Syed Younis Ijaz Gillani was born in Toba Tek Singh in a Punjabi family on June 21, 1938, and remained a supporter of the Urdu language all his life, writing poetry in this language mostly. That is why he says “Nawa-O-Nutq Ke Warse Hamesha Chalte Rehte Hain / Kabhi Mitne Nahi Dei Gi Meri Urdu Zaban Mujh Ko” (The inheritance and legacy shall continue forever but my Urdu language shall not let me die down). Not knowing someone personally neither being familiar with his works and then being made to write about him/her is a challenging task. This is what Naveedul Hassan Noor did when Syed Younis Ijaz was proposed by Dr Inamul Haq Javed who was Head of Urdu and Pakistani Languages in Al-Khair University. The uphill task of knowing a person residing seven seas away, getting opinions of his colleagues where he had worked and gaining access to his published and unpublished works was a gigantic task ahead of Naveed. National Book Foundation Managing Director Dr Inamul Haq Javed feels proud after the thesis on criticism of Ijaz’s poetry has been published and for the fact that he had proposed this topic for research to Naveed. The author is presently working as member of faculty of Kips College in its Gujranwala campus.
The book under review contains essays on Ijaz’s poetry by Naseem-e-Sehr, Dr Inamul Haq Javed, Abbas Tabish, Sarwer Arman, Dr Sughra Sadaf and this reviewer. Naseem-e-Sehr recalls the inauguration ceremony of Ijaz’s first poetry book Uraan Toote Paron Ki in Al Khober, Saudi Arabia by Governor, Eastern Province. The book under review after giving detailed coverage of the poet’s family and personal life gives his contributions in the domain of Hamd-e-Naat and other domains of poetry. Ijaz says “Tere Karam Se Tau Barh Kar Atta Kisi Ki Nahi / Talab Jo Ki Bhi Tau Tere Siwa Kisi Ki Nahi” (No one else can bestow the kindness You bestow upon us and that is why we pray only to You for it). In the domain of saying Naat in praise of Prophet Muhammad (PBUH), Ijaz is straight forward and says, “ Kuch Aable Hain Tau Ik Chashm-e-Tar, Hawala Hai / Rahe Madina Ka Sara Safar Hawala Hai” (Whatever the difficulties one encounters on way to Madina it is a great reference with tears in eyes).
Ijaz says poetry in both Nazm and Ghazal formats. Ijaz’s style of paying homage to Iqbal can be seen in the couplet “Husn-e-Ijaz-e-Pyaam-e-Shaair-e-Mashriq Tau Daikh / Bezubanon May Mazaaq-e-Ilm-o-Fun Paida Hua’ (It is the message of the poet of the East that gave speaking power to the mute tongues). Ijaz’s ghazal is a mixture of latest and traditional style.
Ijaz realises that by making oneself least important, one can reach the beloved. So he says “Khud Haal Poochta Hai, Satane Ke Saath Saath / Kya Kya Badal Gaya Hai, Zamane Ke Saath Saath’ (after teasing me my beloved asks about my wellbeing due to changes with time).
Respect for technical aspects in Ijaz’s poetry has been dealt with aptly and discussed by the author in a separate chapter. Ijaz goes along with Syed Abid Ali Abid’s definition of use of metaphors that these should only be used if the meanings of the text are enhanced. Pain is enhanced if the boil is touched with a needle. Ijaz says it in a couplet “Ijaz uske harf-e-tassali ki kya kahain / kante se jaise aabla sehla diya gya’ (beloved’s consoling words are like touching the sore with a prickle). The use of ‘Talmeehaat’ (pointers) has also been used delicately by Ijaz. In a couplet with a touch of humour, he says, “Kaprra latta roti daal mile na mile / bachon ki paidaish hoti rehti hai” (even if bread and butter is not available, we are good in producing children).
The detailed assessment of any poet or writer’s life works is an arduous task. Naveed has made a good job of it in his research on Syed Younis Ijaz. Still one feels that certain elements of creativity could have been touched upon more extensively. Having said that, this reviewer agrees with the observations of Abbas Tabish that when the history of poetry of last five decades is analysed, Ijaz’s name shall stand out on merit.