Jammu-o-Kashmir Main Urdu Adab Ki Nashu Numa
Author:
Brij Premi
Publisher:
Ruchna Publications Naseeb Nagar, Jammu-1992
Reviewer:
Prof. R.N. Kaul, Chinore,
Jammu
Paying a tribute to his friend and patron, Earl of
Southampton, Shakespeare wrote in one of his sonnets:
So long as men can breathe, have eyes to
see,
So long lives this, and this gives life to
thee.
Though physically Brij Premi is no more
with us, his soul still lives with us. This is due to his passionate and
dedicated service to the cause and spread of Urdu in the
J&K State.
Urdu, being rich in subtle thought and possessing an equally rich vocabulary
(especially in its poetry) it is bound to grow and prosper on the sub-continent
of India and as such Brij Premi’s name shall always be associated with it.
Many an erudite scholar has written on the
life and art of Brij Premi. These are Gulam Rasool Nazki, Qamar Jalalabadi,
Rehman Rahi, Amin Kamil, Motilal Saqi, Nayeem Sidiqui (Pakistan)
Shahid Budgami, Farida Kaul, Margoob Banahali and others. Possessing not even a
smattering knowledge of Urdu, I am aware how audacious it is for me to attempt a
review almost like the proverbial fool who rushes in where angels fear to tread.
Yet I do let a wider public know about Urdu and about Brij Premi's contribution
to it; two, Premi himself wrote many articles on Urdu in English; three—I share
with Brij Premi love for natural beauty of the Happy Valley, love for its rich
heritage in terms of culture and literature and above all love for Kashmiriat;
four—I have been a proud teacher of Premi in the college.
Before I proceed, let me quote from
"The place where I live' by Brij Premi:
"Where I live is known for centuries as
the paradise-founded by Kashyap Rishi-where I live is the place which gave birth
to mystics and poets like Lala Ded, Sheikh Noor-ul-Alam. Habba Khatoon, Rasul
Mir, Paramanand, Mehjur....This is the place whose water and air flowed in the
veins of Jawaharlal Nehru, Dr. Iqbal, Chakbast and Sadat Hassan Mantoo...'
But certainly Brij Premi loved Urdu and
its literature more with a passion and dedication rarely found. Possessing the
twin characteristics of creative artist and critic, he conducted research and
study, so vast and detailed that in a short span of time he was able to present
the remarkable book "Jammu-o-Kashmir main Urdu Adab Ki Nashu Numa", that
is, evolution of Urdu in
Jammu and
Kashmir. He covers the entire gamut right from
the Dogra rule to the present day, thus not only making the common man familiar
with the language and its rich literature but also provoking him to go to the
originals. He gives evidence of a literary historian who approaches his subject
with an objective, rational and scientific attitude. He surely was opposed to
autarchic rule of the Dogra rulers, but he points out how grateful the lovers of
Urdu in the state should be to Maharaja Ranbir Singh and Maharaja Pratap Singh
who encouraged the growth and popularity of Urdu. Maharaja Ranbir Singh got
Persian, Sanskrit and English classics and manuscripts translated into Urdu and
without hesitation declared Urdu as the state language, of course, giving
Kashmiri, Hindi and Dogri their due status. Brij Premi lauds the creative
artists in Urdu but at the same time regrets that some of them made deliberate
attempts to Persianize Urdu, thereby making it unintelligible for many readers.
No critical historian of any literature
worth the name can be truly objective without relating the times to their
creative products. That is what Brij Premi has done precisely. The times to
which writers like Prem Chand Munshi and in our state like Prem Nath and Prem
Nath Dhar and others younger to them belonged were indeed pre-independence and
post-independence times-times exciting and stirring. Struggle for freedom from
British imperialism in
India and in
the state of
Jammu and Kashmir
against the Dogra autocracy was in full swing. Epical in its quality the heroes
and leaders of the freedom movement like Gandhi, Nehru, Abdul Gaffar Khan and
Sheikh Mohammad Abdullah possessed epical dimensions. Naturally no young and
sensitive artist could resist the impact of this struggle because for them it
was the beginning of freedom from poverty and exploitation of the downtrodden:
Bliss it was in that dawn to be alive
But to be young was very heaven.
So sang young William Wordsworth about the
French Revolution. And, so, as Brij Premi rightly points out, our short story
writers mainly chose their themes to paint vividly the sufferings of the
peasants and labourers of the state. It is clear how Premi connects the growth
of Urdu short story to the social and political milieu of the times. And before
we mention what critical remarks Brij Premi has made in detail about these
writers it is important to know what role Urdu journalism played in the process.
In fact, no literature has flourished especially in its infancy without the
essential infrastructure of newspapers, journals and printing press. Maharaja
Ranbir Singh provided the press while Mulk Raj Saraf gave the first Urdu
newspaper Ranbir to the people of the state. In it and later on in
Akhbari Aam, Vitasta, Martand, Hamdard etc. not only began the appearance of
articles on political and social themes, but short stories and critical articles
on literature made their appearance. The progressive movement and progressive
literature began to be propagated through newspapers and in journals which soon
followed the dailies and weeklies. Progressive cultural front was organised soon
after attainment of independence. Brij Premi notes in the book under review that
the short story in the state became the artistic mouthpiece for alleviating the
sufferings of the exploited sections of the society.
In the field of the short story Brij Premi
notes with gratitude the sources from which the writers who nourished this genre
received their inspiration. Of Prem Chand, Sajad Hyder and then of the
journalist-poet-scholar Munshi Mohammad-ud-Din Fouq he makes special mention.
Naturally, Prem Nath Pardesi, and Prem Nath Dhar are discussed in greater
detail. Pardesi's "Duniya Hamari", Dhar's "Kagaz Ka Vasudev"
and "Nilie Aankhen" are specially mentioned. Naturally
after partition, the themes of bloodshed and exodus received greater attention
and Ramanand Sagar's "Insan Mar
Gaya"
became a national craze. Writing under the impact of the communist ideology,
short story writers gave this art a new dimension as already said. On the
literary firmament were seen new stars like Somnath Zutshi, Ali Mohammad Lone,
Akhtar Mohi-ud-Din, Ved Rahi, Brij Premi, Hari Kishen Kaul and Gulam Rasool
Santosh. This as Premi points out, the artistic and aesthetic side of the short
story became subservient to what can be called a mission.
Premi notes, however, that after 1965, the
content and technique of the short story in the state underwent a change. Impact
of science and technology was felt and the writers went into themes
psychological; the inner mind of man began to be explored; conflicts were
discussed through the characters and man-woman relationship too received
attention. Mention is made of a new generation of writers in the genre under
discussion, prominent among them being Omar Majid, Kishori Manchanda,
Shams-ud-Din Shamim, Virendra Patwari and others. Brij Premi pursues the study
to the latest times. The evolution of Urdu literature and its forte the short
story in our state, continued its march with yet a fresher content and a novel
technique. Anand Lehar, Anis Hamdani, Somnath Dogra, Jan Mohd. Azad, Ashraf
Ansari with others have blazed yet another trail.
Brij Premi succeeds in his purpose of
critically outlining the evolution of the short story in the
J&K State.
Though aware of the limitations of space he nevertheless give a fairly adequate
information about his subject. He talks about the political and social contexts,
the role of newspapers and journals and educational institutions and especially
of the J&K Cultural Academy in helping Urdu blossom into a noble and effective
medium to satisfy the aesthetic tastes of the people in general. He creates
interest for the original works by giving glimpses of personal lives of writers,
their privations, their joys and sorrows and above all their love for Kashmiris
and Kashmiriat, not ignoring the aspirations of the people of Jammu and Ladakh.
The novel in Urdu did not progress so well
as the short story. Brij Premi attributes it to lack of newspapers prepared to
publish novels in serials. He, however, fails to point out another reason:
during the period of fast social and political changes, people would have no
patience to sit long over a novel. Yet at a later stage, the craft of fiction
started evolving itself to mature art, especially after 1960 where Pardesi's
aborted novel "Poti" and Ramanand Sagar's classic "Insan Mar
Gaye" provided the lead, the novel was to grow in the hands of
Narsinghdas Nargis, Thakur Punchi, Sofi Mohi-ud-Din, Faroq Renzu, Jan Mohd. Azad
etc. It however failed to attract attention because it focussed only on social
problems, seldom going deep into human psychology.
Since drama in Urdu made a late
appearance, having its origin in wandering groups of entertainers, Brij Premi
does not justifiably devote too much space to its evolution. Though some troupes
did perform in the state and dramas of Aga Hashar Kashmiri, Betab Benarasi,
Talib Banarasi created interest in writing of drama, it were Mohd. Umar Noor
Illahi and Dina Nath Warikoo who proved pioneers in the field. Finally the
impetus to this genre came through Radio Stations in
Srinagar and
Jammu. The radio plays by Prem Nath Pardesi, Akhtar Mohi-ud-Din, Som Nath
Zutshi, Ali Mohd. Lone. Thakur Punchi and Shabnam Qayum were well-written and
equally well-presented. The coming of the TV too has helped the growth of drama
in Urdu.
Naturally the growth of criticism in Urdu
receives detailed attention of Brij Premi. This genre of literature helps the
growth of a language and its literature in a country. It is critics who are the
propagators of literature. In the columns of newspapers and journals and in the
form of books critics offer appreciations of the works of art, thus making the
wider public familiar with these; they offer guidelines for enjoying a piece of
literary art. And when a critic happens to be a creative artist at the same
time, criticism becomes much more helpful. Though rarely so in the western
world, in the J&K state the two have co-alesced. In our state the pioneers in
this field were Mohi-ud-Din Fouq, Mohd. Umer Noor-Illahi, Abdul Ahad Azad,
Nandlal Talib, Prem Nath Bazaz etc. Yet critics like Salamullah, Shamim Ahmed
Shamim, Dr. Aziz Ahmed Qureshi, Dr. Hamidi, Ali Mohd. Lone and a host of others
have done equally well in making Urdu Literature read and enjoyed by a wider
public.
In
Jammu
especially pioneering work was done by Dr. Shyam Lal Kalra by presenting to the
people his book "Angrezi Rehjanat" outlining the influence of
English criticism on Urdu criticism. Brij Premi also mentions and rightly so,
the critical works on Urdu literature by eminent critics like Prithvi Nath
Pushp, Mohi-ud-Din Qazi, Gulam Rasool Nazki, Moti Lal Saqi, Asad-Ullah Wani,
Premi Romani, Yosuf Salim, Majid Mazmar etc.
Moti Lal Saqi in his brief foreword to the
book under review notes that before this one on the evolution of Urdu in the
J&K
State, one by Dr Abdul Qadir Sarwari had already appeared. He writes, "The book
written by Dr. Sarwari cannot be overlooked. But very few people will be
acquainted with the truth that Premi rendered great help to Dr. Sarwari in
preparation of the book and this help is creditable....I can speak on personal
knowledge that Premi deserves appreciation for his dedicated and sympathetic
care with which he collected material for Dr. Sarwari's book".
I need not repeat that Brij Premi has
rendered a yeoman's service to the cause of Urdu in the state. Let me conclude
by quoting from Prof. Ale Ahmed Saroor:
"The remarkable work that Dr. Brij Premi
has done for Urdu literature and Urdu criticism is creditable".
*The author was Professor of English and
also served as Controller Examinations,
University
of Kashmir. His published works include—Sheikh Abdullah, Lal Ded. He has also
been involved in Literary Criticism.
Source: Kashmir
Sentinel
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