“Zindagi se dartay ho!!
Zindagi tau tum bhi ho,zindagi tau hum bhi hain..
Aadmi se dartay ho??
Aadami tau tum bhi ho, aadami tau hum bhi hain
Aadami k daaman se zindagi hai wabasta,
Os se tum nahi dartay!
An kahi se dartay ho..!!
Jo abhi nahi aai, os gharhi se dartay ho!!”
Tracking along western poetry in 20th century, Noon Meem Rashid is not tagged as a crazy follower of modern verse of West. He has paved his way in writing “Azaad Nazm” and established his dazzling distinctiveness. In the commencement of his poetic journey, he is stamped for his classical diction dominated with Persian language.
His verse is poles apart from conventional approach not only because of its treatment but due to unique themes and philosophical loom. He is not perceived for soft or silky emotions but marked as a poet of stiff feelings. In quest of emotional tussle, his obsession to find a logical solution and unfold it artistically is one of Rashid’s vision and inventiveness.
Talking about his poetic work, one may classify his pages into two branches; first “Mawraa”, “Iran mey ajnabi” and then “La= Insaan”. His poems seem to be a work of a sculptor; step by step but perfect strokes. There is a spontaneous flow of thoughts in his poems progressing in a sequence leading towards a logical ending.
Human being (Insaan) is the foremost topic of his poetry. The very helplessness of Man in the hands of Fate, Death and Omnipotent has provided the canvas to his work.
Distressed by hunger, poverty, social cruelty, crumbled religious and cultural ethics, the poet has yearned for bliss in a pessimistic mood. The exquisiteness lies in the fact that his verse is known for its figurative style, relevancy of theme and reasonable length unlike other poets of azad nazm. The main theme is well yoked by branded vocabulary that even the part becomes the whole.
“Ay meri hum raqs mujh ko thaam lay!
Zindagi se bhag kr ayah hun main…
Zindagi meray liye
Aik khooni bherhiye se kam nahi
Ay haseen o ajnabi aurat! isi k dar se main
Ho raha hun aur bhi teray qareeb…”
Like a true weaver his ideas are woven brilliantly that reminds us of Robert Browning’s poems. Few lines from “intiqaam” show that a poet is not less than a painter.
“oska chehra jis k khadd o khal yad atay nahi
Ek shabastan yaad hai…
Ek barahna jism atish daan k pas
Farsh pr qaleen,qaleenon pe seaj
Dhaat aur pathar k butt..
Gosha e deewar par hanstay huay
Aur atish daan mey angaaron ka shor…”
We may see the birds of pictorial images flying after each other beautifully showing the whole scene and do not let our concentration turn away.
“Dil meray sehra naward….” Is a pretty stretched poem soaking up a mystery trance and is marked due to its universality, sense of wakefulness and sensuousness.
The intensity of imagination and ground realities have made many of his verse quite tender and emotional like “ andha kabarhi, zindagi ek peera zan, tarruf…”
Rashid has tried to carve up some arousing and motivating verse that may convey an optimistic approach to change the world but after writing “meray bhi hain kuch khwab”, there is a kind of sourness and animosity prevailing all over the air. “La= inssan” presented a pessimistic and distrustful expression.
“Ay ajal in se mil..
K ye saada dil, na ehl e slwaat aur na ehl e shraab
Na ehl e adab aur na ehl e hisaab, na ehl e kitaab….
Faqat be yakeen…
Ajal, ye sb insane manfi hain..
Manfi zayada hain, insaan kam….”
There are dozens of poems depicting unfathomable spirituality and emotive philosophy of life like “aarzoo rahiba hai, wohi kashf e zaat ke aarzoo, hum k ashaaq nahi” with a crisp of language. The crunchy compound words, soaky metaphors and striking similes have undoubtedly specified his pages in the realm of Urdu Nazm; which has opened a thought provoking gateway not only for the literature lovers but for new writers as well.