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July 13, 2003
Review: Writing poetry in red
IN THE preface of Kaifi Azmi‘s first collection of poems, Jhankar, published in 1944, Sajjad Zaheer, the doyen of the progressive writers‘ movement in the subcontinent, described the poet as “a crimson flower of modern Urdu poetry”. This was a rare tribute to an emerging poet by a seasoned writer and a leading intellectual of his time.
Sajjad Zaheer‘s comment meant two things: the fragrance of Kaifi‘s poetry would spread far and wide enlivening the spirit of oppressed humanity. Secondly, it put a seal on the poet‘s firm commitment to his ideology. Throughout his life, Kaifi adhered to his articles of faith.
Despite his active participation in the Communist movement, Kaifi never compromised on the principles of good and durable poetry. His poems can easily be divided into two categories: the ones ethereal in content and laden with the soft touch of sophisticated love and romance; the revolutionary poems emitting fire and dripping with blood. It appears as if the two have no relationship with each other and both exist within their own environment and framework.
But the fact remains that Kaifi is essentially a romantic poet. He will be remembered not for what he has written about Stalin or the Soviet revolution. His best and memorable poems are those which speak of deep love, broken promises, cherished desires and an unsatiated urge for something which is unachievable.
Writing about the early days of his life when some elders of the family thought of involving Kaifi in the ancestral vocation of farming, he narrates an incident which sheds light on his romantic bent of mind. In those days, a primitive form of crop sharing was in vogue. The farm workers engaged in harvesting were allowed to keep a part of the crop for their own use. Kaifi was almost infatuated by a young girl who was working in the field and was intelligent enough to realize that the young man was taking a rather unusual interest in her. Taking advantage of the situation, she collected more than her share in the crop. An old woman, who was closely watching this innocent game tried to do the same. But meanwhile Kaifi‘s uncle had returned to the farm. On inquiry he was told the whole story by the old lady.
This episode brought about a change in Kaifi‘s life. He was sent to Lucknow for studies. It was there that he encountered the realities of life. His first experience of the progressive writers was at the madressah where he got hold of Angaray the bible of the progressive writers‘ movement. Thus began an endless saga of political indoctrination which lasted till his death.
Kaifiyat is an anthology of the poet‘s seven collections of poems which were published from time to time. These include Jhankar (1944), Akhir-i-Shab (1947), Awara sajday (1974), Iblees ki Majlis-i-Shoora, and Iblees ki Majlis-i-Shoora — Doosra Ijlas (1983).
The most remarkable aspect of Kaifi‘s life and poetry is his consistency. Never for a moment he faltered on the path of realism. Even after the collapse of the Soviet system and the downfall of communism, he continued to stick to his beliefs and creed.
Writing about himself, Kaifi says,”...I was born in a subjugated India, I grew old in an independent India and I will die in a socialist India.” Unfortunately his dream could not be realized. He died in an India which is still battling against injustices, disharmony and communal frenzy. But rarely all dreams come true.
It is, however, amazing how Kaifi found time and energy to satisfy his urge for romantic expressions and respond to the clarion call of the communist party. He was not an armchair intellectual. He did not believe in paying lip-service to the cause of the downtrodden. Indeed he belonged to the masses with whom he worked and for whom he wrote his inspiring poems. He lived among them and worked relentlessly to improve their quality of life.
His daughter, Shabana Azmi, feelingly writes about Kaifi‘s involvement in the Indian People‘s Theatre (IPTA) and how he travelled all over the country to popularize a new concept of ‘a theatre for the people‘. It was because of his zeal and enthusiasm that the IPTA‘s revolutionary message spread far and wide. This organization is still preaching love and amity among the diverse communities of India. At a time when many progressive poets were taking refuge in unreal and imaginary pursuits and indulging in perversions of various kinds, Kaifi held high the banner of revolution with a sense of pride. He has written many poems assiduously following the party line. But even in his ideological poems, he does not compromise on the basic ingredients of durable poetry. When he writes with a sense of commitment to the ideology of the left, he takes care not to descend from the heights he had achieved through his talent and perseverance.
Kaifi was among the founders of the progressive writers movement in the subcontinent. His death last year came as a blow to the philosophy of humanism and egalitarianism which he preached. It is sad that the world is gradually losing the titans who once reigned supreme in the realm of literature.
Kaifiyat: Kulliyat-i-Kaifi Azmi, 1918-2002 (Anthology of Kaifi Azmi‘s poems)
Educational Publishing House, 3108 Vakil Street, Kucha Pandit, Lal Kuan, Delhi-110006, India.
Tel: 23216162, 23214465.
Email: ephdelhi@yahoo.com
ISBN 81-87667-78-8
428pp. Indian Rs350
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