THE “HEART PHONE” OF RENOWNED UZBEK POET FARIDA AFRUZ…

We live in an age of technology and speed. Today’s person is far more captivated not by discoveries in science, art, or culture, but by new-model cars and, especially, trend-setting smartphones like the iPhone 17.

In public places and on transport, I often find myself unintentionally overhearing young people’s conversations:

“Did you get the iPhone 17?”

“I’m selling my iPhone 15 to buy the new 17…”

To be honest, I am so exhausted by the endless discussions of the iPhone 17—both online and in real life. Meaningless content on social media, tasteless advertisements one after another… At a time when so many people are caught in the clutches of the Internet, creating something truly new in literature and poetry—something not merely new, but explosively new—has become incredibly difficult.

It is precisely in such a moment that Farida Afruz—Honored Worker of Culture of the Republic of Uzbekistan, Deputy Chairperson of the Writers’ Union of Uzbekistan, renowned poet, writer, playwright, and translator—demonstrated her exceptional talent by introducing a new genre in Uzbek literature: the ‘tasbeh’ triplets.

Her latest book, “Shuur” (Consciousness)—prepared by Ijod Nashr Publishing House in a fresh format and innovative design, and printed at Mega Basım Press in Istanbul—was published in 10,000 copies.

The book consists of short three-line poems that form complete lyrical compositions with cohesive meaning. Each triplet contains concentrated emotion, wonder, and warmth, gathered into 143 beads of contemplation, presented to the reader in a unique spiritual tone.

At a time when most people are preoccupied with the iPhone 17, Farida Afruz created a “heart phone.”

These triplets are brief, yet they encapsulate an entire universe of meaning. With their artistic power, their spell of thought, and their spiritual manifesto, they profoundly touch the reader’s heart.

Every line is not merely a line of verse—it is a spiritual destination, a philosophy, and a treasury of life’s dramas.

These triplets harmoniously blend Eastern and Western philosophy, modernism and classicism, Sufism and psychology.

In them, the poet interweaves the soul’s inner stillness with life’s trials, spiritual quests, and delicate emotions.

 “You can never be a friend to me.

Tell me—when, and how has an ant

ever carried the load of an elephant?”

Who is a friend?

A friend is someone who stands by you in good and bad days, who sacrifices wealth—and if necessary, even life—for the sake of friendship. But the “friend” mentioned in the poet’s verse does not belong to this noble category. After all the years of pretending to be a friend, the speaker reaches the final verdict:

“You can never be a friend to me.”

Just look at the weight of meaning placed into a single line!

A person who acts like a friend but provides no support in hardship, feels no joy in your happiness, shows no loyalty—can such a person be called a friend?

The second line introduces the ant—a tiny creature, hardworking yet physically incapable of carrying the immense burden an elephant lifts effortlessly. The analogy is striking:

This “friend” cannot bear the responsibility, loyalty, or moral weight that true friendship requires—just as an ant cannot carry an elephant’s load.

Or imagine a weary traveler wandering through the desert, drained of strength, losing hope in life itself. Suddenly, he sees a tall green tree and a shimmering spring flowing in its shade. What happens?

Not only does he quench his thirst, but a renewed hope for life awakens within him.

Yes—life is beautiful, and living is a joy.

Similarly, a reader of Afruz’s triplets not only quenches the thirst of the heart, but begins to understand the essence and meaning of life even more deeply.

 “At the head of a sleeping man

a nightingale sings—

and a woman’s fate darkens…”

Another triplet in the book carries within itself the spirit of an entire work.

Family — man and woman — the smallest unit of society.

Happiness and unhappiness, presence and absence, all depend on the atmosphere within the family.

If the environment is healthy, if husband and wife respect each other, understand one another, and if the bonds of love, harmony, kindness, and compassion are strong, such families become the happiest of all.

But in the poet’s triplet, the situation is the opposite.

The husband is utterly indifferent.

He does not feel the woman’s pain, her inner turmoil or the sorrow passing through her heart.

He is asleep.

The poet compares the woman to a nightingale —

“A singing nightingale…”

The nightingale is a beautiful bird… it sings exquisitely… its voice gladdens hearts.

Yet this “nightingale” — the woman — is unfortunate.

Her misfortune lies in the very man she trusted, with whom she entered marriage carrying great hopes.

He made no effort to ensure her happiness as the lady of the home.

He never listened to her worries or thoughts.

The poet chooses the phrase “an ill-fated woman” to describe her.

This means that after marrying this man, the woman found no light, received no respect, and saw no attention.

Her dreams dissolved like a mirage.

To deepen the concept of misfortune, the poet uses the phrase “ill-fated.”

“Beside a sleeping man

Sings a nightingale—

An ill-fated woman.”

Every line of this triplet contains a whole world of meaning.

This is the fruit of great mastery — the ability to portray the atmosphere of an entire family through just three lines, like an artist painting a scene.

“A handful of water in your palm,

If you spill it,

I become a wave…”

In this triplet, water symbolizes the spirit in Farida Afruz’s tasbeh triplets.

Water held carefully in the palm represents the human need for delicate treatment, attention, and appreciation.

If one is not valued, the water spills — but it does not disappear.

Instead, it turns into a mighty wave.

This wave is spiritual growth, inner awakening, a strength born from suffering.

“Once we queued for bread,

For water, for grain, for anything…

But today —

For dignity?”

This triplet points to one of the greatest tragedies of today’s society:

we have entered an era in which people stand not for daily necessities, but for dignity.

This is one of the main spiritual themes of “Consciousness”:

to understand one’s inner value and to reveal the true worth of the soul.

Another painful question in the triplets harmonizes with the overall spiritual tone of the book —

and its answer awakens within the reader themselves.

“Fighting corruption

Feels like fighting

Against the wind…”

This triplet reveals the moral layer of society.

To fight the wind is to struggle against an unseen force —

the loneliness of a single person standing against an entire system.

This idea, too, aligns with the sorrow, longing, and inner ache found throughout Farida Afruz’s tasbeh triplets.

Through a short but powerful metaphor, the vice of society is clearly exposed.

“In the old cottage

Of an old village

A new genius is born.”

Geniuses are not born in palaces, but in humble old cottages —

yet within vast hearts.

The old cottage represents simplicity, honesty, and naturalness.

It is from this simplicity that a new talent emerges.

This triplet is close to one of the core ideas of “Consciousness”:

greatness is born from simplicity.

Both these triplets and the entire teaching of “Consciousness” express one truth:

What makes a person great is not gadgets, trends, or the iPhone 17,

but the value of the heart, spiritual awakening, and the magic of words.

Farida Afruz proves this in her book:

one triplet — one world.

One triplet — one life.

One triplet — one wisdom.

That is why “Consciousness” is not merely a book —

it is a spiritual enchantment delivered straight to the heart.

When you hold the book, you feel something similar to holding a smartphone:

every triplet’s meaning is visualized even more vividly through the carefully placed artistic elements.

It is the poet’s heart-telephone offered to lovers of literature — a true spiritual gift.

In Farida Afruz’s triplets, Eastern and Western philosophy, modernism and classicism, Sufism and thought merge into a perfect innovation.

Each triplet awakens inner dramatic power, spiritual reflection, and philosophical depth within the reader.

The triplets in the book allow readers to feel — spiritually — the magic of words, the power of literature, and the poet’s immense talent.

In “Consciousness,” the strength and incomparable power of literature shine even more brightly in every line of every triplet.

The soothing moments, feelings, unique thoughts, and conclusions that flow from the WORD into your heart carry you into another, beautiful world —

a world clear as pure water, bright as the sky, tender as a mother’s lullaby.

This is the world of literature, the world of poetry.

Farida Afruz’s poetry and triplets bring radiant light to this world, like a bright spark.

They inspire reflection, contemplation, and inner conclusions.

Today is a joyful day for me:

my beloved poet has gifted me and all readers something more precious than the iPhone 17 —

the “Consciousness” Heart-Telephone.

Through this miniature yet magnificent book, readers will enjoy the magic of words, the power of literature, and the poet’s great talent.

For those who couldn’t get an iPhone 17 and remain regretful —

take Farida Afruz’s “Consciousness” Heart-Telephone,

read it, explore it!

I sincerely congratulate the author and all readers on this marvelous and splendid book.

Jakhongir NOMOZ

OV, is a young poet and journalist from Uzbekistan.  

He is also a Member of the Union of Journalists of Azerbaijan and the World Young Turkic Writers Union.

 THE “HEART PHONE” OF RENOWNED UZBEK POET FARIDA AFRUZ…

We live in an age of technology and speed. Today’s person is far more captivated not by discoveries in science, art, or culture, but by new-model cars and, especially, trend-setting smartphones like the iPhone 17.

In public places and on transport, I often find myself unintentionally overhearing young people’s conversations:

“Did you get the iPhone 17?”

“I’m selling my iPhone 15 to buy the new 17…”

To be honest, I am so exhausted by the endless discussions of the iPhone 17—both online and in real life. Meaningless content on social media, tasteless advertisements one after another… At a time when so many people are caught in the clutches of the Internet, creating something truly new in literature and poetry—something not merely new, but explosively new—has become incredibly difficult.

It is precisely in such a moment that Farida Afruz—Honored Worker of Culture of the Republic of Uzbekistan, Deputy Chairperson of the Writers’ Union of Uzbekistan, renowned poet, writer, playwright, and translator—demonstrated her exceptional talent by introducing a new genre in Uzbek literature: the ‘tasbeh’ triplets.

Her latest book, “Shuur” (Consciousness)—prepared by Ijod Nashr Publishing House in a fresh format and innovative design, and printed at Mega Basım Press in Istanbul—was published in 10,000 copies.

The book consists of short three-line poems that form complete lyrical compositions with cohesive meaning. Each triplet contains concentrated emotion, wonder, and warmth, gathered into 143 beads of contemplation, presented to the reader in a unique spiritual tone.

At a time when most people are preoccupied with the iPhone 17, Farida Afruz created a “heart phone.”

These triplets are brief, yet they encapsulate an entire universe of meaning. With their artistic power, their spell of thought, and their spiritual manifesto, they profoundly touch the reader’s heart.

Every line is not merely a line of verse—it is a spiritual destination, a philosophy, and a treasury of life’s dramas.

These triplets harmoniously blend Eastern and Western philosophy, modernism and classicism, Sufism and psychology.

In them, the poet interweaves the soul’s inner stillness with life’s trials, spiritual quests, and delicate emotions.

 “You can never be a friend to me.

Tell me—when, and how has an ant

ever carried the load of an elephant?”

Who is a friend?

A friend is someone who stands by you in good and bad days, who sacrifices wealth—and if necessary, even life—for the sake of friendship. But the “friend” mentioned in the poet’s verse does not belong to this noble category. After all the years of pretending to be a friend, the speaker reaches the final verdict:

“You can never be a friend to me.”

Just look at the weight of meaning placed into a single line!

A person who acts like a friend but provides no support in hardship, feels no joy in your happiness, shows no loyalty—can such a person be called a friend?

The second line introduces the ant—a tiny creature, hardworking yet physically incapable of carrying the immense burden an elephant lifts effortlessly. The analogy is striking:

This “friend” cannot bear the responsibility, loyalty, or moral weight that true friendship requires—just as an ant cannot carry an elephant’s load.

Or imagine a weary traveler wandering through the desert, drained of strength, losing hope in life itself. Suddenly, he sees a tall green tree and a shimmering spring flowing in its shade. What happens?

Not only does he quench his thirst, but a renewed hope for life awakens within him.

Yes—life is beautiful, and living is a joy.

Similarly, a reader of Afruz’s triplets not only quenches the thirst of the heart, but begins to understand the essence and meaning of life even more deeply.

 “At the head of a sleeping man

a nightingale sings—

and a woman’s fate darkens…”

Another triplet in the book carries within itself the spirit of an entire work.

Family — man and woman — the smallest unit of society.

Happiness and unhappiness, presence and absence, all depend on the atmosphere within the family.

If the environment is healthy, if husband and wife respect each other, understand one another, and if the bonds of love, harmony, kindness, and compassion are strong, such families become the happiest of all.

But in the poet’s triplet, the situation is the opposite.

The husband is utterly indifferent.

He does not feel the woman’s pain, her inner turmoil or the sorrow passing through her heart.

He is asleep.

The poet compares the woman to a nightingale —

“A singing nightingale…”

The nightingale is a beautiful bird… it sings exquisitely… its voice gladdens hearts.

Yet this “nightingale” — the woman — is unfortunate.

Her misfortune lies in the very man she trusted, with whom she entered marriage carrying great hopes.

He made no effort to ensure her happiness as the lady of the home.

He never listened to her worries or thoughts.

The poet chooses the phrase “an ill-fated woman” to describe her.

This means that after marrying this man, the woman found no light, received no respect, and saw no attention.

Her dreams dissolved like a mirage.

To deepen the concept of misfortune, the poet uses the phrase “ill-fated.”

“Beside a sleeping man

Sings a nightingale—

An ill-fated woman.”

Every line of this triplet contains a whole world of meaning.

This is the fruit of great mastery — the ability to portray the atmosphere of an entire family through just three lines, like an artist painting a scene.

“A handful of water in your palm,

If you spill it,

I become a wave…”

In this triplet, water symbolizes the spirit in Farida Afruz’s tasbeh triplets.

Water held carefully in the palm represents the human need for delicate treatment, attention, and appreciation.

If one is not valued, the water spills — but it does not disappear.

Instead, it turns into a mighty wave.

This wave is spiritual growth, inner awakening, a strength born from suffering.

“Once we queued for bread,

For water, for grain, for anything…

But today —

For dignity?”

This triplet points to one of the greatest tragedies of today’s society:

we have entered an era in which people stand not for daily necessities, but for dignity.

This is one of the main spiritual themes of “Consciousness”:

to understand one’s inner value and to reveal the true worth of the soul.

Another painful question in the triplets harmonizes with the overall spiritual tone of the book —

and its answer awakens within the reader themselves.

“Fighting corruption

Feels like fighting

Against the wind…”

This triplet reveals the moral layer of society.

To fight the wind is to struggle against an unseen force —

the loneliness of a single person standing against an entire system.

This idea, too, aligns with the sorrow, longing, and inner ache found throughout Farida Afruz’s tasbeh triplets.

Through a short but powerful metaphor, the vice of society is clearly exposed.

“In the old cottage

Of an old village

A new genius is born.”

Geniuses are not born in palaces, but in humble old cottages —

yet within vast hearts.

The old cottage represents simplicity, honesty, and naturalness.

It is from this simplicity that a new talent emerges.

This triplet is close to one of the core ideas of “Consciousness”:

greatness is born from simplicity.

Both these triplets and the entire teaching of “Consciousness” express one truth:

What makes a person great is not gadgets, trends, or the iPhone 17,

but the value of the heart, spiritual awakening, and the magic of words.

Farida Afruz proves this in her book:

one triplet — one world.

One triplet — one life.

One triplet — one wisdom.

That is why “Consciousness” is not merely a book —

it is a spiritual enchantment delivered straight to the heart.

When you hold the book, you feel something similar to holding a smartphone:

every triplet’s meaning is visualized even more vividly through the carefully placed artistic elements.

It is the poet’s heart-telephone offered to lovers of literature — a true spiritual gift.

In Farida Afruz’s triplets, Eastern and Western philosophy, modernism and classicism, Sufism and thought merge into a perfect innovation.

Each triplet awakens inner dramatic power, spiritual reflection, and philosophical depth within the reader.

The triplets in the book allow readers to feel — spiritually — the magic of words, the power of literature, and the poet’s immense talent.

In “Consciousness,” the strength and incomparable power of literature shine even more brightly in every line of every triplet.

The soothing moments, feelings, unique thoughts, and conclusions that flow from the WORD into your heart carry you into another, beautiful world —

a world clear as pure water, bright as the sky, tender as a mother’s lullaby.

This is the world of literature, the world of poetry.

Farida Afruz’s poetry and triplets bring radiant light to this world, like a bright spark.

They inspire reflection, contemplation, and inner conclusions.

Today is a joyful day for me:

my beloved poet has gifted me and all readers something more precious than the iPhone 17 —

the “Consciousness” Heart-Telephone.

Through this miniature yet magnificent book, readers will enjoy the magic of words, the power of literature, and the poet’s great talent.

For those who couldn’t get an iPhone 17 and remain regretful —

take Farida Afruz’s “Consciousness” Heart-Telephone,

read it, explore it!

I sincerely congratulate the author and all readers on this marvelous and splendid book.

Jakhongir NOMOZ

OV, is a young poet and journalist from Uzbekistan.  

He is also a Member of the Union of Journalists of Azerbaijan and the World Young Turkic Writers Union.

 Greetings dear membres here nice to meetting you all

Dont make War but Make peace 

Written by Dr Amira Rouigui 

Ambassador of peace and gooodwell in United nations  . And councelor judge in international court of disputes résolution in United kingdom London 

Peace is not just a word you utter in your vague conferences; peace is action and will on the ground, on land usurped and seized from its rightful owners. It must be reclaimed and returned, and of course, peace should prevail. Peace is the solution. Often, peace is achieved through the greed and avarice of aggressors. And here, in order for peace to prevail, we are forced to break it, either by force or by holding conspiracies and seminars that must be effective, not just slogans and recommendations that we produce from these conferences and that are never implemented except by God's will. So I say again: peace is action, not just words that vanish into thin air or whose files are thrown into forgotten office drawers until they are covered with the dust of indifference and drowned in empty promises, or rusted in the darkness of wars, draining humanity's energy.  Wars have always left behind a trail of martyrs and starving people, exposed to the silence of humanity, and nations without homes or land to live in peace and security.

Wars are the scourge of all ages, ancient and modern. Therefore, I say it loudly, without fear or hesitation: Peace is the pillar of life, its foundation, its moral and material basis. It is the golden opportunity to bring wealth to nations and a dignified life. It is the vanquisher of wars; it is water and air. So dedicate all your efforts to establishing peace on solid, tangible ground, not on fragile ground that will quickly sink you into its mire, leading to the use of the fires of war, which leave no life, no crops, no language, no trees, and no homes. There have been wars, so let us breathe the breeze of peace, the breeze of freedom.

 

 ‘Prophiem’ (English Na’t): The coinage, trend and the poet

By Dr. Nasiruddin Ansar

Extension Officer, (Rtd.) 

 Z.P, Amravati, Maharashtra, India

Intro: 

Poetry is that part of literature which ornaments the words and expressions a writer goes through. It is also a medium of expressing one's emotions and feelings. The endeavour of trying to wade through the untrodden path of taking up a new and so far untouched topic is a dare-effort by this writer, namely, Dr. Nasiruddin Ansar. The theme and topic of this write up is a genre of literature which is struggling to be established as a permanent genre of poetry in English. An erudite writer and a gifted poet of Urdu and English Mr. Khan Hasnain Aaqib hails from India. He is basically a born poet but his inquisitiveness has inspired him to coin a new term for the poem denoting the praise of the holy prophet Hazrat Muhammad (p.b.u.h). This is an already well established genre of poems in other languages such as Arabic, Persian and Urdu along with some more languages. This is called NA’T. Hasnain Aaqib coined the term 'Prophiem' for NA’T which seems a welcome-addition to the glossary and lexicon. 

This article focuses on the various aspects of the coinage of the term Prophiem as well as the post-introduction reactions of the writers and poets from around the world. The effort has been made to sum up a well researched and well collaborated article to give the impression that the coinage of the term was a long-awaited endeavour and innovation as far as the lexicon of constructive and reformative poetry is concerned. Hasnain Aaqib's innovative gesture seems to have been approved by a good number of poet laureates from the arena of literature and poetry. This article is also an effort to initiate a constructive and formative dialogue about the Prophiem and the poets who somehow shy away from organizing themselves as Prophiemists or prophiem writers in absence of a well documented institution and platform. 

………

From the earliest times, even when Urdu was still nurturing in the cradle of Arabic, Persian, Turkish, Khari Boli, and other regional languages of the Indian subcontinent, Urdu literature was carving out its own distinct path. Like the literature of any other major language in the world, Urdu literature is broadly divided into two categories:

* Prose literature

* Poetic literature

A substantial portion of Urdu prose is manifest in storytelling, while the greater part of its poetic tradition is enshrined in narrative poetry, especially Masnavis which happen to be attributed to the long narrative poems. This pertains to a time when poetic forms were not yet expansive and enlarged in broader terms, and the literary output across most languages was concentrated on specific thematic and stylistic grounds. The subjects were often similar, and their treatment likewise shared commonality.

However, in terms of intellectual inclination, the earliest poetry was steeped in religious and spiritual themes; that is what we today term as sacred or devotional literature. In English, one may recall Chaucer’s Canterbury Tales of the 14th century, a narrative in verse chronicling pilgrims on a religious journey. A survey of classical Arabic and Greek literature reveals an abundance of mythological and divine characters; stories rich in metaphysical musings and sacred narratives.

Among the various poetic genres, Masnavi and Nazm occupy prominence and central importance. The fundamental characteristic of the Nazm is its thematic singularity, though its structure may vary in nature and form. In contrast, the Ghazal stands as the only genre where each couplet holds independent existence and meaning. With the advent of Islam, sacred literature witnessed a remarkable surge, wherein themes such as Tawheed (Oneness of God), Risalat (Prophethood), and Ba'athat (Divine Mission of Prophet Muhammad ﷺ) became centre-point. Poets, competing in expressing their reverence, began to outdo one another in crafting verses praising these divine concepts.

Of all sacred genres, the one that particularly flourished and evolved is the Na’t. Na’t is the poetry which is written in praise of the Prophet Muhammad ﷺ. Over time, Na’t not only established itself as a recognized genre but also adapted itself into the framework of all poetic forms and styles. Even in modern times, the Na’t continues to diversify its expression, demonstrating the genre’s dynamic character.

While Na’t is composed in almost every language across the world, it is primarily Arabic, Persian, and Urdu that have formally adopted and popularized the term ‘Na’t’ itself. In contrast, though English is among the world’s most prominent languages, it lacks a standard and a widely recognized term to denote Na’t. Despite several poets having composed Na’ts in English, no specific term was either coined or had gained acceptance until now.

This literary void has recently been addressed by a prolific Indian poet proficient in both Urdu and English: Khan Hasnain Aaqib. Aaqib, a distinguished literary figure among the younger generation, is a multifaceted and multilingual wordsmith. Our use of the epithets "versatile" and "polyglot" for him is neither rhetorical nor merely impressionistic, in fact it is a truthful reflection of his rare literary genius.

He is equally at home in oratory, character, prose, critique, fiction, essays, and across the full range of poetic forms. With a natural inclination towards Arabic, Persian, Hindi, and Marathi, he has authored a celebrated Urdu ghazal collection "Ram-e-Aahu", showcased lyrical brilliance in Persian poetry, and contributed to English literature with two volumes: Flight of a Wingless Bird and Fragrance. His achievements include poetic translations of several revered Urdu poets, a versified English rendering of the 30th Juz (chapter) of the Qur’an, and an extraordinary body of English Na’ts.

But perhaps his most notable innovation is his coining of the term ‘Prophiem’, a new English word for Na’t. This act not only enriches the English lexicon but also opens a gateway for English-speaking poets to formally engage in the sacred art of praising the Prophet ﷺ with linguistic propriety.

 Spiritual Upbringing and Sacred Inclination:

Hasnain Aaqib was born into a devout household, where Islamic traditions and devotional poetry, especially Hamd (praise of Allah), Na’t (praise of the Prophet), and Manqabat (praise of saints)—were part of daily life. His grandfather, Hazrat Baba Taj Mastan, a revered Sufi of his time, introduced him to the aesthetics of Eastern poetics. From childhood, his subconscious was imbued with the rhythms and imagery of Persian verse. Contrary to the common linguistic trends of his region, Aaqib gravitated toward Persian and crafted exquisite Na’ts in that noble tongue.

Despite writing only a handful of Persian Na’ts, they reflect an artistic and spiritual depth that is rarely encountered. Consider this gem:

 ہر خیالی را، بروں انداختم

 حرفِ نعتِ تو بر آمد، از قلم

 خامہ ی من کارِ دیگر، چہ کُند؟

 جز نوشتن مدحتِ شاہِ اُممؐ

Which means:

 I cast away all thoughts, let them out of my mind,

 Until words of your praise flowed from my pen.

 What else can my pen do, O Aaqib?

 But write the praise of the Master of all worlds ﷺ.

 English Na’t as Literary Innovation: 

While Persian Na’ts show his poetic elegance, it is in English Na’t poetry that Aaqib’s literary brilliance truly flourishes. Despite not being a native English speaker, he composes with such command over rhythm, structure, and idiom that even native readers are astounded.

His themes revolve around the Prophet’s ﷺ divine mission, the universality of Islam, and the transformative power of his teachings. For example:

 And God was very considerate and kind,

 And He made up His mind,

 To Arab, He sent His last messenger,

 Who was the entire world’s purifier.

 From Almighty, let me say and mind,

In these lines, Aaqib not only demonstrates poetic finesse but also delivers a theological truth with grace and accessibility. If one reads this prophiem, at no point does it seem that any element of Urdu has crept into it. In terms of linguistic structure and lexical formation, it is purely English in origin. It is evident that the poem Khan Hasnain Aaqib composed was conceived entirely in English, even in the mind of the poet himself. This intrinsic Englishness of his Na’ts, or rather, Prophiems, is a unique feature that sets them apart.

Although Hasnain Aaqib had no established tradition of English Na’t or prophiem-writing to draw upon, the true excellence of his craft lies in the fact that he still managed to uphold, with remarkable finesse, all the poetic, technical, and thematic requisites of classical Na’t. Not only has he preserved the rhythm and cadence of English poetry, but he has also conveyed, with full conviction, the truth and sanctity of the Prophet’s ﷺ message.

Indeed, Hasnain is deeply immersed in the love of the Noble Messenger ﷺ—so profoundly that this overwhelming devotion becomes the very source and driving force of his English Na’t poetry.

He further touches on the concept of finality of prophethood:

 This is the part of my faith and my belief

 That on tree of prophethood, he was the last leaf.

 His pious teachings were the sign of salvation,

 It were for world’s complete reformation.

 Before he left the world, his work was almost done.

He further states that it is a necessary part of belief and faith that the sacred person of Muhammad ﷺ was the final blossom on the tree of prophethood. In his ﷺ teachings lies the salvation of humanity. His ﷺ message was aimed at the moral reform and ultimate well-being of mankind. By the time the Prophet ﷺ departed from this world, he had fully discharged every right of his divine mission and had completed the religion for the believers in its entirety. This passage is both theological and literary in its essence. It underscores a foundational tenet of Islamic faith: the finality of Prophethood in Muhammad ﷺ. But it goes further by situating this belief within a universal moral and spiritual framework, highlighting the Prophet’s ﷺ mission as a guide for the ethical and spiritual upliftment of all humanity.

All the foremost biographers of the world, without exception, have openly acknowledged the beauty of his ﷺ character and the excellence of his exemplary life. Hasnain Aaqib, in one of his English Na’ts, has given poetic expression to the impressions of these biographers regarding Muhammad ﷺ. In doing so, he has not only expanded the scope of devotional poetry but has also extended a universal invitation to readers across the world to follow the footsteps of the Perfect Man ﷺ.

"Of all sacred religions", Leo Tolstoy says, 

"In prophet's teachings, we find essences". 

In "Genuine Islam", G. B. Shaw writes with heed, 

"For the future Europe, acceptable wil be Mohammad's creed". 

 Keeping his faith, solemn, sincere and dart, 

In the "100", thus put in Michael Hart, 

"Supremely successful for religious and secular cause, 

The only man in human history, the prophet was..." 

This proves that before diving into the deep waters, Aaqib does not hesitate to do every possible research. In this prophiem, he comes out as an extensively studious and keen observer as far as his inquisitiveness is concerned. 

 The Coinage of ‘Prophiem’: A Lexical Milestone:

Among Urdu literati, one consistent shortcoming has been the lack of effort toward terminological innovation. While Indian regional languages have shown progress in developing indigenous terminology, Urdu has generally lagged behind in this regard. Thus, the act of coining a term for Na’t in English is, in itself, a groundbreaking contribution.

A thousand salutations to the penetrating thought, refined aesthetic sense, spiritual intuition, and sincere devotion of Hasnain Aaqib, who, upon deciding to compose Na’ts in English, found no suitable equivalent for the term Na’t in that language. It was then that his discerning taste first called for the coinage of a new term.

Indeed, the creation of a meaningful and precise term is no easy task, especially when it pertains to a foreign language. Such an endeavor demands not only a deep understanding of the target language’s technical vocabulary but also an intimate familiarity with its overall temperament, the sonic harmony of words, and the selection of expressions that are accessible, pronounceable, and capable of gaining public acceptance.

Hasnain Aaqib rose to this challenge with admirable skill. When formulating a term for Na’t, he ingeniously fused the words prophet and poem to coin the term Prophiem, a creation so masterfully crafted that it satisfies not only the demands of linguistic taste and phonetic elegance but also the nuanced requirements of semantic clarity. This neologism adheres remarkably well to the principles, conventions, and expectations that govern the act of coining terminology. In one of his Na’ts, Hasnain himself offers an explanation of this coined term.

With linguistic sensitivity and poetic instinct, Aaqib fused “Prophet” and “Poem” to create Prophiem, a term that is both aurally pleasing and semantically precise. In one of his prophiems, he offers this poetic explanation:

 For such poem in English, I attribute a word,

 This word, I am sure, no one may have heard.

 ‘Proph’ is for Prophet, ‘em’ is for poem, joined by ‘i’,

 I am telling all this, before you ask me ‘why’.

 A Prophiem wades through the life of Prophet,

 His deeds, teachings, his person, and events he met.

Coining a term, especially in a non-native language, is no easy task. It requires linguistic acumen, aesthetic judgement, and a touch of divine inspiration. Aaqib attributes the success of his innovation to both God’s guidance and his own sincere intent.

 Global Recognition and Literary Reception: 

The coining of Prophiem has resonated with poets and critics across the world. International poets from the US, UK, Nigeria, and elsewhere have appreciated the originality of the term and the eloquence of the poetry.

Lorraine Colon from the USA says:

 ‘I enjoyed reading your poem. This coining of a new word is quite clever. Truly an inspired writing.’  

Another young poet from Nigeria, Solomon Walker Okaisabor thus opines:

‘I sought my lexicon, but could not find it. I thought the word had existed a long time.’ 

Such responses affirm that Prophiem is not merely a literary novelty, but a concept whose time had come.

The opinions of several other renowned international figures regarding Hasnain Aaqib’s artistic achievement can be found elsewhere in this very book. In truth, the coining of a new word in any language is no simple task. It requires not only knowledge and awareness, but also a refined aesthetic sense, spiritual insight, divine favor, and inspiration. And when the matter pertains to sacred literature and devotional poetry, then indeed, the elements of grace, divine enablement (tawfiq), and inspiration assume even greater significance.

As someone aptly said:

Divine endowment is a rare gift 

This uncut gem is not handed to mere straw.

There can be no two opinions that Prophiem is a beautifully coined and appealing term; one that undoubtedly warrants scholarly research and critical attention from native speakers of English. There is also a pressing need for its propagation and wider communication. The demand of the moment is that this term be used more frequently so that it may eventually find a rightful place in English dictionaries. In doing so, those who labor in the field of Na’t literature in English will earn the honor of contributing to a noble cause.

Hasnain Aaqib is indeed fortunate that this rare pearl fell into his share, and that the Almighty entrusted him with the inspiration and grace to coin a fitting English equivalent for Na’t. Anyone who studies his English prophiems, will readily acknowledge the spontaneity, originality, and elevated imagination embedded in his verse. 

Though this article has focused solely on Hasnain Aaqib’s English prophiems, even with its considerable length, the author feels that a full discussion of this one dimension alone has not been possible. As for his other literary achievements and contributions, this was not the place to explore them in detail. Yet, judging by the remarkable way in which he expresses the magic of his thought and art across multiple genres of poetry and literature, it is evident that the near future will bring a more comprehensive introduction of his multifaceted literary persona to the world of letters.

Thus to conclude I must say that Hasnain Aaqib’s literary contribution, especially the invention or coinage of the term Prophiem, is a landmark in the realm of English divine

 poetry. It is now the responsibility of writers, poets, and scholars to adopt, propagate, and institutionalize this term.

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