‘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. 

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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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