War, Viraha, Folk Feminine Consciousness and Pingal Poetics in Contemporary Haryanvi Ragni Tradition

This research article critically examines selected contemporary Haryanvi Saang-Shaili Ragnis from the Avikavani corpus authored by Anand Kumar Ashodhiya through interdisciplinary frameworks of oral tradition studies, Pingal prosody, folk-performance theory, feminist folklore criticism, cultural semiotics, and socio-psychological literary analysis. Focusing upon compositions such as “धोखा चीन का - गलवान घाटी,” “आज्या राखी बंधाज्या भाई,” “शादी में भात रस्म,” “मेरे तन की ढेरी हो ली - विरह,” “कदे आज्या याद तेरी,” “असली दर्द,” “खेतड़ - दोचश्मी,” “निशाना,” “तोताचश्मी,” “करवा चौथ पै प्यार की पतँग,” and “फौजी फ़ौजण दोचश्मी,” the study explores how contemporary Haryanvi Ragni transforms lived social realities into emotionally resonant oral-poetic structures rooted in regional cultural consciousness. The article investigates themes of nationalism, military sacrifice, agrarian ethics, ritual collectivism, feminine emotionality, conjugal devotion, betrayal consciousness, psychological longing, and Viraha within the performative framework of the Haryanvi Saang-Ragni tradition. It argues that these compositions represent a sophisticated evolution of North Indian folk poetics rather than merely entertainment-oriented vernacular verse. Particular analytical emphasis is placed upon Samamatrik Chhand structures, Yati distribution, Guru-Laghu sequencing, refrain architecture, dialogic cadence, symbolic compression, tonal descent, and oral-musical continuity within contemporary folk performance traditions. The study further demonstrates that Pingal Shastra operates not merely as a technical metrical system but as an active performative mechanism sustaining emotional intensity, mnemonic continuity, dramatic progression, and collective participation during oral recitation. Through the integration of Veer Rasa, Karuna, Shringar-Viraha, military domesticity, feminine resilience, and folk-psychological realism, the selected corpus preserves regional oral aesthetics while simultaneously responding to contemporary social anxieties and emotional transformations. The article also identifies a significant scholarly gap in the absence of integrated research combining Pingal analysis, oral-performance theory, feminist interpretation, cultural semiotics, and psychological folk aesthetics within Haryanvi literary studies. Consequently, the study positions the Avikavani corpus as an important contribution to contemporary North Indian folk literature, regional epistemology, oral dramaturgy, and indigenous knowledge systems.