Daily Times

Ghazal is one of the oldest formats in the domain of Urdu literature. Historically, its impact on poetry lovers has been stronger than other genres. That is why in every era ghazal writers have passed on to the masses their school of thought, romantic or otherwise. For example Mir Taqi Mir, one of the ustaad (master) poets had a literary reputation anchored on his ghazals. His native Urdu and Persian diction and choice of words created a poetic language that was simple, natural and elegant, which guided generations of future poets. Ghalib, on the other hand, was known as ustadon ka ustad (master of masters). Ghalib learned Persian, Arabic, philosophy, and logic from a Muslim traveller Abdus Samad originally named Hormuzd in Agra. Ghalib expressed philosophy, the travails and mysteries of life in his ghazals. He also wrote on other subjects thereby vastly expanding the scope of the ghazal. In his verses, the identity and the gender of the beloved is indeterminate. As a poet, he is rated among Milton, Goethe and Rumi. Many other instances can be quoted about the styles and messages of all the subsequent leading poets.

Mahmood Raheem is one among the latest in this regard who expresses the emotions and sentiments of the people of his era and interprets literary and linguistic attitudes and the affiliated changes. He expresses it in his latest book titled Dast-e-Khaak comprising Urdu poetry printed recently. His earlier books of Urdu poetry are Ana Ki Faseelain (The Ramparts of Ego) (1984), Haath Mein Khaali Kamaan (Empty Bow in Hand) (1998), Maqtal Daairey (Circles of Slaugther) (2002), and Punjabi poetry is Kinhun Akhaan (Who Should I Tell) (2010). Another book titled Kahunday (2007) comprises translation of world poetry. Mahmood Raheem is a strong proponent of ghazal as a preferred form of writing poetry and writes, “Ghazal mera lehja, mera andaaz/Fareed-o-fard hota ja raha hai” (Ghazal is my style and diction/ It has the inherent capacity to reach every individual) and “Hunrawari kei talismaat nei yeh she’er suney/ Ghazal ka qafia mujh par kabhi tang na raha” (My talent gave me access to the creation of such poetic pieces/ That the meter of a ghazal was never difficult for me).

Mahmood Raheem hails from Gujrat and spent some time in Dammam, Saudi Arabia, as well and currently resides in Islamabad. His gift of poetry was polished while he served as secretary of Halqa-e-Arbab-e-Zauq in Islamabad for some time. Though he is perturbed by what goes around him, he does not leave hope and finds refuge in his dreams and writes, “Mein sard muhri-e-dauran sey bach saka hoon to yun/ Keh ik khwaab kahin merey aas paas mein tha” (I was saved from the cold shoulder of life / By a dream that resided somewhere near me). This reviewer finds a strong protest in Mahmood Raheem’s poetry against the injustices, poverty, and corruption prevalent in society.

It was with great difficulty that this reviewer could trace some couplets of the author on love themes in the book under review. Such poetry too is coloured by the author’s Sufi inclination. He writes, “Kuch apney lams ki khushboo atta kar/ Dawam-e-shadmani chaheta hoon”(Give me the odour of your touch/ I desire the permanence of happiness). Imagery is one of the fortes of the author. He writes, “Uss subho ki waslat sey tha sarshar mera jism/ Jab kuhur ke dhagon se badan dhanp raha tha” (My body was full of ecstasy of meeting the morning/ When I was trying to cover it with bitter frost). Satire too could not escape the poet. He says, “Bana diye hein woh namumkin-al-amal kis nei?/ Khudaya terey to ehkaam seedhe saade hein”(Who made them impossible to act upon? / God, your injunctions are straight).

Mahmood Raheem is good at using strange combinations of expressions like “Matti mein paseeney daal daina” (Put perspiration in the soil) in the couplet “Matti mein mehnat kei paseeney daal dijiye/ Beher-e-namoo kiya beej nageeney daal dijiye” (Put the perspiration of hard work in soil/ The seeds of growth require these gems). He thus expresses the universal truth that any big achievement requires the basic ingredients of honesty and hard work. Mahmood tries to use the combination of rhyming words that are close to everyday conversations. Satire, if made without hurting someone it is aimed at is more subtle in nature. Mahmood Raheem has mastered this art. This reviewer shall conclude this submission on the couplet of Mahmood who uses the metaphor of azaan (call to prayer) to awaken his audience in the couplet, “Sirf sargoshion sei kaya ho ga/ Chup nagar mein koi azaan bhi dei” (Nothing shall happen with soft murmurs of protests/ One needs to speak out aloud in this city of silence).

The reviewer is based in Lahore and can be reached at doc_amjad@hotmail.com