THE SONNETS ND THE RUBAIYAT OF MOHAMMED FAKHRUDDIN “The Sonnets and The Rubaiyaat of Mohammed Fakhruddin” published by Fazila Banu makes an enlightening reading . Be it the matter of you holding the book and looking at the lush green pagescape or at the rear with a crisp quatrain and a stamp size photograph of the poet, it is quite charming and as you turn the very first page over you come to know “How beautiful the fire is”. Dr. Fakhruddin’s name is well known to the poet fraternity . He writes with ease and has a lucid vocabulary despite complete adherence to the established norms of rhetoric and prosody. In his sonnets, his is a cloistered spirit, like that of Christina Rossetti, and the erudition reflected in his rubaiyaat makes us believe that he is a man of no mean ability like Coleridge and Dr. Johnson. He seems to have explored every sense the human mind can experience. As an engineer selects his tools and equipment the poet is very specific in the very choice of his words and phrases. He deserves all praise and acclaim he has received world wide and if I am asked why I have compared him with Johnson and Coleridge, I would not miss saying that though writing in an alien language the poet doesn’t let you feel he is trying to find “cohesive devices of translation” in some target language. Dr. Fakhruddin’s work makes a better reading in comparison to Edward Fitzgerald’s paraphrase of 101 quatrains from The Rubaiyat of Omar Khayyam, a twelfth-century work in Persian, in the sense that the beauty of work in Fitzgerald’s quatrains is suppressed due to technicalities of translation and transliteration whereas Dr. Fakhruddin’s work is directly done in English and is not victimized to “the efforts of rendering”. He is highly productive in his sonnets and the flow of ideas reaches to its climax in the beginning of one of his sonnets when he says, “Words, words, and words, I write but to what end?”. He is, though, a little insecure due to obsession when he says, “What do I know?
The world around me I may comprehend,
And know myself a little”. This obsession is very Conradian in its essence and is so due to an inner urge which further prompts the poet, in the language of T. S. Elliot, to explore different layers of his own psychic being. There is a search for a new self and rediscovery and the element of Deconstruction is very strong. We are living in a jazz minded world and ours is an age of disintegration. The youth fails to see the poetry around and about life. Dr. Fakhruddin is a true disciple of Auden as he uses his words like the strokes of brush and presents a word picture of what he intends to communicate through his sonnets. The meter and the rhyme scheme he has chosen provide a good grounding to his ideas and the “Zeal for work earns all comfort and pleasure”. The book is all about various experiences of the human life and the poetry around the incidents taking place in our day-to-day life. The poet seems to have championed every cause and the idea of the universal fraternity does echo so profoundly that there hardly remains any room for cynicism or skepticism. There is a faith and a strong desire to rise above the level of “reason and argument”.
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