Makhdoom mohiuddin biography examples

Makhdoom Mohiuddin, or Abu Sayed Muhammad Makhdoom Mohiuddin Khudri, (4 February 1908 – 25 August 1969) was an Urdu poet and Marxist political activist of India who founded the Progressive Writers Union in Hyderabad and was active with the Comrades Association and the Communist Party of India, and at the forefront of the 1946–1947 Telangana Rebellion against the Nizam of the erstwhile Hyderabad state.

Biography

Mohiuddin lectured at the City College in 1934 and taught Urdu literature. He was the founder of the Communist Party in Andhra Pradesh and is regarded as a freedom fighter of India.

He is best known for his collection of poems entitled Bisat-e-Raqs ("The Dance Floor"), for which he was awarded the 1969 Sahitya Akademi Award in Urdu. His published works include the essay Tagore and His Poetry, a play, Hosh ke Nakhun ("Unravelling"), an adaptation of Shaw's Widowers' Houses, and a collection of prose essays. Bisat-e-Raqs is a complete collection of Makhdoom's verse including his two earlier collections Surkh Savera ("The Red Dawn", 1944) and Gul-e-Tar ("The Dew-drenched Rose", 1961)

He is known as Shayar-e-Inquilab' ('Poet of the Revolution'). His ghazals and lyrics have been used in many Hindi films. Among his notable film lyrics are the romantic ghazals: Ek Chameli Ke Mandve Taley, Aap Ki Yaad Aati Rahi Raat Bhar and Phir Chhidi Raat, Baat Phoolon Ki.

He was also a member of Andhra Pradesh Legislative Council from 1956 – 1969 and became opposition leader in the Assembly and was one of the most popular political leaders across India. He traveled to most of the European countries that existed under the umbrella of the Soviet Union and also visited Red China. While in Moscow he met Yuri Gagarin and wrote a poem on him.

On 4 and 5 February 2008, programmes were organised in Hyderabad to mark his birth centenary cele

Aal-e-Ahmad, nom de plume Suroor, is an Urdu critic of the first order. Literary criticism in Urdu before Suroor was more of a pastime than an independent branch of literature. Suroor, along with his compeers, gave it a new orientation and a new respectability, and it is with these contemporaries that Urdu criticism has come of an age.

Aal-e-Ahmad was born in 1912 in Badaun, Uttar Pradesh. Badaun is a traditional center for Muslim learning and for centuries has been the home of theologians and poets. Poetry here is not a pursuit, but a way of life. The young Aal-e-Ahmad developed a poetic sensibility and started composing poems when he was still in high school. But because his parents wanted him to be a doctor, he studied science and graduated from the St. John’s College, Agra. Later he studied English literature. After completing his Master’s degree in 1934, he taught English and Urdu at Aligarh for a while and then moved to Lucknow University. In 1955 he was invited to Aligarh to work as the Director of the Sayyid Hussain Research Institute. He also held the post of Convenor of the Urdu Advisory Board of the Sahitya Akademi.

Suroor has published four collections of his literary essays and two of verse. He has launched Aligarh History of Urdu Literature in five volumes, the first of which was published in 1962. He also translated the Diwan-e-Ghalib into English for the Sayyid Hussain Research Institute.
As a critic, Suroor has been a phenomenon right from his college days. In the early thirties, Urdu criticism was caught in a rut of tradition emotionalism. On the one hand were the orthodox classicists, steeped in tradition, on the other hand were the highly westernized novices, unable to appreciate the heritage of the past. In an age of extremes, Suroor struck a note of balance. He emphasized and integrated approach, objectivity, and an unemotional and unprejudiced evaluation of literature. He did not confine himself to any particular school of cri

Found this poem and its translation by Makhdoom Mohiuddin

Our city is strange –
it whispers in the
nights when you
walk on roads
calls you to show
its wounds as if
the secrets of
its heart

its windows shut
alleys quiet
walls tired
doors locked
only the corpses stayed
in rented houses for years.

-tr. Ravi Kopra

————————————————————

apnaa shah’r

ye shah’r apnaa, ajab shah’r hai
ke raatoN ko
saRak pe chaliye tau sargoshiyaaN sii kartaa hai
bulaa ke zakhm dikhaataa hai
raaz-e-dil kii tarah

dariiche band
galii chup
niDhaal diivaareN
kivaaR muh-r-balab
gharoN meN mayyateN thahrii hu’ii haiN barsoN se
kiraaye par ”” !

Makhdoom a people’s poet: Abid Hussain

Special Correspondent
Former Indian Ambassador to US recalls association with poet

remembering a legend: Abid Hussain at the inaugural session of seminar on Makhdoom Mohiuddin

HYDERABAD: Makhdoom Mohiuddin, poet-revolutionary of Hyderabad, was so pained by the Spanish Civil War (1936-39) that he actually wanted to go to Spain to fight the fascists.

The civil war appeared to have had a lasting impression and one could see change in form and content of Makhdoom’s poetry.

This turning point was discernible in his poem Andhera.

His biographer Aleksey Sokhavich recorded how the Communist and trade union leader always had on his writing table, a copy of Guernica by Picasso.

Several such little known facets from the life and times of Makhdoom like this one by Ali Zaheer were in full flow at the two-day seminar organised by the Alam Khundmiri Foundation in association with National Council for Promotion of Urdu Language (NCPUL) and AP Urdu Academy as part of his centenary celebrations here on Thursday.

Makhdoom’s associate B. Narsing Rao, in his paper, recalled the poet’s foray into writing plays, translat

An orphan from the erstwhile Hyderabad province, Makhdoom used to broom mosques and serve devotees in his childhood. The Sahitya Akademi awardee started out as a trade union activist and a college lecturer before emerging as a revolutionary poet and leader of Communist Party in Andhra Pradesh. He went on to become a member of State’s Legislative Council and Leader of Opposition in the Assembly in the later years of his life.

Hayat le ke chalo, kayenat le ke chalo,

chalo to sare zamane ko saath le ke chalo...

(Let’s walk along with life, lets march with the universe,

When we proceed, let’s take the entire humankind along...)

During his lifetime, Makhdoom was arguably the only poet who was admired by his fellow poets and connoisseurs of Urdu poetry in equal measure. Literary giants like Raghupati Sahai Firaq Gorakhpuri and Faiz Ahmed Faiz wrote poems, appreciating his work. Aap ki yaad aati rahi raat bhar, is one such ghazal written by Makhdoom. It has been beautifully rendered by Chaya Ganguly in Gaman (1978), a directorial debut of Muzaffar Ali. When Makhdoon died, Faiz also wrote a ghazal (Makhdoom ki yaad mein) in the same format. In one of the couplets, Faiz thus remembered his comrade: “A fragrance kept changing its body all night, And a portrait kept singing all night long....The night remained haunted with your memories.”