Raji-ur-Rahmat Nazar: A Great Poet and Educator

Syed Shams Uddin During my student days in the late 1960s at Government High School Gilgit—later known as F.G. Government Boys School—I had the privilege of being taught Urdu by the revered Maulvi Raji-ur-Rehmat, affectionately known in literary circles by his poetic pen name, Nazar. He was not only a dedicated educator but also a towering figure in Urdu poetry, admired for his extraordinary gift of spontaneous composition. Maulvi Raji-ur-Rehmat possessed a rare poetic intuition. It was not uncommon for him to break into an impromptu couplet during the course of a lesson, captivating his students with verses that were at once witty, profound, and beautifully crafted. These spontaneous poetic expressions would often be met with delight and admiration from all of us, a testament to his effortless command over language and his innate poetic brilliance. His verses carried both substance and elegance, revealing a natural gift that could neither be taught nor imitated. He was a living embodiment of classical Urdu tradition—a poet whose thoughts flowed with such fluency that it left an indelible impression on all who heard him. Recently, while browsing social media, I came across a snippet of his poetry. Seeing his words once again brought back a wave of nostalgia and reverence, reminding me of the immense literary legacy he quietly cultivated while serving as a humble teacher in Gilgit. His poetry, though perhaps under-recognized in wider literary circles, deserves to be rediscovered and cherished by generations to come. یاتو انسانوں میں تو شامل نہیں یا ترے پہلو میں شاید دل نہیں دن مرا جوں توں گزرتا ہے مگر رات کی راحت مجھے حاصل نہیں بےرخی کی وجہ شاید یہ بھی ہو میں تمہاری دید کے قابل نہیں میرے جلنے کی تجھے پرواہ نہیں تو نے دیکھا ہائے داغِ دل نہیں ترک۔ الفت میں فوائد ہیں بہت پر طبیعت اس طرف مائل نہیں خود چلا کر میری گردن پر چھری خوب ! کہتے ہو کہ میں قاتل نہیں دل کی نگرانی بہت دشوار ہے دل ربا بننا کوئی مشکل نہیں کلام : راجی الرحمت نظر (مرحوم) The poetic English translation of Raji-ur-Rahmat Nazar’s Urdu verses—shared by Adab-e-Shumal on May 11, 2025—beautifully encapsulates the spirit of classical Urdu elegiac poetry, where love, betrayal, and inner anguish intertwine in a refined lamentation.As alluded to before, I count myself among the fortunate few who had the privilege of studying at the then Government High School Gilgit between 1966 and 1970, during which time the illustrious Urdu poet, Raji-ur-Rahmat Ustan, graced the institution by teaching Urdu to the senior classes. In reverent memory of his literary stature and influence, I offer this humble attempt to highlight the key emotional and artistic dimensions reflected in the translation: 1. Duality of Human and Inhuman “Either you are not among the ranks of humankind, / Or perhaps your breast holds no heart inside.” These opening lines confront the beloved's coldness with stark imagery—questioning whether she is even capable of human empathy. The poet implies either superhuman detachment or a heartless void, setting a tone of disbelief and sorrow that resonates throughout the poem. 2. Time's Indifference vs. Night’s Restlessness “My days go by, as ordinary as ever— / But the comfort of night, I am yet to find.” The contrast between the mundane progression of daytime and the haunting solitude of night deepens the pathos. Day passes with mechanical routine, but night, symbol of intimacy and introspection, becomes a tormentor—where memory and longing reign supreme. 3. Pride, Pain, and Rejection “Perhaps your indifference has its cause: / That I am unworthy to behold your sight.” Here, unrequited love is given a humble voice. The poet does not accuse; instead, he introspects. This self-effacing dignity elevates the pain into poetry, echoing traditional ghazal sensibilities where the lover blames his own inadequacy rather than the beloved’s cruelty. 4. The Fire of Silent Suffering “You care not for the fire consuming me— / Alas! You’ve never seen my wounded heart ignite.” This couplet translates inner agony into a vivid image of fire, often used in classical poetry to depict passion and pain. The poet suggests that the beloved’s ignorance of this inner blaze is what allows her indifference to continue. 5. Love’s Paradox and Irony “Much can be gained by renouncing love, / Yet my soul inclines not to such a flight.” Raji-ur-Rahmat’s mastery lies in expressing that letting go is both rational and rewarding—but the heart doesn’t obey reason. The imagery of flight conjures freedom, yet the soul remains tethered, choosing imprisonment in love over liberation. 6. The Beloved as the Executioner in Denial “You placed the dagger upon my neck yourself, / And still you claim, ‘I am no killer’—what a plight!” This is perhaps the most poignant metaphor of betrayal in the poem. The beloved is likened to an executioner who refuses to own her role in the poet's demise. The line radiates both irony and deep emotional injury, forming the moral crux of the poem. 7. Final Reflection: The Ease of Theft vs. the Trial of Trust “Guarding the heart is an arduous task, / But becoming a heart-stealer—no great might.” This closing couplet touches on the asymmetry of love: how easily hearts are taken, how hard they are defended. It condemns the trivialization of love’s theft while subtly exalting the endurance of the wounded heart. In essence, this translation honors the spirit of the original Urdu—its melancholic beauty, its dignity in sorrow, and its enduring wisdom. It keeps the cadence soft yet resolute, allowing Raji-ur-Rahmat Nazar’s voice to transcend language and time.