glimpses of revolutionary romanticism in pashtu...

Fazal-ur-Rahim Marwat, PhD*

Glimpses of Revolutionary

Romanticism in Pashtu Literature

ABSTRACT

Pakhtun nationalism, with its dual goal of freedom and

development, was the hallmark of Pakhtun/Afghan political

thinking at the turn of the century in various forms, associations

and institutions like Maktaba-i-Habibia, Maktaba-i-Herbiya

Kabul and Islamia College and Edwards College Peshawar. A

nationalist literary movement emerged advocating

reassessment of the role of poets, writers and intellectuals in the

society. The movement is seen to have worked on the

adaptation of old literary forms to new circumstances and

audiences. Along with other literary forms, poetry was

consciously employed to promote social and political goals. In

this paper, an attempt is made to highlight briefly the genesis of

traits and trends of revolutionary romanticism in Pashtu

literature and its major contours in the geopolitical-economic

context of the entire Pakhtunkhwa. It also explores how Pashtu

language and literature were born and bred in the womb of

nationalist movements with various ideological cross-currents

in pre-partition. The paper mainly explores how Pakhtun

nationalist movements in India pushed towards revolutionary

romanticism on both sides of the Durand Line.

* Vice Chancellor, Bacha Khan University, Charsadda, Pakistan

Journal of Social Sciences and Humanities: Volume 23, Number 1, Spring 2015

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Keywords: Revolutionary, Romanticism, Bacha Khan,

Pakhtunkhwa, Pakhtun, Hijrat

Introduction

nglo-Russian rivalry for supremacy in the area, their

intrigues and advances at the turn of the 20th century,

the ties between religion, nationalism and centralized

state power took strong roots in the new form of resistance to

imperialism. The British neglected NWFP (Khyber

Pakhtunkhwa) and tribal area. Amidst Britain’s strategic

bonanza for this entire region, this area was intentionally

governed through ‘Special Ordinances’ and Frontier Crimes

Regulation (FCR). Instead of political, economic and social

reforms, the British authorities tried to indulge in their secret

mechanization to control the masses through their own paid

agents in the form of official titles, jirgas and secret funds to

Mullahs, Maliks and Khans.1

But this prevailing status quo and isolation was broken by

(a) the arrival of Indian revolutionaries in Peshawar, tribal area

and Kabul along with anti-British literature, (b) the anti-British

activities of famous Turko-German mission based in Kabul2 but

above all the Russian Revolution of 1917, which played the

same role in Asia as the French Revolution (1789) in Europe.

The French Revolution jolted almost all European countries

with drastic effects on socio-economic and political life of

the common people. It brought with it the promise of a

brighter day, the promise of regenerated man and

regenerated earth. It was hailed with joy and acclamation by

the oppressed, by the ardent lovers of humanity, by the

poets, whose task it is to voice the human spirit.”3 Triggered

by the revolutionary spirit, the writers of the time were full of

A

Fazal-ur-Rahim Marwat

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creative ideas and were waiting for a chance to unleash

them. The focus was now no more palace, aristocracy and

clergy but workers, laborers and peasants. All eminent

English revolutionary romantic poets and writers like

Wordsworth, Coleridge, Byron, Keats and Shelley had

supported the French Revolution and the cause of oppressed

classes.

The Russian Revolution of 1917 deeply affected, directly or

indirectly, the Central Asian Khanates (Khokand, Khiva and

Bukhara), Afghanistan, British India, China, Iran, and Turkey.

The Marxist- Leninists ideas came to lower Pakhtunkhwa and

Afghanistan (upper Pakhtunkhwa) in different forms and from

different places and here they mingled with another stream,

nationalism, Pan-Islamism, identity – sometimes supporting it,

sometimes opposing it. The minds of men and movements in

the area were caught up in this emotional surge; triumphant

Bolshevik Russia was received favorably and looked up to as a

new liberating force.4 The Ghadr Party (Rebel Party), the

Chamerkandi Mujahideen, the Indian nationalist revolutionaries

based in Kabul and Tashkent, the Hijrat Movement5 and Bacha

Khan (Abdul Ghaffar Khan)'s Anjuman-i-Islahul-Afaghana

(Society for reformation of Afghans), the Khudai-Khidmagar

and his Pashtu journal the “Pakhtun”6 also played a leading

role in preparing the ground for new literary thoughts and

genre.

Pre-Partition (1910-1946) Literary Trends:

With the arrival of British in the Indian subcontinent and

Russian advances in Central Asia, some of the Europeans and

Orientalists translated Pashtu literary works into English while

some of them translated Persian and the works of indigence


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writers in to Russian for their own imperialistic and

administrative designs in the entire Pakhtunkhwa and Central

Asia Khanates. During this period, the works of the literary

triumvirate or Ahmad trio gained tremendous eminence: Mir

Ahmad Shah Rizwani (1860-1934) of Akber Pora, Noweshera

, Maulvi Ahmad (1845-1883) of Tangi, Charsadda and Munshi

Ahmad Jan (1883-1951) (Bannu), on the learning of the

Pashtu language and literature as well as the translations

into Pashtu of Maulana Altaf Hussain Hali’s Musadas and Ibni

Batuta’s travelogue. Mian Hasib Gul Kakakhel translated

Deputy Nazir Ahmad’s (1830–1912) novel Miratul Urus into

Pashtu and his another work Taubat-un-Nasuh (Sincere

Repentance) (1873) was translated by Mian Muhammad

Yousof into Pashtu in 1905. Some Urdu newspapers like Abul

Kalam Azad’s Alhilal and Alblagh and Maulan Zafar Ali Khan’s

Zamindar were also very popular in NWFP.7 All these

translations from Urdu writers opened new vistas of

knowledge. The geo -political interests of the imperialist and

Orientalists and their “love and Hate” paranoia towards

Pakhtuns/Afghans resurrected in the new form of cultural

and literary trends on both sides of the Durand Line.

In Pashtu literature modernization, revolutionary

romanticism was not an abrupt or sudden change or break

with the past but it was rather continuation and

development under the broader umbrella of socioeconomic

and political cross currents in the region. Peshawar and

Kabul and to some extent Kandahar and Quetta played a

leading role in the progress and development of all genres

of Pashtu literature. Some hallmarks of the revolutionary

romantic literature depicted deep imaginations and

emotions, change and revolt, forward movement, bright

future and above all challenge to the status quo. The modern


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revolutionary romanticism made an attempt to highlight the

problems of the oppressed and common man in simple

words. The message would be progressive and not

necessarily visible but may be indirect or painted/adorned in

mythical or philosophical jargon.

The first bold steps were taken by Syed Rahat Zakheli

(1884-1963), who was another important harbinger of

modern Pashtu literature after the Ahmad trio and others. He

took the opportunity to introduce different genres, e.g.

novel, short story etc. to Pashtu for laying down concrete

foundation for Pashtu language and literature. "Quite

fortunately, the renaissance movement successfully

inculcated protectionist and modernist tendencies which

produced exceptionally intelligent and bold writers with new

outlook". Zakheli translated some of Dr. Iqbal’s poems into

Pashtu8 and started first Pashtu weekly newspaper “Afghan”

in 1910/11. He has to his credit first novel “Marukh” in 1912

and also wrote first short story “Kunda Jeeni” in 1917. This

new trend in short stories and fiction in Pashtu was also

owned by Master Abdul Karim by writing Yatem Akhter (Eid

of Orphan) and others.

M. Karim was also inspired by Munshi Prem Chand and

Tolstoy.9 The revolutionary romantic echo’ is visible in

Zakheli following verses:

O, my magician/wizard son! to bring here a revolution,

the best way is

You must paint the picture of the sad sufferers in your

pleasant and sweet poetic words.

Then improve its beauty and pleasantness with the

sadness of your heart’s blood.


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And then you should convey this hearts burning poetic

piece of saying to the very ears of those sad sufferers.

With the light of your pen bring forth the sorrow of the sufferers.

And that it should be kept secretly in those all suffering hearts.

Then make those suffering hearts call out with the cry of

revolution and make sure and clear the rights of

human race and a revenge on the evil minds.

It’s the real revolution, and with almighty may you

get your goal.10

Zakheli literary activities and movement for new trends were

supported by others like Fazal Ahmad Ghar (1899-1965) and

Muhammad Aslam Khan Kamali (1886-1962) in his efforts for

change. Kamali was educated in Edwards’s college Peshawar

and was very fluent in French language. In 1928, he directly

appealed to Bolshevik Revolution in his poem by saying.

I wish that I have in my head the brain of Lenin

With simple life as Bolshevik.

Another writer and poet Abdul Malik Fida (1897-1957) who

opposed the British Raj bluntly by saying:

Khan, Sayed and Mullahs will be servants,

As long as, there is British rule.11

A close compatriot of Bacha Khan, Mohammad Akber

Khadim (1888-1954) said about himself:

Candle lit they self from me

I need only a slight air,

To become a spark.


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I can flash back, but need air-

For I am spark in the guise of coal.12

The revival of Sirajul-Akhbar (Dari newspapers) in 1911 in

Kabul after five years interval opened a new chapter in the

history of Afghanistan, tribal areas and Frontier province. The

Siraj became the mouthpiece of the Constitutionalists and the

“Young Afghans” and Mahmud Tarzi as the Chief ideologue.

Writing about Tarzi's style of criticism on the Amir, an

American Prof. L. Dupree comments:

"Tarzi would begin some editorials with flowery praise to

Habibullah, then quickly switch over to general criticisms

which, by implication, included the Amir. In one editorial he

stated that the Amir is the only supporter of modern

education and science in Afghanistan and then went on to

belabor the fact that no modern education and science exist

in my unfortunate country". 13

Following the footstep of Siraj, a bilingual Urdu-Pashtu

weekly Afghan in the NWFP also changed its stance and

started publishing pro-Turkish and anti-British articles in

1913. It was published by Syed Mehdhi Shah and edited by

Syed Abdullah Shah.14

Eminent Pashtu writer and Khudai-Khidmatgar Abdul Akbar

Khan Akbar as student of Islamia College Peshawar was very

curious about the role of Indian revolutionaries in Kabul, the

Young Turks, Turko-German Mission and activities of those

who had been dubbed by the British as Ghadarists (rebels)

who were living outside India. The press in the frontier was

then under strict censorship. In collaboration with his two

roommates, Muhammad Ghufran and Abdur Rahman of Swat,

Abdul Akbar Khan managed to get copies of the Al-Hilal,


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Comrade and Amrita Bazaar Patrika15 from political circles. He

along with his roommates in Harding hostel subscribed to the

Comrade. The reading of those newspapers as well as the

inspiration from Mr. Day, a Bengali Professor of Botany in

Islamia College, aroused their sentiments to publish something

in their own mother tongue (Pashtu). That resulted in the

outcome of a Pashtu monthly “Wraz" (Day) in 1919.16

Professor Day was a nationalist Bengali and had great regard

for local languages. Once he mocked Abdul Akbar, “You

Pakhtuns are very strange people! You have no interest in the

development of your own language! Look! We Bengali speak

only Bengali and English”.17

Noor Muhammad Taraki (1917-1979) is perhaps the

second writer after Rahat Zakeli who wrote a Pashtu novel

Bitarbiyat Zoy (Stray son) published in Journal in 1939. His

birth and schooling coincided with two great upheavals of

contemporary history. He was born only two months before

the October Revolution of Russia (and even died in the month

of October, 1979). While he was in school, he saw the downfall

and flight of his favorite Amir Amanullah Khan. While in

Bombay (Mumbai) in 1934-37, he met Bacha Khan and leftist

leaders of the Communist Party of India. He returned to

Afghanistan in 1937 with a new vision and out-look. He wrote

numerous books, stories and articles in Pashtu and Dari.18

However, these literary works were not the first of

ideological literature in Pashtu because the

Khudai-Khidmatgars had already used literature as political

weapon against the British Raj. The Pashtu drama written by

Qazi Rahimullah with the title `Nawi-Roshni'(New Light) was

staged in different parts of N.W.F.P and it became so popular

that Ghazi Amanullah Khan (1919-1929) ordered to purchase

many copies of it and distributed them freely in Afghanistan.19


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Even "Pakhtun" Journal was distributed in tribal areas and

Afghanistan.

Among the Pakhtun poets, though Khushal Khan Khattak

(1613-1689) a genius sage of his age is ranked in the classical

poets but he had all the qualities of modern and nationalist

traits in his poetry. It is also an interesting coincidence that

even in this 17th century poet’s Kuliyat (poetic collection) one

can find some of his couplets with the same taste and trends

which is always considered to be the exclusive domain of

revolutionary romanticism of the 18th and 19th century. For

instance.

Da Afghan Pe Nang Me Ve Tarala Tora

Nangialy da Zamany Khushal Khattak Yem.

I gird my sword for the honor of Afghans,

I am the bravest of my age Khushal Khan Khattak.

Ze Khushal Kamzory ne yem chi ba dar Kerm

Pe Khara Naray Vahem chi Khul y Rakera.

Am Khushal isn’t so weak to be scared

I declared openly that she is given me a kiss20

Bacha Khan and his nonviolent Khudai-Khidmagars and

other colleagues such as Fazal Mahmud Makhfi, Mian Akbar

Shah and Abdul Akbar Khan Akbar21 attempted for cultural,

political and educational renaissance in Pakhtunkhwa. It

should be noted that most of the pioneers of Pashtu

literature on modern ideological lines were those who had

experience of the Great Hijrat Movement of 1920s to

Afghanistan and of Russian society, political system and

revolutionary theories and practices, either in Kabul, Moscow

or Tashkent with M. N. Roy, Maulana Barakatullah, Abur Rab

Berq Peshawari, etc. The requirements of the modern

nationhood along with revolt and romanticism were clear in


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the poetry of Makhfi, as is for instance, graphically illustrated

in these lines:

Oh God! Will there be a time when

We shall have an airplane of our own?

Soaring high into the skies like an eagle,

it will fly over oceans.

We shall have a railway of our own

as well as a telegraph.

I shall be following my own general

to overtake the enemy"22

In the “Pakhtun” journal, Bacha Khan attempted to set a

political, economic, educational and cultural agenda for the

future of the Pakhtuns. Naturally, most Pakhtun writers were

anti-Mullah, anti-Nawabs (feudal lords), anti-oppression,

anti-British and anti -Muslim League. Their writings depicted

the high goals of democracy, modernism, social and

economic justice, pluralism and above all,

independence. Azadi or independence was the watchword of

Pashtu prose and poetry and the most favored title of at

least three books, including Mian Akbar Shah’s Pashtu

travelogue Da Azadi Talash (In search of Independence),

Abdul Kaliq Khan Kaleeq’s Da Azadi Jang (War for

Independence) and Waris Khan’s Da Azadi

Tehreek (Movement For Independence).

Though Amir Nawaz Jalia was in Khudai Khidmagar

movement but by temperament, he was radical and liberal.

As he said in the following couplet:

It’s the beginning of a new epoch; new pot and new potter/

bartender.

Get up Pakhtun if you too want to drink a wine.23


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Another poet and writer of Peshawar valley, Wali Mohammad

Tofan (1919-1983), wrote extensively in all contemporary

Pashtu journals. He championed the cause of Pakhtunistan as

an ideal state for the Pakhtuns and highlighted the historical

importance of Pakhtuns land and chivalry in the following

words:

It is the land of confident Pakhtuns

It is the land of great battles and knights

It is truly the land of blooming youth

It is the land of stones and forests

But Alexander and Babur kiss the land of Khyber.24

Bacha Khan’s Pakhtun journal from 1928 onwards not only

encouraged male writers to raise their voice for their rights

but he also encouraged women for education and writing. In

his efforts Alif Jana Khataka (1931- ) raised her voice in

Pakhtun journal from Ahmadi Banda (remote area of Kohat)

in one of her poem about Purda (veil) and the pathetic

conditions of the women by saying:

Why you have imprisoned a bird in cage?

Why you have buried living women in graveyards?

They are deprived of education like blinds

They are imprisoned in the four walls of home like thieves.25

One way forward other women Syeda Bushra Begam (Later

on Seen Bebe) (1922-2002) also raised the same issue

critically in a poem in another issue of the Pakhtun. She said:

I have not seen in Iran, Egypt, Iraq and Turkey

Such like veil which is chain of our hands and feet

She further said:

My every writing is written with the blood of my heart


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Because the Afghan nation failed to produce such women of my

mind.26

The following verse is another example of her sagacity and

courage:

If boys lose their courage,

Oh Fakhri-Afghan! The battle field will be won by girls.27

Abdul Ghani Khan (1914-1996), the elder son of Bacha Khan)

adopted satirical style in writing both prose and poetry in

Pashtu literature. His first poem appeared in the Pakhtun

journal of December, 1928, and even the title page of the

journal carried his touching lines:

If I was a slave in the grave with a splendid tombstone,

Respect it not, spit on it.

When I die but not bathed with martyr’s blood,

None should pollute his tongue by praying for me.

O mother! With what face will you wail for me,

If I was not torn to pieces by the British guns?

Either I would turn this wretched land of mine into a Garden of Eden

Or I would ruin the home and hearth of Pakhtun!28

He also contributed a regular column to the Pakhtun journal

under penname “Gady Wadi” (Random Thoughts). Said Rasul Rasa (1910-1990) of Badrashi (Nowshera) contributed his poems and prose items to weekly Pakhtun. In 1941-42, he became a staff member of monthly Nan Paroon,29 a magazine published from Delhi. It was in that period that Rasa composed his excellent odes, which set a new trend and, rather, revolutionized the structure and concept of Pashtu poetry. Most popular of those odes are: Khkule Faqira (the pretty beggar) in imitation of an ode of Josh Maleeh Abadi, captioned Fitna-i-Khanqah (Corruption in the Monastery), Sha'er pa Janat Kashe (Poet in the Paradise) in imitation of a poem of Dr. Iqbal. Although Rasa


13

confused the matter by saying that Wordsworth did not agree with Coleridge,30 whereas it was Coleridge who argued against the concept of Wordsworth regarding poetic diction in chapters XIV and XVII of Biographia Literaria.31 Nevertheless the diction developed by Rasa qualifies both these explanations. His language is that "spoken by people", but he has tried consciously and prudently to avoid ambiguity and vagueness. So the language of his poetry is dignified, impressive and pleasing. Rasa, in his "farewell ode to the college", addresses the College to express his passionate desire for education of his ignorant people, as:

From among our ignorant people,

May rise an Einstein, a Newton,

A Ghazali, an Avicenna, a Razi!

May it bear another Tagore, another Raman,

Someone like Tariq and Farooq,

May it produce a Gandhi, a Lenin?

Lest should you become a traitor!

And be ashamed of your start.32

The diction is simple, approach is direct and meaningful. The

yearning of poet for awakening of his people is based on

bare reality expressed with poetic sublimity in the language

of people. Poetic faculty apart, Rasa was a political wizard

also. The United Nations Organization was hardly three years

old when he composed a short poem of nine heroic couplets

on that organization, saying:

Cups are new but liquor is old,

The rich tear the world as dogs.

War of wealth rages in the world,

The poor wail all around due to poverty.

The new set up revived violence.

…….

Slogans of freedom, sympathy and compassion,


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Is nothing but a plan for bloodshed?

It is a battle of deception and sacrifice,

Overtly for peace, covertly for violence.

Endless fight between worker and lord,

Continues with fresh resolve.

There're wars, wars, wars and wars,

You created Adam! You created riots.33

Maulana Abdul Qadir (1905-1969) a graduate of Islamia

College Peshawar and LLB from Aligar was appointed by

Central government as editor of Pashtu magazine Nan

Paroon (Today &Yesterday) publishing from Delhi in 1942 for

promoting the cause of the British Raj during the Second

World War. However, the Maulana very wisely used this

journal for the awakening of the Pakhtun masses and soon it

became very popular among the educated Pakhtun elite for

its literary articles. The cause, which Nan Paroon served, is,

described by the Maulana himself as:

“Whatever was written in Nan Paroon, it was after a deep

study and with the emotion that the readers get the type of

mental training which would help them even after the war”.34

Maulana, who later on became the founding father of Pashtu

Academy, University of Peshawar, in his address to poets

said:

“The message of Khushal is different from the message of

Iqbal but it must be remembered that without specific

message, the poetry cannot have all the attributes of good

poetry. Though it may be technically very superior, if it

doesn’t have a message then it’s like a flower without

essence”.35


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Among the rank and file of the Pashtu co-romantic and

revolutionary romantic poets and writer Fazal Haq Shaida

(1910-1984) is more close to eminent English poet Shelly for

preaching a revolution and change in the Pakhtun society.

Among other young writers and poets, Ajmal Khattak

(1925-2010) participated in all literary gatherings of Pashtu

Bazam-i-Adab of his own town Akora Khattak in 1943. His

meeting with Bacha Khan and study of modern Urdu and

Pashtu writers and poets impressed him and he became one

of the main champions of progressivism, revolution and

romanticism in Pashtu literature and became an important

nationalist leader after creation of Pakistan. Another

progressive writer, Kaka Ji Sanober Hussain ((1897-1963),

started in 1935 an anti-British paper Shula (Flame) in Pashtu

from tribal areas. In some issues, he had highlighted the

Waziristan bombing by British aircrafts. These issues were

published in Pashtu, Urdu, Persian, and English. He

championed the cause of voiceless people of the tribal area.

Mostly he used cyclostyle machine for printing.36

On the other side of Durand line, all the factors including

Dr. Musaddiq's Movement in Iran, the Radio Kabul, the Pashtu/

Dari periodicals, the emergence of an educated class in the

urban centers, educational institutions particularly Habibia,

Istiqlal, Nijat Lycees and Kabul Pohantoon (University) founded

in 1932 and the return of students from foreign countries

including the royal family contributed to the rapid growth of

political consciousness in Afghanistan. The Afghan

government decree of 1936 that all civil and military officers

were to learn, read and write Pashtu within three years was a

drastic step in promotion of Pashtu language and literature.

According to Hashim Khan (Prime Minister), by 1938 Pashtu

was to become “the national language of our officials, doing


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away with Persian. Our legends and our poems will then be

understood by everyone. We shall draw from them a pride in

our culture of the past, which will unite us”.37 This action of the

Afghan government was followed by Waali of Swat who

declared Pashtu as official language of the state in June 1937.

Literature thus became a principal means to promote

modernization, communicate liberal and political ideas, and

expose the atrocities of authoritarian regimes. The notion

that poetry should only be taken as an aesthetic exercise, an

art devoid of political advocacy, was rejected by a number of

Pakhtun poets. The period produced a Pakhtun version of

sentimental socialism in literature, where the mysticism of

Rahman Baba and Rabindra Nath Tagore merged with the

matter of fact style of Maxim Gorky, both cloaked with a

reverential but dubious robe of religion, as expressed by

Maurice Maeterlinck. Some Pakhtun writers explained

economic issues and attempted to present the views of

Adam Smith as well as those of Karl Marx and Lenin. To

attract the public and to project their demands and

problems, Pashtu periodicals reprinted and translated the

works of contemporary Middle Eastern and Indian writers

and poets, such as Tagore, Namik Kemal, Muhammad Iqbal,

Taha Hussain and even French classic work of Victor Hugo’s

Less Miserable was translated by Pohand Abdul Hay Habibi

into Pashtu with the title “Bay Nawayan” in 1930s.38

In the North West Frontier Province and tribal areas, the

Marxist trends in politics and literature were promoted by

Maulana Abdur Rahim Popalzai, Kaka Sanober Hussain and

Mian Akbar Shah. Some people even called Mian Akbar Shah

as “Bolsheviki Mian” in Pakhtunkhwa. Maulana Popalzai was

imprisoned by the British government many times, yet he

never left his political mission. He led a pro-Amanullah


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delegation to the tribal areas and Afghanistan with a view to

acquainting the people with the British conspiracy. When

Maulana Abdul Rahim returned, along with the pro-Amanullah

delegation, from tribal areas in early 1929, he started

organization and training of revolutionary workers on firm

basis. Now Maulana had to fight from three fronts; (a)

Congress, (b) religious institutions, (c) Naujawan Bharat

Sabha.39

They along with other exploited the Ghalladher (Mardan)

1938 and Muftiabad (Charsadda)1939 peasants and tenants

uprising against the local feudal lords .It jolted Congress –

Khudai-Khidmatgars Ministry and created a rift in the rank

and file of the party. These incidents were exploited by local

anti-Congress elements and other Marxists- leftists for their

own interests. Popalzai supported the Peasant movement at

Ghaladher, Mardan, and as a resulted he was arrested by

Congress ministry. Ram Saran Nagina, one of his colleagues,

wrote a book on the Ghaladher movement, titled Sorkh Kissan.

Later on, name of the book was changed to Tehreek-e-

Ghaladher. The Maulana wrote a comprehensive introduction

to it, on June 28, 1939. The book as well as its introduction

reveals a detailed account of the movement. The Maulana very

strongly defended the Kissan of Ghaladher in his introductory

note, as:

“It is true that two types of tricks were used against Kissan

movement i.e. violence and (2) misleading propaganda. But

it is the natural Divine principle that as it creates water from

fire and air from water, immediately alters their conditions

and natures, similarly violence resulted in revolution and

revolution in peace, which changes the human geography."40


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Some of the important Pashtu works and dramas of this

period were Qazi Rahimullah’s drama Nawi-Roshni (New

Light) and Amir Nawaz Khan Jalai's Dard (Pain) 1932. Amir

Nawaz Jalia (1919-1979) wrote this drama and staged in Qisa

Khwani bazaar Peshawar. The drama was confiscated by the

British government but thanks to Dr Khalid Khan Khattak,

eminent Pashtu scholar brought its photocopy from British

Library, London, on my request and I published it from Bacha

Khan Research Centre in January, 2012. The sentiments of

the oppressed classes were meticulously depicted in the

dramas of Muhammad Aslam Khan Khattak's Da-Wino-Jam

(the Goblet of blood) 1935, Abdul Khaliq Khan Khaliq's

Shaheeda-Sakina (Martyr Sakina) 1936, and Abdul Akbar

Khan Akbar's Jungara (The Hut), 1945. Among the eminent

littérateurs of this period in upper Pakhtunkhwa

(Afghanistan) were Gul Pacha Ulfat, Abdul Hay Habibi,

Sadiqullah Rishteen, Abdur Rauf Benawa, Mirajan Sial and

Noor Muhammad Taraki.

Abdul Rauf Benawa (1913-1987) besides editing an

anthology “Wikh Zalmiyan” (Awakened Youth) contributed a

lot to Pashtu literature. Some of his works Ne leram Vakhat

(Have no time) 1944, Namurada Peghla (Unfortunate virgin),

Preshana Afkar (Scattered Thoughts) and Osani Lekwal

(Contemporary Writers). About change in 1940s he said:

The revolution though slow and imperceptible has

the force of transforming the course of history.41

Gul Pacha Ulfat (1909-1977) in his prose like Beguna Qedi

(Innocent Prisoners) and “Da Ziarat Deevi”(the candles of

mausoleum) and poems like “Ze Sok Yem ?”(Who am I?) and

“Zama Khub” (My dream) dreamed of the achievement of


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Pakhtunistan and raised the cause of oppressed and

laborers. For instance he says in “My dream”:

If movement is free but criticism is barred

I have seen their flood of cruelties. 42

Nasrullah Khan Nasr (1919-1965) of Tehkal (Peshawar)

individual efforts for promotion of Pashtu language and

literature and other literary associations like (a) Pashtu Adabi

Jarga, Nowshera (1933) (b) Bazm-i-Adab Pashtu, Akora

Khattak (1943) (c) Adabi Tolay, Tehkal, Peshawar, (1943)

Anjuman Taraqi Pasand Musanafeen, Peshawar (1946),

played a leading role in creating awareness in the public with

new themes in Pashtu literature. These literary organizations

run by the nationalist writers with progressive revolutionary

romantic thoughts were trying to socio-economic and

political change.43 Abdul Samad Khan Achakzai (1907-1973)

‘Anjuman-i-Watan’ and his journal Istiqlal followed by his

political organization Ror Pashtun (Pakhtun Brotherhood)

took major strides for the promotion of Pashtu and Pakhtun

nationalism in southern Pakhtunkhwa.

Some other eminent writers and poets of the period were

Muhammad Akbar Khadim, Abdul Khaliq Khaleeq, Amir

Hamza Shinwari, Abdul Ghani Khan, Ajmal Khatak, Amir

Nawaz Jalia, Wali Muhammad Tofan, Fazal Rahim Saqi,

Master Abdul Karim, Mian Akbar Shah, Syed Rasul Rasa,

Abdul Malik Fida, Khan Mir Hilali, Mir Mehdi Shah Mehdi,

Arbab Muhamad Aslam Sharar, Shad Muhammad Megy and

Sahibzada Idrees.

In nutshell, the new literary trends though born out of

nationalistic, socialistic and democratic trends but Sanjay

Srivastava is of the view that “nationalist ideology is only


20

one of the grids upon which post-colonial modernity is

situated”.44

Post-Partition (1947-2015) Literary Trends:

Pakistan’s geopolitics being borne out of the trauma of

partition has been instrumental in shaping its collective

psyche overshadowing its domestic politics. Geographical

proximity of Pakistan to both South Asian and Central Asian

region posed serious threats to its already fragile geo-

strategic position in the wake of revolutions, civil wars and

turbulence in this region. Since its inception, Pakistan was

bequeathed with internal and external problems, i.e.,

geographical divergence, demographic inconsistencies,

ideological enigma, constitutional dilemma, economic

pitfalls, cultural and ethnic inconsistencies, and above all,

political challenges to the well-entrenched status quo of the

imperial rule in the sub-continent.

The Pakhtun nationalist movement with all backwardness

and pitfalls was secular and pluralistic in its very nature.

Almost all nationalist political elite and the literary figures

were identified rightly or wrongly with the Soviet expansion

in pre-partition politics. All their actions in political, social

and cultural fields were considered to be the conspiracy of

Moscow, Kabul or Delhi.

The Congress-League old rivalry resurfaced in the form of

Pak-India enmity in the new state of Pakistan which left no

political space for Pakhtun nationalists in the new state. Their

loyalty was further dented because of the Pak–Afghan tussle

over Pakhtunistan. In such a situation, nationalist and leftist’s

literary circles reassessed the role of poets, writers and

intellectuals in the society and consciously or unconsciously


21

adopted new literary forms to promote social and political

goals. Pakhtun writers and poets felt an obligation to use

their literary talent to present social and political ideas, to

enlighten and inspire their readers with visions of human

potential in a new age and a new world order.

While the “two nation- theory” captured the headlines in

a new state, it was difficult if not impossible for the Pakhtun

nationalist to readjust in the new environment and tried to

take refuge in the literary circles, associations and

organizations. The old Islamia College (1913) Peshawar

continued to play the same role for educational and literary

development of the area. The Khyber magazine of the

college had started its publication in the name of the Khyber

Akhbar in 1917. Later it was renamed as The Islamia College

Magazine, and then The Khyber in 1927. Until that time it was

published in English only. In 1927-28, Urdu and Pashtu were

included in the journal. Said Rasul Rasa was the student

editor of Pashtu section of the Khyber magazine for six years.

It would not be an overstatement to say that it was due to

the efforts of a handful youths, including Rasa that Pashtu

found a way to the educated circles and the learned people

started taking interest in it. Rasa disclosed that he wrote

mostly of for that magazine (1929-36).45

In June, 1948, Bacha Khan, along with some other

followers, was arrested, followed by the tragedy of Babra,

when Qayum Khan Government killed about 700 workers of

the Khudai-Khidmatgars (official figures were only 15) in

NWFP and razed to ground its headquarters in Sirdaryab

(Charsadda). 46In wake of harsh policy of the government

and censorship, only Pashtu and Urdu pamphlets were

published secretly and distributed in settled districts and

tribal areas. The daily Inqilab quoting from the daily London


22

Times, lamented that the province was still ruled by

draconian British laws of the colonial era. Under the British,

the NWFP used to be called "Sarzameen-e-be-Ain" or land

without any constitution; unfortunately the same saga still

prevailed even after the establishment of Pakistan.47 This

situation is depicted in a poem by Abdul Akbar Khan Akbar:

"If liberty means starvation and stark nakedness I hate it.

What type of a windstorm it was?

Which blew off my gathered harvest.

Who planted wild grass in my garden of roses?

Probably we are not destined to

enjoy the blessing of freedom

Not a flash of it- not a grain of it.

What sort of freedom this is?"48

Coinciding with the birth of Pakistan in 1947 a liberal,

political, nationalistic and literary organization known as the

Wikh Zalmiyan (Awakened Youth) emerged in Afghanistan

with its major objective defined as “the liberation of Pakhtun

land from foreign control”. It brought political, social and

intellectual changes and produced a new generation, which

can be better-called a `Pakhtunistan generation'. It reminded

Pakhtun writers and poets of their task to fearlessly record

reality, and underscored their duty as the vanguard of

needed change. The Soviet historian Akhramovich described

the organization as “a centre of social ideas around which

began the consolidation or polarization of forces on a class

basis".49 The political groups and people who participated in

the movement were not only politicians but also men of

letters. They had different political ideas but they all used a

common platform of the Wikh-Zalmiyans for their own ends.

It was during this period that a prominent Pashtu writer and


23

member of the Wikh Zalmiyan organization, Noor Muhammad

Taraki, produced his works on the socio-economic life of

Afghanistan. His works Da Adami Khidmat (Men's Service), Sa

Rang Azadi (What Sort of Freedom), Da Ghuahi Landi (Special

meat of the Bull), Da Bang Musafri (Travels of Bang), Sara

(Alone), Chamiyar (cobbler) and Maxim Gorky, marked an

important development in the thinking of the new Afghan

generation. The basic theme of all his works was `class

struggle', exploitation of man by man, stress on man and

ironical presentation of poverty in the country.

A Pashtu-Dari bi-weekly, Angar, was published from

Kabul by Faiz Muhammad Angar in February 1951. After

sixteen issues it was stopped the same year. Taraki was one

of its chief contributors. He wrote a column Cheh Mee

Khawaham (What Do We Want?). The fourth paper Ulus

(People) started publication in June 1951, and ceased

publication in October 1953. It was edited by Gul Pacha Ulfat,

a prominent Pashtu poet and writer. The Ulus was the last

serving paper of the Wikh-Zalmiyan, when it was no more an

organization or front but rather a party under the leadership

of Abdur Rauf Benawa. The objectives of the Ulus during this

period were, (a) to foster national unity,(b) to spread

education, (c) to promote democracy and social justice, (d) to

work for the uplift of the poor and the oppressed, (d) to form

friendship with downtrodden and poor’s and, (e) to protect

the rights of the people. Dr. Syed Bahauddin Majrooh, a

Pashtu Poet, writer and philosopher was assassinated in 1988

in Peshawar. Besides his other contributions, he wrote a

masterpiece of poetry “Zanzani Khamar” (The Ego Monster)

in Pashtu which is one of the best works of the revolutionary

romanticism. Speaking of Majrouh’s greatest work in the


24

context of Afghan intellectual culture over the twentieth

century, Ashraf Ghani states:

Through writing Azhdaha-ye Khudi in Persian and Zanzani

Shamar in Pashtu, Sayyid Baha-ud-Din Majrouh produced

two texts that in my opinion were the most important prose

work of the last four decades by an Afghan. Majrouh, relying

on his French and German training in philosophy and

psychology and on his profound knowledge of Afghan

folklore and Sufi literature, crafted a simultaneously beautiful

and moving narrative… Formally, Ego-Monster in its Pashto

incarnation takes the form of an extended free-rhymed

poem. It builds upon the Pashtu oral tradition of the versified

folk narrative, or qissa, both in theme and in form… Even so,

the choice of the qissa form itself is important and is

designed to evoke the eruption of an ancient Indo-Arya

consciousness into the Afghan folk present, echoing a

particular Afghan historiography which is a major theme in

Majrouh's thought.50

Suliaman Layeq (October, 1930- ) is one of the best

revolutionary romantic Pashtu poet and writer. Few couplets

of his Poem Kegdy (Tent) are as follow:

The desert dust is blown in air

The stars of dawn just disappear

That tent, the gypsy boat

Heaven know wither will it float

Friends, though art of homeless clan

Is your struggle all in vain?

Say not struggle naught availeth

Before thy weary life faileth.51


25

In the absence of national leadership of the NWFP (now KP),

which was in Prisons in 1949, the only ray of hope was a

Pashtu monthly Aslam of Kaka Sanober Hussain. Kaka

Sanober, a Marxist nationalist, raised the banner of Pakhtun

rights by focusing on deteriorating political and economic

conditions and the hypocrisy of the rulers, appealing to the

people that the real force and authority was vested in them.

He wrote boldly that peoples are the real force in the

country. It is because of the public pressure that most of the

rulers are praying publicly, not because of the fear of God

but of the people. Like its predecessors, Aslam also tried to

champion the cause of the downtrodden classes of Pakhtuns

in Marxist phraseology, and tried to create political

consciousness, and to project objective analysis of the past

and future strategies in the changing circumstances. A

Pashtu couplet by Sahibzada Aslam declared:

"Oh! Proud over cries of ‘long live’

and ‘long live’ Let us come and

see the real happenings [hardships] of life."52

Two political events in 1950s changed the entire course of

politico-literary history of Pakistan. The first was the

introduction of the One Unit Scheme (1955-1969) by Central

government and secondly General Ayub Khan’s Martial Law in

1958. The OUS provided an opportunity in 1957 to all

nationalist forces in Pakistan to form National Awami Party

(NAP) while the Martial Law regime further pushed democratic

forces to the wall. The unity of these nationalist-autonomists

encouraged Pakhtun writers and intellectuals to form anti-

government literary circles (Toleny) to cope with the new

challenges. Side by side with these autonomist and restorative

nationalists, an intellectual class was also active with the


26

purpose of reviving the Pakhtun society. The Olasi Adabi Jirga

(Peoples Literary forum) (1949) and Da Sahoo Likunkio Maraka

(The Association of seasoned/progressive Writers) (1962) were

the literary organizations run by the nationalists who, like their

comrades in ideology in politics, were believed to be backed by

the regimes in Kabul.53 The non-official segment of Pashtu

literature was under the direct and indirect influence of the

Pakhtun nationalist movement and mostly consisted of

nationalists, Marxists and liberal democratic litterateurs. All

these were barred from radio Peshawar and Quetta, were

excluded from Government patronage and faced persecution

by the state. They were dubbed “traitors”, “anti-Pakistan” and

“Pakhtunistani”. Most of their writings were published in

weeklies like Lar (Path), Rahbar (guide), Nangialai (Brave),

Zawand (life), Ghuncha (flower bouquet), Dawran and Gulistan.

Mostly these periodicals were anti-government, anti-One Unit,

anti-despotism and anti- CENTO and SEATO, and championed

the cause of Pakhtun nationalism, Pashtu language, Pakhtun

rights, democracy, pluralism and progressivism. Some other

journals like Rana (Light) Jamhuriat (Democracy), Jumhor-i-

Islam (Islamic Republic) and Olus (People) were propagating

government schemes and stance.54

Modern Urdu progressive writers like Josh Melehabadi,

Saher Ludianvi, Sajad Zaher, Faiz Ahmad Faiz, Sadat Hassan

Minto, Ali Sardar Jaferi, Kefi Azami and other had

tremendous impact on Pakhtun writers and poets. Among

the literary works of this period, Da Ghairat Chagha (The Call

of Valour) by Ajmal Khattak, a poet politician, surpassed all

poetic works; particularly poetry on both sides of the Durand

Line, and had a lasting impact on the young generation. The

Government banned The Call of Valour for its allegedly

seditious content in 1958. Hafizaullah Amin, the second


27

PDPA (Peoples Democratic Party of Afghanistan) President of

Afghanistan confessed in 1979 that he was inspired by this

book. The theme of most of Khattak’s poetry is love for the

land, people, justice and fraternity, nationalism, revolution,

Marxism, and humanism. Even in a recent interview, he

proudly confessed that he was a Marxist-Leninist.55 Ajmal

Khattak with rebellious mind was one of the main icons of

revolutionary romanticism. In one of his couplet he said:

Comrades, it is not enough to smoke-

We must turn ourselves into flame.

To create new flowers is not joke-

Clean up the garden to build again.56

In one of his poem “Faryad” (Plaint) he lamented:

I swear by the sighs of those deserving ones who breathe their

last in hope of getting into your heavenly happiness.

I cannot see them anymore in this hell of sorrows, I can swear,

saying, by the minarets of your consent.

Either bestow me with the life according to my wishes

on this broad earth’s face

or allow me to raise a cry before this hellish death.

So that all your lovers may feed on your bestowed feast, or these

crows, the offensive birds, may feed on themselves.57

The second literary giant of this period was Abdul Ghani

Khan, who wrote Da Panjray Chaghar (Lamentation of the

Caged) in Haripur jail in 1953. It was later banned by the

Ayub Khan military government. Ghani Khan’s poetry was

“the proclamation of a new thinking and an open rebellion

against conservatism”.58 He set new and forceful trends that

have created a new school of thought. He shines the mystical

and the mysterious modes of the orientalist Malang (a


28

mendicant) with the mixture of the occidental philosophical

verbosity and the oriental aesthetic and romantic mysticism.

He was bold and did not hesitate from criticizing avaricious

Khans, Maliks and Mullahs. He walked with the nature and

embraced it. He visualized an ideal state – a Utopia for the

Pakhtuns, of the Pakhtuns and by the Pakhtuns. He has

expressed this wish in his rhythmic and forceful anthem:

O My Land! The treasury of precious stones,

Each part of yours bears the signs of my courage.59

All the aspects of his expression reflect that Ghani is a poet of

humanism, revolt and romanticism. It is aimed at awakening of

the dormant sense of self-realization. “I want to see my people

educated and enlightened—a people with a vision and strong

sense of justice that would lead them to carve out a future for

themselves in harmony with nature”.60

Hamesh Khalil (1930- ), eminent Pashtu writer, poet,

researcher and political activist in 1952 describes the

sufferings of people and the Cold War ravages:

The tired masses with hammer and sickle are

trying to rebound Atom bomb

These sailors of my life river are trapping to

sink us in Whirlpool.61

The third literary genius of this period was Qalender Mohmand

(1930-2003) who set new trends by publishing a series of short

stories Gajray (Bracelets). He was not only a thinker but a

journalist, teacher, researcher and poet. His poetry depicted all

contemporary progressive traits and trends, with the flavor of

nationalism, socialism, revolt and romanticism. He was

extremely perfectionist and in his writings, he sought to follow


29

Victor Hugo’s example: “I have written Les Miserables for all

nations. I don’t know whether all will read it or not but I have

written it for all. In one of his poems “Reply to Demagogue” he

says:

The darkish midnight sings for the arrival of the dawn.

It looks like that this dark system is going to vanish.

To the east, up on the horizon it seems radish light,

Which indicates as if blood of the poor peasantry is getting on

flames.

Over the hidden treasures raised the epitaph of the poor.

The elite are grieved as if it harms them.

In this new era the poor ones drew the cords of the earth’s poles

and it looks as the east and west are getting merged with each

other. 62

In 1961, while in Prison, he wrote a poem namely a “gift” by

saying:

I wondered at the flower,

That you have sent me,

Whether it is smiling or drench on poison,

My God bless me by clearing my way!

All the paths are full of gallows and revolution,

This is my determination, pledge and oath.63

Ashraf Maftoon (1922-2004) a romantic poet of the same

period depicts dreams in his poetry and it seems that he is

fed up with the cross currents of the surrounding

environment and is in search of escape. Younis Khalil (1927-

2000), a retired army major, also promoted romanticism in

Pashtu poetry i.e.

We never let life to slip away,

Weather it is storm or hailing. 64


30

The era of Ayub Khan (1958-1969) further complicated

relationships between the state and nationalities in Pakistan.

During this period, Pashtu literary associations were formed

with different names in almost all areas of Pakhtunkhwa.

Some of the secular, young and educated writers, who were

not actively involved in politics, but who intellectually,

supported mass movements, socialism and democracy,

worked to project the case of Pashtu and the Pakhtuns.

Among these, Abdur Rahim Majzoob(1935- ) adopted Greek

mythology, exploiting its symbolism to condemn Ayub Khan

despotic regime. Some of his poems in this period include

"Arcadia", "Salute to Vietnam" and "The Gods of Metropole".

In the "The Gods of Metropole," he criticizes rulers and

politicians for their abuse and exploitation of the innocent

populace:

Listen; O gods of Metropole;

We cannot bear anymore

Your rule of tyranny and oppression.

O, power hungry and blind in luxuries of disposition!

We are unable to allow you to suck our blood anymore.65

According to late Sher Zaman Taizai(1931-2009) “Said Rasul

Rasa, Ghani Khan and Abdur Rahim Majzoob are the three

great poets of nazm of our age. Majzoob established his

position well with a unique style and singular diction, and a

fine blend of realism and romanticism”.66 He has ideas,

knowledge, experience and he know how to articulate

artistically and blend romanticism, mythology, humanism

and Pakhtunwali in a poem. He is adept in pushing

enrichment of meaning by amplification, overtone and

frequent cross-reference to an extreme stage in some of his


31

works, such as: Za che zoo teare dee! (Let's go, its dark!) Miss

Parveen, Har saray day sareekhor! (Every man is man-eater!),

Da rame shponkia tse shwe! (Where are you, O, Shepherd!),

Ode to Sheikh Badin hill etc. Profuse figures of speech,

particularly allusions and cross-references, made Majzoob

the "master of allusions".

He set new trends in Pashtu literature with introduction

of Western romanticism, objectivism and newness, and

upgraded Pashtu poetry to the level achieved by English

poetry of romantic revival in the 19th century. Majzoob

preferred romanticism and tried to compose verses with all

attributes of romanticism.67 Ayub Sabir has written a critical

note on Zear Guloona (yellow flowers) of Majzoob, which

reflects conditions of life in Pakhtunkhwa. Some poems are

satirical with a tinge of criticism, such as:

Some eyes are official,

They are used to courts,

They are blind for power,

They lack faith and faithfulness,

They serve their own purpose,

They can't take a gulp without lie and deception,

I am buyer of eyes, but which type of eyes you want! 68

In another poem Majzoob describes the rising passion of the

oppressed against the oppressors:

The dormant volcano has got wake up with the rising flames

and the burning flames can be seen raising living in great palaces.

They are mad in their fury as they see their end with their own

eyes.

Its true “you have to reap what you have sown”

people have got awaken.69


32

Saifur Rehman Saleem (1929-2014), another important

romantic poet, confessed openly that for the sake of people

he forgets poetry and luxury life.

But o friend!

Now I forget the art of writing Ghazle

I have forgotten the locks/curls of hair.

I don’t know what youth is,

What is Song and what is rubab?

What is pub and who are drinkers?

I don’t recollect my old relations.

Now ask me, what lurking in my mind,

Read the questions on my face.

Remove this flask and cup,

For dead bodies are lying before my eyes,

Playing cards are scattered in front of you.

You seek music in thoughts sad,

and smiles on dry lips.

Poverty stricken ones demand clothes from me,

and fallen ones beseech my hand to aid.

Orphan children are around me,

and are weeping because of hunger.70

Pashtu Literature in 1970s was though more inclined towards

socialism, Maoism and nationalism but the revolutionary

romanticism was more visible in all genres of literature. A

wide range of secular and progressive themes were

presented in Pashtu literature and very serious discussions

were initiated regarding Pakhtun identity, Pashtu as medium

of instruction and even the role of computers, in periodicals

like Qand (First phase 1950 & second phase 1970) from

Mardan. Qammar Rahi (1924-2014) was its editor and it was

one of the best literary magazines. His poetry reflects all


33

traits of progressivism, romanticism and revolution. In one of

his poem he says:

In my village the flowers seem to be weathered,

And greenery has been burnt away?

There is a touch of autumn in the spring,

For the dry leave produced sounds,

Now the punghat is surrounded by walls,

Like the other things it is confined,

The laughing of the girls are now missing here,

Children know nothing- about pitchers.71

Dr. Ameenul Haq (1930-1988) is another important poet of

Pashtu. He is extremely under the shadow of Marxism with

philosophical interpretation. In one of his poems, he requests

Zoroaster to come and burn away poverty and bring happiness:

O Zartasht! Fuel the fire and make it burning forcefully/perish

the hopelessness in the river. Burn away the poverty.

Blew up the sparks and warm up the cold blood.

To flame up the ashes and to renovate their passions.72

Latif Wahmi (1920-1998) is another icon of romantic poetry

with dormant revolutionary flame. However, Saeed Gohar

(1947-2010) depicted the fake leaders of society:

I am a Pir (Saint), follow me blindly,

I am mullah, I am always right.

I am a chief; don’t say no in front of me

I am unable to whom I follow

I am the pupil of one, and the follower of the other;

And this third one is my master,

For I belong to all of them.

I am unable to whom I follow

For it I deny, they call me disbeliever,

If I say no, they declare me rebellion,


34

One sells his feats,

The second one sells his Imamate,

And the third one his state.

I am unable to whom I follow.73

Ayub Sabir (1922-1989) from Kohat was a prolific writer,

journalist and poet. In one of his poems, Rewayet (tradition),

he addresses God:

The most high God!

Whenever there is storm,

It always destroyed the cottages.

Whenever there is flood

It always drowned the poor’s.

Whose rule is this

Whose customs these are

Who are free here

Whose society is this

And whose rules are followed here

People, who are wretched and backward

Whose fault is this?74

The slogans and programs of Pakistan People’s Party of

Zulfiqar Ali Bhutto encouraged the Mazdoor Kisan (worker-

farmer) Party in the Khyber Pakhtunkhwa. But PPP's unwise

steps by dismissing the NAP elected provincial Governments

in 1973, the massacre at Liaqat Bagh, Lahore, in which two

bodyguards of Ajmal Khattak were among the dead, and the

Army action in Baluchistan, all spoke of his authoritarian style.

These measures were seen in Pakhtunkhwa and Baluchistan as

an assault on the autonomy of the provinces. Some Pashtun

writers escaped to Afghanistan. In such a situation, a

progressive, romantic and revolutionary Pashtun writers

(mostly the leftist progressives group) was led by Salim Raz

(1939- ), Assi Ashnghry (1940-1997), Rahmat Shah Sail (1945-

), Shams Buneeri (1946- ), Afrasiyab Khattak (1950- ), Dr.


35

Khaliq Ziayr (1956- ) and Noorul Bashar Navid, editor of

Pashtu monthly Lekwal. Abdur Rahim Mandokhel from

southern Pakhtunkhwa and Sher Ali Bacha also raised the

cause of the oppressed classes and Pakhtun cause for

autonomy in their writings. The late Sher Ali Bacha focused on

the history of the nationalities, arguing that the muhajir (from

India) were considered an invading force, who used Urdu as

tool to impose their own will and culture on the other

nationalities of Pakistan. The approach of the literary circles

was more progressive, democratic, independent and dynamic,

penetrated with notions of socialism, nationalism, peace and

progress. Even from student life Saleem Raaz is political

activist. In one of his couplets he said:

Even a single groan of complain cannot be heard.

It’s quite strangled if there is a deep silence amidst the hell.

I cannot be mean like a splashing river. I am a silently

tolerating ocean.75

The Afghan Revolution of 1978 and resistance further jolted

the entire region politically by accelerating processes of

political confrontation and ideological polarization. The Kabul

regime supported Leftist elements in Pakhtunkhwa, while the

influx of Afghan refugees into Pakistan created the

opportunity for the Islamic forces to exploit them for their

own interest. Again, Pakhtun nationalism was the target and

at this stage, the Zia regime sought to produce a “Pakistani

generation” of the Afghans to counter the “Pakhtunistan

generation”, by accommodating some three million Afghan

refugees in Pakistan. The Kabul regime also produced

ideological propaganda literature in Pashtu, projecting

notions of “class struggle”, nationalism and internationalism.

The novels and stories of Noor Muhammad Taraki (the head


36

of the new regime) were republished and distributed freely on

both sides of the Durand Line. PDPA government also tried to

establish the Khalq Party in the tribal area and established

close contacts with the Mazdoor Kisan Party of Khyber

Pakhtunkhwa. Afzal Bangash (1924-1986) of Mazdor Kisan

Party also played a leading role for the rights of laborers and

tenants of Charsadda, Mardan, Swat, Malakand and some

areas of Bannu district (including Lakki Marwat). Some of its

leaders were Major Ishaq and Qader Khan of Bannu. This party

was encouraged with the land reforms of ZAB and Afghan

Revolution of 1978. One pitfall which I noted in Pre-partition

Ghalla Dher tenants movement and post- partition Mazdor

Kisan party that its local followers were not ideologically

committed to the cause of equality or the common word they

were using at that time Masawat but rather just wanted to

grab some one’s land or himself become a landlord.76 Among the writers and poets, Shams Buneeri was extremely impressed by the Afghan Revolution like other leftist writers of Pakistan and Afghanistan. His revolutionary poetic work Sor Saher (Red Dawn) was very popular among the leftist students in 80s in the University of Peshawar. In the following couplet he said:

Amidst the tyranny and in the fetters of time,

both the motherland and the civilians are lying imprisoned.

Even to utter a claim of having a right is a sever clime here.

Some are hanging from their necks while other from tongues.77

Dr. Sahib Shah Sabir (1956- ) being student of Pashtu

literature was very active in student politics with leftist

ideology. He did his PhD in Pashtu and was one of the best

critical writers of the young generations of Pashtu writers.

It needs a bit of further sacrifice, a bit more insanity and a bit more

zeal and enthusiasm. Then see how the gigantic hard mountains


37

dashes into pieces and see how the dark night turns into the

dawn.

Let’s unite to be strengthened, and let’s make the noise

of revolution what they deserve.

Let’s perish the pride of silence and lets break and crush

the ear-rings from the ears of power lessens.

So that independence, though fullness and sense of art might

come forth and the delicate frailty might get the revival of

sparingly exultation. Every house might be lightened with a new

fresh light and every street might be spread with loyalty and faith

fullness.78

Rahmat Shah Sail (1945- ) the editor of “Pakhtun” journal of

Bacha Khan Markaz, Peshawar is popular voice for his ghazal

among the youngsters.

Let’s turn this cry to a burning flame. Let’s mingle,

as well our blood with it.

My friends! Whether this world perishes or remains.

Let’s this cry of revolution be feed on the motherland

till we hear the crying out for bread 79

Noor-ul Bashar Naveed (1957- ) also guided the masses for

revolution:

Whether the course of journey lies through flowers or thorns;

You have to keep on going towards your destination.

The doors of prisons can’t block your course.

I foresee that you will reach to the palace of your dreams.

Life is thrust arousing, a hot mid day, and same to the hot Karbala.

And I can see that you will reach to your altar smiling. 80

Afrasiyab Khattak (1950- ) born and bred in mountainous area

of Kohat and educated under the patronage of his maternal

grandfather in his childhood acquainted him with Persian


38

poetry and Dr Iqbal’s poetic works. His material uncle who

was a friend of Dr. Iqbal translated Khushal Khattak’s Kulyiat

to Iqbal which naturally created love of Iqbal for the

Afghans/Pakhtuns. Afrasiyab Khattak later on became student

leader and developed himself as scholar politician with his

own writings and oratory attracted not only young leftist

students in lower Pakhtunkhwa but had an intellectual mark

on almost all progressive circles of the country.

In one his poetic pieces, he addresses the common folk

of Pakhtunkhwa,

Though Buddha’s melody lives in your valleys

But roar of disgusting artillery arises from your rooftops

If the night of tyranny prolongs in your land

How will the moon of your beauty and romance rise in your land

The tyrannical rulers who had put Khushal in misery

The aged Bacha Khan has been imprisoned by the same rulers81

Dr. Khadim Hussain (1968- ) had an opportunity to dwell

deep into the eastern and western literatures because of his

understanding of English, Urdu, Persian and Arabic

languages and literatures. Being an enthusiastic activist in

the progressive nationalist movement in the 1980s and

1990s, Khadim Hussain tested his talents in writing poetry,

prose, critical research papers, fiction and literary criticism

besides linguistics in which he has been formally trained. Due

to his avaricious reading of Pashtu classical and modern

Pashtu literature, he has depicted historical images following

the romantic revolutionary trends in Pashto poetry.

In a stanza of one his long Pashtu poems, ‘Trannaum

hom bewasla shi’, he says,

Bayazid transacts in the trade of soul

Khushal Khan elaborates philosophies


39

In the waves of unending times

Bacha Khan yearns for the fragrance liberation

Peshawar sings to Gothama

Melodies of pain

It’s the power of borders

Fact turns into fiction82

Haseena Gul (1968- ) a young Pashtu poet expressed her

depression in conservative society by saying:

We cannot even express our sad plight

We are so much depressed by the rules of life.83

Akhtar Zaman Khatak (1959-2011) in his first and last poetic

collection “Stari Delilona” (Tired reasons) is yearning for the

transformation of his village:

The short, narrow streets of my village are needed to be

broadened and lightened.

This old building is to be toppled down for reconstruction

before it falls upon our heads.84

Among literary academicians of Afghanistan, Late Mohmmad

Sadiq Rohi, Habibullah Rafi, Zalmay HewadMal and Zarmalwal

contributed a lot to Pashtu literature. In the youngster

generation of poets, Abdul Ghaffor Lewal and Pir Mohammad

Karwan are new trend setters. Some short story writers of

Afghanistan are Abdullah Bakhtani Khidmatgar, Musa Shafiq

(1978-29), Muhammad Sadiq Paseraly (1928-2014), Suliman

Laiq (1930- ), Sharifa Sharef(1951- ), Zaren Anzor (1956- ),

Abdul Khaliq Rashid (1956- ), Akbar Kargar (1953- ) Shurat

Ningiyal (1959), Abdur Rauf Qateel Khugiani (1934- ), Kubra

Fitri, Hafizullah Tarabiz(1962- ) Abdul Wakil Shinwari (1964- ).


40

In lower Pakhtunkhwa some other poets and writers are

Darwesh Durrani, Abdul Karim Barialy, Dr.Iqbal Nasim Khattak,

Dr.Hamayun Huma, Rajwali Shah Khattak, Rahmatullah Dard,

Daudzai, Muntazir Batanai, Sarfarz Uqab Khattak, Tahir

Kulachvi, Majboor Sorani, Ghazai Sial, Safia Halim. In the domain of Pashtu novels some new themes appeared in Salma Shaheen “Ka Rana Shwa” (If there is light), Sadudin Shapoon’s Shen Taghi and “Da Samsy Yaran” (Friends of Caverns). Ibrahim Ataee, an Afghan scholar rated Dr. Sherzaman Taizai’s novel Amanat published in 1973 as a masterpiece mainly due to his leftist leanings. The central idea of this novel revolves around the class struggle. From social theme in Gul Khan, Taizai moved to ideological theorem in Amanat. Ibrahim Ataee terms this novel a masterpiece.85 While General Zia’s Martial Law regime attempted in trapping Pashtun nationalist leaders, Afghan revolution and resistance provided new opportunities and challenges to poets and writers. Ironically, Pashtu literature produced during this period was enormously diversified in form and content. Some of the nationalist Pashtun refugee writers, such as Azizur-Rahman Ulfat and Bahauddin Majrooh, were assassinated in Peshawar by unknown assailants and eminent poet and writer and once a protagonist of Pakhtunistan, Abdur Rahman Pazwak, was forced to leave Pakistan. The fall of Dr. Najibullah and the rise of the mujahideen Government in Kabul were followed by fratricidal war. Unfortunately, the Islamists mujahideen burned all the books in the libraries of Kabul in order “to obliterate the stains of Communism”. The hopelessness of the people at this time was reflected in both prose and poetry.

Thus, some embraced martyrdom on the very name of a country,

While others erected palaces on the blood of the martyrs.86

Pakhtun society had already been divided into ideological

extremes, crystallizing into two distinct political streams of

literary circles: One was for jirga, reconciliation and peace;

the other for jehad and war. These notions found clear


41

expression in contemporary Pashtu literature, with Sadiqullah

Paserly’s Spedee (Dawn) emerging as one of the best journals

of this period. Spede projected cultural and political aspects

of Pashtu literature and translated many Urdu articles into

Pashtu. Monthly Pakhtun, journal of Bacha Khan Markaz,

Peshawar, Pashtu of the Pashtu Academy and Lekwal

maintained its old stance for political, cultural, literary and

other pursuits.

Among the active Pakhtun Diaspora of European countries,

the Germany-based members of the Pakhtun Social

Democratic Party (PSDP), interpreting Pakhtun/ Afghan

problems in their own western cultural environment and with

utopian hypotheses, stands out prominent. The best example

of this trend was Ali Khan Masud’s Germanian bia Yoo Shwal

(The Germans Reunited) and the journal, Pashtunkhwa. Other

important literary circles of Pakhtun Diaspora are of the United

Arab Emirates which produced some good titles in prose and

poetry. Some new periodicals, Jirga, Shamshad, Gorbat,

Gandhara, Waraze, from Peshawar and Mewand and Palana

from Quetta, started publishing for peace and reconciliation

and the promotion of Pashtu language and literature in this

period. Most writers discussed political and cultural issues, the

Afghan problem, as well as local, regional and international

concerns, seeking to subject these to scientific and objective

analysis.

With the fall of the Soviet Empire and rise of the Central

Asian Republics, a new debate commenced in literary circles;

whether Islamic jehad or nationalism was to be the main

instrument of change? These ideas, and the struggle for the

transformation of Pakhtunkhwa, found a place in the dreams,

songs and sorrows of poets and writers, including those who

were illiterate. The last five years of the 20th century and the


42

early years of the new century saw more than 800 new titles in

Pashtu, on history, legal systems, technical subjects, fiction and

poetry. A majority of these authors is drawn from the middle

classes and their writings are replete with anti-war slogans and

a desire for peace and reconciliation. Thus, Akbar Sial’s Paa

Jang Day Aoor Wa Lagi (To Hell with the War), Abdullah Jan

Maghmoom’s Armanoona auo Hasratoona (Ambitions and

Aspirations), Dr.Sher Zaman Taizai’s Nara Zaba (Virile

language), Dr. Suhail Insha’s Pukhtane neway jorakhat (Pashtun

social & tribal structure), Dr. Zuber Hassrat‘s Da Khushal Baba

Tarekh Goei and Olesi Adabi Jirga and Muhib Wazir’s Pashtu

Clasiki Shaeri Ke Insan Dostiti reflect anti-war themes and a

powerful assertion of the Pashtun identity. Habibullah Rafie’s

Da bootano hangama (The Crisis of Idols); Ghaos Khaberi’s Pa

Afghanistan Kay Topan (Storm in Afghanistan); Muhamad

Kamal’s book on 9/11, Naray da Topan pa Oogo (World on the

Shoulders of a Storm), Muhib Wazir’s Pe Pakhtu Novel Av

Afsany bandy da yolasim September Asrat(The impact of 9/11

on Pashtu novel and fiction), and the periodical Hillah of April-

May, 2002, which raised the crucial question: Are All Pashtuns

Taliban?. Among some important books of the period are:

Rahmat Shah Sahil’s Da Wino rang Paa Lambu Singa Khkari

(How the color of blood looks on the flames), Ajmal Khattak’s,

Da Afghan Nang, Mirza Halim Hamidi’s Da Kanro Zaroona (The

Stone Hearts), Najibullah Amir’s Da Bachai Akhri Warz (The last

day of the Kingship), Syed Wiqar Ali shah’s Khushal Khan

Khattak aw Tarikh Nawisi (Khushal Khan Khattak and

Historiography), and also translated Professor Fathe

Muhammad Malik, Iqbal Aw Afghanistan. Almost all important

English works on Afghan war and Taliban like “Ghost Wars’,

“Holy Wars” and novel like Alchemist are translated into Pashtu.


43

The Cultural department of Khyber Pakhtunkhwa also

published some books of Pashtu, Urdu and Hindko.

One of the major steps in the promotion of Pashtu

language was that the government of Khyber Pakhtunkhwa

recommended Pashtu, Hindko, Saraiki, Kohar & Kohistani

languages (as mother tongue) as compulsory subject in the

curricula from class one to class 12th. This shows pluralism and

accommodation for all sections of society despite pressures

from Pashtu literary circles.

Conclusion

Revolutionary Romanticism in Pashtu literature with all its

genres and creativity grew out of the womb of nationalist,

socialist and non-violent movements in and around

Pakhtunkhwa in the 20th and 21th century. It’s more developed,

perfect and visible form with forceful thoughts in poetry, short

stories, and articles and in some novels brought out in 1950s.

Pashtu language was chosen as an identity-marker by Pakhtun

nationalists for educational, economic, cultural and political

reasons to create their space within Pakistan. On the other

hand, in Afghanistan Pashtu was used for gaining power and

sympathy of all the Pakhtuns living beyond the boundaries of

Afghanistan. With the passage of time, in Pakistan the

aspirations of poets and writers for independence changed into

a demand for maximum provincial autonomy, and this shift was

expressed in literature, at times in the form of Pakhtunistan, at

others, in the form of Pakhtunkhwa.

Most of the Pakhtun writers and poets were in search of

the “past in future” with their own vision and knowledge.

Whether they failed or died due to objective and subjective


44

conditions in their own society and country, yet they left

behind a millions of words of wisdom for the young

generation to reassess themselves in the globalized world.

Last but not the least, I do not agree with the opinion of

Dr. Mubarak Ali “one of the problems that Pakistan faces is the

absence of philosophers and thinkers, we do, however, give

birth to a lot of poets and ulemas”,87 but perhaps he had little

or no knowledge of Pakhtun writers and poets who sacrificed

their lives for literary and political renaissance of tribal rural

society and challenged the status quo oriented palace in Kabul

and dictatorial regimes in Pakistan.

References and Notes

1 Wali Khan, Facts are Facts: The untold story of Indian Partition,

Bacha Khan Trust Peshawar, Pakistan, 2006, pp. 87-91 & 97-99. See also Syed Wiqar Ali Shah, Ethnicity, Islam and Nationalism, Oxford University Press, Karachi, 1999, pp.137, 155.

2 In 1915, the situation in Kabul court was aggravated with the arrival of two missions in Kabul. The Turko-German Mission of about eighty persons headed by Captain Oskar Von Nieder-mayer, W.O.Von Henting and Kazim Bey reached Kabul in 1915. Among its members were the all but the legendary Wasmuss, a German secret agent in Persia, two leading Indian revolutionaries, Raja Mahendra Pratap and Maulvi Barakatullah Bhopali, two Afghans from the United States, Abdur Rahman and Subhan Khan and three Afridi tribesmen, who were enlisted from a Prisoner of War camp in Germany. Simultaneously with German Mission's entry in Afghanistan from Herat side, a party of twenty-two Austrians crossed the Russo-Afghan border near Mazar-Sharif. These were prisoners of war who had managed to escape from their detention camps in the Russian Central Asia. On their arrival in Kabul they were given a house and an allowance and some of them were employed in public works department. See for more details Dr. Fazal-ur-Marwat, The Evolution and Growth of Communism in Afghanistan 1917-1979: An Appraisal, Royal Book Company, Karachi.1997, pp.124, 125, 127. The second mission of the Indian revolutionaries was led


45

by Maulana Obaidullah Sindhi who left India along with Maulvi Abdullah Laghari, Fath Muhammad alias Abdur Rehman, Noor Muhammad and Akhtar Afghan and reached Kabul via Kandahar on 15th October 1915. They wanted to use Kabul support for their activities against the British. In Kabul, Sindhi became minister of interior in the newly organized Hukumat-i-Muwaqata-i-Hind (Provisional Government of India) with Raja Mahindra Pratap as President and Maulvi Barakatullah Bohpali as Prime Minister. In July 1916, Sindhi wrote a letter on a piece of Silk cloth and sent it to Sindh (India, now Pakistan) to be dispatched to Sheikul Hind in Makkah. But his emissary fell into the hands of the C.I.D agents. This led to mass arrest of the Indian radical nationalists by the British government against whom the "Silk Letter Conspiracy Case" was instituted, accusing them of sedition and plotting to overthrow the Government in power. Some of his Indian followers proceeded to Tashkent from Kabul. The Indian revolutionaries were deputed by Ghadr Party (San Francisco), Pan- Aryan Association (New York) and India Independence Committee, Berlin. Muhammad Hajjan Shaikh, Maulana Ubaid Allah Sindhi: A Revolutionary Scholar. Islamabad. 1986; Dr. Ghulam Mustafa Khan, Maulana Obaidullah Sindhi:Kee-Sirguzasat-Kabul. Islamabad. 1980; M. Obaidullah Sindhi, Kabul Mee-Satt-Sall. Lahore.nd; Zafar H. Aibek, App-Beti Vol: I, II, III, Lahore 1984; Zafar H.Aibek, Ubaidullah Sindhi in Afghanistan, Journal of the Regional Institute (I.P.T). Regional Cultural Institute Teheran, Vol: VI, No. 3 & 4, 1973. pp.129-136.

3 Romanticism and the French Revolution quoted from Albert Hancock, The French Revolution and the English Poets: a study in historical criticism, Wikipedia, 2nd March, 2015.

4 Dr. Marwat Opcit, p. xi

5 The Hijrat Movement started as result of a reaction and agitation of the Khilafat Movement in British India in 1920s. In the summer of 1920 about Sixty thousand Muslims (including more than 18000 Pakhtuns migrated to Kabul. Some of the Indian Muhajirs based in Kabul reached Tashkent, where they were welcomed by M.N. Roy who enrolled them in his revolutionary school. Syed. Rais A. Jafri, Awraq-Gum-Gashta. M. Ali Academy, Lahore. 1968; Mian Akbar Shah, Da Azadi Talash. Peshawar n.d; Dr. Miss. Lal Baha, Khilafat Movement and the North West Frontier Province.


46

Journal of the Research Society of Pakistan; Vol: XVI, No.3, Lahore, July, 1979; Dr. L.Baha, The Hijrat Movement and the North West-Frontier Province. J.R.S.P; Shaukat Usmani, Peshawar to Moscow, Leaves from An Indian Muhajireen; Diary, Benaras, 1927.

6 On First April, 1921, the Anjuman-i-Islah-ul-Afaghana (the Society for the Reformation of Afghans) was formed by Bacha Khan and his colleagues. Mian Akbar Shah (1899-1990), an active member of the Anjuman, and a former student of Islamia College, Peshawar, who had gone as far as Soviet Union in connection with liberation of the ‘motherland’, proposed the formation of Zalmo Jirga (Youth league) on the pattern of Young Turks, Young Afghans, Young Bukharans, Young Khivans and other similar organizations of Turkey, Iran, Central Asia and Afghanistan. Bacha Khan appreciated the idea and formed Zalmo Jirga in Utmanzai (Charsadda). Its membership was open to ‘every youth without any discrimination of caste, creed or religion, provided he is literate’, and that ‘he should not participate in any form of communalism’. Pashtu was made the official language for Jirga’s proceedings. In Novmber, 1929 it was followed by broader organization Khudai Khidmatgars (Servants of God). Sarfaraz Khan became its first President. The KKs started its own Pashtu journal Pakhtun in 1928. It was anti-British, anti-Mullah, Pro-Kabul. It was banned by British government in April 1930. However, it reappeared in May 1931 but banned again in December 1931. After long interval of seven year it republished in April 1938 to December 1940.Once again it was banned and for the last it resurfaced in August 1945 and published regularly up to August 1947 when the new government of Pakistan banned it permanently. Syed A. Hussain, Pukhtun Journal-An appraisal, unpublished M. Phil Thesis, Area Study Centre, University of Peshawar, 1982.

7 Abdulah Jan Abid, Pashtu Adab ke Jadid Ruhjanat, University Publishers, Afghan market, Qisa Khwani Bazaar, Peshawar,2008, p. 98.

8 Prof Muhamad Nawaz Tahir, Pashtu Zaban Our Adab: Aik Mutalia, Pashtu academy, University of Peshawar, 1988, 43, 44; see also Dr.Fazal-ur-Rahim Marwat, Pashtu Literature: A quest for identity in Pakistan, Pakistan study Center, University of Peshawar, 2002, p. 5.


47

9 Abid Opcit, p.116.

10 The poem of Rahat Zakheli published in journal Jares (Nazim number), Jares Adabi Jirga Karachi, March, 2001, 2002, p. 443.

11 Dr.Mian Suhail Insha, Obalem Pelha Qadem, University Publishers, Afghan Market, Qisakhwani, Peshawar.2009, p.58; Abid Opcit, p. 63.

12 Abid Opcit. p. 64.

13 L. Dupree, Afghanistan, New Jersey, 1980, p. 440; Members of the `Young Turks' Party, a revolutionary reformative group, suppressed in 1901 but reorganized in 1908 which led a rebellion against the authoritarian regime of the Ottoman sultan, Abdul Hamid 11. Enver Pasha, Jamal Pasha, Talat Pasha and Mustafa Kemal Pasha were some of its leaders. Once Mustafa Kemal had been imprisoned for reading such seditious authors as John Stuart Mill. Another author whom the Young Turks read was Mahmud Tarzi, whose unpublished satiric works were circulating underground. Those who collaborated with Tarzi in his high task of writing for Siraj were Ali Ahmad, Maulvi Abdur Rauf (editor of the 1906 Siraj) and Abdul Hadi Dawi and others. For detail see Rheatally Stewart, Fire in Afghanistan 1914-29, Faith, hope the British Empire, New York, 1917, p. 9, J. A. R. Marriott, The Eastern Question. Oxford 1951.See also Sir E. Pears, Life of Abdul Hamid, London. 1917.

14 Miss Lal Baha, Struggle of Journalism in Frontier Province, Islamic Studies, autumn 1978, pp.218-219.

15 The Comrade of Calcutta & Delhi, Zamindar of Lahore, Al-Hilal of Calcutta and the Tribune of Lahore played important role in developing the young educated class into a political corps. Rukhsana Hidayatullah, Abdul Akbar Khan Akbar, unpublished MA thesis, Pakistan Study Centre, University of Peshawar, 1987, p. 8.

16 Ibid., p. 8 quoted from Abdul Akbar Khan, Safarnama Russi Turkistan, Karwan- Azadi-Manzal-Awal, Charsadda, Peshawar, 1950, Urdu translation by Haji Purdil Khan, pp.16-17.

17 Ibid. p. 17.


48

18 The Soviet writer C.F Girs mentioned Taraki, Benawa and some

others in his book about Pashtu prose in 1958 for the first time and it was reproduced with com mentary in the Central Asian Review, volume, viii, 1960, pp.65, 66. In 1965, Taraki along with other Leftist Afghans founded PDPA. He became the first Prime Minister of the Democratic Republic of Afghanistan after the April Revolution of 1978. Interview with Bacha Khan, Wali Bagh Charsadda, 1982.

19 Interview with Pohand Abdul Hay Habibi, Kabul, 4th January,1982.

20 The sense of distinctiveness, which is an essential ingredient of nationalism, had been induced into Pashtuns centuries ago, and is visible in the poetry of Khushal Khan Khattak (16th century), in which language and territory, the two nation- making elements are described as the distinguishing features of the Pashtuns. Khattak notes, further, that “All Pashtuns, from Kandahar to Attock are one and the same overtly and covertly in respect of Nang (sense of honor)”

21 Some other eminent writers and poets of the period were Muhammad Akbar Khadim, Abdul Khaliq Khaleeq, Amir Hamza Shinwari, Abdul Ghani Khan, Ajmal Khatak, Amir Nawaz Jalia, Wali Muhammad Tofan, Fazal Rahim Saqi, Master Abdul Karim, Mian Akbar Shah, Syed Rasul Rasa, Abdul Malik Fida, Khan Mir Hilali, and Mir Mehdi Shah Mehdi. The eminent littérateurs of this period in upper Pakhtunkhwa (Afghanistan) were Gul Pach Ulfat, Abdul Hay Habibi, Sadiqullah Rishteen, Abdur Rauf Benawa, Mirajan Sial and Noor Muhammad Taraki.

22 In his Pashtu autobiography “Zama Zawand aw Judo juhad” Kabul, nd Abdul Ghafar Khan has given this poem of Makhfi . See for English translation Dr. Fazal-ur-Rahim Marwat, Pashtu Literature: A quest for identity in Pakistan, Pakistan Study Center University of Peshawar, 2002, p. 6.

23 Amir Nawaz Jalia, Dard, Bacha Khan Research Centre, Bacha Khan Markaz, Peshawar, 2012, p. 2.

24 Abid Opcit, p. 64, see also Wali Muhammad Tofan, Ghwarzang, University Book Agency, Peshawar, 2014.


49

25 Syed Wiqar Ali Shah Kaka Khel, Pukhtani Khezi Av di Kam

Khidmat, Bacha Khan Research Centre, Bacha Khan Markaz, Peshawar, 2012, P.63. AlfJana Khattaka is still alive. In 2012, Mr. Hamid Karzai (former President of Afghanistan) and Amir Haider Khan Hoti (Chief Minister of KP) for acknowledging her literary contribution handed over Rs one lac cash each to me and I (Marwat) gave her when she was in North West hospital Peshawar.

26 Ibid. 148.

27 Abid Opcit. 61.

28 See also the title page of the Pakhtun journal 1928 onward.

29 Abdur Rauf Benwa, Osani Lekwal, Vol.1, Kabul, 1343 (1963), pp. 434-435.

30 Mian Said Rasul Rasa, Muqadma Armaghan-e-Khushhal, Peshawar, University Book Agency, 1994, pp. 36-39.Muqadma Armaghan-E-Khushhal, p.164.

31 Rafiq Ahmad Khan, S.T. Coleridge: Biographia Literaria (A Exhaustive Critical Study with Complete Text), Lahore, New Book Palace Urdu Bazaar, N.D., 156,162,170,178.

32 Mian Said Rasul Rasa, Da Baidya Guloona, New Edition, Peshawar, University Book Agency, N.D. Second edition in 1963 (p.20)], pp. 11,12,18, 367

33 Ibid. pp. 291-292.

34 Syed Taqweem-ul-Haq Kakakhel, Abdul Qadir Marhoom, (unpublished), p.32

35 Maulana Abdul Qadir, Shae-ro-shaaere Aw Shaaeran, Nan Paroon. The monthly, old Delhi, 25 September, 1948, p. 4.

36 The scanned copies of Shula, Personal papers

37 Vartan Gregorian, The emergence of modern Afghanistan: politics of reforms and modernization:1880-1946,Stanford University Press, California,1969. p. 351.


50

38 Dr. Marwat, Pashtu Literature Opcit. p. 7.

39 Celebrities Opcit , p. 27, See also Dc record section, Directorate of Archives, NWFP, Bundle 1, File 13,report 2-F-3,8.

40 Ibid. p. 33.

41 Dr.Marwat, Evolution Opcit, p. 215.

42 Abdur Rauf Benwa, Osani Lekwal, First Volum, Kabul, 1340 (1960), pp. 91-103.

43 Dr Marwat Pashtu Literature Opcit. p. 6.

44 Sanjay Srivastava, Voice,gender and Space in times of Five Years plans: The idea of Lata Mangeshkar, SSRC fellows workshop on the long 1950s., Negombo, Sri Lanka,December,20-22,2005, p.1.

45 Rasa, Da Baidya Guloona Opcit, P.7

46 Syed Minhajul Hassan, Babra Firing Incident: 12th august 1948, Department of history, University of Peshawar, 1998. Also quoted in Marwat, Pashtu literature opcit. pp.9, 34; See Babara Incident, Red Shirt activities,1949. CID report, Directorate of archives, Government of NWFP.

47 Marwat Opcit, P.9 quoted from Hidayatullah, Abdul Akbar Opcit. p. 8.

48 Ibid. p. 9.

49 R T Akhramovich, Outline of Afghanistan after the Second world War, Nauka Publishing house, Moscow, 1966, p. 46.

50 See all novels of Noor Muhammad Taraki. The files of Afghan newspapers are in Area study Centre, University of Peshawar; Bahuddin Majrooh was a son of Shamsuddin Majrooh who had served as minister of justice under Zahir Shah and had been a member of the committee that drafted the 1964 constitution, which introduced democracy to Afghanistan; See also Ashraf Ghani, “The Future of the Past” Introductory presentation to Panel F, “The Future of the Past,” in the International Seminar on Social and Cultural


51

Prospects for Afghanistan. Printed in WUFA 5(4) (special issue) December 1990: 155-171 quoted in James Caron unpublished English translation.

51 Suliman Laiaq has written many articles in Pashtu and Dari. He has to his credit one novel (Gherona av Kasatona) and poetic collection. His poem Kegdy (Tent) was translated by my father Abdur Rahim Majzoob in 1980s.

52 Marwat, Pashtu Literature Opcit, p. 10.

53 Tariq Rahman, Language and Politics in Pakistan, Oxford Press, Karachi, 1998, PP.133-134. Among the organizers of Jirga were Kaka Sanober Hussain, Dost Muhamad Khan Kamal and Amir Hamza Shiwari. Some eminent members of this jirga were: Qalander Momand,Saifur Rahman salim, Mir Mehdi Shah Mehdi, Latif Wahemi, Ayub Saber, Khater Ghzanvi, Wali Muhamad Tofan, Faizur Rahman Faizi, Afzal Bangash and Abdur Rahim Majzoob. See for more detail, Salim Raz, Taraqi Passand Tehreek our Soba Sarhad, Khiayban, University of Peshawar, Spring, 2006, p. 254.

54 Marwat, Pashtu Literature opcit, p. 13.

55 Rokhan Yousafzai, Buzurag Siysatdan,Adeb our Danshwar Ajmal Khattak Se Mulaqat, daily Masharq, Peshawar, 13th Nomvebver,2005, p. 7; Ajmal Khattak Da Ghairat Chagha was also banned by King Zahir Shah in 1958 and even reprtedly burned all its copies. Abdullah Jan Abid, Ajmal Khattak Shakiset Our Fan, Academy Adbiyat Pakistan, Islamabad, 2007, p. 47.

56 For English translation see Marwat, Pashtu literature opcit, p. 15.

57 Ajmal Khattak, Da Ghairat Chagha, University Book agency, Peshawar, 2012, p. 32.

58 Dr. Fazal-ur-Marwat, Abdul Ghani Khan: A Renaissance Man, Pashtunkhwa Study Centre, University Charsadda KP, 2014, pp. 7, 11.


52

59 Pakhtu, a monthly journal of Pashtu Academy, University of

Peshawar, January- April, 1997, and p.103.

60 Benwa Opit, Vol: iii, p. 969; see also Ibid. p. 11.

61 Dr. Zuber Hassrrat, Olesy Adabi Jirga: Tahqiq Av Tanqed, Da Adabi Dostano Maraka. Mardan, Pakhtunkhwa, September, 1998, p. 118.

62 Qalander Momand, Sabwan, Second edition, Peshawar, 1988, p. 23.

63 Abid, Pashtu Adab Opcit. 74.

64 Ibid. p. 85.

65 Abdur Rahim Majzoob, Da Majzoob Kulliyat,Danish Ploranzay, Dakhi nalbandi, Qisa Khwani Peshawar, 1999, pp. 173-174.

66 Dr.Sher Zaman Taizai,Abdur Rahim Majzoob published in Celebrities of NWFP, Vol. I, II, Pakistan study Center University of Peshawar-Sty Centre, University of Peshawar, p. 479-495.

67 Ibid. p. 479-495.

68 Ibid. See Da Majzoob Kulliyat opcit. pp.171-172.

69 Ibid.

70 Abid, Pashtu opcit. pp. 25, 26.

71 Ibid. p. 70.

72 Muhammad Zuber Hassrat, Dr Amin Yewa Mutalia, Adabi Dostano Maraka, Mardan, 1994, p. 64.

73 Abid Opcit, p. 70; see also Saeed Gohar, Pe Shera Lamen Kee Umeed.

74 Ibid. p. 70.

75 Salim Raz, Ze Lamha Lamha Qatlegum, University publishers Peshawar, 2007. p. 42. I (Marwat) remember that he was arrested by his own father who was Police officer in Lakki Marwat in anti-Ayub agitation.


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76 Dr. Fazal-ur-Rahim Marwat Personal collection. In the late 70s

and 80s, late Qadir Khan used to come to our home in Lakki Marwat and would always stay with my father (Abdur Rahim Majzoob) who was his party’s member.

77 Shames Boneri, Dagha Sajeedy Me Tata Vi Ao Ka Na, Boner Adabi Jirga, Boner, 2014, p.137.

78 Sahib Shah Saber Kuliayat, Danish Khpandoia Tolna, 2010, p.165.

79 Rahmat Shah Sail, De Veer Pe Cham Ke Var de Naghmo Di, Danish Kitabkhana, Peshawar, 1998, p.132.

80 Noor-ul Bashir Naveed, Zawal Ao Mashalona, Alshmesh Print Point Peshawar, 2012, pp. 56, 57.

81 Interview with Afrasiyab Khattak, Peshawar, dated 2nd January 2014.

82 Interview with Dr. Khadim Hussain, Peshawar, dated 20th April 2015.

83 Abid Opcit, p. 87.

84 Akhtar Zaman Khattak, Stari Delilona, Pakhtun Cultural Association, Islamabad, 2011, p. 106.

85 Celebrities of NWFP Opcit, p. 461.

86 Marwat Pashtu Opcit. p. 24.

87 The Daily Dawn, Karachi, 27-3-2015.

glimpses of revolutionary romanticism in pashtu...

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