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Journal articles on the topic 'Urdu poetry'
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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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Pasha, Irfan. "Terrorism in Modern Urdu Poetry." Makhz 1, no. I (March 31, 2020): 13–23. http://dx.doi.org/10.47205/makhz.2020(1-i)2.
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Nasir, Zayana. "Female Voice in Urdu Poetry." Orientalistica 4, no. 3 (October 12, 2021): 758–67. http://dx.doi.org/10.31696/2618-7043-2021-4-3-758-767.
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This essay aims at understanding the development and struggles of a ‘female voice’ within Urdu poetic tradition through the writings of women poets of the Nineteenth century in contrast to the women poets of the twentieth-century feminist movement. The women in traditional Urdu poetry have remained a silent cruel beloved, the image offered is that of a ‘feckless beloved, endowed with heavenly beauty, reigned: fair to face, doe-eyed, dark hair, tall and willowy, a woman who vacillated from indifference, shyness and modesty to wanton cruelty. The essay is an attempt to understand the level of autonomy of the female voice in the poems of women poets through the years. To portray the development of a feminine expression in Urdu poetry the paper will be ranging from the poems of tawaifs (courtesan) of the eighteenth century like Mah Laqa Chanda, their attempts to acquire a place within the patrilineal Urdu literary tradition; the rekhti tradition where men wrote poems in a female voice, to the twentieth century feminist poets like Kishwar Naheed and Fehmida Riaz. The paper is based on Hakim Fasihuddin Ranj’s anthology ‘Baharistan-i-Naz’ which provides a brief yet important introduction on the status of various tawaif poets within the Urdu literary circle; Rahat Azmi’s Halat-i-Mah Laqa, a biographical work on the life and works of Mah Laqa Bai Chanda; and Rukhsana Ahmad’s ‘We Sinful Women’, a compilation of the original and translated works of feminist women poets of twentieth-century Pakistan. Various secondary sources have been used to understand the dynamics behind the writing style of these poets and how similar terms came to be used for portraying completely distinct themes.
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Liaqat, Qurratulaen, and Amra Raza. "Diasporic Intertextual Musings: The Relevance of Classical Urdu Poetry to Contemporary Pakistani Situation in Nadeem Aslam’s The Golden Legend." NUML journal of critical inquiry 18, no. I (June 1, 2020): 47–63. http://dx.doi.org/10.52015/numljci.v18ii.125.
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Anglophone literary works usually refer implicitly or explicitly to the culture, language and literature of authors’ native lands. Nadeem Aslam is one such author who makes explicit use of native language and literature in his fiction. Most of his works refer to classical Urdu poetry, phrases and extended adjectives to embellish as well as celebrate the rich legacy of the classical Urdu poetry tradition. Thus, intertextuality is a predominant feature of Aslam’s latest novel, The Golden Legend (2017). It is is not only an intertextual narrative but also an intercultural and inter-linguistic text because it incorporates popular classical Urdu poetry’s diction, metaphors and symbols. Aslam employs old poetic expressions and connects them to specific contexts of the characters in his novels. For instance, Urdu expressions like zamana and chaaragar are of special importance in the narrative structure of the novel. Moreover, the spatial structures of ‘garden’ and ‘Cordoba Mosque’ connect this text with classical Urdu literary tradition. Additionally, the English translations of many Urdu verses enrich the implied meanings of this novel. This study conducts a hermeneutic textual analysis of Aslam’s novel according to the theoretical frameworks of ‘intertextuality’ proposed by Julia Kristeva and Gerard Gennette. This paper contends that the use of Urdu language and literature is not random but a deliberate narrative technique that demonstrates the relevance of Urdu classical poetry to the contemporary socio-political situation of Pakistan. The Golden Legend illustrates the continuing relevance of Urdu classical poetry for present-day Pakistan and forges a new literary tradition of Urdu inspired poetic-prose in the mainstream contemporary Anglophone fiction.
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Amjad Shabbir. "Literature And Sociolinguistics: A Stylistic Study Of Modern Urdu Poetry In The Context Of English Diction." Dareecha-e-Tahqeeq 4, no. 1 (March 22, 2023): 1–8. http://dx.doi.org/10.58760/dareechaetahqeeq.v4i1.97.
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This study delves into the use of English Diction in modern Urdu poetry and its impact on the stylistic context. The research focuses on selected poets and their incorporation of English words and phrases into their Urdu poetry. The study aims to understand how this inclusion affects the literary style and meaning of the poetry. It also explores the sociolinguistic implications of this phenomenon on the Urdu language and the relationship between the poets and their audience. This article aims to explore the stylistic implications of this trend through a stylistic analysis of the selected Urdu poets: Asad Muhammad Khan, Iftikhar Jalib, Salim-ul-Rehman, Akhtar Usman, Azra Abbas, Afzal Ahmed Syed, Zahra Nagah, Parveen Shakir, Zee Shan Sahil, Naseer Ahmad Nasir, Ali Muhammad Farshi, Waheed Ahmad, Rawish Nadeem and Arshad Meraj. The influence of English on Urdu can be seen as a reflection of the increasing globalization and Westernization of Pakistani society. The poets included in this study represent different generations and come from different parts of Pakistan, but they all share a common experience of growing up in a society that is increasingly exposed to English. The stylistic implications of the use of English Diction in Urdu poetry are varied and complex. On one hand, it can be seen as a way of enriching the poetic language, bringing new nuances and connotations to the Urdu lexicon.
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Muhammad Saeed Ahmad and Dr Saeed Ahmad. "Modern Urdu Poetry and Contemporary Requirements." Tasdiqتصدیق۔ 2, no. 1 (December 30, 2020): 42–49. http://dx.doi.org/10.56276/tasdiq.v2i1.17.
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The contemporary needs, demands, and challenges and their impact on our modern poetry are very pertinent to mention here that contemporary consciousness is very necessary for modern poets and poetry. Challenges of the modern era and contemporary consciousness are the main sources to impress the mind and soul of the Creator and such literature plays a significant role in society. The poets realize, analyze and judge the surrounding issues of their era and discuss them in their poetry. Succinctly we can say that the contemporary demands and challenges have a deep impact on modern poetry.
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Muniba Saeed, Amnah Moghees, and Saima Abbas Dar. "Sense and Feel." Linguistics and Literature Review 4, no. 1 (March 30, 2018): 41–55. http://dx.doi.org/10.32350/llr.v4i1.276.
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Translation of poetry is a hard nut to crack. Especially, when it is loaded with cultural connotations. Beyond any doubt, translation demands linguistic and cultural skills from a translator to express meanings. Hence, the process of translation becomes challenging when both the source language and the target language belong to two different language families. The present study explores the linguistic challenges faced by translators when translating Faiz Ahmad Faiz’s Urdu poetry into English. The researchers have found that translating Urdu metaphorical expressions and compound words used in Faiz’s Urdu poetry is near to impossible as these expressions are rooted in specific cultural, social, political and historical backgrounds.
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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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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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Dr Ali Kavousi Nejad. "Prose Translations of Ghalib’s Persian Poetry." Tasdiqتصدیق۔ 3, no. 01 (September 27, 2021): 1–19. http://dx.doi.org/10.56276/tasdiq.v3i01.56.
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Mirza Asadullah Khan Ghalib is amongst the most eminent poets & writers of India. His poetry & letters, both in Persian & Urdu, remain a significant part of India’s literary history. Ghalib not only proved his command in Urdu poetry but also showed his abilities and mastery in Persian verse. He was proud of his Persian poetry and is rightfully considered amongst the most prominent Persian poets of his time. Many translators and critics have attempted to translate & write commentaries on his Persian poetry, both in prose and versified. Amongst these critics & translators, several individuals had the potential of taking forward the translations of Ghalib’s Persian Poetry into Urdu and produced many notable translations. In This study, we shall first introduce their translations and then present a comparative analysis of their prose translations to determine which translator was more successful in terms of considering all the minute textual details.
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Shaheen, Dr Wajeeha, and Dr Qamar Abbas. "Dr. Tahir Taunsvi’s Composition of Poems." DARYAFT 15, no. 01 (June 22, 2023): 69–86. http://dx.doi.org/10.52015/daryaft.v15i01.308.
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Dr. Tahir Taunsvi is a distinguished researcher, critic and poet of Urdu language and literature. The most important aspect of his literary work is based on research and criticism. He made useful contributions in the field of Urdu poetry as well. His poetry book was published by “Bazam e Elam o Fun Pakistan” in 2001 AD. This book consists of impressive poems, poetics , “Hamd”, “Naat”, “Manqabat” and “Slaam”. His poems connect the readers to the tradition of Urdu poetry. It also reflects the modern themes and style. In his poems he expresses great love for Prophet Muhammad (PBUH), his sacred family and Islamic culture. His poems also reflect the themes of love, great human values and historical consciousness. In this article, the author has presented a brief evaluation of his poetry with reference to his poems.
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Muhammad Ahmed Awan and Abdul Khalique. "Representation Of Woman In Urdu Literature." MAIRAJ 2, no. 2 (January 2, 2024): 52–55. http://dx.doi.org/10.58760/mairaj.v2i2.22.
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In the early period of literature, the concept of woman was completely traditional i.e. she had an exhibition status. Early Urdu poetry consisted of imaginations. In which woman appears as a lover. Here, the woman was either a queen or a princess. If she was a maidservant, she was so beautiful that men fell down and fainted as soon as they saw her. In Urdu poetry too, the poets distorted the original form of woman. Here, woman were limited to the limits of lovers and prostitutes, thus, in Urdu poetry and literature, woman came to be seen as an unfaithful concubine and the most important source of luxury and sensual pleasure for men. There is no mention of a woman from an average noble family because even taking a woman's name was considered bad during that time. Western education changed the makeup of the Indian woman to some extent. She realized her inferiority. He realized for the first time that there was a world outside the home.
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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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Vasilyeva, L. A. "“Mir Taqi Mir”. A fragment from the History of Urdu Poetry “Water of Life” of Muhammad Husayn Azad." Orientalistica 3, no. 5 (December 29, 2020): 1437–49. http://dx.doi.org/10.31696/2618-7043-2020-3-5-1437-1449.
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The article is a translation into Russian of the chapter from the “Water of Life” by Muhammad Husain Azad (1830–1910). This is the chapter about the greatest Urdu poet Mir Taki Mir (1713/1723(?)–1810 AD). The critical work by Azad, the “Water of Life” is considered as the first history of Urdu poetry written in Urdu. Azad was the first to see in this phenomenon a continuous process. The periods in the development of literature are interlinked. Azad identifies five major periods of Urdu poetry and briefly describes each of them. His work comprises biographical facts, characteristics, vivid word-portraits of outstanding Urdu poets and colourful historical anecdotes associated with them. The “Water of Life” had a very significant impact on contemporaries of Azad, as well as on the further development of literary-critical thought in Urdu. It set the standard for literary criticism for many decades. “Water of Life” had a significant impact on contemporaries, as well as on the further development of literary-critical thought in Urdu. It set the standard for literary criticism for many decades to come. Regardless that some historical dates and literary facts, as well as some important generalizations of the author, seem today at least controversial, still many Urdu literati and critics even nowadays fully rely upon the evaluation and criticism of famous poets as given by Azad.
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Dr Irum Saba and Dr Sanam Shakir. "CONTEMPORARY URDU POEM & CHAOS." Tasdiqتصدیق۔ 4, no. 2 (December 30, 2022): 98–107. http://dx.doi.org/10.56276/tasdiq.v4i2.113.
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Problems and challenges of the modern era are the main sources to affect the human mind and soul. A poet is a sensitive person in society, he realizes, analyzes, and judges the issues of their era and these topics became a pivotal part of their poetry. Literature has a deep relation with society. The major expression found in Urdu poems is anger, grief, and distress over the devastation and destruction in Pakistan and all over the world, especially in the Islamic world. There is always a fear of 3rd world war which fills the mind with terror and a sense of insecurity that prevails around the globe. Realities have been vigorously launched in Urdu poetry. The contribution of modern-era’s poets is tremendous in this regard that how they portrayed the present state of mind of modern man in their poems.
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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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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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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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Umar Khan Awan and Dr. Saima Nazir. "The Beginning And Trend Of Vagueness In Urdu Poetry." Dareecha-e-Tahqeeq 4, no. 4 (December 31, 2023): 20–23. http://dx.doi.org/10.58760/dareechaetahqeeq.v4i4.144.
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In this research paper, an attempt has been made to understand the beginnings of ambiguity in modern Urdu poetry and to understand it as a phenomenon. The ambiguous narrative of the modern poem has been debated in the literary world for decades. In the movement of linguistic formations that started in the sixties, an attempt was made to express a new poetic expression by completely deviating from the tradition. The intellectual and stylistic changes in poetry during this period gave rise to serious problems of ambiguity in modern poetry. The movement of linguistic formations died out within a few years after its failure, but the trend of ambiguity in poetry continued. Therefore, the trend of vagueness has been studied under the intellectual degeneration in the contemporary situation. In this regard, the impact of European literary trends and modern socio-linguistic ideas on Urdu poetry has also been examined.
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Dr. Iram Saba and Dr. Fahmida Tabassum. "The Feminist Urdu Poem And Feminism After The Creation Of Pakistan." Dareecha-e-Tahqeeq 3, no. 3 (January 16, 2023): 283–95. http://dx.doi.org/10.58760/dareechaetahqeeq.v3i3.73.
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Urdu women poets are categorized as per the different strands of feminism and forms of women’ consciousness, the notion of sisterhood and the feminist methodology of consciousness raising in the poetry of women.Urdu poets have been explored. In Urdu Poetry here is countless prominent name (i.e Ada Jafri, Zahra Nigah, Sara Saghufta, Parveen Shakir, Fehmeda Riaz and Kishwar Naheed) among the female writers who are flag bearer of feminism and their poems offer a new metaphors and symbols borrowing from feminist thought and a hybrid Islamicate culture.
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Suzuki, Takeshi. "The Concept of habab in Urdu Poetry." JOURNAL OF INDIAN AND BUDDHIST STUDIES (INDOGAKU BUKKYOGAKU KENKYU) 34, no. 1 (1985): 134–43. http://dx.doi.org/10.4259/ibk.34.134.
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Suzuki, Takeshi. "The Concept of sharab in Urdu Poetry." JOURNAL OF INDIAN AND BUDDHIST STUDIES (INDOGAKU BUKKYOGAKU KENKYU) 36, no. 1 (1987): 292–99. http://dx.doi.org/10.4259/ibk.36.292.
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Petievich, Carla. "Rekhti: Impersonating the feminine in Urdu poetry." South Asia: Journal of South Asian Studies 24, sup001 (January 2001): 75–90. http://dx.doi.org/10.1080/00856400108723437.
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Hashmi, Alamgir, and Mahmood Jamal. "The Penguin Book of Modern Urdu Poetry." World Literature Today 62, no. 1 (1988): 187. http://dx.doi.org/10.2307/40144266.
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Jain, Sushil, and Rukhsana Ahmad. "We Sinful Women: Contemporary Urdu Feminist Poetry." World Literature Today 66, no. 3 (1992): 585. http://dx.doi.org/10.2307/40148585.
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Shamsie, Muneeza. "Urdu poetry, 1935–1970: The progressive episode." Journal of Postcolonial Writing 55, no. 5 (August 15, 2019): 725–26. http://dx.doi.org/10.1080/17449855.2019.1636556.
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Dr. Abdul Wajid Tabassum and Sadia Aziz. "Iqbal's Concept Of Shaheen: Historical Perspective( In the eyes of Saleem Ahmed)." Dareecha-e-Tahqeeq 2, no. 3 (March 21, 2022): 95–102. http://dx.doi.org/10.58760/dareechaetahqeeq.v2i3.22.
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Salim Ahmad is a renowned Urdu poet, essayist and critic of Urdu literature. He is famous for his creative writings in which he analyzes the classical poets in different ways. One can disagree with his point of view but his questions can not be denied which he raises about the poetry of Meer,Ghalib,Hali and Iqbal.Iqbal is his favorite poet. In his writings and poetry we can see the influence of Iqbal’s poetry and thought. He has written the book “ Iqbalakshair” in which he has raised many questions about the poetry and thought of Iqbal. This book is considered to be the most controversial in the history of Iqbal studies. The article is also a critical review of one of the essays of Salim Ahmad’s “ Iqbal ka aksharikardar—shaheen” included in his book “ Iqbal akshair
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Dr. Arshad Mahmood Nashad. "Modern Publication Of "Kuliyat-i Mohsin Kakurvi": Review And Trial." Dareecha-e-Tahqeeq 4, no. 4 (December 31, 2023): 1–19. http://dx.doi.org/10.58760/dareechaetahqeeq.v4i4.143.
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Na’at is a distinguished poetry genre of Urdu literature. It started from the early days of Urdu poetry, but the early Na’at of Urdu could not get a gender identity despite the devotion and respect. Mohsin Kakurvi is the first poet of na’at who gave formal gender identity to na’at. His entire Na’atiya poetry was compiled by his worthy and scholarly son Maulvi Nurul Hasan. This Kulliyat was first published in 1905 after the death of Mohsin Kakurvi. Subsequently, a couple of photocopied editions were published. Despite this, it was always in demand but its availability remained difficult.Recently, a well-known publishing house of Karachi, "Rang-e-Adab Publications" has presented its modern publication, which is compiled by Riaz Nadeem Niazi. The editor has done this work of editing in a very quick and hasty manner due to which the form of Mohsin Kakurvi's poems has been distorted and many mistakes have been added. This article examines this modern publication and examines it by pointing out its errors and changes.
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Abdullatif, Noor Isa, and Isra Hashim Taher. "The Old Vs. New Indian Culture in Anita Desai's In Custody." Al-Adab Journal 3, no. 142 (September 15, 2022): 47–58. http://dx.doi.org/10.31973/aj.v3i142.3829.
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Anita Desai (1937- ) is a contemporary Indian novelist, short story, and children's books writer. She introduces psychological novels to India. Her works are highly symbolic. In her novels, she discusses cultural themes like the clashes of Eastern and Western cultures and the conflicts between Indian cultures and religions. In In Custody (1984), she discusses many cultural themes focusing on the death of the old valuable culture of India after Partition and the birth of a new culture.
In In Custody (1984), Desai depicts the changes that India has witnessed in post-colonial period. She focuses on the ruined ancient Indian culture which has been replaced by a new materialistic one at the hands of the British colonization. She concentrates on the death of art and poetry specially the death of Urdu poetry and language which are associated with the glorious culture once India had in the past. Deven, the protagonist, whose ambition is to be a great poet in Urdu is forced to teach Hindi instead of Urdu which is rarely used. The novelist narrates the journey of Deven who struggles to revive Urdu poetry by interviewing the famous Urdu poet, Nur. Deven faces many obstacles during his journey. These obstacles are represented in the change India has witnessed and in the change of people's motives and mentality. The paper discusses the influence of the Partition and the British colonialism on the Indian culture and the change India witnessed due to the Partition between Muslims and the Hindus.
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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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Akbar, Dr Sumaira, Dr Abdul Aziz Malik, and Dr Rabia Sarfraz. "Services of Radio Pakistan in the Promotion of Urdu Language & Literature." Noor e Tahqeeq 7, no. 03 (September 26, 2023): 19–29. http://dx.doi.org/10.54692/nooretahqeeq.2023.07032021.
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Radio is one of the most amazing and effective inventions of the last century. Radio Pakistan came into being with the independence of Pakistan in 1947. From the very beginning, Radio Pakistan made many efforts for the promotion and development of Urdu language, consciously and unconsciously. Urdu programs were started from Radio Pakistan to acquaint people with Urdu language. Later, Urdu experts were hired to correct the accent and pronunciation of Urdu language. The services of Radio Pakistan are very important in popularizing Urdu poetry through music. Drama is an important genre of literature and radio played an important role in bringing and popularizing Urdu drama to the masses. Many radio dramas of Radio Pakistan were later published in book form and proved to be an important addition to Urdu literature. Another important service of Radio Pakistan in relation to the promotion of Urdu language and literature is the publication of the Urdu radio magazine "Ahang". "Ahang" is the only Urdu magazine of Pakistan which has been continuously published since 1948. In short, services of Radio Pakistan for the promotion of Urdu language and literature have been assessed thoroughly.
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Dr Rizwana Naqvi. "MASOOD SAAD SALMAN." Tasdiqتصدیق۔ 4, no. 2 (December 30, 2022): 173–95. http://dx.doi.org/10.56276/tasdiq.v4i2.123.
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Masood Saad Salman was a great but unfortunate poet of Lahore. He saw the ruling period of six Ghaznvi sovereigns but passed almost 20 years of his life in prison faultlessly. Masood was a genius of his era who suffered a lot of adversities but didn’t give up, rather than these calamities embellished his art. His ancestors were related to Afghanistan & Middle East but he was born in the lap of Punjab’s heart the ‘Lahore’ so feels like an amorous & loving son of this soil in his poetry. He was the choicest poet of encomium (Qaseeda) yet he has practiced in all pieces of poetry but his afflicted odes which are called ‘Jassiyat’ are masterworks. His encomium and ‘Jassiyat’ are not only a masterpiece of poetry but also become authentic sources of history by their chronology, another special aspect of these ‘Jassiyat’ is the love for r homeland where the poet pulsator like Blackbird in the detachment of his homeland Lahore. His poetry has such artistic qualities that it has bewitched not only the east but western poets & critics are also admirers of him especially prof Brown and Eliot who have translated his poetry and written books on his great art. In Urdu literature he has considered the foremost poet of the Urdu language on the account of Mohammad Oofi and Ameer Khusro however his Urdu Deewan is not available. This article throws light upon the life and art of Masood Saad Salman.
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Muhammad Jahanzaib, Samina Ashraf, and Ghulam Fatima. "Awareness Level of Visually Impaired College Students about Urdu Poets and Poetry in Punjab: A Qualitative Inquiry." Journal of Business and Social Review in Emerging Economies 6, no. 3 (September 30, 2020): 1151–55. http://dx.doi.org/10.26710/jbsee.v6i3.1380.
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Language has been the most popular source of communication in human society since the start of civilization. The tradition of Folk Tales appeared as the foundation of literature in ancient times. Poetry is a significant way of expression in human literature. Urdu language possesses uncountable master pieces of prose and poetry. Visually impaired persons have proved themselves as literature lovers, good readers and visionary poets in past and present. This study is an effort to depict the awareness level of visually impaired college students about Urdu poets and their creations. The population of the study consisted of all visually impaired students enrolled in public and private sector colleges located in the district Lahore and Okara. A self developed and validated structured interview schedule containing 10 open ended questions was used to collect data from conveniently selected sample of 30 visually impaired students (males= 18, females=12). Descriptive statistics (percentages of responses) were calculated, collected information was coded; major themes were derived and interpreted by qualitative data analysis technique. The Study reflected that the visually impaired college students were having a lot of information about Urdu poets and their creations although there seemed a lack of in depth knowledge. They reported the lack of talking books and material in Braille on Urdu poetry of great and famous poets. They suggested the establishment of talking libraries throughout the country. Major findings were reported, conclusions were drawn and recommendations were made to Punjab Higher Education Department.
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Raza, Attif, Bakht Munir, and Ekaterina Gavrishyk. "Aligarh Movement: The Torchbearer of Modern Trends in Urdu Literature." Global Language Review VII, no. IV (December 30, 2022): 99–108. http://dx.doi.org/10.31703/glr.2022(vii-iv).08.
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Aligarh Movement can rightly be considered as the torchbearer of modern trends in Urdu literature as it introduced new trends in Urdu literature hitherto non-existent therein. The efforts of the exponents of the movement expanded the horizons of Urdu literature beyond poetry that too, in the past, was limited only to the praise of the beloved; it enabled Urdu literature to open up its folds to embrace new realities of life, thus paving the way for a utilitarian view of literature. It is justifiably credited with for laying the founding stone for new movements in Urdu Literature like Romanticism, Progressive Movement, and Halqa Arbab-e-Zauq. This movement is so prolific and holistic in its nature that it lefts imprints on every field of Urdu Literature and even after the lapse of more than 150 years, it is still relevant while finding out historic and literary genesis of various trends in Urdu literature.
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Abbas, Naseem, and Sumaira Ijaz. "U-17 Similarities & Differences Between Short Story & other literary forms: Critical Analysis." Al-Aijaz Research Journal of Islamic Studies & Humanities 5, no. 3 (September 20, 2021): 185–94. http://dx.doi.org/10.53575/u17.v5.03.185-194.
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Urdu Short Stories and other poetic and prose genres’ regarding similarities and differences have been discussed in Urdu Fiction Criticism. There are many writers who has given importance to poetry than short story. The declamations of Syed Waqar Azeem, Muhammad Hassan Askari, Qamar Raees, Shams ur Rehman Farooqi, Waris Alvi and Anees Nagi etc. are being discussed in this article. These discussions have major importance in Urdu fiction criticism. This article deals with these discussions objectively and shows the similarities and difference between short story and other literary forms.
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Aziz, Sana. "Book review: Aslam Pervez, The Life and Poetry of Bahadur Shah Zafar, translated from Urdu by Ather Farouqui." Studies in People's History 5, no. 1 (May 11, 2018): 114–15. http://dx.doi.org/10.1177/2348448918762220.
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Abdul Waheed. "Theme of Love in Odes Published in Daily Jang Quetta in 2014." Al-Burz 11, no. 1 (December 25, 2019): 53–60. http://dx.doi.org/10.54781/abz.v11i1.60.
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Daily Jang, Quetta is an esteem Urdu newspaper of Baluchistan. Besides publishing local, National and international news for the information of general public, it is also contributing a major portion of Urdu Literature to the readers. A special weekly edition is published purely for literary writings which include Prose, Poetry and many other literary genres. In poetry, Ode has been given full coverage. A critical analysis of these Odes, being published in Daily Jang has many aspects in their subject. Those poets, who exercised the theme of love in their Odes in 2014 “Fikr-o-Adab” edition, are critically examined. The objective of this study is to find out the love theme in the Odes of these poets.
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Tabor, Nathan L. M. "A Local Apocalypse: District Fairs and Poetry Recitation in Rural India." Journal of Urdu Studies 1, no. 1 (January 4, 2020): 67–89. http://dx.doi.org/10.1163/26659050-12340005.
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Abstract Since the early twentieth century, Urdu poets have recited verse at locally-organized poetry gatherings held in country fairs across North India’s Gangetic plain. Critical engagement with these mushāʿarahs overturns assumptions about historical and affiliative aspects of vernacular and elite literary practices, revealing a patchwork of patronage, influence, and taste among poets and their audiences, while also highlighting unexpected routes of textual circulation outside urban locales. This essay examines poetry gatherings in and around the city of Muzaffarnagar located in North India’s Upper Doab. Ethnographic and archival materials tell a history of the performance arenas, tea stalls, and municipal structures of a semi-urban milieu that changes the scale of Urdu literary spaces over time.
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Naved, Shad. "Teaching Indo-Islamic poetry: Sexuality in the global classroom." Thesis Eleven 162, no. 1 (February 2021): 46–61. http://dx.doi.org/10.1177/0725513621990989.
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The article argues that a critical encounter with pre-modern literatures from the national past is long overdue under the impact of a globalized discourse of sexuality. Its effects are already felt at the level of both pedagogy and literary reading, one reconstituting the other, in the ‘global classroom’, a self-conscious pedagogical space imagined by the new educational policy to bring about a globally accredited cultural homogeneity. The case study comes from teaching erotic poetry at an Indian university, from the joint literary complex of Hindi and Urdu in South Asia, a theme uncomfortably located in national culture not just because of its sexuality but its association with non-national linguistic elements which the article terms ‘Indo-Islamic’. The overlapping of the sexual modern with the Indo-Islamic resurfaces a tension in the nationalized body of literary writing in Hindi/Urdu, the major ‘national’ languages of South Asia. This encounter of erotic poetry in old Hindi and Urdu with globalized sexuality, the article shows, offers a chance to reflect on how literary studies are being reshaped by the assumptions of a monolingual, monocultural global sexuality in our nationalist times.
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MAJEED, JAVED. "GEOGRAPHIES OF SUBJECTIVITY, PAN-ISLAM AND MUSLIM SEPARATISM: MUHAMMAD IQBAL AND SELFHOOD." Modern Intellectual History 4, no. 1 (March 8, 2007): 145–61. http://dx.doi.org/10.1017/s1479244306001090.
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This essay focuses on the oppositional politics expressed in the historical geography of the Persian and Urdu poetry of Muhammad Iqbal (1877–1938), showing how it emerges from, and breaks with, Urdu and Persian travelogues and poetry of the nineteenth century. It explores the complex relationships between the politics of Muslim separatism in South Asia and European imperialist discourses. There are two defining tensions within this politics. The first is between territorial nationalism and the global imaginings of religious identity, and the second is between the homogenizing imperatives of nationalism and the subjectivity of individual selfhood. These tensions are reflected in the composite geography of Iqbal's work, which contains three elements: a sacred space, a political territoriality and the interiority of subjectivity. But these elements are in conflict with each other; in particular, the space of interiority in his poetry conflicts with the realm of politics in the external world.
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Dr. Muhammad Qasim. "Issues In Representations Of Ghalib’s Thought In The Renderings Presented In “A Dance Of Sparks”." Khaldunia - Journal of Social Sciences 3, no. 1 (January 4, 2024): 23–31. http://dx.doi.org/10.36755/khaldunia.v3i1.74.
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Annemarie Schimmel (1922 - 2003) was a German orientalist, mystic, Islamic scholar, and Orientalist. She was particularly interested in Islam and the Near East. Within the context of Islamic civilization, there are numerous books in various languages. Schimmel was influenced by the ideas and theories of Iqbal. She translated and wrote about Bang.e.dara, Payam.e.mashriq, and Javed Nama in the German language. In addition, Schimmel was an influential orientalist and most eminent scholar of Ghalibiat. A Dance of Sparks is a very significant contribution to the field of Ghalibiat due to its theme, contents, and study of fire imagery in Mirza Ghalib's poetry. Schimmel, in this book, has translated several verses from Ghlib's Urdu and Persian poetry. In this article writer has evaluated the Urdu renderings’ for as the quality of these translations is concerned, is not a good example. Schimmel failed to transmit the faithful and true impact of Ghalib’s poetry.
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Dr. Abdul Wajid Tabassum. "Semantic Scope Of Naat And “Tazkra Naat Goyaan e Urdu”." Dareecha-e-Tahqeeq 3, no. 2 (January 6, 2023): 20–34. http://dx.doi.org/10.58760/dareechaetahqeeq.v3i2.44.
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Naat is an important poetic genre of oriental languages, especially in Arabic, Persian and Urdu languages. There are different meanings attached to it. In Arabic and Persian languages, it means to describe good qualities with exaggeration. According to Urdu dictionaries, it means, Sift o Sana and to describe Tahraff o Tauseef, however, this word is used in poetry exclusively for the praise of the Holy Prophet Hazrat Muhammad (PBUH). This article is the study of the meanings of this word (Naat) in different languages and also the analytical review of the book “Tazkra_Naat Goyaan e Urdu” by Syed Younis Shah
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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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Dr. Arshad Mahmood Nashad. "SARGUZASHT." Tasdiqتصدیق۔ 4, no. 01 (June 30, 2022): 83. http://dx.doi.org/10.56276/tasdiq.v4i01.82.
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Mirza Aziz Faizani Darapuri was a relatively lesser-known but prolific poet and writer of the Twentieth century. He has written admirable poetry in Persian, Urdu and Punjabi Languages. His poetry and articles were published in the leading newspapers and literary journals of his time. He lived a short but meaningful life and through his poetry and writings taught the Muslim Ummah a united and practical life. He was truly the heir and follower of poets like Maulana Hali, Akbar Allah Abadi, Allama Iqbal and Zafar Ali Khan etc. He wrote many books in poetry and prose. A few books were published in his lifetime but many books are still unpublished. His autobiography: Sarguzasht is also included in these unpublished books. His autobiography despite being short is a true reflection of all the important events and circumstances of his life. This autobiography is an important addition to the biographical literature of Urdu in terms of the authenticity of its text, simplicity of expression and charm of language. This article provides a detailed introduction to Mirza Aziz Faizani's autobiography
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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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Siraj, Dr Bismina, and Dr Robina Rashid. "Different Dimensions of Screenwriting in Dr Shahida Sardar’s Poetry." DARYAFT 14, no. 01 (October 31, 2022): 111–18. http://dx.doi.org/10.52015/daryaft.v14i01.214.
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Dr Shahida Sardar is a renowned poetess of Khyber Pakhtunkhwa. Her poetic excellence encompasses both Urdu as well as Pashto. The soul of her poetry unlike others isn’t only limited to romance and fairytales but it is a reflection of the surroundings around her. Her poetry presents such clear picture of modern Khyber Pakhtunkhwa that a new reader without knowing her personally, can easily determine her birth place through her poetry which is quite extraordinary
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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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Supriyadi, Moh, and Rizal Murtaqi. "Al-Jinas fi Diwan li al-Imam al-Syafi’i." Dzil Majaz: Journal of Arabic Literature 2, no. 1 (March 4, 2024): 51–66. http://dx.doi.org/10.58223/dzilmajaz.v2i1.183.
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The well-known beginning of Urdu poetry in this country was in the year 1450 AD, and hundreds of poets emerged and became famous during those long periods. He received several titles from the state, and he had published collections, and others. There are famous poets such as Anis, Dabir, Hali, Akbar Allahabadi, Amjad al-Khidarabadi, and these Poets whose poetry in Urdu literature is considered an argument, and what is cited in it. There are those poets mentioned, such as: Dagh, Anis, and Dabeer. They said visuals containing five hundred pistols, or six hundred pistols, and each pistol contains three verses, and the Urdu language after this is a language that has absorbed all meanings and descriptions. the beautiful. Therefore, the researcher seeks to research this collection, and the researcher chose this research to be the topic of research in his research, and the researcher must focus his research on the science of Badi’, which had not been researched before, meaning the sensitive one in the collection of Al-Shafi’i.
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Dr. Tabassum Kashmiri. "In search of Mira Ji." Dareecha-e-Tahqeeq 2, no. 2 (March 21, 2022): 1–10. http://dx.doi.org/10.58760/dareechaetahqeeq.v2i2.17.
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Mira ji is the most outstanding poet and critic of modern urdu poetry. He also appeared as a legendry figure, his way of life, strange habits,appearance and alkohalism has contributed a lot in the life formation of his personality. Much has been written about Miraji such writing represent him as a confused perplexed and a complicated poet who is known for his poetry of sex. This paper has tried to find out the truth of his personality and poetry . The paper has also focused on the phase of his poetry which is very different as compared to his early poetry.
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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.