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By Shafique Ahmed Shafique

Name of book: Dil Hai Ishqi Taj Ka

Author: Taj Qaimkhani

Compilers: Farhat Sapna, Fauzia Habib

Publisher: Idara Pehchan, A-180 Taj Chambers, New Town, Meerpur Khas, Sindh

Pages: 160

Price: Rs. 100/-

There are very rich traditions of doha-writing in Urdu literature. The poets from the time of Ameer Khusrao have been contributing to this genre. Ameer Khusrao, himself, a multi-dimensional musician and a penman of excellence, who was the pioneer of this genre, wrote quite many dohas.

There are two kinds of doha. The first one has 24 matras in one line, which is divided into 13 and 11 matras, with a pause in between 13 and 11 maters. The second line is to be followed as first line.

The second kind, free from this compulsion, is also easier than the first kind of doha. In fact, the first kind of doha-writing is difficult in view of the compulsive element of prosody. It also lacks smooth flow of pronunciation. But the second kind is easier than the first from the prosodic angle. It has a smooth flow of accent too.

Taj Qaimkhani of Meerpur Khas was a senior poet and writer. His name is prominent among the poets who are creating Dohas continuously along with Hamds, Na’ats, geets and ghazals. He has two books to his credit.

The first poetic anthology “Chhaon Sulagti Rahon Main” was published in 2000 and the other “Geet Ye Keval Geet Nahin” a collection of geets had come out in 2004. The book under review ‘Dil Hai Ishqi Taj Ka’ is an anthology of dohas published last month (December 2004).

The writes-up of Farhat Sapna and Naveed Sarosh are thought provoking. These two essays are giving not only the analytical views about the author’s doha-writing efforts but are giving a short background of doha-writing with reference to present doha-writings and doha writers.

The book is dedicated to the eminent poet, writer and mathematician Professor Khwaja Dil Mohammed (1884-1961). There is also a write-up of the author in this book, which provides food for thought.

It may be mentioned here that once the most popular genre of ghazal was considered for the expression of only romantic incidents, personal sentiments and emotional affairs but now it is being used for almost all subject matters. Likewise doha has also broken the barriers of expressing only love affairs. Now it has multi-dimensional capaciousness in its folds.

The author of this book has tried to express his overt and covert experiences. He has also criticized the prejudices against women. He has given the message of brotherhood, equality, love and peace. He has lamented the trend of terrorism and regional feelings.

His dohas are not indicative of any single shade but are mirroring varieties of socio-economic, socio-political as well as socio-cultural pictures. Doha-Hamd and Doha-Na’at are also included in the book.

There are a few dohas too, which have been included in the book and related to some prestigious personages. He has strong grip on the use of those very words, which are suitable for this genre.

He was among the poets who have strictly followed and adopted the difficult prosody – Fe’lun Fe’lun Faelun Fe’lun Fe’lun Fa of first kind of doha.

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