Culture, Language, Literature: A Tale of an Enchanting World (“ناول ”موکي) (Sind...

Culture, Language, Literature: A Tale of an Enchanting World (“ناول ”موکي) (Sind...: A Tale of an Enchanting World  (“ناول ”موکي) (Sindhi Novel Mowkhi) Reviewed By Manoj Kumar Amar Leghari is widely known for his w...

A Tale of an Enchanting World (“ناول ”موکي) (Sindhi Novel Mowkhi)

A Tale of an Enchanting World  (“ناول ”موکي) (Sindhi Novel Mowkhi)

Reviewed By Manoj Kumar

Amar Leghari is widely known for his writings on environment. He has written extensively on flora and fauna of Nara Valley and on endangered species. He has on his credit one of the very few books written in Sindhi on environment. The book titled as Jitey Sindhu Mein Sumand wahey Thho (Where sea flows in the Indus River) narrates the adverse effects of sea intrusion on those whose lives depend upon sweet water of Sindh. The book also discusses habitats of migratory birds from Central Asia, their mindless hunting on the hands of hunters, extinction of different species of birds and reptiles in Sindh especially crocodiles in marshes of Nara Valley. But environment is not the only field that fancies Amar Leghari. He is also an accomplished short story writer. His short stories regularly appear in Sindhi literary magazines. His first collection of short stories Lut Orati Duniya (A world covered with sand) published in 1999 and second collection of his short stories is in press.

Mowkhi is the first novel by Amar Leghari. The novel tells about Hameer, a school teacher who is transferred as punishment to a non-functional far off school in a desert area. It is there he encounters a vicious but enchanting world which has ethos and norms of its own. When he reaches there he takes the otherwise unwilling staff along with him and makes the school run again. He enrolls students and convinces the parents to send their children.

But his task is not that smooth. He has to face the corrupt officials of the Education Department, an ignorant local community and powerful desert lords known as Patels. He has to trade his way with desert lords and their dangerous underground world. There he also meets host of other characters who makes him understand the world surrounding him. There is Bashir Diwano, a rebellious semi-mad man who vomits out harsh truth after having local made liquor. Another person, Adul who fixes his problems and explains to him the working of the area.

It is there Hameer meets Mowkhi, a beautiful desert girl who sells local made liquor. A mysterious force binds Mowkhi and Hameer in a strange bond. Mowkhi sees in Hameer as an escape from the tyrannical sexual slavery she is being forced in at the hands of powerful desert lords. She exhorts Hameer to elope with her. But Hameer has commitment to bring change in the area. He does not want to abandon his mission. After his refusal Mowkhi escapes and elopes with another person.

The novel has several themes running parallel. Amar Leghari has brought to attention the pathetic state of education in far off areas and the corruption of officials. He has also laid before us the dark and captivating world of desert with all its miseries, cruelty and beauty. The novel also exposes the harsh and inhuman condition of the people in desert area. But the main theme is a dilemma to choose between personal desire and social commitment.

Amar Leghari has an acute observation of the life in the desert. He has depicted the life of the people in a very impressive manner. Nothing escapes from the sharp eyes of Amar. Beautiful language is also a forte of Amar Leghari. His narration is in velvet word. Dialogues are very natural to speakers.

The novel could have been better if it had not been ended so abruptly. The readers are left wondering about the fate of its protagonists Hameer and Mowkhi. The novel had a great potential to expand to new heights but the novelist has not exploited the potential.

Mowkhi has come like a breath of fresh air in other wise barren soil of Sindhi novels. At the time when critics are pronouncing the death of Sindhi novel, Mowkhi reaffirms the belief that Sindhi novel is not dead. As long as it will receive healthy blood from writers like Amar Leghari, it will survive.

Novelette: Mowkhi

By Amar Leghari

Publisher: Kanwal Publications Qambar.

Published: 2005

Culture, Language, Literature: Binary Opposition and Colonial Hegemony: Structura...

Culture, Language, Literature: Binary Opposition and Colonial Hegemony: Structura...: Binary Opposition and Colonial Hegemony: Structural and Post-structural Study of Tariq Rahman’s “The Zoo” Dr Mubarak Ali Lasha...

Binary Opposition and Colonial Hegemony: Structural and Post-structural Study of Tariq Rahman’s “The Zoo”

Binary Opposition and Colonial Hegemony: Structural and

Post-structural Study of Tariq Rahman’s “The Zoo”

Dr Mubarak Ali Lashari 

Abstract

Post-coloniality is exceptionally major phenomena in the contemporary world literature and culture. It is more relevant to the cultural and literary paradigms of the people who experienced colonisation and decolonisation. The centuries-old practice of dominance left inerasable marks on the colonised people, their minds, thoughts, culture, language and literature.  In this direction, same effects can be found on the identity of colonisers as well. Thus, postcolonial structure is hovering over in the decolonised regions and their cultures as in mimicry, ambivalence, hyberdity, and stereotype identity.

This paper attempts to unfold the internal structures of tension between Centre and peripheral privileges and binaries depicted by Tariq Rehman in his fictional piece ‗The Zoo‘. Paper incorporates structural and post structural approaches to identify concepts and language where priorities and privileges are fictionalised. The analysis comes up with the findings that colonial hegemony is prioritised and privileged on the cost of marginalised ones. As after decolonisation phenomena, things are not given due rights and significance on merit rather on the basis of Masters and Metropolitan origins and affiliations.

Key words: colonialism, post colonialism, structuralism, deconstruction, hegemony, metropolitan, marginalised, binary opposition

Introduction

The deconstruction of the terminology of the fictional discourse and the colonial hegemony are well unfolding strategies of the masterly discourse and texts to unveil the hidden realities. It helps to explore the things not only in the sense of unequal duality but also in the sense of marginality and hegemonic transition of concepts and ideas. Therefore, fiction is not just a textual discourse or entertaining genre but to find time and space in relatedness factuality. Unfolding this theoretical concept is necessary in terms of some critical thinking i.e. structural analysis and inquiries can be at par. This way can help to find two ways of looking at the creative writing in order to identify the gaps and grey areas in literature and language structures. It is in direction that things do not move in one direction and ideas or not created in space, out of temporal and spatial capacities. Therefore, nobody can think in a free and neutral environment. Thus, how to judge and

         129 discover the hidden lines in the discourse, often remained useful strategy. Postcoloniality, as one of the strategies in literature, is usually considered important point of departure. It lends a hand to find a major historical period of hegemonic scheme and design of domination in cultural studies. By this, many theories expanded and various critical approaches remained helpful so far. In the contemporary world, it remained vintage point not only in itself but also interconnected discourse throughout the cultural description. Therefore, things were seen from different angles and diverse perspectives. This analysis of the story can be in that context and perspective to find out the ideas and resources by the way.

Theoretical Background and Literature Review

Structural study of language and literature has its origin round about one century ago when Swiss Linguist and philosopher Ferdinand De Saussure (1857-1913) has propounded the theory of structural linguistics. He very firmly analysed the systems of things around him and society when he experienced the Geneva train from Paris. According to Barry (2002) he brought all the concepts from such experiences to is theoretical incorporation to his field of studies and he gave it the name of structuralism or structural linguistics after the train experience, which moved from Paris to Geneva, day in and day out. According to Suassure‘s analysis, this train is given the name because of its system, and its peculiar identity is within its system structure. Otherwise, nothing is same and nothing can be identified in isolation. From there, structural studies arose and hovered over almost all the humanistic studies and fields up to the hour.

On the other hand, there emerged another theory in the reaction of structuralism, which also has reached at its pinnacle in the postmodern era that is post-structuralism. Structuralism and post-structuralism are very wide and encapsulate many philosophies under their wings. From that point, the deconstruction is a very significant feature of post -structuralism. Deconstruction is a reading strategy to unfold the things hidden and marginalised.

Besides all generalisations, structuralism and post-structuralism carry its identity uniquely and deeply. Newton (1997) explains the origin of structuralism that ―Structuralism rose to prominence in France through the application by the French anthropologist, Claude Levi-Strauss, of Saussurian structural linguistics to the study of such phenomena as myths, rituals, kinship relations, eating conventions‖. From this foundational description, it can be inferred that Levi-Strauss studied the structural systems by applying Saussurian concept to understand the systems. The systems are mostly related to the human social and societal structures. All these structures verily can be found in the weaving form of discourse and literature. In this regard, he further confirms that ―literature seemed especially appropriate to a structuralist approach since it was wholly made up of language. Thus structuralist literary criticism tends to emphasise the system of conventions which makes literature possible....‖ ( Newton, 1997:83). From this explication, it is revealed that structuralist approach is much apposite to study the literature, that is literature and structuralist theory are based on language as their basic system. Language on the other hand, is part of Saussurian study of semiotics. Semiotics systems may well be based on signs i.e. signs of colour, size, signals, mathematics, or others which may convey message to human understanding. Thus, the symbols of language are signs which develop signifiers and from there signified. According to philosopher G.S. Peirce (1839- 1910) ―‗the formal doctrine of signs‘, and Saussure in his Course de Linguistique Generale (1915) argued that linguistics was only part of a general science of signs, which he called semiology‖. Thus, structural and literature both owe their existence from the language signs, letters, phonemes, morphemes and semenes. In this context, we can see the structuralism and literature from structural points of view as part of several other systems and we can see all that within the systems. This is supported by Lashari (2013) that, ―structural approach bases on the mutual interrelations and we cannot see things in isolation. Everything in its essence is part of some other bigger structure‖ (Lashari, 2013: 43). In this direction, we can say that structural approach believes in interrelationship in things which are based on language. Language as a source of relating things and giving meaning is reliable and only source to be depended.

In contrast or reaction to that, or even expansion and agreement to structuralism in some or other ways, post-structuralism/ deconstruction philosophy is sceptical and suspicious to almost all that structural groundings. Deconstruction breaks the unities and parallels of structuralism and digs out the priority and inferiority of the conceptual systems in language. For example, structuralism believes in binary system of the concepts. We know things/concepts from its opposites i.e. white because of black, day to night, near to away etc. (Bertens, 2003). It is here that deconstruction breaks down the system and recognises the privileged and marginalised concepts and shows close proximity to postcolonial hegemony, more specifically, linguistic hegemony and dominance. According to this approach, the signifier does not always have one signifier but there are many signifiers which have been called difference by Derrida (Narang, 2007). It is here that both the approaches differ most widely on the basis of concepts recognition and language dependency. Deconstruction believes that there are no fixed binaries and equally synonyms or antonyms or binaries but there is fluidity of concepts.  There, the language and signs can mislead or deceive to recognize the the things signified. In post coloniality, there is always tension between centre and periphery. If binary oppositions are accepted then there is privileged and marginalised concepts of two things. So, there is no structural fixed binary opposition to recognise one thing by other.

In this perspective, this study is aimed to incorporate the mixture or blended approach of structuralism and post-structuralism (its atypical feature deconstruction here) on Tariq Rehman‘s short story ―The Zoo‖. The story is exquisitely depicted with the concepts of binary opposition of structuralism and hegemonic application of poststructuralism. Two parallels but with dominant and being dominated, privileged and marginalised, superior and inferior elements, priority and depravity identities are fictionalised very well. Thus, this study is an attempt to unravel the things in entirety and exemplary.

The concept of superiority and inferiority, cultured and savage, educated and illiterate, developed and under-developed, sensible and sensuous and the like are closely and ideologically associated with the concept of colonial representation of less-developed and privileged peoples of the third world. It was the mission of colonisers and occupiers to civilise the people and represent them. Thus, the concepts of privileges and dominance are taken in such context at large. This, phenomenon floated upon the cultures, customs, traditions and literature of the regions which came under the influence. Subsequently, unconsciously, the affected cultures underpinned the priorities and significance in their discourse and texts.

The Short Story and its Story-line

The short story ―The Zoo‖ published in ‗Selections from Pakistani Literature, Book Three, Prose‘ is original English fiction by Pakistani fiction writer Tariq Rehman. Rehman according to Arif (2005) is a prolific writer and linguist. He has published several books on varied subjects including two collections of short stories‖ (Arif, 2005:193). As author of many books, he has good understanding of conceptual fiction and creative writing in postcolonial sense. The story is based on the elite and aristocratic hegemony of elite class and their hobbies on the price of poor peasants and their livelihood. The story is about Hashmat Ali who comes from Sargodha to work in Lahore in an orchard of Malik Sahib, an elite person. Hashmat Ali is poor from background and here he is employed only to shed his labour and blood. He rents a house of lowest category with lesser facilities and localities. He is not supposed to enjoy the sunshine neither the light of electricity. He is even void of wind glows and other natural blessings created by Master for all the world creatures. On the other side, the luxurious lodging of animals at the personal home of the governor is shown. Even the dwelling conditions of the public zoo and private and personal zoo of the Malik Sahib is shown clearly. The difference is sought between the poor living conditions of the poor people and lavish living of the animals. The reader is forced to ponder over the conditions in binary opposition and mind blowing friction is presented.

Theoretical Framework

Postcolonial theory and approach is one of the analysis undertaken for the paper. In this approach, similar and dissimilar ideas and concepts are seen in unparallel positions of the subject and the masters i.e. marginal and centre‘s tension. For the purpose, theoretically, structural point of view and structuralism, in which, things, ideas and concepts are in binary opposition where one point is identified by the help of other angles. But this structural frame is further decoded and explored by post-structural or deconstruction strategy. This strategy unfolds two unequal positions of centre and periphery, prioritised and marginalised by the Derrida and others‘ theoretical points. How things are seen and perceived by the dominant and dominated subjects where signifiers have not any one signified as structuralism stands but have many signifieds. There are fluid and floating signified points in the discourse. The story composed and written in postcolonial subjects have many varied forms of signified concepts in the context of hegemonic thinking. By the help of this framework, the discussion and findings were carried out qualitatively and the conclusion was drawn signifying the historical background of postcolonial phenomena.

Discussion and Findings

The story starts with discussion of Ikram Arif and the secretary where Ikram sahib refuses to give more funds for the zoo, whereas, the secretary argues that he has built lovely place for the imported birds on the expenditure of bears for the zoo. Thus, the story begins with binary opposition of the plight of zoo and lovely built place for birds. Here binary opposition is broken with privileged and marginalisation of indigenous zoo and its animals versus privileged condition of foreign ‗imported birds‘.

The very next paragraph is unambiguous colonial hegemony and justification that ‗but there has to be limit‘ for the local animals whereas, imported birds and animals are free of this limit as they belong to Centre. Here again the concept of metropolitan city and periphery is signified. Dual financial standard and expenditure is depicted, and duality of policies is exhibited that readers can consciously and unconsciously grasp. The process is on the one hand lengthened and privileges are exhaustively justified on the other hand. The imploring of the employees and the haughtiness of superior authorities are much extended to clarify the bent of colonial hegemonic mind.

By this way, in the initial few paragraphs we can come across the following structural binary oppositions with deconstruction and postcolonial hegemony:

Indigenous/local	Foreign/imported
1.      No more funds for zoo 2.      Funds limit 3.      Not lodged properly	1.      Lovely place 2.      Too much funds inevitable 3.      Lodge in style

Thus, in the context of above table and deconstructed fabrication of the discourse, it is observable that colonial hegemony and postcolonial mind-set is demonstrated. So, when we come across postcoloniality, deconstruction is taking place and when we deconstruct the discourse, postcoloniality is displayed at large. In this context both the theories and approaches give the impression of interplaying.

In the forthwith flow of story, there comes the Austrian firm with outlandish expenses to have animal zoo and all the focus is drawn to the foreign prioritised project by the local rulers and government machinery. It is exquisitely contrasted with the human condition of the people of Pakistan, i.e. Punjab. It is portrayed in the wake of concepts of industrialised Lahore and agriculturised identity people of the smaller cities like Sargodha. The discourse of Lahore and Sargodha is well parallel with modifiers and qualifiers attached to Lahore city and barrenised and deserted dry name of Sargodha like;

Fabulous Lahore, Wide world, it is not village louts like peasants... (‗Lahore was fabulous indeed, Chacha Barkat Ali told him, but not for village louts like him‘. All the fabulous identity of Lahore is restricted to capitalistic dominance, the people who are rulers and elite, ‗double colonisation‘). Here fabulous Lahore is prioritised on the contrast of dull and dry indigenous places and cities. Its metropolitan origin like wide world, cultured (like opposite to village louts as referred in above paragraph) are owning the cannotational origin to stereotype identity of colonised subjects by coloniser masters to justify their occupation and exploitation. In the sequence, the industrialised origin and relatednesses are adored and advanced to justify the power relation in the subjugated subjects and territories. Sargodha, agriculture, labourer

We can see the contrast, the binary opposition of metropolitan city and agriculture city and their status well portrayed in the lines of the short story. Lahore is fabulous because its industrial city with technological development like with huge caterpillars of dark titanic trains, milling crowd, apartments, and people in great hurry etc….

The weighty qualifying terminology loaded with technological register are further undervaluing the local identities and proving the supremacy of the western heavy technological encroachment.

Beside these initial contrast and hegemonic binary oppositions blended with structuralist and poststructurals built up schema, readers come across the main thematic contrasts between indigenous human condition and imported animals living standard. At this stage, story reaches at its climax of hegemony and postcolonial privileges. The family of Hashmat Ali hails from Sargodha and employed by Malik Sahib to turn his agricultural land into orchard. It is another example of industrialised hegemony over agricultural means of product. Here capital decides the destiny of land and its utility. Hashmat Ali brings along his family; wife Fatima, Children Azmat Ali and Zainab Bibi. Due to their meagre earning and livelihood at Sargodha working as agricultural labourer, he moved to work under capitalist and industrial patronage. At this juncture, story unfolds the significance of poor human fellows and animals of rich, elitist and ruling class. The conditions are pitiable for Hashmat and his family yet they are supposed to have Sabr and Shukr (Patience and satiation). But the binary opposition is very significant like the following descriptions.

Living conditions of Animals

Living Conditions of Hashmat and his family

1.      The next few months were busy at the zoo as the outlandish Austrian firm created appropriate landscape for different types of animals. 2.      By the end of the summer there verdant green grasslands for the antelopes, the deer, the wild bison and the zebras. There were tall trees in the giraffe‘s enclosure which itself had been enclosed into another island-like enclosure.... 3.      The dens of the lions were in terraced plateaus with groves of trees. They too had a moat round them with drawbridges leading to an inner face.

1.      ‗Electricity is expensive‘, said the property agent who brought him to see it. ‗So the bulb will have to be small one.‘ 2.      Fatima climbed up the stairs to her room. ‗It is bit dangerous‘, she commented when Azmat tripped on a steep worn out step; the landlord should get them repaired‘. 3.      They were in front of termite eaten door and Hashmat was struggling with a rusty lock. ‗Zoo‘ echoed his wife blankly. Hashmat cursed the locked and Fatima pressed her daughter close. ...the lock opened and the door creaked ajar. Hashmat flung it open and fetid stench of dirty quilts assailed their nostrils. It was dark and cavernous inside.

Even though, they might be given the coaching of religious consolation of reasons of haves and have nots, yet the natural ad instinctive hunger and thirst remained unfixed. Even the occupied, colonised and exploited people might be assured to get its reward in life hereafter but the children like Azmat Ali and Zainab Bibi had genuine concerns and questions.

In this context, above comparative juxtaposing concepts bring comprehensible discrimination of rich, elite and mimicking colonial rulers‘ priorities to their even birds and the starving of the facilities and utterly denied basics of human life to Hashmat Ali‘s family. It can be said that there is peculiar discrimination with Hashmat Ali by some people/ruler/superior authority but it is the system and structure that matter a lot. The system and structure developed under the patronage of colonial hegemony are not allowing availing the resource of ‗electricity and bulbs‘ and the ‗lavish grass‘ and ‗the sun light‘. The animals of the mimicking people, supposed to be born superior, are supposed to be superior to ordinary humans. The animals are to be assured al the facilities and resources, whereas, the people are to be frightened to the dangerous houses and buildings. Termite eaten doors are the wasted minds of subjects for the metropolitan ones and rusty locks are the ill fates of the colonised people.

Conclusion 

To conclude the above discussion and analysis, the story is great representation of inequity of the classes and categories of the people and the location. It is all the matter of relatedness and association. It may be seen in time and space bifurcation and racial division with reference to subjects and master. Subsequently, the belongingness matters most and prioritised rather than the human and animal coincidence. Although all the best things were done in the name of human rights and human dignity throughout the human history from conquering period to colonisation experiences, yet the systems and structures are not authorized to have equity and equal importance whatsoever. The things can be seen in the perspective of the approach by the points. Firstly, belongingness of the things and relations of masterly centres are given more than due priority as compared to the things of colonised subjects. Secondly, the notions of story-line are not necessarily based on equality and impartiality but on the concept of what comes from outside rather than indigenous origin. Origin of the things matter a lot. Thirdly, comparisons of the elements in the story are not in the sense of same commodity but based on hegemonized commodity with marginalised ones. Finally, the resource availed and used for prioritised and marginalised elements are not equal as animals are given more importance on the lives of Hashmat and the family of indigenous origin. Similarly, the adjectives and the characteristics in language choice are based on the centre and peripherical preference that makes things unequal in deconstruction signified concept.

References

•      Arif, I.edt (2005). Selections from Pakistani literature, book three, Prose. Islamabad: The Pakistan academy of letters

•      Barry, P. (2002). Beginning theory: An introduction to literary theory. Manchester: Manchester University Press

•      Bertens, H. (2003). Literary theory: the basics. London and New York: Routledge Taylor and Francis group.

•      Lashari, M. A (2013). Jadid adbi tanqidi nazrya (Modern Literary Critical Theories). Sukkur: My publication

•      Narang, G. C. (2007). Sakhtiat, pas e sakhtiat aur masharqi shaariat. Lahore: Sang e meel publications.

•      Newton, K. M (1997). Twentieth – century literary theory. A reader. London: Macmillan press ltd.

Culture, Language, Literature: Let's Dream (Book Review of Dargahi Gabol's poetry...

Culture, Language, Literature: Let's Dream (Book Review of Dargahi Gabol's poetry...: Let's Dream (Book Review of Dargahi Gabol's poetry) Reviewd by Muhammad Din Rajri Darghai Gabole   is an   iconocl...

Let's Dream (Book Review of Dargahi Gabol's poetry)

Let's Dream (Book Review of Dargahi Gabol's poetry)

Reviewd by Muhammad Din Rajri

Darghai Gabole is an iconoclast artist poet who not only challenges Pseudo speculations but also questions numerous hypothetical cunningly propagated prevailed narratives rooted in common masses through his poetic insight. His first poetic book let's dream is a bulky philosophical questionnaire jolting human consciousness & making him at least think over his post-subjugation & exploitation which he takes for granted as pre-destined or distribution of Lord as he is made believed. Hence, it is said that Darghai Gabole is a poet of Novel thought. So, I sometimes conclude that he has utilized poetry as a medium of constructive philosophical propaganda for letting out people voice, but his poetry is not deprived of art, his poetry is replete with poetic devices, furnished with innovative similes, metaphors & modern poetic techniques. 

Another view about poets is that his political-social doctrine is also expressed via poems but as a whole Darghai Gabole is a poet of global-injustice of all color. In fact, his dream is sacred one perhaps he wants equality, extinction of class-difference, highlighting misusing of religion, curse of poverty, human rights, and social violation of all respect which title him an advocate poet of down-trodden people, who have given up even dreaming of prosperity! But, Poetry of Darghai Gabole turns reliance for them, embellish smile on their parched lips, infuse them courage to open eye, & dare DREAM; dream of forgotten life, love, vigilance, diligence, struggle & stand-up as his one the Urdu poem narrates: 

Let's dream

such dreams

which be like

soul of children

fingers of children

which be like mothers' heart

which be solitude of desert

which be like clamour of city

Let's dream

inform them

we dream

Passing a new life..! 

We dream in inner-self

we dream in him/her

we dream in sky

we dream on earth

we dream

let's dream

in those dreams

be dreams of this 

Universe

Be dreams of some

birds

dreams of trees

dreams of butterflies

yes

dreams of Sindh

& dreams of all humans

let's dream

some dreams... !

Above poem encompasses entirety..Darghai Gabole holds deep insight & study as he himself is bibliophile person enriching his cognitive approach, his critical caliber up to date. He is genuine literary figure believing in books, his creation is out-come of his comparative study.. though mere study is not sufficient our critical observation & thoughtful thinking chisel & grander our rusty approach altering it rational one. 

However, Urdu portion of his book is worth-reading invitation of novelty & rejection of conventionalism: 

آؤ کوئی انقلاب لائیں

عمر رسیدہ ہیں تیری باتیں، 

آور غرور سے پُر، 

کچھ نيا کیوں نہیں بتاتے؟

This entire poem is worth-reading.. or

دنیا، 

مزدور کی تھکن ہے، 

یا سرمائیداری کی عیاشی، 

کوئی کچھ نہیں کہتا

اور میں کسی درگاہ کی خاموشی کی طرح

اور پیروں کی آہٹ کے انتظار میں ہوں، 

جو ابھی پیدا ہونے ہیں! 

Poetic optimism awaits a long-dream to be materialized.. 

Darghai Gabol interrogats whether education is source of refinement or ethics as commonly is to be observed that civilized first world takes care of animal rights but kills innocent people indiscriminately having drone attacks...

پھر بھی۔۔۔

دنیا میں نہ جانے کتنے

پڑھے لکھے ہیں

مگر پھر بھی یہ کہتے ہیں

ان ان پڑھ گنواروں نے

تنگ کیا اس دھرتی کو 

سکول بھی جیسے ایک کنواں ہے

نسلون سے اس میں گرتے آیے ہیں ۔

Whereas, all invasions have cunningly been colonized in the name of in-civilization hence, this poem raises serious concern over outdated syllabus where new generation has predestined & has continually been made compelled to walk on specifically designed track. Another view is that calling SCHOOL a well is meaningful.. 

خوف ئي خوف آھي چوء طرف، 

کوٽ آھي تنھنجي ھر ھڪ بيان ۾. 

Fear is ruling world. Fear has been psychological weapon which has diagnosed poet; here poetical insight of the poet is wonderful... 

ايئن آخر ڇو؟ 

ھرڪو پنھنجي لاءِ ۽، 

خدا سڀني جو. 

It seems all reliance of human voice is gradually turning corporated, material engulfing realization of human being

ميڊيا جو ڌڻ، 

ڳجھون ڪنھن لاش تي 

ويٺل آھن ڄڻ. 

Labelling media vulture is not just striking but poetic fury of a poet, which is open fact as well. While media has also been political medium to settle desired goals & propagating paid content! 

ھر ماڻھو قرضي، 

زر جي دور کي ٿا چون

آسماني مرضي. 

Undoubtedly, Bank is subject to financial, mental prison & one of the psychological & multi-enslavements destitute people are suffering and been exploited under heavy mark-up. 

ڳوھيو سڀ کي مٽيءَ مان، جي ھڪڙي ئي رب، 

ھيڏا ڇو  مذھب، آھن  پوءِ سنســـــــــــار ۾. 

.... 

I call this poem Darwinism’s echo of our thousands old civilization: 

مون تنھنجي سامراجيت جا 

سمورا بَخيا اڊيڙي ڇڏيا آھن، 

ھي ”ٿورين“ جا ٿانو مون لاءِ مقدس آھن، 

۽ ”ڀيلن“ جا سدا حيات ڀاڪر منھنجي نج سونھن آھن، 

ھا! آءُ تنھنجي تھذيب کان بغاوت ڪريان ٿو، 

۽ تنھنجي حلال-حرام واريون

ھٿڪڙيون پائڻ کان انڪار ڪريان ٿو... 

............... 

A thoughtful questionnaire.. 

ڪيڏي نہ وڏي ڳالھ آھي!!! 

ھو ڇو پيا مرن 

ڪو انھن کان پڇي ٿو

موت جو ڪھڙو آڳو ۽ پيڇو آھي

ڪا خبر ناھي

پر موت بہ خوبصورت ٿي سگھي ٿو! 

ڪيڏي نہ وڏي ڳالھ آھي!!! 

ھا! اھو سچ آھي تہ 

ھر ھيڻي جو آدرش

خا جي ڌڙڪن آھي. 

ڌرتي پنھنجي آتم ڪٿا لکي رھي آھي، 

ويدن جھڙيون ھي جوانيون

جنھن جي چپن تي 

محبوبائو پنھنجا جسم ھارين ھا! 

اڄ موت انھن کي ڳيھي رھيو آھي

اي پٿر جا انسانو! 

اي زميني آقائو! 

ڇا اوھانجي دل نہ ٿي ڦتڪي؟ 

ڪيڏا نہ بي ضرر 

۽ مٽيءَ ھاڻاماڻھو مري رھيا آھن!!! 

A heart-wrenching fragments from a poem, lamenting & cursing our social-disowner ship 

۽ ڳوٺ ۾ سوين ماڻھن جي آباديءَ

ٻن غريب ڀائرن کي 

سردي کان محفوظ ڇو نٿي ڪري سگھي.. 

۽ لکين ماڻھو ڪرسمس، ھوليءَ يا عيد تي

سٺو کاڌو کائڻ کان ڇو رھجي ويندا آھن؟ 

I sometimes think, Darghai Gabole is representative poet of third world from his poem slavery غلامي; I have deliberately bold word Old in order to remember oldness of slavery

اسان جو دک پراڻو آھي

ھا! اسان ذلتن جي رحم وڪرم تي 

جيئڻ سکيا آھيون

اسان جو الميو اھو آھي تہ 

اسين بھتر ٿيڻ کان اڳ 

مري، کپي ويندا آھيون، 

ھي غريبيءَ اسان کي ورثي ۾ ملي آھي، 

اسان کي پنھنجي ھئڻ جو احساس تمام گھٽ ٿيندو آھي

تنھنڪري، دنيا جي ليکڪن کي ٻڌائي ڇڏيو تہ 

ھاڻي اسان تي ڪا اڇوت ڪھاڻي نہ لکي وڃي

اسين انھن جي شھرت جو حصو ٿيڻ کان 

ھاڻ گھڻو بيزار ٿي چڪا آھيون...... 

Before conclusion I admit that i have left artistic side of his poetry, could focus on his thought as a whole, Darghai Gabole is poet of people dreaming for their upliftment, progress, prosperity, equality & humanity.... let's inspire from his title poem: 

اچو تہ خواب ڏسون! 

خواب، 

خدا جون اکيون آھن، 

يا عظيم انسانن جي گذرگاھ، 

يا ھن جي آڱرين جو ڇھاءُ، 

اچو تہ خواب ڏسون

ھڪ نئين ماڻھو جو خواب

ڪجھ عجيب نموني جو خواب

خواب

جنھن ۾ سڀ برابر ھجون، 

ھي مانيءَ -مڇيءَ جي ڊوڙ، 

اسان کان سڀ ڪجھ ڦري رھي آھي، 

تنھنڪري، 

اي منھنجا ساٿيو! 

اچو تہ ڪي ننڍا خواب ڏسون، 

ھا

اچو تہ ڪي وڏا خواب ڏسون!!