Fazil Kashmiri an author of 37 books , Sahitya Academy awardee 1990 , thrice awardee of the J&K State cultural Academy , Awarded by S.G.P.C ( Amritsar ) for translating Guru Granth Sahib in Kashmiri and Urdu languages and recipient of Harmony Award 1993 ( by the Prime Minister of India) , this 1916 born, teacher –poet is not influenced by the “isms” and “movement” in literature , but has definitely adopted form and technique of modern verse to his advantage. He is a preacher, elite scholar, a social reformer, a devout Muslim, a patriot and an educationist. He wrote poems of love of seasons”Autumn, Potter’s Daughter, Wild Sparrow, Shephered Girl, Washer Woman, Beautiful Dal Lake, and numerous poems for children and dealt each subject sensitively and with fine craftsmanship bringing out the aesthetics in Kashmiri language . His poems of nature and love have charm of Wordsworth and sensitivity of Sumitranandan Pant. He wrote a versatile volume of Naats, (Anwari Mohammadi ) a book on Krishnan Leela, Poems on Christ and translated Japji Sahib, Sukhmani Sahib and the message of the ninth Guru in Kashmiri and thus attained a unique place as multidimensional poet in modern Kashmir. Died in 2004, Fazil Kashmiri was a man of many attributes. He was a phenomenon.
G.N.Gowhar
Fazil unmindful of trades in literary politics, charisma in slogans and careeristic devices exploited his ingrained capacities within the gifted purview of the lucidity in his expression. Before we assess his contribution we must take bird’s eye view of the literary scene in later thirties of the last century and must have some conception of the evolution and revolution of both in thought and art around late Al Haaj Fazil. His arrival in literary arena in later thirties was the third distinguishable voice of the local melody in the backdrop of fading grip of the mystic poetry and Masnavi recitation. Mehjoor had successfully tried to fill in the vacuum, Azad followed him and this Fazil made the trend as set by these two stalwarts, a clarion call of their time. At this particular point of time the musician of Kashmir too was under a definite change. The traditional Chakri dominated by local geet had become boring for general audience under the too heavy strain of mystic word and phrase. It was revitalized by the trend of “Ghazal” composed by Mehjoor and Azad which closely bore continuity with the lyricism of Habba Khatoon, Mehmood Gami and Rasul Mir. Influence of Urdu Ghazal and particularly film songs had percolated in deeper layers of Kashmiri society. Had not at this stage the trio of Mehjoor, Azad and young Fazil sung to the so chiseled taste. Kashmiri language would have once again fallen in the situation in which it has fallen in Hindu period under the weight of the Sanskrit and in 15th century under the pressure of Persian sophistication. Before, Fazil’s voice, the voices of two of his seniors had dominated the common aesthetics. It was not very easy for third voice to get an attentive ear unless it had equal originality, thematic splendor and sweetness in its frame. Fazil’s ghazal came with all these three pre-requisites and so could be lulled in the lap of muse along with popular ghazal of Azad and Mehjoor.
A brief repetition of my experience as a twelve year boy will not be out of place here and will simultaneously keep a record of social history of the first halp of the 20th century Kashmir. Tsaran-sharief played as the touchstone for success or otherwise of the musicians in Kashmir. Every music party had to open its score of public display from the shrine compound of the tallest literature of Kashmir Sheikh Noor-Ud-Din. Though it was for the obeisance but for the talents and capacity a good number of music critics had come up in this town. In such background too such successful parties fell in deeper competition and developed locally a divided opinion amongst critics and music fans. The parties remained busy in performance in this town for many months. One party from Wahthura school of musician was led by Abdul Sattar and the other belonged to Soibugh. One party along with ghazals of reputed poets used to sing Fazils ghazals “ Hetiyok Rath Be Kadha Naman Tasbo Mala Haa Hekiya Baar Tamikio Noozuk Athan Peth”. By the next day both these ghazals had received the coinage as current currency. Almost all fans had memorized the two pieces and literates scribed from the memory of singers.
Equally dominant genre”Naat” was confined by our Naat composers to Wan-Wun form which is too popular with woman. Many of such encomiums compete in these, sincerity, devotion, eloquence and sentimental exposition with the Naat of Persian masters. But, the form was more conveniently situated to women congregations especially the Wan-Wun they sing at occasion of reception of the groom. These masters had opted for this feminine form behaving the woman a symbol of devotion and faithfulness. However, this form did neither suit the singers nor the sermon deliverers at pulpit. Mehjoor and Azad could not dare to transverse through this thorny arena though Mehjoor did compose one or two but at the far end of his life. Azad has not composed even a single Naat. In this background either Persian Naat remained dominant or ordinary poets tried in this delicate field and blundered.
It is surprising that even great poet like Rasul Mir did cut a sorry figure while he made attempt in this genre. Even the two great mystic contemporaries of Fazil Ab. Ahad Zargar and Samad Mir have little contribution in this field. It is here that Fazil emerges with late Ghulam Jeelani as eminent naat peot of his time. He is the first Naat composers who came with a volume of encommunis “Anwar-i-Mohammadi” which has under gone fourteen editions. Probably no other Kashmiri poetry book can claim to have seen third or fourth print. After Fazil , this author came with two Naat volumes so far and he is followed by the young poet Mr. Gamgeen. However, these are present century addition and 20th Century Kashmir has only Anwar-i-Mohammadi to boast for.
It is more unbecoming for a talented creator who has mesmerized more than one generation. It was really great on his part not to be played by cheap trends but he had to remain consciously involved with the niceties which developed world wide, he had to keep pace with the contemporary sensibility and had to convey the suffocation of situation around. It cannot be said that sensitive mind of a great poet can remain un-influenced of the tragedies of his time. Mehjoor too could not restrain his sensibility, through his poem Azadi was devoid of poetic beauties and appeared as layman’s’ political reaction but his another poem “ Lalo Lalo Haa Guli Lalo” really conveyed the treachery of events that influenced the course of history, Similarly some verses of his later poetry expose the failure of national aspirations , communication in those verses equals to that of Faiz.
Fazil saw rather had undergone through all those phases which did browbeat, molest and buture his Krale-Kore but he remained upto his last day, piercing Jasmine rings in her bruised ear.
Technically too he had been a born talent and could create from his own past history and surroundings around such similes, metaphors symbols and poetic references which could have moulded his diction into the one to be adhered to and followed for many years. But why he remained too contented with the momentary charisma is a matter which requires intellectual probe.
Inspite , Alhaj fazil was a dominant voice which shall spell bound the taste for many generation to come.
