Daily Times

The traditional meaning of hamd, according to Wikipedia is that it is a word or a poetic piece to be recited by Muslims to feel closer to Allah.

It is binding upon Muslims to remember Allah no matter what state they are in. When Muslims say Alhamdulilah, it is out of love, humility and complete submission to the oneness and perfection of Allah. Columnist and poet Attaul Haq Qasmi observes on Hassan Abbasi’s book Saaein that he has recited poetry in praise of Allah in a totally different way to how it is normally done. This book titled Saaein has been printed on a quality white paper with a light fawn coloured cover, credits given to Ahsan Graphics. It comprises five lengthy ghazals with about 500 couplets. ‘Radeef’ of all couplets is the word ‘Saaein’. Atta says that Hassan’s God like ours is different. He went through both worldly and spiritual ecstasy while writing the Hamdia couplets.

It is a universal truth that the best creative relationship is between a human being and his/her God. Emotions, traditions, and logic play an integral part in formulating one’s religion. Definitions of morality and immortality based on popular beliefs entangle themselves into the tapestry of his religious cloak. We also know that in the beginning, God desired an everlasting, loving relationship with man. We were designed for relationships. Therefore, God provided Eve as a companion so Adam could experience an intimate union.

Abbasi’s expression, apart from using the traditional pattern also mixes it up with modern diction and vocabulary. For example he says, “Hai Alif Se Anarchy Dil Main/Bei Se Hai Beqararian Saeein’ (page 35). Anarchy expresses absence of discipline or law resulting in tumultuousness in one’s heart.

Dr Izharul Haq is more poetic and nostalgic in expressing Abbasi’s Hamdia poetry relating it to the serene, religious atmosphere of a village morning. He remembers his childhood when his grandmother used to wake up for Fajr prayers reciting the Kalma. His grandfather would head towards the mosque reciting the Kalma as well. By then, morning light would have spread all over the village. Baba Bahadur Khan would continue reciting Kalma on his way back from the mosque. The fragrance of this state of mind would spread widely in no time. When womenfolk would fill water from wells and say ‘Bismillah’ each time. This is the picture Abbasi has portrayed in his lengthy Hamdia ghazals, says Izhar. Like him, this reviewer agrees with Sohail Ahmad Khan’s comments on poet Nasir Kazmi’s poetry book Pehli Barish, that in this poetry book, life was recalled with innovative experiences. The same comments would apply for .the book Saaein. Abbasi says, “Tere Namon Main Dekhe Hain Kya Kya/Ism Ki Lalazarian Saaein” (page 22). Abbasi also says, “Tere Bandon Main Hi Tujhe Dekha/Aur Ankhain Hain Tharian Saaein’ (Page 23).

Writing such kind of poetry can only happen if the poet is irate in his love for his God. Only then a poetry book like Saaein can come into being. It has no end, no compulsions, and no suppression. It is a unique link between a poet and God. He waits for his turn to be close to Him. That is why he says, “Lambi Lambi Qitaron Main Apni/Kaise Aaein Gi Baarian Saaein” (I wonder when my turn shall come in while waiting in long queues).