The journey of Ghazal is interesting, it originates in Arabia, but in the pre-Islamic period Ghazal was devoid of independent existence, it was framed as Nasib or erotic prelude. The migration from Arabia to India by Mughals and became a vibrant poetic expression of the Urdu language. In Urdu literature, the Ghazal is considered a rival of Sonnet. As for its tradition is concerned it is a non-narrative lyrical form of poetry but follows the classical traditions of rhyme and rhythm thereby creating a far-reaching canvas for the poet to put forth the varied subject matter in the stanzas that follow. Ghazals are musically rich and therefore most of the ghazals are sung. Ghazals can be shaped like a prayer, an ode or elegy or a love lyric. To quote T. S. Eliot ghazal in another context is a ‘precise way of thinking or feeling’. The formal structure ( Zameen) defines its metre ( Bahr) and its rhyme which is maintained throughout the entire ghazal. The half- verse is composed in the same metrical pattern of short and long syllables. To meet the requirements of musical presentation, the nature of ghazals also altered to meet the demands like the use of lighter poetic metres like Khafif, ramal and muqtarab.
In Kashmir, there are so many ghazals writers and prominent among them is Ali Shaida, born in 1954 in the hamlet called Najidvan Neopra Qazigund. His latest poetic collection La Ba La is an extraordinary collection of 95 dazzling ghazals. His verses are garden-fresh and sweet-smelling like newborn dawn after a starry sky. His dexterity of lacing the verse seems effortless, but one can realize it entails mastery to accomplish the preferred upshot. He writes both in Urdu and Kashmiri with equal comfort and confidence. The intricacies of radif and kafia on one hand and the delicacies of verses confirm upon him the poet who is well at home of the art of verification. His ghazals have moved ahead of conservative leitmotifs and out of drudgery fashion for the reason, he is an eye witness of mayhem and commotion so he has meritoriously employed his interpretations to compose the verses, which has not only vindicated him as a poet historian but also a custodian of art. Right from Naat-i- Aqdas to human agony, romance and reformation, La Ba La is a complete package of contemporary poetry in Urdu.
Muqam –i- Noor Azal Hein Zaman-i-
Rehmat Hai
Hazoor (SAW) Aapka Aswah Jahan-i-
Rehmat Hai.
The poet is celebrating the state of the Beloved of Allah (SAW) and the poet has opened his heart out to put on the skin of faith his submission.
Neendoun Pe Be Dastak Di Andheroun
Mein Musalsal
Aor Dhoop Ki Chader Mein Sulaie Hei
Kaie Khaab
The torment of an effervescent heart of the poet is itching, the discomfort of veiling the dreams in the above verse is our common narrative. The poet has found his own pulse adjacent to the rhythm of common masses which is the moral duty of the poet and Ali Shaida has unquestioningly performed his duty.
Shab Ki Chader mein Thitherti Hei Dua
Dhoop Kab En Ruwzanu Se Aaye Gi
Dhoop Karvat Badalti Hei Youn Be
Khol Deti Hein Saiban Muj Mein
Sehraie Reg Zar Ka Shaida Houn Rah Rav
Aatish Fishan Janoon Hei Mera Sar Na
Phod Dhoop
The symbol of Dhoop as employed by the poet in the above verses have varied connotations. The variety of the symbolic significance makes the poet unique and the use of symbols in accordance with the need for the verse is what makes a poet common man’s chosen one. In the above verses from the three different ghazals, the poet has addressed Dhoop differently and that makes his symbol not only influential, but also towering as for the connotations are concerned. A powerful poet has authoritative symbols in his Pandora box to use them as a tool to express his varied moods and modulations.
Purane Log Hum Hein Jab Dua’iein Mang
Lete Hei
Khuda Se Kuch Nahi Bas Apni Maein Mang Lete Hei
Ab Ein Bekhray Huvey Baloun Pe Chandi
Be Uter Aaye
Muhabbat Ke Kathere Mein Wafaien Mang
Lete Hei
The subtle use of supplications as a mourner or a devotee from the poetic heart is always a treat to read. His sensitive eye and transparent beats set a prototype of beseeching on one hand and the yearning of faith on the other confirm the above verses as melodiously pathetic. The amalgamation of pathos and penetration creates an unimaginable aura that can only be felt by thumping spirits.
Muhabbat Ka Jo Suraj Tha Hamara Gardishoun Mein
Shafaq Ki Surkhioun Mein Gum Sa Manzar Ho Gaya Hei
Khak Hein Khak Per Raqs Apna Karein
Phainkte Log Hein Paise Pagal Hein Hum
Zinda Jo Thaie Who Darr Gaye Sare
Yane Jete Ji Mar Gaye Sare
Sirf Dastar He Salamat Hein
Jin Pe Rakhe Thaie Sar Gaye Sare
The bard has put the society on the dissection table of his own mental stretch to analyse its ail. He is equally sobbing like a widow to register the loss of faith and trust. The wounded heart of the bard has taken a photograph from a common man’s plight and has magically brought on the screen the woes that his society is facing. A brilliant bard and a good poet are different for the reason, the brilliance of the bard dissects the seed before it is sown, while a good poet only personifies the beauty of the seed to make a mention of its archetype. Ali Shada has created his own world wherein he is enjoying the proceedings of nature and shedding the salt for the loss of linear narrative.
La Ba La is a nosegay of petals collected from the gardens of love, yearning, and soul seeking pass ways, agony, complaints, value system, and spiritual quests. The roses of love are well marked with the thorns of yearning on the bough of soul seeking gulfs to celebrate the union. The hope and despair, pain and pleasure and voiceless voice of the fallen rose amidst of changing seasons are the areas wherein Ali Shaida has collected the remains of his experience in the basket of his ghazals.
Dard Ki Kuch kuch Kasak Hei Ab Talak
Mehfooz Dil Mein
Zakham Ko Laikin Guzarte Waqat Ne He
Bhar Liya Hei
Kis ne Khenche Mosamoun Ki Mastiyaun
Dhoop Par Chalti Hein Bhege Kashtyaun
Apne He Dashat-i- Khak Mein Bikhra Huva Tha Mein
Pani Se Hawa, Se Aag Se Guzara Huwa
Tha Mein
Suli Se Ab Utardo Mujh Ko
Kab Se Zinda Houn Mar Dou Mujh Ko
Gair Mumkin Hein Ab Taluq Ka
Khoof Dil Se Nikalna Sahib
Ghazal writing especially in Urdu and Kashmiri has touched the peaks of excellence as for its thematic texture is concerned. Ali Shadia has pushed open the doors for many young and budding poets of the Valley to peep into his poetic expressions. His metaphors and similes carry the aroma of his native land, his personifications and oxymorons are equally surprising and stunning. His poetic devices are carved out of his intense reading of famous Urdu and Kashmir poets like Ghalib, Faiz, Dr. Iqbal and Rahi, Rasool Mir and Lala and Sheikul Alam etc.
Ghazal
On the petals of care, fair! Book your seat
and cheer
The wings of love you wear, share what
you have and pair
The gulf of gloomy air, an affair of thin joy
For a smile needs to wear, a tattered coat
and gear
In coffin a layer, do bear of memories
but nay you ever tear, a hem, a frill or flair
An old ghost ‘disappear’, can repair our
graveyards
If unmarked shall appear, in this calendar year
What shall take orphans near, aware the
widows too?
The sun by hollow stare, cannot the eclipse clear
Wet lashes serve as snare, dear eyes put
on no dress
A drop in the despair, hope opens a gate I swear
With truth nay interfere, liar but seals his ear
Belief, the only stair, a sage is but Love’s heir.
This third poetic collection La Ba La by Ali Shaida is a must read collection for Urdu poetry lovers for its intense and thematic style. Every ghazals is in itself a delight to read aided by apt diction and structure.
The book was released by The Principal GDC Boys Anantnag Mr. Muzaffar Ahmad Bhat, Dr. Gulam Nabi Haleem and Convener Kashmir Sahitya Akademi Mr. Gh. Nabi Aatish on 24th November 2021 in college auditorium.
ABOUT THE REVIEWER
Mushtaque B Barq
Mushtaq B.Barq is a Columnist, Poet and Fiction Writer. He is the author of “Feeble prisoner, “ Wings of Love” and many translation works are credited to the author like “ Verses Of Wahab
