Har cheez bhula di jaayegiYaadon ke haseen butkhane seHar cheez utha di jaayegiPhir koi nahin yeh poochhegaSardar kahan hai mehfil mein(Every memory will be erased from the beautiful temple of memoriesEvery single thing will have goneThen, no one will ask:Where is Sardar in the soiree?)
The writer, orator, poet, short-story writer, dramatist, critic and filmmaker, Ali Sardar Jafri, who passed away in Mumbai 20 years ago on August 1, never received his due as a poet, perhaps due to his programmatic verses and his overt association with the Communist Party of India.
In his later years, he received some recognition as a poet who wrote optimistically about Indo-Pak relations. When Indian Prime Minister Atal Bihari Vajpayee took a bus journey to Pakistan in 1999, the following four-liner by Jafri was played on its PA system, and became quite the rage for a while:
“Tum aao Gulshan-e-Lahore se chaman bardoshHum aayen subh-e-Banaras ki raushni le karHimalaya ki havaaon ki taazgi le karPhir is ke baad ye poochen ki kaun dushman hai?(Come bearing the fragrant garden of LahoreAnd we will bring the light of a Banaras morningAnd the fresh breeze from the HimalayasAnd then let us ask: who is the enemy?)”
Jafri was not only among the founders of the Progressive Writers’ Movement; he raised the standard of Progressive literature with his powerful imagery, giving it new meanings and facets.
He began his career as a fiction writer, but later moved to poetry. He also wrote a few plays for the Indian People’s Theatre Association (IPTA). He was jailed twice: by the British during 1940–41, for the crime of making a speech at the height of opposition to the imperialist war and by the government of independent India in 1949 for espousing the cause of socialism.
In the first instance, the chargesheet against Sardar was so flimsy that had he fought the case, he would have definitely been released. However, in keeping with the tradition of opposition to the colonial power he said in full court that he did not recognise the court or its law, therefore the question of presenting a defence did not even arise. He was sentenced to six months of hard labour. He was kept in Lucknow jail for several days and then sent to prison in Banaras.
By the time Sardar was released, the complexion of World War II had changed due to Hitler’s attack on the Soviet Union. And, crushing Malaya and Burma, the Japanese forces had reached the borders of Assam.
Clearly, it was not the time to be a fence-sitter. His book, Lucknow Mein Paanch Raaten (Five Nights in Lucknow), talks about his days in Lucknow when the training of squads by the Communist Party as part of mobilisation for the War effort, had commenced. He too joined the effort and began to write anti-fascist dramas and speeches for radio. It was at that time that the mushaira which Sardar Jafri has mentioned in the book, was held.
Then, in 1949, in a moment that reminds us of Frantz Fanon’s account of the betrayal of that moment of decolonisation by local elites, Jafri was arrested by the Indian government for being a supporter of socialism, joining colleagues like Faiz and Sajjad Zaheer who had suffered similar incarceration in Pakistan.
In later years, like a good communist, he also aroused the ire of religious fundamentalists and was subjected to death threats in the 1980s when he came out against the treatment of divorced women under the Muslim Personal Law. His opposition to the infamous Muslim Women (Protection of Rights on Divorce) Act in 1986 earned him the ire of Muslim communalists. The sight of Jafri being shouted at, slapped and garlanded with slippers by goons was a moment that further politicised many college students, motivating them to stand firmly against the atmosphere of rapidly increasing communalism in India.
Ultimately, we must remember that Jafri led a celebrated life – the Jnanpith award was bestowed on him for the year 1997. In 2013, on the occasion of his birth centenary, a website was inaugurated by the Sardar Jafri Foundation.
Jafri’s long poem Karbala – recited by him – is available in the public domain. I have chosen to translate one of his poems called Guftagu Band Na Ho (Let Not the Conversation Cease), speaking of the possibilities of more harmonious Indo-Pak relations.
Before sharing my translation of this poem, just to give readers a taste of the Urdu idiom, I want to share the opening stanza of the poem, which is also how the poem closes:
“Guftagu band na hoBaat se baat chaleSubh tak shaam-e-mulaaqaat chaleHum pe hansti hui ye taaron bhari raat chale(Let not the conversation ceaseLet one word lead to anotherAnd let our evening tryst go on till dawnWhile the starry night-sky smiles down on usThough we have hurled the stones of bitter words at each otherWe have swirled poison in our goblets in the form of sarcastic jibesOur brows furrowed, our gazes venomousBut be that as it may, let hearts awaken in chestsLet not despair imprison our wordsWhoever the murderers are, let them not kill dialogueIf that is done, a word of faith may escape at dawnLove will arrive on trembling legsEyes downcast, hearts aflutter, lips atrembleSilence will then be fragrant like a kiss on the lipsAnd the only sound left will be that of buds floweringAnd then there will be need for neither word nor talkIn the movement of the gaze, an emotion will sproutTenderness will be our guest, hate will be asked to leaveHand in hand, accompanied by the whole worldBearing the gift of pain, and the bounty of fondnessWe will cross the deserts of animusAnd find ourselves on the other side of oceans of bloodLet not the conversation ceaseLet one word lead to anotherAnd let our evening tryst go on till dawnWhile the starry night-sky smiles down on us.)”
Another poem of his, Avadh ki Khaak-e-Haseen (The Beautiful Land of Avadh), is a beautiful exemplar of Jafri’s Progressive poetry, which turned labour into romance and ordinary folk into protagonists. In Urdu it begins thus:
“Ye seedhe saadhe ghareeb insan, nekiyon ke mujassame hainYe mehnaton ke khuda, ye takhleeq ke payambarJo apne haathon ke khurdarepan se aindagi ko sanvaarte hainLohaar ke ghan ke neeche lohe ki shakl tabdeel ho rahi haiA longer excerpt of the poem follows in English translation below:(These simple poor folk are the epitome of goodnessThese gods of labour, these prophets of creationWho make life beautiful with their calloused handsUnder the blacksmith’s anvil, iron is changing shapeThe potter’s wheel humsAnd goblets dance to its beatThe white flour emerges from the black millstone like a musical noteFlowers of fire bloom in stoves and ovensCooking utensils sing alongSkillets black with smoke laugh with lips made of sparksDupattas hang on ropesAnd from their borders, a row of drops falls to the groundOn the hearts of these golden streetsThe red borders of black long skirts shine onHow beautiful is this simplicity!I sit in my prison cell and often wonderThat if I could, I would take the beautiful earth of my Avadh in my lapAnd light up its beautiful, shimmering foreheadWith thousands of kisses.)”
Baba-e-Urdu Maulvi Abdul Haq used to say, be wary of the person who is praised by all or who agrees with everyone. In the course of his long life, Jafri’s ill-wishers often accused him of being very arrogant or inflexible; and after his death he is not remembered in the same way as some of his more ‘humble’ and ‘flexible’ peers. But then the intent of the minstrel of revolution was not to find favour in everybody’s eyes but to tell the truth.
In many circles, there was much antipathy towards the human values and life-giving forces with which Sardar had a loyal and deep association. The view in those circles was that a poet should neither have a life anchored to ideals nor have any business feeling the sorrows and joys, hopes and wishes of the wretched of the earth.
But it was precisely this exercise of truth that gave life to Sardar Jafri’s art. His art reflected the voice of his conscience and his philosophy of life, which was based on struggle. He always preferred to recite verses on the battlefield than seek gratification. However, those who were lucky enough to know him personally would testify that if Sardar was hard like steel on the battlefield of existence, he was even softer than silk at the banquet of beauty and love.
All translations from the Urdu are by the writer.
Raza Naeem is a Pakistani social scientist, book critic and award-winning translator and dramatic reader currently based in Lahore, where he is also the President of the Progressive Writers Association. He can be reached at: razanaeem hotmail.com
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