Mehr Lal Soni (9 February 1913 – 19 August 1986), better known as Zia Fatehabadi, was an Indian Urdu ghazal and nazm writer. He was a disciple (shaagird) of Seemab Akbarabadi (1882–1951), who was a disciple of Nawab Mirza Khan Daagh Dehlvi (1831–1905). He used the takhallus (nom de plume) of Zia meaning "Light" on the suggestion of his teacher, Ghulaam Qadir Farkh Amritsari.
Biography Zia Fatehabadi was born on 9 February 1913 at Kapurthala, Punjab. He was the eldest son of Munshi Ram Soni (1884–1968), a Civil Engineer by profession, who belonged to the Soni Khatri family of Kapila Gotra that at some time during the reign of the Mughal Emperor Shahjahan, had migrated from Rajasthan to Punjab and settled at Fatehabad, Punjab near Tarn Taran
Zia Fatehabadi's father was an exponent of Indian Classical vocal and instrumental music, who often invited musicians and singers to his residence, was himself fond of singing and playing musical instruments, and a good player of chess. It was one such evening in Jaipur when the young school-going Zia Fatehabadi was not given by the invited singer a copy of Iqbal's ghazal that had been liked and wanted by him; this particular incident probably exasperated Zia's urge to write and made him a poet.
Even when Zia Fatehabadi was a college student his was a respected name in the Urdu world. After the publication of his first book,Tullu, which had received some disheartening criticism, he had thought of giving up writing but he was dissuaded from doing so by friends and elders. Zia Fatehabadi had started composing Urdu sh'ers and ghazals at an early age when he was still attending school in Jaipur.
His education began at Khalsa Middle School, Peshawar (1920 to 1922). However, he completed his schooling from Maharaja High School, Jaipur, Rajasthan (1923 to 1929), after which he obtained his B.A.(Hons) degree in Persian in 1933 and M.A. (English) degree in 1935 as a student of Forman Christian College, Lahore. He was consistently an above average student.
As the then editor of the Urdu section of the college house magazine The Folio, Zia Fatehabadi was instrumental in getting the first-ever Urdu short story "Sadhu" by Krishan Chander published in 1932. At that time, Krishan Chander was interested primarily in his English writings and edited the English section.
It is also in evidence that Zia Fatehabadi was infatuated with a Bengali girl named Meera, who was also studying in the same college at the time, and addressed almost all his love-poetry to her. Her name figures unreservedly in several of his writings. In an interview, he had once disclosed that she was that very Meera Sen who had actually inspired Meeraji to write superb poems and adopt her name as his takhallus. Zia Fatehabadi had met Meeraji for the first time when the latter accompanied by Upendranath Ashk, a friend of Zia Fatehabadi, visited the office of Moulana Salahudeen, Editor and proprietor of 'Adabi Duniya', Lahore, where Meeraji was employed at that time. Krishan Chander, Meeraji and Zia Fatehabadi were good friends.
It was during his college days that Zia Fatehabadi came into contact with Shabbir Hussain Josh Malihabadi and Samad Yar Khan Saghar Nizami. He developed a very close lifelong relationship with them, which both influenced as also helped shape his literary life.
In 1936, Zia Fatehabadi joined the Reserve Bank of India, from which he retired in 1971 as Deputy Chief Officer, a senior position in the bank. In 1942, he married Raj Kumari (1919–2003), daughter of Murli Ram Berera of Lahore. Before joining the Reserve Bank of India, while seeking suitable employment, Zia Fatehabadi was interviewed for an editor's post with All India Radio, which went to Majaz. However, Majaz and Zia Fatehabadi remained close friends.
Literary career
Zia Fatehabadi began to write poetry in 1925 under the supervision of his mother, Shankari Devi, with the help of Maulvi Asghar Ali Haya Jaipuri, who used to teach him Urdu at home and who also imparted his own knowledge of Urdu poetry composition to him. By 1929, Zia Fatehabadi had become a familiar name in Urdu literary circles. In 1930, he became Seemab Akbarabadi's disciple and remained true to his ustad until his own death, working to spread Seemab's methods and instructions at all times. He never ever gave a moment's thought to his own name or fame and sought neither favours or honours nor public or state recognition. He categorically rejected such exercises. He believed that the real worth of a poet's creativity can, ultimately, be gauged impartially only by those who look deeper into his works, in their desire or eagerness to get to know the poet better.
In 1933, at the age of 20 and while still a college student, Zia Fatehabadi succeeded in having his very first collection of Urdu poems, Tullu (Dawn), published in Meerut by Saghar Nizami. He wrote from the heart and, efficaciously, dressed his feelings, emotions, thoughts and experiences with simple, delicate, sweet-sounding, lyrical, meaningful, easily understood words and phrases – the key features in his poetry. His inimitable style set him apart from his peers and gave him a distinct identity.
His writings were meant to touch one's heart and mind simultaneously and make one feel all that he himself had felt. He was totally at ease in the use of a variety of prose and poetical formats. However, he did not succumb to the practice of uninhibited expression of ideas in open forms, which had been adopted by some of his noted contemporaries, who had introduced symbolism in Urdu Poetry. In his article titled Zia Saheb, Gopichand Narang said that he (Zia) belonged to the Seemab Akbarabadi's circle of devoted writers; deep knowledge of the etiquette and effective use of language and expression, the immense richness of feelings and emotions meant to be conveyed, and the fine eloquence and methodology adorned his writings and he makes use of Hindi intonation in ghazal quite effectively and also quite meaningfully highlights the contemporary human pain and suffering; to appraise Zia Fatehabadi is to appraise the inherited tradition and refinement of our poetry. In his compositions, that demonstrate undefiled immaculate thought and brevity"in ke kalaam mein pakizah khayaali aur shustaa bayaani kaa parto jaabajaa miltaa hai. Zia sahib nazm o ghazal donon ke shair hain". ( In his writings there is to be found undefiled immaculate thought and brevity; Zia sahib is the poet of both, nazm and ghazals) – Makhmoor Saedi in his article published in the June 1964 issue of Tahreek, Delhi. Zia Fatehabadi has revealed new and factual aspects of thought and insight.
While remaining true to the classical style, Zia Fatehabadi did not ignore changing trends, as is reflected in his rubaiaat, qat'aas, geets, ghazals, nazms and sonnets. These compositions evince his mastery of and command over the Urdu language. Zia Fatehabadi's contribution to Urdu language and literature spans over six decades and is voluminous.
Titled Noor-E-Mashriq, his first major collection was published in Delhi in 1937 from which the following couplet became widely known:
"Woh dekh mashriq se noor ubharaa liey huey jalwaa-e-haqiqat" "Majaz ki tark kar ghulami ke tu to hey bandaa-e-haqiqat"
((Come hither and have a) look at the yonder light shining in the East emerging as the glowing Truth (Now it is time that you too) cast aside your fetters temperamental for you are that very Truth.)
Though he did not identify himself with any particular group, trend or movement, Zia Fatehabadi apparently belonged, in equal measure, to all known groups and his noteworthy works reflect this. As an integral part of his literary activities, he would gladly attend poetic symposia and conferences, whenever invited to do so, and presided over many of these events.Link: Indian newsmagazine Vol.23 of 1981 reporting one such conference that was inaugurated by the Urdu poet and jurist Anand Narain Mulla and presided by Zia Fatehabadi. http://www.google.com/search?tbm=bks&tbo=1&q=zia+fatehabadi&btnG=Search+Books A selection of his presidential addresses titled Masanad e sadarat se was published in 1985.
He did not subscribe to the theory that poetry is spontaneous. He belongs to the school of thought which maintains that poetry is an amalgam of words and thoughts and that thoughts are seldom spontaneous.Nilanjan Mukhopadhayay " Zia Fatehabadi's Thoughts " article on p. 3 of the Sunday 17 August 1986 issue of The Statesman, Delhi.-
" But he (Zia) does not believe in the theory that poetry is spontaneous, (he says) How can it be? Poetry is not words, it is also thought. And thoughts are seldom spontaneous."
Zia Fatehabadi's short-stories were prominently published by leading Urdu journals of his time; he was influenced by Premchand. His stories deal with the contemporary social issues in a simple straightforward manner. The characters of Zia Fatehabadi's stories are not new but give the impression that they have been known for a long time. He has dealt with the issues relating to Indian women in the manner that those characters are made to narrate their experiences at first-hand and the engrossed readers continue to read his stories without a break, which is the mark of a successful story-teller
Zia Fatehabadi died on 19 August 1986 after a prolonged and painful bout with illness. But then, he had once said:
" Kyaa gham agar qraar–o–sukun kii kamii rahii " " Khush hoon ke kaamyaab merii zindagii rahii "
(I grieve not for the lack of unrest or for the lack of peace (in my life). I am (gratefully) happy to have led (a contented and) a successful life.)
In a way, this one couplet (verse), taken from his book Gard-e-Raah (Urdu) published in 1963, succinctly sums up the personality and life of Zia Fatehabadi. He himself had led a life filled with hope and contentment, something he fervently wished others, too, would experience and enjoy. These sentiments won for him many admirers.e.g.Zia-e-Urdu-special issue published in Urdu by Saphia Siddiqui on behalf of Adara-e-Adab, London, Halqa Ahal-e-sukhan and India International Club, UK and released on 28 November 1981 in a function held in Swedenborg Hall, London WC1, to commemorate Zia Fatehabadi's visit. Amongst those who appreciated as well as influenced his poetry were Firaq GorakhpuriSouvenir " Jashn – e – Zia Fatehabadi " (Urdu) 1978 p. 20 published by the event organising committee and released on 27 February 1978 by Arif Beg, the then Minister of Commerce, Govt. of India.
"keii muqaamaat par mufakkiraanaa aur shairaanaa andaaz ke imtizaaj ne bahut lutf diiyaa. aap kii shairii mein khaloos hai aur kahin rangeen saadgii hai.kahin saadaah aur dilkash rangeenii hai aur ek hasaas salaamat ravii is kii khaas sifaten hain." (At many places, his (Zia's) poetic flight of imagination has given me immense pleasure. In his poetry there is affection and colourful simplicity, there is simple delightful brightness, music, and flow, and there is controlled expression of his feelings as its distinct qualities.)- Firaq Gorakhpuri in an undated article and Josh Malihabadi.Urdu Quarterly Tahareer Vol.11 no.3 1977 issue p. 5 published by Ilmi Majlis, Delhi.
"hazrat zia mere qadeem ahbaab mein se hain.un kii shairii mein sanjeedgii hai.un ke tarz – e – bayaan mein ras aur ghulaavat paii jaati hai. " (Mr.Zia is one of my very old acquaintances. I have always been impressed by his personal qualities and poetry. There is to be found in his poetry a distinct earnestness and maturity as also a rhythmic flow and sweetness in the manner of his expression.) – Josh Malihabadi in an article dated 24 May 1965 Zia Fatehabadi was survived by his wife and six sons. His eldest son, Ravinder Kumar Soni and his youngest son, Sushil Soni, are English language poets, the former is also an Urdu language poet.