It took a poet to stand up to a dictator, and in doing so, Habib Jalib became the voice of the people—shayar-e-awaam, the poet of the masses.
In 1962, Pakistani President Ayub Khan introduced a new constitution through an executive order, granting himself broad powers while limiting democratic rights. Many feared speaking out, but Jalib did not hesitate. In response, he wrote his iconic poem Dastoor, a powerful rejection of oppression. The repeated line—“Mein nahin maanta, mein nahin jaanta” (I refuse to acknowledge. I refuse to accept.)—became a rallying cry for defiance across Pakistan.
The poem was so impactful that Manzur Qadir, chairman of the constitution committee, admitted he had no response to Jalib’s criticism. More than 30 years after his passing, Dastoor remains a symbol of resistance. In 2019, as protests against India’s Citizenship Amendment Act (CAA) swept across New Delhi, Jalib’s words resurfaced, proving that his poetry transcends both time and borders.
A Poet Who Challenged Power
Jalib’s poetry was deeply rooted in the struggles of the people. His works captured the suffering caused by authoritarian rule and the fight for justice. Musician and economist Shahram Azhar describes Jalib’s imagery as a reflection of resistance: “His poetry mythologizes the struggle against oppression, using metaphors like ‘gumbad-e-baydar’ (a dome with no exit) to depict the misery of the moment.”
During General Zia-ul-Haq’s dictatorship, Jalib’s verses became part of Pakistan’s political and cultural landscape. His books, Zikr Behte Khoon Ka and Gumbad-e-Baydar, were banned, but people circulated them secretly. Students, workers, and activists found inspiration in his words.
In 2006, amid protests against General Pervez Musharraf’s rule, Jalib’s poetry once again became the anthem of resistance. The Pakistani band LAAL, known for performing revolutionary songs, took his words to the streets. Former band member Shahram Azhar recalls how people mocked them as “Jalib boys”—a title they wore with pride.
“Jalib’s satirical poem Mainay Uss Se Yeh Kaha, mocking dictators and their advisors, became a national anthem of protest,” said Azhar. “It was sung by workers, women’s rights activists, and leaders of the civil rights and lawyers’ movement.”
Jalib paid a high price for his activism. He spent years in prison under Zia-ul-Haq’s regime. But despite persecution, he never wavered. His poetry continued to give voice to the oppressed.
Jalib’s Love for Delhi and His Early Life
Born on March 24, 1928, in Hoshiarpur, Punjab (then part of India), Jalib’s life was shaped by Partition. Forced to leave for Pakistan, he wrote a heartfelt farewell to Delhi:
“O Jalib! I can no longer, in this world, be called a dweller of Delhi.
But I’ve always, till this day, my home considered you.”
Jalib’s childhood was marked by poverty. His father, who worked on embroidered shoes, ensured that his children received an education. Jalib’s early sense of justice may have come from his father, who was also a poet.
After settling in Karachi, Jalib worked as a proofreader for Imroz, an Urdu newspaper edited by legendary poet Faiz Ahmed Faiz. Influenced by Faiz and the Progressive Writers’ Association, he shifted from writing about love to themes of social justice and human rights.
He also stood with women in their fight for equality. In 1965, he wrote a poem honoring Pakistani actress Neelo, who defied pressure to perform for the Shah of Iran.
Jalib’s Legacy in Today’s Pakistan
Pakistan continues to grapple with political instability, human rights violations, and a lack of democratic freedoms. If Jalib were alive today, he would likely ask: “Have things really changed?” According to Shahram Azhar, the answer remains largely no. “Pakistan still struggles with democracy, freedom of speech, and basic human rights,” he says.
However, Jalib’s influence runs deep. His ideas have taken root in Pakistan’s consciousness. The 2024 elections, Azhar believes, were proof of this growing anti-establishment sentiment, even in Punjab, traditionally seen as the political stronghold of the ruling elite.
“The elections confirmed Jalib’s philosophy—without real democratic and revolutionary change, superficial reforms will not solve Pakistan’s problems,” Azhar explains.
At the heart of Jalib’s poetry was the belief that power should belong to the people. He dreamed of a society where workers, farmers, and ordinary citizens had a say in their own lives.
For his daughter, Tahira Jalib, his legacy is a source of immense pride. “It is a blessing to be his daughter. Even if I were the Prime Minister of Pakistan, I would not feel this proud. He is a hero for the world.”
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