Fazil unmindful of trades in literary politics, charisma in slogans and careeristic devices exploited his ingrained capacities within the gifted purview of the lucidity in his expression. Before we assess his contribution we must take bird’s eye view of the literary scene in later thirties of the last century and must have some conception of the evolution and revolution of both in thought and art around late Al Haaj Fazil. His arrival in literary arena in later thirties was the third distinguishable voice of the local melody in the backdrop of fading grip of the mystic poetry and Masnavi recitation. Mehjoor had successfully tried to fill in the vacuum, Azad followed him and this Fazil made the trend as set by these two stalwarts, a clarion call of their time. At this particular point of time the musician of Kashmir too was under a definite change. The traditional Chakri dominated by local geet had become boring for general audience under the too heavy strain of mystic word and phrase. It was revitalized by the trend of “Ghazal” composed by Mehjoor and Azad which closely bore continuity with the lyricism of Habba Khatoon, Mehmood Gami and Rasul Mir. Influence of Urdu Ghazal and particularly film songs had percolated in deeper layers of Kashmiri society. Had not at this stage the trio of Mehjoor, Azad and young Fazil sung to the so chiseled taste. Kashmiri language would have once again fallen in the situation in which it has fallen in Hindu period under the weight of the Sanskrit and in 15th century under the pressure of Persian sophistication. Before, Fazil’s voice, the voices of two of his seniors had dominated the common aesthetics. It was not very easy for third voice to get an attentive ear unless it had equal originality, thematic splendor and sweetness in its frame. Fazil’s ghazal came with all these three pre-requisites and so could be lulled in the lap of muse along with popular ghazal of Azad and Mehjoor.

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