The man who laid the foundation for modern Hyderabad had few persons to remember him on his 109th death anniversary. There was no programme to mark the occasion. A few heritage lovers, close family members and some casual visitors turned up to pay homage to the 6th Nizam, Mir Mahboob Ali Khan, on Thursday. They offered floral tributes to his grave situated in the Makkah Masjid.

Dr Chiranjeevi Kolluri, president of the Hyderabad Deccan Democratic Alliance, Capt L. Panduranga Reddy, president of the Voice of Telangana, M.A. Raheem, president of the Nawab Mir Mahboob Ali Khan Foundation, and Safiullah of Deccan Heritage Trust were present on the occasion.

Though he led a lavish lifestyle, the 6th Nizam undertook many administrative reforms that benefitted many people. Development of railways, revision of revenue settlements, setting up of cotton mills at Hyderabad, Aurangabad and Gulbarga are among his significant achievements. The first railway line from Secunderabad to Wadi was laid in 1870 by the Nizam’s Guaranteed State Railway and later it was extended to Vijayawada.

“Mahboob Ali Khan was responsible for connecting the princely state of Hyderabad with the rest of British India”, says P. Anuradha Reddy, chairperson, INTACH Hyderabad.

Apart from this, the sixth Nizam also gave top priority to the development of education, irrigation and medicine. Again, it was Mahboob Ali Khan who supported the setting up of the first Chloroform Commission in 1888 realising the importance of chloroform as an anaesthetic agent. The relief measures he took after the disastrous Musi floods of 1908 are significant and resulted in the planned construction and development of the Osman Sagar and Himayatsagar reservoirs.

Interestingly, Mahboob Ali Khan ascended the throne at the age of two when his father, Nawab Afzal-ud-Daula, died. Although there was a Council of Regency present to managed the administration till he came off age. The first Nizam to be coroneted by the representative of Her Majesty, the Queen, he was conferred the title of Grand Commander of the Star of India.

Poet, marksman, administrator and lover of gems and jewellery, the 6th Nizam had a refined taste. The famous Jacob diamond, which forms the crowning glory of the Nizam’s jewels, was actually bought by him. He led an extravagant life and had a big fascination for cars and clothes. He died at the age of 46 at Falaknuma Palace following a paralytic attack.

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in NewsMeter

Dated August 30,2019

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If there’s a poet who could make a nazm and a ghazal about ordinary things like screws or white ants, it has to be Talib Khundmiri who regaled Urdu lovers with his humorous poems

Architecture is a visual art while poetry is a work of heart. One begins when two bricks are put together carefully and the other takes birth when two lines are framed. Both speak of their time and place and yearn for timelessness. Few can hold their own in these obviously unconnected fields. But Talib Khundmiri is an exception. While the buildings designed by him are a visual treat, his verses are difficult to forget. As his love for shayeri increased, Khundmiri became a full-time bard and a part-time architect. Today, he is known more as a poet, a humour poet particularly.

He occupies a special niche in the Urdu world as a parodist. For four decades, he regaled Urdu lovers with his brand of poetry which is sharp, witty and reformative at the same time. His creative insight, distinct writing style and the unique choice of subjects differ from others.

He had a deep understanding of the changing political, socio-economic and cultural situation of the society and employed poetic tool to pinpoint the shortcomings. Poems like Ashoob Ghazal, Khatmalon ki Faryaad, Ankhon ka Gahen, Test Tube Babies, Time Capsule, Clerk ki Munajaat and Shayer ka Self Portrait stand out for their uniqueness.

In the poem Ashoob Ghazal, Khundmiri’s poetical prowess comes to fore. Various characters that figure in the ghazal like mashooq (lady love), raqeeb (rival in love), saqi (wine pourer), namabar (letter carrier), shaikh waiz (preacher admonisher), rehnuma -o-rehbar (guide and mentor), nakhuda (captain) and, lastly, the shayer himself are portrayed here. Each of them lists out their important roles and explain how without them no poet, including Ghalib, Meer and Sauda could complete their ghazal. This long poem ends with the poet warning thus:

Theek hai mai dhoond loonga ab koi tarze jadeed

Ta ke phir koi na kar paye meri mitti paleed

In all his poems, one can detect dramatic twists and turns. Dialogues, language, the tone and tenor further heighten the excitement and histrionics. Writing humour poetry is no walk in the garden. It’s rather treading a thorny valley where one has to be extremely careful. One wrong move and one may have to say:

Ke mai ne shouqe gul-bosi mein kanton pe zaban rakh di

(The passion to kiss the flower drove me to place tongue on thorns)

Khundmiri, however, is very careful in this matter. This adroitness and finesse comes from his expertise in architecture and designing. Khundmiri delves into things which escape the attention of a common man. In the poem Time Capsule, the poet laments the degradation that has set in different walks of life.  Ignorance, discrimination, blind aping of everything western – nothing escapes the scathing attacks of his pen. Hidden in the outpouring of pain and anguish are the hope and wish that things will look up one day. Khundmiri touches raw nerves but in a humorous way. For him, wit and satire are not for fun alone – they are for didactic purpose too. He says:

 Nahin hai tanz ka maqsood kisi ki budkwahi

Ke harf-harf khuluse aashkar apna hai

Wo tanz jis se kisi ka sudhaar ho jaye

Kalam talq sahi, shahkar apna hai

Khundmiri tried his hand at both nazm and ghazal and in both the genres satire and humor stands out. Savour this ghazal of his:

Dastar pe murgh wo mahi ziyada sahi magar

Apne shikam mein hasbe zaroorat utariye

Aaina jaanta hai haqeeqat huzoor ki

Makeup ke baad apni nazr math utariye

Though he dabbled in both serious and comic poetry, Khundmiri is known as a parodist. He did humorous takes on several poets, including Allama Iqbal and Mirza Ghalib. See the kind of comic effect he creates by altering a single word in Muztar Majaz’s verse. The original couplet is:

Mana ke zade rahe muhabbat khaleel tha

Laikin kisi ka dard hamara kafeel tha

Khundmiri’s parody goes like this:

Mana ke zade rahe muhabbat khaleel tha

Laikin kisi ka ‘purse’ hamara kafeel tha

He has tinkered with several famous verses of Ghalib, his favourite poet, in most artistic way. Khundmiri penned poems under the title Palmist Ghalib, Architect Ghalib, Tabeeb Ghalib and Ghalib Hasinaon ke Jhurmut mein. See what happens when Khundmiri works on Ghalib’s famed poem – Naqsh faryaadi hai….

Karnama hai ye kiski shoqie tehreer ka

Hai nadard pairahan har paikare tasveer ka

Roz-o-shab ki saqt mehnat se thi itni tishnigi

Doodh sara pi gaya Farhad juye sheer ka

Iqbal’s well-known nazm, Shikwa, comes in handy for Khundmiri to give vent to Urdu’s complaint against the country. He says:

Mehfile khurdo kalan mein sifate jaam phiri

Le ke aasan khwaid sahr-o-sham phiri

Luknow, Dilli wo Punjab ta Assam phiri

Kya kabhi kaam se apne kahin nakaam phiri

Khundmiri was a good cartoonist as well and drew caricatures for several title covers of Shugoofa magazine. Right from the age of 12, he started writing poetry and a unique feature of his shayeri is that while it creates ripples of laughter, it also leaves many teary-eyed. The main purpose behind his poetry is to reform the society and he resorts to humour and satire to wake up people from slumber. About a habitual drunkard he says:

Aaj to pili hai maine ek botale zindagi

Mere thenge se rahe jis haal mein kal zindagi

For the netas’s profession, he has these special lines:

Aaj kal sansad ki kursi mein nihan hai zindagi

Ye agar mil jaye to phir hukmaran hai zindagi

Is ka milna bhi to na-mumkin hai voton ke baghair

Aur hum ko vote kab milte hain noton ke baghair?

One can’t imagine someone writing poem on such a mundane thing like ‘screw’? But, Khundmiri pens a full-length nazm on it. Samples some verses:

Zara si cheez hai ye jis ko screw kahiye

Ya phir ise koi karinda rafu kahiye

Kai bigaad machinon ke right karta hai

Ho chool chool bhi dhili to tight karta hai

Khundmiri had a thorough knowledge of classical literature and was well aware of the nuances of the language and subtle differences of meaning and expressions. He knew how to use words for maximum effect. Noted humourist, Mujtaba Husain, feels the vacuum created by the death of Akbar Allahabadi in the humour and satire genre still remains unfulfilled. However, Khundmiri is among the few poets who could lay claim to the legacy of the master satirist. His books Suqan Ke Parde Mein and Kanton Pe Zaban Rakh Di bear this out. His poem, Iblis Ka Eteraf, is a masterpiece. In the poem Ek Neta Aur Ladka, a parody of Iqbal’s nazm, Makkhi aur Makda, Khundmiri lays bare the scheming politicians and their devious ways.

His death in January 2011 is an irreparable loss to Urdu lovers. To use a poetic expression:

Muddaton royaa karenge jam-o-paimana tujhe…

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Telangana Today

Dated August 25,2019

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The Badshahi Ashoorkhana sees a lot of footfalls during Muharram beginning September 1 and the pending repair works is a matter of concern.

The Badshahi Ashoorkhana sees a lot of footfalls during Muharram beginning September 1 and the pending repair works is a matter of concern.

Every time it rains, a bit of heritage bites the dust in Badshahi Ashoorkhana. The recent downpour has taken further toll on the already dilapidated Naqar Khana (drum house) on the eastern side of the Ashoorkhana. A precariously dangling beam fell along with  chunk of rubble the other day.

Protected only in name, this hoary monument built by the city founder, Muhammed Quli Qutb Shah, in 1594 is at the mercy of the vagaries of nature. With Muharram, the Shia month of mourning hardly a fortnight away, the Ashoorkhana caretaker, Mir Abbas Ali Moosvi, is a worried man.


The Badshahi Ashoorkhana sees a lot of footfalls during Muharram beginning September 1 and the pending repair works is a matter of concern. The run down Naqar Khana is the place from where the traditional ‘naubat’ used to be played. But ever since its roof collapsed in 2007, the structure remains out of bounds. In spite of the clear orders of the High Court, the Archaeology and Museum Department is yet to carry out repairs. Meanwhile, a tree sprouted on the first floor has further widened the gaping hole in the roof.

This is not all. The collapsed Langar Khana and the Abadar Khana on the northern side meant for distributing ‘tabbaruk’ and providing drinking water to devotees thronging the Ashoorkhana, remain in disuse as the authorities have not rebuilt the structures. Repairs done to the Niyaz Khana, mini Ashoorkhana and two sarais in 2012 are showing signs of wear and tear as well.

Even the painting on the marble plaque at the entrance has disappeared. Tourists visiting the monument have difficulty reading the information engraved on it. The threat of intrusion also remains as the monument has not been fully secured with fencing after eviction of the encroachers from the Ashoorkhana premises.

Interestingly, there is no regular grant for this ancient edifice which attracts tourists and pilgrims alike.

The Telangana state government has signed an MoU with the Agha Khan Trust for Culture (AKTC) for repair and restoration of the damaged enamel tile work inside the main Ashoorkhana. Along with it the AKTC is also expected to take up restoration works of the Naqar Khana.

But that's a long drawn-out process. If the monsoon gets vigorous there will be nothing left to repair.

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Deccan Chronicle

Dated August 22,2019

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Mirza Mustafa Ali Baig stands out among the contemporary humorous poets as he sees a funny angle in every facet of life

Man knows how to cry from birth, but laughter takes some learning. But, in his case it seems to be the other way round. A born optimist, he knows how to cock a snook at the vicissitudes of life. However grave the situation might be, he discovers a funny angle to it and makes light of the whole mater. If you don’t learn to laugh at trouble, you won’t have anything to laugh at when you grow old. That’s what he believes in. And, therefore, it is impossible to be with him and yet not have some of his sprightliness rubbed on you.

Stage artiste, actor and humorous poet, Mirza Mustafa Ali Baig comes across as a bundle of wit. As a mizahiya shayer, he is a cut above the rest since he is the only poet in Hyderabad to practise Anglo-Urdu shayeri. Interspersing Urdu poetry with a generous dose of English words is his forte. He uses words like ‘impossible, you don’t know, tension, make-up, connection, etc.,’ to great effect. Urdu equivalents of these words will not have the same impact. Sample these verses:

Tu jo hara hai election all right
Paida karle new connection all right
Hain minister assi (80) assi saal main
Hum ko atthavan (58) main pension all right

Baig doesn’t have any pretensions of writing literature. Yet, his shayeri has both the masses and the classes go ga-ga over it. He uses simple day-to-day language to express himself. This is, perhaps, why his poetry has a wider appeal. The liberal use of English words has brought him international repute.

Ye aarzoo hai dil-e-beqarar main
Petrol ki tarha jaloon unki car main
Honest khud ko pose kare bhi to kya huva
Rishwat ki bu to aane lagi hai dakar main

Baig has the reputation of ‘looting’ mushairas. When he recites verses in his inimitable style, a wave of laughter sweeps the hall. After listening to him, the audience is generally in no mood to listen to any other poet. And this is why mushaira organisers invite him in the end not to hurt the ego of other serious poets.

From where did he get this funny trait? “Humour and satire are in my blood. Right from childhood, I have this habit of closely observing people and imitating their mannerism,” says Baig. While doing Intermediate at City College, he presented a skit ‘auction’ in which he targeted some of his teachers. He carried this hobby to Osmania University where he did his BSc. But, gradually Baig turned his talent into poetry. In 1957, he got an opportunity to take part in a humorous mushaira conducted by the All India Radio. Here, he read out his first Anglo-Urdu ghazal and it was a roaring success:

Un se meri jo fight hoti hai
Dushmanon ki delight hoti hai
Love ko jo blind kehte hain
Unki khud short sight hoti hai

In writing Anglo-Urdu poetry, Baig was influenced by the eminent poet, Akbar Allahabadi. Humorous poetry, he feels, is the most effective medium of conveying a message. What can’t be told in long-drawn speeches can be effectively summed up in just two lines. At a mushaira held on the topic of ‘AIDS’, he had a field day.

Romeo tum ban gaye jiske liye
AIDS hai usko magar you don’t know
Ishq bhi ab ban gaya cricket ka game
Bewafa ka bouncer you don’t know

Baig, who retired as general manager of the State Warehousing Corporation, has travelled to London, US, Saudi Arabia and Pakistan regaling people with his special brand of poetry. He also acted in two Hindi serials – Hansi Ka Safar and Adhikar. His play Maran Brath broadcast by AIR under its Hawa Mahal programme was a big hit.

A founder member of Zinda Dilane Hyderabad, Baig’s book – I Am Sorry – was published in 1993 while his second book, Never Mind, is in the pipeline. Though his poetry is full of humour, tucked away in it is the inevitable message. Baig has always been alive to the happenings around him and this is reflected in his verses. Touched by the communal riots which rocked Hyderabad quite often in the past, he wrote thus:

Life and death bhi ho gaya game
Really it is a matter of shame
Ram kahoon ya kahoon Rahim
Qatil puch raha hai name

No oddity in life or idiosyncratic situation escapes his caustic humour. Once, when the city was under curfew for a prolonged period, Baig visualised the plight of lovers caught in the clampdown and wrote:

Mil rahi hai subko ek jaisi saza
Jail se jo bach gaya, curfew main hai
Darde dil ki dawa curfew main hai
Aajkal Darulshifa curfew main hai
Ek helicopter dilade aye Khuda
Unke ghar ka raasta curfew main hai

Baig hits out at social evils in his own inimitable way. On the dowry menace, he says:

Samdhi ne list mangi hai hum se jehez ki
Shaadi bhi aaj beti ka tender dikhai de

He has a special verse for politicians who take people for a ride:

Lutne ka risk hai mujhe donon ke haath se
Daku behind me hai to neta before me

Many of Baig’s poems have been copied by Bollywood filmmakers. The popular song Meri marzi is actually taken from his poem which goes like this:

Pyar ki road pe jab aaye speed breaker
Gear muhabbat ka badloonga meri marzi
Vote ki mujh se hope na rakhna Mr. Leader
Abke behja use karoonga meri marzi

The increasing incidents of harassment and abduction of women also figure in his poetry. He talks about this serious menace in a funny manner:

Ek hasina ko lonely pakar
Manchalon ne pakad liya usko
Phir suddenly wo chhod kar bhage
Jab kaha unse AIDS hai mujhko

For the last half-a-century, Baig is regaling Urdu lovers all over the world. Of late, he is making waves on YouTube also. What makes him tick is his originality of humour coupled with his facial expression and unique recital. The judicious mix of English-Urdu words only adds to the appeal.

Why doesn’t he try his hand at serious poetry? Pat comes the reply:

Sanjeeda sher kehna to mushkil nahin magar
Tanz-o-mizah usmain milana hai problem

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Telangana Today

Dated August 18,2019

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Wit and irony, rendered in Deccani flavour, were the hallmarks of this bard who was known for his humorous and satirical take on government and its various departments

Police ki diary mein

Dande ki shayeri mein

Na full stop, na coma

Sanjeeva Reddy mama

It stands out like a porcupine’s quill – the wit, irony and Deccani flavour. The inherent sarcasm in the verse is like a sword, intended to make one feel the point as also see it.

Ghulam Sarwar Khan. Does the name ring a bell? Not many will nod their head in the affirmative. Instead, drop his pen-name ‘Sarwar Danda’ and the faces light up. Nay, a grin spreads from ear to ear. Yes, decades after he went six feet under, his poetry, dipped in humour and satire, continues to bowl over audiences.

Though the mizahiya poetry with the Deccani tang is alive, the typical satire and wry humour seen in Sarwar Danda’s verses are now difficult to come by. He was a cut above the rest. A keen observer, he took swipes at everything around him. The plight of people, corruption in high places and inefficient administration are all mirrored in his poems. None could escape the ‘Danda’ as he went on lampooning ministers, officials and institutions. Naturally, it raised the hackles of many a big wig.

The Janta Ki Arzi (people’s petition) written by Sarwar Danda soon after the formation of Andhra Pradesh became the talk of the town. The poem addressed to the then Chief Minister, Neelam Sanjeeva Reddy, is a memorandum in verse. Tinged with barbs and sarcasm, it lists out various problems. One of the stanzas pleads for jobs thus:

Bekari, berozgari

Ye aam hai bimari

Rozgar se lagana

Sanjeeva Reddy mama

It really called for conviction of courage to target the Chief Minister. But, Sarwar Danda was bold and outspoken. When he saw injustice and discrimination, he would stop at nothing to bring the matter to light. In a funny way, he underlines the many expectations people had with the new government.

Taleem nai so bacche

Niklenge kan se acche

Taleem phugat dilana

Sanjeeva Reddy mama

Deccani poetry has generally been responsive to all the historical and national events – mirroring life in all its varied forms. Sarwar Danda’s poetry is no different. He wielded the pen on such diverse topics as Bathukamma festival, Quli Qutb Shah, village fair and the mutiny of 1857, to mention a few. In the poem Shahpurwadi Se Pahadi, he takes a swipe at various government departments. Red-tapism in Secretariat, injustice to farmers, mess in Osmania General Hospital and corruption in the civic body are vividly portrayed in the poem.

Sarwar Danda was attracted to poetry right from his student days. But, it was the Deccani dialect that he liked the most. He often borrowed Telugu words to give a new flavour to his verses. His poem Idena ma desham is a classic example of people’’s disenchantment with the government.

Sada mere gavaan po ghurbat ka mausam

Na faqon se fursat, na dum meich hai dum

Yan dhoti bhi gat nai, vaan unku hai resham

Idena ma desham, idena ma desham

He wrote his first poem – Neelam pari dear don’t worry – for his school day function. He received a lot of encouragement when his poems were published by Urdu dailies – Payam and Rahbar-e-Deccan. Thereafter, there was no looking back. After obtaining a diploma in painting from the College of Fine Arts, Sarwar Danda became a registered contractor in the Public Works Department. His interaction with various government departments gave him greater insight into the administrative functioning as also spice for his poems.

As the Deccani humour of Sarwar Danda caught the imagination of Hyderabadis, there was great demand for him in mushairas. Cries of ‘Sarwar Danda wanted’ rent the air even when famous poets like Josh Malihabadi, Firaq Gorakhpur and Makhdoom Mohiuddin were present on the dais. There were occasions when the audience never wanted to hear others when he was around. Not to embarrass others, Sarwar Danda used to leave the stage soon after reciting his poem.

Strangely enough, Sarwar Danda was far from jovial in life. A sensitive person, he spoke few words and never cracked a joke. But, he had all his fun and took pot-shots at the world through his poems. Those who knew him recall how he used to write poems on the spur of the moment when he was deeply touched by something.

As a contractor, he knew pretty well the delaying tactics of officials in sanctioning bills. Once he was in dire need of money as the Ramzan festival was near and, moreover, he had to make payments to the labourers for the work done. But, the Accounts Officer in the PWD wouldn’t sanction the bill. In frustration, Sarwar Danda took out a white paper and scribbled a poem – Shayer Ki Arzi – right there. He enclosed the piece of paper in an envelope and sent it to the Accounts Officer. Moved by the poem, the latter issued a cheque in no time. The poem addressed to ‘PWD ke Raja tum khani meri sunna’ goes like this:

Mai ek ghareeb shayer

Hun apne fun mein maher

Be-bas hun be-sahara

Tum khani meri sunna

Mehngi hai gutta dari

Ras aee, na pajari

Daftar se mazdooron tak

Kis kis ke naqre sehna

Tum khani meri sunna

Kharze main hun mai kuppa

Hathon main aaya chippa

Nadar ghareebon ke

Dataa wo khabar lena

Public petitions apart, Sarwar Danda also wrote romantic poetry. Of course, it has its own charm. Sample this Deccani ghazal:

Wo mujh po main un po mare sarka nai hai

Muhabbat ka ramna chare sarka nai hai

Zamane ki sohabat main dilbar to ban gayin

Umar bhar mera dum bhare sarka nain hai  

Sadly, awards and recognition didn’t come to this great poet – not that he craved for them. His 500-odd poems also lie scattered with friends and admirers. There is no attempt yet to publish them in book form. Though there is no void in the humour scene, it is not the same after Sarwar Danda.

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Telangana Today

Dated August 13,2019

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Mohammed Himayatullah, who was popular as Chote Nawab, saw a humorous angle in everything and was known for his affable nature and down-to-earth manners

Laughter is a tranquiliser with no side-effects. And he dispensed it for close to half-a-century with great success. One can’t think of a comical serial, a humour mushaira or mehfil-e-latifa goyee without his presence.

Some remember him as the bespectacled Munshi Sabir Ali, the heroine’s father, in Adhikar TV serial while some know him as the Chote Nawab who regaled visitors in the annual Numaish. For a large number of Hyderabadis, he remains the uncrowned king of tanz-o-mizah (humour and satire). But, the truth is Mohammed Himayatullah is the Qutb Minar of Deccani humour in the city of Charminar.

He seized life by its witty side. Humour, for him, was not a purpose but a passion. A minute into conversation and one would realise that quite unwittingly one had been led into a funny dialogue. Right from his school days in All Saints, Himayatullah was attracted to satire and humour. He saw a humorous angle in everything. Once, when there was a severe shortage of onions in the market, he went poetic in a mushaira thus:

Meri shayeri ko rokne ande aur tamate nakko maro
Marna hai to piyaz ke dailliyan maro           

(Why hurl eggs and tomatoes to stop my poetry
Throw some onion if you want to show resentment)

Nothing shows a man’s character more than what he laughs at. Himayatullah came across as a person who took life in his stride – unperturbed by its vicissitudes. Surprisingly, this humour trait in him was not a family legacy. His father, Capt. Ghulam Murtuza, was a tough Army man who was not given to wisecracking but cracking the whip. Naturally, he didn’t like his son’s wayward ways of nachna-gaana. Young Himayatullah, however, found release in occasional comic skits which he presented at school day functions. Not many know that he eked out a living as a civil contractor.

A founder member of the Fine Arts Academy, Zinda Dilan-e-Hyderabad and IPTA, Himayatullah combined in him a multifaceted personality. To use the Deccani idiom, he was a ‘har fun moula’ – actor, producer, writer, poet, satirist – all rolled into one. He started off as a parody artiste, turned into a humour poet and ended up as a successful actor on the small screen. He hit the idiot box with Musibat Hi Musibat in 1980 but, luckily, ‘musibat’ proved a good break for him. In 1992, he starred in Hansi Ka Safar which was telecast from Mumbai Doordarshan. The following year, he acted in Lekh Tandon’s serial Farman, and Adhikar.

Himayatullah’s towering personality caused an inferiority complex in many. But, his down-to-earth manners and affable nature put everyone at ease. He gained popularity as ‘Chote Nawab’, the character he donned in a play broadcast by the All India Radio, Hyderabad. The character became so popular that for many years, AIR made Himayatullah a permanent feature in its children’s programme every Sunday. Even now, the Chote Nawab skits are aired at the All-India Industrial Exhibition.

Himayatullah’s stage shows and mushairas took him to the US, London, Canada, Saudi Arabia, Kuwait, the UAE and Pakistan. He took part in the Urdu play Sham Dhalay Sawera at the Commonwealth Hall, London, in 1983 and the following year, he acted in another play – Qubul Kiya Mai Ne. Though he moved in the company of Deccani poet Sarwar Danda, he was inspired to write humour poetry by a Telugu street play he once saw at Aghapur. Sample the funny shayeri:

Tandana tana tana, Telugu samajh jana
Chawal ko bolte biyyam, shaitan ko bolte daiyyam
Adrak ko bolte allam, gud ko bolte bellam

For Himayatullah, humour was an effective medium to convey message. He regarded it as a sugar-coated pill which could be easily forced down on people.  His book Dhanmadi contains hundreds of Deccani verses on diverse topics. See how he talks about a sensitive issue like untouchability in his poem:

Mai bade logon ke ghar ko kabbhi naee jana kate
Mai Harijan hun mandir main bhi naee ana kate
Kal subah ko do pujari aake ye bole mujhe
Ek naya mandir banana hai mai ana kate

In day-to-day life also, Himayatullah was humorous.  During the ’70s, cycle riders were supposed to carry a ‘qandil’ (lamp) during night. Those violating the rule were penalised by police. Once, while returning home after watching a second show movie, Himayatullah dismounted from his bicycle near a police station as he had no lamp. Instead of moving away fast, he called out the policeman on duty. When the latter emerged, Himayatullah pleaded that he had no lamp and could he ride the cycle. The humble request invited a volley of abuses from the bleary-eyed cop.

Himayatullah’s contribution to Telangana couldn’t be ignored. When the agitation for statehood was at its peak during 1979-80, he wrote a poem which became very popular. The then Chief Minister, Kasu Brahmananda Reddy, is believed to have taken note of it.

Tan dana tana tana, we want Telangana
Khud aap ki biwi bhi chahti hai Telangana
Aji aap se akhalmand hai aapka zanana
Ab chief minister ko do kaam reh gai hain
De dena Telangana, Guntur chale jana
Bara baras se chal gaee, ab naee chalengi andi
Ab jaag gaye dekho sub veer Telangana

Though he wrote hundreds of verses, his poem ‘Aankhon ka Atiya’ (eye donation) and ‘Operation’ stand out for their uniqueness. Sample the feelings of the eye donor who is romantic by nature:

Mere ankhyan to de roon pan ki meri baat mat bhulo
Mere ankhyan tume jis ko lagye usku ye bolo
Secunderabad jako roz meri jaan ku dekho
Mere aankhon se dekho pan ki apne dil se mat dekho

Urdu poetry has innumerable verses on ‘angdai’ (lazy stretching of arms), but the humorist in Himayatullah describes this action in a different way. He says:

Tight shirt po bhar ko angdai liye
Gundiyon ka tut ko jhadna aee re
Mai to mai ab to hava bhi ched ri
Jhuk ko sadi ku pakdna aee re

This great poet received several awards, including the ‘Shayer-e-Latafat’ award from the Entertainment Association of North America and Indira Gandhi National Unity award. He was also honoured by the Aiwan-e-Urdu, Karachi. But, the government in the combined Andhra Pradesh and, now, the Telangana government has chosen to ignore him. A case of ghar ki murgi dal barabar.

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Telangana Today

Dated August  11,2019

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