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A Wilderness Of Possibilities: Urdu Studies In
Transnational Perspective IT is an edited compilation of papers read at a conference of Professor Naim, who pioneered research teaching and writing of Urdu and other allied languages in the US. It is shocking to learn that little was known about Urdu or its poetry in the West before 1962. When a rich Afghani, Ataullah Khan Ozai Durrani, left a considerable fortune of half a million dollars to be devoted to the translation of Ghalib and Mir, not many in America knew who these great men were. The New York Times reporter who contacted the librarian at the Indian Consulate in New York was told that he should contact Pakistanis, who might know about them. The Professor of Iranian studies too directed them to contact Pakistanis. So appalling was the ignorance about the works of great poets in Urdu literature abroad! But since then much has changed due to the sustained efforts of Barabanki-born Professor Naim as well as many western scholars, who have now shown a keen interest in this field. Most of the papers in this book are of scholars and professors from American universities. It is rather unfortunate that any discussion about Urdu and its writers brings in the question of Hindu-Muslim ownership or secular versus nationalist attitudes. Take Aag Ka Dariya of Hyder which is referred to by Hansen and Lelyveld, the editors of the book, not only as a rich saga of love and transience but also a symbol of mixed civilisation. Love could momentarily transcend the boundaries set by caste, religion and nationalism. Hyder captures 25 centuries of Indian history in representing a synthetic civilisation, which cannot be divided by nations. It goes well to deal with civilisations and nations if they have a bearing on the characters of a novel but it is stretching things too far if one starts analysing the divide of secularism and nationalism between Muslim and Hindu writers e.g. in gender, politics, history – Urdu traditions of Padmini. The author does micro dissection to find that Hinduism has been emphasised as nationalism by Hindu writers. Muslim writers understandably avoided the details of conflict that depict Rajput characters refusing to bend before an unjust Muslim invader. I feel it is irrelevant to talk about secularism. Literature is either good or bad; it is not virtuous because of an ideology. I think the most profound message on this was delivered by Ghalib — aadmi ke liye bhi mushkil hai insan hona. A true humanist, Ghalib, stood above caste, creed, religion and state to give his best to the civilisation. Ghalib was not just secular but humane, which is much more important than professing any creed of narrow dimensions. In the last paper of the book, Prem Chand’s Karbla, stands a great contribution to literature and Indian thought. There are two singular contributions that focus on understanding Urdu literature: one on poet Nazir by Aditya Behl and the second on Ghalib — Meaning of the Meaningless by Frances W. Pritchett. Behl has restored respectability to Nazir, who was consigned to dust by canonical critics just as Ravi Verma was rubbished as a calendar painter till recently. Ghalib is an incomparable poet and a creative genius of his stature is not found in any language. Pritchett rightly remarks, "His poetry at its best is some of the finest in the world." His lucid and popular poems are written in the later period of his life but many of his poems are difficult to understand. He was thus most misunderstood and controversial in his times. The problem lies in his addressing a high intellectual and imaginative plane – a road not taken, tools not used by any one. The author has rightly concluded that "Ghalib ….the poet of delicate thought was always a high flyer…he wanted to do brilliantly what others had done well and he also wanted to do what no one has done before." For this Ghalib suffered as all pioneers do. Take for example Van Gogh and Fauvists, who were described as wild beasts by the critics and condemned. The International Conference, in which these papers were presented, is a fitting tribute to the creativity and contribution of Professor Naim – an Indian who brought the awareness of Urdu literature to the West. |