Ideals – Part 1 of 6

1. Beginnings

Much been written about the All India Progressive Writers’ Association but there is a dearth of information on the role of Faiz in the formation and subsequent work of this organization. What were the ideological trends that persuaded Faiz to join the movement, define himself as a progressive writer and poet and yet, within a few years, leave the organization, although even today, he is considered one of its leading lights?

The 1930s and 1940s saw the development of Urdu literature and poetry in two directions personified by the ‘Anjuman Taraqi Pasand Musannafeen’ (the organization denoted in the title) and the ‘Halqa-e-Arbab-e-Zauq’ both of which significantly influenced Indian (and later Pakistani) literature in the years 1930 to 1950.

Faiz played an important role in the formation of the Progressive Writer’s Association (PWA) and, conversely, his involvement shaped his own ideas and works decisively. The All-India Progressive Writers’ Association was formed at the first conference of progressive writers in Lucknow in April 1936 which brought together writers who wanted to highlight the problems of the times through their writing while remaining true to their ideals of patriotism and nationalism. The movement spread rapidly encompassing the varied disciplines of literature, music, theater and cinema.  For three decades, the PWA remained an influential social and literary movement, comparable in scope to Sir Syed Ahmad Khan’s Aligarh reformist movement.

Progressive literature arose in different shapes and forms in the Indian subcontinent in Urdu literature though it was already a manifest reality by the early 1920s. The initial supporters of the PWA from the fields of literature, drama, poetry, music and cinema wrote mostly in Urdu. We can find a glimpse of the ideology behind the PWA in the works of Indian authors written a few years before its inception. These were towering literary figures whose works had already achieved considerable renown including Prem Chand, considered the founder of ‘realist’ literature in Urdu and Hindi;, India’s most renowned poet after Muhammad Iqbal, Josh Malihabadi; and distinguished linguist Maulvi Abdul Haq.

The founders of the PWA considered all progressive trends in all Indian languages to be the source of their inspiration. In his book “Roshnaai” (which may be considered the ‘autobiography’ of the PWA), Sajjad Zaheer implies as much.

In October, 1935, upon his return from England, Sajjad Zaheer made contacts with authors in different cities and states and sent a copy of the initial manifesto for signatures. It was a time of national fervor and the struggle for independence was reaching a crescendo. In addition to the young, many older writers and literary figures were brimming just as full with revolutionary sentiments and were eager to welcome a new world and critique the values of the old. In 1938, at the second annual conference, even Rabindranath Tagore admitted in his address to the assembled delegates that he had erred in disengaging himself for so long in his meditative practice and exhorted the attendees to base their works on the concerns of common people while living and engaging with them in day to day life. Such sentiments from this great artist attest to the prevailing mood of the times.

Sajjad Zaheer’s invitation was enthusiastically received in most quarters. It probably helped that his recent book “Angaaray”, banned by the British government, had become very popular (1). Anything forbidden by the government usually received an enthusiastic response from the public and Zaheer’s idea of having the signatures of young authors followed by those of Prem Chand, Josh Malihabadi, Maulvi Abdul Haq and the ‘Nightingale of India” Sarojini Naidu helped considerably. Two literature lovers from Punjab who helped considerably in organizing the first meeting were Mahmood-Uzzafar and Rasheed Jahan. Though they considered themselves writers, they had abandoned writing a long time ago. Another colleague, Mohammad Deen Taseer, who had helped in the preparation of the original version of the founding document was busy in his teaching activities and in helping his new bride, an Englishwoman (who would later become Faiz’s sister in law) adapt and adjust to her new homeland. He too had given up writing some time back. The main group missing from those contacted about the organization was writers and poets from the Punjab. For this Mahmood-Uzzafar invited Faiz to help since he was well versed in Poetry and Literature, knew most Punjabi authors and poets well and was ‘to some extent’ a poet. He showed Faiz the Manifesto and explained the plans of Sajjad Zaheer and the ‘founders’ upon which Faiz agreed, whole heartedly, to help in whatever way he could.

It can be said without a doubt that these events had a transformative influence on Faiz’s perception of himself as a poet raising his consciousness to a new level and opening new vistas for him in the world of literature. Largely due to the efforts of Sajjad Zaheer and Faiz, authors and poets of the Punjab became the largest and most prominent group within the movement. These included the likes of Faiz himself but also Krishan Chander, Rajinder Singh Bedi, Ahmad Nadeem Qasmi, Sahir Ludhianvi, Mirza Adeeb, Upendranath Ashk etc. Faiz’s meeting with Sajjad Zaheer was a milestone in his life, the point at which he committed himself forever to progressive ideals and also demonstrated extraordinary organizational abilities. The meeting of these two young authors, Faiz aged 25 and Zaheer, 31, was also the beginning of a life long companionship that persisted through prison terms and physical distances until that day in 1973 when after Zaheer’s sudden death from a heart attack, Faiz tearfully bid farewell to his friend and confidante.

Excerpted and Translated from ‘Parvarish-e-Lauh-o-Qalam’ by Dr.Ludmila Vassilyeva