This blog is a part of a Thinking Activity assigned by Dr. and Prof. Dilip Barad sir regarding I.A. Richards’ Figurative Language Practical Criticism, where I have been given the poem titled “Naya Hukamnama” by Javed Akhtar for close reading and for examining my interpretative responses and biases while watching and understanding the poem through its video performance.
Here is the lyrics of "Naya hukmnama"
किसी का हुक्म है सारी हवाएँ
हमेशा चलने से पहले बताएँ
कि उन की सम्त क्या है
किधर जा रही हैं
हवाओं को बताना ये भी होगा
चलेंगी अब तो क्या रफ़्तार होगी
हवाओं को ये इजाज़त नहीं है
कि आँधी की इजाज़त अब नहीं है
हमारी रेत की सब ये फ़सीलें
ये काग़ज़ के महल जो बन रहे हैं
हिफ़ाज़त उन की करना है ज़रूरी
और आँधी है पुरानी इन की दुश्मन
ये सभी जनते हैं
किसी का हुक्म है दरिया की लहरें
ज़रा ये सर-कशी कम कर लें अपनी हद में ठहरें
उभरना फिर बिखरना और बिखर कर फिर उभरना
ग़लत है ये उन का हंगामा करना
ये सब है सिर्फ़ वहशत की अलामत
बग़ावत की अलामत
बग़ावत तो नहीं बर्दाश्त होगी
ये वहशत तो नहीं बर्दाश्त होगी
अगर लहरों को है दरिया में रहना
तो उन को होगा अब चुप-चाप बहना
किसी का हुक्म है
इस गुलिस्ताँ में बस इक रंग के ही फूल होंगे
कुछ अफ़सर होंगे जो ये तय करेंगे
गुलिस्ताँ किस तरह बनना है कल का
यक़ीनन फूल तो यक-रंगीं होंगे
मगर ये रंग होगा कितना गहरा कितना हल्का
ये अफ़सर तय करेंगे
किसी को ये कोई कैसे बताए
गुलिस्ताँ में कहीं भी फूल यक-रंगीं नहीं होते
कभी हो ही नहीं सकते
कि हर इक रंग में छुप कर बहुत से रंग रहते हैं
जिन्होंने बाग़-ए-यक-रंगीं बनाना चाहे थे
उन को ज़रा देखो
कि जब इक रंग में सौ रंग ज़ाहिर हो गए हैं तो
कितने परेशाँ हैं कितने तंग रहते हैं
किसी को ये कोई कैसे बताए
हवाएँ और लहरें कब किसी का हुक्म सुनती हैं
हवाएँ हाकिमों की मुट्ठियों में हथकड़ी में
क़ैद-ख़ानों में नहीं रुकतीं
ये लहरें रोकी जाती हैं
तो दरिया कितना भी हो पुर-सुकूँ बेताब होता है
और इस बेताबी का अगला क़दम सैलाब होता है
Introduction
Language is the most powerful tool through which human beings express thoughts, emotions, beliefs, dissent, and resistance. In literature, and especially in poetry, language never functions in a simple, direct, or transparent manner. A poem cannot be understood merely by knowing the dictionary meanings of words. Instead, it demands sensitivity, imagination, and an awareness of how words operate on multiple levels at the same time. Poetry often says more than what appears on the surface, and this “extra meaning” is created through tone, emotion, suggestion, and symbolic expression.
This is why I.A. Richards, one of the most influential literary critics of the twentieth century, emphasized the importance of studying how language works rather than only what it states. In his seminal work Principles of Literary Criticism, Richards challenged traditional approaches to poetry that focused on biography, history, or moral judgment alone. Instead, he argued that poetry should be understood through close attention to language and its psychological effects on the reader.
Richards proposed that words carry meaning on multiple levels, which he categorized as the Four Kinds of Meaning: Sense, Feeling, Tone, and Intention. He also made a crucial distinction between the scientific use of language and the emotive use of language, placing poetry firmly within the emotive category. Furthermore, he identified the Four Types of Misunderstanding that commonly occur when poetry is interpreted carelessly or with inappropriate expectations.
This blog applies I.A. Richards’ theoretical framework to Javed Akhtar’s famous Urdu poem “Naya Hukamnama”, as performed at Jashn-e-Kaifi (2017). The poem is socially and politically significant, yet it avoids direct political slogans or explicit references. Instead, it relies on imagery from nature and symbolic commands to question authority, control, and the suppression of freedom. While watching the video of this poem and listening carefully to its recitation, the layers of meaning become clearer when examined through Richards’ ideas.
My Interpretation of “Naya Hukamnama”
When I watch the video of “Naya Hukamnama” and listen closely to Javed Akhtar’s recitation, the poem appears to me as a quiet but firm protest against imposed control and loss of freedom. The repeated use of Urdu words like “hukm”, “pabandi”, “ijazat”, and “had” makes the experience more intense and meaningful. These words are familiar from administrative and political language, and hearing them applied to nature creates strong irony.
The repeated commands to hawa, dariya, darakhtẽ, and bagh represent attempts to control natural human instincts such as freedom of speech, creativity, movement, and diversity. For instance, when the poet speaks of allowing only a single kind of phool in the garden, it symbolically reflects enforced sameness in society. While watching the video, this idea becomes emotionally powerful because the command is repeated calmly, without anger.
While watching the video, I also faced certain difficulties, which are important to mention as part of my interpretation. Since the poem is delivered in refined Urdu, some expressions required careful listening and reflection. Words like “hukm,” “pabandi,” “rawaiyat,” and “ikhtiyar” carry layered meanings. At first, it was easy to focus only on the surface commands, but gradually I realized that these words function symbolically rather than literally.
Another difficulty was resisting an over-literal interpretation. Initially, the commands to nature felt unrealistic. However, applying I.A. Richards’ concept of emotive language helped me understand that these na-mumkin hukm (impossible orders) are deliberately used to expose the misuse of power. Watching the video more than once helped me connect the calm tone with the seriousness of the message.
Nature, in my interpretation, stands for awaam (common people). Just as rivers cannot be stopped and wind cannot be locked, human freedom cannot be permanently controlled. The poet’s controlled and dignified voice in the video strengthens this message. There is no open gussa (anger), yet the resistance feels strong.
I also feel that the poem indirectly warns those in power. By issuing hukm to nature, the poem suggests that authority has limits. Pabandi may exist for some time, but azadi will eventually find its way, just as rivers carve new paths and wind crosses all boundaries.
Overall, based on watching the video, I understand “Naya Hukamnama” as a poem about azadi, ikhtilaf (difference), aur insani waqar (human dignity). Through symbolic Urdu language and controlled tone, Javed Akhtar demonstrates how emotive language can express truth more effectively than direct political slogans.
About the Poet and the Poem
Javed Akhtar is one of the most respected contemporary poets, lyricists, and public intellectuals in India. He is widely known for his progressive outlook, secular values, and strong commitment to freedom of thought and expression. Through both poetry and public speech, Akhtar has consistently raised questions about injustice, intolerance, and misuse of power. His poetry often avoids direct confrontation; instead, it uses metaphor, irony, and symbolic situations to convey resistance.
“Naya Hukamnama” (The New Order) is one of his most powerful and thought-provoking poems. The poem does not openly name any ruler, political party, or government. Yet, while watching the video performance, it becomes evident that the poem is a sharp critique of authoritarian control and imposed obedience. The poem is structured as a series of commands issued to elements of nature—such as wind, rivers, trees, gardens, and flowers.
These commands attempt to regulate direction, movement, growth, and diversity. Since nature cannot follow such orders, the poem creates a strong sense of irony. While watching the video, the audience realizes that these impossible commands mirror real attempts to control human freedom, expression, and diversity. This indirect method makes the poem rich in emotive language, symbolism, and layered meanings.
Four Kinds of Meaning in “Naya Hukamnama”
According to I.A. Richards, the complete meaning of a poem can be understood only when we examine four interrelated aspects: Sense, Feeling, Tone, and Intention. These elements do not function independently. Instead, they work together to create the poem’s total effect.
1. Sense
Sense refers to the literal or surface meaning of the words used in a poem. It answers the basic question: What is being said? In “Naya Hukamnama,” the sense becomes clear while watching the video and listening carefully to the poet’s actual Urdu expressions. Javed Akhtar repeatedly uses the language of hukm (order) and pabandi (restriction).
For example, in the video performance, we hear commands that the “hawa” (wind) should blow only in a fixed direction, as if even hawa must follow a written hukamnama. Similarly, the “dariya” (river) is instructed not to cross limits, reflecting the idea of hadbandi (boundaries). The “darakhtẽ” (trees) are asked not to grow freely, and the “bagh” (garden) is commanded to allow only one kind of “phool” (flower) to bloom.
At the level of sense, these instructions appear unnatural and absurd. Nature does not understand hukm or qanoon. Wind cannot be arrested, rivers cannot be disciplined, and flowers cannot be forced into uniformity. However, as I.A. Richards explains, sense is only the first step. These literal commands prepare the viewer to move beyond surface meaning toward symbolic interpretation.
2. Feeling
Feeling refers to the emotional attitude of the poet toward what is being expressed. In “Naya Hukamnama,” the feeling is not expressed through loud anger or open rebellion. Instead, while watching the video, a quiet emotional pressure slowly builds. The calm repetition of unreasonable orders creates a feeling of suffocation and silent resistance.
For instance, when the poet calmly lists command after command—restricting the wind, limiting rivers, and standardizing gardens—the audience begins to feel discomfort and unease. The emotional impact does not come from emotional words but from the contrast between the calm delivery and the harshness of the commands. This creates sympathy for freedom and discomfort toward authority.
According to Richards, words act as vehicles of feeling. In this poem, each command carries emotional weight. While listening to the recitation in the video, viewers emotionally sense injustice even though the poet never directly states his anger. This controlled emotional expression makes the poem more powerful and lasting.
3. Tone
Tone reflects the poet’s attitude toward the audience. In “Naya Hukamnama,” the tone, as clearly noticeable while watching the video, is calm, restrained, ironic, and bureaucratic. The commands are delivered politely, almost like instructions from an authority figure, without shouting or dramatic emphasis.
For example, the poet’s steady voice while issuing orders to nature gives the impression of an official announcement. This formal tone makes the commands sound realistic and familiar, reminding viewers of government notifications or institutional rules. The irony lies in the fact that such a tone is used to issue impossible orders to nature.
I.A. Richards highlights that tone strongly influences response. Here, the calm tone prevents emotional outburst and instead encourages critical reflection. The irony works quietly, allowing viewers to recognize the arrogance of power on their own.
4. Intention
Intention refers to the purpose or effect the poet wants to create in the audience. In “Naya Hukamnama,” Javed Akhtar’s intention becomes clear while watching the video performance. He aims to question authoritarian control and highlight the value of freedom, diversity, and independent thought.
By showing authorities issuing orders to the wind, rivers, and gardens, the poet indirectly suggests how power tries to control people, ideas, and cultures. The intention is not to provoke immediate anger but to encourage thoughtful awareness. The viewer is invited to reflect on how unnatural and harmful such control is.
As Richards explains, intention shapes the entire structure of a poem. In this case, it determines the choice of nature imagery, the calm tone, and the indirect method of criticism.
Interaction of the Four Meanings
According to I.A. Richards, a poem achieves its full power only when Sense, Feeling, Tone, and Intention work together in harmony. While watching the video of “Naya Hukamnama”, this interaction becomes especially clear because the spoken delivery allows all four meanings to operate simultaneously.
Sense and Its Limits
At the level of sense, the poem appears to be a list of formal orders (hukm) issued to elements of nature. For example, when the poet speaks of the hawa being told to blow only in one direction, or the dariya being instructed to stay within fixed boundaries, the literal meaning sounds unrealistic. Nature cannot obey such commands. However, this surface illogicality is intentional. Richards reminds us that sense alone is never sufficient in poetry; it only sets the stage for deeper meanings.
Feeling Created Through Repetition and Control
The feeling emerges as these commands are repeated calmly in the video. Words associated with authority such as hukm, pabandi, and ijazat create emotional pressure. While watching the performance, the viewer begins to feel suffocation and discomfort. The emotional response does not come from angry language but from the repeated denial of freedom. For instance, the instruction that gardens should grow only one kind of phool produces a feeling of loss and injustice, suggesting emotional resistance against enforced uniformity.
Tone: Calmness as Irony
The tone of the poem, as conveyed through Javed Akhtar’s measured and composed voice in the video, is calm, formal, and almost administrative. This calmness is ironic. Normally, such a tone is used in official notifications or government orders. Here, it is applied to impossible commands given to nature. This contrast between calm tone and unreasonable content sharpens the irony. Richards emphasizes that tone guides the reader’s attitude, and in this poem, it quietly exposes the arrogance of power without emotional exaggeration.
Intention: Ethical and Intellectual Awakening
The intention behind the poem becomes clear when sense, feeling, and tone are considered together. Javed Akhtar does not aim to provoke loud protest. Instead, his intention is to make viewers think critically about control, censorship, and loss of azadi (freedom). By showing how absurd it is to regulate hawa, dariya, and bagh, the poet indirectly suggests that controlling human thought and diversity is equally unnatural. Richards notes that intention unifies the poem, and here it directs all elements toward questioning oppression.
Collective Effect
When these four meanings interact:
Sense provides the literal commands (hukm to nature),
Feeling generates emotional discomfort and silent resistance,
Tone maintains calm irony and restraint,
Intention challenges authoritarian control and supports freedom.
Only when all four levels are understood together does the poem achieve depth and coherence. If a viewer focuses only on the literal sense, the poem seems meaningless. Richards warns that such partial reading leads directly to misunderstanding.
Four Types of Misunderstanding in Interpreting the Poem
I.A. Richards identifies four common types of misunderstanding that occur when poetry is approached without sensitivity to its emotive nature. While watching the video of “Naya Hukamnama”, these misunderstandings can easily arise if the viewer is not critically attentive.
1. Misunderstanding of Sense
This occurs when a viewer dismisses the poem as illogical or absurd. For example, hearing commands that restrict the hawa or control the flow of the dariya, one may conclude that the poem makes no sense. Such misunderstanding arises when the viewer stops at the literal level and fails to move beyond surface meaning.
2. Over-literal Interpretation
An over-literal reading treats the poem as a direct political speech or manifesto. If one assumes that every hukm in the poem refers to a specific government or law, the symbolic richness is lost. For instance, the order that only one kind of phool should grow is not a literal policy but a metaphor for enforced sameness in thought, culture, and ideology.
3. Defective Scholarship
This misunderstanding results from ignoring the social and cultural context in which words like hukm, pabandi, and ijazat are commonly used. These terms are deeply associated with authority and control in South Asian political and administrative discourse. Without this awareness, the viewer may fail to grasp why their application to nature is ironic and critical.
4. Confusion Between Poetic and Prose Meaning
This is one of the most common errors Richards identifies. Viewers may expect poetic language to function like prose or scientific language. In “Naya Hukamnama”, commands to nature are not factual statements but emotive symbols. Failing to recognize metaphor and symbolism such as gardens representing society or rivers representing human freedom leads to serious misinterpretation.
Conclusion on Misunderstanding
All these misunderstandings occur when scientific expectations are applied to emotive language. Richards strongly argues that poetry must be approached with openness to suggestion, emotion, and symbolic meaning. When watched and understood in this way, “Naya Hukamnama” reveals its full intellectual and emotional power.
Four Types of Misunderstanding in Interpreting the Poem
Richards identifies four common misunderstandings:
1. Misunderstanding of Sense – Dismissing the poem as illogical while watching the video.
2. Over-literal Interpretation – Treating the poem as direct political speech instead of symbolic expression.
3. Defective Scholarship – Ignoring social and cultural contexts of power and censorship.
4. Confusion Between Poetic and Prose Meaning – Failing to recognize metaphor and symbolism.
Here is a brief video overview of my blog-
Conclusion
In conclusion, Javed Akhtar’s “Naya Hukamnama” powerfully demonstrates how poetry functions through layered meaning rather than direct statement. When examined through I.A. Richards’ framework of Sense, Feeling, Tone, and Intention, the poem emerges as a symbolic critique of authoritarian control and enforced uniformity. The literal commands issued to hawa, dariya, darakhtẽ, and bagh appear illogical at the level of sense, yet they gain depth through emotive language. The repeated use of words such as hukm, pabandi, and ijazat creates emotional pressure, while the calm, bureaucratic tone intensifies irony. Together, these elements guide the reader toward an understanding that freedom, diversity, and human dignity cannot be regulated like official orders.
At the same time, the poem highlights the importance of avoiding the misunderstandings identified by Richards. An over-literal or purely factual reading reduces the poem to absurdity, whereas a sensitive engagement with metaphor and cultural context reveals its ethical force. Watching Javed Akhtar’s restrained performance further clarifies how emotive language works more effectively than direct political speech. Ultimately, “Naya Hukamnama” affirms that poetry can challenge power subtly yet profoundly, reminding us that azadi, like nature itself, resists confinement and continues to assert its presence despite all imposed limits.
Refrence
Barad, Dilip. I.A. Richards – Figurative Language – Practical Criticism. January 2024, ResearchGate, DOI:10.13140/RG.2.2.23687.98724.
Barad, Dilip. “Just Poems.” Dilip Barad | Teacher Blog, 23 Sept. 2015, https://blog.dilipbarad.com/2015/09/just-poems.html. Accessed 19 Dec. 2025.
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