Firak Gorakhpuri

This document is a Gujarati booklet titled 'Firak Gorakhpuri' by Kumarpal Desai, published by Parichay Trust. It is part of a larger series of informative booklets, with 'Firak Gorakhpuri' being issue number 618.

Here's a summary of the content, drawing from the provided pages:

Overall Purpose: The booklet is a biographical and critical introduction to the life and work of the renowned Urdu poet, Firaq Gorakhpuri. It aims to provide readers with essential knowledge and ignite curiosity about his contributions to Urdu literature and his philosophical outlook.

Key Themes and Content:

• Introduction to Firaq Gorakhpuri: The booklet begins by establishing Firaq Gorakhpuri as a progressive poet. It recounts an anecdote from a gathering in Mumbai where Firaq, along with other prominent poets like Sardar Jafri and Sahir Ludhianvi, was present. A brief exchange highlights Firaq's assertive personality and his tendency to engage in profound philosophical discussions, shifting the focus from poetry to deeper reflections on life and death.

• Personality and Impact: Firaq is described as a man of strong opinions, sometimes sharp-tongued, but his significant contribution to Urdu poetry over half a century is emphasized for its intense emotional depth, leaving an indelible mark on Urdu literary history.

• Early Life and Influences:

  • Born on August 28, 1896, in Gorakhpur, Uttar Pradesh, into a Srivastava Kayasth family with a history of land grants from Sher Shah.
  • His childhood was marked by an appreciation for nature (sunrise, sunset, forests, night).
  • He was deeply influenced by his teacher's nightly recitations of Tulsidas's Ramayana, even though his siblings were not interested. This left a lasting impression, making him a devotee of Tulsidas and his epic.
  • He enjoyed reading historical accounts like the war between Prithviraj Chauhan and Ghori and was an avid reader of Premchand's stories.

• Poetic Lineage and Education:

  • His father, Musi Gorakhprasad, was also a poet.
  • Firaq found some Urdu poetry dry but was moved by its sweetness.
  • He studied at various schools and developed an early appreciation for English poetry, particularly a lament by the poet Gray, and later the Vedanta-based philosophical arguments in Swami Ramatirtha's English speeches.
  • He excelled academically, particularly in summarizing long English passages.
  • His friendship with Rajkishore Sahar, son of a poet, exposed him to the works of poets like Gulzar-e-Nasim, Amir Minai, and others, fostering his poetic taste.

• Early Poetic Insight and Interpretation:

  • A significant anecdote illustrates Firaq's sharp intellect when he correctly interpreted a complex couplet by poet Dagh, impressing his friend.

• Personal Life and Struggles:

  • He passed his school-leaving certificate in 1913 and enrolled in Allahabad's Muir Central College, developing an interest in history, logic, and philosophy.
  • His marriage in 1914 was reportedly arranged deceitfully, and his wife was described as physically and temperamentally unattractive.
  • His married life was strained, leading to insomnia and dysentery. Despite these challenges, he managed to pass his F.A. examination, securing the seventh position in the province. He attributed his ability to navigate this difficult period to his early interest in learning.
  • He passed his B.A. in 1918, ranking fourth in his province, with H. Zakir Hussain ranking third.

• Entry into Public Service and Political Activism:

  • His father passed away before the B.A. results.
  • He was selected as a Deputy Collector, and then secured the first position in the I.C.S. interview in Lucknow.
  • Influenced by Mahatma Gandhi, he joined the Non-Cooperation Movement, leading to a year and a half of imprisonment in Agra.
  • During his incarceration, his cell turned into a "poetry school," with weekly mushairas and lectures.
  • To support himself, he wrote articles for Hindi magazines, sending them to Premchand.
  • He studied the works of authors like Thomas Hardy, Charles Dickens, George Eliot, and poets like Wordsworth, Keats, and Tennyson.

• Association with the Congress and Academic Career:

  • Jawaharlal Nehru, recognizing Firaq's financial difficulties, offered him a position as Assistant Secretary of the All India Congress Committee in Allahabad with a salary of ₹250 per month.
  • He worked there for about four years, during which his poetry output decreased, but he engaged in significant reading, including "Mutual Aid" by Prince Kropotkin, which instilled new faith in humanity.
  • Some of his popular couplets were composed during this period.
  • He later joined the Christian College in Lucknow as an F.A. class lecturer and then earned his M.A. in English with first class.
  • He was appointed as a lecturer in English at Allahabad University and taught for thirty years until his retirement in 1958.
  • As a teacher, he focused on imparting the inner experience of literary works to his students, connecting various disciplines to make education vibrant. He expressed sorrow over the prevailing educational system, where students faced unemployment despite earning degrees.

• Literary Style and Themes:

  • Firaq's poetry is characterized by a profound blend of intellectual depth and emotional sensitivity.
  • His work often explores inner conflict and life's adversities, weaving together internal and external emotions.
  • His poetry ranges from expressing the pangs of separation from a beloved to reflecting the sentiment of the entire universe.
  • His universality is achieved through his choice of themes, emotions, vocabulary, and sonic patterns. He is noted for his innovative use of sonic elements in Urdu poetry.
  • His poem "Jug" powerfully expresses motherly love, where a child, raised by nannies, wishes to guide his mother's wandering soul.
  • Firaq's poetry conveys warmth and comfort, like that of a mother. He believed that poetry should offer solace, not just be a cry of pain.
  • His work avoids superficial entertainment and instead offers deep consolation.
  • He famously said that poetry without solace in pain is merely a cry.

• Philosophical Outlook:

  • For the first thirty-five years of his life, Firaq lacked a clear vision of life. He grappled with human love, life's suffering, and the dread of death, experiencing growing hatred with increasing affection.
  • Early feelings of fear, helplessness, and loneliness made it difficult for him to make decisions.
  • He found solace and struggle intertwined, believing that even in difficult times, one should strive for inner strength.

• Personal Tragedies and Resilience:

  • His personal life was marked by solitude. His only son committed suicide in his youth. One daughter died, and the other lived far away.
  • He constantly battled fate. Despite achieving academic success, happiness remained elusive. He felt that those who passed with average marks benefited more than he did.
  • Achievement and happiness never coincided for him. Yet, he faced a controversial and challenging life with unwavering resolve.
  • His poetry reflects this defiance, as seen in couplets about challenging fate and overcoming obstacles.

• Controversies and Reputation:

  • His lifestyle, assertive behavior, disregard for conventional morality, and excessive alcohol consumption often led to controversy. Rumors and scandals sometimes overshadowed his reputation as a great poet.
  • His opinions on various subjects, including poets, language, religion, and politics, were provocative and debated.
  • He was known for his strong arguments and witty debates.
  • He was a popular English lecturer, with former students noting his ability to provide profound insights into literature and life beyond the syllabus.

• Later Career and Poetry:

  • He was appointed as a Reader three years before retirement but never became a Professor.
  • After retirement, he continued to live in his university bungalow and wrote influential ghazals that transformed the essence and atmosphere of Urdu poetry, pushing the boundaries of thought and imagination.
  • He suffered from insomnia for fifty years, and most of his poetry was composed after midnight.

• Revolutionizing Urdu Poetry:

  • Before Firaq, Urdu poetry was largely sentimental and detached from life's realities, revolving around themes of wine and beauty.
  • Firaq viewed poetry not as a personal diary but as a reflection of what one aspires to become, not just what one is.
  • He believed true poetry transcended mere descriptions of beauty and love, seeing love as a refined essence forged in the crucible of life.
  • His poetry aimed at discovering universal beauty rather than just expressing personal sorrow.
  • He presented a holistic view of life, acknowledging both good and evil, and seeing humanity as a blend of divine and satanic qualities.

• Influences and Evolution:

  • His early work was influenced by poets like Aasi Ghazi Puri (for Rubaiyat), Josh Malihabadi, and Momin.
  • He later developed a distinct style, bringing intellectuality and subtlety to Urdu poetry, moving away from mere sentimentality and impulsiveness.

• Contribution to Ghazal and Rubaiyat:

  • Firaq is considered a classical ghazal writer in Urdu literature, but he also made unique contributions to Rubaiyat.
  • He transformed the ambiance of the ghazal and gave a new form to the Rubaiyat.

• Empathy and Humanism:

  • He felt immense sympathy for the struggling and downtrodden human being, who, despite facing life's harsh realities, never surrendered. He deeply respected human endeavor.
  • He acknowledged humanity's mistakes but remained optimistic about its ability to overcome challenges.

• Poetic Philosophy:

  • He believed in "Art for Art's Sake," where both inner and outer beauty constituted poetry.
  • He wrote passionate ghazals fueled by love, and sometimes revolutionary nazms influenced by life's experiences, followed by spontaneous expressions of love.
  • He was against writing commissioned works, believing poetry should stem from innate inspiration.
  • He compared writing poetry to crying – it happens out of compulsion and helplessness, even if it doesn't provide direct benefit.

• Innovation and Criticism:

  • Firaq introduced new words, unique similes, and captivating imaginative elements into his ghazals, Rubaiyat, and nazms.
  • This led some to accuse him of "meaningless verbosity."
  • He wrote numerous poems, ghazals, Rubaiyat, and free verses. He was also a keen critic, with his ghazals and especially his couplets being highly regarded.
  • His style was described by fellow poet Jigar Moradabadi as constantly changing. Firaq countered that great poets are versatile.
  • He was criticized for rough expression and linguistic quirks, but he argued that his nuanced and elusive emotions could not be confined to rigid structures or traditions. He urged readers to focus on the inner essence of his work rather than its form.

• Legacy and Recognition:

  • Firaq Gorakhpuri is considered one of the most accomplished ghazal poets of modern Urdu literature. His profound exploration of emotions, swift imagination, richness of language influenced by Indian languages, synthesis of Hindi and Urdu forms, and psychological subtlety in depicting love and beauty are rarely found elsewhere in Urdu literature.
  • He successfully harmonized the poet's emotion with contemplation, creating impactful art and realizing his literary vision.
  • His experimentalism was seen by some as a literary rebellion. Traditional poets found his style unfamiliar.
  • While facing criticism, he also garnered a devoted following. He believed artists should engage in debates to define their aesthetic tastes and foster a conducive creative environment.
  • He was a proponent of progressive literature but warned against narrowness and the neglect of rich ancient heritage, emphasizing the need to internalize the spirit of ancient literature. He believed literature without the soul of ancient traditions would be directionless, like a kite with a cut string.
  • Firaq embodied both the richness of tradition and the strength of experimentation, a rare combination in contemporary times. He is considered among the finest Urdu ghazal poets, alongside Mir Taqi Mir and Mirza Ghalib.
  • During his hospitalization in 1943, even in a serious condition, he continued to recite poetry, transforming the hospital atmosphere into a lively mushaira.
  • His pseudonym "Firaq" means separation, which he embodied in both life and death. He wrote 40,000 couplets in the last 60 years of his life.
  • He was a living legend in Urdu literature, honored with awards like the Padma Bhushan, Sahitya Akademi Award, and Soviet Land Nehru Prize. Most notably, he was the first and only Urdu writer to receive the Jnanpith Award (1969), considered equivalent to the Nobel Prize.
  • However, the booklet emphasizes that no title surpassed his poetry, solidifying his status as a creator not just of Urdu but of Indian literature.
  • Firaq Gorakhpuri passed away on March 3, 1982, at the age of 86. His departure left a void, but his words provided a continuation, as he suggested his legacy would inspire new verses.

About the Author (Kumarpal Desai): The booklet also includes a brief biography of the author, Kumarpal Desai, highlighting his birth in 1942, his academic achievements (MA, PhD from Gujarat University), his career as a professor, his roles in literary organizations, and his prolific writing in various genres like research, criticism, editing, children's literature, journalism, and sports. His notable works and awards are mentioned, including a national award for his children's book.

In essence, the booklet provides a comprehensive overview of Firaq Gorakhpuri's life, his evolution as a poet, his philosophical depth, his struggles, and his enduring impact on Urdu literature, presented through the lens of Kumarpal Desai's insightful writing.