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Journal articles on the topic 'Urdu Ghazals'
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1
Grewal, Sara Hakeem. "The Ghazal as “World Poetry”: Between Worlding and Vernacularization." Comparative Literature 74, no. 1 (March 1, 2022): 25–51. http://dx.doi.org/10.1215/00104124-9434498.
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Abstract While the ghazal has appeared in many linguistic traditions, its diversity is undermined by the imposition of a singular definition of this genre, which is further compounded by the overly simplistic identification of ghazal as lyric; these lyricized readings of the ghazal as both transhistorical and transnational rely on a discourse of “worlding” as an imperial project of cultural recovery and homogenization. In contrast, this article employs the methodology of historical poetics to argue via a reading of meta-ghazals in Persian, Urdu, and English that reading practices around the ghazal—including definitions of the genre that variously emphasize form versus theme—change according to the historical and geographical context of its circulation. However, by celebrating the ghazal’s travel as seemingly apolitical and/or ahistorical, the discourse of world poetry, particularly in the reception of the ghazals of Agha Shahid Ali, participates in an ongoing imperialism in world literary study. In contrast, we can read the ghazals of Adrienne Rich as exemplifying the tradition of vernacularization that has enabled the ghazal’s movement between languages, such that her work, like the work of historical poetics as a methodology, honors the history of the form’s travel through its appearance in contemporary American English.
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Tariq, Nida, Iqra Ijaz, Muhammad Kamran Malik, Zubair Malik, and Faisal Bukhari. "Identification of Urdu Ghazal Poets using SVM." Mehran University Research Journal of Engineering and Technology 38, no. 4 (January 1, 2020): 935–44. http://dx.doi.org/10.22581/muet1982.1904.07.
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Urdu literature has a rich tradition of poetry, with many forms, one of which is Ghazal. Urdu poetry structures are mainly of Arabic origin. It has complex and different sentence structure compared to our daily language which makes it hard to classify. Our research is focused on the identification of poets if given with ghazals as input. Previously, no one has done this type of work. Two main factors which help categorize and classify a given text are the contents and writing style. Urdu poets like Mirza Ghalib, Mir Taqi Mir, Iqbal and many others have a different writing style and the topic of interest. Our model caters these two factors, classify ghazals using different classification models such as SVM (Support Vector Machines), Decision Tree, Random forest, Naïve Bayes and KNN (K-Nearest Neighbors). Furthermore, we have also applied feature selection techniques like chi square model and L1 based feature selection. For experimentation, we have prepared a dataset of about 4000 Ghazals. We have also compared the accuracy of different classifiers and concluded the best results for the collected dataset of Ghazals.
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Dr. Muhammad Qamar Iqbal and Dr. Muhammad Yousaf Awan. "Bal-E-Jabreel's Taghzal: A Research And Critical Review." Dareecha-e-Tahqeeq 4, no. 2 (July 5, 2023): 1–7. http://dx.doi.org/10.58760/dareechaetahqeeq.v4i2.111.
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Allama Iqbal completely changed the body of Ghazal. Thanks to Iqbal, today Urdu Ghazal is reaching the extremes of development and all kinds of ideas are being expressed in it. Iqbal's ghazal is not a traditional ghazal. His beloved is the nation of Islam, humanity, the prophet and the person of Allah Almighty, Iqbal makes them beloved and speaks in such a way that a unique isolation is created in his ghazals. Allama was carrying the pain of the nation in his chest, so Bal Jibreel is also not free from this pain, but here all the ghazals and poems seem to be immersed in the pain of the nation. Allama has brought ghazal to its peak in Baal Jibreel and has grasped all kinds of colorful subjects in such a way that even in the precise and heavy problems of philosophy, he made them into ghazal by creating subtlety and elegance. And this is such a great artistic and intellectual achievement that not only Urdu poetry but the poetry of the whole world will continue to be proud of.
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Badar, Rukhsana, and Sadaf Naqvi. "Urdu-12 Persian Elements in Iftikhar Arif’s Religious Poetry: An Analysis." Al-Aijaz Research Journal of Islamic Studies & Humanities 5, no. 2 (June 20, 2021): 157–64. http://dx.doi.org/10.53575/urdu12.v5.02(21).157-164.
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"Iftikhar Arif has beautifully presented the problems of the modern age in Nazm and Ghazal. He has coined nice Persian structures to depict contemporary sensibility, consciousness and internal emotions. These structures have the name of their creator stamped on them. He has extensively used Persian words and structures in his Nazms and Ghazlas. Many beautiful Persian structures are found in the verses of his Nazms, Ghazals and Couplets on the topics of Dua and Hamd. Iftikhar Arif’s attachment with Urdu Classic poetry and Persian language is also evident from the names of his books on poetry. Even the names of his books on poetry are composed of Persian structures. Moreover the titles of his poems are also in Persian language."
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Vasilyeva, Lyudmila A. "The Problems of Studying the Creative Heritage of Mir Taqi Mir." Papers of the Institute of Oriental Studies of RAS, no. 28 (2020): 19–34. http://dx.doi.org/10.31696/2587-9502-2020-28-019-034.
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The article deals with the main difficulties that a researcher may face studying the legacy of the classical Urdu poet Mir Taqi Mir. During his life time Mir was accorded wide recognition as a great poet of North India and nowadays his ghazals are still popular and loved by Urdu speaking people. The main difficulties of a researcher concern many inaccuracies in biographic facts, principles of selecting ghazals to be analysed, the difficulties in translating ghazals to other languages and some other problems. The majority of papers on Mir are in Urdu. The study of Mir’s literary heritage by Russian philologists was practically frozen in the last century, and nowadays it seems relevant to continue it.
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Khan Khattak, Dr Satar. "Comparative Study of Allama Iqbal’s Urdu and Persian Composition of ode." DARYAFT 14, no. 01 (October 31, 2022): 87–110. http://dx.doi.org/10.52015/daryaft.v14i01.213.
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Allama Muhammad Iqbal started his poetry from Urdu ode or amatory verses. But very soon he started his poetry in Persian. Iqbal realized that the skirt of Urdu language is very narrow for his ideas and thoughts. He recognized that Urdu is a young inexperienced language. Urdu is spoken, written and reading in a limited part of the subcontinent. On the other hand person is an old and experienced language of the world and is spoken, written and reading in a vast part of the Muslim world. Persian language keeps the most valuable assets of poetry and prose. The Persians odes of Allama Iqbal are found in Piyam-e-mashriq and Zaboor-e-Ajam. Some Urdu odes of Iqbal are found in Bang-e-Dara and Zarb-e-kaleem, but the most important odes are found in his famous book of Urdu poetry named as Bal-e-jibreel. This collection of poems by Allama Iqbal is very important, because what is clearly stated in his Persian odes, is what is indicated in Bal-e-Jibreel. The first part of Bal-e-Jibreel consists of ghazals. Essentially, these ghazals portray the same meaning that the Persian ghazals imply. However, the experimental writing of these ghazals, the sheer talent employed in this book are as climactic in terms of poetry.
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Dr. Arshad Mahmood Nashad. "Maulana Hali And The Art Of Ghazal." Dareecha-e-Tahqeeq 3, no. 2 (January 6, 2023): 1–11. http://dx.doi.org/10.58760/dareechaetahqeeq.v3i2.41.
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Maulana Altaf Hussain Hali is undoubtedly the founder of modern literature. He dedicated genres like criticism, poetry and biography with the taste of freshness. Muqadama Shair O Shairi is the first reliable example of theoretical criticism in Urdu. During his tenure in Lahore, he laid the foundation stone of the modern poetry movement along with Maulana Muhammad Hussain Azad. Although he was educated under the shadow of Eastern literature, he soon got tired of its monotony. Western literature began to feel close to his heart. He loved the utilitarian aspect of literature. Ghazal, which is the most representative genre in Eastern literature, became a target of his criticism. It is generally believed that he was opposed to the ghazal genre, but the fact is that he disliked ghazal due to the homogeneity of the themes of the ghazal. He was opposed to excessive unnatural color in the ghazal. Hali was a practical person, so he wrote ghazals according to his ideas, which were not liked by a large section of Urdu literature and his ghazals were called unhealthy poetry. There is no doubt that Hali made Ghazal a subject of criticism for the first time like other poetry genres. His influence had a far-reaching impact on Ghazal. This article examines Maulana Hali's views on Ghazal.
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Khan, Muhammad Asif, Asma Aftab Khan, and Aamer Shaheen. "“Negotiation of Difference”: A Study of the English Translations of Ghalib’s Urdu Ghazal." Global Language Review V, no. II (June 30, 2020): 32–41. http://dx.doi.org/10.31703/glr.2020(v-ii).04.
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The Ghazal is a well-known genre of Urdu poetry. The translation of Ghazal into the English language poses specific challenges. Translating Ghalib, one of the greatest ghazal writers, into English, is a special case under consideration. Several translators have produced their versions of Ghalib’s Urdu ghazals. The present study is an effort to evaluate the performance of six translators who rendered a particular ghazal of Ghalib in the English language. The study utilizes the distinction between ‘literal’ and ‘sense-for-sense’ translation as perceived by Nida (2000 [1964]), and Vermeer (2000). The translations have been analyzed on the basis of three research questions which encompass the aspects of the type of translation, the form of the Ghazal, and the poetic appeal. The study offers useful insights into the translation of Ghazal into the English language.
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Vasilyeva, L. A. "The ghazal of Mir Taqi Mir: the formation of the poetic and literary language of Urdu." Orientalistica 3, no. 3 (October 3, 2020): 820–48. http://dx.doi.org/10.31696/2618-7043-2020-3-3-820-848.
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Mir Taqi Mir is a classic Urdu poet of the 18th century, an outstanding master of ghazal genre. With his work, Mir Taqi Mir proved that his native Urdu language possessed a vocabulary fit to express the finest nuances of poetic speech. He also made evident that the ghazals written in Urdu were not entirely imitations of those written in Persian, which formed the poetical basis of Urdu poetry. The article argues that the Mir Taqi Mir's heritage can be considered as a milestone in the evolutionary development of both poetical and literary language of Urdu. Throughout his life, the poet remained in a creative search. Working on a certain poetical theme, he often made recourse to it trying to bring out maximum possibilities for its realization by means of his native language. Analysis of numerous examples in the article can be considered as an effort to ascertain how borrowed poetical traditions were domesticated and how this process facilitated the selection of vocabulary and standardization of common literary language of Urdu.
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Dr. Qamar Abbas and Dr. Mazhar Iqbal Kalyar. "Dr. Tahir Taunsvi’s “Ghazal” :An Analytical Study." Dareecha-e-Tahqeeq 4, no. 1 (March 22, 2023): 22–33. http://dx.doi.org/10.58760/dareechaetahqeeq.v4i1.100.
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Dr. Hafeez Ur Rehman Tahir Taunsvi is famous for his valuable work in the field of Urdu research and criticism. His poetry, especially his “Ghazal” is also a significant part of his literary services. This aspect of his personality is mostly overpassed by the critics. His collection of poetry " تو۔۔ طے ہوا ،نا " published in 2001 AD. It has great value due to its diction, style and themes. Dr. Tahir Taunsvi’s “Ghazal” has beautiful colors of traditional and modern poetry. His “Ghazals” present the romantic atmosphere of love and beauty in an artistic style. Besides this, the optimistic and progressive approach increases the worth and value of his themes and style. It has great resistance against the exploitation and oppression. His “Ghazal” also promotes the great human and moral values. One can see the personal tragedy transforming into the grief of humanity in his “Ghazals”. In this article, the authors have presented an analytical study of Dr. Tahir Taunsvi’s Poetics.
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Latif, Amer. "Ẕahīn Shāh Tājī’s (d. 1978) Signs of Beauty (Āyāt-i Jamāl)." Journal of Sufi Studies 10, no. 1-2 (December 14, 2021): 215–33. http://dx.doi.org/10.1163/22105956-bja10018.
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Abstract Bābā Ẕahīn Shāh Tājī (d. 1978) is a well-known Sufi poet in Pakistan. He belonged to the Chishtī Sufi order and his mausoleum in Karachi is a center of pilgrimage known for its weekly Qawwali (devotional singing) gatherings. This article presents an overview of Tājī’s experience and articulation of the Sufi path through selected English translations from his collection of Urdu ghazals, Signs of Beauty (Āyāt-i jamāl), which are performed by Qawwals and ghazal singers both in India and in Pakistan to this day.
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Ahmad, Dr Mahboob, and Dr. Sudheer Ahmed. "Intellectual & Technical Review of Shakeb Jalali’s Verse." Noor e Tahqeeq 8, no. 01 (March 31, 2024): 73–81. http://dx.doi.org/10.54692/nooretahqeeq.2024.08011987.
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Shakeb Jalali is the representative poet of the present age. He is mainly a ghazal poet. After independence, it seemed that Urdu ghazal would die but Shakeb is one of the poets who gave new life to it. He uses contemporary themes which make most of his poems famous like proverbs. He had a short life span but he gave ghazal a new form. He is convinced to explain big topics with great simplicity. He spent all his life in depression; even then the element of despair is less visible in his verse. His ghazals are a great asset of Urdu poetry which would influence the readers forever. His verse is based on innovation presenting an entirely new style. He was convinced to describe his experiences, observations, conditions and internal events with truth and authenticity instead of deception, deceit, and lies. His individuality distinguishes him from the poets of his era through his verse that is intellectually and technically different and the new generation seems to be influenced by it. This article analyses Shakeb’s verse in terms of technique and intellect.
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Ahmed, Abrar, and Manoj Kumar. "Ethos and Displacement in the Ghazals of Kaif Bhopali: An Analysis." Dialogue: A Journal Devoted to Literary Appreciation 19, no. 01 (June 25, 2023): 58–62. http://dx.doi.org/10.30949/dajdtla.v19i1.6.
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Migrating and getting displaced from the original habitat by compulsion or by choice has become a common norm in post colonial era. The people of this planet migrate in search of livelihood, better education, political compulsions and geo-political conflicts. Capitalism further assists it to grab its roots. This is also the case with Urdu ghazal writers; they also migrate and are made to stay in places with geographically, politically and culturally different climate. Kaif Bhopali is one of the writers, who never migrated from India but still could not be with his homeland. This is the only reason that the ghazals of Kaif Bhopali have nostalgia, displacement and dislocation as the common features.
This paper is an attempt to study the select ghazals, which are well praised and are full of nostalgic diasporic thoughts.
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Khalil Rahman and Dr. Abdul Sattar Niazi. "Prominent Poets Of Modern Ghazal in Dera Ismail Khan Research and Critical Review." Dareecha-e-Tahqeeq 4, no. 3 (October 30, 2023): 9–21. http://dx.doi.org/10.58760/dareechaetahqeeq.v4i3.131.
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The civilizational, cultural and historical capital of Dera Ismail Khan is also worthy of attention, but the poetic and literary atmosphere here cannot be ignored in any way.5 Urdu Ghazal, like other regions of Pakistan, has also captured the people of this place. If the office of ancient and modern Ghazal is explored in Dera Ismail Khan, some poets are known at the national level. What are the trends and tendencies of his Ghazals, this article has tried to reveal them. A special study of the Ghazal Poetry of Ghulam Muhammad Qasar, Saeed Ahmed Akhtar, Bahram Sahil, Kawar Ahmed, Tariq Ahmed Nawaz, Tariq Hashmi, Shahab Safdar, Khurshid Rabbani, Tahir Shirazi and Kahlah Ahmed Awan's is the focus of the article under review.
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Coppola, Carlo. "Hazaaron Khwahishein Aisi: The Wonderful World of Urdu Ghazals by Anisur Rahman." World Literature Today 94, no. 2 (2020): 106–7. http://dx.doi.org/10.1353/wlt.2020.0139.
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Muhammad Ahmed Awan and Abdul Khalique. "An Analytical Study Of Aagha Hashar's Poetry." Dareecha-e-Tahqeeq 4, no. 3 (November 5, 2023): 74–79. http://dx.doi.org/10.58760/dareechaetahqeeq.v4i3.142.
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Aagha Hashar Kashmiri is a renowned poet and dramatist. He is considered one of the pioneers of Modern Urdu theater and his work is known for his poetic language in his dramas. He also wrote many poems i.e. "Shukariya Europe", Moj-e-Zam Zam, Eid Mubarak, Sultan tipu and so on. His poetry has Romanism, socialism, alcoholism, sarcasm, humour and vulgarity. Romanticism was inherent in his poetry and beauty was part of his nature. That is why his poetry is full of romanticism. The essence of speech is prominent in his poems and songs. Imagination, figure carving, subtle elegance, informality, creativity, similes and metaphors are the distinguish characteristics of his Ghazals. He also uses vulgar and immortal words in his poetry but his poetry contains hope and philosophy of life. Aagha Hashar had a lasting impact on Urdu.
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Naqvi, Azhar Hussain, and Abdul Ghafoor Baloch. "Shade of Tauheed and different genres of Urdu poetry." Al Khadim Research journal of Islamic culture and Civilization 2, no. 2 (September 30, 2021): 114–36. http://dx.doi.org/10.53575/arjicc.u8-v2.2(21)114-136.
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In its essence Tauheed (the Islamic doctrine of monotheism, the only one creator), is the foundation of all Islamic beliefs. The essence of sending the Prophets and the day of judgement and the life after death all these beliefs are based on Oneness of “God”. Hence when we take a glance on the literature of the period, between 1759 A.D. (1174 A.H.) and 1806 A.D. (1221 A.H.), which is that of the Moghul era, i.e., the literature of Aali Gohar Shah Alam era, we see that during this period alongside the development of Urdu prose, the effects of doctrine of Tauheed had begun to show in its poetry in the form of Hamd (hymns in praise of Allah). Moghul era, during which Urdu poetry was progressing and was being written in its different forms like Masnavi, Ghazal, Nazm, Rubaee, Qaseeda etc., renowned poets like Meer Hasan, Jurrat, Inshaa, Mushafi, Rangeen, Qudrat, Baqaa, Hazeen, Baidar, Bayan, Rasikh, Hidayat and others apart from writing on other subjects also laid their hands on divine topics in which the shade of monotheistic couplets were quite evident and profound. Amongst the aforementioned poets Meer Hasan was such an archetype artist who used to paint with his words, the picture of an incident with such an efficiency, delicacy, adeptness and completeness that it would appear to be a picture in front of the eyes of the reader. He was basically a poet with divine inclination and hailed from a religious family which is the reason that Tauheed is reflected everywhere in his different forms of poetry like Masnavis, Rubayees, Ghazals and Qaseedas. Masnavi is prominent in religious poetry owing to the fact that there is a continuity specific to it, which is less visible in other forms of poetry. Hence for a poet it is the easiest and beneficial form to explain an incident or subject. In our observation, when we are in search of religious and Godly shade in the works of poets, we mostly come across samples of Masnavi.
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Guenther, Alan M. "Ghazals, Bhajans and Hymns: Hindustani Christian Music in Nineteenth-Century North India." Studies in World Christianity 25, no. 2 (August 2019): 145–65. http://dx.doi.org/10.3366/swc.2019.0254.
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When American missionaries from the Methodist Episcopal Church arrived in India in the middle of the nineteenth century, they very soon published hymn-books to aid the Christian church in worship. But these publications were not solely the product of American Methodists nor simply the collection of foreign songs and music translated into Urdu. Rather, successive editions demonstrate the increasing participation of both foreigners and Indians, of missionaries from various denominations, of both men and women, and of even those not yet baptised as Christians. The tunes and poetry included were in both European and Indian forms. This hybrid nature is particularly apparent by the end of the century when the Methodist press published a hymn-book containing ghazals and bhajans in addition to hymns and Sunday school songs. The inclusion of a separate section of ghazals was evidence of the influence of the Muslim culture on the worship of Christians in North India. This mixing of cultures was an essential characteristic of the hymnody produced by the emerging church in the region and was used in both evangelism and worship. Indian and foreign evangelists relied on indigenous music to draw hearers and to communicate the Christian gospel.
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Khan, Muhammad Yaseen. "Edit distance-based search approach for retrieving element-wise prosody/rhymes in Hindi-Urdu poetry." Indian Journal of Science and Technology 13, no. 39 (October 24, 2020): 4189–201. http://dx.doi.org/10.17485/ijst/v13i39.1489.
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Background: Prosody (rhyming words) is a connatural element of poetry, throughout its reach, across thousands of languages in the world. Since medieval era, the Indic poetry (principally the Hindi/Urdu poetry) has created an impactful flamboyance w.r.t the subjects, styles, and other creative aspects in poetry. Besides the message of heartfelt poetry, we see the Qafiya (i.e., rhyming words) is the core element, without which we may not consider anything Hindi/Urdu poetry but merely a piece of writing; alongside it, Radif (i.e., a phrasal suffix to qafiya) is also considered next to the intrinsic part in Ghazals. In this regard, the contributions of this paper are one–the development of an optimal technique for the prosodic (qafiya) suggestions/retrieval in Hindi/Urdu poetry; and two–the qafiya suggestions based on the attached subsequent radif. Methods: The work in this paper involves usage of a 13.46 M tokens tri-script corpus of poetry. Instead of phonetic value matching, the proposed methodology employs four different Edit Distances (i.e., Levenshtein, Damerau–Levenshtein, Jaro–Winkler, and Hamming distance) as the comparison measures for prosodic suggestions. Findings: The proposed work shows better results in comparison to ‘Qaafiya Dictionary’ powered by rekhta.org. Moreover, w.r.t the inter-metric similarity and running time Jaro–Winkler appears to be the most optimal algorithm for the rhyme suggestion, whereas the Levenshtein distance is the laziest technique. Novelty/Applications: This work benefits researchers of Indic natural language processing for lexical look-ups and analysis of creative literature, especially poetry.
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Chubb-Confer, Francesca. "Iqbal’s Falcons and Nightingales: Metaphor, Modernity, and the Poetics of Islam in South Asia." International Journal of Islam in Asia 4, no. 1-2 (April 16, 2024): 98–124. http://dx.doi.org/10.1163/25899996-20241072.
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Abstract Recent scholarship in Islamic studies has proposed ambiguity, especially in the form of literary metaphor and paradox, as integral to pre-modern Islam. However, literary ambiguity has also afforded an interpretive lens for articulations of modern Muslim identity. This article analyzes how two metaphors for the self – the nightingale and the falcon – function in Persian and Urdu ghazals of Muhammad Iqbal (d. 1938), for whom the resources of pre-modern Sufi poetry, especially ambiguity and paradox, become a method of meaning-making for the modern era. Iqbal’s use of these metaphors presents a nuanced view of the tensions between the inheritances of tradition and the demands of modernity for South Asian Muslims in the colonial era, and allows us to attend to the intersections of religion, literature, and politics in modern Islamic thought from the point of view of languages, genres, and geographies that remain marginal to the field of Islamic Studies.
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Khan, Qaisar, and Muhammad Ramzan Pahore. "Ideology and Representation of the Nation: Aggressor and Transgressor in Film Sarfarosh." Progressive Research Journal of Arts & Humanities (PRJAH) 2, no. 1 (March 19, 2021): 79–94. http://dx.doi.org/10.51872/prjah.vol2.iss1.25.
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This paper analyses the narrative of Bollywood film Sarfarosh which portrays the ethnic, cultural and religious issues between majority Hindu-minority and Muslim communities in India with projection of identifying politics between India and Pakistan. Further, it t reveals that Pakistan army constitutes spies who are behind the plot of cross border terrorism and supplies of arms through their local agents in the Indian state of Rajasthan. The agents and their activities are projected as the machineries that are firmly responsible for a series of havocs and killings of innocent people in the most of cities and towns within their reach. Through crafting the notions of national (in) securities, the film picks up an Urdu Ghazal singer, the Pakistani who migrated from Rajasthan during the partition of the subcontinent in 1947. The singer as a metaphor of terrorism often sings Ghazals among Indian dignitaries in the front of his weaponry smuggling to India. The paper finds out that the historical traumatic event of partition is used for posing the Muslim minorities, „Other? as cultural methodological device, whereas Pakistanis understood as extremely dangerous enemy of the Indian nation. The identity politics of the film results the conflicting ideologies of Hinduism and Islam. This is due to the cultural industry?s ideological apparatus for making strategies to manage and maximize the profits by seeking wider audiences through its well- established capitalist system. Bollywood cinematic apparatus should be cautious of essentialist form of nationalist narratives and the post partition conflicts should be avoided for authentic peaceful culturalsocial relationships between India and Pakistan.
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Shazada Muntazir Mehdi and Dr. Prveen Akhtar Kallu. "Saba Akbarabadi and Thematic Threnodes(Marsiya)." Dareecha-e-Tahqeeq 4, no. 2 (July 5, 2023): 59–68. http://dx.doi.org/10.58760/dareechaetahqeeq.v4i2.120.
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Saba Akbarabadi is seen as a bright star in the sky of Threnodes. Although he is the author of more than three hundred ghazals, he is best known for writing naats and threonodes. Like Josh Malihabadi, Saba Akbarabadi embellished the Threnodes with modern themes and shaped the Threnodes into a poem that represents the literature of life. The themes that Saba has included in the theranods and discussed their importance and nature in a poetic, philosophical and intellectual manner, this kind of creation is rarely seen in Urdu theranods. Among the themes that Saba chose are wind, dust, humans, migration, life, insight and vision etc. Saba has linked these themes to Karbala. These themes are rarely discussed in the genre of Theranods. By the end of the 20th century, threnodes were dying out. Saba made Threnodes a part of scientific and philosophical discourse to go beyond lamentation to facts and this is his great achievement.This article is a key attempt to explore themes of the Threnodes of the Saba Akbarabadi.
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Dr Wasim Abbas Gul, Rashid ul Haq, and Hina Naseem. "A CRITICAL REVIEW OF THE GHAZAL OF JOSH MALIHABADI." Tasdiqتصدیق۔ 4, no. 2 (December 30, 2022): 55–70. http://dx.doi.org/10.56276/tasdiq.v4i2.108.
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Josh Malih Abadi's name has a unique place in the history of Urdu literature as a shining and brilliant chapter in terms of poetic aspects and creative energy. While Josh is a poet with a lively heart and mind and an open eye. With its free nature and a vast sea of words and phrases. Like the great poets, his style of using words and phrases is unparalleled and unique, and his great place in Urdu poetry is established with all distinctions. Josh wrote modern and ancient Ghazal like Hali and if there is anything wrong with the Ghazal, he tried to write it in a new style. It is as if Josh claimed to have included glorious subjects in the Ghazal, leaving out the general themes. Due to this effort, the new style of Ghazal has more resemblance to the poem. However, this ode-like Ghazali also has its own style and it has a very deep color of the individuality of passion. If think about it, in the Ghazal of passion, you can see beautiful and intoxicating performances about the beauty of the beloved, the colorful and charming nature of attractive nature, and the head of pleasure and fun.
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Dr Muhammad Qasim. "LOVE SONNETS OF GHALIB." Tasdiqتصدیق۔ 5, no. 01 (July 12, 2023): 1–9. http://dx.doi.org/10.56276/tasdiq.v5i01.166.
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"Love Sonnets of Ghalib" is the first and most complete translation of Dewan Ghalib, in which not only the words of Ghalib are translated, but also the description, explanation, phrasing, and translation are specially arranged. This translation is superior to Yusuf Hussain Khan's translation in the sense that it has taken care of all the matters that need clarification, which will help in the interpretation and clarification of Ghalib's thoughts.
"Urdu Ghazals of Ghalib" was the first organized attempt to properly highlight Ghalib's poetry globally. Which is mentioned by Yusuf Hussain Khan in the foreword And Dr. Abida Begum has mentioned more or less the same thing in the preface, But the fact of the matter is that in this Endeavor, those matters which were necessary for the communication of Ghalib's thought him to non-native environment and civilization were not taken into consideration. However, in "Love Sonnets of Ghalib" a conscious attempt has been made to interpret and evaluate Ghalib's thoughts and ideas. This is a complete translation of Ghalib's popular Diwan. Many examples of Sadeqain's painting are also seen. It was first published in translation in 2002 by Rupa & Co, New Delhi. Its translator is Sarfraz Niazi (1), who is the grandson of Allamah Niaz Fatehpur. Mr Niazi has also informed in the foreword that till now no reliable and authentic translation of Kalam-e-Ghalib is available. That is why the translator chose the way to adopt the literal translation and explain this translation. Here, the poem is translated in two lines only. In determining the value of this translation, some examples will be presented as to how and at what level the translator has represented Ghalib's words and whether all these aspects of Ghalib's interpretation are just due to Sarfaraz Niazi's own efforts. Or someone else's colour is also reflected in these strange images.
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Major Dr. Irshad Ali and Ateeq Nwar. "Yusuf Hussain’s Role in Critical Interpretations of Urdu Ghazal." DARYAFT 15, no. 02 (December 26, 2023): 29–40. http://dx.doi.org/10.52015/daryaft.v15i02.373.
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Yusuf Hussain was proficient in different languages. His criticism also holds a prestigious position in Urdu literature. His book "Urdu Ghazal" is regarded as a complete addition to Urdu criticism. In this book, he has thoroughly reviewed all aspects of Urdu Ghazal along with a complete analysis. Although the basic reality of ghazal has not been affected much, there have been equal changes in the style of Urdu ghazal. He is a supporter of classicism in ghazal and in his opinion, the main motivational elements of ghazal are passion and imagination, due to which the heart is filled with joy and excitement. Like other critics and poets, he is also convinced of love in Urdu ghazal. It has been solved in a critical manner. In his opinion, creation is not possible without grief, so the colour of Sufism is also dominant in Urdu Ghazal. His special thing is that he has presented his arguments and critical ideas in an effective manner without finding flaws in the criticism of others, that is why he is known as a reliable critic.
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Mirza Hamid Baig. "A Progressive Poetic Tradition and the Ghazal." DARYAFT 15, no. 01 (June 22, 2023): 10–29. http://dx.doi.org/10.52015/daryaft.v15i01.332.
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This article explores the intersection between the Progressive poetic tradition and the ghazal. The Progressive movement, known as "Taraqi Passand" in Urdu, emerged as a literary movement in the 20th century, aiming to challenge conventional poetic norms and embrace new ideas and social realities. While the ghazal traditionally revolved around themes of love, longing, and beauty, the Progressive poets sought to expand its boundaries and infuse it with socio-political relevance. This article delves into the historical context of the Progressive poetic tradition, highlighting its goals of addressing social injustices, advocating for political reform, and amplifying the voices of marginalized communities. By incorporating these concerns into the ghazal, the Progressive poets transformed the traditional form into a powerful tool for social commentary and critique. Furthermore, this article discusses the thematic evolution of the ghazal within the Progressive tradition. It explores how the poets expanded the traditional themes to encompass issues of inequality, poverty, discrimination, and the challenges of modernization. By doing so, the Progressive poets widened the scope of the ghazal and made it a reflection of the changing times and the evolving concerns of society. Through an exploration of the blending of the ghazal's structural framework with progressive ideas, this article emphasizes the significant role played by the Progressive poets in shaping the modern Urdu literary landscape. By infusing the ghazal with socio-political perspectives, they brought depth, diversity, and relevance to the traditional form, and in turn, opened new possibilities for poetic expression. In summary, this article highlights the symbiotic relationship between the Progressive poetic tradition and the ghazal, showcasing how the poets of this movement used the form to convey their socio-political concerns and contribute to the broader discourse of their time.
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Bader, Dr Qandeel. "Urdu Ghazal’s Initial and practiced forms in Baluchistan." DARYAFT 15, no. 02 (December 26, 2023): 12–28. http://dx.doi.org/10.52015/daryaft.v15i02.374.
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In Baluchistan, the inception of Urdu poetry was delayed compared to other major literary centers of Urdu. There are several important reasons for this, which, along with the unfamiliarity of this remote region with Urdu as a language, the unavailability of chronological links from a research point of view bears specific importance. According to the known facts, the first voice of Urdu poetry was Mulla Muhammad Hassan Brahui; even after him, this region's poetic journey seems to have been divided into large time gaps. This paper presents an analytical study of Urdu Ghazal, which was created in Baluchistan until the establishment of Pakistan. These initial relics of Urdu Ghazal in Baluchistan are not more than practiced forms, so they mostly fail to present a high specimen of creativity. However, under the influence of this poetic capital, this tradition of Urdu Ghazal got strengthened here in Baluchistan, and afterward, through this route, high and unique features of Urdu Ghazal appeared here, which can be proudly compared to the overall Urdu Ghazal.
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Prigarina, Natalia I., and Ludmila A. Vasilyeva. "The first ghazal of the Divan of Ghalib." Orientalistica 4, no. 5 (December 27, 2021): 1323–51. http://dx.doi.org/10.31696/2618-7043-2021-4-5-1323-1351.
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The article offers a multi-dimensional analysis of the first ghazal from the Urdu Divan by the Indian classic poet Mirza Ghalib (1797–1869). Ghalib wrote in two languages – Urdu and Persian, but it was the completion of the Urdu Divan that made him a great poet. The article presents the history of the creation and publication of the Divan, as well as discusses its sources. The authors focus on the complexity of the style and the richness of poetic themes, images and writing techniques. They also discuss the Sufi component of the first ghazal of the Divan, thus highlighting the poetics of the ghazal. The “opening” ghazal, which is placed at the beginning of a divan usually takes over the function of the hamd, i.e. the eulogy to the Creator, which is typical for a traditional introduction to a large poetic form. However, in Ghalib’s ghazal, this praise comes in a paradoxical form, which is caused by Ghalib`s high criteria of humanism and dignity. The analysis of the first ghazal helps in many ways to understand the creative credo typical for all of Ghalib's poetry, as well as the difficult path the poet had taken, while continuously improving his art of “hunting” for a poetic word. The ghazal is discussed in the context of Ghalib’s other Urdu and Persian poetry, as well as of Sufism that prevailed in India of Ghalib’s time.
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Dr Irfan Ahsan Pasha, Dr Saira Irshad, Dr Asia Rani, and Memoona Sehar. "NEW FORMS OF MODERN GHAZAL." Tasdiqتصدیق۔ 4, no. 01 (June 30, 2022): 130–46. http://dx.doi.org/10.56276/tasdiq.v4i01.97.
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Every genre of literature transforms with time by the means of form and content. Ghazal is the most popular and form-based genre of Urdu Literature. Though very confirmed and defined in its structure and form, Ghazal has also changed its structure and form with time. Especially in the twentieth and twenty-first centuries, when new experiments are being performed particularly with the casting of this ancient kind of literature, Ghazal underwent many transformations in the name of modernity. This article encompasses these changes and modernization of Urdu Ghazal in the contemporary era and near past.
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Kanwal, Samreen. "Urdu Ghazal Tradition in Blue Bar." Makhz 2, no. I (March 31, 2021): 117–28. http://dx.doi.org/10.47205/makhz.2021(2-i)9.
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Razzak, Shazia. "The Mystical echoed of Love in Urdu Ghazal." Makhz 2, no. II (June 30, 2021): 283–96. http://dx.doi.org/10.47205/makhz.2021(2-ii)24.
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Dr Rabia Zafar. "The Aesthetics of Hassan Shouqi." Dareecha-e-Tahqeeq 1, no. 2 (March 21, 2022): 19–29. http://dx.doi.org/10.58760/dareechaetahqeeq.v1i2.10.
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After the fall of the Bahmani Empire, it disintegrated and five kingdoms came into existence which included Adil Shahi, Qutb Shahi, Nizam Shahi, Barid Shahi and Emad Shahi. With the exception of Qutub Shahi and Adil Shahi empires, all the other empires fell into decline. In Shouqi's ghazal, the basic and basic aesthetic elements of Urdu are related to the aesthetic tradition of Persian, but at the same time, matai effects. In Hassan Shouqi's ghazal, the basic and basic aesthetic elements of Urdu are connected with the Persian aesthetic tradition, but at the same time, local influences are also noticeable. In short! Hassan Shouqi's poetry contains elements of Iranian and Indian aesthetics which is the hallmark of that era.
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Mukhia, Harbans. "The Celebration of Failure as Dissent in Urdu Ghazal." Modern Asian Studies 33, no. 4 (October 1999): 861–81. http://dx.doi.org/10.1017/s0026749x99003522.
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Recent years have brought a spate of serials centred on the theme of Urdu ghazal to the Indian television screens. The image of the ghazal in these serials is one of a kind of rhymed verse sung by courtesans in their ‘kothas’ (residence-cum-performance locales), under the appreciative eye of the poet, and often lustful eye of a decrepit zamindar whose purse is heavy but judgement is light. The singing is accompanied by some dancing, a few musical instruments being played by the courtesan's hangers-on, and unceasing rounds of liquor. The ambience in which the performance is enveloped is meant to convey what modern sensibilities would construe as decadence.
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Yasmin, Rubina. "Romantic Elements in Urdu Ghazal of Muhammad Jaan Atif." Makhz 1, no. II (June 30, 2020): 72–79. http://dx.doi.org/10.47205/makhz.2020(1-ii)6.
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Begum, Irshad. "A Historical Evaluation of Urdu Ghazal Since Beginning to Partition." Makhz 2, no. I (March 31, 2021): 219–31. http://dx.doi.org/10.47205/makhz.2021(2-i)16.
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Bhat, Abdul Manan. "Future’s Moving Terrains." English Language Notes 61, no. 2 (October 1, 2023): 23–38. http://dx.doi.org/10.1215/00138282-10782054.
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Abstract This essay shows how the Islamic Persianate poetic tradition is a critical conceptual resource for imagining futures in which poetry is a technology of congregation through which futures are postulated, negotiated, and lived. The essay engages the multilingual poetic milieu of Kashmir (Urdu, Persian, and Kashmiri) in the first half of the twentieth century, offering an inaugural analysis of the itinerant nature of Persian, Urdu, and Kashmiri poetry in relation to the form of ghazal and its consequences for future making. Kashmiri poets and critics, in poetry as well as prose, made prominent contributions to the literary and political debates about the purposes and potentialities of poetry as a socially aware public form in an anti-imperial context, a theme that animated multiple Urdu and Persian literary circles from the 1930s.
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Arsalan, Muhammad, and Dr Sumaira Akbar. "The Hamidi Kashmiri as Critic of Ghalib." Noor e Tahqeeq 7, no. 03 (October 7, 2022): 41–56. http://dx.doi.org/10.54692/nooretahqeeq.2022.06031819.
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Hamidi Kashmiri is a Modern critic of Urdu literature specially Urdu Ghazal. He has studied Ghalib's thought and art with the critical insight and has recovered Ghalib's intellectual sources very well. Hamidi Kashmiri first book on Ghalib is “Ghalib kay Takhleeqi sarchasmay” that is publised in 1969. “Iqbal aur Ghalib” and “Ghalib Jahan-i-Deegar” are his two more books in which he discussed Ghalib;s poetry. In these books, qualitative, thematic, technical and stylistic reviews of Kalam-i-Ghalib have been presented. In this article Hamidi kashmiri;s views about Ghalib’s poetry has been presented.
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Prigarina, Natalia I., and Ludmila A. Vasilyeva. "Motif of paper garment in Ghalib’s and his predecessors’ verses." Orientalistica 4, no. 3 (October 12, 2021): 722–34. http://dx.doi.org/10.31696/2618-7043-2021-4-3-722-734.
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The article deals with matla‘ (first she‘r – two-line couplet – in a ghazal) of the first ghazal in the Divan by Mirza Asadulla-khan Ghalib (1792–1869) written in Urdu. One of the items usually commented there is the garment made of paper (kāġhażī peirahan). It used to be worn in ancient times by the complainers who appealed to the ruler. The range of complaints in the poetry of Ghalib as well as by other Urdu and Persian poets was wide, however, stable. “Wearing paper clothes”, the petitioner complained about the Almighty, the ill fate, a cruel girl, a lack of understanding of the petitioner’s poetry and the poor remuneration, and finally, about the poet himself, who “dressed” his poems in the paper. Тhese diverse situations form the elements of the literary motif as well as its context and are common in the Persian verses by the predecessors of Ghalib and also himself. Its analysis helps to understand all levels of meaning inherent in one of the most difficult-to-interpret texts by Ghalib.
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Qureshi, Regula Burckhardt. "Musical Gesture and Extra-Musical Meaning: Words and Music in the Urdu Ghazal." Journal of the American Musicological Society 43, no. 3 (1990): 457–97. http://dx.doi.org/10.2307/831743.
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This ethnomusicological inquiry into the text-music relationship assumes a broadly contextual perspective that encompasses, but goes beyond, traditional considerations of textual and musical structures with the aim of exploring the sources of meaning for what Edward Cone terms the "gestural character" of the musical utterance. The approach calls for making explicit the ideational framework as well as the performative function of a vocal genre, both of which inform the way its musical idiom serves to communicate a text in performance. The ghazal, subject of this case study, is the principal poetic form in Urdu; it is set to music in a number of related but distinct genres. Illustrated by a set of transcribed and translated examples, the analytical procedure first considers the text-music structure as a performance idiom that is subject to the cultural-historical background norms of Urdu poetry on the one hand and North Indian "light" music on the other. The second stage considers each particular genre in terms of its idiom's specific function in performance. The general conclusion is that music linked to ghazal poetry is structurally constrained by the text as performed, but that purely musical features articulate, and thus link, the text with the content of its performance. Hence ghazal music represents a synthesis of text and context in its embodiment of features drawn from both and expressed directly through a unique vocabulary of musical gestures.
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Dr. Aamar Iqbal and Dr. Mazhar Iqbal Kalyar. "Academic And Literary Services Of Daim Iqbal Daim "A Research Review"." Dareecha-e-Tahqeeq 3, no. 3 (January 16, 2023): 104–13. http://dx.doi.org/10.58760/dareechaetahqeeq.v3i3.55.
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This study highlighted the literary and poetry efforts of Daim Iqbal Daim. He spotted the love for his fields, hills, and plains in his poetry. He blended the traditions with new culture showing passion for patriotism and nationalism. Daim poetry consisted of Naat verses in all aspects with humbleness. Daim writings are in Urdu, Hindi, Punjabi and Persian on progressiveness with emphasizing on national, religious and ethical values. He also contributed in Naat, Manqabat and Karbala Nama. Daim translated the Persian writings into Punjabi and Urdu. His efforts and also in islamic preaching as well as efforts in Pakistan Movement. Daim Iqbal wrote on multifaceted in poetry including Naat, Poem, Ghazal, Songs, Kafi, C-Harfi, Translation, Elegy and storytelling.
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Dr. Ateeq Anwar and Dr. Muhammad Tahir. "Imdad Imam Asar And Classical Criticism Of Ghazal." Dareecha-e-Tahqeeq 3, no. 4 (February 22, 2023): 117–23. http://dx.doi.org/10.58760/dareechaetahqeeq.v3i4.90.
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Imdad Imam Asar wrote his book "Kashif Ul Haqaiq", in his book "Kashif Ul Haqaiq" Imdad Imam Asar has made Urdu poetry a subject like Hali, but his discussions are different from Hali. According to Imam Asar, the importance of natural poetry is unquestionable. Imdad Imam Asar says that natural language should be used in poetry. There should be moderation and proportion. Similes and metaphors should also be natural, exaggeration should be avoided. The description of various historical events and customs should be authentic. Scales of practical criticism have been formulated, mentioning all genres He has written a critical preface with explanations on Musnawi, Mursiyyah, Qaseedah, Vasukht, Qatah, Rabai, Masdus, and Ghazal.
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Petievich, Carla. "Gender politics and the Urdu ghazal: Exploratory observations on Rekhta versus Rekhti." Indian Economic & Social History Review 38, no. 3 (September 2001): 223–48. http://dx.doi.org/10.1177/001946460103800301.
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Iqbal, Hamza. "A Translation of Jaun Elia’s Preface of Shāyad." Journal of Urdu Studies 2, no. 2 (February 28, 2023): 159–216. http://dx.doi.org/10.1163/26659050-12340032.
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Abstract Arguably the most “popular” Hindi-Urdu poet today, Jaun Elia involuntarily migrated from his hometown of Amroha in 1957 and soon after started his literary and intellectual activities in the foreign sprawling landscape of Karachi. He served as an editor and publisher of a literary journal titled Inshā’, produced scholarly works, and translated important philosophical and theological texts from Arabic and Persian into Urdu. But Jaun’s most sincere investment remained towards the craft of poetry, particularly to the ghazal, which he wrote prolifically and recited routinely at local and international mushāʿarahs till his death in 2002. The dibāchah (prologue-essay) from his first poetry collection, Shāyad, that was published only when Jaun was approaching sixty, is a formidable—even if at times formally complex—example of modern Urdu prose. This translation of the prologue-essay is not only intended to introduce Jaun’s philosophical, ideological, and aesthetical influences to the broader English-speaking publics but also to provide an aperture to those symbolic flashes from the poet’s biography which he wished to share with his readers.
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Dr. Sadaf Ambreen, Dr. Bismina Siraj, and Ms. Nuzat Rauf. "NAZAR ABID’S NAATIYA POETRY." Tasdiqتصدیق۔ 4, no. 2 (December 30, 2022): 166–72. http://dx.doi.org/10.56276/tasdiq.v4i2.131.
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Naat is the versified poetry in honour of the Prophet of Islam, Muhammad (PBUH). From his famous companion Hassaan Bin Sabit till now every Muslim poet desires to write some verses in his honour. So Dr. Nazar Abid tried this. He compiled Berg-e-Naat. Dr. Nazr Abid has so far made Urdu ghazal a major source of his poetic expression, but now he is fortunate to be attracted to Urdu Naat as well. At the same time, it is a source of expression for various aspects of the Seerah. His collection of Natiya poetry. Berg-E-Naat was published in February 2022. This article presents a literal analysis of the dedicated poetry of Dr. Nazar abid with particular reference to its thought and artistic aspect of Naat. In which he showed his love through words.
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Ali, Anas, Muhammad Asif Javed, Hamza Shahzad, Abdul Majid Shahid, Shamoos Saqib, and Ayesha Malik. "Validation of Pedsql™ Duchenne Muscular Dystrophy Module (Acute Version 3.0), in Young Children (Age 5-7)." Pakistan Journal of Medical and Health Sciences 16, no. 7 (July 30, 2022): 482–84. http://dx.doi.org/10.53350/pjmhs22167482.
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Objective: The goal of this project was to accurately translate the “PedsQLTM 3.0 DMD” Module into Urdu and to assess its validity in health-related quality of life in the Duchenne muscular dystrophy (DMD)” children age 5 to 7 years reported by their parents. Method: The study was conducted with the parents/caregivers of DMD children in Rising Sun Institute, PSRD, Hope,Gosha e Shifa, Special gems, Ghazali Foundation Rawalpindi and DHQ hospital Jhang. Study was cross cultural validation including 56 primary care givers. First of all questionnaire of primary care giver was translated in Urdu by using forward translation, the second step was reconciliation of items; in this the best Urdu translation was selected. Backward translation was completed in the third phase, and a review was conducted to evaluate the full forward-backward procedure in order to produce a final forward translation. Validity & Reliabity were measured. To determine in the internal consistency Cronbach’s Alpha was used Test-Retest reliability was checked. Content Validity Index and Content Validity Ratio were measured through 5 experts. To analyze the collected data SPSS 26 was used. Results: The results showed that in both genders from age 5 to 7 years DMD affects the quality of life of child as reported by parents. The value of Cronbach's alpha was 0.913.After factor analysis KMO was 0.793 and because the p value was less than 0.05, the test was significant. Conclusion: Urdu version of “PedsQLTM Duchenne Muscular Dystrophy Acute Version 3.0(age 5-7) Parent report for young children” is a stable and consistent instrument for assessing quality of life measures of the DMD children and can be applied in Urdu speaking population throughout the world. Keywords: Duchenne Muscular Dystrophy, “PedsQL™ 3.0 DMD Module”, Urdu translation, validity, quality of life.
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Burney, Fatima. "Locating the World in Metaphysical Poetry." Journal of World Literature 4, no. 2 (June 10, 2019): 149–68. http://dx.doi.org/10.1163/24056480-00402002.
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Abstract Discussions on world literature often imagine literary presence, movement, and exchange in terms of location and prioritize those literary traditions that can be easily mapped. In many regards, classical ghazal poetry resists such interpretation. Nonetheless, a number of nineteenth-century writers working in Urdu and English reframed classical ghazal poetry according to notions of locale that were particularly underpinned by ideas of natural essence, or genius. This article puts two such receptions of the classical ghazal in conversation with one another: the naičral shāʿirī (natural poetry) movement in North India, and the portrayal of classical Persian poet Hafiz as a figure of national genius in the scholarship of Ralph Waldo Emerson. Both these examples highlight the role that discourses of nature and natural expression played in nineteenth-century literary criticism, particularly with regard to conceptions of national culture. They also demonstrate how Persianate literary material that had long circulated in cosmopolitan ways could be vernacularized by rereading conventionalized tropes of mystical longing in terms of more worldly belonging.
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Qureshi, Regula Burckhardt. "Musical Gesture and Extra-Musical Meaning: Words and Music in the Urdu Ghazal." Journal of the American Musicological Society 43, no. 3 (October 1990): 457–97. http://dx.doi.org/10.1525/jams.1990.43.3.03a00040.
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Sumera Perveen and Dr. Sadia Tahir. "Social Awareness In The Poem Of Majid Siddique." Dareecha-e-Tahqeeq 3, no. 4 (February 22, 2023): 16–21. http://dx.doi.org/10.58760/dareechaetahqeeq.v3i4.78.
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Nazm is a popular form of poetry in Urdu literature, especially in 20th century, this form got progress rapidly. Allama Iqbal geared up in such a way that this placed parallel to Ghazal. As modernism spread across the world, sub-continent also adopted it because this literary form had the capacity to narrate all matters of life. Progressive Writer Movement contributed a lot in this regard. After partition, in Pakistan “Nazm” as literary form took all problems of society as its subjects.
From Josh MalihAbadi to Faiz Ahmad Faiz and from Noon Meem Rashid to Meera Jee many poets portray the real picture of their era. Majid Siddiqi is renown poet of 20th century. In the decade of seventy, he started his poetry as Ghazal-go poet but soon he chose “Nazm” to cover all matters of society. He painted the true pictures of individual and collective living through his art. In this article, efforts have been made to point out social anxiousness in his Nazm.
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Dr Ghulam Rasool Khawar. "AN REVIEW OF THEATRE'S SERVICES IN THE PROMOTION OF URDU COUPLETS." Tasdiqتصدیق۔ 4, no. 2 (January 4, 2023): 116–26. http://dx.doi.org/10.56276/tasdiq.v4i2.111.
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Doha is something like “Matla” –an opening couplet 0f a ghazal- characterized by spontaneity set in a particularly simplistic and pastoral life. Both of its lines rhyme with each other and they balance in weight. Doha enjoys a peculiar field of relevance. A definite form, specific inference, and dedicated language make integral parts of a Doha. This beautiful genre of literature flourished in the hands of religious enthusiasts like Sofis, Sunnats, and Sadhus. However, this progress of Doha is heavily indebted to an all-times-active institution of our society called theatre proper. Starting right from “Inder Saba” by Amanat to the works of Agha Hashar Kashmiri, we find indelible traces of Doha in these works. This article sifts out those traces of Doha in the works of our illustrious Dramatists. Besides a brief history of Urdu Theatre, this article will afford a short introduction to the great veterans whose works will be discussed here in Literature for Children. It made the history of children’s literature.
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قاضى, عمر فاروق عباس. "الغزل الأردي : نماذج من شعر أسد الله الغالب الدهلوي Urdu Ghazal: Specimens From Ghalib’s Poetry." مجلة کلية دار العلوم – جامعة الفيوم 64, no. 2 (June 1, 2023): 231–60. http://dx.doi.org/10.21608/mkdaf.2023.239257.1120.
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