by Faheem Ahmad
Ghulam Rasool Mir opens up about his journey as a poet and translator, in a candid conversation with Faheem Ahmad. Dardpori reflects on his craft, influences, and the cultural responsibility he carries as a voice of his people.
Ghulam Rasool Mir, known by his nom de plume Mir Dardpori, is a Kashmiri poet and translator hailing from Dardpora, the last habitable village in Kashmir’s northern district of Kupwara. Renowned for his poetry, Dardpori is also an accomplished translator, particularly of works from Ancient Greece and Elizabethan England. We met him at the Town Hall in Kupwara, where he was attending a poetry workshop.
KL: Could you introduce yourself to our readers?
Dardpori: My name is Ghulam Rasool Mir, born in 1947 in Dardpora, the last habitable hamlet of Kashmir. I received my primary education in the same village and completed my matriculation from High School Vilgam in 1964. Shortly after, in 1966, I was appointed as a teacher in the Department of Education. While working full-time, I pursued several degrees through distance learning until my retirement in 2005.
KL: How did you become a poet?
Dardpori: There is an unusual story behind my journey into poetry. Until December 1998, I was not a poet. However, I had always been captivated by the beauty of poetry and often reflected on the craft and potential of poets. In the winter of 1998, I wrote a few lines on Namaz and shared them with a learned friend. He encouraged me to continue, noting that he found a spark in my verses. That moment marked the turning point in my life as a poet.
I continued writing, and soon, poetry began to flow effortlessly. Even I cannot fully comprehend the state I am in when I write. At times, I am astounded by the fact that I have composed thousands of verses, unsure of how they came to be. I regard this as a divine gift, one I am deeply honoured to have received.
KL: What does your writing space and schedule look like?
Dardpori: I typically write in my living room, wherever I happen to be seated. I prefer to stay at home, and it is not uncommon for me to find myself in a phase where poetry flows effortlessly through my pen. I do not require a special place, a particular time, or any rituals to write poetry. It is something over which I have little control.
KL: Have you always written poetry only in Kashmiri, or have you experimented with other languages as well?
Dardpori: All my published poetry is in the Kashmiri language. However, I have also written extensively in Urdu. If I am to be remembered, I wish to be known as a Kashmiri poet.
KL: Apart from being a poet, you are also a translator. How did that come about?
Dardpori: A friend once gave me a book titled Oedipus Rex. It left a profound impression on me. Struck by its depth, I resolved to translate it into Kashmiri so that native readers and future generations could engage with it. Beyond this, I have translated numerous works by William Shakespeare. One of my books, Raawan Tuil, includes The Winter’s Tale and Pericles, chosen for their shared thematic resonance.
Another work, Shakespeare Kaeshraeyth, features two of Shakespeare’s most renowned plays: Hamlet and The Merchant of Venice. I translated these into both verse and prose. The verse translation adheres to the structure of the Kashmiri epic Gulrez, complete with intricate subplots and richly adorned language.
From Persian, I translated Shaikh Saadi’s Karima, a text that has long played a significant role in fostering morality within Kashmiri society. However, as fewer people now study or understand Persian, I felt compelled to render it into Kashmiri. For non-Kashmiri-speaking natives of Kashmir, I also translated it into Urdu. The resulting book is a three-in-one edition: 200 couplets in Persian (the original), 200 in Kashmiri, and 200 in Urdu.
KL: While you are working to make world literature available in Kashmiri, how do you view the decline of the Kashmiri language in our society?
Dardpori: It is an unfortunate yet reversible phenomenon. We must cherish the language we have inherited from our forefathers. Language is the thread that connects us not only to our contemporaries but also to those who came before us.
KL: What projects are you currently working on?
Dardpori: I am compiling Kashmiri phrases and old sayings to preserve them for posterity. These expressions carry profound cultural significance, and future generations must have access to them. They should not be left disappointed when they seek to understand their heritage.
KL: Which poets have had an impact on you?
Dardpori: From the very beginning, I was acquainted with the poetry of Mohammad Iqbal and Mirza Ghalib. Among Kashmiri poets, I was deeply influenced by Mahjoor, Abdul Ahad Azad, and Mushtaq Kashmiri. Of these, Mushtaq Kashmiri left the most powerful impression on me.
KL: Who, in your opinion, can be considered poets of note in the Kashmiri language today?
Dardpori: The Kashmiri language boasts a rich heritage, and its presence is equally vibrant. Some names that come to mind immediately include Fayaz Tilgami, Shahnaz Rashid, Mohammad Zamaan Aazurdah, Bashir Dada, Gulzar Jaffar, Rashid Nazki, and Ali Mohammad Shahbaz.
KL: What advice would you give to upcoming poets?
Dardpori: Every poet must keep a watchful eye on society. They should follow their heart and express themselves freely. Society relies on them to play a vital role in the growth and enrichment of language and literature. Poets must not fear anything or anyone in fulfilling their role as the conscience of society.
(Faheem Ahmad is a student of languages, literature, and mythologies. He currently works as a freelancer. Ideas are personal.)
