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Hasrat Mohani (1875-1951) revived the Urdu ghazal after the onslaught of the Nayi Shaa’yari (New Poetry). He infused it with socio-political zeal while retaining its lyricism and charm. He learned from past masters like Mir and Ghalib about how feminine beauty is captured in verse. There is a visible influence of Mus-hafi, but his more important contribution lies in the fact that he domesticated beauty – he talked about meetings under the shadow of stars, coming up to the upper level of the house looking for the lover when the floor is emitting fire because of sun's heat, soft cries in the corner of a home -- these are the images that bring the ghazal to the scenes of daily life where people stealthily fall in love, they yearn for each other and suffer pangs of separation. Hasrat was also a passionate freedom fighter who coined the slogan Inquilab Zindabad in 1921. That was the time when the fervor of the nationalist movement was catching up. Under the influence of Gandhi, he opened a shop in Kanpur selling khadi (hand-spun coarse cloth). Hasrat was the first of the progressives, a true nationalist, and a freedom fighter who went to jail several times. He was a mercurial personality. For some time, he was associated with the Muslim League, but after independence, he refused to go to Pakistan and spent the last years of his life in India. 

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In this episode, I present the ghazal poetry of Josh Malihabadi. He got his education at St. Peter’s College in Agra and a brief stint at Tagore’s University at Shanti Niketan. He founded the progressive magazine Kaleemin Delhi, and after the independence, he was appointed editor of Aajkal, a government of India literary publication, where he worked for eight years. His decision to migrate to Pakistan in 1956 shocked many people, including Maulana Abul Kalam Azad and Prime Minister Jawaharlal Nehru, who pleaded with him not to leave India. He visited India in 1967 and openly regretted his decision which led to losing his job in Pakistan. Because of the revolutionary nature of his poetry, Josh was known as Shaa’yar-e Inquilaab (poet of the revolution), and he was a great inspiration to the progressive movement. Josh published several collections of his poems. His autobiography Yaadon Ki Baraat is remarkable in revealing the intellectual evolution of the poet. The main strength of Josh as a poet lies in his progressive agenda of socialism, patriotism, and secularism, his excellent command over forceful diction, and his poems that have a solid energetic, and romantic quality. His sensitive description of female beauty and nature is superb. 

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Faiz Ahmed Faiz (1911-1984) is a milestone in the ghazal tradition as the climax of liberal Urdu poetry. He was a significant departure from Iqbal and the elasticity of the ghazal structure that allowed a new creative poetic transformation. His verse's captivating musicality is unsurpassed in contemporary Urdu poetry. Faiz’s poetry, soaked in the kernel of tagazzul, the lyrical love sensibility of the ghazal, played the most significant role in enriching the Urdu ghazal’s poetic tradition. His love poetry reads as revolutionary poetry, and conversely, revolutionary poetry reads as love poetry. They are not separate but an integrated whole. 

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The Urdu Ghazal Podcast presents the ghazal poetry of a leading poet in each episode. 

In this first episode, we present the magnificent poetry of Firaq Gorakhpuri who brought the taste of Sanskrit and Hindi poetic rasa into his compositions. He not only excelled in ghazal, but the rubai collections authored by him are also memorable for the exposition of feminine beauty in all its forms-- a young girl, a married woman, and an iconic universal mother. 

Relax and enjoy listening to this presentation.

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Intizar Husain was born in a small town in the district of Bulandshahr, UP, and his family migrated to Pakistan in 1947. But it seems that he left his heart behind because not only pre-partition India but the dominant themes in the Indian culture, including folk tales and ancient epics, stayed in his consciousness. He repeatedly used these themes in his stories and novels. His 1979 novel Basti, translated into English by Francis Pritchett, was nominated for the Man Booker International Prize. In addition, he received several other honors and awards, including Premchand Fellowship by the Sahitya Akademi in 2007. Intizar Husain was a close friend and admirer of my mentor, Professor Gopi Chand Narang. I recall several conversations with Narang Sahib about Husain's literary contributions. He died in 2016 after a brief illness.

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In this Season finale, I present a short story by Intizar Husain, the eminent short story writer, and novelist of the Indian subcontinent. He was born in a small town in the district of Bulandshahr, UP, and his family migrated to Pakistan in 1947. But it seems that he left his heart behind because not only pre-partition India but the dominant themes in the Indian culture, including folk tales and ancient epics, stayed in his consciousness. He repeatedly used these themes in his stories and novels. His 1979 novel Basti, translated into English by Francis Pritchett, was nominated for the Man Booker International Prize. In addition, he received several other honors and awards, including Premchand Fellowship by the Sahitya Akademi in 2007. Intizar Husain was a close friend and admirer of my mentor, Professor Gopi Chand Narang. I recall several conversations with Narang Sahib about Husain's literary contributions. He died in 2016 after a brief illness.

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This is a short story by Fahmida Riaz, a poet, distinguished author, and tireless fighter for women’s rights. She was born in Meerut in 1946, and after the partition, her family settled in Hyderabad, Sindh. During the dictatorial regime of Zia Ul Haq, she was charged with several crimes, and she sought refuge in India and spent seven years in exile. On Women’s Rights, she once said, and I quote, “Feminism has so many interpretations. What it means for me is simply that women, like men, are complete human beings with limitless possibilities. They must achieve social equality, like the Dalits or the Black Americans. In the case of women, it is so much more complex. I mean, there is the right to walk on the road without being harassed. Or to be able to swim or write a love poem, like a man, without being considered immoral. The discrimination is obvious, subtle, cruel, and always inhuman.” Unquote The story Aurat aur Cheetah, meaning The Woman and the Leopard is about a woman’s primordial fears of subjugation. Fahmida uses Leopard as a metaphor for the power of the patriarchy to oppress women. This repression is the cause of endless suffering and psychological complications for women.

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Saadat Hasan Manto’s name should be familiar to listeners of this Podcast because his short story Toba Tek Singh was the first story to be featured in this Podcast. Manto gained great fame as a playwright and a short story writer in pre-partition India, but his greatest achievement was how he captured the brutality unleashed by India’s partition and how women suffered the most in this carnage. Khol Do or Open! is truly a very short story consisting of 3 ½ print pages but it encapsulates more than anything written about the animality and brutality of partition. 

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In this episode, I present a short story written by Yashpal, an eminent Hindi writer whose work has been compared with that of Munshi Prem Chand. Yashpal was born in Kangra Hills in 1903. He was an early follower of Gandhi Ji's non-violent approach, but after meeting Bhagat Singh and Sukhdev at the National College in Lahore, he became a full-fledged revolutionary, turning himself to be a fugitive in 1929 when he tried to blow up a train carrying Viceroy Lord Irwin. On release from prison, he dedicated himself to writing fiction and propagating the communist ideology. He was awarded Padma Bhushan in 1970. He died in 1976 at the age of 73. He left behind a rich literary legacy consisting of a dozen novels, five collections of short stories, and a travelogue.

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It is a romantic story written by Khwaja Ahmad Abbas, who is remembered as a novelist, story writer, film director, and distinguished journalist. Although I did not fully subscribe to the communist worldview, when I picked up a copy of BLITZ weekly magazine as a student, I immediately jumped to what was called the Last Page. This place was reserved for a column by Khwaja Ahmad Abbas. He was born in Panipat, a town in Haryana that we often associate with Maulana Hali. Abbas’s grandfather Khwaja Ghulam Abbas was, in fact, a chief rebel in the 1857 Rebellion. We also remember Abbas for his films like Dharti Ke Lal, Pardesi, and especially Raj Kapoor films such as Awara, Shree 420, Jagte Raho, Mera Naam Joker, and Bobby. Abbas got a bachelor’s degree in English literature and a law degree from Aligarh Muslim University. He authored dozens of books that were published in Urdu, Hindi, English, and numerous foreign languages. He died in 1987.