JADA E REHMAT (the book of Sabih rehmani) REVIEW by Jazib Quraishi

JADA E REHMAT
(the book of Sabih rehmani)

REVIEW
by
Jazib Quraishi
“In the last decade the new voices of Na`tiyah poetry that have come in the forefront, the voice of Sabih Rahmani is a representative voice. It is representative for the reason that Sabih Rahmani has during these short days and nights has expressed truthfullness and interest on na`tiyah poetry and the art of na`t is to such an extent which is not existing anywhere among his contemporaries. The journey he has covered starting from Mah-i-Taybah upto Jada-i-Rahmat has got much significance. Sabih Rahmani is a reciter of Na`t (Na`t Khawan) as well as a composer of Na`t (Na`t-go). In my view, in both of these personalities, there is no contradiction. Rather the ways of both lead to the love for the favorite of Allah and the attachment for him. In this manner it can be said that the voice of Sabih Rahmani and his Na`tiyah poetry have jointly become such a unity which could be called strong and distinct.
Sabih Rahmani is longing for seeing the eternal reflection of the sacred face of the favorite of Allah due to which there remains enlightenment in body and soul. The species of poetry that he has adopted in the composition of Jada-i-Rahmat include the species of ghazal, azad nazm, qat`ah, sonnet, and hico. In Mah-i-Taybah, were included manqabats, salam, and many good poems regarding the mystics. Now, he has composed hamd and na`t. After reading Jada-i-Rahmat one feels that Sabih Rahmani has given expansion to his subjects and has felt more severely his unrest and thirst that has come to him during his love for the Messenger of Allah (صَلَّی اللہُ عَلیۡہِ وَآلِہ وَسَلَّم).
Sabih Rahmani has also been evolutionary in his present na`t style. Many compounds, many metaphors and many signs appear in his present Na`t composition with much freshness and much beauty. To call Allah as A’ina-i-Azal, to write sochti dharti, bolta pani and Na`t mayn khushbu kay qalam say dil par raushni likh dayna, to write khak-i-Taybah as jannat ka gulab are the fresh examples of poetry and thought.
His connection with Busairi, Jami, and Hazrat Hassan is very strong which is validity for significance of creative passions of na`t with every regard. I was of the view that Sabih Rahmani will make nazm as an instrument of his expression in his present book but for some cause it could not be so. He also knows himself and I have also already said that with reference to literature and creation there are hidden many possibilities in the na`t poetry and if an attempt is made to collect these possibilities then fresh experiences and subjects can be brought into grip for new life. After reading the recent poems of Sabih Rahmani it is felt that he has the ability to present his expression in this species more beautifully and with more freshness. We must rely that in the twenty first century with reference to the new na`t composition, the people who will enter, among them the name of Sabih Rahmani will be called with significance.”