Kalam of Peer Afzal Gujrati: Founder of the New Style of Punjabi Ghazal

In the history of Punjabi literature, the name of Peer Afzal Gujrati appears at a turning point where the Ghazal was moving away from its classical tradition and entering new colors and styles. Peer Afzal Gujrati is counted among those towering figures who gave dignity and breadth to the Punjabi Ghazal. Although Mola Bakhsh Kishta considered Shah Murad as the first poet of Punjabi Ghazal, Peer Afzal Gujrati is remembered as the “Renovator Imam of Punjabi Ghazal” for enhancing its status and position. This honor was not achieved easily; it was the result of his continuous effort and artistic maturity that brought Punjabi poetry at par with Urdu and Persian.

Life and Literary Identity of Peer Afzal Gujrati

Peer Afzal Gujrati was born on January 1, 1896, in an educated and spiritual family in Gujrat. His father was the spiritual successor (Sajjada Nashin) of Shah Dola Daryai, due to which his temperament naturally possessed mysticism, Sufism, and intellectual depth. He tried his hand at all genres of Punjabi poetry, but his true identity and popularity were established through the Ghazal. His complete works (Kulliyat) consist of 752 pages, arranged excellently by Professor Dr. Nabeela Rehman. Peer Afzal Gujrati was not only a great poet of Punjabi but also of Urdu, but his love for Punjabi is clearly reflected in his poetry. His work was published by Maqsood Publishers, Lahore on August 27, 2010, creating new enthusiasm in literary circles.

Poetry Collections and Artistic Evolution

Different colors of intellectual and artistic evolution are seen in Peer Afzal Gujrati’s poetry collections. His collections include “Donghay Penday” (1963), “Mankooran” (1970), and “Qutbi Tara” (1981). The poetry included in these collections represents high-quality poetry. Although the poetry in “Qutbi Tara” was published later, it prominently features Islamic color, religious devotion, and the pain of humanity, which is why this section was placed first in the Kulliyat. He gave a modern color to Punjabi Ghazal and used many Persian and Urdu expressions so beautifully that they became a natural part of Punjabi. Such was his artistic skill that these expressions never feel foreign or heavy but enhance the beauty of the poetry.

Artistic Review and Poetic Merits of Peer Afzal Gujrati

An artistic review of Peer Afzal Gujrati’s poetry reveals that he gave a new radiance to Punjabi Ghazal. His poetry is not just a collection of words but a beautiful blend of thought and art that captivates the reader. His poetry contains both classical fluency and reflection of modern demands, which is why his art feels fresh for every era.

Unique Style of Ghazal

The major reason Peer Afzal Gujrati is called the Imam of Ghazal is that he transformed the status of Punjabi Ghazal. The path on which Ghazal was moving before him, he filled it with innovation and individuality. His poetry serves as a bridge between classical and modern Ghazal. He is both a preserver of ancient tradition and a founder of new style. The intellectual depth and refinement found in his Ghazal laid the foundation of a new tradition in Punjabi literature. A beautiful example of this individuality can be seen in this verse:

“Today all the deficiencies of the entire year have been removed at once,
Today is the Saqi’s birthday, today she drinks by braiding her hair.”

The way a state of ecstasy is described by referencing the Saqi’s birthday testifies to his unique style of lyricism.

Scene Painting (Manzar Kashi)

A prominent quality of Peer Afzal Gujrati’s poetry is his excellent scene painting. He is considered a “perfect painter” and “lifelike portrayer” because he creates such magic with his words that the entire scene comes alive before the eyes. His scene painting is not just external but also emotional, making the reader a part of that atmosphere. An excellent example of this scene painting can be seen in this verse:

“In the Saqi’s gathering at night, some falsehoods came upon us,
The cups have broken their repentance, the repentance of the cups has been broken.”

This verse depicts a gathering where the state of ecstasy and selflessness prevails, and the placement and removal of words have created an entire scene.

Allusion (Talmeeh)

Allusion is used in poetry to express historical and religious events in few words. Peer Afzal Gujrati used allusions with great artistic skill. In his poetry, allusion is not just a reference but carries deep meaning that enhances the beauty of the verse. By making historical characters part of his poetry, he expressed human nature and the instability of the world very beautifully. As he says:

“He is playing in the wealth of beauty, he doesn’t understand anyone, even Qarun,
He has not bound even Alexander to his sleeves, since he bought the mirror as a friend.”

In this verse, using the wealth of “Qarun” and the conquests of “Alexander” as allusions, it is explained that worldly status and glory have no significance before love and beauty. These allusions make his poetry intellectually very powerful.

Hyperbole (Mubaligha)

The purpose of hyperbole in poetry is to exaggerate a feeling or scene to convey its intensity. Peer Afzal Gujrati used hyperbole as an art form. While depicting beauty and ecstasy, he brings such metaphors that astonish reason, while maintaining poetic subtlety. An example of this artistry can be seen in this verse:

“Today there is hope for the moon of sight, remain veiled until evening,
How many degrees would break their fast upon seeing your moon-like face, O Saqi.”

In this verse, by comparing the Saqi’s face to the moon, it is exaggerated that if the Saqi does not wear a veil, people would break their fast before time upon seeing the radiance of her face. This is Peer Afzal Gujrati’s mastery that he molded hyperbole into a beautiful literary color.

Wit, Humor and Satire

A special aspect of wit and humor is found in Peer Afzal Gujrati’s poetry. The liveliness in his temperament is clearly reflected in his verses. He described human behaviors and the contradictions of life in a satirical and humorous style. Even his wit contains a deep lesson. As he says:

“At the time of conflict, he does not want to sit with me, the Jatt,
He opened the penthouse, sat in his own, and left quickly.”

Similarly, at another place, he describes his state of mind in a very beautiful and witty manner:

“Wherever you tell me to go, there I go,
Taking the innocent child of my heart, I have started playing with it.”

These verses show that the poet not only had command over serious subjects but was also an expert in human psychology and witty expression.

Sufism (Tasawwuf)

Since Peer Afzal Gujrati had an academic and spiritual background, Sufism is an essential part of his poetry. In his poetry, sometimes the secrets of reality are hidden in metaphorical colors. According to him, worldly status and glory have no importance; rather, the true wealth is Faqr (spiritual poverty) and inner purification. His Sufi thought is fully expressed in this verse:

“Those who find the wealth of Faqr, within the grace-filled gaze of those people,
The body’s cup, Alexander’s mirror, are all like a broken begging bowl.”

In this verse, he has expressed the superiority of Faqr that for those who possess spiritual wealth, the kingdom of Alexander and the precious treasures of the world are nothing more than a broken begging bowl.

The Spirit of Love (Ishq)

The center and axis of Peer Afzal Gujrati’s poetry is love. According to him, love is the power that makes a person aware of their self and connects them to the True Creator. This spirit of love is woven into every fiber of his poetry, giving the reader spiritual satisfaction.

Ordinary Love (Ishq-e-Aam)

Like ordinary Ghazals, Peer Afzal Gujrati also expressed the traditional and common feeling of love in a very beautiful manner. According to him, love is not just an emotion but a trial that transforms a person’s being. The way he describes the difficulties on the path of love and the helplessness of the lover touches the heart. He says:

“Those whom cruel love founded, they mixed with the faqirs,
Barefoot, open hordes, but their patches fly from place to place.”

In this verse, the severity of love and the resulting state of dervishness are presented with great intensity, which is a part of the classical tradition of Punjabi poetry.

The Preacher (Waiz) and the Ascetic (Zahid)

In Urdu and Punjabi poetry, the role of the preacher and the ascetic has always been the target of satire. Peer Afzal Gujrati also compared the sermon-like advices given from the pulpit with the metaphors of the cup, the Saqi, and the libertine (Rind). Comparing the piety of the ascetic and the truth of the drunkard, he unveils social hypocrisy. According to him, the ascetic’s worship may sometimes be pretentious, but the passion of a true libertine has sincerity. A glimpse of this thought can be seen in these verses:

“We have seen, Afzal, the deeds of the ascetic,
The drunkards are ruined for free.”

Similarly, at another place, his satirical sense becomes even more refined:

“The ascetic, in prayer, O Jindaray, has forgotten the matters,
The drunkard understands the intoxication in matters, but has forgotten religion.”

These verses show that Peer Afzal Gujrati was against any kind of outward display and preferred inner truth.

Humanity and Compassion (Insan Dosti)

The highest aspect of Peer Afzal Gujrati’s poetry is his love for humanity. He considered humanity the greatest religion. There is no place for sectarianism or narrow-mindedness in his poetry. According to him, respect for every human being is essential because the murder of one human being is actually the murder of all humanity. The basis of this thought is the Quranic verse:

“The murder of one human being is the murder of all humanity.”

Through his poetry, Peer Afzal Gujrati spread the message of peace, love, and brotherhood, which is the crucial need of today’s era. His love for humanity is enough to keep his poetry alive and eternal for as long as the world exists.

The Test of Friendship, Instability, and Changing Circumstances: The Essence of Peer Afzal Gujrati’s Poetry

Where Peer Afzal Gujrati’s poetry interprets universal truths, it also very clearly expresses the delicacy of human relationships and the instability of the world. According to him, life is a constant change, where the ups and downs of circumstances test a person’s true identity and friendship.

The Qualities of True Friends

Peer Afzal Gujrati emphasized the recognition of sincere and true friends in his poetry. According to him, selfless friendship is the only real friendship, which is not just a companion in times of ease but also stands as a shield in times of hardship. Unveiling the opportunists hidden under the cloak of friendship, he expressed the reality that sincere companions are very rare. He says:

“On the outside, someone, someone becomes someone’s friend from within,
In hard times, rarely does someone share someone’s burden.”

In this verse, he has described a hidden aspect of human psychology that outwardly there are many who show sympathy, but the sincere friend who shares your burden in difficult times is very rare in the universe.

Worldly Discontent and Instability

The mention of the world’s instability and its perishable nature has been a constant theme of Peer Afzal Gujrati’s poetry. According to him, this world is an inn where nothing stays forever. By connecting the scenes of nature to the decline of human life, he made a very profound statement. Just as the cuckoo of the rainy season and the mango groves do not remain the same forever, similarly, human ascendancy is also temporary. See an example of this intellectual depth:

“Not forever do the ears hear the sound of the rainy season, not forever does the cuckoo sing ‘coo coo’,
Not forever do peacocks come and dance under the mango trees.”

These verses awaken man from the sleep of negligence that taking pride in the colors of the world is futile, because every rise is inevitably followed by a fall.

The Change of Circumstances

The change of circumstances is a mirror to a person’s character. Peer Afzal Gujrati’s poetry conveys the message that time does not always remain the same, and when time changes, those people change on whom a person had the most trust. He expressed social apathy and the weakness of relationships with great sadness:

“In hard times, Afzal, strangers extended their hands towards me,
The one whose esteem I held, did not take my care.”

In this verse, the poet’s personal experience and social reality are clearly visible that often in difficult times, those companions step back whom one trusts the most, and strangers come forward to show sympathy. This change of circumstances clarifies the difference between one’s own and strangers.

Conclusion

The essence of Peer Afzal Gujrati’s poetry is that he gave a new melody, new vocabulary, and new thought to Punjabi Ghazal. By connecting classical tradition with modern demands, he enhanced the dignity of Punjabi literature. His prayer is that these fresh colors of Punjabi Ghazal always remain established.

“Afzal has changed the colors of Punjabi,
O Allah! Bless the Ghazal readers of the present era.”