Some souvenirs from the festival of stories

(Part I)

Prose literature of the Urdu language takes precedence over Urdu poetry due to its enviable variety of genres. From fiction to narrative, from research to criticism and from essay writing to translation, every stop of the study journey of prose literature captivates the mind and heart of the reader in such a way that he cannot remain enthralled.

According to a careful assessment and general assessment, despite the various standard, comprehensive and versatile genres, Aap Beti Aur Bihag holds a prominent position as the most widely read genre in prose literature. Compared to the poems written by representatives of other fields of life, the poems of the writers associated with Urdu poetry and literature are more popular among the people because of their literary taste, minimalistic style, interesting expressions, interesting observations and incidents. Hardil is dear. The reason is that the respectable part of “autobiographical literature” is indebted to the pen of Ahalian poetry and literature.

The article under review contains a few such unique, remarkable, attractive and interesting events selected from the well-known and unknown poems and biographies of the same poets and writers, in which the literature, creation and research, praise and criticism of the poets and writers, Colorful stories decorated with contemporary eye, eloquence and eloquence, biological downfalls and mental and emotional expressions have been narrated. This result of time-consuming, hard-working and long-term study is presented in the words of Mir Taqi Mir with the hope that:

Remember our words, then he will not listen to such things

If he listens to someone while reading, he will listen to his head for a long time

Dr. Syeda Jafar Mohiuddin Qadri Zor wrote in her article in the Zor number of the literary magazine “Subras” that one day Dr. Zor started saying that “after a lot of searching and research, the address of this cemetery of Lal Door Chalaya where the ancient teacher poet Mir Shamsuddin Faiz was buried. There was a Ho scholar everywhere. The condition of the graves was very dilapidated. There were piles of dirt and garbage everywhere.

When I reached the grave of Faiz Sahib on the marking of local people, I was surprised to see that his grave was clean and free from dust compared to others. I was wondering in my place that who takes care of Faiz Sahib’s shrine in this desert? So I returned home after reciting Fatiha, but this question was still in my mind. I picked up Faiz’s diwan, and while repeating this question, opened the diwan and looked at the first page on the right hand side and found this verse written at the top:

The spring wind of Chamanistan Paradise

“Mashhad sweeps Faiz.”

Akhlaq Ahmad Dehlavi writes in his book “And then Bian Apna” that once in the Oriental College of Punjab University, Faraq Sahib, while giving a lecture on the topic of poet’s inaction, said, “The first poetry in the world is from inaction.” It started because when man came down from the trees and started living in caves, there were some inactive people who went hunting to fulfill their nutritional needs instead of accompanying their companions in the absence of their active companions. I would keep the cave clean and decorate the caves with flowers, for me it was the first poetry in the world.

So, from the renovation of the caves till today, the work of the poet has been to find out how he can make this world more comfortable and beautiful. Although this work is now done by architects, engineers and scientists, but this dream is shown to them by an apparently inactive poet, because action is an unpoetic act, like food looks very good when it is laid out on the table, but cooking , choosing a table and eating, these are all non-poetic actions. This is the reason why a claimant like Iqbal kept doubting the same thing throughout his life:

Iqbal is a great preacher

He became a gazi of speech, but he could not become a gazi of character.

Dr. Muhammad Hasan writes in one of his articles on Bayad-Josh that Josh Sahib recited one of his poems in a gathering, the stanza of which was as follows:

Let’s move on, let’s move on

At the end of the meeting, Masood Hussain Adeeb politely said to Josh Sahib, “Josh Sahib! When you publish this poem, you must give a note that the word ‘Ravan Dawan’ is used in the literal sense, idiom. Not in terms of reliability.” Josh Sahib was alert and asked what is the meaning of the idiom? Masood Sahib said that the meaning of the idiom is what Safi Lakhanvi has played in one of his poems about orphans:

We are poor, poor people

“Moving on” means “beaten wretched people”.

Tabish Dehlvi states in his autobiography “Deed Al-Shidal” that one day I asked Fani Badayouni to take me as his disciple, then Fani said, although the question is not unreasonable and his behavior is also common, but he is a teacher in poetry. I have a slightly different take on discipleship philosophy. Then they said look! If you want to learn tailoring, it is another matter, because you can tell about the tailoring of clothes, but to write poetry, familiarity with the basics of poetry is very important, which can come from study, but the blessing of poetry is the religion of study. No, it is a deposit, thus the natural poet does not need to learn poetry. Therefore, if you think your poetry needs teaching, then leave such poetry immediately. The same philosophy and poetry of the late Fani has been described by the beloved Autumn in this way:

The thing is that the man is a poet

It either happens or it doesn’t

Indian writer and poet Abid Sohail writes in his Aap Baiti “Jo Yad Raha” that during a gathering in Orai, our friend Abrar Sahib recited a poem attributed to Ghalib:

A few pictures, letters of a few Hussains

After death, this material came out of the dead house

I said, this poem can’t be Ghalib’s, everyone was surprised, my argument was that the composition of “images” is wrong, it should be “images”, and Ghalib is such a poet of Qadir-ul-Kalam. It was not difficult to do. Apart from Ghalib’s Dewan published by Nizami Press in 1922, this poem is not included in any Diwan Ghalib published later. In fact, this poem is by an unknown poet, Bizm Akbarabadi, whose original form is as follows:

A picture of a showman and a few names

After the death of the lover, this material came out of the house

One day, Sadiqeen was showing calligraphy samples of verses of Surah Rahman to a group of his fans in the Lahore Arts Council building when several college students surrounded him. On seeing her due to her natural beauty, the Sadiqeen recited this verse:

Fabai-e-alaa rabikuma tuktiban

An ascetic in the crowd, Darrish, said to him, “Sadiqin Sahib!” You also do wonders, use the verses of the Qur’an unnecessarily, and read Lahool. Sadiqeen smiled and replied, “Hazrat!” As for your own concern, on this occasion you remembered Shaitan Allargam and me, Lord of the Worlds.” And then read this poem of Mir Anais:

Why don’t you recite Durood to Hussain after seeing him?

Yekhyal is an industrialist with pure eyes

Anwar Sabri, the author of the book “He Whom No One Knows”, based on the mention of unknown but accomplished poets, writes that the son-in-law of Sir Tej Bahadur Sapru from Jalandhar, the grandson of Pandit Shiv Narayan Shamim, Munshi Chand Narayan Raina, the poet of the East, Allama Iqbal. He was the only student whose speech was regularly corrected by Allama. His devotion and love for Allama can be estimated from this poem which he recited in front of Allama a month and a half before his death:

My heart is full of emotions

I am the measure in which your wine pours

His collection of poetry is available under the name of “Caravan Sakhn”. Allama’s imprint can be clearly seen on his words:

Khard could not find the secret of the delicacy of jinns

He couldn’t hide even in a corner of horror

The intellect is not an intellect that does not have a sense of humor

That is love, love that is not a slave of intellect

Tamsheel Ahmed writes in his book “Mirza Yas Yagana Chingizi, Hayat Aur Shahari” that in a mushaira held in Lucknow, Mahshar Lucknowi recited his ghazal and recited:

“Hey Mahshar,” he would have called out

If he wanted to kill, he would have killed with the same arrow

So the mushaira flew that it is impossible to tie the rhyme of “Pakkara” better than this, but when Yegana recited the verse of the ghazal in his turn, it was heard in the mushira that the rhyme of pakkara was not thought of from this aspect:

You were left watching, you did not do well

At the time of drowning, someone would have called

Nazir Siddiqui mentions Andalib Shadani in his book of sketches “Jaan Baajar” and writes that the editor of a local English magazine in Karachi asked me to get English translations of some representative Urdu poems from Shadani Sahib. Sahir Ludhianvi’s poem “Taj Mahal” was also included in the selected poems. Instead of translating it, Mr. Shadani criticized it in such a way that I lost sight of that poem, and I myself also lost sight of it. For example, at first, he said that there is no regular order in the structure of this poem, harmony was not considered in the use of rhymes. A verse of the poem is:

Who says that his feelings were not sincere?

Because those people were also poor like themselves

While objecting to “Apni ihi Baa”, they said, “Since Sahar was a Punjabi, so here too he adapted the Punjabi style of speech into Urdu format, i.e. the Urdu translation of ‘Sade Warge’ was made ‘Apni ihi Baa’, while Here should have been “like us”:

Because those people were poor like us.

Then the stanza of this poem is:

My beloved! Behind the scenes of advertising

The use of the word publicity in this stanza is inappropriate, while objecting to “the graves of their loved ones are nameless and faceless” and said, “Where did the graves of the poor come from?” There are graves for the poor.

During the time of Majaz Saheb, there were various discussions in reliable circles about the friendly relationship of a well-known Syed Sahib. At the same time, a gentleman, who was probably one of the fans of the said woman, brought to the Majaz a picture in which the said Syed and that lady were seen together, and said to the Majaz, “Bhai this picture. I want to frame it and keep it with me, you should write a touching poem on it.” Majaz took a look at the picture and wrote below it:

Our words are only words, Syed does “work”.

Don’t forget there is a difference between the one who says and the one who does

All Ahmad Sarwar writes in his autobiography “Dreams remain” that in a gathering where Nawab Jafar Ali Khan Ahar was also present, a discussion took place about the difficulty and simplicity of poets, and Jafar Khan Ahar said that Mir People are deceived by his simplicity and simple style of performance, while most of his poems require a lot of consideration. As an example, he recited the following poem of Mir Sahib and asked the meaning:

The hands of bulbul and the bosom of flowers were blooming

The courtyard was a model of the Day of Reckoning

After various interpretations of the aforementioned poem on behalf of the audience, he spoke. Here, ‘dast-i bulbul’ refers to the petals on the lower part of the flower and the chankas are five, hence resembling claws. “Daman-i-Gul” refers to the red or pink petals of a flower. Now the meaning of the poem is that Bulbul is holding Gul’s foot in her paw and is crying and complaining about Gul’s disobedience. Therefore, in the same way that the oppressed will hold the foot of the oppressor and cry in the doomsday, in the same way, the scene of the day of doomsday is revealed by the cry of the bulbul in the courtyard of Chaman.

In the illustrated book “Lost People”, Agha Nasir writes that Zulfiqar Bukhari, the younger brother of Patras Bukhari, used to speak to them to express his displeasure if he was angry with any of the people whom he loved. would close In the same context, when the senior poet Iram Lakhnavi and Bukhari sahib were not on speaking terms, in a mushaira in Karachi presided over by Bukhari sahib, Iram Lakhnavi was also invited as a poet. On his turn, when he recited the ghazal, the whole gathering erupted with applause, but Sahib Bukhari did not miss it, he listened to the entire ghazal with angry eyes and tensed eyebrows. At the end of the ghazal, Aram Sahib addressed Bukhari Sahib and said, Huzoor! A verse is only for your service, and then read the following verse with great compassion:

Thus they passed without looking

We were left to say hello

Bukhari Sahib got up on hearing the poem and got up from his seat in an emotional way and hugged Iram Lakhnavi.