I recently came across a short debate I had with Mr Sohail
Hashmi on
Kafila. I found rereading it quite interesting so thought I’d post it
up here for posterity.
Mr Hashmi, of course, is a writer I much admire and I have, especially,
read his writings on the architectural heritage of Delhi with great interest.
In this instance he wrote a
lovely piece on Faiz, Urdu’s greatest poet of the
modern era. What I took issue with, though, is Mr Hashmi’s characterisation of
Faiz as a “people centric” poet and one whose “ideas glisten with the truth and
democratic ideals that enlighten the hearts of the overwhelming majority of our
people”
My first comment on the article was:
“Thanks for this fascinating account Mr Hashmi.
Although, personally, I’ve always battled with the notion
that Faiz’s poetry was “people centric”. If it was, it was in a very top-down,
almost patronising sort of way. Can any poetry, written in Rekhta (and here I
make a very stark distinction between Urdu and Rekhta as should be done) ever
be truly “people centric”? Are “people centric” themes enough to award Faiz
with the honour of the subcontinent’s most imprtant poet, this hardly a handful
people in the sub-continent could actually understand his overtly Persianised
Urdu? You must admit, to claim to talk on behalf of the people, when the people
can’t even understand you is a bit rich.
Urdu is one of the few languages which exhibits such extreme
literary diglossia that the literary form (at least in poetry) is almost
incomprehensible to its native speakers. Bengali is another sub-continental
language which did exhibit a similar trait
with an artificially sanskritised form of the language (shadhubhasha: cholit
bhasha :: Rekhta:Urdu) but thankfully, that elitist trend has died out and
almost all literature in Bengali today is in cholit bhasa (i.e. the normal
spoken language).”
To which Mr Hashmi replied:
“You have touched upon some very complex issues and no
simple explanations are possible.
Between the time that Faiz began writing to the time that he
died, Urdu ceased to be a language of public discourse in large parts of the
subcontinent, at least in the parts where it was born as Hindavi, that is the
Ganga Jamuna doab and in the parts where it grew into a full fledged language
that is Deccani .
The language became a victim of the divisive politics of
language equals religion that began with the Fort Williams college in 1825 and
culminated with the adoption of the resolution to make Sanskritised Hindi as
the national language of India instead of Hindustani written in both the Nagri
and the Persian scripts, the latter had the backing of Gandhi but the
constituent assembly went against the old man’s wishes and voted against
Hindustani.
URDU became the official language of Pakistan where it was
the mother tongue only of the Muhajirs and was banished from the land where it
was the language of Prem Chand, Kanhaiyalal Kapoor, Krishan Chand, Ram Lal,
Rajinder Singh Bedi, Tilok Chand Mehroom, Firaq, Arsh Malsiyani and also of
Josh,Sahir, Shakeel, Jazbi, Majaz, Majrooh and Kaifi. Faiz could only write in
the language that he was comfortable in, his mother tongue might have been
Sialkoti Punjabi but all his initial education was in Urdu, Persian and Arabic
and this is the linguistic discourse that he was familiar with.
The other issue is do you have to , of necessity, write in
the language of the people if you are writing about issues that concern them? I
don’t know how many blacks had access to the English in which Langston Hughes
wrote his anti racist poems, how many Russians understood Yevtushenko or
Maykovsky, when they wrote on issues that concerned the working class of
Russia.
We had a literacy rate of 13% when we became independent, so
87% of our population was illiterate in all languages, which language should
the writers have written in. Tulsi’s Ram Charit Manas written in Awadhi,because
he wanted the image of the ideal being to be presented before the people, has
had to explained to Awadhis for the last 400 years, the same is true of Jaisi’s
Padmavat and Rahim’s Dohas.
some of what a great poet writes about the people is understood
by them immediately, some takes a while to be understood and some is understood
after a couple of generations. it is this that makes him/her a great poet. the
only way a poet can be understood totally by the people is for the poet to
write not only in the language of the people but also write only about the here
and now. This way lies 15 minutes of glory and impermanence and an absence of
literature that speaks to generations. you can not demand that literature that
lives beyond its time and deals with issues that go beyond the immediacy of now
must also be understood totally, fully and completely by those who live at the
moment of the creation of that literature.
Faiz has fortunately written both kinds of poetry, the time bound and the time
less and that is one of the reasons of his being recognised as the greatest
poet of the 20th century. He has written BOL, he has written Tarana, he has
written Hum Dekhengegy, all three have become slogans of our times, he has also
written hazar karo merey tan se, Nisar mein teri galiyon pe, Do aawaazen etc
that need to be understood gradually. Why do you want all political poets to be
political activists too. Let the political activist do what he is good at and
allow the poet to do what he is good at.“
Me:
“Thanks for that detailed reply. Couple of points:
I should have done this earlier, but let me define the term
Urdu (since the term means so many things). From my first post, I used ‘Urdu’
to mean the common spoken language of the urban people of much of North India.
What you might call baazaari Hindustani. The term ‘Hindustani’ when used to
mean a sort of middle language between High Hindi and High Urdu is fairly new.
The term Hindustani was coined by the British and throughout the Raj the term
was used as a synonym for what we call Urdu today. For example, John T Platts
dictionary calls qaaf the “twenty-seventh letter of the Urdu or Hindustani
alphabet”. In most of modern India, Hindi is also used as a synonym for Urdu.
For example, Hindi Movies etc.
The language became a victim of the divisive politics of
language equals religion that began with the Fort Williams college in 1825 and
culminated with the adoption of the resolution to make Sanskritised Hindi as
the national language of India instead of Hindustani written in both the Nagri
and the Persian scripts, the latter had the backing of Gandhi but the
constituent assembly went against the old man’s wishes and voted against
Hindustani.
I fail to grasp how this is relevant to getting Faiz to write
in a register which is widely understood but, for what it’s worth, the GoI’s
attempts to invent a new standard (sanskirtised) register of Hindi-Urdu have
failed rather miserably. That Gandhi anecdote is nice but only half true.
Gandhi oscillated quite a bit on the language question (which was typical of
him) between Hindustani in both scripts as
well as only using the
Devanagri script.
Faiz could only write in the language that he was
comfortable in, his mother tongue might have been Sialkoti Punjabi but all his
initial education was in Urdu, Persian and Arabic and this is the linguistic
discourse that he was familiar with.
That might be one reason. Or it just might be that he wanted
to occupy a literary space that only Urdu could provide. Either way, Faiz is
not at fault. What I am wondering is whether applying labels such as ‘people
centric’ etc to his poetry is not misleading.
We had a literacy rate of 13% when we became independent,
so 87% of our population was illiterate in all languages, which language should
the writers have written in. Tulsi’s Ram Charit Manas…
Uh-oh. ‘Literacy rate’ refers to written not spoken language,
Hashmi sahib. Jaahil bhi bol aur sun paate hain. If recite Bidrohi by Nojrul to
an illiterate Bengali he will understand it. Prem chand would be understood by
all Dehlavis; even Krishan Chandar. I doubt that the same could be said of say
‘Aaj Bazar Mein’.
The other issue is do you have to , of necessity, write in
the language of the people if you are writing about issues that concern them?
IMO, it would be crushingly patronising to not do so; reminds
me of Gandhi’s pledge to not allow Harijians to run the Harijan Sabha but for
it to be run by upper castes and Ambedkar’s rage at this.
Why do you want all political poets to be political
activists too. Let the political activist do what he is good at and allow the
poet to do what he is good at
Exactly my point; let us admire the beauty of Faiz without
clouding his appraisal with terms that take his poetry beyond poetry into
political activism. Art for art’s sake and all that; because as soon as we
start assigning it some utilitarian function, say, we state that his poetry,
to, quote Zaheer from your piece, carries “democratic ideals that enlighten the
hearts of the overwhelming majority of our people” when the only a microscopic
minority can even understand what he’s saying, that we start sounding rather
hollow.”
Sohail Hashmi:
“you are absolutely right in using the term Urdu for the
spoken language of much of North India, Urdu was the language of this region
till a little after 1947, with the selection, on paper, of Hindi as The
Official Language the spoken language of much of north India has undergone
drastic changes in the post 1947 period and Urdu has by and large been replaced
with a strange mixture of what you call the Bazaari Hindustani and the
Sanskritised Hindi constructed by the Rahtra Bhasha Samitis in the post
independence India.
The term Urdu, used for the language that was commonly spoken
in the north Indian plains itself is also a rather recent development, the
prose of Ghalib when it was first published was given the name Oud-e-Hindi by
Ghalib, and Rekhta that Meer and Ghalib wrote their poetry in was derisively
called Rekhta – mixed Language by the Persian Ustads of the immediate post wali
period. So Urdu that was known as Hindi/Rekhta written in the Persian script by
and large till the time of Ghalib and a little later was transformed at Fort
Williams into Hindustani/ Urdu if written in the Persian script and Hindi if
written in the Nagri Script
My reference to the divisive politics that created the
language equals religion discourse was to the process, initiated at the fort williams
and carried forward by the votaries of Hindi/ Hindu/ Hindustan and
Urdu/Muslim/Pakistan that changed the very nature of the language that was
commonly spoken and understood till the immediate pre independence period. It
is this changed nature of the language that has created the situation in which
most of Faiz’s poetry and also the poetry of Sahir, Majrooh and Kaifi and
others begins to sound unfamiliar to those whose grandparents would have had no
problem in understanding it.
As for literacy and illiteracy the point that I am making is
that there is a difference between the vocabulary of the illiterate and the
literate and therefore written language is always a little if not very
different from the spoken add to that the difference that has always existed
between the language of Poetry and that of Prose, Meer in his time and Firaq
much later were two poets who wrote in a language that was closest to the
spoken Hindi/ Hindustani/ Rekhta/ Urdu and still there is much in their writing
that an illiterate will not understand.
Faiz was writing in a language whose literary traditions and
style he was more familiar with and could therefore express himself better in.
to my mind He wrote in a language that he thought he could best express himself
in, that was a language he inherited as the language of literary discourse and
he wrote on issues that were dear to him or he felt strongly about, issues that
he grew up with and held dear I think he wrote poetry with a strong political
message, you might not think so. So be it.”