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1 TAKATOO Issue 8 Volume 4 July1 December 2012 SUBSCRIPTION FORM FOR TAKATOO JOURNAL Name:(In block letters) CNIC No:.. Address: Contact No: Mobile. Office No E.Mail address: Debit Card No: Post Code:.. New Subscription: yes No. Renew Subscription (Customer No). Expiry date:... Account No (Chairperson Department of Pashto) HBL UOB Branch Bank Challan No:.. Amount Paid (PKR): In words. in figures:.. Date:... Depositor s Signature: Note: Original bank challan must be attached with subscription form. Address: EDITOR TAKATOO, PASHTO DEPARTMENT, UNIVERSITY OF BALOCHISTAN, QUETTA. Mobile No:

2 TAKATOO Issue 8 Volume 4 July2 December 2012 E.mail: pashtojournal@yahoo.com Bilingual (Pashto, English) Bi-Annual Research Journal Issue No. 8 Volume No. 4

3 TAKATOO Issue 8 Volume 4 July3 December 2012 TAKATOO July-December 2012 Chief Editor: Dr. Naseebullah Seemab Editor: Abdul Rehman Kakar Department of Pashto, University of Balochistan, Quetta ISSN: Takatoo, Department of Pashto, University of Balochistan, Quetta. ISSN:

4 TAKATOO Issue 8 Volume 4 July4 December 2012 Chief Editor : Dr. Naseebullah Seemab Editor: Co-Editors: Abdul Rehman Kakar Faizullah Panezai Javid Iqbal Iqbal Barkat Shah Kakar Composer: Editorial Board 1. Prof. (Retd.) Dr. Pervaiz Mahjoor Kheshki, Pashto Academy, University of Peshawar, Khyber Pashtoon Khwa 2. Dr. Nasrullah Jan Wazir, Prof. Deptt. of Pashto, UOB, Quetta. 3. Dr. Abdul Raziq Palwal, writer and Researcher, Kandhar, Afghanistan. 4. Dr. Dawood Khan Azami, Senior Broadcast Journalist, BBC World Service, London. Visiting lecturer, University of Westminister, London. 5. Dr. Abdullah Jan Abid, Chairman, Department of Pakistani, Languages, Allama Iqbal Open University, Islamabad. 6. Abdul Ghafoor Lewal, President Reginal Study Centre, Kabul, Afghanistan. 7. Dr. Feroz Qaiser, Director, English Language Center, University of Balochistan, Quetta. 8. Dr. Khushal Rohee, Writer, Germany. Dear Researcher and Reader The bilingual (Pashto-English) and biannual research journal, Takatoo, has been published regularly by the Department of Pashto, University of Balochistan, Quetta, since January,2009. The Pashto Department has fulfilled all the pre-requisites and criteria set by the Higher Education Commission of Pakistan (HEC) which has officially recognized

5 TAKATOO Issue 8 Volume 4 July5 December 2012 Takatoo in vide letter No. DD/SS&H/JOOR/2011/112 dated 24 th of August, Note: No part of the material published in this journal be copied, reproduced or printed with out the prior permission of the Editor. Disclaimer: Authors of the published material have their independent perspective. The views of writers and published articles in the journal do not represent the views of the Editors and members of the Editorial Board. Subscription Rate: Domestic Rs. 150/- per copy Outside Pakistan US $ 08 per copy Guidelines for Contributors The prime objective of the Research Journal "TAKATOO" is to provide a forum for scholars engaged in research about topics related to Pashto language and literature, Pashtoon culture, identity and history. Scholars and researchers are invited to send their research papers both in English and Pashto, on topics regarding Pashto language, literature, history, Art and culture. Research paper must be typed on A-4 size paper having an abstract in English comprising of not more than 150 words. Manuscript should be between words (including endnotes and

6 TAKATOO Issue 8 Volume 4 July6 December 2012 references). Quotations from foreign texts must be translated in the body of the paper and accompanied by the the original in the endnotes. The author s name, e.mail and mailing addresses and institutional affiliation should appear on a separate title page. Two hard copies and a soft copy of the research paper may please be sent to the Editor. Paper in English must be in accordance either with MLA or APA style. List of contributors(pashto portion) 1. Dr. Sohail Insha Incharge Leprosy Ward, Govt. Lady Reading Hospital, Peshawar 2. Barkat Shah Kakar Lecturer, Deptt. of Pashto, UOB,Quetta 3. Dr.Nasrullah Jan Wazir Prof. Deptt. of Pashto UOB, Quetta Dr. Danish Betanai Folklore Specialist, Pashto Academy, UOP, Peshawar Sahibzadah Baz Muhammad Lecturer, Deptt. of Islamic Studies, UOB, Quetta 4. Dr. Abdullah Jan Abid Head, Department of Pakistani Languages, AIOU, Islamabad 5. Dr. Hanif Khalil Assistant Prof. NIPS Quaid Azam University Islamabad 6. Dr. Muhammad Zubair Director, Pashtoon Khwa Study Centre Hasrat Bacha Khan University, Charsadah 7.. Wazir Shadan Assistant Prof., Govt. Post Graduate College Kohat Dr. Farkhanda Liaqat Assistant Prof. Deptt. Of Pashto, UOP Peshawar. 8. Badrul Hakim Hakmizai Visiting Leturer Pashto Deptt. UOP, Peshawar. Shakeel Ahmad Lecturer, Pashto Deptt.UOP, Peshawar

7 TAKATOO Issue 8 Volume 4 July7 December Hafiz Rehmat Niazi Lecturer, Govt. Inter College, Berwary Road Quetta. 11. Murtaza Kakar Lecturer, Government Degree College, Quetta. 12. Dr. Ali Khail Daryab Chirman, Deptt. Of Pashto, University of Mala Kand List of contributors (English portion) Sr. Researcher.No. 1 LITERARY HISTORY OF PASHTO LANGUAGE IN SOUTHERN PASHTOON KHWA. ( ) Title Dr. Naseebullah Seemab M. Alam Tareen Page 9 2 CRITICAL VISION OF KHUSHAL KHAN KHATTAK Javid Iqbal Iqbal 16 LITERARY HISTORY OF PASHTO LANGUAGE IN SOUTHERN PASHTOON KHWA. ( ) Dr. Naseebullah Seemab Muhammad Alam Tareen

8 TAKATOO Issue 8 Volume 4 July8 December 2012 Abstract: The authors of this paper have deeply focused Pashto literary history in Southern Pashtoon Khwa, from its emergence till the modern period but highlighted the eminent figures of Pashto literature so that to point out the works carried by assorted scholars in the field of literature. This paper discusses the modern poets and prose writers besides those who had done translations. Including the writers rendered services for Pashtoon history. In this connection, through the writings of various writers it has been proved that which regions in Southern Pashtoon Khwa brought novelty to Pashto literature and what were the reasons which resulted in the novelty? It also discusses about the start of Pashto poetic sessions in Quetta, which would be held in Balochistan Book Depot. a book shop of well known Pashto writer and poet Hafiz Khan Muhammad. This paper unveils the start of translation and Pashtoon journalism initiated by the beloved and prominent political leader and writer of Pashto language and literature Khan Abdul Samad Khan Achakzai Shaheed. In this period of bandari 1 poetry in South Pashtoon Khwa new experiments can be witnessed in poetry. In Pashto poetry, experiments were made regarding subject matter and form.in result of which new style came into existence. Along with the tradition, modern methods were also adopted. At first total attention was focused on sonnet and ballad. Then with the growth of ode, syllabics were used as it were used in other parts of great Pashtoon khwa. (Sahibzada 1999). Sahibzada Hameedullah may be right in his view that there in novelty in the poetry of South Pashtoon Khwa. This view can be agreed only when comparison is made between Pashto poetry and bandari poetry. Through out this period all the work was done in strict adherence Associate Prof. Deptt. Of Pashto, University of Balochistan, Quetta. Lecturer, Deptt. Of Pashto, University of Balochistan, Quetta Lecturer, Deptt. Of Sociology, University of Balochistan, Quetta. 1 Local folk concerts. to the tradition. Both in thoughts and art the tradition was strictly followed. As far as the subject matter is concerned, only Salam Baba brought some novelty in his work. According to Abdul Karim Baryalai, Abdul Ali Akhonzada also had novelty in his work. He further says In Balochistan

9 TAKATOO Issue 8 Volume 4 July9 December 2012 Abdul Ali Akhonzada and Mulla Abdul Salam Ashezai brought some novelty regarding the matter only in poetry. As far as the art is concerned, they also followed the old path of tradition. Their poetry does not show new aspects. Any how regarding the matter, and style, the emotional approach of both of them is different. (Baryalai 1984).In our view, no poet except Abdul Salam Ashezai deviated from traditional way, even in case of matter. In this regard Ayaz Dawood Zai says when Pashto Tolana was constituted all the writers of the region joined it. In addition to introductory meetings, they also held sessions for criticism. They felt that they follow the old traditional path.in prose as essay writing/ composition and in poetry as poem and Ghazal besides folk poetry. (Ayaz 2002). Although tradition has its own place and importance yet it seems that folk poetry gradually changes its colors. Through these changes occur with snail pace. The combination of bandari poetry in the poetry of Abdul Ali Akhonzada is observed. Though he opened the door for change yet it can be noticed that deep impacts of bandari poetry are visible in the latter upcoming poetry. After Abdul Ali Akhonzada and Salam Ashezai this process of change was carried on by Hafiz Khan Muhammad, Abdul Hameed Kakar, Abdul Haq Bostani, Mulavi Abdul Khaliq Tarun and others. After the death of Allama, one of his students, a great scholar and writer Hafiz Khan Muhammad kept the Pashto literary movement alive which was started by Allama Abdul Ali Akhonzada in very unfavorable circumstances.then Balochistan Book Depot. the book shop of Hafiz Khan Muhammad became the center for the lovers of Pashto literature. (Ayaz 2002). The book shop of Hafiz Khan Muhammad played very significant role in the promotion of Pashto literature in this region. The reason is that there was no other suitable place in Quetta where poets and writers could meet. Hafiz shop was the only place where the poets and writers of the surrounding areas used to get together. Poetry of this period is dominated by Allama Abdul Ali Akhonzada both in terms of thoughts and arts. The reason is that during that period only those people who were writing poetry, were either religious scholars or had had some sort of relationship with religion. This attachment with religious knowledge and hatred against the modern

10 TAKATOO Issue 8 Volume 4 July10 December 2012 education was in reaction to the English rule. It is worth mentioning that Allama was not against acquiring the modern education but some other writers of that period. Consequently Pashtoon remained deprived of modern education. For a long period of time, whoever tried to attain modern education was declared infidel by verdict of religious scholars. This aspect of religion is conspicuous in the freedom thoughts of Abdul Salam Ashezai also. This is why, in his poetry religion and ethical aspects are dominant. Reason may be that Pashtoon by nature love their religion. Along with the freedom thoughts, nationalism was started in the leadership of Khan Abdul Samad Khan Shaheed in the reaction of ignoring Pashtoons. In spite of having played the front line role in the freedom movement, Pashtoon as a whole were badly ignored and neglected. This movement was the logical national reaction to the unjust behavior. The reason of this injustice with Pashtoons may be the relationship/ attachment of Pashtoon leaders with Indian congress. Had the Pashtoon leaders struggled to become part of Afghanistan, Instead of united India. Pashtoon would not have faced these problems. Khan Shaheed the great leader of the region created awareness in the people of the region. He also laid down the milestone of political understanding and became founder of the journalism in the region. (Baryalai 1984). Khan Shaheed not only served the Pashtoon in politics and journalism but he also has rendered invaluable services to Pashto language and literature with the special reference of his struggle for the usage of pure Pashto words. Khan Shaheed as a national leader felt the need of work in every walk of life and he took bold steps in this respect. In any field when he participated, he proved himself. Though he was unique in political struggle yet his services in the field of education, literature and journalism are invaluable and can not be covered easily. In his memoirs he did not only mention his political thoughts, but told us that he never compromised on his thoughts. In his writings he gave great importance to the correctness of the language and to local and historical terms/ words. (Panezai 2009)

11 TAKATOO Issue 8 Volume 4 July11 December 2012 In south Pashtoon Khwa, modern literature started from Pishin. Later on the people of loralai also played vital role in modern Pashto literature. Quetta became center for the writers of far flung areas. They used to get together at Hafiz Khan Muhammad book shop called Balochistan book depot. They introduced with each other and used to get guidance from there for further literary work. A meeting of these writers was held at Hafiz shop in 1957 and a society by the name of Pashto Adabi Tolana Pashto Literary Society was constituted in the same meeting. The society took many significant decisions over there. It held the first Mushaira 1 in the history of Quetta city. The people of this area became familiar with the idea of Mushaira for the first time. There was no concept of Mushaira before this. They used to hold Bandar and sing their own or some one else poetry in those bandars. As compare to poetry, prose was promoted well enough and standard work was given sustainability. In promotion of prose, gulistan and Pashtoon magazines played very significant role. Further work was initiated on religious and historical topics. Literary work of the other languages was translated in Pashto. The task of translation was also initiated by Khan Abdul Samad Khan Shaheed. He translated future of freedom written by Chalet.O.Carter from English and the same was published.(bawar 2008). At first he translated that book in Urdu by the name of Azadi Ka Ufaq (Horizen of Freedom) and then started translating it in Pashto by the name of Da Azadai Pai (End of the Freedom). He started that work during Ayub Khan martial law regime, when he was in jail. He completed translation from English into Urdu by the name of Horizen of Freedom, but he could not complete the translation into Pashto. He also tried to translated Gulistan-E-Saadi, Tarjuman-Ul-Quran, Seerat-UlNabi and Keemia-E-Saadat, but could not succeed to complete all of them. (Panezai 2009) Kamal Khan Sherani is another well known person who tried to draw attention of the people towards translation of work done in prose. 1 Poetic session

12 TAKATOO Issue 8 Volume 4 July12 December 2012 He translated and published a booklet Liberty and a novel of Voltaire known as Candid from English into Pashto. The novel candid was named Spesalai. (Bawar 2008). Prose writers of that period, worth mentioning are Hafiz Khan Muhammad, Khudai Dad Khan, Jaffar Khan, Muhammad Akbar Khan and others. Sultan Muhammad Panezai is another famous name who did research work in this period. He also did a lot of work in on history in this region. Sultan Muhammad dedicated himself to do research in Pashto literature and history. Besides his essays, he wrote three books which are ready to be published. First one is on the history of Pashtoon tribes in Balochistan, the second one is on fighting of Pashtoons against Tatars, Mughals, Iranians and Britains and the third is a research work on Quetta. (Ayaz 2002). The prose writings of Sultan Muhammad are divided into two major parts. One is composition while the other is compilation and authorship. His writings were published in monthlies, Lar, Rahbar, Alfalah, Pashtoon, and Ulas. (Sahibzada 1999). He is rightly considered the first prose writer in this region. He wrote many essays in different magazines and newspapers during These essays were in Urdu, Pashto and Persian languages. In this period, literature and history of Pashto language was paid more attention in prose than in poetry. In the same period Mulavi Rehmatullah Mandokhail, Hafiz Khan Muhammad and Abdul Shakoor Akhonzada wrote religious books, in which Pashtoon poets were also mentioned. Besides them, Sultan Muhammad, Kamal Khan Sherani and Khan Shaheed also decorated Pashto language with history and art. Regarding the prose of this age, a renowned critic Ayaz Dawood zai wrote in a special volume of Qund magazine issued in July/August As compare to poetry, the writers of this region made tremendous progress in prose. Prose writings seem mature and there is proper use of proverbs, correctness of language, flow and good command / grip over the language. All these are characteristics of the writings of this area. (Ayaz 2002).

13 TAKATOO Issue 8 Volume 4 July13 December 2012 In South Pashtoon Khwa, Sultan Muhammad provided a strong base for prose writing and deep research. How ever the standard fixed by him was not maintained. Any way, the work in this respect was kept continued. During that period a group of young writers appeared and gave an identity to Quetta city as the fourth center of Pashto literature. This group includes Sultan Muhammad Sabir, Farooq Shah Ismailzai, Fazal Ahmad Ghazi, Syal Kakar and Sahibzada Hameedullah. They worked on artistic prose and criticism and research.

14 TAKATOO Issue 8 Volume 4 July14 December 2012 References Baryalai, Abdul Karim,(1984), Da Balochistan Da Pashto Adab Zar Kaliz Jaj, Lekanzai volume No:1, (Pashto Academy, Quetta) PP.107,110 Bawar, Khalil Rehman, May-July 2008, Da Zbaro Ahmiat, Husna, Pishin, P.24. Dawood Zai, Ayaz, 2002, Adabi Hasi, (Danish Book Depot), Peshawar, PP.378,383,386. Hameedullah, Sahibzada, (1999), Da Qalam Saski, (Pashto Adabi Board, Quetta), PP.293,358. Panezai,Faizullah Khan, 2009, Khan Shaheed Fun Au Shakhsiat, M.Phil Thesis, PP. 81,84,85.

15 TAKATOO Issue 8 Volume 4 July15 December 2012 CRITICAL VISION OF KHUSHAL KHAN KHATTAK Iqbal Javid Iqbal Abstract: Khushal Khan Khattak is a genius and multidimensional personality of the eastern literary domain. He was a great poet, prose writer, philosopher, thinker, politician, hunter, expert of medical science and a warrior at a time. Among all these dimensions he also emerged as a critic in his time. Modern schools of criticism mostly introduced in the 20 th century especially in European literature and very soon impacted the literature of oriental languages. But Khushal Khan Khattak was the man who expressed his critical thoughts in the earlier decades of 17 th century A.D. The primary source of khushal s critical thoughts is his prose book Dastar Nama and his poetry. In this paper the upcoming critic and writer has tried to elaborate and analyzed these scattered critical thoughts of the great Khushal Khan Khattak, and to present this great genius as a perfect and complete critic of his time. Apart from this he has shown that the critical thought of Khushal khan Khattak are very valuable and useful even in today's critical phenomenon. Khushal Khan Khattak is the versatile genius of his age. Such great personages are born barely in centuries. He was a poet, prose writer, Philosopher, thinker, physician, politician, psychologist, soldier, tacticism, and a hunter. The single side of being a literary artist of Khushal Khan Khattak too, is so comprehensive that it requires great effort to explore it fully. To this day, every facet of his personality has still to offer newness, freshness, modern outlook and thrill. Besides his multifarious traits, attempt is being made to high light critical outlook and vision of this great Pashto genius in this study. Modern definitions of criticism have been presented by the 20 th century scholars and critics in their own way but the realm of criticism equally belongs to the by gone ages. A look at world literature would reveal that Greek writers have especially treated the genre of criticism.

16 TAKATOO Issue 8 Volume 4 July16 December 2012 How ever the European scholars of other tongues have touched the subject too. A survey of the history of criticism shows Plato, Aristotle

17 TAKATOO Issue 8 Volume 4 July17 December 2012 Lecturer Department of Pashto, University of Balochistan, Quetta

18 TAKATOO Issue 8 Volume 4 July18 December 2012 and Lon Ginus to be the leading and famous figures in the field of criticism. Dryden and Dr. Johnson are some of the critics of classical literary movements. The present day critics of repute include Wordsworth, Coleridge, Arnold, Ruskin, Walter Peter, Eliot and Hudson. Urdu, Pashto and other oriental literatures have gained color and taste from the western giants of criticism. One aspect of Pashto criticism is such that can be compared with the critical notions of the classical artists in this field of study. A figure of note in the field of Pashto criticism stands dazzling in the person of Khushal Khan Khattak. He did display his keen sense of criticism as early as four hundred years ago. Today that is 400 years on, his critical vision resembles the critical view of great modern scholars of the west. Before exploring the critical vision of Khushal Khan Khattak a briefly definition of criticism given by the modern western critic Hudson, is presented. In the light of the said definition attempt is being made to get an estimate of Khushal Khan Khattak as a critic. Hudson defines criticism as follows: "In its strict sense the word criticism means judgment, and this sense commonly colors our use of it even when it is most broadly employed. The literary critic is therefore regarded primarily as an expert who brings a special faculty and training to bear upon a piece of literary art or the work of a given author examines its merits and defects, and pronounces a verdict upon it. Yet when we speak of the literature of criticism we evidently include under the term more than the literature which records judgment. We comprehend under it the whole mass of literature which is written about literature, whether the object be analysis, interpretation, or valuation, or all these combined. Poetry, the drama, the novel, even with criticism itself. If creative literature may be defined as an interpretation of life under the various forms of literary art, critical literature may be defined as an interpretation of that interpretation and of the forms of art through which it is given" (Hudson 1944) The holistic definition of criticism demonstrates that a comprehensive assessment of a work of art or a creative work, thereby, extracting both the positive and negative sides is known as criticism. Broadly speaking, criticism encompasses all the literary genres and their related technical elements. The criticism is multifaceted in its form. Aesthetic criticism, expository criticism, comparative criticism, historical criticism, psychological criticism, scientific criticism, and others, to

19 TAKATOO Issue 8 Volume 4 July19 December 2012 estimate Khushal Khan Khattak as a critic of Pashto literature, the collective forms of criticism have to be kept in mind. Thus the comprehensive and all pervading personality of Khushal Khan Khattak of his own age as a critical giant would come to the fore. The study of Khushal Khan Khattak from the angle of criticism shows that he had handled both theoretical and practical criticism successfully. His critical work can be judged as a comparative criticism or as a historical criticism which reveal his acumen as a critic. There are two sources of Khushal Khan Khattak in the field of criticism, One in the field of prose entitled DASTAAR NAMA and the second belongs to the domain of his poetry especially SWAT NAMA basically a travelogue in verse. It can not be said with certainty whether the roots of his critical vision lies in prose or poetry. Nevertheless, it is for sure that he produced his celebrated work entitled, DASTAAR NAMA at Ranthanmboor fortress while in captivity during the years AH. It is the poet critic Khushal Khan Khattak who himself has recorded the date of his book in one of his verses. This book has been created by Khushal Khan Khattak The type of which was unavailable in Pashto literature. I hereby announce the date of its production in Abjad which is 1076 AH. (Khattak 1991) The study of his creative works reveals that he started writing poetry after he had attained the age of twenty (1042 AH) and continued it till 1100 AH, the year of his death. The verses containing critical views seem to belong to the last phase of celebrated poet critics life. The reason being that such type of poetry possesses eulogies; Ghazzals (lyrical poems) contain some of his political and social aspects of his times, which reflect the critical vision of the poet. Nonetheless, attempt is being made to gather an estimate of his critical vision from both of his sources: prose and poetry. There is the fourth skill in DASTAAR NAMA which has been devoted to poetry. Khushal Khan Khattak has given his views about the art of versification. As stated before that Khushal Khan Khattak had given his viewpoints both about theoretical and practical criticism in DASTAAR NAMA so while giving the fourth skill he has defined verse which therefore falls in theoretical criticism. Theoretical criticism provides principles and rules governing the creative process used for various

20 TAKATOO Issue 8 Volume 4 July20 December 2012 branches of literature where as practical criticism evaluates a work of art in the light of the principles of criticism. Khushal Khan Khattak displaying the skill of theoretical criticism writes about a verse in these words: The art of versification belongs to the higher order of craft and the word verse is the offspring of Shaoor i.e. cognition. Poetical aptitude alone can make one a poet and the skill comes from learning the art. Learning the craft of poetry never ever enables a person to create a verse. Versifying necessitates instinctive passion with a well developed knowledge of the art of poetry. Besides these qualifications, sweetness or sublimity in poetry depends on a highly sensitive human heart. Maturity however comes with the age and experience. (Khattak 1991) In this text, aptitude has been termed as vital for versification and the modern critics attribute this quality of the poets with poetical intuition. According to the Urdu poet Mirza Ghalib: The thoughts cross our imagination from unknown quarters; it is nothing but voice of angels indeed. Altaf Hussain Hali, the contemporary of Ghalib, too, considers background study, Observation, experience and sensitivity of human heart along with the poetical acumen necessary while discussing the difference between creativeness and constructiveness in poetry. He writes that: Most of the people have the opinion that a poetic piece of poetry issued from the pen of a poet spontaneously is more effective and sweeter that than which takes long hours of thinking and meditation. The first piece of versification has been named as creativity and the other as constructivity Besides exceptional cases, a verse produced after long hours of deliberation is always popular, delicate, entertaining, serious and a lot more effective in actual practice There are two components in a verse: thought and form. It is just possible that the thought generates in the mind of the poet in no time but it is always time consuming to seek suitable phraseology for the right expression. By way of illustration, the idea of a grand building comes to the mind of an architect in an instant but it is not possible to erect it with the same swiftness. It is not easy to master the craft of rhyme and rhythm and diction. If some one accomplishes the work of a day in a single hour, then, it would be a mess. (Hali N.D.)

21 TAKATOO Issue 8 Volume 4 July21 December 2012 In DASTAAR NAMA Khushal Khan Khattak while commenting on the technical aspects of poetry and genres of literature, writes that: In dictionary, metrical composition is known as verse. There will be two parts of a verse the words of it will have been pruned: it would be complete if judged by the parameter of rhyme and Urooz (Rhetorical devices).every form of poetry including Qaseeda (Eulogy), Ghazal (Lyric), Rubaie (Quatrain), Qittah, Mokhamas and Musaddas has got its own special craft and technical requirements. Qaseeda is that form of poetry which contains lines from 14 to 100 or more. Anything under the sum can be the topic of Qaseeda. It expresses a piece of advice, praise or admiration, or condemnation. Ghazal has lines ranging from five to fourteen. It is used as a vehicle of personal expression about the attractive features of the beloved discussion of physical beauty, the pang of separation in a sensitive way, and the like. The constitution of Qittah is different in that it does not have the opening line as such and the number of its verses may be two, seven, eight, twenty, or more. In Rubaie, there are two verses. In Mokhamas there are five lines where as in Musaddas there are six lines. The ancient bards have also composed (devised) poems like Tarjee Band and Tarkeeb Band etc. (Khattak 1991) Expanding the discourse of Khushal Khan Khattak s theoretical criticism he comments on the historical perspective of poetry on the one hand, and through reference to various works of different poets he presents the internal stimuli and the craft of poetry on the other. The art of poetry and the sense of perceiving the meaning of verse are a hard nut to crack: therefore, it is not the province of any one and every one. Only a naturally gifted man of poetical mind can deal with this art. Indeed it sometimes drives away sleep of a whole night to choose the proper word for the right place. After having examined a lot of fields of knowledge I have arrived at the conclusion that the art of poetry is the most difficult. The beauty of poetry lies in hyperbole (exaggeration): the greater hyperbolic a poetical composition be the higher the pleasure it gives. However, the hyperbole used should be as near reality as possible. A born poet is like a deep-rooted tree that can withstand fierce wind while a poetaster can be easily swept

22 TAKATOO Issue 8 Volume 4 July22 December 2012 even by a light gust of wind. The foundation of knowledge should be firm and strong. Otherwise, danger is likely to follow. Poetry without knowledge is lacking in maturity. An ignorant versifier can not produce correct verse in the first place: and if such a one tries his hand at writing one, it would not be without fault and the world is full of (cruel) critics who would ridicule the stuff.(khattak 1991) The discourse reveals that his theoretical criticism reflects the critical vision of Khushal Khan Khattak. It also suggests that he followed the oriental tradition in criticism which also betrays deep knowledge of Persian and Arabic literature of the critic poet. Though Khushal Khan Khattak had no information of western literature, yet Alexander Pope, an English poet of the 18 th century, coincides with Khushal khan Khattak when he says in An Essay on Man A little knowledge is a dangerous thing. It shows that the two literary artists (figure), unaware of one another s views of criticism, shared the same thoughts. Great minds, thinks alike they say. Khushal Khan Khattak throws light on the theoretical and practical criticism from both the angles in his prose work, DASTAAR NAMA while analyzing the craft of writing and comprehending poetry. He has also shown his critical vision in his poetry here and there Kuliyat in general, but especially in his famous long eulogy (Qaseeda), he has shown this vision in a more comprehensive manner. His style in this piece of poetry is very egotistic. He offers his comments on his own poetry and then examines the whole stock of Pashto poetry. He moves on to compare Pashto poetry with that of Persian while touching the technical side of writing poetry. In the first part of this piece of poetry he considers his own poetry to be a new ground broken. He writes that: When I stepped in the field of poetry, I subdued every one. My predecessors were reduced to the status of a fire-fly at night while I began to dazzle on the firmament of poetry like northern star. I found non belonging to either past or present who offered any sweetness or pleasure in their poetry. (Khattak 2009) He draws comparison between the works of the bygone poets and those of his day and announces that as substandard. He says, The poetical works of Mirza Khan were soon forgotten and the works of Arzani, too,

23 TAKATOO Issue 8 Volume 4 July23 December 2012 were held to ridicule. Be that, Daulat, Wasil or others, all were badly beaten through the instrument of my poetical accomplishments. I served those unfortunate ones with sugar candies who were used to eating barley bread. I prepared the garland of pearls and gems thereby, browbeating the hawkers of beads. (Khattak 2009) And then he goes on to highlight in the 3 rd and last part of this poem, the critical aspects of poetry with reference to his own poetry, he expounds the machinations of heart and the poetical intuition. He deems them necessary for good and standard poetry. The same come under discussion in modern critical talks shows too. After wards he mentions the figurative language which upon entering the domain of Pashto poetry equates it with that of Persian. Capable of writing poetry in Persian, Khushal Khan Khattak claims command there, too. However, in practice, he composes poetry in his mother tongue. The last part of the poem shows a critic and sensible person who can appreciate poetry. He thinks that understanding his poetry requires one to be sentient and intelligent enough to know the art of poetry thoroughly. He plumes himself on his capability of composing verse. That part of the poem is presented for reference here which reflects such critical vision of Khushal Khan Khattak. Each verse of mine is nothing but institution and I have only chiseled the words for them to create musicality. Whether it be simile, metaphor, or delicacy of thought, all have contributed towards increasing the sweetness of my poetry. I explored new and fresh areas for my poetical expression which elevated it as equal to Persian poetry. I have blended fiction with facts in such a way that has enhanced the value of my verse. I do not care a fig for any body s praise or otherwise and I do not say verse simply to impress upon others. I enjoy equal command of poetical expression in Persian but I benefited however, the reading public with Pashto poetry. The ignorant only nod their heads upon hearing my sweet and powerful verses while the connoisseur gives due credit to them by showering fulsome praise on my poetry.

24 TAKATOO Issue 8 Volume 4 July24 December 2012 Those who disapprove of my verses would either be jealous or complete duffers. (Khattak 2009) The poems mentioned in Khushal s poetry has touched various angles of the craft of versification. However, by way of summarization we can say that there are generally two characteristics in the writings of poetry to which the poet gives due importance. One is the thought and the other is diction and style. Therefore to judge the worth of any poet s style, we have to take into account the two elements. Khushal Khan Khattak also has expressed these two characteristics in his poetry between the lines. And whenever he touches the thought poetry he means imagination, the novelty of his themes. By mentioning the various figures of speech like simile, metaphor, imagery, or personification he means diction and style. Even today critics consider these two characteristics as vital for versification/ poetical expression. Regarding this point the Urdu critic Altaf Hussain Hali has to say that : At the time of writing a verse a poet needs to select suitable words and then arrange them in such a manner which not only delight the reader but also makes the meaning explicit to them If this quality is absent in a piece of poetry, and then it is better not to have created it at all. The power of imagination of a poet must enable him to give order and symmetry not only to his word but also his thoughts until and unless the poet enjoys complete command of words as tools of expression, he can not impress the readers with his poetry. (Hali N.D.) His above mentioned poem reflects the critical vision of Khushal khan Khattak besides he has also highlighted other schools of thought in criticism in his poems. For example, in one of his Ghazzals, he highlights comparative criticism of his contemporaries and his predecessors in the light of his poetry. Braggards of being poets are many today, God forbid that I reduce or increase the literary stature of anyone. Some one is a quarter; some is half, while Qalandar is two quarters. Only a poet names Wasil can claim equality in verse with me. Daulat, another contemporary poet, is admittedly three quarters Whereas I am superior to him by several degrees. (Khattak 2009) In the above verses, Khushal Khan Khattak has given his estimate of the poets before him. He says that claimants of poetry in this age are many but poets in reality are only few in number. He refers to the various

25 TAKATOO Issue 8 Volume 4 July25 December 2012 weights in vogue of his time simply to assign value equivalent to the actual poetical stature of a poet concerned. So whenever he brands a certain versifier as equal to a quarter or a half, he means to say that poet is below the accepted standard of poetry. And by so doing he has ventured to present before the readers a comparative criticism. Comparative criticism continues to be in fashion even to this day. Though it has not gained full status of a school of thought, yet in all critical discourses, the relevance of comparative criticism can never be over emphasized. Dr. Saleem Akhtar also seconds these submissions in the following words: Before studying comparative criticism, one clarification is necessary to be made. It is one mode of criticism but it certainly is not a definite school of thought in criticism. The other schools of thought in criticism possess characteristics either good or bad due to which a particular school enjoys a shortened or prolonged period of popularity. The function of comparative criticism is nothing but to draw comparison between two works of creation and establish their respective value and worth. Besides, the discourses relating to academic study of comparative criticism, an ordinary reader either consciously or unconsciously relies on comparative criticism in his personal decision regarding the worth and value of a number of creative work to give preference and then declaring a certain literary piece on the same topic or artist a favorite is example of comparative criticism in ordinary life. (Saleem N.D.) The same comparative criticism is then part of practical criticism. The other schools of criticism fall in the category of practical criticism out of which expository criticism and criticism of judgment are very famous. Khushal Khan Khattak has also demonstrated the two school of criticism in his poetical expression. Before Khushal Khan Khattak, there were two classical Pashto writers named Bayazeed Ansari and Akhond Darveza. Bayazeed Ansari has Khair-Ul-Bayan to his credit and Akhond Darveza was author of Makhzan-Ul-Islam. Both these books were religious in nature. Khushal Khan Khattak in his book SWAT NAMA, has criticized the books not from the angles of religion but from technical point of view as well. Khushal writes: Darveza has compiled book which has satiated all the people of Swat from acquiring knowledge. There are out of place, redundant and ambiguous statements where in he talks of Yazid. (Khattak 1986)

26 TAKATOO Issue 8 Volume 4 July26 December 2012 Khushal Khan Khattak offers criticism on Makhzan with regard to Darveza s art as a writer in addition to exploring the contents of the book in question in these verses.

27 TAKATOO Issue 8 Volume 4 July27 December 2012 The efforts made by Darveza has been named as Makhzan-Ul-Islam,

28 TAKATOO Issue 8 Volume 4 July28 December 2012 and its style and diction are not free from faults. The metrical structures of the lines are far from balanced: If one part of a line is 20 syllables then the other is 100. Therefore, while reading it one does not have the impression of flow and rhythm. Furthermore, its rhyme scheme is not smooth i.e. the whole text is disharmonious. He has highlighted various issues in Pashto language and what to tell you whether that is readable stuff at all such a book can not be

29 TAKATOO Issue 8 Volume 4 July29 December 2012 It seems to be mistakenly composed Makhzan-Ul-Israr while actually it is Makhzan-

30 TAKATOO Issue 8 Volume 4 July30 December 2012 Ul-Islam. categorized into any class at all while the boastful author deems it above Jaami s Haft-O-Rung (A Persian work) (Khattak 1986) Along with Akhond Darveza, Khushal Khan Khattak also criticizes sheikh Mian Noor s thoughts (who was a disciple of Darveza) in his account DASTAAR NAMA Khushal Khan Khattak offers his estimate of Pir Roshan, the author of Khair-Ul-Bayan, in this verse: At the time when Pir Roshan initiated this trouble, the Pashtoon took side with him. (Khattak 1986) According to Khushal Khan Khattak, Darveza was the least knowledgeable and highly superficial person so much so that he could not understand Pir Roshan s Khair-Ul-Bayan. The moment he realized that education and literacy among Pashtoons was not available worth its name, so he began versification because the field was open and unoccupied. In this regard Khushal Khan Khattak writes: At this stage Akhond Darveza appeared with his little knowledge and became a letter of man in this country but actually not. After having judged people and the prevailing conditions, he pen down a book. When he found the field open for himself, he started expressing his speeches but with least observations and impunity. He had read Khair-Ul-Bayan of Pir Roshan but not understood its contents properly. Pashtoons of that time were ignorant, hence Akhond Darveza was as if a Mujtahid. (Khattak 1986) Conclusion: In this paper light has been thrown on the critical vision of Khushal Khan Khattak. However his prodigiously vast vision could not be given justice in this limited space. On the basis of this study it can be safely said that Khushal Khan Khattak was not only a great prose writer and poet, he was also a sensible critic. He has presented his critical views in both prose and poetry four hundred years ago, out of which benefit can be gained even today. Modern trends in literature especially criticism have been introduced into the oriental literature from the west but we discern the signs of modern criticism, be that theoretical or practical, in the views of Khushal Khan Khattak, a literary giant of 400 years ago. The modern schools of thought in criticism including historical expository, comparative, judgmental- all have their clue discernable in the critical views of Khushal Khan Khattak. We could brand this vision of the great personage as the model of eastern mode of criticism. Nonetheless,

31 TAKATOO Issue 8 Volume 4 July31 December 2012 both the eastern and western critical views taken together tend to shape universal values which are applicable any where in the world. On the basis of the above mentioned research Khushal Khan Khattak can be considered a critic of full stature of his age. His critical vision occupies a vantage point and this vision of him be known as the milestone in the academic journey. Therefore he may be deemed as a visionary and sensible critic of his age.

32 TAKATOO Issue 8 Volume 4 July32 December 2012 References Akhtar, Saleem, (N.D.), Tanqeedi Dabistan, Maktaba Alia Lahore, Pp.152 Hudson, William Henry, (1944), An Introduction to the study of literature, George G. Harrap and Co. LTD London, Pp. 260 & 261. Hali, Altaf Hussain, (N.D.) Muqdma Shair-W-Shaeri, Kashmir Kitab Ghar Lahore, Pp. 48,49 & 50 Khattak, Khushal Khan,(1991) Dastar Nama, Pashto Academy, University of Peshawar, Peshawar, Pp.240, 41, 42 Khattak, Khushal Khan,(2009) Kuliat E Khushal, 3 rd edition, University Book Agency, Pehshawar, Pashtoonkhwa, Pp.5,6,703 Khattak, Khushal Khan, (1986), Swat Nama, Markazi Khushal Adabi Jirga Akora Khattak, P. 74, 75, 96 & 97