Book & Author
Saiyid Ishrat Husain: Raeburn and Akbar
By Dr Ahmed S. Khan
Chicago, IL
Syed Akbar Husain aka Akbar Allahabadi (1846-1921) was a great Urdu poet who pioneered a unique style of humor and satire (Tanz-o-Mazah) for criticizing and reflecting on the changes and aberrations in social values and attitudes. During the British Raj, his keen eye and sharp observation focused on the impact of the Raj on the political, social, cultural, economic, religious conditions and values, and recording them using satirical poetry which earned him the title of Lisaan-ul-Asar (The Voice of the Times).
Akbar’s poetry covers a very critical and transformative period of history; after the failure of the 1857 War of Independence, the Mughal king’s influence started to diminish as the East India company came hard on Muslims to strengthen its Raj over India. Muslims lost their political and economic clout. Urdu and Persian languages were replaced by English. Lord Macaulay’s educational policies and curricula impacted Muslims adversely. Akbar Allahabadi used an innovative approach — Tanz-O-Mazah (humor and satire) mixed with English words — to describe the impact of the Western cultural tsunami viz a viz the British Raj in India, especially on the Muslim society. Reflecting on this new reality, Akbar observed:
Qabliyat to bhoo’haat BaRh gayi MashaAllah
Mugar Afsoos yahe hay ka Muslmaan na rahay
Qualifications have been enhanced, With the grace of Allah
But what a pity, the Muslim identity is lost
Farsi Uath gayi Urdu key woo Izzat na rahee
Hay Zubaan Muhn main magar Iss key who Quwaat nah rahee
Farsi has been abolished, Urdu has lost its respect
There is still tongue in the mouth, but it has become impotent
Raqee’booN nay rapat likh’wayee hai Ja ha kay thaw’nay maiN
Kay Akbar Naam Lai’tah hay Khuda ka iss Zama’nay maiN
The opponents keep on visiting police station to register complaints
That in these times, Akbar still believes in God
Hum Aah bhi kartay haiN to hoo jatay haiN badnam
Woo Qatal bhi kartay haiN to chur’chaa nahaiN hota
We sigh and get into trouble
They commit murder and remain Scot-free
Paney Peenah paRa hay pipe ka
Hurf paRhna paRah hay type ka
Water has to be drunk coming out of pipe
Word has to be read of the typed form
Darwin Sahib Haqee’quat say neha’yat dur thay
maiN na manooN gaa kay mooris Aap kay langoor thay
Darwain remained quite far from the reality
I will not agree that your ancestors were baboons
Baa’any bander say In’saaN Taraqee Iss koo Kha’tay haiN
Taraqee per bhi native budnasee’bee Iss koo Kha’tay haiN
We became human from Monkey, that is called progress
On top of this progress, being native, that is called luckless
ChoR literature ko apnee history ko bhool jaa
Shaikh-o-Masjid say Tal’luQ turk kar School jaa
Char dinn key zindagee hay koft say kaya faida
Khaa Double rotee Clerkee kar Khushee say phool jaa
Leave literature alone, forget about your history
Disconnect with Imam of Masjid and go to School
Life is short, no point in getting disappointed
Eat bread, be a clerk, and swell with happiness
Akbar Allahabadi’s son, Saiyaid Ishrat Husain, who was studying in England, once procrastinated in writing to his father. Akbar wrote a nazm (poem), it starts with the couplet:
Ishrati Ghar key mohabat ka maza bhool gaye
Khaa kay London key hawa, Ehed-e-wafa bhool gaye
Isharti forgot the taste of his homeland
After inhaling London’s air, forgot how to remain loyal
Akbar Allahabadi, a Sessions Judge in Allahabad, was a down to earth person and believed in introspection. Once he observed: “One day I was telling my son Ishrat miaN, that during my entire life, I have made fun of and smiled at English culture, but in the end the English culture — by producing a clean-shaven son standing in front of me — is laughing at me and making fun of me.”
Raeburn and Akbar edited by Saiyid Ishrat Husain, was published in April 1927, and later republished in June 1964, by Syed Muhammed Muslim Rizvi of Akbar Allahabadi Academy, Karachi. The booklet contains works of Henry Raeburn (1756 – 1823), a Scottish artist who served as portrait painter to King George IV, with poetic commentary by Akbar Allahabadi.
In the preface, Saiyid Ishrat Husain observes: “These verses were written on March 16 & 17, 1915. My dear father was visiting us in Jaunpur. I used to reside in Zafarabad. I had a good collection of English books that I keep with me. At Ishrat Manzil, Allahabad, there is a similar collection of Urdu and Persian books. My father is an avid reader, mostly of philosophical and intellectual humor. Whenever he visited my place, he used to read my English books and sometimes he used to borrow books from my collection; he took Foundations of Belief by Lord Arthur James, Balfour and Religion and Reality by Professor Tuckwell. Especially, he spoke of the latter book, and said that this book is in favor of Islam. My collection is very diverse; I have a couple of volumes of Jack’s Masterpieces in Color; which lists the biographies of world’s top artists and contains eight selected paintings of each ; these are short books. Each artist has his own book. One day in the evening, when I returned from court, I found my father glancing through the book about Reaburn. I said are you looking at the pictures, he replied well not exactly, I have written verses under some pictures. I said that now this book has become valuable. The book was returned to my library…After the passing away of my father, I pondered over publishing his unpublished work, and in the process, I came across the verses on the Reaburn book. Publishing just the verses was futile; the verses were reflective of the pictures. If verses could be read in presence of the pictures only then one can become familiar with the observations and emotions of the poet. I mentioned this book to Mr Richard Burn (CSI, ICS, who was later knighted and became Sir), Member, Board of Revenue, for the states of Agra & Oudh. He was appreciative of my father and very kind to us. He wanted to see the book. I presented him the book. He said leave the book with me and I will see what can be done. People in the UK had the copyright of all pictures. The book remained with Mr Burn. When he went back to the UK, he strived to get me the permission to publish the pictures. I am thankful to the people who were the owners of the copyright. And I have no words to thank Sir Richard Burn for his efforts. With this brief foreword, the readers can enjoy the pictures and verses. Ishrat Husain, Hardoi, April 1927.”
In the foreword, Syed Muhammed Rizvi of Akbar Allahabadi Academy, Karachi, writes: “Raeburn aur Akbar was first published in 1927, and now after 34 years it is again being published in Pakistan. The book is a short one; it contains only seven pictures. The poet has wrapped these pictures in his verses, making them immortal. The pictures can be erased but the words remain. First look at the picture, and whatever thoughts and impressions come to mind, retain them, and then read the verse. You will feel that the verse is representative of your thoughts and impressions. Or you can read the verse about the picture first and then observe the painting. After reading the verse, you paint a picture reflective of the verse in your mind; Does it not resemble the picture painted by the artist? The artist, with the help of a brush and the colors, has transferred his ideas on the canvas; the poet through his elegance of poetic narration has made the picture alive; both are artists performing in their own domains. Akbar Allahabadi Academy presents the first book to you. We sincerely hope, soon the academy will publish more books related to Akbar Allahabadi. Syed Muahmmed Muslim Rizvi, Nazimabad, Karachi, June 1964.”
Commenting on Raeburn’s paintings, Akbar had observed:
Yah Wajahat Hoo Too Ikhlaaq key Hajaat kaya hay
Aaysee surat hoo to Mainay key Zarurat kaya hay
With this kind of grace, who needs etiquette
With this kind of face, who needs the meaning
Aap Key Khoobe’yooN main Shoo’bah Nahi
Mujko laikin Nahi hay Juraat e Ishq
There is no doubt in your attributes
But I do not have the courage to express the love
Naa RindooN kay lia Mozoo naa Deyaa’nooN kay Laiq
Yah Dahaj bhi Khob hai laikin Shifa’khaa’nooN kay Laiq
Not suitable for the drunkard, Not to be deserved by the crazy
This stature is wonderful, but most appropriate for the hospitals
Sha’gufta’rui hay Aisee ka phool Hay’raaN haiN
Ba’ghair Isq ka hum Aap kay Sana’khawaN haiN
What a blooming beauty, even the flowers are bewildered
Without expressing love, I am reciting your praise
YaqeeNone Aaisee Baankee Wazah ka main dil say myal hooN
Na hooN Shagird taa’ham Unn key Ustadadee ka Qaiyal hooN
Indeed, my heart is inclined to such a delicate style
I am not a scholar, but acknowledge his acumen
Raeburn and Akbar is a rare historical booklet; it reveals the multifaceted personality of Akbar Allahabadai, Lisaan-ul-Asr, the voice of the Times; Urdu readers will find it an interesting read.
[Dr Ahmed S. Khan ( dr.a.s.khan@ieee.org ) is a Fulbright Specialist Scholar (2017-2022)]
