‘Generations will be proud of you, for you have witnessed Firaq’

As we mark the 129th birth anniversary of Raghupati Sahay, immortalised in the annals of Urdu literature as Firaq Gorakhpuri, his prophetic words echo through time: 

“Aane vaali naslen tum par fakhr karengi ham-asro, Jab bhi un ko dhyan aayega tum ne ‘Firaq’ ko dekha hai [Future generations will honour you, my friends, when they note that you saw 'Firaq' himself]” — These lines, brimming with self-assurance of his legacy, remind us that future generations will envy those who witnessed the era of the literary titan Firaq Gorakhpuri, born Raghupati Sahay.

Born on 28 August 1896 in the quaint village of Banwarpar near Gorakhpur, Uttar Pradesh, Firaq’s life emerges as a symphony of intellect, rebellion and lyrical brilliance that continues to resonate in the hearts of poetry lovers worldwide.

His journey from scholarly youth to becoming one of India’s most celebrated Urdu poets is a testament to the enduring power of words — and his particular skill at blending classical traditions with modern sensibilities in a way that redefined Urdu shayari.

Firaq Gorakhpuri’s poetry, rich with themes of love, beauty, melancholy and social consciousness, has not only survived but thrived under the test of time. Beyond his mastery of Urdu, this polyglot extraordinaire was fluent in English, Hindi, Persian, and more. His audacious claim that “Only two-and-a-half men know English in India: first comes Firaq, then Dr S. Radhakrishnan, and Nehru being the half” reflects his unapologetic confidence and wit, traits that endeared him to contemporaries while occasionally stirring controversy.

This tribute seeks to illuminate the multi-faceted genius that was Firaq, weaving in lesser-known facets of his life, his revolutionary spirit and his indelible contributions to literature, all while celebrating the verses that continue to inspire.

Bahut pehle se un qadmon ki aahat jaan lete hain: Early whispers of genius

“Bahut pehle se un qadmon ki aahat jaan lete hain, tujhe ayi zindagi ham door se pehchaan lete hain [Oh Life, we know your approach from a distance, by the sound of those footsteps, long before you arrive].” These lines, evoking an intuitive recognition of life’s inevitable interventions, aptly capture Firaq’s early years, where destiny’s call was evident from the start.

Born into a prosperous Hindu Kayastha family, his father Munshi Gorakh Prasad ‘Ibrat’ was a lawyer and an Urdu poet himself, instilling in young Raghupati a deep appreciation for literature. This early period laid the foundation for his linguistic prowess, allowing him to navigate multiple languages with effortless grace, a skill that would define his academic and creative pursuits.

Growing up in Gorakhpur, Firaq received his initial education in Urdu and Persian at home, later excelling at his matriculation examination as he graduated from the Government Jubilee College. He pursued higher studies at Lucknow Christian College thereafter and earned his BA from Central College, Allahabad (now Prayagraj), before completing an MA in English Literature from Agra University in 1930, with a distinction.

His youth was marked by a passion for poetry; he recited his first ghazal in 1916 as a BA student, signalling the emergence of a prodigy.

Married at 18 to Kishori Devi, Firaq’s personal life bore strains that later infused his work with profound melancholy, as seen in verses like “Ek muddat se teri yaad bhi aayi na humein, aur hum bhool gaye hon tujhe aisa bhi nahin [I haven’t remembered you in a long time, yet it’s not like I’ve forgotten you].”

Ham se kya ho saka mohabbat mein: The fire of freedom and sacrifice

“Ham se kya ho saka mohabbat mein, khair tum ne to bewafai ki [What could I do in love… but anyway, you betrayed me]” — a lament for unrequited love, but Firaq’s words also mirror his passionate devotion to India’s freedom struggle, where personal ambitions were sacrificed for a greater cause. Despite qualifying for the prestigious Indian Civil Service (ICS) in 1920, Firaq heeded Mahatma Gandhi’s call during the Non-Cooperation Movement, resigning from his post and embracing activism.

This bold decision led to his arrest and an 18-month imprisonment, a period that forged his revolutionary spirit.

Emerging from jail, Firaq served as under secretary to the Uttar Pradesh Congress Committee from 1920 to 1923, rubbing shoulders with luminaries such as Jawaharlal Nehru and Motilal Nehru. His political involvement extended to advocating for secularism — and fiercely opposing attempts to communalise Urdu as a ‘Muslim language’.  As he poignantly stated, “Zubaan kisi qaum ki milkiyat nahin, jisne seekhi, usne kahi” — language belongs to no community; whoever learns it, speaks it.
This stance underscored his progressive ethos, making him a bridge between cultures in a divided India.

Shaam bhi thhi dhuan-dhuan, husn bhi thha udaas-udaas: The poetic symphony of love and beauty

“Shaam bhi thhi dhuan-dhuan, husn bhi thha udaas-udaas, dil ko kayee kahaniyan yaad si aa ke rah gayin [It was a misty evening, and beauty was sad; the heart was left barely remembering many a story].” Evoking clouded evenings and melancholic beauty, this verse encapsulates Firaq’s mastery that painted emotions with words, a hallmark of his literary oeuvre. A prolific writer, Firaq would go on to author over a dozen volumes of Urdu poetry, including ghazals, nazms, rubais, and qata’at, while also penning prose in Urdu, Hindi and English.

His magnum opus, Gul-e-Naghma, revolutionised the Urdu ghazal by infusing the classical forms with modern themes of love, existential pain and social reform.

Other notable works include Gul-e-Ra’naa, Rooh-e-Kayenaat, Shabnamistan and Sargam, where he explored the intricacies of human experience. Firaq’s poetry often delved into the connoisseurship of beauty, as praised by critics, blending sensuality with philosophical depth. He modernised Urdu shayari, making it accessible yet profound, and his rubais experimented with form while remaining rooted in tradition.

As a faculty member at Allahabad University from 1930 to 1958, he inspired generations, often deviating from the syllabi to impart life lessons through literature. Verses like “Aaj ik aur baras beet gaya us ke baghair, jis ke hote hue hote thhe zamane mere [Today another year has passed without the one in whose presence I had life in me]” capture the timeless ache of separation, resonating with readers across eras.

Later, as producer emeritus at All India Radio, he extended his influence through broadcasting his enriching cultural discourse. Firaq’s advice to budding writers, shared by screenwriter Javed Siddiqui, “Lafzon ko ehtiyaat se barta kijiye… inn mein bhi jaan hoti hai [Be careful how you give utterance to your words… they too are imbued with life]”, highlights his reverence for words, treating them as living entities.

Ishq taufiq hai gunah nahin: Honours bestowed upon a literary luminary

“Ishq taufiq hai, gunah nahin” — love is a divine grace, not a sin — reflects the exalted status Firaq achieved through his art. His contributions were duly recognised with India’s highest accolades: the Sahitya Akademi Award in 1960 for Gul-e-Naghma, the Padma Bhushan in 1968 and the Jnanpith Award in 1969, making him the first Urdu poet to receive this honour.

He also earned the Sahitya Akademi Fellowship in 1970, the Soviet Nehru Award in 1968 and the Ghalib Award in 1981. These awards not only celebrated his poetry but also his role in preserving Urdu’s secular essence amid post-Partition challenges.

Praised by peers like Josh Malihabadi as the greatest Urdu poet since Mir Taqi Mir and Mirza Ghalib, which was echoed by critic Gopi Chand Narang, Firaq’s stature was clearly unparalleled.

Ab toh un ki yaad bhi aati nahin, kitni tanha ho gayin tanhaiyan: The enduring legacy of solitude and inspiration

“Ab toh un ki yaad bhi aati nahin, kitni tanha ho gayin tanhaiyan [So lonely is my loneliness that now I don’t even remember them]” — these lines on profound loneliness reflect Firaq’s later years, marked by personal tragedies: his wife’s departure in 1958, his son’s suicide and his brother’s death. Yet, in his enforced solitude, he found solace in poetry — and in the companionship of figures such as Indira Gandhi, whom he addressed as ‘daughter’.

Firaq passed away on 3 March 1982 in New Delhi, after a prolonged illness. His last rites were accompanied by state honours. For this generation, his legacy endures still through biographies such as Firaq Gorakhpuri: The Poet of Pain & Ecstasy by Ajai Mansingh, and lives in the hearts of admirers who still recite his verses. As a progressive voice, he championed harmony and change, his poetry offering consolation and hope in turbulent times.

On this, his 129th birth anniversary, I recall Firaq Gorakhpuri’s words on the reality of emotion and the illusion that is life — “Kisi ka yun to hua kaun umr bhar phir bhi, ye husn o ishq to dhoka hai sab magar phir bhi [But who belongs to someone for a lifetime; this beauty and love is still but a deception]”. In an era craving depth and plagued by superficiality, this tribute to Firaq is not just remembrance, but a call to embrace the poetic soul within us all. May the truth of his verses continue to illuminate our paths for generations to come.

Hasnain Naqvi is a former member of the history faculty at St Xavier’s College, Mumbai