Ideals – Part 2 of 6
2. The Purposes of Progressive Art
The first conference of the PWA was attended by delegates from all over India. Faiz was the representative from Punjab and Munshi Prem Chand was chosen as its first President. His inaugural address on the uses and purpose of literature was later termed by Sajjad Zaheer as the best exposition of the purpose of progressive literature written until that time. Faiz was one of those who listened attentively since the address was in Urdu with many references from Iqbal’s Persian poetry. Many delegates from other areas of India had only a conversational familiarity with Urdu or Hindi and it was only later, when the address was translated in English, that people understood its true power. As for Faiz, the address served as an inspiration for many of his later essays and editorials and he referred to its influence in many of his poetical works. The manifesto agreed to in Lucknow pointed in two main directions, one political and the other literary. The progressive movement defined itself as a struggle in favor of independence and against British rule and was also termed a guide in building a post independence society free of oppression, exploitation and injustice, a society free of the brutal dictates of capitalism and imperialism. It was accepted that it is the duty of an artist to use all means at their disposal to struggle against such a society and that literature and poetry could be an effective instrument in such a struggle.
It was agreed that existing literature had degenerated into meaningless spirituality while ignoring, accidentally or purposefully, the very real and immediate needs of society. Here the influence of Munshi Prem Chand’s inaugural address is apparent who in his prolific career wrote 300 short stories, novels, essays and letters in a down to earth, easy to read style, avoiding escapist entertainment or a complicated writing style, all the while pointing out the inequalities and injustice in the society around him while living in poverty his entire life. He also pointed out in his inaugural address that attaching ‘Progressive’ to a writer or poet is redundant since a writer or an artist is progressive by nature since if this was not their nature, they would not be a writer at all.
It was stated unequivocally in the manifesto that the true and highest purpose of literature, poetry and all art is to mercilessly criticize debased values and real, unequal, unfair social conditions, however ugly or distasteful they may be while maintaining, to the extent possible, our traditional literary values. This was essential in exposing such conditions, a necessary first step in making change.
To us, today, these admonishments of the progressive manifesto may appear harshly pedantic but in the decade of the 1930s, in the heat of the independence struggle, they served an immediate need and affected many writers deeply.
One of the central ideas of the conference, described repeatedly throughout its many documents was a critical reevaluation of existing literary and aesthetic values, the search for new values based on real, fundamental social issues and a definite trend towards ‘realism’ exemplified in the slogan ‘literature should reflect real life’. It was resolved that striving for a better society and a better future was one of the cornerstones of an artist’s life and work. For the participants of the PWA, the principle of ‘Literature (and art) is for the people’ had assumed primary importance. Later in numerous speeches and works, Faiz referred back to, refined and expanded upon these same ideals.
Thus the founders of the Association linked the prevailing social struggles of the time with literature and art. This resulted in rapid dissemination of its ideas and values. Numerous sub chapters of the PWA sprang up in different areas where progressive ideas and values were vigorously discussed and debated, poetry recitations were held and newspapers and periodicals that published progressive works were widely distributed. These publications were considered especially important by progressive writers for they gained their works wide readership all over India. There were a number of such publications including two from Lahore, ‘Humayun’ and ‘Adbi Duniya’. The owners of these publications were affluent, open minded and well read patrons of literature and art, in agreement with the principles of the PWA. One, Mian Iftikhar Uddin, would later play an important role in Faiz’ life. These publications, which were now noticeably ‘left- leaning’ published regular pieces by Faiz, Krishan Chander, Ahmad Nadeem Qasmi, Rajinder Singh Bedi, Upendranath Ashk etc. 1937 saw the emergence of another publication, ‘Adab-e-Lateef’, put out by the Punjab section of the PWA and Faiz was immediately appointed to its editorial board. Faiz soon became well acquainted with the intricacies of journalism and demonstrated his considerable intellectual prowess here as well. This led to his other life long love and hence forth, editorial work would remain an important part of his life.
By 1938, there were three main centers of progressive literature in Lucknow, Hyderabad and Lahore, all with their own active members and publications. The Punjab section of the movement, centered in Lahore was the most active, both in terms of the number of members as well as their activities which included frequent meetings, literature and poetry readings and discussion groups. The association and its ideas were gaining rapidly in popularity fueled, in no small part, by their democratic and egalitarian ideas and their emphasis on keeping their work close to the mass of people. This was evident, not only in their literary works but also in their organizational activities which strove to make their works accessible to ordinary people, most of them illiterate. One such gathering in 1938 underlined this point. It was organized entirely by Faiz and the invitees included Maulvi Abdul Haq, Munshi Prem Chand, Josh Malihabadi, Majaaz, Jaan Nisaar Akhtar, Krishen Chander and Sibte Hasan, among others. Some honorary guests included the Chief Justice of Lucknow Sir Wazir Hasan, the publisher Mian Iftikharuddin, the Indian freedom fighter and political leader Jayaprakash Narayan and a few leaders of the Muslim League who were likely not very interested in progressive ideas but nevertheless disliked the British. There were several other notables invited as well. Both the conference and the Punjab Kissan Sabha (Peasants’ Union) were meeting simultaneously in Amritsar.
Excerpted and Translated from ‘Parvarish-e-Lauh-o-Qalam’ by Dr.Ludmila Vassilyeva
