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Literary Heritage of Khyber; Past and Present

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Literary Heritage of Khyber; Past and Present Literary Heritage of Khyber; Past and Present Professor Dr. Qabil Khan Afridi A UGC research project submitted to the University of Peshawar 25 April 1998 Reproduced at Khyber.ORG from Author’s Homepage drqabilkhan.com 2 1 Prof. Dr. Qabil Khan Afridi is ex-chairman, Department of English and Modern European Languages, University of Peshawar. The author at present heads the Department of English Language & Literature and has repeatedly acted as Dean, Faculty of Languages and Literature (FLL), International Islamic University, Islamabad. Born in Khyber Agency, he was educated at Islamia College and the University of Peshawar. Beginning his career as lecturer in English at Islamia College, he retired as Chairman at Department of English, University of Peshawar. In the mean time, he also worked ona Pashto-English dictionary at both Pashto Academy Peshawar and the University of Pennsylvania, USA. The dictionary was a USG project. Having published “Sifgint the Sands of Sahara”, an english translation of a modern Pashto novel, this Literary Heritage of Khyber is his second book. At present, he renders Pashto romances in English and also tries to shape up a concise history of Pashto literature in English. Introduction When I was faced with the prospect of taking up a research project in Liter- ature my instant and natural reaction was to investigate the literary heritage of Khyber. Khyber is my native land and my home and the milk of Khy- ber still circulates in my veins , although I have turned my back on it, as it were, for the last about twenty years, to have settled in Peshawar. But this physical migration has hardly affected my spiritual attachment to Khy- ber, and I have always felt strongly drown towards it by the ties of strong tribal instincts, which I feel to be my second if not the first nature. The occasional social events of births and deaths take me back to my ancestral village, in the lap of the bleak but imposing mountains, on the Khyber high- way, near Landi Kotal, the focal point of the Khyber pass. I still mingle and rub shoulders with my villagers and cousins, without the least hint of alienation, although life has put us on divergent paths on the road for sur- vival . I still slip back into their idiom with delightful ease, and to articulate their distinctive dialect is a real pleasure. And with this I am once again a part and parcel of their social paradigm. Their culture is also rich in lit- erature. I was associated with the Khyber School of literature right from my school days, back in the fifties. What if not a poet or writer myself, I attended their literary gatherings with religious regularity. It was back in the heady days of the nineteen-thirties, long before I was even born, that a group of local poets and writers agreed to be meeting on regular basis, in a tea shop of the then Landi Kotal Sarai, to be listening to the fresh kalam of each other. (this brings to mind the London coffee House literary gatherings of the eighteenth century writers like Addison, steel, Dr. Johnson and Goldsmith). The moving spirit behind the formation of this group was Amir Hamza Khan Shinwari, by then a recognized poet, playwright, prose writer and a Pir of sorts. The other poets or writers of this group were Malik Saida Khan Shinwari, Akram Farooq, Basir Shinwari and Haji Maruf Khan. 2 3 These are now being looked upon as the founding fathers of the Khyber Literary Movement. They started holding proper Mushairas at Landi Kotal or at each others villages. Apart from providing ample entertainment and intellectual and aesthetic awareness, these Mushairas attracted a younger generation of poets and writers like Lal Zada Nazer Shinwari, Abdul Akbar Shinwari, Shahzad Khan Jauhar and Muhammad Umar Seemab Shinwari. They used to hold occasional literary sessions or Mushairas, with sometimes writing poetry an a given line ( Tarhi Mushaira). By 1953, the literary consciousness was awakened to the extent to organize a permanent literary circle called Da Khyber Adabi Jarga, under the patronage of Ostad Hamza Shinwari. Nazer Shinwari and Murad Shinwari were selected as its president and General Secretary respectively. With this was usheres in a golden period of Khyber literature, when this literature was given due recognition outside Khyber also. Its reverberations soon were heard all over Pakhtoonkhwa or from the Indus to the Oxus. The Jarga held regular weekly sessions of crit- icism, apart from occasionally organizing grand Mushairas to which poets were also invited from all over Pakhtoonkhwa. Among the younger gen- eration of poets and writers who were inspired and groomed by the Jarga were: Amir Muhammad Saghir Afridi, Noor Muhammad Zigar Afridi, Azam Shinwari, Khatir Afridi, Khyber Afridi, Sadbar Shinwari, Ahmadzai, Qasir Afridi, Mir Ahmad Akhtar Afridi, Syed Insha, Maulana Muhammad and Ashur Khan. Out of these, Murad Shinwari and Saghir Afridi also wrote prose, particularly short stories and essays. Yet a third generation of writers of the Ulasi Adabi Jarga was fast coming up. They included; Abdul Qayum Kausar Afridi, Zabita Khan Afridi, Munir Khan Afridi, Ihsan Zaheer Afridi, Shakir Shinwari and Miskin. From time to time proper elections of for the cabinet of the Jarga were held. With the passage of time the membership of the Jarga also swelled to a fairly large number of poets and writers. Its written constitution was passed from the General Body, held in 1986. The constitution was further amended in 1996 and elections were held which ap- proved the following cabinet:When I was faced with the prospect of taking up a research project in Literature my instant and natural reaction was to investigate the literary heritage of Khyber. Khyber is my native land and my home and the milk of Khyber still circulates in my veins , although I have turned my back on it, as it were, for the last about twenty years, to have settled in Peshawar. But this physical migration has hardly affected my spir- itual attachment to Khyber, and I have always felt strongly drown towards it by the ties of strong tribal instincts, which I feel to be my second if not 4 the first nature. The occasional social events of births and deaths take me back to my ancestral village, in the lap of the bleak but imposing mountains, on the Khyber highway, near Landi Kotal, the focal point of the Khyber pass. I still mingle and rub shoulders with my villagers and cousins, without the least hint of alienation, although life has put us on divergent paths on the road for survival . I still slip back into their idiom with delightful ease, and to articulate their distinctive dialect is a real pleasure. And with this I am once again a part and parcel of their social paradigm. Their culture is also rich in literature. I was associated with the Khyber School of literature right from my school days, back in the fifties. What if not a poet or writer myself, I attended their literary gatherings with religious regularity. It was back in the heady days of the nineteen-thirties, long before I was even born, that a group of local poets and writers agreed to be meeting on regular ba- sis, in a tea shop of the then Landi Kotal Sarai, to be listening to the fresh kalam of each other. (this brings to mind the London coffee House literary gatherings of the eighteenth century writers like Addison, steel, Dr. Johnson and Goldsmith). The moving spirit behind the formation of this group was Amir Hamza Khan Shinwari, by then a recognized poet, playwright, prose writer and a Pir of sorts. The other poets or writers of this group were Malik Saida Khan Shinwari, Akram Farooq, Basir Shinwari and Haji Maruf Khan. These are now being looked upon as the founding fathers of the Khyber Literary Movement. They started holding proper Mushairas at Landi Kotal or at each others villages. Apart from providing ample entertainment and intellectual and aesthetic awareness, these Mushairas attracted a younger generation of poets and writers like Lal Zada Nazer Shinwari, Abdul Akbar Shinwari, Shahzad Khan Jauhar and Muhammad Umar Seemab Shinwari. They used to hold occasional literary sessions or Mushairas, with sometimes writing poetry an a given line ( Tarhi Mushaira). By 1953, the literary consciousness was awakened to the extent to organize a permanent literary circle called Da Khyber Adabi Jarga, under the patronage of Ostad Hamza Shinwari. Nazer Shinwari and Murad Shinwari were selected as its president and General Secretary respectively. With this was usheres in a golden period of Khyber literature, when this literature was given due recognition outside Khyber also. Its reverberations soon were heard all over Pakhtoonkhwa or from the Indus to the Oxus. The Jarga held regular weekly sessions of crit- icism, apart from occasionally organizing grand Mushairas to which poets were also invited from all over Pakhtoonkhwa. Among the younger gen- eration of poets and writers who were inspired and groomed by the Jarga 5 were: Amir Muhammad Saghir Afridi, Noor Muhammad Zigar Afridi, Azam Shinwari, Khatir Afridi, Khyber Afridi, Sadbar Shinwari, Ahmadzai, Qasir Afridi, Mir Ahmad Akhtar Afridi, Syed Insha, Maulana Muhammad and Ashur Khan. Out of these, Murad Shinwari and Saghir Afridi also wrote prose, particularly short stories and essays. Yet a third generation of writers of the Ulasi Adabi Jarga was fast coming up. They included; Abdul Qayum Kausar Afridi, Zabita Khan Afridi, Munir Khan Afridi, Ihsan Zaheer Afridi, Shakir Shinwari and Miskin. From time to time proper elections of for the cabinet of the Jarga were held.
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