Some souvenirs from the festival of stories

(last part)

Masood Hussain Rizvi Adib writes in his book “Lakhnaviat” about the well-known orator and scholar Allama Sabat Hasan that besides being an unparalleled orator, Allama was also an excellent poet. Fater used to use pseudonyms in poetry.

He was asked in a gathering that Qibla! The two great names of elegies are Mirzadbir and Miranis. The ‘eloquence’ of the former and the ‘eloquence’ of the latter are famous. Can this difference between the two be highlighted with a single short example? Allama said, why not! Secretary says:

“Under the feet of mother Firdous is bad”

This is “rhetoric.” Now this is what Miranis describes in his own way:

“Hear, there is paradise under the feet of mother”

This is “eloquence”. That is, the matter should be explained in such a simple, easy and easy-to-understand way that it is not possible to explain it more easily.

In the book “Firaq Gorakhpuri, Yadayo Ke Jharok Mein” Mutarab Nizami writes that one day I asked Faraq Sahib that to what extent poetry has superiority in the arts. Faraq Sahib said, all the arts in the arts are acquired, for example, you are not familiar with music, but if you want to learn, something will surely come. It is a different thing that you are not an expert in art, but you will definitely become familiar, but there is neither a teacher nor any book for poetry, by reading which you will become a poet or become suitable. Dagh has highlighted this characteristic of poetry in his poem:

Draw a picture of the artist

Some play, some fun, some speech

That is, no matter how much the artist loves his art, he cannot present these three qualities simultaneously in one picture, and the poet can describe these qualities in words in three stanzas or poems.

Ahmad Hussain Siddiqui writes in the second volume of his book “Dabastanon Ka Dabastan Karachi” that Aqeel Ahmad Jafari, grandson of Riyaz Khairabadi’s younger brother Niaz Khairabadi and elder brother of famous writer, journalist and novelist Rais Ahmad Jafari K., was also a poet. He settled in Karachi after the establishment of Pakistan. He was strictly bound by religious traditions. He penned the answer to the verses based on Josh Sahib’s atheistic views in the form of verses under the title “Josh and Hosh”. Here is an excerpt from Josh Sahib and his response as a sample:

enthusiasm

God who was life passed away

She was afraid of every moment

This age will also be calculated!!!

The age passed by

Aqeel Jafri

When the fate was denied

So why did you spend your life in fear?

Count him in hell too!

The age that was spent crying

Jalil Qadwai writes in his autobiography “Hayat Borrowed” that in a gathering of poets, I read the following poem by Munshi Muhammad Wilayat Ali Aziz Safipuri, a student of Ghalib, for the feast of the masters of taste:

Listen to the cry of the lover, how they become precious

They are very delicate and speak slowly

When Dadutahsain’s noise stopped, a gentleman started saying in a protesting manner, the poem mentions the lover’s slow speech, which is related to language and tone, while the lover’s cry is related to hearing. Can be hindered? To which I explained how soul-wrenching and burdensome it can be to listen to the heart-rending cries of a lover, whose ears of embodied tenderness cannot bear the burden of the loudness of its own voice.

Rafat Sarosh writes in his book “Harf Harf Bombay” that Majrho Sultanpuri’s style of poetry also changed when he became associated with Anjuman Progressive Writers and he started writing such revolutionary poems:

Who said that the flag of peace could not be hoisted on this earth?

This is not a disciple of Hitler, his comrades could not be killed

His arrest warrant was issued for reciting this ghazal in a mushaira, due to which he had to stay in hiding for seven to eight months to avoid arrest. The police raided places to search for them, but they were nowhere to be found. After a long time, when Majroh understood that the matter has become old and the situation has moderated, Mastan came to the scene in a mushaira of Talab. When it was his turn, he recited the first verse of the introduction to his famous ghazal:

I felt comfortable that even the direction of the wind changed

The first stanza had just been recited when Sakhan Fahm CID Inspector Shaikh, dressed in plain clothes, who was already on the stage, held the victim’s hand and handcuffed him and recited the second stanza of the notification:

Your hand came into my hand so that the lamp burned in the path

In the collection of sketches written by Mirza Adeeb, “Nakhon Ka Karda”, it is recorded that Devendra Satyarthi and Rajendra Singh Bedi had a deep friendship. Satyarthi used to spend most of his time with Bedi, where Satyarthi would tell Bedi his newly written fictions, among other topics under discussion. Satyarthi was dangerously addicted to telling his stories. When he came to Lahar, he used to tell many stories ignoring the hearing power and endurance of the addressee.

Against this background of his habit, Minto wrote a fable, the plot of which was that a gentleman comes to his house as a guest who brings with him many fables to narrate. In the beginning, the host listens to two or three fables, being forced by the courtesy of the host, showing great enthusiasm and interest, but when the guest’s story-telling starts to get longer, he gets very worried. The real reason for the host’s trouble is that he can’t even talk to his newly married beautiful wife. Husband and wife are not blessed with moments of solitude.

The guest clings to the host like a shadow. Before the end of the fable, Minto wrote a great eloquent and meaningful sentence which went like this, “When the host has a chance to meet his wife for a moment, he quickly kisses her lips like a letter. Stamping the ticket.” To truly appreciate this phrase, one must know that Rajand Singh Bedi worked as a clerk in the Lahore General Post Office dealing with envelopes. Seals had to be registered.

Professor Zulfiqar Khan writes in one of his essays based on his literary memoirs, “Kuch Yad Raha, Kuch Bhol Gaye” that in a pleasant meeting of poetry and speech where people full of literary understanding were participating, I met one of Lucknow. Read the following poem by the unknown teacher:

The photograph of Yar Bahr-e-Nakireen is with him

Place a rose glass in my grave

And asked Sahib Zouk to interpret this poem. When everyone seemed unable to explain the meaning of this poem with two different unconnected ideas, even after much deliberation, I explained the poet’s teaching skills in the background of the poem and said that the semantic depth of the poem is creates a deep connection between the two stanzas.

In this poem, the poet says that in order to avoid the questions of Nikarien in the grave after his death, I have kept the picture of my beloved with me. They will become unconscious without waiting for the good looks and perfect beauty. To bring them back to consciousness, put a bottle of rose water with me in the grave so that I can sprinkle them and bring them back to consciousness.

In the sketchbook “Chand Akabar, Chand Maasar”, Jalil Qadwai writes that during the days when he was the editor of the official literary magazine Mah Nou, a ghazal by the famous poet Mahirul Qadri was received for publication. The message of the ghazal was as follows:

By your hands, which has passed over my heart

Where has the tragedy happened in such a time?

The term “Samman Ghazara Hai” in Misr Oli of the Informer seemed a little strange to me. So I published the ghazal without informing, because I thought to myself that “the sky is seen, it does not pass.” I remembered Aziz Lakhnavi’s poem in Sanad:

I had seen him sleeping in the morning!

What can I tell you what these eyes have seen in the sky?

A few days after the publication of the ghazal, Hali’s obituary written in memory of Nawab Mohsin-ul-Mulk passed by, one of which shocked me:

The time for which there was a beat, that time has finally come

At last, trouble fell upon the friends

After reading the poem, I realized that the word “Samaan” is also used in the sense of mental and emotional state in poetry. For more comfort, when I took help from the dictionary, I came up with the words “state, quality, world” in the meaning of Samaan, and at the same time I remembered a poem I had written:

I must have given them permission to go

But what can I tell you that the world has passed on the heart!

And thought that if the world can pass through the heart, why can’t the sky pass through? And so he started to feel ashamed of his irresponsible critical attitude and lack of knowledge, which was done in haste in connection with the notification of Mahirul-Qadri’s ghazal.

It is written in Agha Nasir’s book “Hum Jaite Ji Engisan Rahne” that describes the motives behind Faiz Ahmed Faiz’s poetry that Sajjad Zaheer, who was imprisoned with Faiz Sahib, narrates that one day in the prison we wrote in the newspaper. The news read that a beautiful girl was going to the Pomegranate market with her hair scattered on her shoulders. A cleric in a shop did not see this scene and he saw an insult to Islam in this shamelessness. So he got up with scissors in his hands and cut the hair of this girl. Faiz Sahib’s mood was affected by this news and he was inspired by this incident and wrote the following poem:

Dilbari stayed, the name of the language of the people toy!

Now they don’t take the name of pre-ru Zalf Bhakharane

Jagannath Azad in his autobiography “My last night” states that during the height of his popularity, the poet Ihsan Danesh, in front of Lahore’s Arbab Zouk circle, divided his like-minded poets and writers and his admirers. established a “circle of knowledge”. After the first few months of scholarly and literary services, the pen flirtation with Arbab Zouk of the newly established circle began, which escalated into personal animosity through verbal barrage. Ridiculing the well-known writer Abdul Majeed Salik in his column on this situation, he wrote that there are two prominent literary circles in Lahore at the moment. One is the ‘circle of taste’ which lacks knowledge and the other is the ‘circle of knowledge’ which lacks taste.

Qaiser Osmani writes in his Aap Baiti “Journey of Memories” that in a meeting I asked the well-known teacher, poet and excellent lyricist Arzo Lakhanvi that Huzur! Some are concerned, well? He said that I am coming to end a contract of great value for the songs of the film “Humayun” under the completion of the film maker and director Mehboob.

When I asked the reason, they said, they were forcing me to add a meaningless word in a verse of my song just for the convenience of their lyrics. How could I afford it? He must be a master of his art, but I could not bear these intrusions in the matter of language. It was the teachers’ love and appreciation for the language that they sacrificed their financial affairs for the safety of language and literature without considering any expediency or interest.