Tum Hi Meri Tamanna Ho ( You Are The My Desire ): Exploring the Poetry of Mudassar Fadal Mujeeb | New Genres In Urdu Literature | Reviews

       "Tum Hi Meri Tamanna Ho" by Mudassar Fadal Mujeeb published in 1997 by Takhleeqat Lahore is a groundbreaking poetic collection by Mudassar Fadal Mujib, heralding a new era in Urdu literature with its inventive approach. This masterpiece introduces pioneering genres like free-verse ghazals and dialogue ghazals, skillfully blending the rich traditions of Urdu poetry with modern innovation. Through its exploration of love, longing, and the human condition, Mujib crafts an intimate journey that captivates readers, offering both emotional resonance and literary freshness. In this post, we’ll explore the nuances of his poetry, highlight critical acclaim from literary giants, and delve into verses that redefine the boundaries of poetic expression. Whether you're a seasoned admirer of Urdu literature or a curious reader, this collection promises to enthrall and inspire. Whether you’re a devoted poetry enthusiast or curious about modern innovations in Urdu literature, this collection promises to leave a lasting impression.

Review By Farhat Abbas Shah

Journey Of Azad Ghazal (Free Verse poem)

Among our famous enlightened writers, there is a group full of new poetry, but the old poetry is not seen in it. There is a class that emphasizes the need for new experiences in poetry or literature, but by experiences, it means personal experiences or only self-interested experiences. These people have neither been able to give anything to literature before, nor are they giving anything now, and neither is there any possibility in the future. 

In the universe of creativity, the great poets are the ones who cause the sky of literature to shine and after them, the people who maintain this light and lit a lamp from a lamp are those who make these experiences part of their creative selves and proceed with experiments with full self-confidence. Our literature and society both need creative people like this. According to me, Mudassar Mujeeb is one such poet who integrated the style of the latest ghazal in the present era with his creative system and has been able to touch the modern sensibility according to his creative ability. For those who fear the name of Azad Ghazal, this is definitely a very scary case for them.

~ Farhat Abbas Shah

Review By Adeem Hashmi

New literature requires new criticism and observation. Conversational ghazal and conversational independent ghazal are completely new genres of poetry at this time. At present, many people have not even accepted these genres, so whatever is written for these ghazals at this time is definitely a new approach and new writing. 

Definitely to test new genres, a new vision, and Critical Approach is required. As I myself am one of the pioneers of conversational poetry, anything I say will be considered biased. Therefore, I will only say that the book under the supervision of Mudassar is definitely an addition to Urdu Ghazal, and it is another proof of the acceptance of dialogue Ghazal. The evidence speaks for itself.

The people who thought that conversational poetry was a futile experiment and there was no more potential or scope in it. Their opinion has been proven wrong too soon.

The book is definitely refreshing. This spread of dialogical or dialogic independent poetry can be declared now guaranteed ultimate literary freshness for the next ten to fifteen years.

~ Adeem Hashmi

Review By Professor Ali Akbar Mansoor

Promotion of Azad Ghazal

The creative process is against the state of inertia of any aspect or part of life and universe. Hence, creativity and inertia are opposite realities. The true spirit of all human progress and development is the inner creative process of man and the universe and their intermingling. The relationship between man and the universe is actually creative. The harmony of man's creative self determines the distance between man and the universe. The more creative a person is, the more clear and clear his inner vision is about the universe.

Creative insight is the basis of human individuality. Creative expression is always unique and full of novelty. Just as the creative process continues in the universe and human life, this law is also applied in human literature and art. In the world of literature, two attitudes are in conflict. One attitude is that of delusional humans who lack the importance of accepting any kind of natural creative change. As a result, people who are absolutely devoid of creative insight try and fail to create resistance against all creative behavior. This behavior is like an unnatural urge to stop a bud from blooming and trying to stop it.

An artist with a creative self, thanks to his inner vision and direct experiential connection with the universe, feels every change of time and universe, but also is the majesty in it. With him, the attitude called stagnation is impossible. Such a writer and poet makes any creative neo-literary gradual change a part of his identity. Rather, it is a requirement of his nature. In literary and philosophical evolution, this element leads to the defeat and execution of outdated patterns and dead theories. And it is the key to advancement.

In Urdu literature, certain specific sick attitudes have prevailed. There have been many interpretations of these mixed, unnatural, and certainly uncreative behaviors, and attempts have been made to convert them into beliefs and traditions. In this work, there is a whole group that was the product of a certain exploiting class, and that exploiting class, one of many forms of which was martial law, produced a batch of fake writers, poets, and journalists. The aim of this was to cut off as much as possible a human institution like literature and its effects from the social and civilized circle. Our tragedy is that Ahmed Nadeem Qasmi, Ataul Haq Qasmi, Hasan Rizvi, Nazir Naji, and countless others like them have been highlighted to such an extent in the Urdu literature scene and all print media and electronic media have been illegitimate for this purpose. It was used to the extent that writers, poets, and journalists were taken to be these few people on both the international and national level, and this sad situation still persists, but society recognizes their negative attitudes, loyalties to the exploitative class, and privileges and personal relationships. Gradually, not only the hearts of people have been broken by the abundance but also a resistance against them has been created.

The common man of our society now gradually does not want to give more importance to them than show business-related items. The fake literary school in Pakistan has also regularly produced a trained generation of its own who are uncreative in themselves and have the same motivations as their forefathers. Many names can be counted among them. Abbas Tabish, Akhtar Shamar, Aftab Hussain, and countless other mentally retarded people from the same class are included. In the same literary situation, the character and creative harmony of a young man is very novel and enviable, who is naturally attracted to genres such as Azad Ghazal and dialogic Azad Ghazal. I am referring to Mudassar Fadal Mujeeb, who is highlighting his creative impressions in the same inhuman crowd.

In any genre of literature, merely experimenting or subverting doesn't achieve the status of evolution or creation. There are many such nonsense experiences in literary history, especially in the form of poetry by people like Zafar Iqbal. In my opinion, the creative proof for every poetic experiment should be present. The real truth in poetry is poetry and not composition and genre. Therefore, the experience that is just full of destruction in structure and form and full of reactionary elements instead of evolution in poetic possibilities, then such a poetic experience will definitely be uncreative and based on poor quality planning. Mudassar Fazil Mujib first proved his poetic existence and later associated himself with this stream of creative movement. In which there are the most modern poetic figures and poetic experiences of the era and in which there are highly creative geniuses like Farhat Abbas Shah.

Mudassar Fazil Mujib's poetry is full of the natural and pure poetic life of his age. It is rich and has a lot of intensity, which is the reason for his continuous creativity, light, and expression. This is the real creative force, which is clear proof of the vast poetic potential of Mudsar Fazil Mujib.

~ Professor Ali Akbar Mansoor

It's time to look at the modernization of the thoughts and creativity of Mudassar Fadal Mujeeb. Here is the critical analysis of "Kaha Usne kai Mere Khawab Mai Tum bhi Pareshan the" (He said that you were also troubled in my dream), a free verse dialogue ghazal from whose third Sher name of the book is taken and "Ja kai Farhad sai Mai Pouchon ga" (I will Go & Ask Frahad, a famous lover in Persian literature), a free-verse Ghazal.

Kaha Usne Mere Khawab Mai Tum Bhi Pareshan the

Original Urdu Version:

کہا اُس نے کہ میرے خواب میں تم بھی پریشاں تھے

 کہا میں نے کہ تیرے خواب میری اک حقیقت ہے

کہا اُس نے زمانے میں کہاں سکھ چین ملتا ہے

 کہا میں نے مرا سکھ چین تو یادیں تمہاری ہیں

کہا اس نے کہ میری جاں مرا ایمان بھی ہو تم 

کہا میں نے یقین جانو تمہی میری تمنا ہو

کہا اس نے پڑے ہو کیوں مرے آنچل کے پیچھے تم

 کہا میں نے نہیں یہ آنسوؤں نے بھیک مانگی ہے

کہا مجھ کو بتا کیسی ہے اب دل کی تری دھڑکن 

کہا کیسے بتا دوں یہ تمہیں میں راز کی باتیں

English Translation:

He said, "In my dream, you seemed restless too."
I replied, "Your dreams are one of my reality."

He asked, "Where does peace and comfort exist in this world?"
I answered, "My peace and comfort lie in your memories."

He said, "My life, you are my faith as well."
I replied, "Believe me, you are my only desire."

He asked, "Why do you linger behind the veil of my scarf?"
I answered, "It is not I, but my tears that have begged."

He said, "Tell me, how are your heartbeats now?"
I replied, "How can I share with you the matters of secrets?"

Critical Analysis of the Poem

This poem from Tum Hi Meri Tamanna Ho by Mudassar Fadal Mujib is a heartfelt conversation between two lovers that explores themes of emotional intimacy, longing, and the complex interplay between reality and dreams. Through its innovative use of free verse dialogue, the poem transcends traditional Urdu poetic forms, bringing modernism and raw vulnerability to the forefront.

Exploration of Love and Reality

The opening lines establish a poignant connection between dreams and reality. When one lover expresses concern about the other’s restlessness in a dream, the response—"Your dreams are one of my reality"—captures the depth of their bond. The poet blurs the lines between the tangible and the imagined, suggesting that love transcends conventional boundaries and resides both in waking life and subconscious thought.

Themes of Solace and Memory

The second couplet delves into the search for peace and comfort. In a world where solace seems elusive, the speaker finds it solely in the memories of their beloved. This sentiment reflects the universal human experience of cherishing loved ones in times of emotional turmoil, making the poem relatable and deeply touching.

Love as Faith and Desire

By declaring the beloved as both "faith" and "desire," the poem elevates love to a spiritual plane. The lover’s unwavering devotion and the mutual acknowledgment of desire highlight the all-encompassing nature of true love—one that offers both purpose and passion.

Expression of Vulnerability

The dialogue about tears "begging" for refuge behind a scarf introduces a moment of raw vulnerability. The speaker admits to emotional fragility, revealing that love often entails laying bare one’s innermost feelings. This imagery of tears seeking shelter adds an evocative layer to the poem, symbolizing both pain and humility in love. The poet masterfully conveys vulnerability through understated metaphors and tender expressions. The imagery of "tears begging for going behind the veil" is especially poignant, reflecting a love so profound that it transcends pride and ego. It reveals a lover who has surrendered fully to their emotions, seeking solace even in moments of despair.

Secrets of the Heart

The final couplet, where the speaker hesitates to reveal the secrets of their heart, embodies the inherent mystery of love. Some emotions are too profound, and too sacred to be articulated. This restraint speaks to the depth of their connection, where understanding often transcends words.

Modernity in Traditional Context

Mujib’s use of free verse ghazal and dialogue poetry breathes fresh life into Urdu literature. By eschewing rigid rhyme schemes, the poet focuses on the fluidity of thought and emotion. This approach aligns with modern sensibilities while retaining the lyrical beauty of classical Urdu poetry. Mujib's innovation lies in his ability to stay rooted in the classical traditional style of Urdu poetry while incorporating elements of modernism. The use of free verse and dialogue ghazal lends a freshness to the narrative, making it accessible to contemporary readers while preserving the richness of its linguistic and cultural heritage.

Conclusion

This poem is a masterful exploration of love’s multifaceted nature—its joys, sorrows, and spiritual depth. Through the intimate exchange of emotions, Mudassar Fadal Mujib captures the essence of what it means to love and be loved. The innovative style, coupled with profound emotional resonance, cements this poem as a standout piece in Tum Hi Meri Tamanna Ho. It speaks to the timeless yet ever-evolving nature of love, making it a treasure for readers of all generations. This poem is a delicate and profound exploration of love, longing, and vulnerability. Written in the form of a dialogue, it combines free verse and ghazal traditions to create a deeply emotional conversation between two souls bound by unspoken truths and mutual understanding.

Ja kai Farhad Sai Mai Pouchun Ga

Original Urdu Version:

جا کے فرہاد سے میں پوچھوں گا

 تُم جُوئے شیر کیسے لائے تھے

عشق اک لازوال جذبہ ہے

جو کبھی موت سے نہیں مرتا

یہ محبت بھی کیا عجب شے ہے

جس سے ہوتی ہے وہ نہیں ملتا

مجھ سے وہ لاکھ چاہے منہ موڑے

میری آنکھوں میں اس کا چہرہ ہے

آدھا چھپتا ہے آدھا دکھتا ہے

چاند تیری ادائیں سیکھ گیا

English Translation:

I will go and ask Farhad,
How did you bring the stream of milk?

Love is an eternal emotion,
It never dies with death.

This love is such a strange thing,
The one you love is the one you never get.

Even if he turns his face away from me a thousand times,
His face still resides in my eyes.

Half hidden, half revealed,
The moon has learned your ways.

Critical Analysis of the Poem

This poem from Tum Hi Meri Tamanna Ho reflects the timeless essence of love, its eternal endurance, and its bittersweet nature. Through its verses, Mudassar Fadal Mujib intricately weaves classical imagery with contemporary emotional depth, creating a poignant exploration of human emotions and experiences.

Homage to Tradition

The opening poetic verse, "I will go and ask Farhad, how did you bring the stream of milk?" immediately anchors the poem in the rich heritage of Persian and Urdu literature. Referencing the legendary tale of Farhad and Shirin, the poet evokes the image of insurmountable challenges in love. This sets the stage for the central theme of the poem: the boundless, self-sacrificial nature of true love, which demands extraordinary devotion.

Eternal Love and Mortality

The line "Love is an eternal emotion, it never dies with death" captures the universality of love as a force transcending time and mortality. By declaring love’s permanence even in the face of death, the poet elevates it to a spiritual realm, resonating with the Sufi tradition of love as a divine, unending connection. It is a reminder that love, once kindled, becomes a part of the soul’s fabric, untouched by worldly limitations.

The Irony of Love

The verse, "This love is such a strange thing, the one you love is the one you never get," strikes at the heart of love’s paradoxical nature. Mujib encapsulates the anguish of unfulfilled love, a recurring theme in Urdu poetry. This line reflects a reality many can relate to—the ache of yearning for someone who remains out of reach. It is a masterful depiction of love’s irony, where longing often defines its intensity.

Unyielding Devotion

In "Even if he turns his face away from me a thousand times, his face still resides in my eyes," the poet delves into the undying devotion of a lover. The beloved’s presence is eternal in the lover’s mind and heart, even in rejection. This speaks to the resilience of love, which persists despite distance or disregard, illustrating a love that is unconditional and unwavering.

Imagery and Metaphors

The poem concludes with the stunning imagery of the moon learning the beloved’s ways:
"Half hidden, half revealed, the moon has learned your ways."
This metaphor is both tender and profound, portraying the beloved’s enigmatic allure. The moon, a classic symbol of beauty and mystery in Urdu poetry, mirrors the beloved’s charm. The poet personifies the moon, attributing to it the qualities of the beloved, making it a silent witness to the lover's admiration and yearning.

A Blend of Classical and Modern

Mujib’s use of classical references like Farhad and universal themes of love ties the poem to the traditions of Urdu literature. At the same time, his conversational tone and direct expression of emotions lend it a modern sensibility. This blend allows readers from all walks of life to connect with the poem’s sentiments while appreciating its literary richness.

Conclusion

This poem is a beautiful testament to Mudassar Fadal Mujib’s ability to capture the timeless essence of love while infusing it with modern emotional depth. Its exploration of love’s challenges, its eternal nature, and its bittersweet realities resonate with the reader on a deeply personal level. The poem leaves a lasting impression, reminding us of love’s profound beauty and its ability to transcend time, space, and even rejection. Tum Hi Meri Tamanna Ho continues to be a treasure trove of emotions, offering a poetic journey that is both intimate and universal.

Final Post-Concluding Comment By Writer, Hadi Muhammad Iqbal:

      Tum Hi Meri Tamanna Ho by Mudassar Fadal Mujib stands as a monumental contribution to modern Urdu literature. Through its innovative poetic forms and heartfelt themes, it bridges the gap between tradition and contemporary expression. Each verse reflects a deep understanding of human emotions, captivating readers with its authenticity and beauty. This collection not only introduces new dimensions to poetry but also inspires a renewed appreciation for the evolving art of Urdu literature. It's a must-read for anyone seeking a blend of innovation and timeless elegance in poetry. 

Note: The analysis and explanation of Shayari are based on the most popping meaning of the listed Shayari of the poet. A Shayari can have different meanings and explanations for different people with different mindsets, understanding, and beliefs. 

Pictures are taken by Adab Ka Badil From and of the book, Tum ni meri tamanna ho, and translation of the reviews on the book is also done by us. Translation of poetic pieces in pictures:

Pic 2:                  She says time has changed everything

                           I say my heart's season hasn't changed yet

Pic 3:                 "Mujeeb," He said, "You are accused of stealing"

                           I said, not me, the flowers have stolen your color.

Pic 4:                 Where do sleep and you stay?

                          Why both don't come in the whole night

Pic 5:                 On my head, it keeps flying

                          The butterfly of your memory

For getting a copy of this masterpiece, Tum Hi Meri Tamanna Ho (You are The My Desire) By Mudassar Fadal Mujeeb, in the Tides of Modernization in Urdu Literature please contact Takhleeqat, Lahore Publishers.

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