Faiz Ahmed Faiz as a Marxist and Romantic Poet


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Urdu writer Faiz Ahmed Faiz is eminent for his dynamic and progressive works and as it should be. The considerable writer likewise composed on affection the all-inclusive subject that pulls in all. What’s more, composed broadly on it.

Pakistan’s best writer and, ostensibly the world’s ideal, regularly runs over to individuals as a complex and unobtrusive craftsman who favored talking in analogies, expressions, and likenesses with incredible felicity for imagery and symbolism. Most likely, Faiz was an ace skilled worker of dialect playing and toying with words and expresses and saturating them with new implications and thoughts, and subtleties. His felicity with dialects and his specialized prevalence raised him over the group of the best on the planet. Faiz composed romantic poetry imbued with a progressive energy.

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Literature Review

Craftsmanship is noteworthy to individuals. It has dependably been so from the soonest human social orders. Craftsmanship includes shading to a dreary world. It gives a light of expectation and hopefulness to lives without importance. Craftsmanship in the entirety of its structures influences us to lift up our eyes, if just for a short lived minute, over the dull ordinary presence, and empowers us to feel that there is something more to life than this, that we can enhance our self than we are, that individuals can act much superior to anything they are, that the world could turn out to be more quiet and cultivated than it is. Thus, workmanship is the total dream for mankind, the surge of a significant inclination that our lives are not what they ought to be, and an eager, if oblivious, trying for something else. Hence, Marx referred to in considered workmanship as general and asserted that each essayist is the result of his age what’s more, craftsmanship, in this way, ought to be contemplated in social, political and social foundation of a craftsman. Verse is a vital workmanship which has been utilized by hundreds of years by the artists to express their sentiments furthermore, musings. Distinctive writers manage diverse topics in their verse. A few writers are admirers of sentiment and magnificence, while others compose verse for progressive purposes. Progressive artists are of the assessment that the earlier condition for the headway of mankind is the fight for the communist difference in the public eye on a world scale. Furthermore, artists, craftsmen what’s more, authors can assume a fundamental part in this battle.

Faiz Ahmad Faiz was conceived in the jatt family line on thirteenth February 1911, in Kala Qader (Faiz Nagar), District Narowal, Punjab, Pakistan. Faiz acclaimed from a scholarly family that was outstanding in abstract circles. His house was regularly the scene of a social event of neighborhood artists furthermore, journalists who met to advance the proficiency exertion in his native area. His dad Sultan Muhammad Khan was an attorney. Faiz was the principal Asian artist to get the Lenin peace Award by the Soviet government in 1962. He was too named four times for the Nobel prize for writing. Distinctive investigations have been led on Faiz with various subjects. For example, Nasir in Ham Jitay Ji Masroof Rahay (Enough Time There Never Was) gives satisfactory information about the socio-political association in which most of the political verses of Faiz are created. Clarifying the ideological centrality of the mix of the political and the expressive Dr Muhammad Arif Hussain in “Faiz Ahmad Faiz: Romaan aur Shairi” clarifies that Faiz used sexual imagery to substantiate his wistful vision of the crude period of mankind. Faiz, like Marxist researchers, trusts that the most crude period of man was fundamentally a socialist period. Faiz, in his sentimental approach in craftsmanship, was enormously affected by the English craftsmen of the mid nineteenth century. Sentimental point of view of life thinks about culture, society, moral qualities and state as restrictions on the freedom of man. They keep him from the fulfillment of his desires and Akademia Baru goals. Faiz romanticizes a pre-middle class, pre-medieval period of human culture and society. In addition, the sentimental individuals assume that the brilliance of the universe is spoken to in human particularly female body. Dr. Arif explains that Faiz was clearly a sentimental artist yet his assumption did not realize obliviousness or takeoff from the disgraceful substances of life. The creator proceeds to state that the best restraints of man are his sense of pride, balance and freedom which he charmed amid the crude time. Since the development of society, state and average society, man is being denied his greatness and adaptability. Sentimental imagery usually demonstrates normal immaculateness, guiltlessness, freedom and wonder of man. The use of sentimental imagery by Faiz summons past ideal universe of value, concordance and flexibility against the current persecuted universe of foul play.

Textual Analysis

The artist’s work isn’t just discernment and perception, yet in addition battle and exertion. While he utilized his verse to serve a reason he did as such without giving it a chance to decline into lecturing or promulgation. He offered voice to the desires of the down trodden through his verse. His profound feeling of humanism incited him to concentrate the light of feedback on the general public of which he was part, determined by a longing to improve it. He composed: ‘The comprehension of the battle of human life; and a cooperation in it isn’t just a pre-essential of life; it is likewise a pre-imperative of work.

Faiz’s verse bears the impact of Ghalib and Iqbal, the two experts of the ghazal frame. The ghazal is a quintessentially Urdu type of verse and as a scholarly shape customarily managed the subject of lonely love with the artist as the enthusiastic darling in trouble. It has built up a structure and expression the greater part of its own. The symbolism of the morning to connote the virtue of the sunrise, the morning breeze as the analogy of expectation, and that of the solitary darling pining for his adored were a piece of the standard figure of speech of the ghazal. His underlying pieces demonstrate Faiz following the traditional lines of the ghazal. In Before You Came, the writer can be seen venting his heart hurts delivered upon him by a non-existent sweetheart. In this sonnet he draws out the sentiment dejection that he felt before he risked upon his affection.

Before you came, all things were what they are-

The sky sight’s boundary, the road the road,

The glass of wine a glass of wine; since then,

Road, wineglass, color of heaven, all have taken

The hues of this heart ready to melt in blow.

Alfred Tennyson in his poem In Memorium pleads with his love thus.

Be near me when my light is low,

When the blood creeps, and the nerves prick

And tingle; and the heart is sick,

And all the wheels of Being slow.

Be near me.

Faiz recreates this forlorn feeling of isolation and loneliness in the following lines of his poem Be Near me.

My torment, my darling, be near me

That hour when the night comes,

Black night that has drunk heaven’s blood comes

With salve of musk-perfume, with diamond-tipped lancet,

With wailing, with jesting, with music,

With grief like a clash of blue anklets-

…That hour when the night comes,

That hour when black night, drear, forlorn, comes

Be near me,

My torment, my darling, be near me!

Utilizing the symbolism and illustration of the affection lyric, a more develop Faiz re-concocted the ghazal as a medium to pass on his message. He turned the adoration sonnet on its head, changing ‘the mourn of the lethargic sweetheart into one that deplored the state of the humble humankind’. He shaped its illustrations to manage socially pertinent topics.

It is evident, for example, in his poem My Beloved, Faiz was disappointed by the occasions which took after the decolonization of the subcontinent, which was joined by parcel set apart by savagery. He wound up disappointed by what he saw and offered articulation to the torment that he felt at the time and the destruction that followed in Freedom’s Dawn (Subh-e Azadi) which he wrote in 1947.

This stain-covered daybreak, this night-bitter dawn

This is not the dawn of which there was expectation;

This is not that dawn with longing for which

The friends set out, ……The hour of the deliverance of eye and heart has not arrived.

Come, come on, for that goal has still not arrived.

Faiz turned into an image of obstruction. Faiz censured tyranny and persecution and offered plan to the ravenous, embarrassed and the unassuming and guaranteed that the guaranteed day would come when the heads of oppressive rulers will roll, when the crowns would be toppled and castles devastated.

We shall see

We shall see, it is certain that we shall see

The day for which there is a promise,

The day recorded in the eternal tablet,

When the weighty mountains of cruelty and oppression,

Shall be blown about like cotton wool;

When under the feet of the oppressed ones

The earth shall shake noisily,

And over the heads of despotic rulers

Thunder claps will burst …When the crowns will be toppled,

When the palaces will be demolished

Faiz may have composed on issues that were of prompt pertinence to his own general public and time yet in all actuality he contacted upon all inclusive subjects. Mistreatment, opportunity and dictatorship are topics that can’t be outlined by time or region.

In Acre of Grass William Butler Yeats wished in his maturity that if he somehow happened to be given another possibility he would redo himself as, among others, William Blake ‘who beat upon the divider/till truth complied with his call’. Faiz was a bold man who set out to talk reality in his lifetime instead of hold up to be renewed, regardless of whether doing as such carried him into strife with those in specialist. He composed:

let others live for calm indifferent peace,

I knock and knock at gates, and will not cease.

The ghazals of numerous Urdu writers were made into paramount melodies. Urdu verse gave an instant archive to Hindi movie producers to be changed into significant melodies and a considerable lot of those sonnets have progressed toward becoming piece of prevalent Hindi and Urdu culture. Faiz is a piece of this culture. Like the ballads of William Blake his lyrics are intended to be presented and sung.His verse has caught the well-known creative ability. A large number of his tunes have been sung by such artists as Talat Mahmood, Noor Jahan, Begum Akthar and Iqbal Bano. Noor Jahan was once welcomed to show up at a philanthropy occasion when Faiz was in jail and she picked a tune by Faiz for her collection. The occasion’s coordinators protested her singing Faiz’s sonnet yet needed to yield as Noor Jahan declined to show up on the off chance that she was not permitted to sing her choice. Afterward, Faiz declined to sing this specific tune at verse gatherings saying that the tune had a place with Noor Jahan.To songstress Iqbal Bano, Faiz was a saint. She was contaminated by Faiz’s insubordinate soul when she showed up before a swarm in Lahore and resistant sang Faiz’s verses at once he was restricted by the nation’s administration. Unavoidably, Iqbal Bano herself was restricted from showing up on TV and her tunes were prohibited from the wireless transmissions.


We are for the most part pausing and needing. For a season to change. For our rights not to be broken up, for us not to be stripped of them. For the ire to stop. In any case, obstruction is the state of insubordination every one of us keeps up in our own particular bodies. What’s more, if spring touches base after us and nature declares its strength over the diktats of rabble rousers, it will come all the same. Faiz’s verses, falling somewhere close to resistance and commitment, nervousness and peace, remain with me as my eyes open to another political morning. For Faiz the writer reminds me the goal hasn’t yet come. “Poet” comes to us from the Greek for “making.” Verse is the means by which we change the world. Furthermore, first light is a chance to imagine the skyline again and clear, and to envision how the following day, as the sun consumes off the dew, might be better. That is the reason we take up Faiz in the days following Trump’s triumph. Talking is a demonstration of refusal. Through the inventive procedure, verse enlightens our shock, uncovers our heart, and sparkles a light, in some cases suddenly, on those facts we require most to augment our lives.

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