A sensitive poet of protest

By

Amar Nath Wadehra

Naghma-e-ehsaas by Maikash Ambalvi
Educational Publishing House. Pages: 148. Price: Rs. 125/-

Tu apney nasheyman mein akayla kyon hai/ ehsaas kay aangan mein akayla kyon hai/ baadal nay yeh rotay huyey poochcha mujh say/ iss saal tu sawan mein akayla kyon hai (The clouds wept and asked me why in this Sawan am I forlorn in my nest, lonely with my feelings)

Life has variegated influences on a poet’s worldview and, hence, his work. During youth, his take on various issues is exuberant and optimistic. With the passage of time his insights acquire greater depth lending gravitas to his work. This is true of Maikash Ambalvi who, way back in early-mid 1950s, was a member of a group of dedicated Urdu writers and poets in Jodhpur – that included such accomplished litterateurs as Mahmood-ul-Hassan Paras Jodhpuri and Khurshid Ahmed Sahar Jaipuri – of which I too was a part, albeit less as a wordsmith and more a listener. Even then he was essentially a sensitive and reflective soul. This collection conveys the distance Ambalvi has travelled over the decades; the initial rose tinted golden hues have taken on more sober and, frequently, darker shades. His carefree laughter and lighthearted grin has now given way to a smile with myriad meanings tempered with pain and deep introspection; as he says in one of his ghazals, “Dukh kay aansoo dariya dariya/ sukh kee yadein shabnam shabnam (tears of pain are like rivers while happy memories are like dewdrops)”.

Not that he cowers in the face of vicissitudinous life, “Majboori-e-hayaat say jab vaasta pada/ yeh mera haunsla tha ki main muskura pada (When I experienced helplessness in life it was my fortitude that enabled me to smile)”. He casts a sardonic eye at the society at large, “Dikhavey ka zamaana hai vazadaari zyaada hai/ mohabbat kamm logoen mein adakaari zyaada hai (There is more pretence than essence, less love and more affectation)”; he also comments on the ways of the world, in which he finds himself an odd man out, “Logoen ko iss jahaan mein khuda kee talaash hai/ hum ko talaash hai kay koyee aadmi milay (While people are in search of god I am looking for a human being)”. Indeed, life teaches us many lessons. One learns to sort out the emotional aspect and look at things in a more pragmatic manner in order to remain connected with the society, hence, “Jaisey ho doston say nibhatay chaley chalo/ kho dogay doston ko agar aazmaogay (Persevere with your friends whichever way you can, if you test them you lose them)”.

His sympathy for the strugglers in life, especially the toiling masses, comes through in these quatrains, “Haalaat kay chehray pay thakan ho jaisay/ dukhta hua her shai ka badan ho jaisay/ yeh teera-o-khamosh fazayein Maikash/ mahaul mein sadiyon say ghutan ho jaisay (As if the circumstances have got tired and everything is in pain, these silent and convoluted winds indicate that for centuries the atmosphere has remained asphyxiated)”; and, “Haalaat kee aandhi kee udaano mein rahey/ haan bey-dar-o-deewar thikaano mein rahey/memarey-watan mulk kay mazdoor awaam/ ikk umr hee tareek makaano mein rahey (The labourers remain caught-up in storms, these nation builders stay in abodes that neither have doors nor walls)”. Understandably he is trenchant in his comments on the political class, “Yeh siyaasatdaan kya rasta dikhayengay hamein/ rehnuma jab insay hon tow rehnumayee ho gayee (What guidance can politicians provide to us? With leaders like these, whither leadership?)”.

With so much misery around him Maikash is deeply disturbed. He turns on the Almighty too, “Bahut hairaan hongay woh teri shaan-e-khudayee per/ woh jin logoen ko tuunay zindagi bhar gham deeyay hongay (They will be greatly surprised at your divine splendor, those whom you inflicted with pain/sadness)”

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