Daily Times

Dedicated to the music composers, artists and instrumentalists of Pakistan Television (PTV) and Radio Pakistan who tug at our heartstrings through their melodious music despite their meagre means, the book Gun Geyaan comprises geets by seasoned poet Ali Akbar Abbas.

He is a senior poet whose seven books have been published already namely Bar Aab-e-Neel, Dar-e-Nigah Se, Chaar Din, Rachna, Urdu translation of Bulleh Shah, Zuboor-e-Ajam, Dyar-e-Aaina and Gun Geyaan, which is his eighth book. He is the recipient of Tamgha-e-Imtiaz (Medal of Excellence) mainly because of his contributions of music productions for PTV, translations, profound poetry and writing motivational songs, the latter appearing in abundance in the book under review, love for his land and its people. Culture and way of living is in copiousness in his poetry.

His ghazals, nazms, hamd, na’ats, salaams, poetic translations and criticisms have been acknowledged. He was the chief guest in the annual gathering of Halqa-e-Arbab-e-Zauq on April 7, 2019 in Lahore.

Presence of music is but natural in Ali Akbar Abbas’s poetry because of his love for music. The book under review has been specifically written on Geet domain of poetry. It is one of the oldest forms of poetry. Humans wept, laughed, and danced since the very first day. Its expression appeared in the form of songs, lyrics and music that went hand in hand. With the passage of time, languages changed, so did the music affiliated with it. Emotions and expressions became an essential ingredient of Geet. Unfortunately this format did not get the acknowledgement it deserved like the other formats Ghazal received.

Ali Yasir in his introduction to the book has tried to trace the history of writing and singing a geet. He makes a special mention of Hazrat Ameer Khusrow and Nazir Akbarabadi. Amir Khusrow was a prolific classical poet associated with the royal courts of more than seven rulers of the Delhi Sultanate. In his submission titled Roots of Music dated June 8, 2008; this reviewer had remarked “the classical format of Pakistani music borrows its tradition from a continuation of the Indo-Muslim musical tradition, which evolved as a result of centuries of Hindu-Muslim cultural interaction. In the earlier days, Hindus possessed a rich convention of music, but unfortunately, history is obscure in its details. However, it is generally said that primeval Indian music began with the religious life of the Aryans, who use to sing verses such as ashlokas and mantras from the Sama Veda, which the Hindus believe to be the source of all music. The singing format is called Dhurpad; the monopoly of high-caste Brahmins, who performed their religious rituals in the temples and refused to allow low-caste Hindus or Muslims to enter the temple and listen to religious music, believing this to be an act of blasphemy”. In this scenario therefore history is almost vague as far as Hindi/Urdu Geet tradition is concerned.

The presence of music is but natural in Ali Akbar Abbas’s poetry because of his love for music. This book has specifically been written on the geet domain of poetry. It is one of the oldest forms of poetry. Its expression appeared in the form of songs, lyrics and music that went hand in hand

While tracing the history of Saying Geet, Wikipedia states that in Urdu poetry its roots are found in Dakhani Shairi whose most important feature is its Indian ethos with the strain being feminine, and the tone, delicate and elegant; Urdu Geets mainly speak about feminine anguish. Dakhini or Hindavi forms part of what is known as proto-Hindi Literature whose origin can be traced to a far earlier period that produced the great historical lyric Prithviraj Raso written by Chand Bardai. Urdu Geets took shape after the colonization of India by the British and had subsequently become the court language in Delhi and Avadh whereas Hindi Geets have retained the flavour drawn from earlier compositions in Rajasthani dialect, Brij Bhasha and Maithali.

In our Geets, varied flavours are seen like love for children in the form of lullabies. Love for mother, father, brothers, sisters and other relatives are rendered in the form of Geets sung at festive occasions. So, it would not be exaggeration to say that the closest form of expressing one’s true emotions is in the form of Geet. Iqbal, Hafeez Hushiarpuri, Seemab, Akhtar Shirani, Ismail Meerathi followed by Khwaja Dil Muhammad, Faiz, Abdul Majeed Bhatti, Qayyum Nazar, Altaf Mashhadi, Qateel Shifai and Saif uddin Saif are only some of the names that excelled in saying poetry of this format. Ali Akbar Abbas is the latest addition in this family. He says ‘Na Koi Gun Aur Geyaan Girah Main Jo Tuk Aas Bandhaye/Na Koi Aisa Karam Kamaya Jo Kutch Maan Barhaye/Teri Deyaa Vishwash Banaye Tere Duare Aaye/Deya Kar Tu/Deya Kar Tu’ (Neither have I any talent nor knowledge that can give me poise. Neither have I done any achievement that I can be proud of. It is only Your kindness that keeps my hopefulness alive. That is why I come to You for mercy) Page 20).

Love Geets have been said by Ali Akbar Abbas.Some Raags have been suggested for some of these Geets. For example ‘Piya Ka Naam Liya/Rang Tera Badla’ is a duet to be composed in either Mian Ki Todi or in Gujri Todi, the difference being that in the former Raag, Punchum (Pa) note is added in Gujri Todi – Page 46. Abbas’s lyrics are as per the mood of the Raag. Thumri Pillu ‘Kase Kahun Dil Ki Baat/Katte Naahi Birha Ki Baat’ and Dadra have been written as ‘Ab Kei Sawan Nahi Aaye Re Saajna, Saajna’ – Page 60.

Motivational songs, seasonal songs are found in quite reasonable number in the book under review. Ali Akbar Abbas says ‘Mere Sohne Dais Ki Khoobi Sab Duniya Nei Maani/Mamta Bhari Hei Matti Iss Ki Pyaar Bhare Hain Paani’ (The whole world has acknowledged the soil of my land of full of love) – Page116. About Pakistani Navy, Ali Akbar Abbas says ‘Samundaron Sei Gehri Dosti Hamari Hei/Panion Par Mauj Main Zindigi Hamari Hei’ (We have great love for our oceans and we are friends of each wave in the waters) – Page 119. About children on their International Day, Ali Akbar Abbas is very clear that their hands are made for making flowers bouquets and not for labour work (Poem on Page 127). Rainy season has been captured in his Geet ‘Badri Kei Pug Jhanjerain, Jhanan Jhanan Meenh Barsain/Nareeta Kare Har Daari, Sanan Sanan Chale Pawen Kunwari/Jhanan Jhanan Meenh Barsaeye’ (Clouds wear anklets, rainfall has music.Trees dance with joy. Wind blows with music) – Page 24.

In more than 114 poems, Ali Akbar Abbas excels in a variety of themes, expressions and use of Hindi vocabulary. These qualities make this book unique in its nature.

The writer is the recipient of the prestigious Pride of Performance award. He can be reached at doc_amjad@hotmail.com