e chose a different, challenging path for himself. The era he belonged to is known mostly for being concerned with colonialism, modernism and progressivism. Yet, he embraced classicism and cultivated a taste for literature that transcends the bounds of nationality, ethnicity, faith and historical periods. Paradoxically, however, he neither fostered a nostalgic longing for an idealised past nor harboured resentment towards the present, even as he sought to capture the trajectory of Muslim identity development in medieval and British India. It appears that believed in the timelessness of world classics. His commentaries on these works suggest that the poetics and aesthetics of world classics never cease to engage in dialogue with their audience.

Born in Multan in 1939, with a modest background, he spoke Seraiki as his first language and earned his master’s degree in Urdu from Oriental College, Lahore. Moreover, not only did he excel in learning Persian and immersing himself in its vast, rich literary tradition, but he also composed poetry in that language. He attained proficiency in English as well. He believed that every new language one learns propels one to new, uncharted lands. He produced literature in all four languages. He did not harbour any conflict between national, cultural, global and local languages. Clearly, he went against the colonial grain that had attached uncompromising national identities to languages.

It needs to be stressed that, unlike many of his peers who clung to classical ideals and rejected modernity, he maintained an open-minded appreciation for Western, modern and indigenous literature. He translated Khwaja Fareed’s kafis into English and authored a Seraiki novel, which was soon adopted as a textbook by Zakarya University, Multan. Ilyas Kabir has produced a wonderful Urdu translation titled Nao men Nadiya (River Inside the Boat).

This unique blend of scholarship and creativity set Dr Aslam Ansari – the poet, fiction writer, critic and academician - apart in the literary world. Except for a brief period in Lahore for his postgraduate studies, he spent all his life in Multan. The city was deeply ingrained in his personality and identity. He also authored an exceptional book, Shehr-i-Tilismat (City of Talisman), which explored its history, culture and literary heritage. Nevertheless, he believed in transcending narrow local identities and affiliations. He was a writer committed solely to the art of writing.

Although he had started writing during his school days, his first Urdu ghazal was published in Emerson College’s magazine, Nakhlistan, in 1956. Over time, he acquired proficiency in both prose (fictional as well as non-fiction) and poetry, continuing to write until his passing on October 22, 2024.

Ansari had realised early that language was not merely a tool for communication. Unlike most other tools, which are mechanical and serve specified purposes, he believed, a language does not simply communicate things, thoughts and experiences; rather, it plays a sine qua non role in shaping ideas, feelings and experiences. The landscape of language, in turn, sets up the ambience of our experiences. Ansari quotes a line from Bedil’s ghazal, which reads: Har naqsh keh mee beeni, harfeest keh mee shanvi (“Every image you see is (actually) a word that you hear.“) Language has the power not only to enhance the range of human senses but also to transform their stipulated, limited, one-dimensional functions. Language enables us to believe that eyes can hear; ears can see; touch can read; and smell can crush objects. This was the reason for Ansari’s lifelong pursuit of expanding his knowledge of languages, discovering distinctive modes of expression, exploring new literary forms and studying literature through the lens of language.

He believed that, among all art forms, poetry stands apart, for it allows language to unfold its possibilities, mysteries and magic. Consequently, creating poetry and writing about poetry remained his most treasured pursuit.

Poets Meer, Bedil, Ghalib, Khwaja Fareed and Allama Iqbal were his all-time favourites. While he authored comprehensive books on Meer, Bedil and Ghalib, it was the poetry of Allama Iqbal that truly captivated his imagination and intellect. In addition to writing four critical works on Iqbal’s Urdu and Persian poetry, he also penned a poetry book titled Faizan-i-Iqbal, where he aimed to emulate Iqbal’s voice, tone and aesthetics. He also authored a book titled Adbiyat-i-Alam mein Sair-i-Aflaak ki Riwayat (The Tradition of Journey to Heavens in World Literature), inspired by Iqbal’s magnum opus Javed Nama, in which Iqbal embarks on a journey to heavens in the company of Rumi.

Ansari was deeply intrigued by the question of Muslim identity. It is difficult to determine whether this question fostered his devotion to Iqbal’s poetry or it was the other way around.

As previously noted, despite his deep appreciation for the classics, Ansari was deeply intrigued by the question of Muslim identity. It is difficult to determine whether this question fostered his devotion to Iqbal’s poetry or it was the other way around. In Armughan-i-Pak, titled after Iqbal’s Armughan-i-Hijaz, the author endeavours to delineate the significant events, forces, influences and factors that played a crucial role in shaping Muslim identity during the medieval and colonial periods in India.

Now, a few words about his critical writings:

Rather than aligning with a single school of criticism, Ansari focused on a close reading of literary texts in a scholarly manner. However, he did not believe in the total autonomy of literary texts. Rather, he maintained that they were inspired and shaped by historical, linguistic and psychological facts and factors. Consequently, he argued that literary criticism encompasses a range of disciplines, including classical philosophy, which addresses areas such as ethics, aesthetics, and metaphysics. Furthermore, he asserted that criticism utilises insights derived from these disciplines to interpret literary work.

The interplay of history, language and psychology in creating innovative and insightful critical writing is exemplified in his essay Afsana-o-Afsoon, part of his book Fikr-o-Intiqad. The Persian term afsana serves as the Urdu equivalent of the English term short story. Consequently, it has become customary for Urdu critics to reference Western theorists in their attempts to articulate the poetics of the genre of afsana. Ansari, however, endeavours to trace the etymology of afsana within the context of Persian literary history. He begins by citing Nizami Ganjavi’s Masnavi Haft Paiker, where afsana is described as a narrative evoking erotic sentiments (Guft afsana haiy mehr angaiz/ keh kunad garm shahwatan ra khaiz: “Those women would narrate stories of love to add fuel to the fire of love.“) Ansari highlights the phrase ‘afsana-o-afsoon’ in both Persian and Urdu, suggesting that within this literary tradition, every story embodies an element of magic—understood as a transformative force. He references Rumi’s masnavi and the Urdu masnavi, Gulzar-i-Nasim, where both afsana and afsoon appear. Each afsoon presents a dilemma requiring resolution. Thus, afsana is characterised by three fundamental elements: eros, dilemma and transformational magic.

To further substantiate his argument, he cites Alf Laila wa Laila (One Thousand and One Nights), where Scheherazade employs the transformative power of her narratives to alter the psyche of King Shehryar. This interpretation of afsana is both original and indigenous yet compelling, illustrating how we can decolonise our literary criticism.

Poetry remained his true strength. He authored six poetry collections in Urdu and four in Persian. Both Urdu and Persian kulliyat (collected works) were also published in his lifetime.

It is noteworthy that a significant portion of his popular poetry is to be found in his first collection, Khawab-o-Agahi (Dream and Awareness), published in 1982. He had begun his poetic journey in the mid-1950s, a period marked by a clash between progressive and modernist writers. Additionally, another current in Urdu poetry had emerged. It was defined by sentiments of nostalgia and a profound sense of displacement and loss, notably represented by poets such as Nasir Kazmi and Muneer Niazi. While in his formative years Ansari occasionally appeared to draw inspiration from Nasir Kazmi, he quickly evolved and established his own distinctive style. His poetic approach was shaped by a specific set of linguistic preferences and experiences, informed by a deep understanding of classical poetry traditions, a profound awareness of human relationships, a philosophical perspective on the human condition, and an acquaintance with the historical events that shaped the neocolonial era.

Another characteristic of his poetic style is his perception of the relationship between contemporary sensibility and language. He seems to assert that new sensibilities necessitate a new vocabulary. Despite his extensive knowledge of the Persian literary language and his ability to compose poetry in it, he refrained from incorporating Persian phrases into his Urdu ghazals, except in instances where they did not seem out of place. Consider a few truly unforgettable couplets:

(No one has ever been able to stop those who set to leave. If you are resolved to leave, then there is no one to stop you.)

(Which turn is this, why does the land bridle my feet? This is not where she lives, nor has anyone called out.)

(Who shares the sorrows of existence, O friend; a tree too sheds its dried leaves.)

(I am a wall of weariness, do not touch me; do not lend me support, or I shall fall.)

(If I step back, the land grabs my feet; if I venture forward, indecision obscures the path.)

Poetry is, first and foremost, a play on language. This insight inspired Ansari to express himself across various genres. Most classical poets embraced multiple poetic forms, such as ghazal, qasida, rubai, shehr ashob, masnavi and marsia. In doing so, they expanded their perception of the world, broadened the horizons of their imagination, and deepened their understanding of language. Besides traditional forms like ghazal, masnavi and rubai, Ansari ventured into azad nazm, experimenting with both short and long poems. Notable among his long poems are Takrar-i-Tamanna (Recurence of desire) and Kam Numa (Less evident), both of which deserve special mention.

However, his slightly longer poem, Meray Azizo Tamam Dukkha Hai: Gautam ka Akhri Wa’z” (My dears, suffering is omnipresent: Gautam’s last preaching), stands out as one of the most unforgettable pieces in modern Urdu poetry. Although penned in his youth, this poem captures the essence of the Buddhist perspective on human suffering with remarkable clarity. Its impact lies not only in its subject matter but also in its style and structure. While the philosophy of dukkha resonates deeply with readers, the poem’s brilliance shines through in its dramatisation of Gautam’s final sermon to his followers. Thus, this work beautifully intertwines Gautam’s wisdom with the artistry of our esteemed poet.

Here is a raw translation of the last part of this great poem:

[Having endured great suffering, my dear ones,

I have comprehended the ultimate secret of life: all of it is suffering.

Existence is suffering; the manifestation of existence is suffering.

Life is suffering; death is suffering.

This entire illusory and unblemished universe is suffering.

What is consciousness? It is a commitment to existence; this commitment to existence is a suffering.

While separation is manifest suffering; union, too, is suffering,

For those who meet, unite in a night of separation; that night is a suffering.

This desire to live, this arrangement to embrace eternity, is suffering.

Silence is suffering, for who can bear its immense pain?

Speech is suffering, for who in the world can say what is beyond speech?

Being is suffering; not being is suffering; permanence is suffering; continuity is suffering.

My dears, everything is suffering!]

The writer is a Lahore-based Urdu critic and short story writer. He is also the current head of publication at Gurmani Centre, LUMS. He is the author of Nay Naqqad kay Naam Khutoot and Urdu Adab ki Tashkeel-i-Jadeed.