Latif Nazemi A Look at Persian Literature in Afghanistan t the beginning of the twentieth century, He did not change the old style of writing; Afghanistan was confronted with econo- what he did was to clothe new ideas and percep- A mic and social change which also spark- tions in the classical style, and put new modes of ed a new approach to literature. In the first de- expression in the framework of old forms of wri- cade of the twentieth century, social and political ting. The poetry style he liked was the school of life in Afghanistan went through a period of re- Moghtaziat, which was first used in France and orientation. In 1903 the first modern school was then found its way into Turkish, Persian and opened, modelled after the new schools in Europe. Afghan poetry. The Moghtaziat school not only This school was named Habibieh after the Emir used the two features mentioned above, it also who ruled the country at the time. Beside Afghans tried to use the language of the street to give there were also Indian teachers working in this colour to poems. But it had to ignore the criticism school. It soon became a centre for new ideas, and levelled at it from some quarters. Tarzi even it was there that Afghanistan’s constitutional encouraged poets to write in their own dialects movement was born. and published their poems in his magazine. In 1911, Mahmud Tarzi, who came back to At the same time other literary modes of Afghanistan after years of exile in Turkey and was expression were used which also reflected the influential in government circles, started a fort- European literature of the time. Tarzi also publish- nightly publication named Saraj’ul Akhbar. Saraj ed newly written plays for Saraj readers. was not the first such publication in the country, In 1298 (1919 AD), the King of Afghanistan, but in the field of journalism and literature it insti- Amir Habib‘ullah, was killed. His son, Eyn’ul do’- gated a new period of change and modernisation. leh Aman’ullah, became the new king. He soon A periodical named Shams’ul Nahar had started set free the constitutionalists and leaders of the publication in the year 1873, but it was unable to modernisation movements, who were languishing influence journalism in any way and left no traces in prisons. These modern thinkers became leaders whatsoever in literary circles. Saraj not only play- and took on managing positions in many areas. A ed an important role in journalism; it also gave new period of cultural development began (1919 – new impulses to literature as a whole and opened 1929) and publications and journalism flourished. the way for poetry and lyrics to search for new In this same period, the fight for independence avenues of expression so that personal thoughts prevailed and the first constitutional law was esta- took on a more social colour. blished in Afghanistan. Women were freed from Mahmud Tarzi, who had become familiar with the necessity to wear hejab and cover themselves French and European literature indirectly via the from head to toe. Turkish language, used his publication to introdu- As the liberal government was making efforts ce these to his readers. He started to copy the style to modernise Afghan society, traditional forces and use them as a model. organised themselves to fight this modernisation, If we try to list the various aspects of Tarzi’s and every effort by the government to bring about influence on the changes to traditional Afghan change and establish new methods in the fields of literature, we come up with the following: economics or politics was confronted by resis- • European novels were translated, introducing tance from the traditionalists. In the end the fight readers to the European style of writing between the forces of modernisation and traditio- fiction which was very different to the Persian nalism ended with the bitter defeat of the liberal style. Jules Verne’s novels were translated into forces. Persian (Dari) and published separately. The Once attempts to modernise Afghanistan had ground was laid for Afghan writers to get been defeated, a period of repression began in acquainted with western literature. which cultural efforts were put under the black • There was also a change in the field of poetry. umbrella of selfish rulers who left society no room Brushing aside personalised themes and the to breathe. The period after the rule of Aman’ullah subject of love and romance, Tarzi’s efforts was a period in which journalists and publications opened the way for technical and European were placed under scrutiny and censorship, thus literary styles, and social and nationalistic losing their right to free expression. Even moder- aspects were given more importance. nism in literature and poetry was suppressed. Art &Thought 27 In the year 1309 (1930 AD), after months of and sent it to the Kabul Literary Circle. But the tra- cultural stagnation, a group of writers founded the ditionalists in Kabul refused to publish the piece Herat literary circle. A year later another group in their magazine because it was not written in the calling itself the Kabul Literary Circle was founded old traditional rhyme, and they criticised Khalili in the capital. Both groups published their own for modernising his style of writing poems. Still, regular magazines dedicated to culture and very gradually and despite all the efforts of tradi- Afghan literature. But both, especially the Kabul tionalists new styles did find their way into litera- publication, had little success in becoming a ture and literary circles. venue for modern Afghan poetry and writing. In The first book of new poems was published in time, the Kabul publication turned into a strong- the year 1336 (1957), and in the year 1341 (1962), hold for traditional writers and poets, and moder- a collection of modern Afghan poetry was publish- nism in Afghan literature was pushed to the frin- ed in Kabul. The first group who wrote poems in ges of social and cultural life. Meanwhile two- the new style consisted of Mahmud Farani, Baregh thirds of the writers of the Kabul group, who ten- Shafi’i, Solyman Layegh, Sohail, Ayeneh and a few ded to be more liberal and hoped for freedom, others. Later, others such as Vasef Bakhtari, were condemned by the government to long pri- Asadullah Habib and the writer of these lines join- son sentences. ed the group. Each had his own share in moder- Three of the prominent classical poets in nising Afghan poetry. Historians have named the Afghanistan at the time were Ghary Abdullah, decade from 1964 to 1973 the democratic, consti- Abdul Hagh Beytat and Khalil Ullah Khalili. The tutional monarchy, or the decade of constitutional first two received the honorary title of Malik ul law. In reality this decade brought about the end Shoara (King of Poets), one after the other. Khalili, of the monarchy in Afghanistan. In this period the third and youngest, felt himself drawn toward constitutional law was implemented, giving peo- the Khorasan style of poetry instead of the usual ple the right to organise political parties. The law Hindi style. He was also interested in modern poe- of free press was put into place and newspapers try, and wrote on the side a few poems in a more and publications with different political views and modern style with new aspects of thought and aims started to appear. In this decade there were meaning. repeated mass protests in the streets, strikes, and In 1318, after two poems by Nima Youshij with political action at the University of Kabul which the names ‘Gharab’ and ‘Ghaghnus’ were publis- led to its closure. hed, Khalili also wrote a piece of poetry under the Those who had influence on political and soci- name ‘Sorude Kuhestan’ or ‘The al life also left their marks on the cultural life of Wall of a house in Kabul Song of the Mountain’ in the society and brought their new ways of thought Photo: Stefan Weidner same rhyming pattern as Nima, and expression into the literary and social circles. Art &Thought 28 These new ways of thought and the changes in the hide their criticism in allegories. They could open- socio-cultural life were followed by new styles of ly express their views and criticise without having writing and literature. to use indirect forms and hints. In this way poems In the fourth and fifth decade of the last cen- written outside the country during this period tury in the Islamic calendar used in the region took on the colour of political slogans. (approximately the years 1950 to 1970 AD), we Those who lived in the country itself had to be see clear changes in Afghan poetry. Modern much more careful in choosing their words and Afghan poetry finds its place in the literary main- expressing their thoughts. They had to veil their stream and reflects the joyful but also sad criticism for fear of punishment and torture. In moments in the lives of contemporary authors. time their style became very indirect and allegori- Looking back we see that it divides into two sepa- cal and their poems and novels became masterly rate schools. One school of poetry concerns itself works of indirect expression - so much so that with the hopes and fears of the individual and at even some of those who were being criticised did the same time has a slightly pessimistic view of not realise that they were the object of criticism. the future. The other tends to be more thoughtful In the years of occupation, and for the first and reflective in its outlook and is inclined toward time in Afghan literary history, a writers’ union Marxism-Leninism.