Iftikhar Arif wears his adherence on his sleeve. There’s a acumen for it: he thinks of adherence in actual terms. For him, the anatomy is as anatomical a affair as the anatomy — you can blow it, see it, apprehend it. This happens abundantly because he sees the tragedy of Karbala as an adventure in the history of flesh whose animality — the affliction of Imam Hussain and his assembly — is as abundant a allotment of his artistic censor as its airy ramifications.
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Arif is one of the arch active poets of the Urdu language, and if delivery abandoned is taken into account, his adeptness to amalgamate classical argot with abreast linguistic strands makes him unparalleled in the 21st century. This is area his accountable matter, a cogent block of which has Karbala as its capital burden and arch metaphor, calmly complements his diction. Incredibly, the ghazals and nazms area his claimed adventure — adventurous or socioeconomic — takes centre date do not get eclipsed by the verses accounting with a religious inclination.
These aspects of Arif’s balladry and activity accept been discussed and dissected on assorted forums by eminent critics, poets and writers (some of whom are not with us today) anytime back his aboriginal accumulating of poems, Mehr-i-Do Neem, hit the bookshelves. Unfortunately, those angle hadn’t been aggregate or brought calm in one abode to accord them a adamant vibe. This accomplishment has now been accomplished by researcher Sheema Majeed who has aggregate the book Javaz-i-Iftikhar — Iftikhar Arif: Fun-o-Shakhsiat appear by Poorab Academy, Islamabad. It is a accumulating of essays bound by acclaimed writers on Arif’s activity and work, his interviews and attenuate photographs with arcane luminaries from altered phases of his career. The book is in Urdu, with a allocation in English absolute accessories and an interview.
A crusade to his anatomy fabricated Karbala the articulation of Iftikhar Arif’s expression
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Jawaz-i-Iftikhar is committed to biographer Mushtaq Ahmed Yousufi, and understandably so. Arif has aggregate a ample time of his activity with arcane luminaries such as Yousufi, Saqi Farooqui and Faiz Ahmed Faiz, abnormally in London area he acclimated to run the Urdu Markaz. No surprises then, that the aboriginal article included in the book that succeeds Arif’s acutely affective hamd, na’at and salaam, is by Faiz blue-blooded ‘Jadeed Urdu Adab ka Mo’tabar Naam’. But the alpha hardly sets the accent for what’s to come. There are some alarming pieces that, although accounting about Arif’s work, angle abandoned as works of art. The foremost of them is by Mumtaz Mufti. The writer, in his brand Urdu, writes Arif’s annual in a way that peels off the layers of the poet’s claimed adventure that contributed essentially to his artistic process. Mufti stresses that if one were to see the poet’s absolute self, one should try and acquisition him back he is all alone, all by himself.
This angle of tanhaee [solitude] is additionally affected aloft by artist Parveen Shakir, although she does it in anapestic prose, by talking beneath and adage much.
That actuality said, it is around absurd to avoid how the almighty and aching allegory of Karbala calmly segues into Arif’s artistic output, area the claimed and the airy become one. Analyzer Gopi Chand Narang raises this point with bookishness in his essay. He uses the byword takhleeqi wijdaan [creative intuition] to call the poet’s accountable amount in which the accomplished and the present accommodated with history as the antecedent actual for abreast trends. He backs up his apriorism by commendation abounding a verse: “Wohi pyaas hai, wohi dasht hai, wohi gharana hai/ Mashkeezey se teer ka rishta buhat purana hai/ Subh saveray runn parrhna hai aur ghamsaan ka runn/ Raaton raat chala jaey jis jis ko jana hai” [The appetite is the same, the arid is the same, and so is the family/ The accord of water-skin to arrow goes a continued way back/ There will be action in the morning, and a angry one at that/ Whoever wants to escape it, do so at night].
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Another critic, Anwar Sadeed, touches aloft the aforementioned ambit of his balladry with a slight difference: he suggests that it is back the artist went on a crusade to his anatomy (rooh ki yatra) that the allegory of Karbala became his articulation of expression. He says that by accomplishing so, Arif has fatigued some abiding conclusions: “Darya per qabza tha jis ka us ki pyaas azaab/ Jis ki dhaalein chamak rahi theen wohi nishana tha” [The one who captivated amplitude over the river was thirsty/ And the ambition was the one with the shiniest shield].
The interviews of the artist appear in the book taken, amid others, by writers of aerial arete Haseena Moin and Anwar Maqsood focus added on Arif’s activity and his angle on balladry in accurate and abstract in general. Here Arif doesn’t absolutely bald his anatomy on issues pertaining to his clandestine life, but on abstract he has close opinions and doesn’t shy abroad from showering acclaim on the writers and poets he holds in abundant esteem. For example, answering a catechism put to him by Maqsood, he says Rasa Chughtai’s accumulating of balladry Rekhta was not accustomed by the advisers the way it merited.
Finally, the pictures included in Jawaz-i-Iftikhar accord abroad the affectionate of bodies Arif has had the adventitious to assignment and absorb time with, and the assorted cities of the apple he visited for able or claimed reasons.
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“Ik kitaab aur naee aaee naey khwab ke saath/ Ik charagh aur jala hujra-i-darveshi mein” [A new book arrives with a new dream/ Another lamp is lit in the darvesh’s hut].
The analyst is a affiliate of staff
Javaz-i-Iftikhar — Iftikhar Arif:Fun-o-ShakhsiatBy Sheema MajeedPoorab Academy, Islamabad430pp.
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Published in Dawn, Books & Authors, October 1st, 2017
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