یادوں کی برات ایک عظیم شاعر کی آپ بیتی اور ایک تاریخ ساز عہد کی تہذیبی زندگی کا دلکش مرقع ہے۔ اس مرقعے میں آپ کو وادیِ گنگ و جمن اور سرزمینِ دکن کے قدیم و جدید معاشرے کی خوشنما جھلکیاں نظر آئیں گی۔ مصنف نے اپنے ایامِ طفلی و جوانی کے خوشحال طبقوں کی سماجی قدروں پر، ان طبقوں کے سوچنے اور محسوس کرنے کے انداز پر، ان کے عقیدوں اور وہموں پر، ان کے شوق اور مشغلوں پر، ان کے تیوہاروں اور تقریبوں پر، ان کے رہن سہن اور رسوم و رواج پر روزمرہ کے واقعات کے حوالے سے بڑے دلچسپ تبصرے کیے ہیں۔
یادوں کی برات جوش ملیح آبادی کے ستر سال کے تجربوں اور مشاہدوں کی برات ہے۔ اس برات میں فکر و نشاط کی شہنائیاں بجتی ہیں۔ جنون و حکمت کے زمزمے گونجتے ہیں۔ رامش و رنگ کی محفلیں سجتی ہیں۔ لالہ رخوں کے لب و عارض کی دل نشیں حکایتیں بیان ہوتی ہیں۔ یارانِ میکدہ کی محبتوں اور بے مہریوں کے قصے سنائے جاتے ہیں اور اربابِ ثروت و سیاست کی تنگ حوصلگیوں کے تذکرے چھڑتے ہیں۔ شاعرِ امروز و فردا کی یادوں کا یہ قافلہ کبھی کہکشاں سے ہو کر گزرتا ہے اور کبھی بحرِ ظلمات سے، لیکن مسرت کی خیرہ سامانیوں سے اُن کے ایمان و یقین میں کوئی فرق نہیں آتا اور نہ طوفانِ حوادث کی تیرگیوں سے اُن کے پائے صداقت ڈگمگاتے ہیں۔ اُن کا کاروانِ حیات خرد کی مشعل لیے اور انسان دوستی کے رجز پڑھتا آگے بڑھتا جاتا ہے۔
Josh Malihabadi was born as Shabbir Hasan Khan on 5th December, 1898 at Malihabad. He did his senior Cambridge from St. Peter's College, Agra in 1914. In 1918, he spent about six months at Shantiniketan. He studied Arabic and Persian. Due to the death of his father, Bashir Ahmed Khan, in 1916, Josh was unable to avail of a college education.
In 1925, Josh started work at the Osmania University, supervising translation work. He was exiled from the state of Hyderabad for writing a nazm against the Nizam. He then started the newsletter/magazine called the 'Kaleem' in which he openly wrote articles in favour of independence and against the British. Soon, he was being called "shaayar-e-inquilaab". He also got actively involved in the freedom struggle and became close to quite a few of the political leaders of that era, specially Jawahar Lal Nehru.
On the advice of director W.Z.Ahmed, he also wrote songs for Shalimar Pictures. During this time, he was staying in Pune. After independence, he became the editor of 'Aajkal'. He was later honoured with the Padmabhushan. Josh spent the latter part of his years in Pakistan. He passed away on 22nd February, 1982 in Islamabad. Some of Josh's important works are: Shola-o-Shabnam, Junoon-o-Hikmat, Fikr-o-Nishaat, Sunbal-o-Salaasil, Harf-o-Hikaayat, Sarood-o-Kharosh. His autobiography is titled "Yaadon ki Baraat".
Yaadon ki barat is labelled as a controversial book but even after going through it again and again I was unable to find cause of people's distaste towards it.As far as its authenticity is concerned it is perhaps one of a few autobiographies in urdu based solely on truth(truth is something most of the ppl arent able to bear).Author should've omitted certain accounts of events and adorned it with fiction in order to gain favour of reades (as it is done in most of the autobiographies).But sadly this book lacks something that we call 'maslihat'. Anyway it should be read because; 1-Eloquent style of narration 2-It improves vocabulary 3-Accounts of historical events from 1900 to 1947 or so on by a person who abhored foriegn rule and beleved in equality of mankind
NOTE; Biased people cant get anything out of it. In order to enjoy this masterpiece one should put aside his/her set of principles,ideologies or etc.
What a horrid, degenerate hooliganesque man! His memoir is filled with nonsensical tangents, delusions of grandeur and senile fantasies of self-importance. Other contemporaries actually did amazing feats to achieve independence from colonial rule during this period but not this imbecile. Judged by his exploits recounted here, he was the dregs, violent and exploitative towards anyone who he could abuse, rape-y and leering, demanding fawning acknowledgement from people who actually did work (like Nehru when he was PM from whom Malihabadi demanded a personal reply to his own message!). Furthermore, his poetry is laughably mediocre and shows his utter disinterest in education and learning in general. The pictures he paints of beatings delivered to servants and lower caste passersby (who fail to bow to a young Malihabadi), murders of women in purdah for daring to glance down from the stairs (celebrated as a sign of cultural refinement) and random molestations of British women (is this meant to prove his commitment to the anti-colonial cause?) only persuade me that he and his associates deserve to be excoriated. Although lacking in any self-awareness, this memoir is useful as an unwitting portrait of a parasitic landed Muslim gentry that expected the privileges of a courtier class with a complete unwillingness to adapt to the rapidly changing terrain of a new economic order post-independence.
Reading "Urdu mili Farsi" was such a treat! The language was impeccable despite the fact that the reader really needs a thesaurus beside him. I hope that when reading Josh's poetry, I don't remember his life because that would make a lot of difference. The writer was quite honest, it was like he just spilt every bad and good memory of his life without thinking much about how the reader would judge his character.