aaj ik aur baras biit gayā us ke baġhair
jis ke hote hue hote the zamāne mere
جوش نے نظموں اور غزلوں کے علاوہ مرثیے بھی لکھے ہیں۔ جوش کے مرثیوں میں بھی ان کا منفرد انداز نمایاں ہے۔ بلکہ جوش کو جدید مرثیہ کا بانی کہا جاتا ہے۔ زیر مطالعہ جوش کے مرثیوں کا کلیات ہے۔ اس کلیات کو عصمت ملیح آبادی نے مرتب کیا ہے۔ مرتب نے ابتدا میں مرثیہ نگاری کی اہمیت اور اردو مرثیہ نگاری کی ابتدا اور ارتقا کا سرسری جائزہ لیتے ہوئے مرثیہ میں جوش کے مقام کا تعین بھی کیا ہے۔ اس کلیات میں جوش کے گیارہ مرثیے اور کچھ سلام شامل ہیں۔ جوش کے مرثیوں میں کمال یہ ہے کہ جوش نے نے مرثیے کی زمین کو بالکل ہی تبدیل کر ڈالا ہے اور مرثیے کو انقلاب کا ہتھیار بنایا ہے۔ نیز جوش نے مرثیے کی انقلابی صنف کو متعارف کروایا۔ انہوں نے اجزائے ترکیبی اور رثائیت سے زیادہ پیغام حسینی کی معنویت پر زور دیا ہے۔ جوش نے 'آوازہ حق' اور 'ذاکر سے خطاب' میں مرثیہ کو ایک نیا رنگ دیا لیکن حقیقت یہ ہے کہ ان کے مرثیے 'حسین اور انقلاب' سے جدید مرثیہ گوئی کا آغاز ہوتا ہے۔ اور یہ تمام مرثیے اس کلیات میں شامل ہیں۔
Sahbbir Hasan Khan (1898-1982), better known as Josh Malihabadi, was born in a family of feudal masters at Malihabad near Lucknow. After receiving his initial instructions in conventional subjects at home, he continued his education in snatches at several places like Sitapur, Lucknow, Agra, and Aligarh. Following his father’s death and the attendant issues emerging thereafter, he had to discontinue his education. In 1924, he left for Hyderabad to join Dar-ul-Tajuma, Osmania University’s bureau of translation. Following a controversy, he had to leave this institution and return to his native place. In 1936, he started publishing a journal called Kaleem from Delhi which ran for three years. In 1941, he joined Shalimar Pictures at Poona and wrote lyrics for films. In 1948, he was appointed editor of Aajkal, a literary journal published by the Ministry of Information and Broadcasting, Government of India and worked there for eight years. In 1956, he migrated to Pakistan where he was appointed as literary advisor of Urdu Board. He travelled to India in 1967 and gave an interview in Bombay which led to his losing job in Pakistan. Josh breathed his last in Islamabad where he was buried.
Carrying forward the legacy that he inherited from his great grandfather, grandfather and father, Josh started writing poetry at an early age. He was labelled as a poet of revolution because of his thematic concerns and his grandiloquence. He is notable among the Urdu poets for his acute socio-political concerns on the one hand and romantic preoccupations on the other. For expressing himself with conviction, he developed an exclusive kind of charged diction and a new set of implicated metaphors. These qualities imparted an element of uniqueness to his poetry. Josh published several collections of his poetry which include Rooh-e-Adab, Shaayer ki Raatein, Naqsh-o-Nigar, Shola-O-Shabnam, Fikr-O-Nishat, Junoon-O-Hikmat, Harf-O-Hikaayat, Aayaat-O-Naghmaat, Arsh-O-Farsh, Raamish-O-Rung, Sumbul-O-Salaasil, Saif-O-Suboo, Surood-O-Kaharosh, Sumoom-O-Sabaa, Tulu-i-Fikr, Qatra-O-Qulzum, and Nawaaredaat-e-Josh. He also wrote in prose. His prose works include Nujoom-O-Jawahar, Mauja-i-Fikr, Auraaq-e-Sahar, Ilhaam-O-Maqaalaat-e-Zarreen, and Ishaaraat. Josh’s autobiography, Yaadon ki Baraat, created lots of interest among his readers, and it keeps them curious even now.
Jashn-e-Rekhta | 8-9-10 December 2023 - Major Dhyan Chand National Stadium, Near India Gate - New Delhi
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