Criticism of Muhammad Hassan Askari and Oriental Aesthetics

Abstract

Askari was a seminal figure in modern Urdu literature and arguably the most important literary critic of his day. From the arch modernist and avid Westophile who swore by Baudelaire, Rimbaud and Mallarme and imbibed the influence of Joyce, he went on to espouse the cause of Pakistani adab, reading into it great cultural possibilities, almost a new renaissance, and later on, as if losing hope, he single-handedly diagnosed a condition of “stagnation” (jamood) and subsequently, of “death of literature,” turning a full circle to become an avowed disciple of the Islamic rivayat. Bitterly attacked by many, most notably by the Progressives, and highly controversial, Askari remained relevant, and above all, illuminating in so many ways that hardly any other critic in Urdu can hold a candle to him. He continues to remain a challenging and enigmatic figure. Yet, one can hardly discuss contemporary Urdu literature without taking his life and work into consideration.  No doubt, Muhammad Hassan Askari is considered one of the architects of Urdu criticism and is status as a critic is unique.