September 7, 2003

A POET of distinction, a storywriter, a literary critic and a columnist known for his balanced views on literary and social issues, Ahmad Nadeem Qasmi carries immense respect in the world of Urdu literature. His quarterly, Funoon has served a generation of younger writers by providing them space for their writings. It has also been a source of knowledge and guidance for them.

Qasmi’s collection of literary essays, Pas-i-Alfaz, has been culled by its editor from different sources including the dusty piles of papers lying in the office of Funoon. Besides enlightening readers with the study of Ghalib, the book also teaches them the nuances of literary criticism.

Out of the seventeen articles in the book, nine are devoted to the study of Ghalib, his life and works, which have made him so well-known the world over. Qasmi is pained to see that some writers and poets fail to remember Ghalib even on the occasion of his anniversaries. More disturbing is the ignorance of some young writers who take Ghalib lightly, making him out to be just an ordinary poet, not worthy of the accolades he has received. (Ghalib-i-khasta ke baghair, p.35)

Qasmi also laments the narrow-mindedness of writers who like to compare the works of great masters. Preferring one over the other, they deny the honour each poet deserves in his own right. In a separate article titled “Sukhan na shinasi” (Not understanding poetry) he has taken the known critic Jalil Qidwai to task for his book Intekhab-i-Shurai Badnam (A Selection from the Ill-famed Poets). While defending Insha, Nasikh, Mushafi and Juraat, in his book, Qidwai has highlighted the lapses in Mir and Ghalib’s poetry. While doing this he has failed to write about the poetic genius and humanity of the great poets. Their weaknesses only reflected the social norms of those times. Rehabilitating Juraat, Insha and Nasikh is quite acceptable to Qasmi, but he finds it difficult to condone a style that denigrates Ghalib.

In two other articles, “Ghalib ka andaz-i-gulafshani-i-guftar” (Ghalib’s style of showering petals of flowers in his expression) and “Ghalib ka justjo-i-jamal” (Ghalib’s search for beauty), Qasmi writes persuasively about the innovative, refined, elegant and aesthetic quality of Ghalib’s poetry. In a changing social order, Ghalib projected new thoughts and ideas. Therefore he used new vocabulary and idioms, which he mostly borrowed from Persian. Through his broad vision Ghalib could see the new value system which was emerging. His verses mirrored a new world in the making.

Articles written on assorted topics for various periodicals have been included under the heading, “Mera nazria-i-fun” (Art in my view). These were written in 1966-1970 and are relevant even today after three decades. The opening article in the chapter “Kiya lafz mar raha hai” (Is the word dying?) is a fascinating narration of how words change their shades of meaning, disappear or are forgotten and then reappear with new meaning and connotations. A writer looking for a new word should explore other Pakistani languages such as Sindhi, Punjabi, Pushto and Balochi. If the word is found, it should be inducted into Urdu, without hesitation, says Qasmi. But his unflinching faith in Urdu remains all the same. In each word of the language, there exists a vast universe consisting of a cluster of worlds, so one should not believe that the word is dying, he convincingly argues.

The articles appearing in the latter part of the book present the case of senior poets from the past and present. In his write-ups on them, Qasmi proves that knowledge travels from generation to generation. New poets, therefore, should be grateful to past masters instead of denying their contribution.

With his lifelong commitment to the progressive writers movement and the ideology of Pakistan, Qasmi has defended progressivism in passing in some of the articles. He does this despite his complaints against some of its stalwarts. It is quite evident that his loyalty lies in the welfare of the people of this land and the working masses and peace loving nations all over the world, as he asserts on several different occasions.

The book also contains two keynote addresses delivered by the writer at literary conferences in 1980 and 1985 during Gen Zia’s despotic rule. His participation in those conferences was disliked by a section of progressive writers, but Qasmi justifies his decision by stating, “The highhandedness of the government cannot be exposed by hiding in the confines of one’s home!” His address of 1985 had annoyed Zia so much that, according to Qasmi, the president stopped inviting him to his press briefings.

The articles included in this book are a worthy addition to the treasure of critical writings that Urdu has. A special study of Quratulain Hyder’s novel, Meray Be Sanam Khaney is also quite readable although one may not agree with Qasmi that the title of the novel should have been “Teray” (yours) and not “Meray” (mine).

The dates mentioned at the end of the articles written on Ghalib’s 100th death anniversary require further checking. Was it 1968 or 1969? A footnote is needed to remove the confusion.

 

Pas-i-Alfaz

By Ahmad Nadeem Qasmi

Asatir, 10 Mian Chambers, 3 Temple Road, Lahore

Tel: 042-6304820

240pp. Rs200

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