In Praise Of Urdu

It was time some scholar compared the development of the language in the two countries since they parted company 50 years ago. This was no easy task as both countries shared a common linguistic heritage and claimed classical writers as their own: Meer, Sauda, Ghalib, Zauq, Dagh, Hali are as widely read as before in both countries. Allama Iqbal, regarded in Pakistan as one of its founding fathers, has several Iqbal chairs in Indian universities. Faiz Ahmed Faiz, Noon Meem Rashid, Miraji, Majaz, Sahir Ludhianvi, Ali Sardar Jafri, Akhtarul Imam, Kaifi Azmi and a few others are equally respected. But of the new crop of writers little is known. Once in a while, when poets are allowed to cross the border to participate in mushairas, we hear of men and women we have not heard of before because there is no exchange of publications. For this reason Anisur Rahman's anthology should be widely welcomed and acclaimed.

It is difficult to choose a representative sample from this treasury of verse. At random I have chosen a verse from Fehmida Reyaz because of her turbulent life and the candour with which modern Pakistani women can express themselves these days. Fehmida was born in Meerut in 1946 and migrated to Pakistan with her parents. She obtained a degree from Sindh university and a diploma in film technique from London. On her return to Pakistan she edited Aawaaz which was highly critical of the dictatorial regime. Fourteen times she was hauled up on charges of spreading disaffection. She sought asylum in India and only returned to Pakistan after the restoration of democracy. The poem I quote could be best described as an Ode to Pregnancy:

Lao, haath apna lao zara,
chhoo kay meyra badan
Apney bachhey kay dil ka dharakna suno

(Give me, give me your hands, please, feel my body, listen to the heartbeats of your child, on that side of the umbilical cord. do you feel his movement?)

Anisur Rahman teaches English at the Jamia Millia University and has been involved in translations from English to Urdu and Urdu to English for many years. One may question the exclusion of some names from his anthology and carp at his translations because he has given priority to accuracy over the music of words which is integral to Urdu poetry, but that does not reduce the value of his pioneering work. Lovers of Urdu will be indebted to him for introducing them to new poets of both countries.