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urdu book review
Dooa Zameen Poetry is considered the sanf-e-nazuk (a delicate, alluring maiden) of Urdu literature whereas Ghazal is considered Urdu poetry’s sanf-e-nazuk. Indeed, Urdu poetry is a splendid blend of mainly Indian and Persian sensibilities and linguistic genius although, occasionally, one gets a whiff of Turkish and Arabic influences too. Over a period of time, thanks to royal patronage, Urdu poetry’s luxuriant growth became manifest in the form of such sub-genres as qasida, rubai, qita etc.
Ghazal has impeccable antecedents. Beginning from Shah Hatim and Wali Dakhani it benefited from the genius of such greats as Mir Taki Mir and Ghalib, then came the likes of Iqbal, Firaq Gorakhpuri, Faiz Ahmed Faiz et al who took the art and craft of ghazal composition to new heights — lending it sophistication as well as relevance to human situation. The metaphor, too, has changed from the abstract, spiritual and romantic gul-o-bulbul, husn-o-ishq, zulf-e-barham types to the more tangible ones like poverty, rebellion and societal warts. No list of great Urdu poets of modern times would be complete without the name of Parveen Kumar Ashk. Ashk has re-invented ghazal by coming up with metaphors to which the post-modern reader can easily relate. He has pioneered a new sensibility vis-`E0-vis such issues as love for all life, viz., "Ja, padosi ke ghar ki aag bhuja/Aag ka kuchch pata nahin hota" (Go and extinguish the fires in your neighbour’s house, you never know of the fire’s ways); "Tu kalma padh key parindon ko ziba karta hai/Khuda muaaf karey sab ibadatein teri" (You sacrifice birds/animals while uttering the hymn; may God forgive you your prayers). His concerns for healthy human relations get reflected in these words, "Muravvat ki tijori band rakhna/Yeh sikka sheher mein chalta nahin hai" (Nobody cares for human affection in the city, so keep your feelings to yourself). Violence worries his sensitive soul no end: "Mere khuda teri makhlooque mein sab salamat ho/Dua yeh mangoon jab akhbaar saamne aaye" (Every time the newspaper reaches me I pray for the safety of all in your creation); "Tumne kyon barood bichcha di dharti par/Main to dua ka shehar basane wala tha" (Why have you covered the earth with explosives? I was about to build a city of blessings); "Jahan purkhon ke sajdon ke nishaan hain/Woh galiyan khoon se kyon dho rahe ho" (Why are you washing those lanes with blood that carry the signs of our forefathers’ piety); "Aansoo, baadal, darya sab siyasi hain/Jalta sheher bachaney wala koi nahin" (Tears, clouds and rivers are political tools; there’s none to save the burning town). But his pacifism is no cowardice: "Na tegh fainkana ghabra ke zulmatey shab se/Zameeney haq pe lahoo ka nishan roshan hai" (Don’t surrender your sword for fear of darkness, the realm of justice is still glowing with bloodspot). Ashk’s deference towards elders and adoration for children are well illustrated in these lines: "Sijda karna sabh buzurgon ko/Saarey bachchon ko tu dua dena". And laments, "Jab sey faut hua hai boodhon ka kirdaar/Bachchon ko samjhaaney wala koi nahin hai" (With the death of the elders’ character there’s none to guide the children). He values progressive ideas: "Jadeed kapde use kya jawaniyaan deingay/Jo boodhi soch ko chehra naya nahin deta" (New clothes can’t bestow youth upon a person who doesn’t change his obsolete mindset). He protests against intolerance thus: "Kya yeh masjid hai sirf Momin ki/Kya yeh kafir hain sab khuda kay bagair" (Is the mosque only for the believer, are pagans really godless). He can get irreverent too: "Khuda ke fazal se roshan meri dua ka ghar/Meri dua se khuda ka makaan roshan hai" (By God’s grace my temple is luminescent or perhaps God’s house is radiant with my prayers). As ardent supporter of Indo-Pak friendship Ashk prays, "Zameen ko ai khuda woh zalzala de/Nishan tak sarhadon kay jo mita de/Mohabbat mein badal jaye siyasat/Khuda Lahore Dilli se mila de" (O Lord, wreak such an earthquake that all borders are wiped out, intrigue turns into love and Lahore unites with Delhi). Parveen Kumar Ashk has represented India at many international Urdu poetry symposiums, and has been honoured with prestigious national and international awards like Shehanshah-e-Ghazal Award, Firaq Gorakhpuri award, Ghazal Hero award, Ghazal Bhaskar Award as well as literary awards from Punjab Urdu Akademi and Bihar Urdu Akademi. He has been featured on BBC Urdu Service, apart from more than 200 TV and radio literary programs. Unfortunately the Punjab Languages Department hasn’t considered him for Shiromani Sahityakar Award although lesser litterateurs have been honoured. The Delhi Sahitya Akademi, too, needs to recognise such an immense talent.
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However,
it is ghazal that has become the most prominent and popular generic
emblem of Urdu poetry. It is dexterous enough to portray a myriad
moods — levity and gravity, carnality and piety etc.