I.A. Richards Figurative Language

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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

 कैद-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

- Javed Akhtar

About Javed Akhtar 

Javed Akhtar (born 17 January 1945) is an Indian screenwriter, lyricist and poet. Known for his work in Hindi cinema, he has won five National Film Awards, and received the Padma Shri in 1999 and the Padma Bhushan in 2007,^[1] two of India's highest civilian honors.

Akhtar came to recognition in the duo Salim–Javed, and earned his breakthrough as a screenwriter with 1973's Zanjeer. He went on to write the films Deewaar and Sholay, both released in 1975; they earned a cult following, and had a significant impact in popular culture. He later earned praise for his work as a lyricist, winning the National Film Award for Best Lyrics five times and the Filmfare Award for Best Lyricist eight times.

About Poem: 

Winds as a Metaphor for Freedom:

The poem begins with the notion that winds, which symbolize freedom and spontaneity, are now bound by rules. They are required to disclose their direction, speed, and purpose before moving. This reflects the imposition of constraints on natural forces, suggesting a broader metaphor for human liberties being curtailed.

Impact on Vulnerable Structures:

The mention of sand walls and paper palaces highlights the fragility of certain constructs. The poet emphasizes that these structures require protection and that winds, especially storms, are seen as threats. This symbolizes how societal or institutional structures can feel endangered by the uncontrolled forces of change or rebellion.

Waves and Rebellion:

The second stanza shifts to the metaphor of waves. The waves, representing rebellion or natural cycles of rise and fall, are criticized for their "disobedience." Their continuous motion—rising, scattering, and reemerging—is labeled as a sign of chaos or defiance. The demand for waves to flow silently within boundaries reflects a rejection of any form of resistance or upheaval.

Broader Themes:

The poem critiques authoritarian tendencies that suppress individuality and natural expression. It challenges the reader to question whether such control is justified and what it means for freedom and growth.

The poem uses winds and waves as symbolic elements to explore themes of freedom, control, rebellion, and fragility in the face of authority. It warns against excessive regulation of natural and human forces, as such suppression stifles vitality and progress.

This poem explores the themes of control, conformity, and the futility of imposing artificial uniformity in natural and social systems. The speaker critiques the idea of a strictly regulated environment where diversity is suppressed and decisions are made by authorities ("अफसर") without regard for the inherent complexity of the world.

In the first part, the poet imagines a "gulistan" (garden) with only one color of flowers, symbolizing an environment stripped of diversity. The "afsar" (officers) are depicted as the agents of control who determine not only the uniformity of the flowers but also the intensity of their color. This portrayal reflects an authoritarian mindset, emphasizing how such figures seek to homogenize natural beauty and individuality.

The poem challenges the viability of this uniformity, stating that no flower or color exists in isolation; every hue contains a spectrum of shades and meanings. Attempts to create a monochromatic garden are likened to futile endeavors, as nature and human expression inherently resist such simplification. The critique extends to those who try to enforce uniformity, highlighting their frustration when the complexities and multiplicities of life inevitably emerge.

In the latter part, the poem shifts to metaphors of wind and waves, representing freedom and unpredictability. It argues that forces of nature, much like human spirit and creativity, cannot be confined by authoritarian orders. Winds cannot be restrained by "muttḥī" (fists) or "hathkadī" (handcuffs), and waves, when obstructed, lead to unrest and eventual floods. This imagery underscores the destructive consequences of suppressing natural flow and freedom.

Ultimately, the poem serves as a philosophical reflection on the impossibility and dangers of imposing uniformity on a diverse and dynamic world. It advocates for the acceptance of pluralism and the understanding that natural forces, whether in society or the environment, cannot be controlled without inciting resistance and upheaval.

-Understanding 

First of all, I was confused that 'uski', 'Kisika'...this word refers to whom in poem but after reading whole poem gradually I got idea of sarcastic tone. 

I took help :

https://youtu.be/bbTtIvz-9Ss?si=EEwzkwqbkDSH6A3S