Majeed Amjad ki nazm "panwaaRi"
Zafar
ki jaa rahi haiN to maiN ne sochaa k kyoN na panwaaRi kaa bhi zikr e
Khair ho jaaye.
ye nazm pehli di gayi nazmoN se is lihaaz se thoRi muKhtalif hai k is
meN ziyaada gehraayi aur kaseer-jehti nazar aati hai. lekin Khair,
nazm suniye aur sar dhuniye:
panwaaRi
booRhaa panwaaRi, us ke baaloN meN maang hai nyaari
aankhoN meN jeewan ki bujhti agni ki chingaari
naam ki ik haTTi ke andar boseeda almaari
aage peetal ke taKhte par us ki duniyaa saari
paan, kathaa, sigraT, tambaaku, choona, long, supaari
umr us booRhe panwaaRi ki paan lagaate guzri
choona gholte, chhaaliyaa kaaTte, kath pighlaate guzri
sigraT ki Khaali DibbiyoN ke mahal banaate guzri
kitne sharaabi mushtarioN se nain milaate guzri
chand kaseele pattoN ki gutthi suljhaate guzri
kaun is gutthi ko suljhaaye, duniyaa aik paheli
do din aik phaTi chaadar meN dukh ki aandhi jheli
do kaRwi saanseN leeN, do chilmoN ki raakh unDeli
aur phir us ke ba'ad na poochhoo, khel jo honi kheli
panwaaRi ki arthi uThi, baaba, Allah beli
sub'h bhajan ki taan manohar jhanan jhanan lehraaye
aik chitaa ki raakh hawaa ke jhonkoN meN kho jaaye
shaam ko us kaa kamsin baalaa baiThaa paan lagaaye
jhan jhan, Than Than, choone waali kaTori bajti jaaye
aik patangaa deepak par jal jaaye, doosraa aaye
---
Majeed Amjad (1944)
Naseer
janaab-i-Zafar Sahib, aadaab 'arz hai.
panvaaRii paRhii bahut hii pasand aaii. alfaaz motiyoN kii tarH piroye
gae haiN. awr jaisaa kih aap ne kahaa hai, is meN socheN gahrii haiN.
bahut bahut shukriyah.
maiN apne "silsile" ko jaarii rakhte hue Sadiq kii kitaab ke "Modern
Urdu Literature--Poetry" baab se kuchh likhne hii vaalaa thaa kih aap
ne Majiid Amjad kii yih nazm pesh kar dii. is baab meN Tasadduq
Hussain Khalid, Mira Ji, Faiz Ahmad Faiz, N.M.Raashid, Qayyum Nazar,
Yusuf Zafar, Safdar Miir, Ziya Jaalandharii, Majiid Amjad, Ali Sardar
Ja'farii, Munir Niyazi awr Jaan Nisaar Akhtar vaFhairah kaa zikr hai.
Majiid Amjad ke baare meN vuh likhte haiN..
"Majiid Amjad has more facets to his mind than any other poet reviewed
in this chapter.; and in his art, too, he equals the best of them. Not
very well known in his life time, he is today the cult of a large
number of admirers who are trying to assign him his rightful place in
our poetry.
Majiid amjad has a wider range than other poets because he has kept an
open mind. The danger of identifying oneself with any movement or line
of thought, be it ever so great, is that one's mind ceases to grow. No
doubt, such an identification makes for intensity, but it is at the
cost of wider vision. He does not conform to the trends of thought of
the day. In some of his poems he arraigns the present order and writes
of better days to come; but they are not his major themes. He is a
poet of life in general; the foremost quality of his mind is its
refreshing variety.
It is by overlooking this multi-dimentional quality of his mind and by
selecting one or other aspect of it that even sympathetic critics have
erred. Some have selected his loneliness and melancholy for special
study, for others his poetry is a dirge on his own defeated life. No
doubt, some of his poems provide evidence on these points, but they do
not sumhim up. His strongest point , as I see it, is his quality of
human sympathy. Neglect and want of recognition did not sour his mind.
In the bitter school of adversity he learnt to think of others. He
maintained that life was good, and was eager to live it to the full.
Such is the theme of " Ai Yaqiin-i-Hayaat", ""Zindagii ai Zindagii",
and several others.
Human sympathy, his major theme, implicit in many poems, is worked
with powerful effect in "Chuulhaa", the symbol of life and hope, in
"Raftagaan" and in "Birahnah" in which after a magnificient
description of the bodily perfection of some Westerners, seen in a
pictorial magazine, he adjures the reader..
unheN phuuNk de gii yih be-mihr dunyaa
firangii jariidoN ke awraaq-i-rangiiN
ko ik baar Hasrat se tak lo
phir un ko Hifaazat se, apne diloN ke muqaffal daraazoN meN rakh lo!
Joy in beauty and sorrow at its passing away, is the theme of the
poem. From the viewpoint of style, it is superb example of mastery of
the verse form.
As stated above, Majiid Amjad is a poet of life in general and not of
any one aspect of it. If in a moment of despondency he wrote:
maut kitnii tiirah-o-taariik hai
ho gii, lekin mujh ko is kaa Gham nahiiN
qabr ke andhe gaRhe ke us taraf
is taraf baahar andheraa kam nahiiN
He wites in hopeful vain in "Pazhmurdah pattiyaaN"
un ke diloN pih ziist ke raaz aashkaar haiN
sarf-i-KHizaaN bhii ho ke naqiib-i-bahaar haiN
Majiid Amjad is hopeful in regard to mankind's future, and is not
affraid of the enormity of evil. In "Bus Stand par" he dwells on man's
perversity and persistence of evil; but meanwhile he is waiting for
the arrival of the bus, a symbol of regenerated humanity. The faith in
man's power to overcome evil is the subject of "Daur-i-Nau", "jahaan-i-
Qaisar-o-Jam" and "Ruu-daad-i-zamaanah".
He has studied life from the temporal as well as the cosmic angle. In
some of his poems he figures as Nevessitarian. Worked out at full
length in "Tuluu'-i-Farz" it is set forth dramatically in
"PanvaaRii". The PanvaaRii symbolizes mankind in general. Driven by
dire necessity, he slaves at his monotonous calling. On his death, his
son puts on the straitjacket of life, and so it goes on from
generation to generation. Still more significant is "Ku'aaN". The
Persian wheel, ever on the move, symbolizes time, the bullocks yoked
to it stand for us all, and the Master at the Wheel, lolling at ease
on the cushion, stands for the governing principle of the universe. It
is implied that there is no intelligence at work in the universe. It
is governed by blind, directionless, and irrational will akin to
Hardy's Drift, as summed up by him in..
Come we of an automation
Unconscious of our pain
I have confined myself to "Shab-i-raftah", the first and only volume
of his verse published so far. It is said that he has done still
better woorks in his unpublished poems. Whether or not this is a fact,
can only be determined by a study of those poems".
KHair-KHvaah,
Naseer
Zafar
bahut shukriya Naseer saahib ye iqtibaas dene kaa. agarche "Shab e
Rafta" MA ki behtareen kitaab naheeN hai, aur is meN un kaa usloob
poori tarah se muta'yyan naheeN huwaa thaa, taaham is ke baawujood
Sadiq saahib ne saheeh jagah par ungli rakhi hai. classical Urdu
shaa'iri ke baab meN Sadiq saahib kuchh "lost" se lagte haiN, lekin
jadeed shaa'iroN ke zimn meN ko wo Khoob "right at home" lage haiN :)
taaham mujhe MA ke kalaam meN jo cheez sab se ziyaada bhaati hai wo un
kaa ma'amooli ko Ghair-ma'amooli banaa kar paish karnaa hai. un ki
darjanoN nazmeN aisi haiN jin meN wo kiai rozmarrah ke mushaahide ko
aise
"emotionalize" kar dete haiN k wo aafaaqi haqeeqat ban jaataa hai.
aik 'aam se hotel meN chaaye peenaa, logoN kaa kisi fast bowler se
autograph lenaa, aik clerk kaa daftar jaanaa, maqbara e Janangir par
picnic manaate log, fruit farm meN phaloN ki bahaar, actress kaa
contract sign karnaa aur darj e baalaa nazm meN panwaaRi ki maut is ki
misaaleN haiN.
aadaab arz hai,
Zafar