Print Translated by Shantanu Ray Chaudhuri The triveni is a form that Gulzar began experimenting with in the mids. It gets its name from the fact that it is composed of three lines. It is different from other three-line forms like the haiku and senryu, which have a fixed limit on the syllable count and in essence describes one image. But beneath the two there is the subterranean flow of another, the Saraswati. Not visible to the eye. The triveni intends to reveal the Saraswati.
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Gulzar Hyderabad: Urdu poetry is now richer by a new genre, Triveni. The credit goes to filmmaker and lyricist Gulzar. A poetic unit of three verses, Triveni packs a punch in the last line by turning around the meaning expressed in the first two verses. Gulzar, who has mastered the art of writing the Triveni, regaled the audience the other day at the Maulana Azad National Urdu University Manuu.
What was billed a seminar turned into a mushaira with the renowned poet holding everyone spellbound with his three-liners. Three-line poetry is not new to Urdu language. There are various forms like the musallu, the haiku, tikoni, salees and the tipai where an idea is expressed in three lines.
The thought expressed in the first two lines takes a new twist when the third line is read. For the last few years, Gulzar has been writing Trivenis on subjects as varied as love, the calamities of life, social milieu and moral values. His poetry is simple and down to earth. Asked why he named his three-line verse Triveni, Gulzar said the first two verses meet like the Ganga and the Jamuna and complete a thought and an emotion.
But beneath these streams runs another river, the Saraswati, which is apparently hidden. In his own inimitable way, he is trying to keep the flickering flame burning. He wants the language to be made simpler for Hindi readers.
He superbly captures the dilemma facing Urdu thus: Badi aristocracy hai zaban main Faqeeri mein, nawabi ka maza deti hai
Trivenis: On Gulzar’s 81st birthday, twelve poems in a form of his invention
Due to the partition , his family split and he had to stop his studies and come to Mumbai then called Bombay to support his family. Sampooran took up many small jobs in Mumbai to eke out a living, including one at a garage at Vichare motors on Bellasis road Mumbai. His father rebuked him for being a writer initially. He took the pen name Gulzar Deenvi and later simply Gulzar. Gulzar began his career under film directors Bimal Roy and Hrishikesh Mukherjee. His book Ravi Paar has a narrative of Bimal Roy and the agony of creation.
Yet the kind of poetry that he writes cannot be, in terms of definition, fully bracketed as the work of imagism. Therefore, it may be more accurate to define him as a painter without a paintbrush, easel and colour palette. In a manner of speaking, this is how Gulzar charms his readers: he creates a scene with readily understandable words, illuminates it by using familiar images from everyday life and brings it together, or rounds it off, with an inquisitive undertone. The poetic tools he seeks help from range from subtle paradoxes to delightful personifications. He treats inanimate objects like living beings, pieces of puzzle which are not hard to arrange.