When Wali Aurangbadi appeared in Delhi literary circles during Mughal emperor Aurangzeb’s reign, he created a ripple and inspired other poets to switch over to Urdu from Persian

Once the Qutb Shahi dynasty of Golconda and the Adil Shahi Empire of Bijapur fell to the marching armies of Mughals, Aurangabad gained prominence. The Mughal emperor Aurangzeb made it his capital city. This led to the centre of shayeri also shifting to Aurangabad. Not just the poets of Golconda and Bijapur but also prominent writers and bards of Delhi made a beeline to Aurangabad. This period saw Burhanpur also becoming a centre of excellence in poetry with scores of poets contributing immensely to Urdu shayeri. Of them, Wali Muhammed was, undoubtedly, the outstanding poet.

But, years after his death, the controversy persists – Wali Aurangabadi or Wali Gujarati. His poetic legacy is so enormous and rich that people of different regions claim him as their own. Some regard him as a Gujarati poet while some consider him an Aurangabadi. However, many give credence to the account of Shah Abul Maali’s son, a contemporary of Wali, that he was a Deccani shayer. Whatever, there are no two opinions about Wali being the father of modern Urdu poetry in the sense that he was the first classical poet to write ghazals in Urdu.

While scholars debate about his origins, Wali himself was unconcerned about his place of birth. In one of his verses, he says in a nonchalant way:

Hargiz Wali ke pas tum bataan watan ki mat kaho
Jonia ke kuche main hai isukoon watan su kya gharz

Wali was born in Aurangabad in 1667 and obtained his initial education here. At the age of 20, he went to Gujarat and stayed there for several years to obtain both material and spiritual schooling. He is believed to have benefitted a lot from the divine teachings of Hazrat Shah Wajihuddin Gujarati. He visited Delhi for the first time during the reign of Mughal king Aurangzeb. When Wali appeared on the Delhi literary horizon, he created a ripple and took the city by storm. His poetry received a lot of appreciation so much so that poets here gave up Persian and switched over to writing in Urdu.

Noted scholar, Shamsur Rahman Faruqi, says there was very little Urdu literature in North India before Wali and after his visit to Delhi, it became the seat of Urdu learning. Interestingly, Delhi poets used to write in Persian although Urdu was their mother tongue. Urdu was called ‘Rekhta’ here and not considered fit for poetry, while in Deccan it was the preferred language of poetry and prose.

Wali’s poetry, which is at once mystical and earthy, gained starry heights in Delhi. His ghazals were sung and recited everywhere. Such was his impact that north India saw many poets expressing themselves in Urdu and the language prevalent in Deccan also got refined. For a change, the focus shifted from  Masnavis to Ghazals. Thus, Wali played a key role in Urdu emerging as a distinctly recognisable idiom in the north and its ultimate evolution into a literary language. Wali died in 1707.

Wali’s poetry can be divided into three distinct sections. The first part is purely Deccani, the second part has Urdu shayeri with liberal use of Deccani words and the third part is entirely Urdu. His anthology, which includes 422 ghazals, has been published several times. Wali’s poems centre around the theme of love and reflect his penchant towards tasawwuf (sufism). He was fluent in all verse forms, including Masnavi, Qasida, Mukhammas and Rubai. But ghazal remains his forte. The inherent melody and sensuality of his poems endear them to the readers. Enjoy the music of these verses:

Jise ishq ka teer kaari lagey
Usey zindagi kyon na bhaari lagey
Na hovey usey jag mein hargiz qaraar
Jisey ishq ki beqaraari lagey

Without the mention of love, Wali believed, poetry was bland like brick and mortar. According to him, verses take a life of their own when sentiments of affection and fondness fill them.

Yaad karna har ghadi us yaar ka
Hai wazifa mujh dil-e-bimar ka
Subh tera dars paya tha sanam
Shouq-e-dil mohtaj hai takrar ka

Wali was so besotted with passion that nothing mattered to him more than love. He was prepared to sacrifice everything – power and pelf, kith and kin, and even homeland, for the sake of love.

Ishq ki rah main musafir ku
Har qadam tujh gali main manzil hai
Aye Wali rehne ku dunya main maqam ishq
Kucha-e-zulf hai ya gosha-e-tanhai hai
Surprisingly, Wali, who fascinated generations of Urdu lovers, was not allowed to rest in peace. His last abode in Shahibaug area of Ahmedabad, his adopted home, became a casualty at the hands of vandals during the 2002 riots. Later, its last vestiges were also obliterated when a road was laid over it, much to the horror and shock of the literary class. A short film on Wali’s life made by filmmaker Gopal K Annam, in 2010, tries to bring the focus back on this acclaimed poet.

 

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Telangana Today

Dated March 31,2019

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Summer is the time when children consume dollops of ice cream and empty scores of squash bottles. The resultant rubbish is an irritant surely. As she looked at the heap of popsicle sticks and plastic bottles littering her home, an idea flashed in her mind. Why throw them away, why not recycle them?

Sireesha set to work. And when she finished a few hours later, she sat back and looked. There was a glint of pride in her eyes. The ice cream sticks turned into a mobile phone docking station and a pen stand. Wow. Her friends couldn't help appreciating. And what's more her creativity fetched her a prize in her college day function.

The Commerce Day programme held recently at the KSN Government Degree College for Women, Anantapur, saw students unplugging creativity. They churned out amazing things out of waste. Everyone gasped in disbelief when Adilakshmi converted use-and-throw paper cups into a beautiful wall hanging, her colleague, Nikhita Reddy, created a decorative item using the base of plastic bottles  while Ramalakshmi made a tiny hut out of peanut shells. If you put on the thinking cap there is no such thing as waste material. And there is no end to the things you can make out of rubbish. One man's trash could  be another man's treasure, the students proved.

Creativity is nothing but connecting things. The discarded things in homes and offices can become marvellous products when joined together. All that is required is glue, cutter, cardboard and a bit of ingenuity. "The idea is to inculcate eco-friendly attitude among children and to encourage them to reduce solid waste" says college principal, Dr. K.V. Ramana.

For some students plastic bottles came handy to alter them into smart rubbish bin. A dash of colour and deft strokes of funny DIY Emojis gave a whole new appeal to them. "One has to look at things not as waste but see them for what they can be", says Vijaya Brunda, a lecturer.

Leftover material like unwanted kitchenware, broken furniture and e-waste can get a new lease of life. They can be transformed into a diverse range of products, including beautiful home decor and pieces of art. "This way we can do the planet earth a favour", feels English lecturer, Saiqua Parveen. With mounting waste and pollution, reuse and recycle is the need of the hour. The possibilities are infinite if only one has out of box ideas.

J.S.Ifthekhar,

Hyderabad based journalist.

Dated March 30,2019

   

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Tabai’s ‘Behram-o-Gul Andam’, considered a masterpiece, is undoubtedly the last of the great Masnavis. 

He is the last of the great Qutb Shahi poets. But, for long this Koh-i-Noor of Deccani literature remained buried under the rubble of negligence and indifference in the mines of Golconda. Tabai, who witnessed the periods of top-notch poets like Mullah Wajhi and Ghavasi, couldn’t shine as long as they ruled the roost. A court poet of Abul Hasan Qutb Shah, the last ruler of the Qutb Shahi dynasty, Tabai wrote ghazals as per the trend those days. But, he is best remembered for his Masnavi – Behram-o-Gul Andam.

The story of Behram-o-Gul Andam has remained popular down the ages with many poets writing it in their own way. Renowned bard, Hazrat Amir Khusrao, has also written this narrative under the title Hasht Bihist. Other notable Persian narratives include Haft Manzar of Hatefi and Amin’s Behram-o-Gul Andam. The oldest poem on this subject in Deccan goes by the name Behram-o-Banu Husn.

Research scholars are unable to decide whether the poet belonged to Golconda or Bijapur. However, Tabai has based his Masnavi on the Persian poet, Nizami Ganjavi’s epic – Hafte Paikar (The seven beauties). Nizami penned this epic in 1197, mirroring the life of the 14th Sasanian emperor, Behram Gor. This apart, this story is also written in Gujarati and Punjabi languages. This Masnavi was translated into Urdu by Malik Khushnud under the title Jannat Singar. Scholars agree that a comparison of all these works with the Masnavi of Tabai shows that the latter is far superior in respect of language, style and continuity of the narrative.

Another important aspect of the Masnavi is that it is rooted in Indian cultural ethos. It has a touch of Indian ambience complete with words and proverbs of local languages. One can notice deep impressions of Braj Bhasha, Punjabi, Gujarati, Telugu and Marathi.  At the outset, Tabai extols both the king, Tana Shah, and his spiritual guru, Shah Raju. This marathon poem comprising 1,340 couplets was written in just 40 days. Tabai makes a mention of this in the Masnavi. He says:

Kiya hun main chalees din main kitab

Bahut fikr kar raat din behisab

Tabai had a lot of respect for his seniors, particularly Mullah Wajhi, an acclaimed poet those days. In his poem, Tabai recalls how Wajhi appeared in his dream one night and showered praise on his Masnavi. This appreciation also he mentions in his poem with pride.

Lagiya mai jo Masnavi bolne

Yun motian nichal dhal yun rolne

Yu Wajhi mere khwab main aye kar

Mukh apna suraj nad dikhlai kar

Srasar sunya jo meri Masnavi

Kya baat Tabai hai teri navi
A romanticised biography, the Masnavi speaks about Behram’s seven wives who lived in seven gardens. A unique thing about it is that Tabai strikes a balance in the couplets and classification of topics. For instance, he writes equal number of verses in praise of the king and his spiritual leader. During the course of narrative, there is a mention of the seven pieces of advice given to Behram Gor by his father. Tabai mentions each advice in just seven couplets. This symmetry shows the expertise of the poet and his ability to say it all in perfect meter.

Another important aspect of this Masnavi is that it can be easily understood unlike other Deccani poems. This is due to the fact that the language and the poetic expression used in it are closer to Rekhta, the Hindustani language. One can detect the changing phase of Urdu with deep north Indian influences in the Masnavi of Tabai. For this reason, many scholars consider Tabai as the last of the Deccani Urdu poets.

He begins his long poem with Hamd, followed by Naath. Then, in praise of the reigning king, Tana Shah, he goes poetic thus:

Shah bu Hasan tun shah Deccan                      

Tujhe shah Raju madad bu Hasan

Thereafter, Tabai unfolds the Behram saga in his inimitable way. It is a narrative poem based on the story of romance and the bravery of Behram, son of Kishwar, king of Rome and Gul Andam, the beautiful daughter of Qaiser, king of China. The language, eloquence and imagery in the poem make for a delightful reading. Sample this lyrical opening:

Awwal Shah Behram khushhal jo

Ke jun phool lale naman lal ho

Paryan ke hor baap ke paoon ja

Gul Andam ku lako khadman po pa

Tabai interspersed his poem with wisdom and advice. He talks about pitfalls in life and counsels caution. This he expresses in his characteristic way.

Kar andesha har kaam main behisab

Ke andesh bin kaam hota kharab

Even a cursory perusal shows that the Behram-o-Gul Andam poem of Tabai is the last of the great Masnavis. And it is, undoubtedly, a masterpiece of Deccani literature. After reading this epic poem, the impression one gains is that its author is not just a poet but a writer of immense talent.

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Telangana Today

Dated March 24,2019

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They could barely hide their emotions. It was the moment they had waited for long. And they couldn't believe what was happening was for real as their books were unwrapped amidst flash of cameras and released to loud applause. The awesome threesome stood there, smiling and accepting greetings from everyone.

Meet the new authors - Sai Pradeep, Ravi Theja and Suhas Bhatnagar. They are from different backgrounds and what is common about them is that they are all young and first time writers. They owe their new found fame to Woven Words, the publishing house which seeks to encourage new writers.

At 20, Pradeep is the youngest of the lot. He is still pursuing his B.Tech in computer science and has become a writer to the surprise of all. His book - All The Lights Within Us - is a collection of poetry that celebrates life in its varied hues. Through 40 poems he seeks to explore hope, pain, courage, darkness, strength, passion and love. "I started writing at the age of 16", says Pradeep, who is studying at Vishakapatnam.

Who are his favourite writers? Pat comes the reply: Agatha Christie, Oscar Wilde and Walt Whitman. He devoured most of their books and started writing. Pradeep's style is lucid and content mature. He chooses free verse to give expression to his ideas. As he says 'poetry is the rhythm that elevates my soul'. He has also tried his hand at writing Telugu poetry and hopes to come out with a book soon.

Ravi Theja is an engineer by profession but prefers to introduce himself as a storyteller. A quick reading of his two books - Frogs' Dream About Flying and Lyla and Her Wings - show that a great writer is in the making. Theja too took to writing at an young age and thanks to his parents he could pursue his passion. In fact he made debut as a writer in 2017 itself with the publication of his first book - The Execution, a trilogy novel.

The third author, Suhas Bhatnagar, is a poet and playwright. His book - Sulagte Hain Jazbaat - is a collection of passionate poetry revolving around Sudipta and Subeer. As the name suggests the book sizzles with simmering verses about the duos diary and letters.

The debut authors have varied experiences about writing. But the biggest challenge they faced was  getting their books published. Luckily they didn't have to sit for long with fingers crossed. Through mutual friends they came into contact with Mosiur Rehman of Woven Words Publishers and a few meetings later they were on their way to becoming authors.

With 80 plus titles to its credit, Woven Words shifted base from West Bengal to Hyderabad last year with a view to provide opportunities for new voices. "We want to fulfil the dreams of writers who feel let down by mainstream publishers", says Rehman.

The online store of Woven Words makes the submission process of manuscripts easy and fast. It also has a DIY (do it yourself) publishing platform for people who do not have any sales motive but want to see their books in print. This apart Woven Words has plans to offer courses in creative writing livening up the publishing scene. So guys get cracking and let your creative juices flowing.

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in The Hindu

Dated March 22,2019

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Niloufer Elif Jah, the youngest daughter of Prince Mukarram Jah, has so far made two visits to Hyderabad.

The youngest daughter of Prince Mukarram Jah is looking for the Blue Book, which contains information about the properties owned by her dad.

On her second visit to Hyderabad in the last three months, Niloufer Elif Jah, the youngest daughter of Prince Mukarram Jah, visited the HEH Nizam Jewellery Trust office in Purani Haveli where she met senior trustee and former minister Asif Pasha to gather information about her share in the ancestral properties.

Born to Mukarram Jah and his third wife, Manolya Onur, Niloufer flew down from Turkey and along with her Indian lawyer, made enquiries about her stake in the huge properties owned by her father. Apparently, her share alone in the Nizam Jewellery Trust comes to about Rs. 3 crore apart from her stake in the string of palaces —  Chowmohalla, Falaknuma, Chiran and properties situated elsewhere in the country.
Meanwhile, Mukarram Jah, the 8th Nizam who stays in Istanbul, is bedridden right now while his first wife, Princess Esra Birgin and her children Prince Azmath Jah and Princess Shehkyar, are reportedly preventing Niloufer from meeting her father. After the death of her mother, Manolya Onur, a former Miss Turkey, Niloufer started staying with her maternal family but kept visiting her father. However, of late, she is being treated as an outcast and not being allowed to see her father.

Niloufer Jah (middle) with Asif Pasha, senior Trustee, HEH Nizam Jewellery Trust.

Sources say that during both her visits to Hyderabad, the 28-year-old made discreet enquiries about the Blue Book, which contains information about the properties owned by Mukarram Jah.

But till date, she has not succeeded in laying her hands on it, with officials at the Nizam Trust drawing a blank too.

Interestingly, Mukarram Jah got Rs 24 crore from the sale proceeds of the Nizam’s jewellery acquired by the Government of India in 1995 for a
whopping Rs 206 crore! While his other children, Azmath Jah and Shehkyar (from Esra) and Azam Jah (from Helen Simmons) withdrew their share in 2016, Niloufer — a minor then, could not.


And now, although she has come of age, there is still a catch. Niloufer can’t get hold of her share in the jewellery trust without her father’s consent or until his demise as per the Trust deed, forcing her to now explore legal options to get her rightful due.

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Deccan Chronicle

Dated March 15,2019

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Mullah Nusrati, the Adil Shahi court poet who earned the title ‘Malik-us-Shora’, could write a romantic narrative and a war story with equal ease

The Adil Shahi era was an era of creativity. Ingenuity marked every sphere of life. Be it architecture, calligraphy or literature, the stamp of originality was everywhere. This period also saw a marked growth in poetry like no other art form. There was a spontaneous flow of powerful feelings with poets dabbling in the spiritual, romantic, Sufiana and didactic forms of poetry.

However, one poet who stood out and had a formidable presence was Nusrati. He evoked feelings of awe and admiration among fellow bards and commoners alike. He gained such eminence that people reverentially called him Mullah Nusrati and Mia Nusrati. Though his father was a royal salahdar (warrior), Nusrati got access to the king’s court on his own. Like the renowned bard, Mirza Ghalib, erudition and poetry were his ticket to the shahi darbar. In no time, he earned the title of Malik-us-Shora (king of poets).

Liberal patronage and secular nature of the Adil Shahi rulers drew scholars, poets, painters, dancers, calligraphers, musicians and Sufi saints from different parts of the world. The Bijapur Sultans were all men of letters. Ali Adil Shah I was well-versed in several disciplines and a voracious reader. His successor, Ali Adil Shah II, was a poet himself and befriended poets and writers.

Nusrati established his credential as an outstanding poet by his three compositions – Gulshan-e-Ishq, Ali Nama and Tariqe Sikandari. His other work, Diwane Nusrati, is unique in that it contains all genres of shayeri – Ghazal, Qasida, Rubai, Hajoes, and Mukhammas. His Masnavis give an indication of his poetic expertise. Gulshan-e-Ishq and Ali Nama are considered masterpieces of the Deccani literature. They stand out for their beautiful language and fluency of expression. Besides Deccani, Nusrati also tried his hand at Persian and wrote many ghazals.

Gulshan-e-Ishq is a love story written by Nusrati at Bijapur during 1657–58. It revolves around the Prince Manohar’s quest for Madhumalati. This ancient tale, which is also written in Persian and Hindi languages, has remained popular through the ages. It has a heady mix of magic, adventure, dragons, fairies, desert fires, mystical figures and what not! Nusrati intersperses this romantic narrative with a generous dose of Deccani and Persian – setting a new benchmark in creativity.

This Masnavi relates the complicated tale of King Bikram and his wife, who cannot conceive until he completes a journey of self-discovery. Then follows the adventures of their son, Prince Manohar, who rescues two kidnapped princesses. There are interesting details of how fairies descend on a sleeping Prince Manohar and decide to transport him with his bed to his beloved, Princess Madhumalati, for whom he pines.

Nusrati’s other great Masnavi, Ali Nama, is a war story. This epic poem speaks of various battles, including the invasion of Bijapur by the Maratha leader, Shivaji and Mughal armies – all in perfect metrical pattern. The reign of Ali Adil Shah saw frequent break out of wars and all this found mention in his compositions. And, for this reason, many call it the ‘Shahnama of Deccan’. Ali Nama also captures the splendour and grandeur of King Ali Adil’s court besides giving a vivid picture of the Deccani culture. The war scene is captured so brilliantly in Ali Nama that one can visualise the battlefield – the military formations, combatants jabbing each other with spears and the battle cry as the opponents end up in a tangled heap of the dead.

Kamana ki ruth jab kasha-kash huee

Hawa bhar ke teeran so tarkash huee

Lagya teer har tan pe jab bale bal

Disya lahu uchalte fawware ka jaal

The third literary work of Nusrati – Tareeq-e-Sikandari – was penned after the death of Ali Adil Shah. Scholars do not rank it highly as it lacks the intensity seen in his earlier poems. After the death of Ali Adil Shah, the political scenario changed with conspiracies and dissensions raising head in Bijapur. In the vitiated atmosphere, poets and writers lost interest. Nusrati’s zeal also took a hit.

Manuscripts of Gulshan-e-Ishq and Ali Nama are available in libraries of Salarjung Museum, Osmania University, Idara-e-Adbiyate Urdu and State Central Library in Hyderabad.

However, there is no denying the poetic style of Nusrati. Be it the war scene, pangs of love or the magnificence of shahi darbar, he weaves sheer magic with his verses. The description is so graphic that readers can visualise the actual scene while going through his poems. He adopted Deccani for his poetry and enriched it just like Mullah Asadullah Wajhi and Ghavasi did in Qutb Shahi Golconda.

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Telangana Today

Dated March 17,2019

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                                                                  Dr. Taqi Abedi

Noted Urdu scholar, Dr. Syed Taqi Abedi, feels Urdu is the best remedy to unite hearts in the present troubled times. No other Indian language has the capacity to integrate people like Urdu since it is an embodiment of composite cultures. "Urdu is one of the several languages of Muslims but the language itself is not Muslim", he remarked.

The Hyderabad born Canadian physician was delivering an extension lecture on 'Urdu culture, national integration, festivals and rituals' at the Urdu Hall in Himayathnagar last evening. The programme was organised by Anjumane Pasdarane Tehzeeb, Deccan.

Urdu was definitely spoken by Muslims but it was more Hindustani in nature, embracing diverse traditions. Therefore, its preservation and propagation was the responsibility of everyone and not just Muslims alone. Quoting T.S. Eliot, he said any language which had rich classical literature wouldn't perish.  The loss of Urdu and its culture would be an irreparable loss for the country as a whole, remarked Dr. Abedi

In an absorbing lecture, he pointed out how Bihari Lal Mushtaq, a student of eminent poet, Mirza Ghalib, captured these thoughts superbly in this couplet. What is unique about this little known verse is that the numerical value (Abjad notations) of both Jamuna and Zam-Zam are the same - 94.

Hum hain Hindu, tum Musalman donon baham ek hain

Jis tarha aadad Jamuna wo Zam-Zam ek hain

(I'm a Hindu, you a Muslim, together we are one

Like the numerical of Jamuna and Zam Zam are one)

A strong votary of Urdu, although a medical practitioner, Dr. Abedi said Urdu was not just a lingua franca but a beautiful flower vase representing different faiths. It had the mohabbat (love) of Hyderabad in it, nazakat (elegance) of Lucknow, saqafat (culture) of Delhi, sajawat (embellishment) of Agra, saadat (fortune) of Sindh, zakawat (knowledge) of Bengal and latafat (tenderness) of Kashmir. Poet Brij Naryan Chakbast wrote Ramayana in Urdu, Rajender Singh Bedi compiled Guru Granth Sahib in Urdu while John Gilchrist introduced Maseehiat (Christianity) in it. "How can Urdu be dubbed the language of Muslims when it is a multi religious and multi racial language", he asked.

In the backdrop of Mandir-Masjid controversy he quoted the famous couplet of Aatish Lucknowi to say that the ruins of temples and mosques could be built but not broken hearts.

Butkhana tod daliye, Masjid ko dhaiye

Dil ko na todiye ye Khuda ka maqam hai

(Pull down temple, raze the mosque

But don't break heart, it's home to God)

Referring to how different customs and cultures have overlapped, Dr. Abedi said 95 percent of the rituals followed by Muslims during marriage were all borrowed from Hindus. There was no Islamic concept to them at all but people were following just like that. There was no need to issue 'fatwas'. "It is because of adoption of each other's cultures that the country remained united", he said.

Urdu Academy chairman, Rahimuddin Ansari, Haj Committee Special Officer, S.A. Shukoor and Prof. Fatima Parveen also spoke.

J.S.Ifthekhar,

Hyderabad based journalist.

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                                              Women working at the Rozgar Centre

Fair sex in the Old City of Hyderabad have lot to cheer about this Women's Day. Though not fully empowered, they can boast of economic independence to some extent. In scores of homes they are the ones supplementing to the family kitty and keeping the wolf away.

After slogging for eight hours when she returns to her house in Kalapathar, Farhana, is suffused with a feeling of happiness. She can now afford a decent meal and help her younger siblings attend school. After the death of her father, the responsibility of meeting the household expenses has devolved on her shoulders.

The Rozgar scheme run by Khak-e-Taiba Trust (KTT) in Misrigunj and Vattepally has proved to be a game changer. It has opened avenues of earning for Muslim women who were otherwise languishing in homes. Nearly 300 women and girls have found gainful employment sewing men's and women's wear for top brands. The production centres are a beehive of activity with formal and casual shirts in different stages of being stitched. The work is divided into various components and each operation is handled by one women. Working on industrial sewing machines, the women churn out nearly 2000 shirts everyday earning Rs. 8000 to Rs. 10,000 per month.

With custom clothing being the hottest fashion trend, the KTT Rozgar centres have acquired sophisticated sewing machines and  fashion designers to meet the demand. Some women are seen engaged in making only collars, some make cuffs and others pockets, sleeves, front and back sections. And a few women are busy assembling the whole stuff. "I iron nearly 200 shirts and enjoy the work", says Afreen. Her sister, Zareen, has specialised in making button holes.

The most important thing is that while acquiring skills, many women have developed the habit of thrift and are able to save a part of their earnings. Now they don't have to depend on their parents or spouses for their needs. "I have enough money of my own to marry", says a proud Afreen, something girls from poor families couldn't think of in this part of the city.

The KTT, which takes its name from Madinah in Saudi Arabia, was set up by Hyderabad based NRIs in 1991 for emancipation of the underprivileged in the community through secular and vocational education and employable skills training. "Most of the women employed here are either widows or those deserted by spouses. They are now able to make a decent living", says Sadiq Ali, Project Director, Rozgar Centre.

Total empowerment may still elude them, but many women in the old city can brag about an improved economic status.

J.S.Ifthekhar,

Hyderabad based journalist.

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 Image Courtesy :Google

Beware the ides of March. It's the time of the year when the nation is seized by a strange fever. No, it's not dengue, swine flu or malaria. It's much worse and affects teenagers mostly. You can know it from the symptoms - anxiety, irritation, forgetfulness and sleeplessness.

Yes it's exam fever. There is no escape from it even for the brightest. They too feel the heat in some way or the other. The stress is usually the result of high expectations from parents and teachers. They want to live out their dreams through children unmindful of the negative pressure they are exerting. Sometimes the pressure is internal as boys and girls work themselves into a bundle of nerves wondering whether they could meet the expectations.

Whatever, our very approach to exam is unrealistic. For corporate colleges exam is the time to settle scores with their competitors. In a bid to bag the first ten ranks they end up coercing students to excel. There are instances of youngsters taking the extreme step of ending their lives unable to cope with the pressure. Sometimes it is parents who force their kids to go the extra mile so that they can brag about their brilliance before others. And in the process some minds wear out while most rust out.

No doubt one should be competitive, but not unrealistic in goals. Prove yourself to yourself not to others. Exams aren't everything. Whatever the result one can still be successful in life. One can fail in mathematics and still be a good musician. One can score low in sciences and yet be a top notch sportsman. What matters is the potential, not certificates. Remember what Bill Gates reportedly remarked: I failed in some subjects but my friend passed. Now he is an engineer in Microsoft and I am the owner.

On the eve of exams most students try to mug up answers without bothering to understand. Result -their brain turns Bermuda triangle. What goes in never comes out. For most it is mathematics which scares the daylight out of them. "Dear maths why don't you grow up and solve your problems. I am tired of solving them for you", they would say. There was a friend of mine who had a take-it-easy attitude. During examination he would look up for inspiration, down in desperation and left and right for information. Today's children would wish Mr. Google was sitting right next to them in the exam hall.

How to beat the exam blues? From yoga to breathing exercise experts suggests many things. But there isn't a sure fire mantra. Your mind will answer most questions if you let it relax and wait for the answer.

                                                                                                                                        J.S.Ifthekhar,

Hyderabad based journalist.

Article published in The New India Express

Dated March 06,2019

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An anthology of Urdu verses and proverbs, all on eyes, was launched recently

Eyes are a mirror of the soul, it is said. Some eyes are sly and roguish, some serene and shining, a few, seductive and mysterious. Prod Dr Abdul Moiz Shams and he reels out details about a variety of eyes and their intrinsic worth. He should know considering he is an ophthalmologist by profession, but then Dr Shams also has a keen eye for Urdu poetry.

During his long service as an ophthalmologist, he has looked into innumerable defective eyes holding a little flashlight. While restoring vision, he has also looked beyond, into the soul. And what he has come up with is a book titled Aankh Aur Urdu Shayeri .

Inki aankhen ye keh rahi hain Faraz

Ham pe tasneef ek kitab karo

(Her eyes tell Faraz

Write a book on us)

Dr Shams has compiled a 389-page book containing couplets of different shades and emotions on eyes. It’s a treasure trove for connoisseurs of poetry. From Mirza Ghalib, Allama Iqbal to Meer, Sauda, Shaad, Faiz, Majaz, Jigar Muradabadi, Ali Sardar Jafery, Parveen Shakir — a whole lot of Urdu poets and their verses on aankh have been listed. The book is divided into three parts — the first one contains couplets beginning with aankh, the second one has verses which are allegorical in nature and the third part has proverbs containing the word aankh, listed topic-wise.

The book is a ready reckoner of sorts, on eyes. This is perhaps the only book of its kind where all the pages are full of verses on one body part.

Right from his student days Dr Shams had a love for poetry and when he became an eye specialist, his passion took a different turn. He started focussing on poetry of eyes.

It’s no wonder that he has four other books to his credit: Hamari Aankhen, Jism-o-Jan, Jism-Be-Jan and Aab-e-Hayat.

“The eye is the jewel of the body. Its function is not just to see but to look beyond and sense colour, form, light and movement. That’s why I started collecting couplets on eyes,” says Aligarh-based Dr Shams who released his book in Hyderabad.

The insightful couplets are real eye-openers. Sample this couplet of Parveen Shakir.

Aankh ko yaad hai wo pal ab bhi

Neend jab pehle pehal tuti thi

Full-length ghazals of Ali Sardar Jafery, Khaisar Siddiqi, Hasrat Mohani and Basheer Badr, all on eyes, make for delightful reading.

Gulab aankhen, sharaab aankhen

Yehi to hain lajawab aankhen

Aankhen uthen to dard ke chashme ubal pade

Palken juhken to payar ka badal baras gaya

One can get an eyeful of couplets in this book which was released at the recent two-day National Urdu Science Congress at the Maulana Azad National Urdu University.

“There is no dichotomy between science and literature. In fact they complement each other,” says Dr Abid Moiz, who is also a good humour writer.

                                                                                                                                           J.S.Ifthekhar,

Hyderabad based journalist.

Article published in The Hindu

Dated March 5, 2019

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 The 17th century bard Ibne Nishati’s Masnavi ‘Phoolban’ reminds one of the narrative style of the Arabian folklore ‘Alif Laila’ 

There was no let up in literary activity during Qutb Shahi rule. Poetic grandeur kept pace with the dynastic splendour. Among the scores of poets, Ibne Nishati stands out for his lyrical grace. Basically a prose writer, he tried his hand at poetry and came out with flying colours. Going by the popular trend those days, he composed Phoolban in the Masnavi genre during the 17th century. This classical ballad in Deccani remains his first and last poetic work. An illustrated manuscript of Phoolban is available in the British Library.

Though Phoolban brought him immense popularity and fame, the personal life of Ibne Nishati remains a mystery. This is because historians did not record details of poets those days, it is said. The little we know about him is that Ibne Nishati belonged to the period of the 7th ruler, Abdullah Qutb Shah. However, fresh research by scholars shows that his actual name was Shaikh Mohammed Mazharuddin and that he was a very learned person.

Unlike Wajhi and Ghavasi, he was not a court poet. Rather, he was the first people’s poet who became popular among the masses. He can be bracketed with poets like Syed Ballaqu, Shah Raju, Meeranji Kuda Numa, Farooqi and Meeran Yaqoob who wrote for the people, not for the court and nobles. Ibne Nishati also differs from Wajhi and Ghavasi in that he makes use of Marathi words.

The story of Phoolban is drawn from the Persian romance, Basateen. It is a story of love and adventure and contains 38 verses in praise of Abdullah Qutb Shah. Poets and writers those days sourced their themes from romantic encounters of kings, princes and princesses. Ibne Nishati did the same. His narrative style is similar to the one found in Alif Laila, the Arabian folklore.

The Masnavi spread over 1,744 verses was written in just three months. Among other things, Ibne Nishati’s portrayal of the boundless and unrivalled beauty of nature is remarkable. The fascinating description of sunset, sunrise and moon-lit nights evokes feelings of awe, wonder and amazement in readers. Though a number of characters figure in Phoolban, one finds it easy to remember them all thanks to the way Ibne Nishati presents them. This clearly brings out his technique, craft and versatility as a poet.

The effort put in by Ibne Nishati shows that he did not want to do just a dry and word-to-word translation of the Persian poem. Rather, his intention was to produce a gem of literary work. And, sure enough, he has succeeded in his mission as most Urdu scholars agree. In fact, he makes his intentions clear in writing Phoolban – that he wants to leave something which can earn him eternal glory. Addressing himself, he says: “You are not Kisra that you remain famous because of your just rule, nor Hatim who is remembered for his charity or Ibrahim Bin Adham whose piety is still known, not even Rustam whose exploits people enjoy. Therefore, do something big enough that the world remembers you.”

Tu Kisra nahin jo rahe teri adalat
Tu Hatim nahin jo rahe teri saqawat
Tu Rustam nahin jo teri dastana
Padhen har bazm main ‘Shah Nama’ khwana
Bhala dobe tu apna yadgar aaj
Dunya main har sand kar ashkara aaj

wIn the preface of his Masnavi, Ibne Nishati eulogises the king, Abullah Qutb Shah, who extended patronage to writers, poets and artists. He further says that he would have come up with a colossal poetic work had he been a court poet or free from worries of livelihood. However, as it turned out, he was very much pleased and proud at the unexpected success of his poem and was least bothered about what contemporary poets thought of it. He, of course, gave a lot of importance to senior poets like Feroz, Mehmood, Ahmed and Shouqi.

Interestingly, he ends his Masnavi with a ghazal. Obviously, he wanted to show that he could write ghazals as well. Manuscripts of Phoolban are available in Asafia library, Salarjung library and British Library, London.

Critics rank Phoolban among the best of Deccani Masnavis. The stylistic elements in verses, the simplicity and felicity of expression along with the perfect meter and rhythm make it an outstanding poem. It gives a vivid description of rituals observed during marriages and other such programmes those days. After reading Phoolban, one can get a true picture of the lifestyle and ceremonies of the Qutb Shahi era. “This Masnavi deserves to be counted among the great poetic contributions of Golconda,” says Dr Syed Mohiuddin Quadri Zore, an authority on Deccani literature. Sample these verses from Phoolban:

Athi is thareek zahid ku beti
Farishta qavi tas aabid ku baithi
Chander aadha kahu main kyon peshani
Chander aadha nahin waisa noorani

                                                                                                                                           J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Telangana Today

Dated March 3, 2019

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