book review in urdu

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Two valued collections of modern Urdu verse

By Syed Afsar Sajid

• ‘Ankh say aasmanjatahai’ by Tariq Naeem (480 pp)
• ‘Haikel’ by IqtidarJaved (176 pp)

Tariq Naeem and IqtidarJaved are now veterans of Urdu poetry with seven and nine miscellaneous literary publications to their respective credit. Lately the former has published his ‘Kulliyat’ viz. ‘Ankh say aasmanjatahai’ (a super-collection of his three poetic anthologies titled ‘Waqtkaintizarkaunkaray’, ‘Diye may jaltiraat’, and ‘RukihuishamoNkirahdariyaN’) whereas the latter has recently brought out his latest verse collection viz. ‘Haikel’ comprising some 82 numbers of ghazal.

‘ Ankh sayaasmanjatahai ’

Tariq Naeem is a seasoned poet. Nostalgia, stream of consciousness, self-discovery through creativity, river, sand and mirage, night, probability, desert, evening, lamp, and dream are the recurring images in his poetic verbiage. In his prefatory remarks added at the head of the three collections of this ‘Kulliyat’, the poet has ventured to expatiate on the binaries of his poetics such assense and sensation, vision and vanity, reflection and reverie,fantasy and fear, dogma and doubt,angst and agony, delight and despair. In the modernistic sense, his poems epitomize introversion, inquisition, and inflexion.

The diction of Tariq Naeem’s verse is syntactically sound,and unblemished too. It has an aura of simplicity about it. The tone and tenor of his style in verse is characteristically unaffected by any conceit or equivocation. The metaphoric grace of his lines is enhanced by an innate melodic felicity peculiar to their aesthetic design. Noted litterateurs and poets Syed MujtabaHaiderShirazi and Anjumkhaliqhave contributed eloquent forewords to the book in view. They have delved deep into the mechanics as well as merits of Tariq Naeem’s verse in general and the three works constituting the collection ‘Ankh say aasmanjatahai’, in particular. The dictum that literature (and in essence poetry) expresses, represents and communicates experience by means of language can   pertinently be applied to this brand of poetry which is the expression of language for its own sake, of experience for its own sake. In it the experience of receiving the communication, and the experience communicated are indistinguishable.

Here are some lines from the book intended to acquaint the reader with the style and complexion of Tariq Naeem’s poetics:

AbgirahuN to hoshayahai/MaeiNhawa par sawar that pahlay

Ajeebbaatbataihaiaainay nay mujhey/Haraik ankh may pinhaNjamal-e-aainahai

Ek din jonaguzra to kisayyaadrahuNga/HarrozeguzartahuNsar-e-sham jahaN say

HazaroNkhwabdaikhay par bhiyehkhultanahihai/Mritabeerkokiskhwab may rakhagayatha

BadalrahayhaiNbahutzindagikaypaimany/Naeysiray say maeiNiskanisablikhuNga

Yehkischaraghkolayagayahaimaqtal may/Mahekuthahaiandherabhiraushnikitarah

Maeinundar say kahiNtootahuahuN/Mujheybahar say jorajarahahai

Is tarah zarf-e-hawaaurbhikhulsaktahai/Ekdiyaaursar-e-baamjalayajaaey

Tamashabarhrahahaiaakhrilamhatkijanib/Tamashagarbhikhudekiste’arahonaywalahai

This is famed poet and column writer IqtidarJaved’s latest verse collection, in fact his third collection of ghazal. Commendatory opinions of FarrukhYar, ArifaShahzad, and Ata-ul-HaqQasmi are mentioned on the flaps of the book which, as already indicated, comprises 82 numbers of his ghazal.

Ata-ul-HaqQasmi praises the form, content, and style of IqtidarJaved’sghazal that mark an instant impression nay impact on the reader. His poetry seems to be an artistic fusion, as it were, of his knowledge, wisdom, experience and sense perceptions, his unconventional modernistic phraseology notwithstanding. Like the metaphysical poets, he too tends to synthesizethe intricate processes of his thought and feeling into a palpable whole, directed to enlighten the reader on the subtleties of his poetic art besides underlining the conflict between the development of the moral sense and the dehumanized world picture provided by the discoveries of the scientists.

Here are a few quotes from the book meant to illustrate the preceding observations:

Aeyshayr-e-kargar tri taufiqshukriya/Maienthadua to harf-e-duakardiyamujhey

Alfaazaurqawafi, tarakeebaurishq/Hum logoNwastaykoi gulzarkhulgaya

WahaNhumlogpahunchay to savera ho rahatha/Ba harsuChe Guevara Che Guevara ho rahatha

Neechaydo’abay may zaraaanaykidayrthi/Seenafarakh ho gayadarya-e-tang ka

Aik Big Bang thaphooloNkichatak say nikla/Kaamsui say nanikla to palak say nikla

HamarineeNdhai so toot-tihaidarmiyaN say/Hamaramulkhai so ibtilajariraheygi

EkhaqiqatjobayaNkartahuNmaeiNalfaaz may/ChahtahuNjistarahaisaybayaNhotinahiN

FarrukhYar, a contemporary poet, critic, and intellectual, has rightly averred that the ghazal of ‘Haikel’ is like a vast but luminous realm of experimentation which is ever-expanding to the benefit of its umpteen practitioners.

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Book review: Urdu Literature and Journalism – Critical perspectives

The book holds an ample coverage on Ghalib, Firaq, Faiz, Iqbal, Rabindranath Tagore, Munshi Premchand, Manto and Kalam, Sir Syed Ahmad Khan and Josh.

By Nayeem Showkat Khan

Going beyond the stereotype of Urdu – inordinately influenced by ‘emotionalism’ and ‘protest journalism’, Shafey Kidwai in his book ‘Urdu Literature and Journalism: Critical perspectives’ has given the language a new life in its old age. Kidwai has creatively nurtured the critical analysis of the top critics in the book and has brought it into a brand new light.

He has discussed the growth of the language, its shift from romanticism to progressive to modern day writing, and then rued over Urdu bearing the brunt of partition.

“Jis ahad-e-Siyasat ne yeh zinda zubaan kuchli Us ahad-e-siyasat ko marhoomon ka gham kyun hai? Ghalib jise kahte hain Urdu ka hi shayar tha Urdu par sitam dhaakar Ghalib par karam kyun hai? ” “Jin shahron mein goonji thi Ghalib ki nava barson Un shahron mein ab Urdu benaam-o-nishaan thehri Azadi-e- kamil ka ailaan hua jis din Matoob zubaan thehri ghaddaar zubaan thehri”

(At death anniversary of Ghalib in Agra, Sahir Ludhianvi: 1969)

First of its kind, Kidwai’s commentary has left no stone unturned to assert how Urdu literature denotes the plurality in interpretations and a long list of writers of the language have a unique ontological orientation.

One full essay is dedicated to Noble laureate Rabindranath Tagore. Kidwai has acknowledged and narrated a detailed summary regarding the influence of Tagore on Urdu writers like Munshi Premchand (The famous ‘Kalam ka Sipahi’) and Josh. Based on some valid accounts by contemporary writers, Kidwai has drawn a crystal clear frame that both Dr Sir Mohammad Iqbal and Tagore influenced each other. In a letter to Abbas Ali Khan Lama Hyderabadi, praising Iqbal’s creative genius, reproduced by Kidwai, Targore wrote: “Being not conversant with the languages in which Iqbal wrote I could not understand the depth of his creativity and I could hardly dare to express my opinion about his poetry. Iqbal’s popularity prompts me to believe that his couplets are jewels that have the effulgence of the eternity of literature.”

As Rabindranath Tagore is worshipped by many as God, the book has highlighted his other side too. Josh Malihabadi in his autobiography ‘Yaadon ki Baraat’ has written about his six months at Santiniketan with Tagore – “He (Tagore) was obsessed with a thing that left me completely annoyed. It was his penchant for publicity. It always filled me with a deep sense of dislike. Whenever a foreigner came for his interview; he would sit at a high-up place after getting himself fully spruced up. Ambergris would light up behind him. Fully surrounded by beautiful girls he would give the interview in such a manner that the interview seeker would get the impression that he was speaking to a divinity.”

Unlike others, Kidwai has praised Jayant Parmar by calling him the first voice of Dalit poetry in Urdu and has provided an ample space to his unique achievements.

Kidwai has placed Ghalib above William Shakespeare in a series of legends. “Dr Abdul Latif’s efforts to compare Ghalib with Shakespeare and some other western poets after critically looking at Ghalib’s English book ‘Ghalib’ were done in order to pin him down,” he notes.

Besides narrating the history of Urdu Journalism, the writer credits Sir Syed Ahmad Khan for being the first Urdu journalist to sow the seeds of Development Journalism. After critically analysing the articles written by Sir Syed in his Aligarh Institute Gazette against the arrogant and self-conceited British officials, for which Syed received warning from the alien government, Kidwai questions branding of Sir Syed as an ally of the British. “Sir Syed’s pen was entirely directed towards alleviating the condition of Indians. How can a person who published spiteful articles against British be described as an apologist for the British rule?” Kidwai laments. With this well researched source of information, the author has turned a new page in the history of Urdu journalism.

The anthology of great thoughts and creative assertions, Shafey Kidwai’s book is a master piece in itself, only one need to keep an English dictionary open in other hand while reading.

(The author is a PhD Student at Aligrah Muslim University, Aligrah)

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Shumara number : shumara number-037,038, v4ebook_volumenumber : 3, publisher : javed akhtar, origin : new delhi, india, year of publication : 1998, language : urdu, v4ebook_issn : 0971-9288, contributor : ghalib academy, delhi, month : november, december.

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