He clearly accepts the fact that Hari, by showing one hope after another, makes him a plaything: This weakness is evident in Motiram Bhatta as well. For a man, getting under the control of a woman with such salience, instead of keeping her at a balanced distance, is a mark of weakness. It is natural for Hari to exercise such authority upon the entire male universe. Because of this difference between her age and her maturity, Motiram’s claim upon Hari is propelled more by her physical beauty. But, impressing such a mature mind is not an easy thing. The mind of a young nymphet is naturally expected to be quite exuberant. Mukhako rawab chha chandrako naniko chha missi lagaunu Motiram has made the following description about Hari:īaya sohrako man sathiko chha ra po gazzab chha ni pyariko All the moths get allured to the flames emanating from this single woman, who’s an emblem of sexual appeal. Her youthfulness impresses everyone she is everyone’s beloved. Hari appears not as an amorous and emotional nymphet, but as a mature woman, shrewd and beautiful, and capable of moving everyone’s heart. Though Sangeet Chandrodaya, a collection of Motiram’s ghazals give some hints about Motiram’s silent affairs with Hari, it gives ample evidences to claim that Motiram’s personality has been powerfully possessed by Hari’s presence. Narakko basa ho sansarma dukhi bhai basnu Marihaloon bhani maile kati khayen jahar samman As a result, Motiram expresses his mind in the following verses: It looks for support, but finds none from anywhere. Hari steals Motiram’s heart away but the stolen heart, failing to find a place to land on, becomes pathetic. Accordingly, he bears a cocksure conviction to force Hari to give in, as expressed in the following words: In other words, he considers himself a high-order lover as far as love is concerned. Motiram Bhatta considers himself pure gold. Caught between the margins of love and death, he expresses a strand of hope in these lines: His dreaming heart is trampled by bad luck. Motiram, caught among betrayal, trust and mistrust, finds it one and same thing, even if he gulps poison in place of nectar. He can do nothing but console himself in his work, though not in his wishes: The predicament forces him to make such helpless utterance. The inability to face his crush robs Motiram of his sleep, his rest and his senses. Though he dare not face other beauties, both known and unknown ones, he is unable to face Hari. Motiram’s tender heart is beset by conflict. Na ta khush bhaikana prem gari, na ta ris gari kana mann hari Na ta saath basna sangi bhaye na ta dusmanai sari bhai gaye With an air of repentance, he further says: Na ta hosa basaki rakhiyo, na ta phoola ko rasa chakhiyo He expresses the dilemma in the following words: One can do nothing save endure trepidations, deep within. It is such a predicament when one can neither give anyone his heart, nor receive one. Motiram, who says, “I can’t dare face Hari,” is in love. Yet, caught in a net spread with its knots everywhere, Moitram says: Motiram was aware that love should also mean cautiousness to stay free from being entrapped. Inside Sangeet Chandrodaya, there are 36 pieces by Motiram, of which 32 are nothing but ghazals. There also are occasions when the same denotes merely as a syntactic element to suggest a verbal inflection or an exclamation. The name at times occurs as that of a woman, while in other occasions, it connotes God, the Almighty. The name ‘Hari’ is quite dear to Motiram. From it, we can discern that Haribadani had, in fact, played an extremely crucial role in the life of Motiram Bhatta. At a time when Motiram and Naradev Pandey clearly mentioned the same Hari as Haribadani, Kashinath Tamot published Kut Padhya written in Motiram’s own handwriting, thereby lending Haribadani an added significance. The shadow of Hari has even shadowed the expressions of Motiram. Of those he has never been able to forget, we can cite ‘Hari’ as an example. Since he was influenced by various sorts of feminine hearts at various turns of his life, he was unable to forget them easily. The reason for Motiram’s trepidation and delinquency was feminine hearts. By sharing information about Motiram and by writing independent poems, these critics made immense contribution towards a comprehensive understanding of Motiram’s poetic experiences, besides his personal restlessness and delinquencies. After Motiram Bhatta did the initial task of lending a new turn to the Medieval tradition of amorous writing, other critics came forward to lend him their support, and these critics include Gopinath Lohani, Laxmidutta Panta, Naradev Pandey and others.
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