MANUU Vice Chancellor, Dr. Mohammed Aslam Parvaiz, reading the Urdu Science magazine

He has an obsession with science. And he wants to pass it on to the posterity. As the Vice Chancellor of Maulana Azad National Urdu University (MANUU) and also in his personal capacity, Dr. Mohammed Aslam Parvaiz , is doing his bit to promote science education among the youngsters.

However, his pet project of integrating madrasa students into mainstream education through bridge course in science has drawn a blank. Ever since this course was launched two years ago there have been nil admissions. But undeterred by the poor response, the vice chancellor has  decided to take up vigorous campaign in important madrasas in Telangana and Andhra Pradesh to motivate students to join the one year bridge course.

 "There is no question of winding up the course. We will write letters and make personal visits to madrasas to persuade students to enrol", says Dr. Parvaiz and adds that this is a window of opportunity being provided to them to take admission in undergraduate and polytechnic programmes.

Shockingly just six to eight madrasa students are enrolling for the bridge course in science when the university requires a minimum of 20 students to start a class. Dr. Parvaiz blames the society as a whole for the lack of scientific temper in the country. In the Muslim community the situation is even worse as youth and students are not encouraged to question. "We should ignite the minds of children and allow them to probe and question. Religion doesn't prevent you from inquiring",  remarks Dr. Parvaiz, an accomplished scientist himself.

As part of the National Science Day, MANUU is organising the 5th National Urdu Science Congress. The two day conference beginning Thursday will see all stakeholders - teachers, scientists and students taking part and deliberating on how best to transfer knowledge related to social sciences in Urdu. Also on the occasion "Carvan-e-Science", the special issue of Urdu Science magazine, is being released to mark completion of its silver jubilee.

The Urdu Science monthly is the only journal in the sub-continent to complete 25 years. The brain child of Dr. Parvaiz, this magazine is a testimony to his unflinching zeal to promote scientific education among Urdu readers. The 56 page journal seeks to address important issues facing the country. Though there are few takers, Dr. Parvaiz is determined to bring it out at all costs. "Only through science we can root out prejudices", he says.

What provoked the launch of the journal is a story in itself. Problem faced by him as a student in getting science material in Urdu led to the birth of the magazine in 1994. "Once I stabilised in life I decided to fill this long felt need", says the vice chancellor. Now he plans to go for multimedia format with audio and visual content to make the journal more interesting.

                                                                                                                                           J.S.Ifthekhar,

Hyderabad based journalist.

Article Dated February 27, 2019

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Hyderabad: Behind every successful man, they say, is a woman. And behind a successful woman? A tribe of other successful women. This, at least, is the case with women Urdu writers in Hyderabad.

Mehfil-e-Khawateen, a literary organisation of women and by women has proved to be a catalyst for young writers to come to the fore. In its 48 years of existence, the Mehfil has succeeded in drawing out a huge untapped reservoir of talent among women.

“It has been an amazing journey. We started off with just five women in 1971 and today the Mehfil has 200 women on its rolls,” says its proud president Dr Habeeb Zia. Ahead of its annual conference on February 25, there is hectic activity at the Mehfil. Women writers are busy giving shape to the biennial souvenir, firming up the nitty-gritty of convention and selecting their best poems for the Sham-e-ghazal programme. It is time for the Mehfil to take stock of things and plan the future. The immediate task is to ensure participation of a broad spectrum of women.

The only organisation of its kind, the Mehfil’s biggest contribution is to make women Urdu writers, who are largely Muslims, come out of the closet. Female writers generally feel isolated and clueless. They all want to make it big and get recognition. But most of them are unsure about their writings. They don’t know whom to approach for guidance or how to get their works published.

“Once I joined Mehfil, I gained a lot of confidence and also got a few of my poems and short stories published,” says an excited Atiya Mujeeb Arafi, who teaches at the Government High School in Sultan Bazaar.

Gule Rana, an assistant professor with Telangana University who has authored a book on well-known humour writer Mujtaba Husain, concurs with this view. Over the years, many women have published novels, short stories and poems with the aid of the State Urdu Academy. Though it is an individual achievement, the inspiration and guidance provided by Mehfil can’t be glossed over.

“Women who never thought they could write have become authors,” says Prof Ashraf Rafi, who has 13 books to her credit.  What do they focus on? No, it is not just romance or women-specific issues. They pitch in for socially relevant themes like discrimination, poverty, safety besides national and international conflicts.

Women writers now have a sense of community. Mehfil provides them a platform to share personal experiences, stories and empower each other. “Senior writers guide and help the newcomers with their writing. We try to hone their skills and instil confidence,” says Zia, who has authored half a dozen books.

Some well-known writers associated with Mehfil include Qamar Jamali, Audesh Rani, Naseema Turabul Hassan, Tasneem Johar and Shabeena Farshori. Of late, it has also attracted multilingual poets like Elizabeth Kurian Mona and Sunita Lulla.

Mehfil holds its meetings on second Saturdays every month at the Urdu Hall in Himayatnagar. Though it boasts of 200 members not all are writers. Everyone, of course, has a strong passion for Urdu literature but only 25 to 30 of them are into writing poems and short stories. The inclusive forum, however, keeps sparking interest and emboldening women to wield the pen.

Bait Bazi, which is similar to Antakshari, is organised on a regular basis and this helps whet poetic skills. Also, mushairas and dholak-ke-geet are conducted to involve all women writers. Unfortunately, the Mehfil’s attempts to expand activities has hit a roadblock for want of resources. Operating on a shoe-string budget, it can’t think of broad-basing its programmes any further.

- J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Deccan Chronicle

Dated February 24, 2019 

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Ghavasi is another great poet of Qutb Shahi kingdom. His poetic excellence peaked during the rule of Mohammed Quli Qutb Shah, the fifth ruler, and found patronage when Abdullah Qutb Shah succeeded. He gained such prominence that he was sent as a royal ambassador to Bijapur. Mullah Wajhi, a poet of no mean repute himself, grew envious and took potshots at Ghavasi in his poem, Qutb Mushtari. Not just this. He is also believed to have driven a wedge between his bete noire and the king.

After the death of Mohammed Quli, his nephew and son-in-law, Sultan Mohammed Qutb Shah, took over. But, his reign was not conducive to the growth of poetry. Poets, in general, went through a lean phase and many gave vent to their distress in their verses. A disciple of Hazrat Mir Momin, the Sultan was drawn to religion and philosophy and took least interest in poetry. However, when his son, Abdullah Qutb Shah, ascended the throne, the situation changed for the better. Poets who had gone into seclusion and forgotten resurfaced. It was as if the golden era of Mohammed Quli had returned. In his poem, Totinama, Ghavasi sang paeans of Abdullah Qutb Shah thus:

Khain yun bahaq alaa wali
Ke phir jug main aaya Mohammed Quli
Dube the hunarmand so pher kar
Nikal aye taj daur main tair kar

Ghavasi is known for his two Masnavis (spiritual poems) – Saiful Mulk Badiul Jamal and Totinama. Both are translated from Persian into Deccani. The first one, a romantic narrative, was written in 1035 Hijri and the second one in 1049 Hijri.  Saiful Mulk, which contains more than 2,000 verses, was written by Ghavasi in just one month. Totinama is a translation of Ziauddin Bakhshi’s Persian poem. It contains 45 anecdotes and stories.

His third Masnavi, Chanda Lork, which is also known as Mina Satvanti, is yet to see the light of the day. However, copies of it are available at Asafia State Central Library and Idara Adbiyate Urdu. An old Indian tale, it is all about how Chanda, the king’s daughter, falls in love with a shepherd, Lork. The central theme of the story revolves around modesty, chastity and virtue. Sample what Chanda says:

Anbeel chanch kankyan sonch lazzatan
Tuje kaiku khas kya nematan
Jo kuch teri kismat, so tu payega
Tera wo desayu kadan jayega

Moral values like austerity, piety and retreat from pomp and ambitions are discussed in detail in these stories. What is unique about these Masnavis is that they look original poems. In Ghavasi’s hands, they get totally transformed. They acquire the distinct Deccani ‘lab-o-lehja’ with suggestive use of metaphors and similes so much so that at no point readers feel that these are translated works. Ghavasi’s language is simple and free from affectation, thereby enhancing the appeal of the Masnavis.

As soon as Abdullah Qutb Shah became the king, Ghavasi presented Saiful Mulk Badiul Jamal to this young ruler and became the ‘Malkush Shora’, (poet laureate) of the Qutb Shahi dynasty. Pleased with him, the king gifted away a village to Ghavasi and arranged a special session with him every night near the royal palace.

As an ambassador to the Adil Shahi dynasty, Ghavasi acquitted himself well and left deep poetic imprints. He gave such a demonstration of his skills that renowned poets of Bijapur sultanate like Mulla Nusrati and Muqimi mentioned him in their books. His reputation even travelled to north India.

A native of Bidar, Ghavasi penned his first Masnavi here and mentioned about the sufi saint, Khwaja Banda Nawaz. Being a devotee of Hazrat Meeran Shah Haidar Wali, he also wrote many verses in his praise. Slowly, his fame reached Golconda and Ghavasi came over here in the hope of recognition and patronage. Prof Mohammed Ali Asar, who has done extensive research in Deccani literature, regards Ghavasi as the greatest Ghazal poet of Dabistan-e-Golconda. No poet of Qutb Shahi or of Adil Shahi eras can match him. What makes Ghavasi’s compositions stand out is their inherent melody, passion and linguistic expressions. Sample this ghazal:

Aye dil aaram main jidhar jaaon
Dil ku terech pas dhar jaaon
Tuje dekhe pe kahe bin sher jio rehe na shayer ka
Yaad karta hun tuj to laak anjhu

Ghavasi also wrote Marsiya (lamentation), Qasida (panegyric), Rubaiyat (quatrains), Nazm (rhymed verse). However, his Masnavis mark a milestone in spiritual poetry and play an important role in advancement and adornment of Urdu poetry.
 

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Telangana Today

Dated February 24,2019

 

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An artiste who can easily imitate the voices of India’s playback greats, GHMC official Pawan Kumar has kept his passion for music alive.

Pawan Kumar

Most Hyderabadis view the GHMC as a sluggish civic body with a take-it-easy attitude, certainly not a place where one would expect talent to bloom.

Yet, GHMC official Pawan Kumar changes that perception and how. Pawan, who works in the public relations wing of the Corporation, has been making waves with his flair for singing. Not surprisingly, he has performed at all the cultural programmes of the department, much to the surprise and delight of his fellow officials. Most recently, at the end of the Assembly session, Pawan regaled the stressed employees of Jal Vihar with his songs, drawing the appreciation of the GHMC Commissioner Dana Kishore and Police Commissioner Anjani Kumar.

And while he is retiring at the end of this month, it will not be the end of his singing career for sure. With his penchant to easily imitate the voices of well known Bollywood singers like Mohd Rafi, Mukesh, Kishore Kumar, Mahender Kapoor, Talat Mehmood and Hemant Kumar, Pawan has emerged as a close clone of these singers.

The similarity is striking when he mimics Rafi singing Main Kahin Kavi Na Ban Jaoon or Mukesh’s Jeena Yahan Marna Yahan. And one would simply not know the difference when he yodels a la Kishore Kumar style in Ye Shaam Mastani. From soft romantic numbers to ghazals, qawwalis and Westernised rock and roll, Pawan sings everything down to the tee.

Recalling how his tryst with music began, Pawan says that he started off in childhood as a bathroom singer, but that his talent came to the fore at college where he became a permanent fixture at all the fests. Later, he joined a musical troupe and performed with popular stage artists like Jessy, Sampson Mukesh, Prem Kumar and Sajjad Kishore. As part of the Cine Musicians Association, he has also sung with Telugu playback singers Vijayalakshmi and Deepa Dhar. “I used to sing at get-togethers and corporate functions,” recalls Pawan, who credits his uncle Dr Amba Pershad Naidu, a renowned harmonist, as his inspiration.

Even after joining the MCH in 1983, Pawan’s passion for music continued, earning him the praise of several IAS officers like Jannat Husain, D.K. Panwar and R. H. Khwaja, who headed the civic body. Singing to recorded film music, Pawan has a huge number of songs of different shades in his album, while his songs can be accessed on the StarMaker and SoundCloud apps.

Pawan’s passion for music has proved to be his greatest advantage as he doesn’t feel the pressure of work at all, choosing instead to simply sing away the blues!

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Deccan Chronicle

Dated February 22, 2019

   

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Accomplished bard Mullah Asadullah Wajhi’s magnum opus ‘Qutb Mushtari’ gives a detailed account of Quli Qutb Shah's dalliance with Bhagmati

If the Indo-Islamic architecture scaled heights of greatness, literary activity also peaked during the Qutb Shahi reign. And Mulla Asadullah Wajhi, without question, was the tallest of the litterateurs. A contemporary of the fifth king, Mohammed Quli Qutb Shah, he enjoyed the honour of being the Malik-us-Shora (king of poets).

What is unique about Wajhi is that he could write with effortless ease both poetry and prose. Besides Deccani, he was proficient in Persian too and has left a voluminous literature in that language. In fact, researchers discovered his real name being Asadullah from his Persian poetry while he used Wajhi as his takhallus (pen name). This accomplished poet witnessed the rule of four kings. He was born in Golconda during the reign of Ibrahim Qutb Shah while his poetry flowered during the period of his son, Mohammed Quli Qutb Shah. However, Wajhi went into obscurity and was almost forgotten when Mohammed Qutb Shah, nephew of the Hyderabad founder, assumed power. He regained prominence once again when Abdullah Qutb Shah became the king and got access to the shahi darbar.

The literary works of Wajhi includes the legendary Masnavi poem, Qutb Mushtari. This apart, he also authored Sabras, an allegorical tale. It enjoys a unique position in the Urdu literature for being the first narrative in prose which is non-religious in character. Wajhi has presented everyday events and also held forth on moral and ethical values with such expertise that Sabras qualifies to be a literary treatise. His other book of prose, Tajul Haqaiq, deals with Sufism (Tasawwuf). These works figure among the earliest specimen of Deccani Urdu.

The magnum opus, Qutb Mushtari, gives a detailed account of Quli Qutb Shah’s dalliance with Bhagmati. It is considered one of the best among ancient Urdu books for its figurative expression, lucid style and profundity of thought. The Masnavi, which runs into more than thousand verses, was written in 1609 in just 12 days. In this poem Wajhi names the king’s beloved as Mushtari, a Bengali princess, just to divert his attention from Bhagmati. A perusal of this poem also evokes memories of the Qutb Shahi dynasty as it throws light on different aspects of day to day life those days.

In the preface to the ballad, Wajhi has presented a critical argument on what constitutes good shayeri. The verse, he says, should be simple and easy to comprehend. It should have a unique flavour and fragrance with words and their import striking a perfect bond. It’s no use if the verse doesn’t pull the heart-strings and fails to move the listeners.

Jo berabt bole to batyan pachchese
Bhala hai jo ek baat bole salees



In his poem Wajhi takes potshots at his contemporary poets, particularly Ghavai, who was growing in popularity. He also lavishes praise on the Deccan region in the Masnavi. The description of Telangana in his inimitable style remains popular to this day. Sample this verse:

Deccan sa nahi thar sansar main
Banj fazalan ka hai is thar main
Deccan hai nageena, angoothi hai jag
Angoothi ko hurmat nageena hi lag
Deccan mulk kun dhan ajab saaj hai
Ke sab mulk sarhur Deccan taj hai
Deccan mulk bahutich khassa hai
Telangana iska khulassa hai

Comparable to the Deccan, there is no place on earth;
Indeed to innumerable intellectuals it has given birth.
The Deccan is a gem, the world a ring;
And verily the gem makes it a worthy thing.
Amazing grandeur to the Deccan nation brings renown;
For all other nations together wear the Deccan as a crown.
The Deccan – a land of dazzling luminescence,
And Telangana verily is its essence (Sajjad Shahid)

However, in spite of the royal patronage he enjoyed, Wajhi fell off grace during the reign of Mohammed Qutb Shah, the 6th king. In one of his ghazals, Wajhi bemoans his fate and dire financial straits. There were days when he almost starved but kept his honour and refused to seek help. This touching poem captures his bad times vividly:

Jalne ku is shame par aashiq ho hum rakhiya hun
Parwane ke qadam par aakar qadam rakhiya hun
Bhuka hun kar kisi kun main haat nai pasyara
Aapas ku aap khakar apni sharam rakhiya hun

The last abode of Wajhi is believed to be in the premises of Sufi saint, Hazrat Barhana Shah’s dargah in Hyderabad. However, nobody has been able to identify his grave yet.

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Telangana Today

Dated February 17, 2019

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Love is a condition of mind where the mind is out of condition. While views may differ on celebration of Valentine, there are no two opinions about Urdu poetry being the best bet to celebrate your heart-throb. Serenade your lover with the best of verses. In fact one will be spoiled for choice  - so vast is the treasure trove of love poetry Urdu offers.

Mirza Ghalib, the Shakespeare of Urdu shayeri, has the last word on love. Can one disagree with his view that matters of heart can't be decided by we humans as love comes unbidden and blossoms just like that.

Ishq par zor nahin hai ye wo aatish Ghalib
Jo lagaye na lage aur bujhaye na bane


No controlling love, it's a fire
Can't be ignited nor can be doused

Urdu poetry comes to the aid of lovelorn folks whatever be the mood they like to reflect. There are any number of touching two-liners - rich in emotion and pregnant with meaning. The master of ghazals that he is, Ghalib weaves magic in his love sonnets.

Tum mere pas hote ho goya
Jab koi dusra nahin hota


As if you are with me, just when
There's no one else around me

On another occasion he says:

Dil-e-nadan tujhe hua kya hai
Aakhir is dard ki dawa kya hai



O foolish heart what has befallen you
Don't you know this sickness has no cure.   

The best love is that which awakens the soul. Urdu shayeri does just that and leaves you gasping for more. For those pining for the ultimate, Allamma Iqbal, poet of East, has this to say:

Tere ishq ki intiha chahta hun
Meri sadgi dekh kya chahta hun


Want to have the extreme of your love
See, how silly I am, wishing the impossible 

Urdu poetry is all about love - bitter, sweet and poignant. It offers amatory odes to fit all situations - love, loss, separation. Sample this verse of Makhdoom Mohiuddin, Hyderabad's best known poet:

Aapki yaad aati rahi raat bhar
Chashme nam muskuraati rahi raat bhar


Your thoughts lingered all night
My wet eyes kept smiling all night

Women can take recourse to Parveen Shakir to give vent to their feelings. A poetess of no mean repute, she has written on all facets of life specific to women.

Kaanp uthti hun ye soch kar tanhaee main
Mere chehre pe tera naam na padh le koi 


I tremble in solitude thinking
What if someone reads your name on my face

 Ladkiyon ke dukh ajab hotey hain, sacch us se ajeeb

Hans rahi hain aur kajal bheegta hai saath

 The pains of girls are strange, their truths even stranger

They chuckle, their kohl gets wet, together

 No, there is no dearth of ishqia shayeri with poets like Hasrat Mohani, Dagh Dehlvi, Jigar Muradabadi, Faiz Ahmed Faiz dishing out passionate verses that touch both the heart and the mind. Hyderabad founder, Mohd Quli Qutb Shah, whose dalliance with Bhagmati is legendary, composed Dakhni dialect poems full of love, mirth and vivacity. He sang paeans to his beloved.



Piya baaj pyala piya jai na

Piya baj ek til jiya jai na

Kahithe piya bin saburi karoon

Kahhiya  jai amma kiya jai na



I can't drink, my drink, without my love

I can't breathe, I sink, without my love

I should be patient, you say, without my love

How easy to say, how hard to live, without my love



If you are at a loss to find the magic words to express your feelings, just turn to Urdu shayeri. You are sure to get the spark your relationship needs.

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Deccan Chronicle

Dated February 15,2019

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Hyderabad: He seldom smiles. With the right side of his body paralysed, Shaikh Raza is depressed and frustrated. There is nothing to cheer him up at the Nizamia Unani Hospital, Charminar, where he is recuperating. But of late there is the hint of a glow in his wizened face.

This 60-year-old patient from Nizambad now checks the time frequently as if he is waiting for someone. After lunch, he tries to pull himself up. He even manages a smile when Rizwana walks into the ward.

'Aap kaise hain, sir. Aaj main aapko ek dilchasp kahani sunaongi,' (How are you sir? Today I will tell you an interesting tale), she says.

Yes, a new therapy is at work in the Nizamia Hospital. Persons suffering from muscular impairment are being read stories from books to cheer them up. And the healing qualities of reading are showing results.

This novel idea is the brain child of Helping Hand Foundation (HHF), the city based NGO that deals in medicare. For the last four months, its volunteers have been providing bedside care to patients - washing faces, feeding and making their beds. Recently, when they started reading to patients, many showed interest.

'We are happy at this pleasant change and want to make it a permanent feature of our service. Besides being therapeutic, book reading is instilling confidence among patients,' says Mujtaba Hasan Askari, the president of HHF.

No entertainment is as cheap as reading and no pleasure so lasting. 'I am really enjoying the story sessions,' says 62-year-old Abdul Samad. Most of the patients at Nizamia are affected by paralysis of the limbs or mouth. They can't hold a book even if they can read. But a majority of them are illiterate and they look forward to the story sessions.

Reading aloud to persons affected by dementia is found to stimulate memory and imagination. Research shows that reading helps cut down depression and stress and reduces chances of developing Alzheimer's later in life.

'We spend 10 to 15 minutes at each bed reading from books. Sometimes two to three patients sit at one place and we read aloud,' says Khatija Fatima and Shabana. They use the books in the hospital library. Recently they even bought some books the patients would find inspiring. For these patients, discovering the good company of books is proving to be a rewarding experience. 

                                                                                                                                          J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Deccan Chronicle

Dated February 12, 2019 

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The poetical scene of Hyderabad went through quite a few phases before settling into the present context

The sixth Nizam improved his poetic skills under the tutelage of Daagh Dehlvi and conferred on the latter the title of Fasih-ul-Mulk. Once when the darbar was in full attendance, the Nizam came up with a misra (one liner) – sharab seeqh pe dali kabab sheeshe mein and asked the gathering to provide the next line. A rough translation of it reads as: threw the wine on the barbecue, the meat in the bottle. This obviously made no sense and as the bewildered courtiers struggled to come to grips with this topsy-turvy misra, the Nizam threw the challenge at his court poet, Daagh Dehlvi.

The master poet that he was, Daagh picked up the gauntlet, framed a perfect misra in no time and recited it to the astonishment of all. The famous line that completed the couplet is:

Kisi ke aate hi saaqi ke hosh aise ude

Sharab seeqh pe dali, kabab sheeshe main

(The arrival of someone so befuddled the cup-bearer

He threw the wine on the barbecue, the meat in the bottle)

A similar incident which illustrates the effortless ease with which poets of yore employed their lyrical prowess pertains to the times of Maharaja Sir Kishen Pershad, the then Prime Minister under the Hyderabad State. It is said, once he was closeted with a woman and suddenly without so much as a knock, a man barged in. The normally good-natured Kishen Pershad lost his cool and tongue-lashed the man for his impertinence. After sometime, he made enquiries and learnt that the man was Hurmuz, a poet. Immediately, Kishen Pershad offered to pardon the indiscreet act provided the poet came up with a perfect misra to the one recited by him.

Hurmuz agreed and relaxed visibly as he was now on surer grounds. Kishen Pershad, who was a versatile poet, gave vent to the thought uppermost in his mind thus:

Uth ke daalan se parde mein koi hoor gayee

(A damsel withdrew from the drawing room into seclusion)

Upon this, Hurmuz offered the next line which makes the couplet simply beautiful. He said:

Pahlu-e-yaar mein rehna tha bahut door gayee

(Should have been in the beloved’s lap but drifted away)

The seventh Nizam, Mir Osman Ali Khan, the architect of modern Hyderabad, also contributed immensely to Urdu poetry. He sought the help of veteran poet Jaleel Manakpuri for correction of his poems. Under the takhallus (pen name) ‘Osman’, he penned nazms, ghazals, naaths and marsiyas. His 16-line Persian nazm, written in 1950 to highlight the significance of the Republic Day, shows how he rejoiced India becoming a Republic. He penned more than 700 ghazals and scores of naaths which are published in six volumes. Sample his romantic poetry.

Husn kahta hai aftaab hun main

Ahde peeri main bhi shabab hun main

Osman ye walwala hai mohabbat ka aaj tak

Ji bhi machal gaya hai dare yaar dekh kar

Seat of learning

Hyderabad, which exudes an air of romance, intrigue and splendour extending over 500 years, became a great cultural centre and a seat of learning, thanks to the literary dynasties of Qutb Shahis and Asaf Jahis. Under their royal patronage, Hyderabad formed the golden triangle of Urdu culture along with Delhi and Lucknow.

There is no such thing as a separate school of thought in Hyderabad poetry. It has generally been responsive to all the historical and national events – mirroring life in all its varied hues. The poetry of Hyderabad can be broadly classified into the classical phase, the progressive movement, the modern era and the post-modern period.

The progressive movement, which has marked leftist influences, emerged in 1936 and held sway up to 1960. It gave new vigour and thrust to Urdu poetry and made inroads into the literary circles of Hyderabad. The old shibboleths were discarded and, for the first time, Indian literature sought social relevance. ‘Literature for life’ became the slogan. Josh, Faiz, Firaq and Makhdoom Mohiuddin are among the harbingers of the movement. In their own way, they tried to reconstruct the social system and find solutions to the ills of society.

The progressive movement which was pursued with all the zeal of a crusade, brought a sea change in the content and diction of Urdu shayeri. For the first time, the focus shifted from ghazal to nazm and the poets stopped singing of waiving locks, chirping birds and the mole on the cheek of the beloved. Instead, their poetry gave expression to the gnawing hunger, abject poverty and inhuman bondage. Makhdoom was the tallest revolutionary bard of Hyderabad to emerge on the national scene. He set the tone for other progressive writers and, as a result, Waheed Akhtar, Qursheed Ahmed Jamee, Shaheed Siddiqui and Aziz Qaisi moulded themselves after him.

As civilisation advances, poetry almost necessarily declines. This observation of British historian, Thomas Macaulay, seems to hold good at least in the case of Urdu poetry which now suffers from lack of patronage and mass appeal. The ahle zoukh (aficionados) are on the decline. This, however, doesn’t mean that the prospects of Urdu poetry are bleak in the twin cities. If anything, its profile is that of an eminently victorious Caesar. But, in it could be read the portents of the decline and fall of the Roman emperor.

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Telangana Today

Dated February 03,2019

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Image Courtesy: Google

What’s the matter,” Javeed asked without taking eyes off the mobile phone in his hand. The question was directed to his sobbing wife. A school teacher, Hina was at a loss for words to explain what moved her to tears. She had asked her students to write an essay on the topic ‘My wish’. And now as she sat down to read them, the composition of one student touched her heart. While most students had listed out their different wishes, this boy’s wish was unlike any other.

“I want to become a smartphone,” he had written. Surprised at the unique aspiration, Hina went on to read with interest. And as the reasons mentioned by the little boy unfolded she felt a lump in her throat.

“My parents like smartphones very much. They are so fond of it that they forget me also. My father comes home tired from office and gets immersed in his phone. He has time to play games on it and not with me. When the phone rings my parents answer immediately but they don’t bother even if I am crying. That’s why I want to become a smartphone,” the boy had reasoned.

“Who has written this essay,” a visibly moved Javeed enquired. Next moment he sat bolt upright when his wife replied “our son”.

Truth is stranger than fiction. This sad story is being played out in every home every day. I am sure few have the guts to say it is not the case with our home.


Some may call the smartphone the greatest invention of the century but I feel it is worse than the WMD (weapons of mass destruction) that caused the US to raid Iraq. As the name suggests smartphones are smarter than their creator. It is a genie that can’t be bottled once let out.

Can we deny that mobiles have not impacted our productive time? They are eating into our working hours at office and study hours in educational institutions. Even worship is not free from  their intrusion. They have even robbed cosiness of homes. The entire family may be together and yet miles away. Somebody rightly remarked that landlines united families, but mobiles have divided them.


So what’s the way out? No, it is impossible to even think that everyone will discard their mobiles. It is not practical either with the device placing the entire world in our pocket. The only option left is to use technology sensibly. Smartphones are meant to ease life—not dominate it.   

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in The New Indian Express

Dated February 05,2019

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 The Hazrat Shaikji Hali Dargah in the Old City is being decked up with marigold flowers.

The Dargah behind Urdu Shareef will resonate with Sufiana songs on Sunday evening.

Spring is nature's way of saying, let's party. It's the time of the year when the bitter winter is on its way out and one feels good to bathe in the warm sunshine. Across the country it is time to celebrate 'Basant Panchami' and relish the first bloomers of the season.

To keep its date with Basant, the Hazrath Shaikji Hali Dargah in the old city here is all geared up to celebrate the festival. The Dargah situated behind Urdu Shareef will resonate with Sufiana songs on Sunday evening. For the fourth year in a row the All India Markazi Majlis-e-Chistia is observing the 'Sufi Basant festival' with a view to foster love and harmony among people of different faiths.

Connoisseurs of poetry can soak into the compositions of the legendary Amir Khusrau at the 'sama' mehfil beginning 6.30 p.m. Well known qawwals, Atiq Husain Khan and Ghulam Husain, promise to throw a spell with ghazals of the iconic poet-scholar.

Chhap tilak sab cheeni re

Mose naina milai ke

Prem bhati ka madhva pilai ke

Matvali kar dini re mose naina milai ke

You've taken away my looks,

My identity, with just a glance

By making me drink the wine of love-potion,

You've intoxicated me with just a glance

The Basant festival being observed by sufis of Chistia order goes back to nearly 700 years ago. It is said Hazrat Nizamuddin Auliya was very upset at the sudden passing away of his young nephew, Taqiuddin Nooh, and remained aloof for days together. His ardent devotee, Amir Khusrau, couldn't bear the anguish of his pir and wanted to do something to cheer him up. One fine morning he happened to see some Hindu women dressed in bright spring colours singing and carrying flowers to the temple. It was Basant festival. His enquiries revealed that the goddess would be happy when floral offerings were made.

"Amir Khusrau also thought of making similar Basant offering to his pir. And when he did this Hazrat Nizamuddin smiled seeing his disciple donning yellow attire and pagadi", says Muzaffar Ali Soofi, Sajjada Nasheen of Dargah Hazrat Shaikji Hali.

Glad on seeing his pir smile,  Amir Khusrau and others sang Persian and Hindavi couplets in praise of Spring. And the tradition continues to this day. Basant festival has been adopted by Indian Muslims, particularly sufis of Chisti order, in the 12th century. "It is the best way of promoting social harmony and national integration", says Soofi.

To mark the occasion, the Hyderabad chapter of INTACH is organising a heritage walk tomorrow evening from Sahr-e-Batil kaman near Gulzar Houz to the Dargah. P. Anuradha Reddy, convenor, INTACH,  will explain the architectural aspects and heritage value of the Dargah which earlier bagged the INTACH award.

In keeping with the colours of spring, the Dargah is being decked up with marigold flowers. The organisers want people to blend with the season. An 'appreciated' dress code is given for those visiting the Dargah. They are requested to be dressed in yellow kurta and put on cap, headband, scarf, turban or shawl of the same colour. In case one can't find a yellow attire the next best alternative is white. Black and dark colours are not welcome. Separate arrangements are being made for women to enjoy the qawwalis.

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Deccan Chronicle

Dated February 10,2019

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A ruler who laid the foundation to the city as we know it today, the fifth Qutb Shahi king’s proclivity to poetry, wine and women can be felt in the anthology of verses he has written

Hyderabad is full of poetry. The air is suffused with its spirit. Monuments echo its melodies. People never tire of mouthing ‘wah-wahs’. And cries of encore never die down. It wouldn’t be an exaggeration to say that shayeri is in the very DNA of Hyderabadis. And why not, when the city’s foundation was laid by a ruler who was also an aesthete and a poet at heart! A ruler who, believed to have had a torrid romance with a nautch girl, was consumed with passion and loved all the good things of life.

The fifth Qutb Shahi king, Mohammed Quli Qutb Shah, turned poetic while laying the foundation of ‘Farkhunda Buniyad’ (prosperous city in Persian) in 1589. His Munajaat to the Almighty to populate the city pull at the heart-strings.

Munajaat meri tu sun Ya Sami
Minje khush tu rakh raat din Ya Sami
Mera shahr logon soo mamoor kar
Rakhya jun tu darya main man Ya Sami

Listen to this prayer O Lord!
Bless my days and nights with contentment O Lord!
Make thou my country prosperous and populous
Fill this city with people
As Thou hast filled the ocean with fish, O Lord!

If the burgeoning city population is any indication, the Munajaat sure found acceptance by God. Not just this. The founder’s poetic zeal also seems to have been passed on to the posterity. Today, Hyderabad can boast of scores of poets of immense repute. In fact, the literary status enjoyed by Urdu language today is largely due to his contributions.

Mohammed Quli ascended the throne in 1580 when he was just 15 years old and ruled for 32 years. Apart from modelling Hyderabad on the lines of the legendary Isfahan in Iran, he gave a thrust to literary activity. Known as ‘Saheb-e-saif-o-qalam’, he was proficient both with the sword and pen. Quli Qutb Shah’s reign is significant for the development of Deccani language and influx of men of letters. Eminent Persian and Telugu poets graced his court.

Himself a scholar in Arabic, Persian and Urdu, Mohammed Quli wrote extensively and fostered local traditions and rituals. He enjoys the distinction of being the first ‘Saheb-e-Dewan’ poet of Urdu since he had a collection of nearly 50,000 verses. He also wrote in Telugu language but, unfortunately, his Telugu poetry is not available now, according to renowned Urdu scholar, Syed Mohiuddin Qadri Zore, who is an authority on Deccan and Golconda.

Today, it is difficult to understand and appreciate Mohammed Quli’s poetry since his language is very old. His writings throw light on the socio-cultural and literary milieu of the period. He is the first poet to turn to Ghazal genre at a time when Masnavi was ruling the roost in Deccan. Though he penned Qasida, Marsiya, Masnavi and Rubai, he was basically a ghazal poet. Having inherited a secure and peaceful empire, Mohammed Quli was given to ‘sher, sharab aur aurat’ (poetry, wine and women). This is best explained in his own Deccani verse:

Sharab hur ishq bazi baj manj the na rahiya jaye
Ke yo do kaam karna karli sougndh khaya hun

Can’t do without wine and love
Have vowed to indulge in these a lot

Bara Pyarian
His poetry gives an inkling into the bevy of his girlfriends who go by the name of Hyder Mahal, Mushtari, Bilqees, Pyari, Gori, Lala, Nhanni, Saunli, Chabeli, Padmani, Rangili, Sajan. Many of his poems speak glowingly of their beauty and attributes. Of them, he was close to 12, a number he gave weightage to in all aspects. Flamboyant by nature, Mohammed Quli was an unabashed Romeo who was always surrounded by beautiful women. His verses speak of his amorous personality and say how his teachers wanted to impart him knowledge and skills when he was born to indulge in love and passion. Humour poet, Sarwar Danda, has vividly captured this trait in his verse:

Quli Qutb basha the rang-rangeele
Rang-rangeele bade chail-chabeele

A secular king, Mohammed Quli also wrote on Hindu festivals and rituals. One can find poems eulogising the Basant festival and ‘Aarti’ ceremony. Not just this. Even flowers, fruits and vegetables find mention in his verses. Jewels and ornaments worn by women those days also figure in his shayeri. One can find names of trinkets like kamar patta, thasi, bina, karan phool, tika, bande, kangan, satladi in his verses. For a ruler to take such keen interest in the day-to-day life speaks volumes about Mohammed Quli’s personality.

Interestingly, his poetry neither bemoans fate nor finds fault with anyone. The sad and plaintive note, which generally forms the subject matter of ghazal, is missing in his poems. There is no trace of unrequited love either in his verses. Being a king, he did not have to pine for his lady love and, therefore, all his poems pulsate with life, rapture and wine. Mohammed Quli indulged in gratification of soul and poetry was a medium to give vent to his amorous feelings. One can detect shades of sensuousness, ecstasy, glee and contentment in his verses.

Piya ke nain main bahut chand hai
Wo do zulf main jio ka anand hai

There’s lot of tenderness in her eyes
Her twin locks give pleasure of living


Though some regard Mohammed Quli as a great poet, some critics of Deccani literature hold a different opinion. His poems, they say, lacked profundity and intensity of feelings – the hallmark of a great poet. He merely penned verses describing the beauty of his lady love in different ways. However, he has achieved immortality by being the first Urdu poet with an anthology.

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in TelanganaToday

Dated February 10,2019

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This was evident from the liberal use of the language at a programme held on Tuesday at the Maulana Azad National Urdu University here.

The 36th international conference of the All India Persian Teachers’ Association saw speakers waxing eloquent in Farsi.

Persian language is still relevant as nine students from MANUU’s Department of Persian have landed jobs in MNCs like Genpact and Facebook. These companies are offering a package ranging between Rs 5 to Rs 6 lakh per annum, according to Prof Shahid Naukhez Azmi, Head, Persian Department.

Time was when Persian held sway as the language of administration in Deccan. But centuries after the Deccan sultanates vanished, Farsi still seems to hold good. This was evident from the liberal use of the language at a programme held on Tuesday at the Maulana Azad National Urdu University here.
The 36th international conference of the All India Persian Teachers’ Association saw speakers waxing eloquent in Farsi. The auditorium resonated with the couplets of celebrated poets like Hafez Shirazi, Rumi and Saadi.

What was interesting was that audience cherished and enjoyed the sweetness of Persian. Particularly its soft-sounding and passionate verses enthralled everyone.  “Persian and Urdu languages are interlinked with each other. When one language flourishes, the other will also get strengthened,” remarked noted Persian Scholar, Prof. Gholam Ali Haddad Adel, former Speaker, Iran.

Paying rich tributes to Maulana Abul Kalam Azad, India’s first education minister and a renowned Persian scholar, Prof. Haddad referred to the contributions and impact of Persian language in medieval India and its role in propagation of Islam. He also hailed Indo-Iranian friendship and said coming to Hyderabad he felt totally at home.

The three-day conference on “Contribution of Deccan (India) to the Persian language and literature” is being attended by more than 100 Persian teachers and scholars, including delegates from Iran and Afghanistan.

Dr Mohammad Aslam Parvaiz, Vice-Chancellor, MANUU, in his presidential address welcomed the usage of Persian language in Iran to promote knowledge and wanted a similar approach to be adopted towards Urdu in India.

Prof. Azarmi Dukht Safavi, President, AIPTA, said the Deccan plateau extending over eight Indian states encompassed a wide range of habitats, cultures, languages and political dimensions. It produced dynasties like the Cholas, Pallavas, Satavahanas, Kadambas, Maratha empires, Bahamani Sultanat, Qutb Shahis, Adil Shahis and Asif Jahis. The region had also been a cradle of many languages belonging to the Indo-Aryan and the Dravadian families of languages.

The Adil Shahi rulers were deeply under the influence of Persian culture and even adopted customs and manners of that land. The Qutb Shahis were also great patrons of Persian and Daccani. The intermingling of Iranian tasawwuf with Hindi bhakti gave impetus to a syncretic society in Deccan.Influence of Persian and its penetration in Deccani Culture began even before the arrival of Khilji in the13th century, Prof. Safavi said.

Prof. K. Muzaffar Ali Shahmiri, Vice-Chancellor, Abdul Haq Urdu University, Kurnool, invited the research scholars to the treasure house of Persian literature available in the Rayalaseema region. This area was still unexplored, he remarked.

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Deccan Chronicle

Dated February 06,2019

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