Mughni Tabassum’s poetry is pure verbal magic, full of sensuous imagery, and makes users want to touch, smell, taste and feel the objects described

Those who can, write. And those who can’t, criticise. This popular adage, however, doesn’t fit him at all as he could handle both tasks with effortless ease. Dr Mughni Tabassum possessed poetic sensibility and critical perspective in equal measure. He had the talent to turn prosaic poetical and obscure clear and simple. A multi-tasker, he knew the rules of engagement and whatever literary activity he indulged in he left the mark of originality and judgement.

Criticism is the window and chandelier of art. It illuminates the enveloping darkness in which art might otherwise rust. Literary criticism, it is said, is a twin born with literary creation. It is left to the critic to articulate what remains silent during the process of creation. In Urdu literature, Mughni Tabassum mastered this art to perfection. As a poet, professor and critic, he did his bit to kindle interest in Urdu at a time when the language is withering due to benign neglect.

Basically a poet, he is known popularly as a tanqidnigar (critic) thanks to his book – Fani Badayuni: Hayat, Shakhsiyat aur Shayeri. This was essentially his doctoral thesis which shot Mughni to fame establishing his credentials as a critic. Primarily a teacher, his method combined pedagogical exposition with a critical authority. He saw to it that the perspective he gave helped readers place the writer under discussion. No, he doesn’t resort to conjectures, admonitions, isolated observations or some brilliant guesses. Mughni made his analysis more scientific and objective. He subjected to close critical scrutiny the peculiar stylistic tendencies such as imagery and rhetoric of writers. One also comes across in his writings modern trends like structuralism, new historicism and de-construction.

Mughni, who headed the Urdu department in Osmania University, enriched Urdu literature in no small measure. He displayed a flair for the language at an early age. This was largely due to the literary environment in his house. His father, Mohd Abdul Ghani, a Sub-Judge, was a poet himself. Young Mughni would sneak into his study and be a part of the circle of poets who met his father  regularly. He was only in the seventh class when he wrote his first couplet. He also translated an English poem, Soldier’s Dream, from his school syllabus. By the time he was 16 years, Mughni had penned a number of poems which were later published under the title Nawa-e-Talkh.

Thereafter, there was no looking back. He kept writing all through his student life. Greatly inspired by the eminent poet, Dr Allama Iqbal, he started copying his style. However, his teacher advised Mughni to give up imitation and develop his own independent style. There came a turning point in his life when his imagination was fired by the leftist ideology. Mughni became the member of the All Hyderabad Students Union of CPI and later an active member of the party.

In all, he authored 15 books. They are: Nawa-e-Talkh, Pehli Kiran Ka Bojh, Mitti Mitti Mera Dil (poetry), Dard Ke Kheme Ke Aas Pas, Fani Badayuni, Bazyaft, Awaz aur Aadmi, Lafzaun Se Aage (criticism), Zaban-O-Adab, Fani Ki Nadir Tehreeren, Fikr-e-Iqbal, Nazr-e-Fani Badayuni, Kahaniyan (compilation), Kahani Aur Uska Fun, and Shadi Ki Aakhri Salgirah. The last one is a translation of Prof Shiv K Kumar’s drama. This apart, Mughni published scores of articles in research and literary journals.

What is typical about his poetry is verbal magic, sensuous imagery and beauty of sounds. Readers feel like touching, smelling, tasting and feeling the living warmth of one object after another. Mughni is a poet not merely to be read but reflected upon. The poet in him reacts to day-to-day happenings.

Dil mein koyee baat hai, ab keh jaane de
Aansoo ankh mein aye hein, beh jaane de
Apne haal pe chod, dilasa rehne de
Gham hi accha lagta hai, seh jaane de

Dil ki lagi rah jaegiMughni edited the prestigious literary journal Sher-O-Hikmat and Sabras. For several years, he also worked as the director of Idara Adabiath-e-Urdu, the institute set up for promotion of Urdu. He had the unique talent of writing verses in small behr (meter). Sample these verses:

Koi kami rah jaegi
Sholey to bujh jaenge
Aag dabi rah jaegi
Sukhe patte bikhrenge
Shaḳh hari rah jaegi

His works received wide acclaim and he was respected in the Urdu circles both within and outside India. Mughni bagged the coveted Farogh-e-Urdu world award for his contribution to promotion of Urdu. He also received the Ghalib award and was honoured by the AP Urdu Academy.

As a poet, Mughni developed his own individual style which is at once simple, elegant and natural.  His poetry stands out for delicacy of thought, flight of imagination and sincerity of sentiments. There is a touch of pathos and melancholy in his poetry. See the subtle emotions expressed in these verses:

Chupa rakkha tha yun khud ko kamal mera tha
Kisi pe khul nahin paaya jo haal mera tha
Tera khayal tha taaza hava ke jhonke main
Jo gard ud ke gai hai malal mera tha
Main ro pada hun Tabassum siyah raaton main
Ghurub-e-mah main shayad zaval mera tha

 This brilliant poet-critic passed away in February 2012 plunging Urdu lovers in grief. But, he lives on in his poetical works. As time passes by, one discovers new meanings and facets of his works. This was hinted by Mughni himself in this couplet:

Kal mere lafzon main meri jaan rehe gi
Duniya jab dekhe gi to hairaan rehe gi

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Telangana Today

Dated June 30,2019

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They plan to take out a silent procession from Red Hills to Errum Manzil holding placards to highlight the issue.

Despite protests about preservation of the heritage building, work for the new Assembly building at Errum Manzil is set to start soon. Workers are seen digging where the foundation stone plaque will be installed (Photo: S. Surender Reddy)


In a bid to save Errum Manzil, their ancestral palace, family members of Nawab Fakhrul Mulk are planning to meet Chief Minister K. Chandrashekar Rao on Wednesday to prevail upon him to drop the idea of pulling down the heritage structure.

They plan to take out a silent procession from Red Hills to Errum Manzil holding placards to highlight the issue.



The seven-member Legal Heir Association of Nawab Fakkhrul Mulk Bahadur, comprising sons and close kin of the palace builder, feel that Mr Rao could go ahead with his plan to construct a new building to house the State Assembly without demolishing the palace as there is enough space available at the site.

The palace, according to them, was a city within city spread over 400 acres with 150 rooms.  British dignitaries used to stay here as the palace had a beautiful lake, polo grounds and forested area.

“Errum Manzil is a rich heritage of Hyderabad. The government ought to preserve it and restore it to its past glory. Besides being a landmark, it has a sentimental value for the people of Hyderabad,” said Mr Shafath Ali Khan, great grandson of Fakhrul Mulk Bahadur.

Mr Khan, a well known hunter, feels helpless at the sudden turn of events. He rushed back from Delhi on Monday to find a solution to the problem facing the family which used to stay at Errum Manzil till the 1950s when it was acquired by the government. “My mother was born here,” he said and suggested that the government could use the magnificent palace to receive VIPs and foreign dignitaries.

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Deccan Chronicle

Dated June 26,2019

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Salahuddin Nayyer, who has recited poems in front of five Indian Presidents, still raises questions and eyebrows with his lyrical prowess

Creativity is the antithesis of a government servant. The two hardly go together. In fact, whatever touches of genius one has take leave on joining the sarkari service. However, Salahuddin Nayyer, seems to be an exception and refuse to fall in the rut. Not only did he manage to keep his wits together but sharpened them to produce moving verses while working in the Panchayati Raj Department in the combined Andhra Pradesh. And, after retirement, he is pursuing his passion with single-minded devotion.

A wizard in rhythmical creation of beauty in words, he has been creating ripples in adabi mehfils for half-a-century and more. His literary satchel includes 24 books of poetry, 14 books of prose and 60 edited works. This is not to speak of the books written on him by others. He also brings out Khushboo Ka Safar, the Urdu monthly literary magazine. Quite a voluminous body of work. But, at 84, Nayyer’s thirst for shayeri remains unsatiated.

Essential poetry is not the one we have read, but the one to which we return. One can browse through Nayyer’s verses again and again, each time discovering new facets and meanings. This is because he writes verses with passion. While he is adept at writing both nazm and ghazal, it is the latter that he has chosen to express himself.

A poet of consummate skill, Nayyer has written poetry of gul-o-bulbul (rose and nightingale), dilabar-o-raqeeb (beloved and rival) and saqi-o-jaam (wine pourer and goblet). His first book, Gule Taza, published in 1965 is full of romanticism and indicates the depth of his passion. Its Telugu translation named Nayyer Geetalu is published by Hindi Prachar Sabha, Madras. Sample these verses:

Ghabrao nahin pyaar ko ruswa na karoonga
Tum paas se guzro bhi to awaz na doonga
Ruswai ka ahsas hai tum ko agar itna
Main arze tamanna mein bhi mohtat rahoonga

But, as he grew in age and perception, Nayyer started grappling with real issues. His poetry, too, became sharp, philosophical and spiritual. His writings are particularly incisive when it comes to atrocities and injustice. “I have never written anything which I have not experienced or felt,” he remarks.

Though he was drawn to poetry right from his student days, it was in 1959 that he started writing earnestly when he got associated with the Urdu daily, Siasat, and looked after its literary section. “If I have grown to this stature today, it is all because of Abid Ali Khan and Jigar saheb,” admits Nayyer. In fact, his book Saiban (1998) pays rich tributes to the two stalwarts of Siasat and their contribution to Urdu journalism.

Even now, Nayyer is a big hit in mushairas and no concert can be thought of without his presence. Apart from India, he has participated in mushairas held at Jeddah, Riyadh, Doha and Kuwait. While his shayeri is moving, it has a different effect when he recites it in his inimitable style on stage. Nayyer doesn’t mince words while describing his feelings. Once, he created a flutter when he read out a ghazal in the presence of former Prime Minister, PV Narasimha Rao. The ghazal written in the wake of the Babari Masjid tragedy goes like this:

Hamare saamne qatil hai kya kiya jaye
Wo ab bhi zinate mehfil hai kya kiya jaye

Another of his poems titled Dhuktare Hindustan recited at a mushaira in Riyadh raised quite a few eyebrows. This 98-line poem captures in vivid detail the pain and anguish of victims of Gujarat riots. Nayyer is at his incisive best in giving voice to the trials and tribulations of families who suffered in the massacre. Even now his lament moves the reader to tears:

Khan ho tum mere bhai chale aao
Saudi main bahut tum ne kamaya hai
Bas ab aajao ghar apne, magar ab ghar khan hai
Qayamat hum pe tuti hai, hamara sab kumba jal gaya hai
Mere bhai tum in se ye bhi kehna
Meri behne tumhari bhi to behne theen
Meri maan kab meri maan thi
Meri maan madare Hindustan hi thi
Meri beti, meri beti kab thi
Meri beti bhi akhir dhuktare Hindustan hi thi
Tum in safak logon, haakiman-e-shahr se pucho
Ye Hindustan kis ka hai, tumhara ya hamara?

Nayyer has the rare distinction of reciting poetry in front of five Presidents of India – Dr Neelam Sanjeeva Reddy, Dr Zakir Hussain, Fakhruddin Ali Ahmed, Sardar Gyani Zail Singh and Dr Shankar Dayal Sharma. His works have won critical acclaim from the Urdu Academies of AP, UP, Bihar and West Bengal. He received the best Urdu poet awards from Telugu University and Sahitya Academy, Madras. He also bagged the coveted Karnama-e-Hayath (life-time achievement) award from the Andhra Pradesh Urdu Academy in 2004. After creation of the Telangana State, Chief Minister, K Chandrashekar Rao, honoured him with the Best Urdu Poet award in 2014.

Nayyer, however, doesn’t sit on laurels but continues to work. He is associated with a number of literary organisations. During his service he founded the Secretariat Urdu Association. Till 2009, he was associated with the Adabi Trust and conducted scores of mushairas in Hyderabad.

Does he have any other love? The answer is no. Nayyer lives in the world of sher-o-adab. He eats, drinks and sleeps shayeri. He is always lost in the book-lined study at his Mallepally residence. This, perhaps, is the secret of his lyrical prowess.

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Telangana Today

Dated June 23,2019

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The controversial selection has become a subject of discussion in literary circles.

    Telangana government logo

The government has ordered an inquiry into the procedure adopted by the Telangana State Urdu Academy in the recent selection of writers and poets for the prestigious Makhdoom and Maulana Abul Kalam Azad awards.

Mr B. Shafiullah, incharge secretary and director of Urdu Academy, has been asked to inquire whether or not the laid down procedure was followed in the appointment of the selection committee and choice of the awardees.

 Following a report in these columns, the government took serious note of the procedural lapses in setting up of the selection committee which had no official nominee. Moreover, a member of the selection committee was chosen for the Makhdoom award.

CM’s special secretary K. Bhoopal Reddy is believed to have discussed the issue with the government’s adviser on minority affairs A.K. Khan and Mr Shafiullah and felt an inquiry was necessary.

The controversial selection has become a subject of discussion in literary circles. In the last two days, Mr Khan and Mr Shafiullah have received many letters from the public expressing surprise at the selection of nominees by bypassing procedures.

Many wanted to know why none of the Board members of the Urdu Academy were present in the selection committee.

According to GO 42, secretaries of the minorities welfare and finance departments, the commissioner or director, minorities welfare, are ex-officio members of the board while director or
secretary of the Academy is the ex-officio secretary member.


On Thursday, minorities welfare secretary Benhur Mahesh Dutt Ekka issued orders asking the Urdu Academy incharge director to inquire into the matter and submit a report at the earliest. “I will look into the matter and submit a report within a week,” Mr Shafiullah said. Authorities have cancelled the programme scheduled to be held on June 25 for giving away the awards.

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Deccan Chronicle

Dated June 21,2019

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The inappropriate decision has surprised and shocked Urdu circles.

Can an awardee be part of the selection committee? The impropriety of it is glaring. But that seems to be the case with the Makhdoom award announced recently by the Telangana State Urdu Academy.

Dr Akheel Hashmi, who was chosen for the prestigious award, also figured in the four-member selection panel.

 The inappropriate decision has surprised and shocked Urdu circles. Caught on the wrong foot, the Urdu Academy’s attempt to clarify the situation only dragged it further into controversy.

After a gap of four years, the Urdu Academy finalised names for awards instituted in the names of revolutionary Urdu poet Makhdoom Mohiuddin, and India’s first education minister, Moulana Abul Kalam Azad, on June 13.

Those selected for the Makhdoom award are: Prof Habeeb Zia (research and criticism), Mazhar-uz-Zaman (fiction), M.A. Majid (journalism) and Dr Akheel Hashmi (poetry).

For the Moulana Azad award, Prof Yousuf Sarmast and Moulana Rabey Hasan Nadvi were selected.

Dr Akheel Hashmi, one of those selected for the Makdhoom award, figured in the selection committee along with Prof Ashraf Rafi, Prof Shoukat Hayat and Prof Naseemuddin Farees. M.A. Majid, another awardee, was also part of the selection committee. But he didn’t turn up for the meeting.

Urdu Academy chairman, Raheemuddin Ansari, says no impropriety is involved in the selection of awardees.

“Dr Akheel Hashmi was not on the selection panel which chose him for the Makhdoom award. He figured in the other panel which finalised names for the Moulana Azad award,” Mr Ansari clarifies.

However, Prof Ashraf Rafi who was on the selection committee contested this claim.

“Dr Hashmi was present in both the selection panels. He was asked to leave the room for a few minutes and in his absence his name was finalised for the Makhdoom award. In the first place he shouldn’t have been part of the selection panel,” she said.

This view is also shared by Prof Fazlullah Mukarram, who was part of an earlier meeting convened by the Urdu Academy in connection with the annual awards.

This apart, the choice of Mohammed Rabey Hasani Nadvi for the Moulana Azad award has also raised eyebrows.

Many scholars question his eligibility for the award which is intended to be conferred on a person who has contributed in the field of Urdu teaching, education and social work.

“Maulana Nadvi is a great Islamic scholar and president of All India Muslim Personal Law Board but what is his contribution to Urdu?” many ask.

Mr Ansari justifies the selection on the ground that the madrasa Darul Uloom Nadvatul Ulama, of which Maulana Nadvi is the chancellor, has played a key role in preservation of the Urdu language.

“More than Urdu schools, it is madrasas which are responsible for promotion of Urdu, he says.


The controversy surrounding the awards doesn’t end here. As per rules, the meeting for selection of awardees ought to be called by the director/secretary of the Urdu Academy. But the meeting was convened on June 13 when the term of the director, M.A. Waheed, had ended a day earlier.

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Deccan Chronicle

Dated June 17,2019

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His poetry was used as a vehicle of reform and education in all its true colours

He comes across as a sober and genteel person. For Rayees Akhter poetry is a vehicle of education and reform. He wields the pen to depict the joys and sufferings of people and pinpoint their faults and foibles – in true colours.

His use of language is bold and original. There are no overtones and suggestions. There is nothing above, beyond or below what he says. Akhter’s wit is not boisterous, his humour does not border on horseplay either. And this trait makes him stand out from his contemporaries. Akhter always endeavoured to enrich and widen the scope of Urdu and to raise the standard of poetry and prose. His three volumes of poetry – Aain-e-Dil (1979), Ashkon Ke Phool (1994) and Rooh-e-Dil (1998) bear this out.

Akhter’s love for literature was evident right from his student days. Even as he was in school, he was enchanted by shayeri. His father had an intense liking for Urdu literature although by profession he was a police inspector. Young Akhter thus grew up in a literary environment. After finishing school in Bidar, he shifted to Hyderabad and did B.A from Osmania University. Though he was writing poetry for long, it was in 1953 that he got an opportunity to publish it in the college magazine. In 1957 he landed a job in the A.P. Housing Board and many thought it was the end of his dalliance with Urdu literature.

But Akhter proved everyone wrong. His love for shayeri only grew and matured over the years. Interestingly he didn’t acquire a house for himself though he worked in the Housing Board for three decades. A true poet that he was, Akhter lived in the world of ‘sher-o-adab’. There are always some contributory factors behind great deeds. In his case the credit goes to well-known poets Rasheed Ahmed Rasheed and Shaheed Siddiqui, who moulded his mind and crystallised his thoughts. They helped in widening his horizon.

No wonder his poetry is vibrant and alive to the social milieu. Not one to live in ivory towers, Akhter’s shayeri is reflective of everyday concerns, the stress and strains of life. Basically a ghazal poet, he also penned some fine nazms.

Hum kya batain dosto kab haath kat gaye

Us waqt jab duaon se daman bhara na tha

No one can be a good poet unless one is mauled by ‘ishq’ in some way. Akhter’s poetry is full of pangs of lovelorn aashiq traversing the whole hog – from kooche dildar se daar tak. The agony of gul-o-bulbul, the lure of saqi-o-jam – can be gleaned from his works. During the early days of his marriage, Akhter had to suffer frequent periods of separation from his wife who was employed in Bidar. This only helped the poet in him to vent his feelings thus:

Mujh se mere wajood ka aalam na puchiye

Taqseem ho raha hun mohabbat ke naam per

Akhter doesn’t embellish his language with far-fetched similes nor couches his ideas in difficult dictions.

Is daure kashmakash mein muhabbat ka naam bhi

Danista log bhool na jayen to kya karen

Wakif hain hum bhi ishq ke aadab se magar

Diwana khud hi log banayen to kya karen

Akhter grapples with burning social issues and also simple down to earth themes in his poetry. He does it with élan and in a disarming way. And this is why many find his poetry to be at once objective and large hearted. Apart from love, he waxed eloquent on leaders like Jawaharlal Nehru, Indira Gandhi and Neelam Sanjeeva Reddy. His canvass of shayeri also includes social issues like communal riots and cyclone.

Hamen to ek hi chehra dikhai deta hai

Jise bhi dekhiye apna dikhai deta hai

Ye kis ne aise ujalon ki aarzu ki thi

Har ek ghar yahan jalta dikhai deta hai

Akhter regularly participated in mushairas all over the country. And with his brand of shayeri he proved to be an instant hit with the audience. His poetry gained recognition and wide acclaim. Urdu Academies of different states conferred awards to him on his various books. In 1998 he was presented the State Literary award by the Andhra Pradesh government. What’s more his ghazals have been sung by such noted singers like Vitthal Rao and the Jagjit Singh-Chitra Singh duo.    

When asked what were his future plans, Akhter used to recite this couplet:

Sitare tod kar ruk jaon, ye mumkin nahin mujh se

Mere paye-talab ko aasman ke paar jana hai

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Telangana Today

Dated June 16,2019

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This Hyderabadi is the only recognised professional egg artist in India.

Farha Sayeed

How do you like the eggs to be served —fried or scrambled? If you ask Farha Sayeed, you will be shell-shocked by her answer. She would rather go for the eggshell than its contents!

Wife of Ausaf Sayeed, the Indian Ambassador to Saudi Arabia, Farha has taken egg art to dizzying heights. What started as a hobby has become a passion;   the delicate egg shell that cracks with little pressure gets a new lease of life in her hands.



Belonging to the illustrious family of Nawab Tipu Muhammed Khan Bahadur, she had a creative streak right from her childhood. She started learning glass painting, silk painting, pencil sketching, aluminum foil work and flower arrangement even as she pursued her studies in Rosary Convent High School and Vanita Maha Vidyalaya in Nampally.

Where did she learn egg art?

It was in Qatar that she happened to see an Indian family practising it. “I have customised this otherwise Western art by incorporating Indian and Islamic elements in it,” says the versatile artist. Her repertoire includes an amazing range of decorated eggs of Ostrich, Emu, Goose, Duck, Turkey,  Guinea, Hen and Rhea birds.

Farha is a picture of concentration while working. She uses power crafted tool for carving, engraving and smoothing the eggshell. The sophisticated instrument has different bits of needles to carry out intricate cuts with bare minimum vibrations. Once the art piece is ready, Farha embellishes it with pearls, Swarovski crystals, beads, brocade, velvet, satin, golden lace and rhinestone chains. Lo and behold! Whether it is a Cinderalla’s carriage, or an ornate tea set, the humble egg shell is now transformed into a piece of collectible art.

Of course, it is an expensive hobby. The eggshells and the stands they are mounted on are imported from different countries. Farha makes sure that only unfertilised eggs of domestic farm grown birds are procured for artistry. The key to success is patience. Cutting, carving, decoupage, trolling, etching, dyeing and bead work calls for persistence and staying calm; she has loads of it. Except Ostrich, the eggshells of other birds are very delicate. Farha strengthens them by applying gesso, a white paint mixer. “It takes six to eight weeks to decorate an egg,” she says.

Farha is also wise enough not to put all her eggs in one basket. She is now keen to hold an exhibition in Hyderabad, her place of birth. She also plans to open an academy to impart training in egg sculpture.

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Deccan Chronicle

Dated June 11,2019

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Image Courtesy: Google

Shaz Tamkanat’s most popular Sufi number ‘Kab tak mera maula’ casts a spell on listeners

Poetry is an inborn talent. But sometimes it takes a personal loss or a tragic incident in life to unleash the poet in you. For Shaz Tamkanat, the trigger turned out to be the death of his mother. He was so devastated that he took to poetry to express his pain and anguish. Usually one is at a loss for words to express the agony caused by the death of a dear one. But it was different for Shaz. Although he found his world crumbling down, words didn’t desert him. His sentiments found expression in a touching poem, his first one, which he dedicated to his mother. Sample his emotional outpourings:

Jawani ladakpan ka sadma uthaye
Meri rah main qare gham bo chuki hai
Duaon ke hale main mehfooz tha main
Meri raat wo chandni kho chuki hai
Tere zare pa meri jannat thi pinha
Kaiee saal guzre jo gum ho chali hai

His mother, Jeelani Begum, wanted him to become a doctor but he went on to become a poet. In fact after her demise, Shaz lost interest in life and his studies got interrupted for several years. But his journey as a poet continued uninterrupted and today he ranks among the finest classical poets of Hyderabad. Though he was hugely popular in mushairas, Shaz’s shayeri is essentially meant to be read and pondered over. Shaz lived for just 52 years but in this short period, he left an indelible mark on the literary map of Hyderabad and contributed immensely to Urdu poetry.

His parents named him Syed Maslehuddin, but he became famous with his takkhalus ‘Shaz Tamkanat’. Right from childhood, he was drawn towards fine arts. He loved painting and music. Under the moonlit night, he often played the bansuri (flute) at his Mallepally house and mesmerised everyone with its charming notes.

It was around 1952 that he started writing poetry earnestly. Soon his ghazals and nazms found appreciation and many leading literary magazines in India and Pakistan published them. However, Shaz was disappointed at not receiving due recognition in his own city, Hyderabad. This he expressed in one of his poems thus:

Mere naghmon ne payee Shaz shohrat be-watan ho kar
Mujhe ahle watan ki qadar dani yaad aati hai

Though he gained recognition as a poet, Shaz was always conscious of his incomplete studies. On the insistence of friends and well-wishers, he completed graduation and masters in Urdu literature. For brief periods he worked as an Urdu lecturer in different colleges and in 1977, applied for the post of Urdu Reader in Osmania University.  But there was a hitch – one of the conditions was that applicants must be  Ph.D qualified. Since he had already published three books and was hugely popular in the sub-continent as a poet, the University authorities relaxed the rule on the condition that he would complete Ph.D in a short period. Shaz did his doctoral thesis on Makhdoom Mohiuddin, another great Hyderabadi poet. Shaz authored five books of poetry: Tarasheeda (1966), Bayaz-e-Shaam (1973), Neem Khwab (1977), Warqe Inteqab (1981) and Daste Fariyad (1994). The last one was published posthumously. He bagged many awards, including the Andhra Pradesh Sahitya Academy award and the Makhdoom award.

When Shaz commenced his poetic journey, the progressive writers movement was at its peak in Deccan. Like many others, Shaz also came under its influence although he was not on the same wavelength emotionally. He was influenced among others by Mir Taqi Mir, Mirza Ghalib, Momin Khan Momin, Firaq Gorakpuri and Ali Sardar Jafri. However, very soon he found out his own groove and style and brought a youthful fervour to his writings.

Shaz was basically a romantic poet. Initially he tried his hand at nazm, but his romantic impulses and subtle sentiments could find full expression in only ghazal. And for a lovelorn poet, there is no better genre than ghazal to capture the beauty of the rising sun, the charm of blooming flower and the mole on the cheek of the beloved. Shaz’s poetry is natural and musical and the content thoughtful and thought-provoking. He didn’t believe in placing his personal grief and the societal miseries in separate compartments. He had the flair to present his personal experiences in such a way that they gain a universal appeal. The discerning eye can detect in his poetry a sea of emotions trying to break free. Be it nazm or ghazl the canvas of his thoughts matches the intensity of his feelings.

While he stuck to the traditional from in ghazal, yet he differed from contemporary ghazal writers. His shayeri is full of love and affection. However, his love doesn’t seek pleasure or personal gratification – it rather seeks out pain and anguish. There are innumerable verses which speak of this strange longing.

Log kya jane meri khue aziat-talbi
Tujh pe tohmat hai ke tu ne mujhe barbad kiya hai
At another place he admits:
Main to ye jashne judai bhi manaun hans kar
Tum bus ek fursate gham mujh ko zara de jana

Apart from firaq-o-hijr (separation and disunion), Shaz’s poetry captures the romantic sentiments with a touch of  finesse. See how beautifully he expresses this:

Roz wahshat ka taqaza hai ke sehra ku chalen
Roz apne aap ko zanjeer pehnate hain hum
Isne doori ki bhi had kheench rakhi hai goya
Kutch khiyalat se aage mujhe jaane na diya

Shaz’s shayeri is straight from the heart. Like Ghalib he is torn by the conflicting forces of desire and frustration. Even as he is with his beloved he is afraid of separation and sometimes pines for it. See how he captures this sentiment in this verse:

Main kya bataun ke khurbat ka fasila kya hai
Ke jaise ghar to banye koiee, raha na kare

Essentially a poet of love, he created ripples when he wrote the sufi song – Kab tak mera Moula. The munajat rendered by Aziz Ahmed Warsi casts a spell on listeners whenever it is heard. Same is the case with his naath ‘Aap akele mil jayen to daman tham ke ro lunga’. It speaks of his undying love to the Prophet of Islam. And who could forget the lyrical beauty of the geet ‘Mouj o sahil se milo’. For sheer lyricism it remains unsurpassed.

Not many know that Shaz was also a good critic and prose writer. For a few years he was associated with the Andhra Pradesh journal brought out by the Department of Information and Public Relations. He reviewed Urdu books under the column “Ek Phool Ka Mazmoon” and poems under the title “Is Nazm Main”.

To quote his own verse, Shaz was a ‘tehra huva darya tha aur badi daer se chup tha’. The literary giant passed away in August 1985 creating a difficult to fill void in Urdu literature.

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Telangana Today

Dated June 09,2019

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Auj Yakhoobi, whose forte was ‘ghazals’, left deep imprints of his skill in the genre

For him, poetry was not just a passion, but his very lifeline. With his unique brand of shayeri, Auj Yakhoobi held everyone spellbound. His personality and influence were such that a few of those who came into contact with him also became poets.

Rhyme and rhythm are built into his poems in such a way that they look natural and explicit. Like noted poet Safi Aurangabadi, he made liberal use of Deccani proverbs in his shayeri. While he went poetic in all genres of Urdu poetry, ghazal was his forte. Though his initial poetry was on traditional lines, Auj Yakhoobi later focused more on burning social issues. See how vividly he captures the distress and suffering of the common man in this nazm:

Kiyon preshan hai dil, aankh barasti kiyon hai

Zindagi kucha-o-bazaar main sasti kiyon hai

Lakh pasti main bhi main Auj to khelata hoon

Kaun jane ke bulandi main ye pasti kiyon hai

Born in March 1913, his father Syed Yakhoob named him Syed Abdul Khadeem.  But, when he took to writing poetry, he first adopted the takhallus (pen name) Akhtar and, then, Ashraf. Later, he changed it to ‘Auj’. This name stuck to him and he became famous as Auj Yakhoobi.

After schooling at Chanchalguda and Gosha Mahal schools, he attained the degree of Munshi Fazil. Even as a child, Auj Yakhoobi used to visit the homes of well-known poets Josh Malihabadi and Mahirul Quadari who resided near his house in Malakpet. The poetry bug probably bit him here. He started taking active interest in the mushairas held at the deodi of Maharaja Kishen Pershad. As a poet, Auj Yakhoobi, recited his first poem at the monthly mushaira held at Sahifa Milad building.

Hyderabad took note of a new poet emerging on its horizon. Soon, Auj Yakhoobi became a regular at mushairas. He rubbed shoulders with noted bards like Safi Aurangabadi, Zamin Kishori, Fasahat Jung Jaleel, Amjad Hyderabadi, Hairat Badayuni, Suleman Areeb, Khursheed Ahmed Jami and Khwaja Shouq. There was no looking back for him.

What makes Auj Yakhoobi’s poetry stand out is his lucid style and choice of words. Having learnt the finer points of shayeri from Abdul Qaiyum Khan Baqi, he displayed amazing grasp on Urdu language. His anthology of poems titled Grift-e-Nazr, Ghuncha Lab Basta and Auj-e-Arsh were published in his lifetime itself. They were well received in Urdu literary circles. The last book which contains naats in praise of the Prophet of Islam shows the deep religiosity of Auj Yakhoobi and his reverence for the Prophet. Sample these verses:

Jibril rehne dijiye shouqe rehnumai

Sidrah se aage mere Sarkar jaante hain

In another verse, he says:

Kaabe ki taraf sajda to imaan hai laikin

Sarkar ka naqsh-e-pa apni jagah hai

Auj Yakhoobi’s reputation travelled far and wide. He gained recognition and was conferred the title of ‘Malakush Shora’ when T Anjaiah was the Chief Minister of Andhra Pradesh. Among his widening circle of well-wishers were a large number of poets who benefitted from him. His own daughter, Noor-un-Nisa, turned out to be a good poetess. She wrote poems under the takhallus ‘taskeen’.

The prolific poet that he was, Auj Yakhoobi tried his hand at Hamd, Naat, Qasida, Rubai, Marsia and Salam. But, he left deep imprints of his skill in the ghazal genre.

Khud apni wahshate dil apne rubaru pahunchi

Tadap tadap ke yehan tak to aarzu pahunchi

Achanak inka tabassum labon main jazb huva

Na jaane kaunsi manzil main guftugu pahunchi

Auj Yakhoobi is, perhaps, the only poet who has written on the population explosion. In the poem Cheeqoun ka Hujoom, he gives a vivid description of the problems associated with rising population. The 21-line nazm holds a mirror to society and warns of the looming danger ahead. The poet fears that a day might come when oxygen will go scarce.

Shor, hangama, sadayen, cheeqen

Na sukoon ghar main, na mehfil main, na bazaaron main

Rah chalta hoon to takrate hain kandhe mujh se

Shahr main jismon ka mela

Ghar main awaaz ki bheed

Mujhe dar hai ke na kho jaoon main

Khain aawazon main taqseem na ho jaoon main

Auj Yakhoobi had the talent to express his feeling in poetic form at the spur-of-the-moment. Once the organisers of a mushaira decided to invite poets from outside Hyderabad and make one of them the chief guest. When Auj Yakhoobi learnt this, he got upset and gave vent to his feelings thus:

Warise maikadah hum jo maujood the

Kiyon kiraye ke saaqi bulaye gaye

When he goes sarcastic, there is no stopping Auj Yakhoobi. Once, referring to the noted poet Makhdoom Mohiuddin, he remarked how some persons remain sober even under the influence of liquor.

Makhdoom ko jo dekha hum ko ye bawar aaya

Aye Auj zarf wale pi kar nahin bahekte

Auj Yakhoobi penned verses on every topic. His poem on ‘Hyderabad Deccan’ is indicative of his love and affection for the region. After the beautiful poem of Mullah Ghavasi, nobody has portrayed Deccan as beautifully as Auj Yakhoobi. Sample these verses:

Ye shahr rabte bahimi ke baaniyon ka shahr hai

Rifaqaton, muhabbaton, jawanion ka shahr hai

Khuloos aur ishq ki nishanion ka shahr hai

Wafa ke aur pyar ki kahanion ka shahr hai

Dayare Hind ka hai mera Deccan, mera Deccan

Auj Yakhoobi died of a sudden heart attack in August 1983. He had gone to Aurangabad to attend the Urs of Hazrat Banne Miyan where he took ill and breathed his last. He was brought to Hyderabad and laid to rest in the burial ground adjacent to Masjide Ilahi, Chaderghat.

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Telangana Today

Dated June 02,2019

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