Pearls of Emotion

Heart is a deep ocean where emotions achieve a clean, delicate sheet of multiple perceptions. In this oceanic heart, it is not everybody's cup of tea' to fathom these clean sheets of life.
Henceforth, poets, writers, novelists, scholars and philosophers always delve deep into the recesses of the heart through their devotional insight.
There has been an endeavor to get a picture of brass tacks in these research papers. Invariably, life force motivates a person to write on various empty pages of life.
From this nectarine life, an individual can collect pearls of wisdom and knowledge.
These research papers are the amalga mation of pain, emotions, deep seated melancholy, devotion, correlation, meditation, benediction, tranquility and spirituality.
Through and through, the voyage of poet's heart recalls invisible powers in the pangs of separation. Thence, poet achieves an ambrosia of tranquility and harmony.

Date of Birth: 30th January, 1985
Educational Qualification: Graduation from Patiala University, M.A. English from H.P. University Shimla, M.Phil (Reva luating Romanticism: A Comparative Study of John Keats and Shiv Kumar Batalvi) from Panjab University with 1st division, qualified National Eligibility Test in June 2014, Ph.D in English from Panjab University Chandigarh under the topic "Aesthetics of Pain and Liberation : A Study of the Selected Poems of Mohan Singh, Amrita Pritam and Shiv Kumar Batalvi."

Right from Aristotle, Homer and Hesiod to Milton. Wordsworth, Emerson, Rabindranath and Aurobindo, poetry has been unanimously held high as a divine art and a floral tribute offered on the lotus feet of God, and the very title of Tagore's Geetanjali (Songs as floral offering) vindicates this fact. Despite T.S. Eliot's polemical observation that poetry is not a 'turning loose of emotion, but an 'escape from emotion". the importance of emotion, feeling and imagination in poetry cannot be undermined at all. This is precisely because poetry is essentially a divine art, and as such Aristotle acclaimed it as the finest of all arts. The reason is: it not only delights the reader with immaculate aesthetic joy, but also transcends him/ her to a state of sublimity. A poet is essentially a divine being and significantly, poetry is his/her divine kingdom, where emotions and feelings in a purified form, are metamorphosed into sublime bliss (ananda). In the Agni Purana, therefore. the poet is acclaimed as the lord of his/her poetic universe who constantly contemplates how to create new forms of poetic beauty to delight the whole world (Apare kavya samsare kavireva Prajapati). The poet is therefore designated as Brahma, the Lord of Creation in Hindu thought, and the great American poet Emerson calls him a mini god.
The other name of poetry is ecstasy, which is really a rare blessing showered upon all by God. In Taittariya Upanishad, it is enjoined that the whole universe is at once a product and a manifestation of Joy (Anandat khalu imanibhutani jayante). Out of joy everything emerges and finally everything merges into Divinity-the fountain source of all delight (ananda) and all sentiments (Raso vai sah). Every creation has therefore a divine right to take delight in the fountain source of joy called beauty-beauty in human form, beauty in Nature and finally in the ineffable beauty of all that is eternally Beautiful. In Indian tradition, Beauty is at once truth (satyam), benevolence (sivam) and charming (sundaram). The Indian aesthetics has its apt parallel in the English romantic poet John Keats's immortal conception that the other name of beauty is truth ("Ode on a Grecian Urn"), and that 'a thing of beauty is a joy for ever' ("Endymion").
The romantic theory of poetry in the West comes closer to the Vedic view that the poet possesses the power of intuition by virtue of which he/she can dive deep into the hidden. mysteries of the universe. The Vedic poet Dirghatama proclaims that a poet is an ambassador of God, and with his/ her new parentage-having heaven as father and earth as mother-the poet is endowed with the third eye-the eye of creative imagination (pratibha), -by virtue of which the poet I can look beyond the world of phenomenal reality to see life into things. In Atharva Veda (xviii), it is enjoined that the poet possesses 'thousand eyes' by virtue of which he/she can see and foresee the future of mankind. In this connection, P.B. Shelley's view that poets are unacknowledged legislators of mankind comes closer to that of the Indian poetics. In much the same way, Rabindranath Tagore, the P.B. Shelley of Bengal, holds that the creative power (pratibha) characteristic of the third eye (divyadrishti) of a poet is the origin of poetry, and that perceptions, feelings and language as the medium of expression are only the raw materials. Aurobindo in his The Future Poetry emphasizes the incantatory nature of poetry and observes that the enchanting power of words in poetry delight as well as kindle the reader's mind and enthralls his/her heart and soul. In the West, Leslie Abercrombie echoes in The Idea of Great Poetry, echoes Aurobindo's view that poetry is by nature incantatory.
To the romantics, poetry is a life force, and the poet is an extraordinary being who, by virtue of his intellect (medha). wisdom (prajna), and creative imagination (pratibha) creates extraordinary situations out of ordinary, little and nameless things of society and Nature. In romantic terms, it can be conceded that a poet has the capacity to transform the ordinary into extraordinary thereby adding strangeness to beauty. For instance, Wordsworth could transform a host of golden daffodils' into 'dancers' fluttering in the gentle breeze and tossing their heads in 'sprightly dance." At the same time, he could metamorphose the tiny skylark into an ethereal minstrel', a 'pilgrim of the sky' and a 'type of the wise' remaining 'true to the kindred points of 'Heaven' and 'Home'. Who says that the romantics were escapists? It is the same Wordsworth, who, in his classic poem "Tintern Abbey" could see and feel in the waters of the river Wye 'the still sad music of humanity'. Needless to say, Wordsworth's silken sympathy for the poor and the helpless is poignantly evident from his telling presentation of the lives and sufferings of the solitary reaper, the old Simeon Lee, the Cumberland Beggar, the idiot boy, the leech gatherer, Michael, the country girl Lucy and the little girl of rustic simplicity in the poem "We are Seven". In much the same way, Wordsworth's poetical son P. B. Shelley could transform the West Wind into his alter ego epitomizing his revolutionary idealism, robust optimism and prophetic vision that the rotten society is bound to change: "If winter comes, can spring be far behind?"