Japanese poetry in Urdu by Sohail Ahmed Siddiqui

JAPANESE POETRY IN URDU
BY: Sohail Ahmed Siddiqui
Founding editor/Publisher,
Haiku International,
Karachi, Pakistan
“For a common Pakistani, the word ‘Japan’ is associated with automobiles, cameras and watches. What a pity! This is indeed a misleading image of people with profound and delicate sensibilities, complex perception and aesthetic values. As nation, the Japanese are great lovers of beauty and aesthetic expression. Poetry, particularly Haiku, is a way of life for these people………….” This is an excerpt from an article written by a senior Urdu penman, Dr. Syed Abulkhair Kashfi.
To start, here I must say that every healthy and wise man loves Nature… but frankly speaking, not every man has the potential of praising Nature in words. So Nature is not praised from each and every one
While commenting on common Pakistani, we should not forget that they people have no real interest in their own literature, either prose or poetry.
Since literature has never been an attraction for commoners, only a few people take interest in it. It’s not only the case of Pakistan or Urdu, but also almost all other lands and nations have the same scenario.
When it comes to Urdu, the third most widely spoken language, we see a great love for Nature among all time masters of literature. Whether it’s NAZM (the poem) or GHAZAL (the verse composed rhythmically, in praise of beloved or someone else, in that manner). We find plenty of words and phrases, which denote natural beauty.
If a student of linguistics is asked to throw some light on the common characteristics of Japanese and Urdu, he might node his head in negation. But I would like to say that there exist, few common elements in the literature of both languages. Both languages have common tradition of love writing… whether it’s love of Nature and natural beauty or of human beings. Love for some human is also a part of natural beauty. Secondly, Zen Buddhism has strongly affected the poetry of Japan; likewise Urdu poetry has an impressive chapter of religious verses. As you find examples of Nature’s praise in Japanese verse, so shall you see the same factor here in Urdu. Great Urdu poets have successfully portrayed the natural scenes with the help of their impressive word-art. So, Urdu Nazm and Ghazal are very similar to Haiku and Tanka in this manner.

The common elements of Urdu Ghazal and Japanese Haiku are as follows:
I) Compactness II) Diversification of thoughts III) Impressive word-art
When it comes to Urdu Haiku, we see the addition of rhyme, which creates a certain rhythm or music. Then, we see a great variety of topics in Urdu Haiku. Another thing is the powerful influence of Ghazal on Urdu Haiku, which sometime makes it a “shortened” or mini-Ghazal.
I think my valued readers and audience would also like to know about the history of Urdu Haiku.
Tracing the links between Japanese and Urdu poetry, one comes to know that first pieces of Japanese poetry were translated into Urdu in 1922. This was done by Barrister Syed Hassan Abid Jafri, for NIGAAR, the prestigious Urdu literary journal of India. He introduced Haiku, Tanka and some other Japanese verses in his article, titled, “JAAPANI SHA’YERI PER IK NAZAR” [A RANDOM LOOK AT JAPANESE POETRY].
In 1936, a whole ‘Japan Number’ was carried out by the most established literary journal, SAAQUI (Delhi), covering translations and introductory articles on Japanese poetry, especially Haiku. Shahid Ahmed Dehlvi, a well-known penman of his time, edited this journal. Noorul Hasan Berlaas was the man behind all that great work. The translators included Aziz Taman’naee, Fazle Haque Qureshi and Ali Zaheer. These translations were free or somewhat prosaic. At that time, our penmen showed very little interest in it. In the next decade, Hameed Nizami, a renowned Urdu journalist took pain to translate few Haiku. Meerajee, another famous poet is reported to have followed him. These were the initial efforts to introduce this genre in Urdu. It was all that done before the independence in 1947.
In the 1960’s, a Sindhi poet of Pakistan, Dr. Tanveer Abbasi rendered Sindhi translations of Japanese Haiku. He received a quick response, as a number of Sindhi poets in Pakistan and India started composing original Sindhi Haiku.
Mohsin Bhopali, a noted Urdu poet dared translate Sindhi Haiku of Tanveer Abbasi, into Urdu. It was 1963. So, he became the first Urdu poet, who performed this good deed, after the Independence. His translations were printed in a valued literary journal, called, ‘AFKAAR’. All these translations were not in real form of Haiku.

In 1966, Qazi Saleem got printed some of his Haiku, but they were not in real format, either. In 1970, Dr. Tanveer Abbasi, Sheikh Ayaz (Sindhi poets) and their fellow Afaque Siddiqui, a prominent Urdu poet composed few original Urdu Haiku, while sitting by the side of River Indus. Afaque said they were published in Daily Kaleem, Sakkhar. In this way, the three men appear to be the foremost Urdu Haikuists, who had written original Haiku. However, I’ve got no witness to verify this claim. The practice continued during 1970’s and 1980’s. The translators from 1938 to 1980’s included Zafar Iqbal, Kaleemuddin Ahmed, Abdul Aziz Khalid,Tasad’duque Husain Khalid,Dr. Pervaiz Pervazi, Narendra Lother, Bilraaj Komal, Dr .Manazir Ashique Harganvi, Dr.Muhammad Amin and many more. [Later, in 1991 Haiku took roots in Hindi and Bengali, through translations, as it appeared from the ‘Selected Haiku’, by Dr. Manazir Ashique and his friend Sushobhan Sen Gupta. They included English, Hindi and Bengali translations of Urdu Haiku. This was the first ever and most unique effort to introduce Urdu Haiku, throughout the Sub-continent.]
In 1970’s, Dr. Muhammad Amin visited the Land of Rising Sun, for the first time, he stayed there as a student-tourist. He so liked the plant of Haiku that he decided to sow it in the land of his heart. He seemed to be unaware of the fact that the plane of this unique genre had been landed here, decades ago. However, many people have considered him as the pioneer of Urdu Haiku, specially his followers. Amin avoided 17 syllables, the very identity of this genre, using no rhyme like others, and composed in the meter, called, ‘‘BEHR-E-KHAFEEF MUSAD’DAS’’. His first collection of Urdu Haiku appeared in 1981. This was the beginning of a series of Urdu Haiku collections.
In 1983, Dr. Syed Abulkhair Kashfi, after his return from Japan, where he stayed as the Professor of Urdu, initiated the Urdu Haiku Mushaira (Recital), with the coordination of Japan Cultural Center, Karachi. He presided over the historic event, while Mr. Muhammad Ali Khan Houti, the then Minister of Education, Pakistan had consented to be the chief guest. Pakistan Television telecast this foremost Mushaira. Mr. Kashfi personally contacted veteran Urdu poets like Taabish Dehlvi, Raaghib Murad-abaadi, Ada Jafri, Jamil Naqvi, Mehshar Badayooni and others to render translations, besides composing original Haiku. They could not write Haiku in a fix pattern, initially, but sooner senior critique Professor Dr. Farman Fatehpuri and others decided that the 5-7-5 syllables could best be followed in the meter, titled, “BEHR-E-MUTAQAREB”. This meter is as follows: FE’LUN/FE’LUN/FA = 5
FE’LUN/FE’LUN/ FE’LUN/ FA = 7
FE’LUN/FE’LUN/FA = 5

Mohsin Bhopali, Wazahat Naseem, Muhammad Rais Alvi, Iqbal Haider, Sarshar Siddiqui, Taabish Dehlvi, Raaghib Murad-abaadi and Sehar Ansari are the most prominent followers of this type of technique. Others include notable haikuists like Shahaab-uddin Shahaab, Jamal Naqvi, Rasa Chughtai, Shabnam Romani, Khawja Razi Haider, Jaazib Qureshi, Rashed Noor, Shahnaaz Noor, Yaser Chughtai and Liaquat Ali Asim.

Dr. Muhammad Amin and his followers in Punjab had projected MASAVI-UL-AUZAAN or ‘equal-meter’ Haiku. They were successful in launching the Mushaira, applying the same technique, under the auspices of Japanese Embassy, Islamabad. So, the whole Punjab usually practices Haiku composing in that way. Exceptions, too, exist there. Some poets like Naseem-e- Sehar, Bashir Saifi and Az’har Abbas tried their talent in both types.

According to form, the Haikuists of Urdu can be divided into four groups:
a) Haikuists of ‘equal-meter’
b) Haikuists of Japanese harmony, i.e. Karachi group
c) Haikuists of ‘similar form’
d) Haikuists of free-form
‘Equal-meter’ form has become popular in Punjab while Karachi group is leading rest of the ‘Urdu-World’.

Mohsin Bhopali has experienced Haiku, using rhyme and presented the poetic themes in a fine, beautiful manner. In the beginning, he used to give titles on his poems, but left it very soon. He has concentrated on slow currents of feelings, instead of their flood. Whenever a natural phenomena and a passion are intermingled, it touches the heartiest feelings of the reader. See these models:
1. Barish ka yeh saaz/ Reh reh kir yaad aati hai/Ghungroo ki awaaz
Translation: Downpour’s Orchestra/reminds me of/Sound of Ghungroo
N. B. Ghungroo are small bells, worn by the dancers in hand and feet.

2. Sirma ki yeh raat/Baatein karta sun’nata/Lau deti awaaz
Translation: Night of winter/the silence of speaks/Sparkling voice

3. Rimjhim rimjhim phuwar/Lekin tujh bin yoon jaise/Chalti ho talwar
Translation: Petering sound of rain/is a striking sword/in your absence

4. Aansoo phoolon per/Kaisa mausim aya hai/Shabnam kaanton per
Translation: Tears on flowers/ the beautiful weather/Dew on thorns


5. More ke sir per taaj/lekin dil ki nagri per/Morni ka hee raaj
Translation: Crown on peacock/but prevails in his heart/the peahen’s rule
Mohsin Bhopali is one of the most sensible translators of Japanese Haiku, too. [He is no more with us as I am updating this article on January 29, 2007].The men who know Japanese are Muhammad Rais Alvi, Muhammad Amin, Aftab Muztar and Shehzad Niaz, the youngest of all. Wazahat Naseem is the only Japanese-knowing poetess, who has visited Japan thrice and studied the language, literature and culture there for some time. The well-versed lady has been a teacher of Japanese language at the Japan Cultural Center, Karachi, for five years. She has re-started her language teaching, few months back.
Wazahat Naseem is a perfect Haiku-poetess in the true sense of this term. She loves nature and composes Haiku on a wide range of Nature’s bounty, using season-word or any word corresponding to the Nature. Hence, she follows the original pattern of Japanese Haiku. She some time deviates from the set pattern, like all other Urdu haiku-poets do. For example, rhyming is not allowed in Japanese Haiku, but she often uses rhyme, following other poets of Ghazal. In fact, it’s a basic requirement of composing Ghazal.
Let us have some model-Haiku of Wazahat Naseem:
1. Khushbu aur Gulab/Murjha kir bhi saath rahein/Chahat ko adaab!
Translation: Rose and fragrance/keep Company though withered/Salute to the love!
2. Lehrown ka ye schore/Jhag uda kir kehta hay/Paani hay moonh-zore
Translation: noise of Currents/announces with the surfing/Water is wild
3. Ose maein bheegi ghass/Dil choone wala manzar/Titli phoo ke pass
Translation: Dew-soaked grass/The scene touches the heart/A butterfly, by the flower
4. Aaj huwa dil shaad/Uss ko hanstaa dekha hay/Ik mud’dat ke ba’d
Translation: My heart rejoices/have seen him smiling today/after a long time
5. Mehve-intezaar/Wo nahein tou kya kejiye/Mausim-e-Bahaar
Translation: Keep waiting for him/no use of the Spring/ without him
Iqbal Haider is the only poet, who has personally worked hard to promote Haiku in Urdu and several local languages and dialects of Pakistan. For his untiring efforts, dedication and missionary zeal in propagating this genre, the Consul General of Japan gave him the title of ‘Ambassador of Haiku’. He thinks that Urdu Haiku can play the role of national integrity and harmony. He loves to write Haiku on all topics, including love, Nature’s bounty, individual and collective problems, social and cultural issues and above all, he composes Haiku about patriotism and Islamic ideology. His Haiku covers all the vast range of topics, discussed by the native penmen. See some of his model-Haiku:
Phoolown ka mausim/Sansown mein uss ki khushboo/Pelkown per shabnum
Translation: Season of flowers/her breath’s full of fragrance/dew on the lashes
2. Dil kiyoon dharka hay/mein ne aaj ayene mein/kis ko dekha hay
Translation: Why does my heart throb? / Whom have I seen today/in the mirror?
3. Chhoot gaya wo haath/Meri hatheli julti hay/meray dil ke saath
Translation: I have lost that hand/my palm ignites badly/alongwith my heart
4. Rishta such’cha hay/ik boorhe ki banhown mein/nun’nha buch’cha hay!
Translation: What a true relation! /A little babe in the arms/ of an old man
5. Phool hay paani mein/rung berungi dunya hay/khab-kahani mein
Translation: Flower in water/colourful is the world in/the dreamy story
[Here I have given only a few examples of our Haiku poetry, avoiding a huge number of masters, my contemporaries and juniors, who have marveled in this soft genre. I could have added examples of my own original and translation works, as well; but to present a precise write-up, I had to refrain from that.]
To turn over the leaf, I now invite your attention to yet another genre, called WAKA. Dr. Faheem Azami, one of the most famous poets, writers and critics, has claimed to introduce Waka in Urdu. Later, in 1989, Mohsin Bhopali composed some Waka and the same year, Muhammad Rais Alvi, visiting professor, Tokyo University of Foreign Studies, came forward with his excellent pen-work, “CHAAND KE CHAAR RUNG” (Four colours of the Moon). This is the Urdu translation of 101 Waka of Saigyo. I beg your pardon for any possible error in spelling or pronunciation.
Soon after publishing his first book, Prof. Alvi again took pain of translating Manyoshu in the name, “GUL-E-SUDDBURG” (The 1000-petal flower). It includes 101 Tanka of various eminent and un-known poets. His task is so impressive and attractive that no one can ever doubt it’s a translation. He would rather take it as an original collection of poetry in Urdu. [Waka and Tanka are the same]
Iqbal Haider is also very eager to write Waka/Tanka in Urdu. He tries to create a more enthusiastic image through this genre.
The author of this article has the privilege of launching the foremost (and the only) multi-lingual Haiku journal of the Sub-continent, Haiku International. This unique journal covers views and reviews, articles regarding Haiku, besides having original and translated Haiku. Launched in 1998, its nine issues, including four special numbers have so far come out, till date. There seems to be no other Haiku journal in the whole Asia, except Japan and/or perhaps China. Haiku International has set a unique record of printing Haiku and related stuff in 25 foreign and regional languages.
To conclude, here are few points to ponder:
a) Urdu has become the second mother of Haiku, after Japanese. [You can use the term, ‘Foster-mother’, if you like]. One can find all shades of life and all issues, discussed in Urdu Haiku.
b) A rich and diversified Urdu Haiku has a brighter future, as compared to other forms or genres.
c) Regional languages and dialects of Pakistan have now accepted Haiku, as a native genre. After Sindhi, Punjabi, Pushto, Balochi, Hindko, Seraiki, Brahvi, Kashmiri and Persian, some enthusiasts have introduced Haiku in dialects like Pothuwari, Memoni, Marwari and Hazargi.
May Haiku further strengthen cordial relations between Japan and Pakistan.
· Written for the World Haiku Essay Contest, held by World Haiku Club (UK), from 25 to 30 August’2000. This author was also invited to take part in their World Haiku Festival, but he could not avail the opportunity for reasons. He however became the first Urdu poet, from Pakistan and the entire Urdu World to be invited and participated through original English Haiku, as well.
· I have updated and corrected few points while re-typing the article, for providing my readers with best possible and available matter in brief.

SAS/ 11012008