तुफैल साहब एक बार कराची (पाकिस्तान) गये थे वहाँ उन्होंने कुछ मुशायरों और साहित्यिक गोष्ठियों मे शिरकत की। वहाँ के सबसे विख्यात अंग्रेज़ी अखबार डान मे संवाददाता हसन आबिदी ने उनकी उपस्थिति की रिपोर्ट प्रस्तुत की थी। मित्रो के लिये ये रिपोर्ट उपलब्ध कराई जा रही है कि देखे पकिस्तान वाले तुफैल साहब के बारे मे क्या राय रखते हैं —
“Vinoy Krishna Chaturvedi from Kashipur, Nainital, India, as a poet is known as Tufail Chaturvedi. He was in Karachi recently and in a couple of mushairas held in the city last week, the young man won much applause.
Chaturvedi does not seem to be a traditional mushaira poet. With his erudition and eloquence and sharp memory, he will confront one with many surprises. His up-to-date knowledge of Urdu literature, its major classics and of literature produced in other Indian languages – Hindi, Marathi, Punjabi and Gujarati – are noteworthy.
Trained in commerce, Chaturvedi brings out a literary magazine Lafz (the word) in Devnagri script with some of the contents in the original Hindi and some transcribed from Urdu. His passion is to introduce modern Urdu writings – mostly humour – and young Urdu poets to Hindi readers.
At a literary sitting jointly organized by the Fiction Group and the Pen for Peace, hosted by columnist/poet Saba Ikram, the visitor expressed his views on literary issues in plain words. He introduced to the audience scores of young ghazal writers and their ghazals, never heard at any forum here.
Chaturvedi finds absolutely no difference between Urdu and Hindi and believes that only the script divides the two languages. Urdu had deep roots in Indian soil and it would survive against all odds, he said. “The ghazal is such a popular poetic form that it is being written in Gujarati, Marhati, Punjabi and Bengali.”
But for how long will Urdu survive without an economic base and meaningful economic activity attached to it? I asked. He said mushairas also comprised an economic activity as a source of living for many families. But that was not enough; in fact, Urdu had some basic drawbacks rooted in its past. Writers engaged with ‘darbars’ and the elite classes confined it to their use. They did not allow it to reach the common people.
Polishing and cleansing of the language was their favourite pastime, they used to weed out words that were coarse and indelicate to them and did not allow new words to enter into their so-called literary sphere.
Urdu, therefore, could not emerge as a common man’s language. For example, Urdu’s prose treasure after 200 years was a thin volume of Mirza Ruswa entitled Umrao Jan Ada.
Chaturvedi felt sorry for the critics who were dogmatic in their views and were indifferent to new writings and to the aspirations of young people. The critics admired Ghalib, who was a rebel in his time, but refused to acknowledge the ‘rebels’ of their own time.
Urdu should be brought out from its narrow habitat of poetry and it should be linked with the vast economic area of activities. Its sphere of appeal would thus expand, and its literature enrich, he remarked.
Thousands of Hindi language readers had read Aab-i-Gum by Mushtaq Ahmed Yusafi in the Devnagri script and only a few hundred might have read it in the Urdu script, he said. This was an obvious comment on Urdu’s limited reach in India because of its script.”
by Hasan Abidi
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प्रस्तुति –मयंक अवस्थी