Satyapal Sehgal occupies a distinctive space in contemporary Hindi literature as a poet of spiritual ecology and profound existential inquiry. His significance lies in his ability to deconstruct the anthropocentric ego—the modern human's narrow arrogance—and replace it with a cosmic citizenship that reconnects us to our primordial roots. Unlike many who view nature as mere backdrop for human emotion, Sehgal treats the forest, stars, and atmosphere as living relatives, creating a green aesthetics that bridges scientific ecological data with spiritual necessity.
His poem "In the Water of the Sky" (Akas ke jal mem) unfolds like an oasis in the desert of modernity, where magical realism falls upon the parched earth of logic. The poem is not merely wordplay but a homecoming to that primordial truth abandoned somewhere in civilisation's dazzling glare. When the poet speaks of stepping into the lanes of day wearing the black shirt of night, or eating bread ground by the moon's hands, he collapses the walls between reality and fantasy.
The Art of Minimalist Magic
The poem's craft is remarkably restrained. Short lines carry independent images, white space allowing moments of pause. There is no excessive ornamentation—only simple, earthy words holding both folk consciousness and cosmic philosophy simultaneously. The division of "In the water of the sky / the boat of my dream floats" creates rhythm like a boat's slow movement. When the moon "ground flour for me / fed me bread / kept me in its home," personification becomes so natural that the moon feels domestic, maternal.
This minimalism resists modernity's noisy complexity. Where market language exaggerates, Sehgal's style returns man to his fundamental state. Words like grass, water, bread, and forest shed the burden civilisation has loaded upon them, appearing with their basic identities intact.
The Black Shirt of Night
Central to the poem is the image of wandering day's lanes in night's black shirt. Day symbolises light, social conduct, external world—while night represents introversion, dreams, subconscious. The poet alludes to modern man's mask: an individual utterly alone within despite being part of society, wrapped in primordial darkness. This suggests our true form is not what daylight reveals but what night has woven.
Sociologically, this represents alienation. Aesthetically, it produces sharp visual impact. Black becomes not merely colour but density born from forest consciousness. The boundary between external world and internal world blurs—a cross-dressing where one time becomes garment to enter another. The primordial man, not yet fully domesticated by civilisation, preserves his inner dark purity amidst artificial light.
Moon, Bread, and Maternal Nature
The moon grinding flour and feeding bread revitalises folk culture's intimate images, pointing toward humanity's maternal relationship with nature. In folk consciousness, the moon is not distant celestial body but established as Uncle Moon or protective family member. The poet places the moon in domestic woman's or mother's role—performing labour, ensuring nourishment.
This interprets that primordial time when nature and man shared familial bonds rather than consumer-commodity relations. Saying "the moon ground flour for me" creates magical reality where cosmic forces actively sustain human life. Bread here is not mere hunger-satisfier but symbol of divine nourishment prepared by vast celestial entity. The moon keeping one in its home reflects security an innocent child finds under maternal shadow—striking against civilisation's progression where modern man deemed nature enemy or exploitable object.
The Irony of Becoming Human
The poem's conclusion—"Human, I / became / much later"—brings philosophical and sociological irony that upends prevalent notions of evolution. Becoming human appears not achievement but contraction, fall. What sociology calls socialisation, the poet sees as casting into artificial mould. Prior to this, he was infinite, global, natural entity: grass, forest, atmosphere. Becoming human means binding by limits, shrinking into narrow circles of categories, castes, classes.
Yet another truth emerges. Becoming human is also doorway to language, culture, relationships, creativity. If a million years ago there was only grass, poetry became possible only after becoming human—diamond-like images, addressing the moon as mother. Language gives power to recall primordial truth; culture enables singing kinship with stars; relationship allows conveying moon-bread's taste to others; creativity provides courage to wander day's lanes wearing night's black shirt in poetry's form.
This conclusion grants the poem epiphany's dignity—a sudden spiritual manifestation where ordinary word human reveals its soul. The poet creates paradox using chronology of "before" and "after." Growing like grass was eternal free state; becoming human is both that freedom's end and new creativity's beginning.
Ecological Consciousness and Deep Ecology
The poem powerfully manifests ecological crisis consciousness and deep ecology principles. "I am this forest" ends duality between man and nature created by modern industrial civilisation. Arne Næss spoke of ecological self—human identity incomplete until identifying with entire living world. Growing like grass and living in atmosphere reinforces biocentric vision where man considers himself not creation's master but humble part.
Against modern technology that reduces nature to standing reserve for exploitation, Sehgal revitalises relationship of care. The poem warns of Anthropocene horrors where man, placing himself at centre, has destroyed forest and atmosphere. When there was "only truth" represents eco-feminist truth where life's basis was cooperation and nourishment, not competition.
The poem advocates slow living—quiet alternative to modern rush and artificial clamour of "lanes of day." Images like "my bed spread upon leaves" and "boat of dreams" remind that true happiness lies not in material accumulation but harmonious coexistence with nature. This is eco-humanism inspiring transformation from consumer back to seeker and protector.
Magical Realism and Dream-Imagery
The poem shares deep relationship with magical realism, where unreal elements weave into realistic setting with such naturalness they seem spontaneous truth. "In the water of sky / boat of my dream floats" merges sky and water—placing reader on feeling's level rather than logic's.
A main feature is animism—belief that nature's objects house consciousness. "The moon ground flour for me" presents moon as active domestic character performing labour and maternal affection. Sociologically, this magical element revitalises primordial truth modern rationalism dismissed as superstition.
Viewed through Freud and Jung, dream-imagery manifests subconscious desire where physical laws become meaningless. Magical realism scrapes at primordial memory buried within man—where he did not consider himself separate from universe. The dream logic that boat can float in sky becomes liberation from modern man's logical grip that imprisoned him in day's lanes alone.
Conclusion: Existential Homecoming
Satyapal Sehgal's poem is ultimately invitation to existential homecoming, where pride in being called "human" proves self-forgetfulness. All civilisation's rungs—language, society, history—fall away as artificial covering, leaving only primordial consciousness flowing unmodified for a million years.
The poem constructs sensory bridge connecting modern man's fragmented self with cosmos's integrity. It creates geography of silence through words, where boat floating in water of sky is encounter with non-dual state where seen and seer distinction vanishes. Sehgal's poetic vision proclaims ecological renaissance, warning that our roots are planted in earth—not part of any map but expansion of infinite atmosphere.
This text attempts to return sanctity of that truth abandoned somewhere in hurry of becoming human. In today's mechanical times, it serves as breathing window, repeatedly reminding of that soil and water of sky where journey began and where ultimately we must return and merge.
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*Professor & former Head (Retd.), Department of Hindi, University of Hyderabad. This is the abridged version of the author's original paper
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