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.”