An epic narrative of literature and language is hardly shaped by the creative dexterity of its outstanding exponents whose writings leave the readers awe-struck but the battle for corporeal immortality is invariably won by the prodigious effusion of the middle-of-the-road poets and authors of a particular language. A poetry that does not turn on unsettling questions may shape the narrative imagination of those who want to enjoy the tales of their quirks and triumphs wrapped in evocative idiom.
The popularity of language owes much to this sort of poets and authors who fashion multi-stranded narrative without taking recourse to existential or solipsistic questioning. This is the reason that prompted Maulana Azad National Urdu University to focus attention on Nawab Mirza Khan Daagh Dehlavi (1831-1905) recently. Daagh Delhavi, still very popular with singers and common readers, has been forsaken by the highbrow critics and art aficionados for many years and the university tried to relieve his whole creative journey by organising a three-day event on him.
Daagh, whose oeuvre seems inanimate, turns to be aesthetically alive as Professor Abul Kalam, Chairman, Department of Urdu, did not restrict himself to initiate an informed debate on Daagh’s poetic contribution across all genres of poetry but also tried to resuscitate him by making him the object of creative feedback in the form of short story and poetry. Besides critics who take pains in critically evaluating his poetry, prominent story writers present their stories drawing on an aspect of his life and eminent poets composed verses in his ‘Zameen’ (emulating Daagh’s poetic method – same rhythm, end rhyme and meters). It is a quaint and rewarding effort that caused a stir in the literary circles.
Spelling out the dynamics of the popularity of language and exceptional authors, well known academician, Vice-Chancellor Aslam Parvez said it was not necessary that a region where a number of universally recognised authors and poets were born inspire people to adopt those languages. In south and western India, no Ghalib, Meer and Iqbal was born, but it is the area where Urdu is still a force to reckon with. Maharashtra has he largest number of Urdu medium schools and Telangana houses widely circulated Urdu newspapers. By turning attention to Daagh, the university wants to spread the awareness that Urdu is easier to get along as every day reality has caught up with it.
For noted Urdu critic Professor Shamim Hanfi, the spread of poetry does not owe much to first rate poets as their poetry always leaves some gaps that is filled by lesser accomplished poets. Daagh’s poetry does not conjure up big questions or subverts popular notion about human psyche but it makes his medium-Urdu, a culturally and aesthetically alive trope.
In an uncaring universe, his free swinging and mildly erotic poetry enable us to come to terms with the growing sense of estrangement and loneliness. According to him, Daagh’s poetry itself is not great, but it does pave the way for excellent poetry.
A prominent scholar and poet Dr. Taqi Aabdi, (Canada) regretted that a poet who produced more than 200,000 couplets, is yet to be made the object of a dispassionate critical look. With his more than 4000 disciples, Daagh played a pivotal role in popularising Urdu.
Daagh was the poet who paid little attention to external reality no matter how significant it was and despite having been an eye witness to 1857, he hardly referred to it in his poetry.
A distinguished Urdu short story writer Khalid Javed, whose book published by the Penguin has received wide spread appreciation, weaved a gripping narrative of Daagh’s dream, essentially a close encounter with death. Craftsmanship is the cornerstone of Daagh’s poetry and his felicity with Urdu proverbs, prosody and rhetorical devices still remains unparalleled. Khalid Javed initiated a tantalising debate on the relationship that exists between art and truth. Daagh on his death bed asks his disciples to set all his creative outpourings on fire as truth eludes all his writings.
He himself admits that his poetry deeply rooted in aesthetic sensibilities does not betray truth. He subverted truth at the altar of beauty. One of his disciples disagrees by saying poetic truth is different from external reality. Poetry creates its own truth through its rhetorical devices but Daagh does not relent. Daagh strongly foretells that Ghalib and Iqbal will remain relevant in all times to come as they hardly compromised truth at the cost of beauty.
Several other short story writers like Baigh Ehsas Hameed Suharwardi, Moinuddin Jeenabade, Mohammad Zaman Azurdah , Ibne Kamual, Rizwanul Haq and Qamar Jamali presented their stories. It is the first time that life story of a poet is presented through a number of short stories which draw simultaneously on fact and fiction.
Popularity of a creative writer is not a social construct. It is based on his ability to keep poetic explanation and description alive, this was the semantic import of the event.
