Abrar Mojeeb.

Badre Alam Khalish: A poetry of objective subjectivity

De-centralization of thought process in Urdu Ghazal would be an strange phenomena for those who are more acquainted with thought progression in the poetry. De- constructive form of Urdu Ghazal leads a great critic like Kalimuddin Ahmed to say, Ghazal is a semi -nomadic form of poetry. Kalimuddin ahmed is belongs to the creed in which I A Richards was the representative through his book Practical criticism. The misconception that singularity in thought is the basic instinct of a well crafted poem has been discarded by the Discourses on De-construction of meaning and negation of the fixed assumption from the written words. The recent discourses based on scientific impact on literature have proved that a central nucleus and bounded particles are meant for representation to accommodate an atom, otherwise atom itself is nothing but a group of particles and the basic particle beyond nucleus is still unknown, so an established frame of meaning cant be carved in any given circumstances. In reality meaning is always on move according to the volatile changing scenario, in other words meaning is always in the state of cancellation or negation or exile. Post modern Urdu Ghazal is representing the same context by getting benefitted from its form. An emergence of new breed of poetic talents in urdu changed the entire modernistic conceptuality and its subjectivity. They replaced it through post modern regionalist condensed approach. There are subjectivity but not like nasir kazmis seductive romanticism nor like aadil mansoori, zafar iqbal, and others modern poets who are more concerned towards style than poetic norms. Among the herd of recent poets Badre Alam Khalish has distinct identity because of his selection of subject and its unique presentation in the form of Ghazal. He has introduced a different kind of current phenomenal experiences never experienced before. Lets see some examples: Zeene se main ootar na saka sham ho gayee Phir shahr sara jalne laga sham ho gayee Caf ke shor mein bhi tha oktahatonka zahr Chupke se usne aa ke kaha sham ho gayee These and so many others couplets are clearly indicating that Ghazal was never been so pure and fresh in the recent past because of the experiments in the form and technique. Poet like Khalish has introduced a kind of subjective objectivity which is so distinct from the materialistic approaches but assimilated with the nostalgic depressions which is a by- product of post modern nucleus culture.

The art of Khalish is the integration of socio-political divergence with the observance, further more he has ability to convert the observances into the poetic feelings. Crude objective happenings are basically related to the forms of prose, particularly in fiction but Khalish crafted his couplets by inducing the same objective observation and amazingly he has produced real poetic essence, which is impossible in its true sense, because poetry in general and Urdu Ghazal particular cannot afford the pure objective perspective. Couplets like this: Qareeb o door ishare hain eik hi jaise Wahi zameen hai sitare hain eik hi jaise Lahoo ki chheent se likhte hain farq-e-dair o haram Magar ye eent ye gare hain eik hi jaise (There are same sign nearer and forth There are same earth and same stars With the spreads of blood writes distinction between a mosque and a temple But the bricks , the clay are the same.) We can understand the selection of words which are the symbol of mat