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Fareed Parbati
Parbati was born on 4 August 1961 in Kashmir., He received his graduation in commerce from Islamia College of Science and Commerce. He obtained his M.A, and M.Phil degrees from University of Kashmir. He also received PhD in Urdu from Kashmir University in 1995. After his study he served in Kashmir Accounts Services. Later he joined as the Assistant Professor at the Department of Urdu, University of Kashmir from 2001 to 2006. He also served as Associate Professor at Iqbal Institute of Culture and Philosophy from 2006 till his death.
Fareed Parbati born Ghulam Nabi Bhat on 4 August 1961 died 14 December 2011, was a Urdu language poet and writer from Kashmir. He has written many books including poetry. He wrote in the form of poetry ghazal and Ruba'i. He was honoured with several awards including award by Academy of Art, Culture and Languages to recognise his literary work..
Parbati has written 14 books including eight poetry collections and others on criticism. His best work is on "Urdu Ruba't" that is widely appreciated.His interested form of poetry was classical Ruba'i and ghazal, he has also good knowledge of the poetry metre. He has received awards by several Institutions including Academy of Art, Culture and Languages. Parbati was acclaimed poet and writer. He was also ranked among one of the best writers in Urdu language.. He attended several prominent universities of the country to deliver lectures on Urdu literature.
Awards
Academy of Art, Culture and Languages.
Books
Aabi-Neesaan 1992
Isbaat 1997
Farid Nama 2003
Guftgoo Chaand Se 2005
Hazaar Imkaan (poetic collection) 2006
Khbari Tahayur 2007
Hajoom-I-Aaina 2010 * Hazaar Imkaan Kulyaat (collection) 2011
From : Indian Mislim Observer
Trustworthy of tradition
By Mohammad Imtiyaz Ahmad
A well noted Urdu poet of Kashmir now is not in between us. Death has occupied him during the prime time of life. He was the hope for new literary generations especially for Kashmiri folk to whom he was guide lining and supervising in a friendly and lovely manner. During his schooling, he was a commerce student but Urdu literature especially its classical poetry among that ‘Ghazal’ and ‘Rubai’ was always his field of concentration and preference.
‘Rubai’ has been regarded as a tough genre of Persian and Urdu poetry because a poet has to follow all the rules and techniques of prosody in it at every step.
This is why we are finding some of ‘Rubai’ poets here, besides of other genres or forms. But Dr. Fareed did not like to follow the way of masses; difficulties and hardships did not matter for him like of his other habits. He found here an individual and unique way. Now he has been regarded a well known Urdu Rubai poet not only in Jammu and Kashmir but in India and Pakistan also. Former H.O.D of Urdu Delhi University Prof. Ateeq Ullah has said, related to the love for Rubait of Dr. Fareed, ”Rubai is the innermost track of Fareed Parbati”.
He likes rubai because it is the short and complete form. It has its confined measures, thought of continuity and conversion. He did well experiences in his collections of Rubait ‘Fareed Nama’, ‘Khabr-e-Tahayur’(surprising news) and ‘Hajooma-e-Aina’( Crowd of Mirrors).
He did not only wrote creative writings of Rubait but also comphend and defined its art, its techniques and did a positive critical work of its main writers like Amjad, Anees, Hali, Josh, Firaaq, Sadiquean etc and did unique efforts to introducing it in new western dominized and affected literature in his books ‘Muqadima Sinf Rubai’ and ‘Tanqeed-e-Rubai’.
He has a likewise contribution of Urdu ghazal also, the most famous and essence of Urdu poetry. He was fully aware of its musical techniques, tools and tunes which has been regarded components of its art. Prof. Qudus Javeed has commented, “Fareed Parbati is aware about the situation of verse(Shair) by using different and contradiction narrations, experiences, movements and trends, nowadays Urdu poetry has reached. Fareed super consciously knows it’s all dimensions and distinctions. That is why poetry of Fareed Parbati is so much linguistic and poetic depth and thoughtful as well as aesthetical allusiveness, which is little seen in his contemperors”. (Hazaar Imkaan-P.15)
He could be said trustworthy of tradition without any exaggeration. He describes Islamic events and stories in a beautiful poetic manner. First of all he pays ‘Hamd’ to Almighty Allah and says encomium(Naat) to the Holy Prophet(S.A.W) and presented great tribute to martyrs of Qarbala(R.A).
Samie kehna,Baseer kehna, Aleem Kehna, Hakeem Kehna
Woh Apni Azmat se Khud hae wakif, usse to Rab e Azeem kehna. (Hazar Imkaan p.21)
[Let say Him most Hearer, All Seeing, All Knowing and Wisest. He knows himself, only let say him Almighty, All Powered.]
Koi Pather bi mare duain dena, yeh wahi kaam hae jo Pyare Nabi(S.A.W) karte the (p.22)
[If somebody pelts stones on you, beseach for him, this is what our prophet(S.A.W) were doing.]
Dil mein basa hae Ishq e Hassan o Husssain , Fareed Is Wajah se chamakta hae maqsoom betarah (p.23)
[The love of Imam Hassan And Hussein (R.A) is in my heart Fareed. That is why have good fortune excessively.]
He is feeling proud to follow the traditional path of Urdu poetry and construct his poetic building upon these basis. We can see the obvious and manifest effectiveness of Zaffar, Mir, Soda, Ghalib, Zooq, Dag, Amir Menai, Tasleem, Iqbal, Faiz, Hasrat Mohani, Nasir Kazmi etc in his poetry, for example these verses:-
Zaffar: Na thi jab apne hall ki khabar to rahe dekhte auroon ke aeb o hunr, padi jab apne haal pe nazr to nigah mein koi bura na raha
Fareed: Woh dosron ke aib kabhi gin nahi sakta, Nigah jisko hamesha ho apni khami par
Ghalib: Tere wade pe jiye hum, to yeh jaan joot jana, Ki khushi se mar na jate agar aetbar hota
Fareed: Mera har dukh who samajta hae Fareed apna dukh, Yehe ek zaem na karde burbaad mujhe
Ghalib: Boye gul nale dil dode chiraag e mehfil, jo teri bazm se nikla so pareshan nikla
Fareed: Shikasta aarzoo, arze tamana shoq e la haasil, teri khater to yeh sab kuch gawara kar raha hoon
Iqbal: Duniya ki mehfiloon se ukta gaya hoon ya rab, Kya lutf anjuman ka jab dil hi buj gaya ho
Fareed: Us bewafa se ab ke mohabat nahi rahi woh dil nahi raha, woh tabbiyat nahi rahi
Nasir: Dil dhadkne ka sabab yaad aaya, Woh tere yaad thi ab yaad aaya
Fareed: Baat koi zaroor hogi Fareed, yaad woh be sabab nahi aate
He himself writes, “I am always convinced by the mingling of old and new. I have started my poetry underneath that school which is called classical school of thought. The poetics is the real essence of poetry in front of me, literal and technical entire is secondary in position” (Hazaar Imkaan, p.11)
Prof. Qudus Javeed has also commented like the same narration, “The poetry of Fareed Parbati in ghazal(concluded Nazm also) strongly and confirmly keeps its base upon the traditionary ghazal but in his own style within the conditions of creativity”. (Hazaar Imkaan,p.17)
Dr. Fareed Parbati was alone and peerless in his poetic way and creative expressions. He had the insight aesthetical awareness of poetic narrative and highest form of mystical experience, discernment of human values and traditions.
Miseries, pains, sorrows and melancholies are the uncutted part of his creation and intuition. So we can see all the voices (cries) here which have grown up from the injured and broken hearts in the form of ‘AH’ (cry of pain).
Pur shor gahe zulm ke bazaar mein hoon
Gah raqs kanan husn ke darbaar mein hoon
gah peeste hai waqt ki chaki muj ko
Gah tez qadm wadei pur khar mein hoon
[Occasionally I am uproar in the market of cruelty, occasionally dancer in the court of prettiness, occasionally hand mill of time is grinding me, occasionally I am the sharp in the valley of thorn.]
These pains, sorrows and miseries are not his own alone he is participating and accepting them from others, especially from the people in the valley of paradise which has now become the place of Hell. He feels deeply the separation of a son from his parents, children from their elders, sisters from their brothers, a friend from his friends. He has himself observed the burning homes, destroyed houses, killing of youngsters, kidnapping of people. All the circumstances and conditions are in front of his eyes, so comes continuously in the layers of his mind, memory, thought and imagination and moulding itself on the pages in the form of poetry.
Most of examples related to these events are in his books, ‘Hazaar Imkaan’ (Thousand possibilities) and ‘Khabr e Tahayur’ (Surprising News) and significantly he has dedicated second one to his nation, ‘Ahl e watan ke naam’.
Mitna hae udo k sado had ko ek din
Is ghat ko, damdama ko, zad ko ek din
Gabra na jo mussalat hae ashram ke fouj
Aayen gein ababeel madad ko ek din. Khabr e tahayur (p.338)
[Be destroyed the barriers and boundaries of enemy one day. The ambush, parapet and range one day. Don't fright if most wicked army is conquered. The swallow will come to help one day.]
He didn’t lose his attitude due to these cruelties and tortures but he encourages himself and his nation to keep continue their struggle. If he discusses the cruelties, sorrows and miseries but also shows a way to get out of it.
Haari howe sarhad pe data isliye hoon mein jite howe dushman ki kabhi maat bi hogi. [I am been pitted upon the defeated boundary because of the winner enemy seldom would be checkmate.]
(Hazaar imkaan p.59)
Prof. Q.O.R Hashmi has also given clue towards it.
”From analyzing verses here and there, this is not difficult to guess that Fareed Parbati is among these poets which have a universal vision. He checks the pulse of world (Human Kind) in such a way that after feeling(catching) the shivering of life, he confidently removes them from the difficulties of miseries”. (‘Guftago Chand Se’.p. 243)
Dr. Fareed Parbati has remained always a symbol of homelessness also. He never could stay freely and flexibly at one place, now he had made a new home ‘ghar’, but death did not respite him to stay there also. So he narrates the word ‘Ghar’ home or house more than access. ‘Khawab’ dreams has also multi meaning term of his poetry. ‘Toofan’ (Tempest), ‘Rait’ (sand), ‘Paani’ (water), ‘Sumandar’ (ocean), ‘Azaab’ (Torture), ‘yaad’ (Rememberance), ‘Armaan’ (desires), ‘Umeed’ (Hope) etc, are also the key concepts of his poetic diction. He was really a versatile literally figure which we Kashmiri and Urdu world has lost. He was new hope for Mother Kashmir after Hamidi Kashmiri, who was recognizing and accepting by popular and famous contemporary seated writers.
Ah! I am thinking now, what I have lost?!!!… He was not only my teacher, my supervisor, but like my father, my friend and my counselor. What I have not lost…..!!?
‘yeh ik sawal ki reg e rawan ki manand hae,
yeh ik silsila veham o ghuman ki manand hae’
(Guftgu chand se)
Har shab jala k rakhta hoon dehleez par chiraag
Shayad ki lout aao ge umeed ab be hai
(Hazaar Imkaan)
[Mohammad Imtiyaz Ahmad is a research scholar in Department of Urdu, Jamia Millia Islamia, New Delhi. He can be contacted at tantrayimtiyaz4@gmail.com]
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