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Baarish ki Boondein
Dhiman has dealt with several themes in this collection. In Beemar Mansikta, he correlates hypocrisy and (veiled) conservatism with the rising numbers of deras, godmen and religious institutions. However, his messages confuse the reader, e.g. in Roti ki Parikrama it is not clear whether he condemns roti as a sign of evil or, as he states in the last couples of lines, a trigger for progress. Personally, I liked Chaukhat wherein the poet agonises over boundaries between the personal and the public getting blurred, facilitating invasion of one’s privacy. Indeed Dhiman swings between the ordinary and the promising. Hope he works on his
craft more diligently and creates more profound works.
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HINDI
poetry is blessed with rich traditions, enjoying a variety of forms.
The emphasis was on metre and, not infrequently, rhymes. However,
thought was most important, and it required exceptional talent to
weave metaphor, message and metre into a work of cadence. Over a
period of time, form became more important than content. Following the
western tradition Hindi poets too began to experiment with new forms
wherein though or message became more important than form. This gave
prominence to mukt-kavya or free verse. So, if you have got
something original or profound to express it became comparatively
easy.