A poet and critic

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