a poetic conversational log between God and his innocent human creation. There are symbols embedded in the narration and poems embellished with ornaments of metaphysical answers.
The books is not just a composition of images and metafiction, but a path to the roots of an individual’s identity. From the subconsciousness rhyming alongside the full moon; the poetic synthesis revives the wholestic philosophy of humankind.
To critic the work, I may land up with an argument of ‘ideas’ as an abstract phenomenon. But everytime I read the poems, the words are able to generate past experiences into a compelling messages that I had ignored altogether.
To read the resonance of the romantic period of literature in the post modern world is in one word, reviving. If it was upto me, I would declare Aviral Kapoor as a poet from the early 19th century. He reminded me of the lake poets, and this remark completely speaks for his potential.