Famous poet /1919 - 2002

Kaifi Azmi

Kaifi Azmi (born Sayyid Akhtar Hussein Rizvi) was an Indian Urdu poet, and is considered to be one of the greatest Urdu poets of the 20th century. He was also a political activist against colonialism.
He wrote his first ghazal at the age of eleven, which was later immortalized in song.

At the age of twenty-four he became a member of the  Progressive Writers' Movement and Communist Party that made him embark on the path of socially conscious poetry.

In his poetry, he highlights the exploitation of the subaltern masses and through them he conveys a message of the creation of a just social order by dismantling the existing one.

Yet, his poetry cannot be called plain propaganda. It has its own merits; intensity of emotions, in particular, and the spirit of sympathy and compassion towards the disadvantaged section of society, are the hallmark of his poetry. His poems are also notable for their rich imagery and in this respect, his contribution to Urdu poetry can hardly be overstated.

Azmi's first collection of poems, Jhankar was published in 1943. His important works including anthologies of poetry, were Aakhir-e-Shab, Sarmaya, Awaara Sajde, Kaifiyaat, Nai Gulistan, an anthology of articles he wrote for Urdu Blitz, Meri Awaaz Suno, a selection of his film lyrics, and the script of Heer Ranjha in Devanagari.

His best known poems are Aurat, Makaan,Daaera,Saanp, and Bahuroopni.

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Woman

Today sparks of war waver in the air
time and life have the same spirit
delicate decanters hiss with the heat of rocks
beauty and love harmonize melodiously
You too have to be ignited by the fire that burns me
Get up, my love, you have to walk with me


Life is in struggle, not in the restraint of patience
The blood of pulsating life is not in trembling tears
Fragrance lies in free-flight, not in the tresses, of hair
There is another Paradise which is not by the side of men
On its free pathways too you have yet to pirouette
Get up, my love, you have to walk with me


For you burning pyres wait at every corner
death disguised as duty
your every delicate gesture, a curse
nothing but poison in the breeze
Change the season if you wish to flourish
Get up, my love, you have to walk with me


History has not known your worth thus far
You have burning embers too, not merely tears
You’re reality too, not a mere amusing anecdote
Your personality is something too, not just your youth
You’ve to change the title of your history
Get up, my love, you have to walk with me


Emerge out of ancient bondage, break the idols of tradition,
the weakness of pleasure, this mirage of fragility
these self-drawn boundaries of imagined greatness
the bondage of love, for this too is a bondage
Not merely the thorns on the path but you have to trample on flowers too
Get up, my love, you have to walk with me


Shatter these resolve breaking suspicions of sermons
these vows that have become shackles
this too, this necklace of emeralds
these standards set by the wise men
You have to turn into a tempest, bubble and boil over

Get up, my love, you have to walk with me


You are Aristotle’s philosophy, Venus, Pleiades
You control the sky, the earth at your feet
Yes, raise, fast, raise your forehead from the feet of fate
I too am not going to pause, nor will the time
How long would you falter, you have to be firm
Get up, my love, you have to walk with me.

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Analysis (ai): The poem centers on female empowerment, urging a woman to reject passive endurance and claim agency. It frames liberation as both personal and historical, challenging patriarchal norms entrenched in culture and religion.
  • Historical Context: Written during the mid-to-late 20th century, it aligns with postcolonial Indian intellectual currents that re-examined gender roles amid national transformation. Unlike many contemporaneous male-authored works that romanticize sacrifice, this poem demands active revolt.
  • Contrast with Author’s Other Works: While Kaifi Azmi often infused socialist ideals into his writing, this piece diverges by placing gender at the forefront rather than class alone, making it more radical within his oeuvre.
  • Imagery and Symbolism: Fire, embers, and tempests recur as metaphors for inner strength and revolt. Unlike traditional use of such imagery for masculine heroism, here they are reclaimed for the feminine.
  • Structure and Form: The insistent repetition of “Get up, my love, you have to walk with me” creates rhythmic urgency. The refrain functions not as romantic invitation but as revolutionary call, blurring personal and political address.
  • Subversion of Religious and Cultural Tropes: References to Paradise and sermons invert conventional moral frameworks. It critiques religious justifications for female subjugation, a stance less common in mainstream Urdu poetry of the era.
  • Engagement with Modernity: The poem rejects static identity, urging constant becoming—especially significant in a post-independence context where women’s roles were being renegotiated amid modernization.
  • Less-Discussed Angle: Rather than portraying liberation as solitary struggle, the speaker positions himself as co-walker, implying male allyship as essential, not incidental, to feminist transformation.
  • Rejection of Aesthetic Passivity: The line about trampling flowers—not just thorns—challenges idealized notions of femininity. Beauty must be disrupted, not preserved, in pursuit of freedom.
  • Cosmic Scale: Invoking Venus and Pleiades elevates the woman beyond earthly constraints, linking her emancipation to universal order, a trope rare in progressive Urdu poems focused on material conditions.
  • Legacy and Standing: Though not as widely anthologized as Azmi’s political pieces, this poem stands out for its sustained feminist vision, unusual in male-authored works of the time that often tokenize women as symbols.
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    2

    A Moment in time

    Life is the name given to a few moments, and
    In but one of those fleeting moments
    Two eyes meet eloquently
    Looking up from a cup of tea, and
    Enter the heart piercingly
    And say
    Today do not speak
    I'll be silent too
    Let's sit just.
    Holding each other's hand
    United by this gift of sorrow
    Bonded by the stirring of emotions.
    Who knows if in this very moment
    Somewhere in the distant mountain
    The snow at last may start to thaw.

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    Analysis (ai): The poem centers on transient human connection, using minimal action—a glance, silence, hand-holding—to convey emotional weight. The tea-cup gaze anchors the moment in domestic intimacy, contrasting with the distant, natural image of thawing snow that suggests quiet transformation.
  • Emotional Structure: Emphasis lies on muteness and restraint; speech is rejected in favor of shared presence. Silence functions not as absence but as active communion, intensified by sorrow as a unifying force rather than a source of isolation.
  • Form and Language: Written in free verse with enjambment that mimics thought and breath, the poem avoids metered rigidity. Its sparse diction and plain syntax reflect mid-20th-century Urdu modernism’s shift from ornate tradition toward conversational realism.
  • Context in Author’s Work: Unlike Kaifi Azmi’s better-known politically charged works advocating socialism and anti-imperialism, this poem turns inward, favoring personal epiphany over public address. It is rare in his oeuvre for its retreat from collectivist rhetoric to individual affect.
  • Relation to Era: While contemporaneous Urdu poetry often balanced romanticism with progressive politics, this piece resists didacticism. It aligns with post-Independence introspective trends but diverges by refusing resolution or moral uplift.
  • Modern Engagement: The poem’s focus on emotional authenticity and nonverbal connection anticipates contemporary interest in mindfulness and presence. The break from narrative climax reflects modernist fragmentation, valuing momentary insight over closure.
  • Less-Discussed Angle: The thawing snow is not merely metaphor for emotional change but implies a delayed effect—suggesting that intimate moments trigger unseen, distant shifts. This positions interiority as generative of wider transformation, subtly politicizing the personal.
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    2
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    Tribute To Guru Dutt

    No one comes to stay on this earth forever
    Yet no one goes the way you did

     

    Even Death must have been taken aback
    For no one embraces her the way you did

     

    The startled Sea may dry up soon
    For no one’s ever offered her his own ashes

     

    You complained about the Tavern and the Saqi
    Yet none quenched thirst with venom your way

     

    I concede sunlight scarred you
    Yet the flame should have burned till night gave way

     

    No one comes to stay on this earth forever
    Yet no one goes the way you did

     

     

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    Analysis (ai): The tone is elegiac but restrained, using understated comparisons to convey shock and disbelief. Diction remains formal yet intimate, avoiding melodrama despite the subject of suicide. The language blends spiritual metaphors with secular sorrow, typical of Azmi’s humanist approach.
    Imagery and Symbolism: Water, fire, and light dominate the imagery—sea, ashes, flame, sunlight—each symbolizing transformation and self-annihilation. The sea receiving ashes subverts traditional rituals, suggesting a rejection of closure. Fire, usually destructive, becomes a fragile light prematurely extinguished.
    Structure and Form: The poem uses quatrains with irregular line lengths and intermittent white space, mimicking breathlessness or grief’s fragmentation. The repetition of the first two lines at the end reinforces cyclical mourning, a structural motif Azmi revisits in other elegies.
    Engagement with Modern Concerns: Written in the late 20th century, the poem treats mental anguish and artistic alienation as private yet socially resonant. It avoids political rhetoric, unusual for Azmi, who typically infused personal grief with collective struggle. Here, the focus is on individual collapse within a disillusioned creative psyche.
    Relation to Author’s Oeuvre: Unlike Azmi’s overtly ideological poems, this piece centers on personal loss, aligning more with his film lyrics than his revolutionary verse. It stands out for its quietness and absence of call to action, marking a rare inward turn in his body of work.
    Context within Era’s Norms: Mid-century Urdu elegy often celebrated martyrdom in political or communal terms. This poem diverges by framing suicide not as failure but as a singular, almost sacramental act. The absence of moral judgment contrasts with contemporaneous social attitudes toward self-death.
    Less-Discussed Angle: Rather than mourning the artist’s unfinished work, the poem laments the inversion of poetic tropes—the drinker poisoned by the cup he sought solace in, the lover embracing death before it claims him. It critiques romanticized suffering by showing its fatal culmination.  (hide)
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    4
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