Jaun Elia accepted that artists were simple jokesters; performers at the best. He never preferred them much. He never tried to be one. In his prelude to 'Shaayad', his first lovely compilation, and the stand out which turned out amid his lifetime, he makes clear that he would not trade off on anything not as much as prophethood. Henceforth, he cherished preislamic agnostic Arabia, and took motivation from Kahins. He carried on with an existence of an agnostic, and he kicked the bucket as one. Subsequently, calling Jaun Elia a writer, or contrasting him and other Urdu writers, is really deprecating Jaun.
Jaun's information and comprehension of eastern and western methods of insight, history of religions, rationale, worldwide writing and governmental issues was so incomprehensible and profound that writers like Majaz and Jigar could just delight him for a brief time of time. It is along these lines nothing unexpected that his cherished artists hailed from the Arabian landmass, Babylon, and Persia, with a special case of Meer Taqi Meer, whom he considered the most underrated Urdu writer of all times. He condemned Ghalib unendingly. He used to say 'Mian Ghalib to pachchees sheroN ka shaa'ir tha' (Ghalib had just 25 great couplets). By that he implied that Ghalib had no usloob (no curious style he could call his own) not at all like Urfi, Khusro, or Meer. Before Jaun, just Yaganah had the mettle to make such a remark about Ghalib.
Jaun Elia was an aalim in the genuine feeling of the word. He had an order over numerous dialects including Arabic and Persian, and like his dad he could likewise read Sanskrit and Hebrew. He had a broad information of the historical backdrop of reasoning, religion, Islamic otherworldliness, and even Kabbalah, the supernatural part of Judaism. Along these lines, you will discover in his verse and writing follows from the Old Testament, the Bible, and the Quran; philosophical talks of the Mutazilite scholars, preislamic Arabian writers, and in addition references from Kant, Nietzsche and Sartre. There is not really any current Urdu writer who can claim to have intertwined such enhanced learning frameworks with blood expectorating Romanticism and enthusiasm. No big surprise Jaun Elia motivated individuals like Baba-i-Urdu, Maulvi Abdul Haq, to stand up in his honor when he was just in his late 20s.
Jaun Elia's first accumulation of sonnets "Shaayad" was distributed when he was 58. He has written in the introduction to "Shaayad" that he procrastinated distributed his first book for almost 30 years. As indicated by Jaun Elia, he guaranteed his dad Allama Shafique Hasan Elia, a researcher of the most noteworthy request, that he would distribute his works when he grew up. Jaun didn't distribute them. Jaun didn't grow up. Some way or another all original copies of Allama Elia's compositions got lost and Jaun experienced a feeling of remorse so awful that he hated the thought of distributed his own particular works, which he considered mediocre in examination to his dad's compositions. While Jaun's nazms and ghazals turned out to be immensely famous among the artistic and scholarly circles of Pakistan not long after his movement from Amroha in 1957, there was no gathering of his sonnets that could contact the masses. Jaun, accordingly, remained generally in insensibility till the late 1980s.
As indicated by Jaun Elia, it was the late Saleem Jaffri who constrained him to distribute his first book. "Shaayad" (1989) turned out to be monstrously prevalent with educated people and also the masses. Anyhow, Jaun constantly scorned the thought of distributed his work. 'Yaani', his second book, came after death in 2003, which Jaun Elia had deferred again for quite a long while. It was Khalid Ahmed Ansari, who, after Jaun Elia's passing, distributed the principle corpus of his works.
Khalid Ahmed Ansari to Jaun Elia is the thing that Max Brod was to Kafka. The universe of Urdu writing will stay everlastingly obligated to Mr. Ansari for his administrations to Jaun Elia specifically and Urdu writing by and large. 'Gumaan', 'Lekin', and 'Goya', were distributed by Mr. Ansari in the compass of eight years, which was never a simple errand. Jaun's compositions were scattered and barely intelligible. Mr. Ansari needed to experience every last lyric before making it open. It likewise included a lot of examination take a shot at Jaun. Jaun was a bohemian writer, and he never minded to aggregate his ballads in a fitting way. Nowadays Khalid Ansari is chipping away at Jaun's new accumulations, 'KuooN', and 'Nai Aag Ka Ehadnaama', Jaun's epic chronicled lyric embodied alwaah. Jaun's composition work is likewise being incorporated by Mr. Ansari. 'Farnood', a gathering of Jaun's papers is going to hit the stores.
Jaun's life can't be outlined in few passages. He was excessively baffling, excessively overwhelming to be described in words. Maybe, Jaun's life and his verse can be better seen through his representation on Shaayad's spread, deified by eminent craftsman and Jaun's nephew Iqbal Mehdi. The representation is reminiscent of John Milton's showstopper 'Heaven Lost'. It catches the minute when Lucifer ascents up against the power of God. Jaun constantly looked downward on creation, loathed authority–both common and awesome. His verse, consequently, is not an affection tune or a requiem; it is a serenade of an agitator. By perusing Jaun Elia you will leave upon the odyssey to doubtful information, Agnosticism, and Nihilism. It will make you never-endingly bothered, for this was something Jaun needed his perusers to be—stay hungry for information. In this manner, Jaun will keep on rousing the individuals who challenge, who uncertainty, and who set out to battle against conventionality and orthopraxy.
As all would bite the dust, so did Jon Elia. Amid the most recent 40 years Death gazed in his face numerous a period however he continued escaping it. An unending TB understanding in the mid-50s, he got away from the grasp of Death because of sheer self discipline. May be his intense confidence in the eternality of his verse defeated the continuous summons of Death. At long last he bowed out on 7th November, abandoning a large number of his fans to grieve his misfortune.
I saw, more than five many years of close relationship with him, various clumps of youthful artists securing to him for motivation and direction however it is an incongruity of reality that relatively few of them turned out to be their primary ethicalness. One saw them vanishing in meager air imagining that they had harvested the harvest and could get by and by. I would prefer not to name various artists and journalists who profited from Jon Elia's Greek Academy like talks on rationality and ve
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