Sindhi Ghazal - Past and Present Vasdev Mohi While other poetic forms have witnessed wax and wane phases in their evolution, Ghazal is the only form that has not looked ba ck since its induction as a form of expression in Sindhi poetry by Noor Mohammed ‘Khasta’ (early 18 th century). With a fond attention and significant contribution of stalwarts , Ghazal has undergone tremendous change in its content and expression since its inception in the language. No doubt, the changes at various stages of its evolution ushered in notable trends that have kept this potent form afresh. One most satisfying fact is that while adopting innovations , Ghazal has not tossed traditions: it has main tained the sanctity of the form. After Noor Mohammed ‘Khasta’ , it was Abdul Wahab Sachal, popularly known as Sachal Sarmast (1739 - 1827), who profusely wrote Ghazal in Sindhi. Sachal was well - versed in Arabic and Persian languages, and had mastery over Arab ic Prosodic metres (Urooz). He followed the spirit of Persian Ghazal for his expression, though sometimes he infused flavour of Sindhi language , too , in his Ghazals. But it was Caliph Gul Muhammad ‘Gul’ ( 1811 - 1856) who brought out the first Deewan (collect ion of ghazals with alphabetical refrains - radeefs - using all letters of the alphabet ) of 175 ghazals. He gave a sound foundation to Sindhi Ghazal. His language in ghazals, like Sachal’s, drifted from being highly Persianized to sometimes highly frilled with chaste Sindhi. However, in content he was free from Persian influence and applied local tinge in his ghazals. After Gul Muhammad ‘Gul’, Sindhi Ghazal has always marched forward . In the second half of the 19 th century, many young poets adopted ghazal as th eir poetic form of expression. Under the influence of Arabic and Persian ghazals, they not only used highly Persianized language, but in content also they abundantly brought in Persian references like Shama - Parwana (candle - moth), Gul - Bulbul (flower - bulbul ), Mai - Saaqi (wine - wine bearer), which stuck to next generation ghazal, too. Besides, Sindhi Ghazal also remained under the influence of Sufi mystics and elements of Sufism - divine love, unity of being, and etc found expression in it. Among many Ghazal poet s, it was a young poet Mir Abdul Hussain ‘Saangi’ (1851 - 1924) who emerged with a force and brought out two Deewans (collections of ghazals). He was the descendant of Talpur 1 dynasty and was the last ruler of Sindh. During his period, Sindhi Ghazal matured a nd armed itself with creative expressions. Brevity, allusions, fresh similes and metaphors gained prominent place in the ghazal. Though Persian influence continued, but the ghazal simultaneously adopted indigenous tenets, too. Besides, bold, erotic allusio ns to human love also were expressed in the ghazal during this period. The first half of the 20 th century was a period when Tarahee Mushairas flourished (poetry recitation sessions where poets developed their poetic creation, mostly ghazals, on the basis of line - Misra - given in advance). In the Mushairas (poetry recitation sessions) ghazals gained immense popularity. A feeling of inferiority crept in the minds of poets for writing classical forms like Dohas, Kafis, Baits, etc. During this period, there was political awakening and poets were inspired to write ghazals of national integrity, though theme of ‘love’ - Ishq - also occupied a sizeable area in ghazals. After independence (1947) and partition of the country, Sindhi Ghazal was pa rti ti oned, too. Sindhi H indus had to migrate from Sindh and settle at various places of India. They led a miserable life in military barracks where they were herded. But it was their grit that they, while toiling to earn a living, kept the flame of literature alive. Parsram ‘Ziya ’ (1911 - 1958) described the plight of camp - life in his poems/ghazals with a pinch of satire and humour. At this time, poets like Sugan Ahuja (1921 - 1966), Ishwar ‘Anchal’ (1928 - 1998), Arjan ‘Shad ’ (1924 - 2006), Moti Prakash ( b. 1931 ), Krishin ‘Rahi’, (1932 - 2 007), etc started writing ghazals laced with Leftist - Marxist thinking and the period came to be known as Taraqi Pasand (Progressive). They protested against the atrocities of the privileged meted out to the underprivileged. Frequent talk of the revolution - Inqui lab - was a common topic. Simultaneously, the poets kept their eye on social evils, too. They were disillusioned with the aftermath of Inependence: Haasil nethu Wafa chhaa thiyo aa; zahiru pian laai ee ta milyo aa, Azaadi - a je amrit khaatir, saaro s amundu viloryo ho ( After all, what was the gain? Poison did we get to drink For the nectar of Independence, We churned the whole sea) Prabhu Wafa 2 Along with this, an element of nostalgia for Sindh also found ample expression in the ghazals. P oets missed their friends and cultural associations with Sindh: Munhinjo Aziz pardo thiye Sindh jo ee sahiraa, Aahiyaan maa - n laasha khaatir taalibu na biy e kafan jo. ( Aziz ! Let my cover be the desert of Sindh No other shroud do I desire, for my corpse ) Lekhraj Aziz There is not much writing about nature during this per iod which ran unto mid dle of the seventh decade of the 20 th century. Along with mellowed down Persian effect, Hindi words entered into the expression, commencing Hindi influence, which has got thicker with the passage of time. One very important welcome development in the ghazal writing of this period was that the ghazal greatly absolved itself from the mental bondages of Iran. Earlier, with Deewans, Tarahi Mushairas, and invitation to ghazal poets to write ghazals in the vein of the given ghazals, ghazal writing was merely an exercise, nothing but drudgery devoid of genuine inspiration. For the first time, it was felt that the ghazal was giving vent to day to day problems. Not only this, some ghazals even heralded charac ter of the ghazal in the offing, th e ghazal of Modern Period: All have similar sorrows to tell Yet everyone is all alone. Narayan Shyam From the mid of the seventh decade to the end of ninth decade of the 20 t h century, Sindh i Ghazal underwent total metamorphosis. The pressures of modern life started telling on the nerves of the poets , who in turn brought in their sentiments and experiences into ghazals and other poetic forms. Sense of estrangement was felt in home , transformed face of love pinched painfully, sweet nothings of delicate love went to winds, complacence of being protagonists or of being Mansoor was completely shattered, self - centredness and chameleon behaviour of leaders, decline of values, loss of identity in the crowd, feeling of being cheated by glamorous advertisements presented by dare - devil husky guys and 3 captivating feminine faces of the tinsel world, atrocities of city life where familial bond of love got disturbed, were all imaginatively pu t into the ghazal of this period: Train is late, today too Kid went to sleep, repeatedly mumbling ‘mummy’ M. Kamal It’s widely believed that the ghazal of the p eriod received its inspiration from the new wave poetr y (Nai Kavita) which had come with an overwhelming force in Sindhi Literature of the period. Some ghazal poets, toeing the line of Nai Kavita, named their ghazal as Nao Ghazal (New Ghazal). Appropriacy of expression and compact presentation are the predominant achievements of the ghazal of this period. In the middle of Ninth decade of the 20 th century, once again, new traits in Sindhi Ghazal surfaced. In the last two decades, continuing its journey of s ignificance, Ghazal has adopted refreshingly creative language for its expression. This does not at all mean that the earlier Ghazal had dearth of creativity, accent here is on innovatively creative expression. One can comfortably say that during this peri od, as far as expression is concerned, ‘How’ prevailed over ‘What’. Creativity has got leveraged; plain vanilla has been put aside. Here talent to alchemies intangible emotions in the language can easily be viewed. Earlier Sher (couplets) about Sindh, for instance, were tear - soaked; emotions, therefore, very often fell apart like soggy tis sue paper. After realizing the fact, that return to the place of birth was not an easy probability, the content changed and with that the tone and the expression changed, too. Narayan Shyam (1922 - 1989), the eminent Ghazal - Poet aptly put his sentiments in h is couplets saying that not only return to Sindh but I ain’t destined to see even its border or in his another couplet he lamented that he won’t be able to see either the birth - place nor his youth that he brought there from. Similarly, M.Kamal (1 925 - 2010 ) while referring to Independence and Partition grieved that we got the Sindoor - the vermilion - (denoting freedom) but lost Seendh - parting of the hair on the head where Sindoor is applied - (denoting Sindh). Arjan Hasid (b.1930) on the other hand, pathetically expressed that he metamorphoses into a desert to see Sindh and Sindhu. Here trends of expression can easily be highlighted right from Independence to the current decade: from a tinge of sentimentality, to the appealing emotive statement, to figurative exp ression, to pathetic fallacy. 4 Coming to the significant trends that have spelt their influence on Sindhi Ghazal of the last two decades, one can note that it has heightened every trait that the preceding Ghazal had initiated. In terms of nomencla ture we can say that the Post Modern Ghazal has elevated content and conveyance of the Modern Ghazal to inspiring levels. Besides, the latter Ghazal has aligned itself with Nature in a novel way and also its attitude towards life is different from that of the Modern Ghazal’s.