Abstract
Noon Meem Rashid, a prominent Pakistani poet, is considered
one of the front-runners of the Modernist movement in Urdu
poetry. His Persianized diction, avant-garde sensibility and
atypical themes make him stand out among his contemporaries.
His poem ‘Hassan Koza gar’ is an apostrophe that attempts to
traverse a trodden yet elusive domain - the relationship between
love and art, between the artist and his creation. Hassan, the
potter, dwells on the philosophy of love, time, art and self and
his musings take us to his imaginative microcosm. This
microcosm is created by a ‘sad god’ with the bricks and mortar
of his imagination in which his enunciation itself becomes the
act of creation. The speaker is Hassan, the potter, who lives in
Baghdad, perhaps in the middle ages, and his addressee is
Jahan Zad, his beloved, though he appears to construct his own
‘self’ through this invocation to an ‘other’. The poem seems to
have many parallels with Keats “Ode on a Grecian Urn” even
though both exist in a separated space-time coordinates. In
Keats’ poem the addressee is the Urn, the object of art, while
the speaker is the poet and strangely there is no reference to the
personality of the artist while in case of Hasan Kozagar, it is
the poet who seems to be out of the frame. Both works approach
the questions of love, art and immorality from different
perspectives and yet it would be interesting to draw a parallel
between the two. The theoretical framework of the study is
grounded in the aesthetic theories of Baumgarten and Kant,
Lacanian psychoanalysis and Time theories of Henry Bergson.
Sheheryar Khan. (2015) Art, Love and Time: A Comparative Study of Hassan Kozagar and Ode on a Grecian Urn, Mayar , Volume 13-14, Issue 2 .
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