Romance of colours and soaring spirits
By Surinder Malhi

IN their attempt to articulate the socio-cultural affinities of our country, the promoters of Urdu poetry have occasionally highlighted the razzle-dazzle of various Indian festivals in their works. Since the festival of Holi tends to infuse a spirit of bonhomie among various sections of the society, it is rather understandable that it has always captivated the fancy of Urdu poets in a more frequent way.

Even otherwise, Quateel is perhaps the first Muslim poet who stands foremost in aesthetically capturing the gaiety and social relevance of the Indian festivals. His Haft Tamasha makes repeated references to the ways in which Holi, Diwali, Vijayadashmi, and Nau Roz were celebrated during the Mughal period. According to him, the colourful occasion of Holi was marked by a kaleidoscopic exuberance among the masses.

Besides the common people, the royal section of the society also used to participate in it in an enthusiastic manner.

Thus, for example, Mir Taqi Mir in his inimitable style refers to the elaborate celebration of Holi in the court of Asif-ud-Daula:

Holi Khela Asif-ud-Daula Vazir
Rang Sohbat Se Ajab Hain Khurd-O-Pir.

Mughal Emperor Bahadur Shah Zafar, a talented poet, also fell to the magic of Holi. As a matter of fact, he was so much fascinated by this festive occasion that he asked his ustad Zauq, a prominent poet of that time, to guide him in composing Holi poetry.

Bahadur Shah Zafar sought this assistance because he knew that Zauq had invented an indigenous style to highlight the cultrual richness of Hindustani festivals. Zuaq advised his enthusiastic disciple to curb his excessive dependence on the Persian diction and exploit the Braj dialect to achieve his mission.

The following lines from the Phags (songs) of this poet-emperor clearly demonstrate that the suggestion of his ustad helped him in realistically capturing the verve and colour of Holi celebrations:

Kyo Mo Pe Rang Ki Maari Pichkaari
Dekho Kunwar Ji Doongi Mein Gaari
Bhag Sakoon Mein Kaise Mo Son Bhaga Nahin Jaat
Thadi Ab Dekhoon Aur Ko Sanmuch Mein Aaat
Bahut Dinan Mein Haath Lage Ho Kaise Jane Doon
Aaj Phagwa To Son Ka Tha Peeth Pakad Kar Loon.

Like Bahadur Shah Zafar, Nazir Akbarbadi also invented a unique musical style to encapsulate the all-pervasive charm of Holi colours. Due to his lucid style, some of his couplets also found a prominent place in Hindi literature.

Thus, for example, the following lines of this poet effectively underline his secular mode of expression:

Jab Phagun Rang Jhamkte Hon
Tab Dekh Baharein Holi Ki.
Jab Daf Ke Shor Khadke Hon
Tab Dekh Baharein Holi Ki
Pariyon Ke Rang Damkte Hon
Tab Dekh Baharein Holi Ki.

According to Dr Aziz Barni, an eminent critics of Urdu poetry, Holi brings along with it an intoxicating and exhilerating season which is surcharged with the fragrance of flowers. This picturesque setting richly inspires the creative artistes to explore all its shades and hues. To underline this creative myth of Holi, Dr Aziz Barni alleges that Khwaja Amir Khusro used to hold qawwali sessions on this very day and also send flowers to his close relatives and friends, particularly to his uncle Hazrat Nizamuddin.

In a similar vein, Quli Qutab Shah, once a very popular poet of Bijapur and Golcunda was also drawn towards the carnival spirit of this festival. In a candid fusion, he cleverly exploited the mythological backdrop of Radha and Krishna to infuse a romantic fervour in his works:

Basant Khelein Ishq Ki Aa Pyara
Tumhin Mein Chand Mein Hoon Jyon Sitara
Jeevan Ke Houzkhana Mein Rang Madan Bhar
Soo Rom Rom Charkiya Laye Dhara
Nabi Sade Basant Khelia Kutub Shah
Rangeela Ho Riha Tirlok Saara

While Quli Qutab Shah attempted to give spiritual and metaphysical dimensions to this raas lila aspects of Holi, his contemporay Faiz Dehlvi (1719-46) introduced a satirical refrain to highlight the hysterical rejoicing and boisterous spirit associated with this occasion.

Hence, his Tareef-e-Holi describes the fun and frolic of this festival in a humorous way:

Le Abeer Aur Argaza Bhar Kar Rumal
Chidkte Hein Aur Udate Hein Gulal
Jyon Jhadi Har Soo Hai Pichkaari Ki Dhaar
Doudti Hein Narian Bijki Ki Saar

Yet in another way, Mehjoor Lakhnavi (1798-1818) in his book Nawab Syadat Ali Ki Majlis- e- Holi unfolded both the ribaldry and the sensuousness lurking behind the festivities:

Gulzar Khile Hon Pariyon Ke
Aur Majlis Ki Tyari Ho
Kapdon Par Rang Ke Cheeton Se
Khushrang Ajab Gulkari Ho

One of the reasons for this obsession of Urdu poets with Holi is traceable to the fact that for both Hindus and Muslims this festival symbolises the commencement of a new year with a rich rabi harvest coupled with a refreshing weather.

In addition to this, more colour to Holi is added as it falls near the Muslim festival of Eid-Ul-Fitr and both the occasions are determined in accordance with the lunar calendar.

For this reason, Munshi Zakaullah in his book Tareekh-e-Hindustani observes that Holi is not merely a Hindu festival, rather its carnival spirit underlines a harmonious amalgamation of both the faiths.

Hence, this occasion of universal cosmic fabric was justifiably adored by the saints like Amir Khusro, Hazrat Nizamuddin Aulia and Khwaja Bakhtiar. All these saints composed their poetry both in chaste Persian and flawless Hindi, thereby reflecting the secular background of this pink occasion.

Nevertheless, much impetus to Holi poetry in Urdu was provided during the Mughal period. Since Akbar, the greatest Mughal emperor, had a secular outlook, it is convenient to construe that besides participating in Holi Melas he also must have encouraged the artists of his time to glorify the enlightened spirit of this festival.

Again, Jahangir in Tuzk-e-Jahangiri is shown holding a Mehfil-e-Holi in which the poets used to recite their Holi qualams.

Even a fanatic emperor like Aurangzeb was also fascinated by the emulsifying colours of Holi.

Lane Poole in his book Aurangzeb observes that during his time there used to be several groups of Holi singers who besides reciting libertine lyrics also indulged in salaciousness, accompanied by various musical instruments.

Whatever the reason for the percolation of Holi spirit in Urdu poetry may be, it has always been a favourite topic of literary interest for various poets of this language.

Furthermore, in their attempt to grasp the true essence of this occasion, they frequently utilised a secular style consisting of Persian , Urdu and, of course, Hindi diction.

It is, therefore, not surprising to discover that several modern Urdu poets are successfully carrying forth this tradition. Thus, marvellous Holi songs of Taban, Inshan, Malikzaada Manjoor, Ahmed Kais, Wazid Sehri, Dr Aslem Parvez and Dr Khaleek Anjum are a pointer in this direction.