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URDU HAIKU HAIAT TAJARBAAT AUR TAGHERAAT, EK MOTALA

Maqsood Hasni

Haiku japani senaf-e-adab hai. Hamaray hann Hiko/Hikoo/haiku talafaz mustamal


hain. Es ki daramad ka sehra Dr. Mohammad Amin Sahib par hai. Es kay liay 17(5-7-
5) arkaan teh pa’ay. Kush nay pabandi ki aur kush es pabandi say aazad rahay.
Dusri daramda asnaf-e-adab ki tarah es senaf-e-adab nay bhi es deherti ka mazaaj
apnaya aur ab yah ajnabi mehsoos nahain hoti.

Yah asooli se baat hai kah mahajar jab tak os dherti ka mazaaj, saliqa,rovaeya

toor–o-atwar, nahvi aur lisani assool tarz-e-mashrat waghera ekhtayar nahain karta, awaal ta
aakher mahajar hi rehta hai. Haiku nay bhi es adbi lisani aur samaji assool ko nazar’andaz
nahain kiya.

Es ki rooh main yahaan ki matti ki khushbu aanay kay sabab yah senaf-e-adab khoob
phalli pholi hai. Sab say bari baat to yah hai kah essay chahnay waloon ki achachi
khasi tadaad mil gae. Dr. Mohammad Amin Sahib nay na’serraf tarajam (ZARAD PHOLOON
KI KHUSHBU) paish ki’ay balkah khud bhi baray shaandar haiku takhleeq kiay. Akhtar
Shomaar kay haan Hamdiaa,Nateaa aur karbalae haiku parhnay ko millay. Eak entakaab
Naseem Saher nay paish kiya. Aap khud bhi achchay sha’ir hain aur aap ka kalam
mukhtalif adbi rasael main shaya hota rehta hai. Haider Gardayzi ka mujmoaa
abtadae dinoon ka hai, es nay bhi es senaf ko waqar bekhsha. Oon ka soch apni
noeat ka hai. Essi tara Hamaet Ali sha’ir kay hai saraf-e- nazar nahain kiay ja
sakain gay.

1986 main Maqsood Hasni nay “ Sapnay Aglay Pehar Kay” nasri haiku paish kiay jin
ka Punjabi, Sindhi, Pushto,Gurmakhi, English waghera main tarjama howa. Goya yah
sab es senaf ki maqboliat ka sabab bana. Aaj yah surat hai kah es senaf ka charcha
yahaan bohat sari zobanoon main milta hai. En zabanoon main yahaan kay mazaaj aur
mashrat kay sath bohat say baray umda aur la’jawab haiku parhnay ko mil jatay
hain. Assal main es ki maqboleat ka sabab es ka ehtasar aur maqami haiku nagaroon
ki kavash’gari hai.

Haiku main bonyadi cheez os ka nazreaa-e-tekhleeq hai jabkah haiat sanvi moaamlah
therta hai. Nazrea-e-takhleeq main teen batain aati hain:

Kisi cheez, khasusan fitri aur qudrati aanasar par pehli nazar paray aur os
nazar kay hawala say paida honay wala ta’asar.

Os paida honay walay ta’asar ko ossi tarah jaisa wo hai qalam
kaghaz kay hawalay kar daina

Paida honay walay ta’asar main kisi qisam ki tabdeli aur aalodgi
nahain honi chahea. Agar tabdeli ho gi ya ki ja’ay gi to ossay haiku
ka naam daina manasab na ho ga.
Hamaray haan jab Dr. Mohammad Amin nay es senaf-e-sukhan ko motaraf karvaya to
darj-e-bala ammoor ko avaliat hassal rahi ta’hum es kay liay teen misray (lines)
shart qaem rahi. Chand masalain malahzah hoon:

Yah safar hai, qayam hai, kiya hai


Yah masafat kah teh hoe na kabhi
Zindagi kiya hai ratjagoon ka safar

(Mohammad Amin)

Sabr likha giya lahu say tairy


Tashnagi su rahi thi khimoon main
Sath os kay Farat behta tha

(Akhtar Shamar)

Dobti hai kabhi obharti hai


Hairatoon kay khulay somandar main
Mairi sochoon ki dolti nao

(Bashir saefi)

Mujh ko itni se roshni day day


Dil kay kamray main baith kar pal bher
Apnay halaat-e-zindagi parh sakoon

(Haidar Gardayzi)
Baad’azaan es kay owazan par mobahas ka silsala chal nikla aur es kay liay 17(5-7-
5) arkan ki pabandi lazam therri.

1986 main Maqsood Hasni kay nasri hyku ka majmoah “Sapnay Aglay Pehhar Kay” shaya
howa. Khayaal tha kah yah achchi khasi tanqeed ka nishana banay ga likin es
majmuay ki bari tehseen-o-pazerae hoe. Es kay mukhtalif zobanoon main tarajam bhi
howay. Nasri haiku ko paish karnay ka bonyadi maqsad yah tha kah obernay wala
ta’asar (thought) bahar’toor kisi bhi hawala say majru nahain hona chahea. Nasri
kalam main aahang ko bonyadi haisiat hasal hoti hai. Aahang dar’haqiqat towazan
(Balance) ka dusra naam hai. Batoor namona kuch haiku malahzah hoon:


Jiwan kay pechlay pehar
Aglay pehar kay sapnay
Sonay nahain daitay aksar

Aao zohad-o-taqa
Taqleed-e-aasar main
Pamila kay naam kar dain

Makhi ghaleez to hai


Apni hat main likin
Naak ki dushman hai

Kala kawa
Kali ratoon main
Mehman ojaloon ka

Dr. Sabar Aafaqi ka kehna tha kah yah haiku nasri nahain hain. Oon kay motabaq her
misray main wazan hai aur tinoon misroon kay owazan alag say hain.

Baat zara mazeed aagay bhari to haiku kay pehlay aur tisray misray ko hum’qafia hona zaroori
qarar day diya giya. Maslan Sha’er Ali Sha’er ka yah Hamdea Haiku malahzah farmaein:

Naam adab say lay


Saray ojalay phelay hain
Esam-e-Mohammad say

Assal moaamlah yah bhi hai kah mahajar apni walait ki samaji, moaashi, emrani,
masharti aur nafasyati rovayaat sath lata hai likin dusri walait main yah sab
nahain chal pata. Ossay os khita-e-araz kay hawala say jina paray ga warna mohajar
ka mohajar hi rahay ga.

Yahaan es batt ko bhi bhulna nahain chahiay kah wo haiku ka ebtadae door tha.
Insan ki tarah asnaf-e-sukhan waqt kay sath taghiraat say gozarti hain. Ghazal ko
daikh lain gham-e-janaan kay hisaar say nikal kar gham-e-doraan aur gham-e-roozgar
tak aa ponchi hai. Ehhad-e-Meer aur aaj ki ghazal ko daikh lain fiqri lisani aur
asloobi etbar say zamein aasman ka faraq nazar aa’ay ga. Ta’hum es ki eak cheez
tura-e-amtiyaz rahay gi wo es ka godaz’pun aur reshmeat hai.Yah silsala rok nahain
pa’ay ga. Khuda janay aatay waqtoon main kahaan tak ponchachy. Ungint tajarbay
hoon gay aur essi ka naam zindagi hai. Bhala haiku en tajarbatt say kayoon’kar
bach pa’ay gi.

Tajarboon ka rasta nahain rokana chahiaya, yah zoban asloob aur fiqr kay liay sum-
e-qatal hai bawar rahay rasta rok bhi nahin sakta kayoon’kah es ki lagam waqt kay
hath main rehti hai. Zindagi ko to chaltay rehna hai. Mairay ya kisi aur kay
kehnay say zindagi aur es say motalqaat rok to nahain saktay.

Hai aaj Urdu ki maqbool tareen senaf-e-adab hai ab yah japani nahain rahi. Es main

tajarbay ho rahay hain. Humdea, Nateaa aur Hussani haiku taklhleeq pa rahay hain .
Yah sab Japani haiku main kahaan hai. Es liay yah kehna ziyada monasab ho ga kah
haiku nay Urdu ka mazaj, saliqa, toor, asloob, andaz aur lisani chalan ekhtayar
kar liya hai. Aaj essay badaisi nahain kaha ja sakta. Chand Japani haiku malahzah
hoon. Es say mozoaat ka faraq wazey ho ja’ay ga:

Baraf
Jo hum donoon nay daikhi thi
Kiya es saal bhi girray gi

(Basho 1644-1694)

Tanhae bhi
Mosarrat hai
Sham-e-khezaan

(Yosa bosan 1716-1784)


Kitni hosein hai


Darwazay kay sorakh say
Kehkashaan

(Kobashi asa 1763-1828)


Barsaat
Gher ka rasta selabi hai
Aur mandak wahaan tair rahay hain

(Masaokashiki 1867-1902)
(Zarad Pholoon Ki Khoshboo,
Motarjam Dr. Mohammad Amin,
Victri Book Bank, Lahore 1992)

Aaj ki Urdu aur Farsi ghazal qareeb qareeb ho kar bie apna joda rang dhang aur
rang-o-roop rakhti hai. Aisi hi surat Japani aur Urdu haiku kay sath darpaish hai.
Yah koe nae baat nahain, Haiku nay Urdu mazaj ko kush’dili say apnaya hai. Es ki
yah kush’mazaji aur kush’dili hi es kay panpanay ka sabab bani hai.

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