Celebrating Faiz
Faiz Ahmed Faiz was more than just a workers’ activist.
At his 103rd birth anniversary, which is being observed today, it is important to regard Faiz as, largely, a literary figure as opposed to a categorically political one. PHOTO: FILE
By entrapping Faiz Ahmed Faiz in a Marxist cocoon, we have painted almost all of his work as one whose purpose was to fuel a particular political consciousness. At literary seminars, recitations and readings across Karachi and Lahore, it becomes amply apparent that Faiz has been largely forgotten for what he fundamentally was — one of the strongest literary bastions of the subcontinent, not just for his ideological leanings, but for garnering an aesthetic appeal which rivalled that of the works of some of the greatest Urdu poets. At his 103rd birth anniversary, which is being observed today, it is important to regard Faiz as, largely, a literary figure as opposed to a categorically political one. It is important to celebrate Faiz’s imaginative genius; it is important to give credit to a man whose creative prowess made poetry breathe with life. There is no doubt that Faiz Ahmed Faiz had strong leftist leanings, that his pen beckoned to the working class and that his timeless ink struck the rudest face-off with a dictatorial leadership.
But Faiz Ahmed Faiz was more than just a workers’ activist. He has been equally dear to every stratum of society. The Persianised phraseology of his verses is admired by the educated in literary circles of the bourgeoisie, while the utilitarian interpretations are treasured by the proletariat. Thus, the very consumption of Faiz’s poetry has served to thaw a lingering class conflict. Unfortunately, some of Faiz’s best works remain largely ignored simple because they were devoid of political undertones. The free verse poem Manzar and the nazm Yun saja chand are some examples of poetry which mirror Faiz’s aesthetic genius like none other of his works, but are not as firmly rooted in public memory as Aaj bazaar mein or Hum dekhain ge — the latter two being replete with political imagery of ‘tossing thrones’ and ‘walking through bazaars in shackles’. There is thus a need to break free of reductionist approaches while reading Faiz. Here’s hoping that this anniversary will flash a spotlight to the many facets of this great poet.
Published in The Express Tribune, February 13th, 2014.
But Faiz Ahmed Faiz was more than just a workers’ activist. He has been equally dear to every stratum of society. The Persianised phraseology of his verses is admired by the educated in literary circles of the bourgeoisie, while the utilitarian interpretations are treasured by the proletariat. Thus, the very consumption of Faiz’s poetry has served to thaw a lingering class conflict. Unfortunately, some of Faiz’s best works remain largely ignored simple because they were devoid of political undertones. The free verse poem Manzar and the nazm Yun saja chand are some examples of poetry which mirror Faiz’s aesthetic genius like none other of his works, but are not as firmly rooted in public memory as Aaj bazaar mein or Hum dekhain ge — the latter two being replete with political imagery of ‘tossing thrones’ and ‘walking through bazaars in shackles’. There is thus a need to break free of reductionist approaches while reading Faiz. Here’s hoping that this anniversary will flash a spotlight to the many facets of this great poet.
Published in The Express Tribune, February 13th, 2014.