Translating Urdu poetry is an exacting task and runs the risk of losing the cultural nuances as well as the richness of  the myriad metaphors that Urdu has borrowed from Persian, Arabic and the local Indian languages. And translating Faiz is even more onerous as the beauty of his poetry lies in the infusing of contemporary life into the otherwise passé classical idiom of Urdu Poetry. This is why most translations of Faiz have been quite lifeless except the ones rendered by the inimitable Pakistani English language poet Daud Kamal and a handful of others. 

The Oxford University Press and Khalid Hasan teamed up to produce a fascinating collage of Faiz’s poetry in English. This Volume entitled “O City of Lights” is not just a collection of Faiz’s translated verse but also includes accounts of Faiz’s poetry, stature and place in contemporary Pakistani history as well as snippets of Faiz’s life in his own words.  

“O City of Lights” is roughly divided in two parts: the first part presents choicest prose pieces that include a detailed write-up on Faiz and a few interviews translated by Hasan. In addition, there is a fascinating sketch of Faiz’s childhood days where we learn how he acquired the habit of reading and the encouragement he received from his father to read books from the local library. The picture of Faiz that emerges is true to all the narratives concerning  his personality: tolerant, magnanimous, humble and deeply humanistic.  

Like a quintessential devotee, Khalid Hasan can be a little apologetic. For instance, writing about Faiz’s stint at the Government’s war publicity department during the Second World War; and his eventual promotion to the rank of a lieutenant colonel, Hasan states: “… he [Faiz] felt that in the struggle against Nazism and Fascism, if a uniform had to be worn, then a uniform should be worn. Perhaps it was for his work during the war that he was given the Order of the

This digression is not to criticise Faiz’s decision to work for the colonial government. This vocation can be seen as a milestone in his poetic journey and his later emergence as a symbol of resistance to authoritarianism and injustice in post-independence

The other chapters in the prose section of the book are equally illuminating. The transcript of Faiz’s conversations with Muzzaffar Iqbal bring forth Faiz’s insights on poetry, culture, politics and much more. Responding to a question on how he writes, Faiz remarks: “A ghazal first requires the emergence of a rhyming scheme in one’s consciousness. One builds on it. For a nazm, one has to think. It is like artisan at work. It has to be built…The basic image must be right. The music has to be right. No false notes.” 

Another piece for which one has to thank Hasan is the inclusion of a chapter, “Faiz Looks Back” based on the poet’s travels in the

Part II, comprising poems, presents perhaps the best collection of Faiz’s poetry including the outstanding translations by Daud Kamal published over two decades and now out of print. The hallmark of this volume is inclusion of original Urdu versions alongside the translations. Kamal (1935 -1987), a professor of English literature at the

In Pakistan and elsewhere in

In Faiz’s own words, Kamal concentrated on the “imaginative and interpretative rather than literal rendering” of his selected poems and added an ‘effective poetic dimension of his own creativity.” Another beautiful poem in the selection is the Subha-i-Azadi (The Morning of freedom August 1947):  

“This stained light, this night bitten dawn –This is not the dawn we yearned for.” 

In “O City of Lights”, Hasan has added more translations of Faiz’s work that were not included in the earlier translations by Kamal. In all, Hasan has included 43 pieces of Faiz’s timeless verse. The range includes “An Elegy for the Rosenbergs”, “My Heart My Traveller”, “Africa Come Back”, “Heart Attack” and “On Return from

Hasan admits the limitations of translation in his editorial remarks. In particular, ghazal is a difficult medium to transport into another language. This is why most of the new translations are of poems and Hasan succeeds in his mission. Dasht-i-Tanhai is well delivered: 

In the forest of lonliness, beloved,Tremble the shadows of your voice,The mirage of your lips 

Another creative efforts is Sipahi ka marsiya (Elegy for a Soldier) written against the backdrop of the senseless Indo-Pakistan 1965 war. Hasan also gives a good account of the poem in part I and recounts how the Pakistani right maligned Faiz for not being patriotic enough during the war. But Faiz’s vision was humanistic, argues Hasan, transcending narrow divides as the elegy was universal in its subject and appeal. 

What was once your kingdom,Is now a wasteland;And on the throne of inequity,Sit mighty tyrants.But why are you sleeping so quietlyUpon the dusty earth?Wake up, son My obstinate son, Wake up. 

The greatest advantage that Hasan possesses is close association with the poet spanning over decades. That obviously has endowed him with an uncanny understanding of the overall context. Indeed, Hasan’s contribution in putting together this volume is tremendous and perhaps unparalleled. One only feels that accounts of Faiz’s life must also examine some of the contradictions that have been highlighted by a few commentators. Often such remarks result in literary duels (the most recent one being the distasteful outbursts by the Ahmed Nadeem Qasmi  lobby a few years ago and the subsequent war of words) and argumentation for the sake of it. A few aspects that remains under-studied relates to the endemic personal relationships of Faiz with notable members of the Pakistani establishment that flourished and the ‘stardom’ that overshadowed Faiz, the poet, as detailed by Qurratulain Hyder in her sketch on Faiz. These are areas of literary investigation and hold deep linkages with the sociology of

There is no question that Faiz has inspired generations and provided a literary banner to the various streams of progressive thought and action in

For the “English medium” youth- increasing in numbers - this book should be an excellent introduction to the ideas upheld and cherished by Faiz, and of course to the splendours of his poetry. It is hoped that the translations would inspire them to understand and appreciate the original masterpieces. Faiz’s poetry will continue to warm our hearts and tickle our collective conscience. It is a must-read book for all those who love Faiz and his poetry. 

 

permalink Comments 2 Jun 17th, 2007

2 Responses to “‘O City of Lights’ by Khalid Hasan - A book review”

1. Jahane Rumi - In search of the unsearchable: “…O, my soul! where would you find your house?” » A recent Book on Faiz Ahmed Faiz Says:
   June 17th, 2007 at 8:21 am

   [...] “What was once your kingdom, Is now a wasteland; And on the throne of inequity, Sit mighty tyrants. But why are you sleeping so quietly Upon the dusty earth? Wake up, son My obstinate son, Wake up.” ********“This stained light, this night bitten dawn – This is not the dawn we yearned for.”Here is the full version of the review. [...]

2. faiz book on Flickr - Photo Sharing! Says:
   June 17th, 2007 at 5:11 pm

   [...] View Jahane Rumi’s map Taken in (See more photos here) well, took this for a book review published in the herald..read the review here- http://www.razarumi.com/o-city-of-lights-by-khalid-hasan-a-book-…  [...]

Leave a Reply