Iftikhar Arif in garden of red roses

Urdu ‘ghazal’ is the by-product of Indo-Iranian culture and Amir Khusro (1263-1325) is considered the mastermind in this genre of Urdu Literature. His bi-lingual couplets became pivot for Urdu poetry. The blend of Hindi song and Persian ‘ghazal’ took lead to almost all other forms of poetic expressions. Wali Dacceni constructed a concrete structure of ‘ghazal’ over the foundation laid by Khusro. The classic poets set its meter and mood in such a delicate manner that it became the hall mark of Indian civilization.

From Wali (1667-1707) to Daagh (1905) Urdu ‘ghazal’ remained crown of indo literature. The emergence of ‘Anjuman Punjab’ and Allam Iqbals’s era for some extent, put this poetic form at defensive position. Progressive writers’ movement also used its energies against conventional literature including ‘ghazal’. Despite all that shifts in literature, 20th century came up with the renowned poets of ‘ghazal’ like, Hasrat, Jiggar, Nasir Munir etc. Iftikhar Hussain Arif is one of them who established himself in 70’s before the publication of his first collection of poetry titled ‘Mehr-e-Doneem’ (1984).

Arif followed the classical rules of rhyme & rhythm. Lakhnavi background also helped him fulfil the criterion of Urdu ‘ghazal’. ‘Harf-e-Baryab’ (1994), ‘Jahan-e-Maloon’ (2005), ‘Shehr-e-ilm ke derwazay per’ (2006) and ‘Kitab-e-Dil-o-Dunia’ (2009) made him poet Laureate of Pakistan. In 2022, his new collection ‘Bagh-e-gul-e-surkh’ published.

The book executes a variety of poetic forms i.e. ‘ghazals’, ‘Nazams’ and ‘salaams’ etc and the poet tries to express multi shades of life.

Iftikhar Arif is well acquainted with classical Urdu poetry. He knows the subtleties of art and has mastered command over language, that’s why his couplets always loaded with vitality. His excellence comes to the fore during placement of word which is called manners. The way he makes connection between meter & mood is commendable. The poet not only succeeded to gather music & theme at equal length but also evinced depth in verses. The tone is in his poetic collection is lament and one can feel the echoing of Mir Anees (Anees Ashfaq mentioned causes of this effect in pre-face). The milestone set Iftikhar Arif in his poetry, specially in ‘ghazal’, is fabrication of new idioms and metaphors. Prof. Gopi Chand Narang rightly, pointed out “Karbla as poetic metaphor” in Iftikhar’s poetry along with many others. As an erudite and a genius, he chose to select the events/persons/even before Karbla taken place. Ali ibn-e-abi Talib always remained source of inspiration for the poet. The ‘sarnam’ of this collection is abstracted from saying of Hazrat Ali.

The last line of the poem is “Damascus, art and thought reached at its height. Look! again people are moving towards Ali”. This is a terse poetic skill which creates an emotional whole. And proper noun (Hudi) serves as cipher to show the history’s hidden aspect.

The event of Karbla did not take place accidently but it was a long term planning manoeuvred in Madina. Such a harsh reality, expressed in the genre of ‘ghazal’ with extreme simplicity is the individuality of Iftikhar Hussain. Another personality, the poet glorifies through his poetic career, is the daughter of the Messenger (PBUH).

Iftikhar Arif rhymed the same idea in ‘Nazm’ ‘Saanjh Bhae Chau Des (The dark dust settles in four corner)’ Here, the poet expresses the agony, he experienced.

The title (Bagh-e-gul-surkh) has been chosen as metaphor as the containing multiplicity of meaning. Civilizational lost is the main concern of this collection, Homelessness, displacement, migration, oppression and picture of ominous days create a lamenting atmosphere within the content. However, the symbols, he portrays in the poetry act velour and dauntlessness.

Iftikhar Arif is a romantic poet in his nature. Shelly declared romantic poets of his age as unacknowledged legislators of the world. Un-double, ‘Bagh-e-Gul-e-Surkh’ illuminates the coherent vision for common people. Images, illustrations appeal human senses and offer vent to emotions/sentiments. As an artist, he witnesses disarray and confusion in the society which has been resulted into unjust, unawareness. Ignorance does not concede the people to discern between right and wrong.

His poetry is not acknowledged by critics, the way it should be. Iftikhar is not a run of the Mill poet, every word of his couplets touches a spectrum of emotions. A true measure of his collection’s poetry is its manner or the way it expressed. He is an affable man and his verses explore diverse creative corridors. We pay red salute to ‘Bagh-e-gul-esurkh’ which is a plausible work indeed.

— Dr Fareed Hussainee