The contemporary scene in Sindhi poetry is more or less the same as in other Indian languages – an admixture of old and new form, technique and content.

Sindhi poetry which originally consisted of slightly modified Hindi Dohas and Sorthas was, in the course of time, supplemented by Persian forms of prosody like Ghazal, Mathnavi, Rubai etc., and, thereafter, in the forties of this century, was further strengthened by Sonnet and Blank Verse.  Soon after the partition of the sub-continent, these forms were re-inforced by Triolet, Haiku, etc. At present, these forms continue to co-exist, albeit in a varying degree, with Azad Nazm having an edge over them all. Metres peculiar to Rubai are now generously employed in all kinds of poems, and situations narrated in Sonnets.  I am tempted to repeat here what I said in a seminar at Simla, about a decade ago, “It is amazing to see the same poet giving expressions to views which are not only incompatible but even contradictory, and subscribe to the convictions which are revolutionary and reactionary at one and the same time. In the realm of ideas there is often a strong vein of revivalism even among the foremost who, while cultivating the latest attitudes, nonetheless sedulously imitate the old masters”.  For the first time in the history of Sindhi poetry women-writers have started composing poems and even participate in the Mushairas occasionally.

The trend known as Naeen Kavita in Sindhi started around 1960.  The main factors responsible for its advent were:  (1) a growing awareness that the language, the metrical pattern, the techniques and the taboos handed over to posterity were old and inadequate, (2) the sense of crisis in human values resulting from industrialization and urbanization, and (3) the impact of contemporary poetry, specially of English (both in original and in translations).

Sindhi poetry before the emergence of modern attitudes on life leaned heavily on other-worldliness, upholding self-abnegation and resignation to the will of God as the highest virtues.  It depicted mundane pursuit and the effort as the work of lesser men.  Ghazal was its most popular and dominant form of expression.

Around the Quit India movement in 1942, albeit quite independent of it, appeared the revolt of the progressive against lyricism and abstract poetry.  Emotion now gave place to reason and the ideal to the real.  The fight against Imperialism surcharged the air with the spirit of patriotism and nationalism.  Upliftment of the poor and the peasant, emancipation of women, eradication of social evils, solidarity and unity were the main themes, which absorbed the attention of the poets.

The bloody Partition of the country ushered in an era of despair and disillusionment for the Sindhis who found themselves destitute, stateless and scattered.  The age-old tradition of Sufistic thought and behavior, which has molded their life in Sindh, however, kept them away from fanning communalism.  Thus, while the reflection of events attendant on uprootment is fairly abundant in the poetry of this period, overtones of bitterness and hatred are almost absent.

Against this background there is now a new awareness of values – aesthetic and social – accompanied by appropriate sensibility.  At present stress is on “here and now”.  The tendency is more and more towards individualistic self-expression and introvertion in dealing with various modes of human behaviour.  So quite naturally, the poet analyses and intellectualises situations.  It is no more the gul and the bulbul, nor the kisan and the mazdoor, but blinding atomic ray, contraceptives, abortion, male prostitute, venal politicians and a wide range of such daring themes, which attract his imagination.

This, however, does not mean that New Poetry does not indulge in romanticism or that it is free from escapism.  The relationship between man and woman does find a place in it, but the viewpoint is different.  The poet takes note of the present day struggle of life in which the woman works hard to preserve her personality and existence.  Some sort of intense and implicit satire, created by the bitterness of circumstances, also exists as an under-current.

Since more and more importance is being attached to themes, forms are gradually losing their erstwhile importance.  In fact some poets of the old guard too have taken to Free Verse, the formless form of composition, to show that they also can move with the times.

The language that the modern poet uses is sometimes unintelligible to the common Sindhi reader.  It is contorted, ambiguous and awkward and at times has hardly any appeal to the ear.  He brings in images, which are unfamiliar, grotesque and gruesome.  His metaphors and similes are often jumbled up.  No wonder then the composition, in many cases, suffers from obscurity of thought and expression.  It also, to a certain extent, exposes the contrived nature of this kind of poetry.

*** (pls see the note at the end)

One also finds that the modern poet has some interest in history, which he re-interprets from his own reassessment of known facts, attaching new significance to old symbols.  Characters taken from ancient texts are pulled down from their pedestals to subvert established loyalties.  This cynicism is now quite common among all writers.

Looking to the other side of the picture, we see that the non-observance of rhyme and metre has provided vast opportunities to many an immature and fake poet to palm off any nonsense as New Poetry.  Every new simile – good, bad or in-different – is looked upon as a synonym of Naeen Kavita.  The art of expression through concealment’ or leaving it to the good sense of the reader to understand, is not sufficiently cultivated.

It is a matter of great satisfaction that the new wave or the new trend has liberated the minds of the practitioners of this art from the chains of centuries old forms, figures of speech, stock vocabulary and oft-repeated thoughts, and has opened the path of uninhibited and free expression.  It is, however, a pity that in this age of expanding horizons, and after nearly thirty years of independence, quite a considerable number of our modern poets should continue to give vent to feelings of disillusionment and dejection, almost verging on frustration leading to nihilism.  One can understand the subjective despair of a poet, provided it is born of a real experience.  In their exuberance to produce something which should look “different and new”, however, they are simply aping the West and write all that has no relevance to this country and its people.  If we study their attitudes towards certain situations minutely, as also the phrases and idioms they use in describing them, we will be surprised to find that in a large number of cases these are applicable to European civilization and Western society.  In this age of satellite communication when the world has become very very small, such transplantation might benefit us.  No doubt experimentation usually starts with imitation, but then it should move towards improvement.  It is high time such poets gave up this alien approach and attitude, and created a new atmosphere and a new faith in the welfare of the nation.  They should show appreciation of the vast and rapid social changes that our motherland is going through, and evolve indigenous symbols and images.  A mood of confidence coupled with optimism created by the new climate is a must.  I would go even further and suggest that their production should be such as can withstand the test of time.  These should appeal to commonsense and possess an enduring aesthetic charm – if these are to live.

The present anthology is a modest effort at portraying various aspects of Sindhi poetry produced in this country during the last fifteen years or so, written by poets who, fortunately, are all alive.  The editor does not claim to have exhausted the whole field or given the best of each poet, owing to the limited space reserved for the purpose.  He is also conscious that the English translations may not render the original literally.  He has, however, shown them in manuscript form to the respective poets and obtained their assent.
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*** It is interesting to note that Shaikh Ayaz, the premier poet of Sind is re-constructing the whole of mystical tradition giving it a nationalistic hue and has greatly succeeded impregnating the character of the “Surs” of Shah Jo Risalo with thoughts which do not carry Shah Abdul Latif’s original message of self-annihilation.
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Courtsy : Indian Poetry Today Vol: III  Published by Sec Indian Council for Cultural relations , New Delhi.  Year 1977