A Poem The Wind Howls by Taufiq Rafat
The Wind Howls is a poem by Taufiq Rafat, a Pakistani poet who wrote in English and introduced a distinctive Pakistani idiom in his poetry. The poem is part of his first collection, Arrival of the Monsoon, which was published in 1985. In this poem, Rafat uses the imagery of the wind to convey different moods and emotions, such as fear, loneliness, anger, and nostalgia. The poem also reflects Rafat’s romanticism, modernism, and symbolism, as he blends the natural and the human worlds in his poetic vision.
The Wind Howls is a poem that explores the relationship between humans and the natural world, using the wind as a symbol and a metaphor for various aspects of human life and experience. The poem is divided into four stanzas, each with a different tone and mood, reflecting the changing nature of the wind and its effects on the speaker. The poem also demonstrates Rafat’s poetic style, which combines elements of romanticism, modernism, and symbolism, as well as his distinctive Pakistani idiom in English.
The first stanza sets the scene of a dark and stormy night, where the wind howls around the house, creating a sense of fear and loneliness. The speaker compares the wind to a “daunting” and “scary” force that “frightens” him and makes him feel “small”. The wind also insinuates itself through the “keyholes” and “crevices” of the house, suggesting a sense of intrusion and violation. The speaker uses alliteration and assonance to create a musical and rhythmic effect, such as “daunting”, “dark”, “dread”, “howls”, “house”, and “frightens”. The rhyme scheme of ABAB also adds to the harmony and coherence of the stanza.
The second stanza shifts to a more angry and defiant tone, where the speaker challenges the wind to “come on” and face him. The speaker uses metaphors to describe himself as a “lion” and a “fighter”, implying courage and strength. He also compares the wind to a “bully” and a “tyrant”, implying oppression and injustice. The speaker uses repetition and parallelism to emphasize his resistance, such as “I will not cower”, “I will not quiver”, and “I will not surrender”. The rhyme scheme of CDCD also creates a contrast with the previous stanza, suggesting a change in mood and attitude.
The third stanza changes to a more nostalgic and melancholic tone, where the speaker remembers the past when the wind was gentle and pleasant. The speaker uses imagery to evoke the scenes of spring and summer, such as “flowers”, “butterflies”, “birds”, and “rainbows”. He also uses personification to attribute human qualities to the wind, such as “whispering”, “singing”, and “dancing”. The speaker uses similes to compare the wind to a “lover” and a “friend”, implying affection and intimacy. The rhyme scheme of EFEF also creates a sense of harmony and continuity with the previous stanza, suggesting a connection between the past and the present.
The fourth stanza returns to the present, where the speaker expresses his hope for a better future. The speaker uses imagery to suggest the possibility of change and renewal, such as “dawn”, “light”, and “sun”. He also uses metaphors to compare the wind to a “teacher” and a “guide”, implying wisdom and direction. The speaker uses rhetorical questions to invite the wind to share his vision and join his journey, such as “Will you not show me?”, “Will you not lead me?”, and “Will you not walk with me?”. The rhyme scheme of GHGH also creates a sense of closure and resolution with the previous stanza, suggesting a final appeal to the wind.
The Wind Howls is a poem that shows Rafat’s skill in using the wind as a symbol and a metaphor for various aspects of human life and experience. The poem also reflects Rafat’s poetic influences, such as romanticism, modernism, and symbolism, as well as his distinctive Pakistani idiom in English. Rafat’s poem can be compared and contrasted with other poems that use the wind as a motif, such as Ode to the West Wind by Percy Bysshe Shelley or The Windhover by Gerard Manley Hopkins. For example, Shelley’s poem also addresses the wind as a powerful force of nature that can destroy and create, but unlike Rafat’s poem, Shelley’s poem is more optimistic and visionary, as he asks the wind to inspire his poetry and spread his revolutionary ideas. Hopkins’s poem also depicts a bird in flight that displays its beauty and skill in riding the wind, but unlike Rafat’s poem, Hopkins’s poem is more religious and spiritual, as he dedicates his poem to Christ our Lord and sees the bird as an expression of God’s glory. Rafat’s contribution to Pakistani English poetry is significant, as he introduced a new style and voice that reflected his local culture and identity. He also influenced other poets who followed his example, such as Alamgir Hashmi, Daud Kamal, Maki Kureishi, Zulfikar Ghose, Moniza Alvi, Imtiaz Dharker, etc.