Nazir Jahangir
What is literary style?
It refers to the tone of literature, and the more beautiful it is, the more it enhances the finesse, nuances, and richness in the expression of the creative piece. A critic must possess a sharp aesthetic sense to truly appreciate creative beauty. Simply piling up words cannot be called criticism; rather, the words must convey a meaningful message to the reader. Hence, the use of language plays a crucial role in determining the writer’s skill, literary ability, and standing in the world of literature.
I’ve observed that some people, when not recognized as poets or fiction writers, turn into critics out of spite and begin writing retaliatory criticism.
The presence of true and sincere critics allows great writers to emerge and helps refine the talents of authors. In any nation, talented and skilled critics hold a position akin to torchbearers in a caravan.
As I have previously mentioned, there is a deep connection between criticism and literature. When a literary work or piece by a writer is presented, the reader becomes its critic. In this sense, the history of criticism is as old as that of literature. It is the critic who identifies the strengths and weaknesses of a writer’s work and determines its rank, standing, and status. However, while evaluating the rank and status of a creative work, it is also important to consider the critic’s standing and reputation in the scholarly community, because criticism is also a comparative term. Thus, a critic assesses the status of a creation based on the knowledge they possess. Meanwhile, the term ‘rank and status’ is itself relative, and one must consider the meaning that the critic associates with it.
Someone once asked a hunting dog, “Why does the deer outrun you, and why can’t you catch it?” The dog replied, “Because it runs for itself, while I run for my master.”
In one of his works, Hazrat Abul Hasan Nadwi (may Allah have mercy on him) writes that if one examines the corpus of literature and writing from a new, more realistic, and deeper perspective, it wouldn’t be unjust to divide it into two categories. The first category includes writings and expressions born out of internal motivations and strong belief or conviction, not out of any request, command, worldly gain, or desire to please a person of power or wealth, but rather in obedience to one’s own conscience or belief, which holds more power than the commands of rulers and the wealthy, and to defy which is beyond the capacity of anyone with a conscience. The second category includes those writings created to fulfill a request, gain worldly benefits, or obey the orders of a superior. The difference between these two types of literature is as vast as the difference between heaven and earth. The first type of literature is akin to “what arises from the heart, spreads to the heart,” and it endures for a long time. If its subject is religious or moral, it leaves a deep and revolutionary impact on the heart and morals. Thousands of people are inspired toward self-improvement upon reading it. In contrast, the second type of literature leaves no lasting effect on the soul and heart beyond temporary applause and fleeting joy. Its life and age are short and limited. The first type of literature is characterized by spontaneity and sincerity, while the second type is marked by artificiality and pretense.
I hope my words are not considered disrespectful in the realm of literature.
The tragedy of our literature is that it has not been allowed to fully manifest itself, and often, some naive individuals, pushed forward as our literary ambassadors, have turned our literature into a farce. These self styled literati reduced our literature to mockery and and absurd display. Here, literary ‘Cains,’ by sheer force, have sacrificed our cultural ‘Abels’ on the altar of their own desires.
We lack true critics, which is why there are few individuals who can be confidently said to possess the ability to distinguish between true writers and impostors.
We have been kept under the illusion that the Kashmiri Department at Kashmir University and the Cultural Academy are magical places where the fairies of our dreams are nurtured, and that the management of these magical places is entrusted to wizards who, with their spells, will elevate these fairies to such a height of beauty that the world will be dazzled by their radiance. I request the authorities to break open the doors and windows of these haunted houses so that these fairies can be set free.
How long will you listen? How long will I continue to narrate?…
At the end of this part, I will use a line from Nadwi Sahib himself: My job is simply to convey my opinion to my friends and then to step aside.
Nazir Jahangir is a noted journalist
