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Journal articles on the topic 'Urdu Poets'
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1
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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Dr. Arshad Mohmood Malk and Hafiz Muhammad Saqib Niaz. "Role Of Meera Ji And Majeed Amjad In The Foundation Of Modern Urdu Poetry." Dareecha-e-Tahqeeq 3, no. 4 (February 22, 2023): 22–29. http://dx.doi.org/10.58760/dareechaetahqeeq.v3i4.79.
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Majeed Amjid and Meera Ji are pioneers of the modern school of poetry. Both are prominent and influential persons in the modern era of poems in Urdu literature. They have introduced new tech techniques and styles in the field of poems, which diverted ate the nation of new poets towards new thoughts and ideas in this field. Being modern iconic poets, they portrayed human nature and introduce new tones and unique styles of ambiguity to express outer and inner feelings. They are creative multiband i- directional and know all the ways to convey their feelings through modern urdu poems. We will explore how they have changed style and their impact on modern poems in the 21st century.
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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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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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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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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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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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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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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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Dr Zafar Hussain Haral and Zaib-un-Nisa. "AN ANALYSIS OF TAZKARA HAZAR DASTAAN KNOWN AS KHUMKNANAE JAVEED BY LALA SRI RAM." Tasdiqتصدیق۔ 4, no. 2 (January 10, 2023): 111–21. http://dx.doi.org/10.56276/tasdiq.v4i2.124.
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Tazkara is a type of biography in Urdu literature. In Tazkara the researcher compiles the data and events of the lives of poets and other literary personalities. Tazkara Hazar Dastaan known as Khumkhanae Javeed was gathered by Lala Sri Ram. This biography consists of Six volumes. There are 689 pages in Volume 1 and a list of 634 poets according to the Urdu alphabet ا تا بby poetic names included in it. Volume 2 consists of 751 pages with a list of 485 poets by poetic names according to پ تا ح. Volume 3 consists of 737 pages with a list of 534 poets by poetic names according to خ تا ز. Volume 4 consists of 628 pages with a list of 421 poets by poetic names according to س تا ش. Volume 5 consists of 616 pages with a list of 647 poets by poetic names according to ش تا ع. Volume 6 consists of 556 pages with a list of 458 poets by poetic names according to ع تا ے. There are 3977 pages and 3179 poets in all volumes. It is a remarkable work. In this article, this biography is critically analyzed.
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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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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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Dr Muhammad Mohsan. "THEMATIC SIMILARITIES BETWEEN IQBAL AND HIS CONTEMPORARY POETS." Tasdiqتصدیق۔ 4, no. 2 (December 30, 2022): 127–38. http://dx.doi.org/10.56276/tasdiq.v4i2.110.
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Iqbal was a great poet of modern Urdu poetry and his contemporary poets directly accepted his influence. Iqbal's poems were published in Sir Abdul Qadir's magazine "Makhzn", so he gained fame very quickly. His contemporary poets started imitating his themes and styles when he became famous. In the beginning, Iqbal made the phenomena of nature the subject of his poems. His contemporary poets have also presented the beauty of nature in their poetry. Soon Iqbal changed his direction of thought and awakened the consciousness of the nation. When Iqbal started patriotic, national, and reformist poetry, themes of national nature flourished in his contemporaries' poems. The poetry of Iqbal's era is intellectually homogenous and common. The main reason is that Iqbal and his contemporaries share many revolutionary ideas and national thoughts. In the poems of Iqbal and his contemporaries, dreams are found for the country's bright future. In their poetry, the description of the homeland, India's greatness, and the scenes of nature are reflected. Iqbal and his contemporary poets have made naturalism, nostalgia, patriotism, and children's literature the same subject. They have the same reform, moral, political, and social consciousness. Iqbal and his contemporary poets were patriotic. They revealed the hidden secrets of the universe and nature. In the poetry of Iqbal and his contemporary poets, the element of message and preaching is prominent. There is a lot of similarity in their imagination and thoughts.
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Tariq Mehmood, Dr Tariq Mehmood Hashmi. "Dignity Statements of Urdu Naat." Tasdiqتصدیق۔ 1, no. 1 (December 30, 2019): 31–41. http://dx.doi.org/10.56276/tasdiq.v1i1.12.
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Naat is a beautiful way to appreciate the Prophet of Islam Hazrat Muhammad (ﷺ). Writing a Naat is an honor for every Muslim poet. Many non-Muslim poets wrote beautiful Naats. The actual theme of writing a naat is to dignify the Holy Prophet above worldly designations. Every poet of Naat shows his love towards him. The dignity of the Holy Prophet Muhammad (ﷺ) is above the worldly wisdom and positions.
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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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TIGNOL, EVE. "Nostalgia and the City: Urdushahr āshobpoetry in the aftermath of 1857." Journal of the Royal Asiatic Society 27, no. 4 (September 26, 2017): 559–73. http://dx.doi.org/10.1017/s135618631700013x.
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AbstractAfter the Uprising of 1857, many poets from north Indian cities resorted to the Urdu nostalgic genre ofshahr āshobto recall mournfully pre-colonial urban landscapes and articulate emotional and poetic narratives of loss. This article proposes to open new perspectives for the historical study of collective memory and trauma among Urdu-speakingashrāfin the nineteenth century by looking at one collection of such poems entitled ‘The Lament for Delhi (Fuġhān-e Dehlī)’ (1863), which has recently started to attract the attention of historians. Although scholarship has generally emphasised the continuity of these poems with theshahr āshobtradition, this article re-assesses this body of texts through a careful analysis of their main literary motifs and highlights their originality and divergence from previousshahr āshobs. Beyond the stereotypical, the poems of ‘The Lament for Delhi’ both construct 1857 as cultural trauma through the use of powerful literary devices and the performance of collective grief as well as re-channel memory and melancholy into the urban landscape by emphasising its materiality and reinvesting it with new meanings and stakes. This paper more broadly underlines the importance of this under-studied source to understand the impact of 1857 on the imaginary of Urdu-speakingashrāfand on the cultural and social history of colonial India.
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Ashraf, Muhammad, Muhammad Ibrahim, and Muhammad Sultan. "Dr. A. B Ashraf as a Pen Sketcher: An Analytical Study." Journal of Languages, Culture and Civilization 5, no. 2 (June 28, 2023): 89–100. http://dx.doi.org/10.47067/jlcc.v5i2.175.
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Dr. A.B. Ashraf is a well-known and well-grounded researcher of Urdu literature. He is an authentic critic, fiction writer, travel writer and educationist. B. Ashraf's pen sketches are outstanding. The main reason for its popularity is pen sketches of ancient and modern poets, scholars and writers. By his pen portraits, B. Ashraf gave new breaths to the ancient civilization, culture of Multan, both classical and modern poets. His readers are privileged to know the history of Multan by his pen portraits. Humorous incidents, ironic statements and exquisite dialogues make them captivating. “Kesy Kesy Log” is the masterpiece of Dr.A.B. Ashraf. The depiction of writers, the magnificent combination of Siraiki and Urdu phrases, dance, ecstasy, charm of literary gatherings, alluring imagery, elegant style and poetic episodes enhance its excellence. This magnum opus is of great importance in preserving the name of Dr. AB Ashraf alive and exuberant in the tradition of Urdu pen sketching.
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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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Suzuki, Takeshi. "On the takhallus of the Classical Urdu Poets." JOURNAL OF INDIAN AND BUDDHIST STUDIES (INDOGAKU BUKKYOGAKU KENKYU) 38, no. 1 (1989): 336–41. http://dx.doi.org/10.4259/ibk.38.336.
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Rao, M. Adil, and Tafseer Ahmed. "Poet Attribution for Urdu: Finding Optimal Configuration for Short Text." KIET Journal of Computing and Information Sciences 4, no. 2 (July 1, 2021): 12. http://dx.doi.org/10.51153/kjcis.v4i2.58.
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This study presents a machine learning system to identify the poet of a given poetic piece consisting of 2 lines (i.e. a couplet) or more. The task is more difficult than the general task of author attribution, as the number of words in verses and poems are usually less than the number of articles present in author attribution datasets. We applied classification algorithms with different sets of feature configurations to run several experiments and found that the system performs best when support vector machine using a combination of unigram and bigram are used . The best system (for 5 Urdu poets) has the accuracy of 88.7%.
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Naheed, Kishwar, and Rukhsana Ahmed. "We Sinful Women." Feminist Dissent, no. 3 (November 27, 2018): 192–93. http://dx.doi.org/10.31273/fd.n3.2018.375.
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Naim, C. M. "“The Magic-Making Misṭar Rinālḍs” and the Development of Urdu Prose Fiction." Journal of Urdu Studies 1, no. 1 (January 4, 2020): 3–26. http://dx.doi.org/10.1163/26659050-12340001.
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Abstract In histories of the Urdu novel, the name of G.W.M. Reynolds (1814-1879) is either not mentioned at all or only in passing reference to his possible influence on Sharar, Urdu’s first writer of historical romances. But the actual role that this ill-reputed contemporary of Dickens played in the development of Urdu prose fiction was far greater. By 1918, twenty-four of his massive works were available in Urdu, some in more than one translation, and all reprinted more than once. Among his translators were a number of significant poets and fiction writers of the time. Arguably, between 1890s and 1920, Reynolds was not only the most widely read author in Urdu but also the most admired. He influenced not only writers of historical romances, but also inspired what can be best described as the earliest original crime tales in Urdu.
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Naushad Ali Khan and Dr.Tahseen Bibi. "Sketch By Sajjad Hussain Sarmad." Dareecha-e-Tahqeeq 4, no. 2 (July 5, 2023): 27–31. http://dx.doi.org/10.58760/dareechaetahqeeq.v4i2.115.
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In Urdu, sketching begins with Farhat Ullah Baig's writing "Nazir Ahmed's story, some of my words are their oral". Al thought Muhammad Hussain Azad also tried to show him moving pictures by describing the style of his dress and dialogue in detail for different poets in his book "Aab e Hayat" but first these pictures are blurred and incomplete and all the attention of 2nd Muhammad Hussain Azad has been focused on the heels and clothing .The term Urdu literature is the Urdu translation of the sketch English word sketch "For the gender of literature, the word sketch pin portrait is used in English, it is called sketch in Urdu”, Sketch in Urdu is also called personality and metaphorical Sajjad Hussain Sarmad is the first sketcher of Camal Pur District Attock whose collection of sketches has been published as "Nishant e Sarmadi"
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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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Dr. Tanveer Rahman and Dr. Fareed Hussaini,. "Influence Of English Poet’s On Iqbal’s Poetry." Dareecha-e-Tahqeeq 3, no. 3 (January 16, 2023): 205–14. http://dx.doi.org/10.58760/dareechaetahqeeq.v3i3.65.
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Allama Iqbal is the great artist of the east. He established himself as prominent poet across the world. His uniqueness, amongst the Urdu and Persian poets, is his vast study. Allama got various ideas and thoughts along with artistic sense from every important literary figure. At Iqbal’s time English Language was one of the main source of acquiring modern know ledges. Allama strengthen his thoughts and artistic technique by English poets too. In this article efforts have been made to point out the impact of British poets on Iqbal poetry.
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Qayyum, Assad, and Hafiz Muhammad Sajjad. "قرآن مجیدکے پانچ منظوم اردو تراجم کا تعارف و تجزیہ." Journal of Islamic and Religious Studies 3, no. 1 (February 11, 2020): 27–50. http://dx.doi.org/10.36476/jirs.3:1.06.2018.03.
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This research article gives a brief introduction and analysis of five Urdu translations of the Holy Qur’ān. Qur’ānic translations are an important source of learning and understanding of Qur’ān. In Urdu the translations of the Holy Book started in late 16th Century A.D. The number of these translations is in hundreds till now, which include translations in Urdu prose and verse. The first rhymed Urdu translation of the Holy Quran was written in the last quarter of 18th Century A.D. At present these translations are in hundreds, including complete as well as partial translations. Most of the translations are in rhymed form, while some are in free verse also. In this article five complete Holy Qur’ān translations have been discussed. Main aim of the article is to introduce the poets and their translations, as well as brief analysis of the translations. The translations are; Asar Zubairi Lakhnavi's "Sehr ul Bayan", Syed Shamim Rajz's "Aab e Rawaan", Seemab Akbar Abadi's "Wahi e Manzum", Abdul Aziz Khalid's "Furqan e Javed" and Qazi Ata ullah's "Mafhoom ul Quran". This article also explains how much the poets succeeded in presenting the message of Qur’ān. The merits and demerits of the translations have been highlighted. The article concludes that poetry, specially rhymed form, is not suitable for the translations of the Holy Book.
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SUZUKI, Takeshi. "A Study of the Income of Classical Urdu Poets." JOURNAL OF INDIAN AND BUDDHIST STUDIES (INDOGAKU BUKKYOGAKU KENKYU) 42, no. 1 (1993): 200–203. http://dx.doi.org/10.4259/ibk.42.200.
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SUZUKI, Takeshi. "A Study of the Income of Classical Urdu Poets." JOURNAL OF INDIAN AND BUDDHIST STUDIES (INDOGAKU BUKKYOGAKU KENKYU) 43, no. 1 (1994): 195–99. http://dx.doi.org/10.4259/ibk.43.195.
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Singh, Astha. "In Whose Custody? – A Study of Culture in Crisis with Reference to the Novel and the Film." Grove - Working Papers on English Studies 29 (December 23, 2022): 117–30. http://dx.doi.org/10.17561/grove.29.7218.
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In Custody is a novel by Anita Desai that studies the extinction of Urdu culture in post-partition India. The film adaptation of the novel has been done by Merchant Ivory Production in an attempt to not only convert the narrative from one art form to another, but also to use cinematic techniques to explore the socio-culture of India with the Urdu language being the central theme. This paper tries to explore the diminished Urdu culture and tries to analyze the question of its preservation in the modern world using technologies that have also been put forward in both art forms. The verses of Urdu poets and Faiz Ahmad Faiz used in the novel and in the film along with the progressive writers’ thought have also been dealt with. Hence, the theme of Urdu culture playing centrally, this paper studies various other aspects that have been presented in the film adaptation.
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Singh, Astha. "In Whose Custody? – A Study of Culture in Crisis with Reference to the Novel and the Film." Grove - Working Papers on English Studies 29 (December 23, 2022): 117–30. http://dx.doi.org/10.17561/grove.v29.7218.
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In Custody is a novel by Anita Desai that studies the extinction of Urdu culture in post-partition India. The film adaptation of the novel has been done by Merchant Ivory Production in an attempt to not only convert the narrative from one art form to another, but also to use cinematic techniques to explore the socio-culture of India with the Urdu language being the central theme. This paper tries to explore the diminished Urdu culture and tries to analyze the question of its preservation in the modern world using technologies that have also been put forward in both art forms. The verses of Urdu poets and Faiz Ahmad Faiz used in the novel and in the film along with the progressive writers’ thought have also been dealt with. Hence, the theme of Urdu culture playing centrally, this paper studies various other aspects that have been presented in the film adaptation.
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Nadeem Akhtar, Nadeem Akhtar. "Iqbal in the Eyes of Poets of Jhang." Tasdiqتصدیق۔ 1, no. 1 (December 30, 2019): 42–57. http://dx.doi.org/10.56276/tasdiq.v1i1.13.
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Jhang is a land of two rivers. It is a favorite place of Sufis and poets. It is known for the shrine of Sultan Bahoo and Heer Ranjha. Majeed Amjad, Sher Afzal Jaffery, Jaffer Tahir, and Abdul Aziz Khalid are the famous poets of Jhang known worldwide for their great literary work. Allama Iqbal is the poet of the East. His poetry is an asset in the tradition of Urdu and Persian poetry. He gave the lesson of "self" to the people of the sub-continent, especially to the Muslims. The poets of Jhang paid tribute to the great scholar and poet by their poetry. This tribute carries the deep emotions and love of these poets.
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DHAVAN, PURNIMA, and HEIDI PAUWELS. "Controversies Surrounding the Reception of Valī “Dakhanī” (1665?–1707?) in Early Tażkirahs of Urdu Poets." Journal of the Royal Asiatic Society 25, no. 4 (May 27, 2015): 625–46. http://dx.doi.org/10.1017/s1356186315000255.
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Early Urdu poetry, at the time called Reḳhtah, forms a remarkable example of the circulation of ideas in early modern India. Scholars trace its modern form to the reception in early eighteenth-century Delhi of a Southern literary idiom, usually called Dakhanī that is itself the result of repeated waves of migration from North India to the Deccan. While the historical origins of Urdu occupy an arena of lively scholarly debate, its later historical and literary importance is quite clear. By the start of the nineteenth century a highly literary and Persian-inflected form of Urdu would swiftly replace Persian in elite circles. Thus we have a historically significant moment at which the confluence of the vernacular and the cosmopolitan created a new cosmopolitan vernacular, however this process remains understudied.
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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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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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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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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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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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Rehman, Shafiq Ur, and Muhammad Rafiq ul Islam. "Expansion of Iqbal's thought in Urdu Poetry: A Research and Critical Review." Journal of Languages, Culture and Civilization 5, no. 2 (June 30, 2023): 141–49. http://dx.doi.org/10.47067/jlcc.v5i2.177.
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Allama Iqbal is considered among those poet who are the master of thought and the master of message. Undoubtedly, he is one of the creators of the modern area who not only awakened the sleeping nation. With his poetry but also encouraged them to act. It is not an easy task to be fully aware of the expansion of Iqbal’s thought in Iqbalism and the style of Iqbal’s intellectual expansion because both are different from each other in terms of understanding, that is why, the student, teacher, critic and commentator of Iqbal will attain the highest position of understanding Iqbal only when they have access to the source of Iqbal’s thoughts. Therfore, this research article has been limited to the expansion of Iqbal’s thought for which representative poets like Hafeez Jalandhari, Asad Multani and Dr. Syed Qasim Jalal have been sleclted. The reason is that the expansionary elements of Iqbal’s thoughts are dominant in their whole art and thought. Iqbal’s intellectual expansion can be seen either partially or completely in the style of these poets. For some poets, this intellectual style of expansion is presented in a coherent form, while for others it is uncoordinated. Although the nature of the under_discussed article indicates qualitative research yet it also takes consideration the historical and descriptive method under the theory of necessity so that acceptable conclusions can be drawn in the light of the integration of information, concepts as well as theories and evidence.
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DR. MUHAMMAD YOUSAF and DR. AMBREEN KHAWJA. "Influence of Literary Figures on Urdu Poetry of Azad Kashmir: A Study." DARYAFT 16, no. 01 (June 26, 2024): 27–46. http://dx.doi.org/10.52015/daryaft.v16i01.392.
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The study of the influence of literary figures on the poetry of Azad Kashmir shows that there are influences of Sanskrit, Kashmiri, Persian, Arabic, Urdu and other regional languages as well as classical and modern poetry on the literature of Azad Kashmir. There are intellectual and artistic influences on the poetry of Azad Kashmir from to the present period. Some thought is prominent, some artistic imitation is visible. There is similar style; there is also the use of similar tone. However, all these influences despite this, the poetry of Azad Kashmir have its own individuality and its own style. Azad Kashmir's poetic capital, while being a part of the poetic tradition of Urdu language, has interesting, unique experiences and individual characteristics in terms of theme, theme, style innovation, new symbols, techniques, untouched and unique creative experiences and many other aspects. Azad Kashmir's own regional symbols and some unique experiences give its distinctive color to the poets of Azad Kashmir. Happily, the influence of movements, ideologies and personalities in the footsteps is less visible in the new generation. The poets of the new generation are actively and diligently engaged in creating their own special point of view, their own tone, their own style, and their own color. In spite of the influence of literary movements, critical schools, literary theories, poetic styles and poet personalities in the poetry of Azad Kashmir, its own color and harmony exist with all the beauty, rather, the colors and styles of the poets of Azad Kashmir are different from those of many other regions.
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Hamayoun, Zahid. "اردونعتیہ شاعری پر تحریکِ ادب ِ اسلامی کے اثرات." FIKR-O NAZAR فکر ونظر 59, no. 03 (March 31, 2022): 37–59. http://dx.doi.org/10.52541/fn.v59i03.942.
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In 1936, with the beginning of movement of progressive literature religious, ethics and spirituality have also been criticized, then it has to be realized the necessity of movement of Islamic literature. The poets who were associated with this movement they promoted Islamic values, ethics and spirituality in Na'at poetry. They extended Na'at in thematic and stylistic way. They expressed social values of their age in the light of teachings of Hazrat Muhammad (S.A.W).
They gave parallel status of Na'at with poem. Later on when this movement labellized with limited poets, this movement lost its effects with the passage of time. But the glimpses of this movement are still alive into Urdu Na’at poetry, in the light of Islamic values.
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Ahmad, Waqas, Ayaz Ahmad Aryan, and Sana Riaz. "Escapism in the Poetry of John Keats and Akhtar Sherani: A Comparative Study." Global Social Sciences Review VII, no. II (June 30, 2022): 494–501. http://dx.doi.org/10.31703/gssr.2022(vii-ii).47.
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This paper depicts escapism as a romantic element in the poetry of a British English poet John Keats and a Pakistani Urdu poet Akhtar Sherani. Although they belong to different ages, the early 19th century and 20th century respectively, still have many commonalities. This work discusses their selected poems and compares them to find out their similar romantic traits. The selected poetry of Akhtar Sherani is translated into English by the author of this work to prove that both poets have a lively style of expressing their feelings and emotions. This study qualifies the readers to think outside the box and conventional values. It helps to broaden their perceptive horizons and mental realm. This work is also beneficial for those who are critics and analysts of romanticism and have an interest in John Keats and Akhtar Sherani.
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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 Vafa Yazdan Manesh and Samira Gilani. "Comparison of Poems of Majeed Amjad and Sohrab Sepehri." Tasdiqتصدیق۔ 3, no. 01 (December 5, 2021): 29–44. http://dx.doi.org/10.56276/tasdiq.v3i01.65.
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Majeed Amjad was the poet of the Urdu Language & Sohrab Sepehri is a Persian Poet. Both have the Concept of Time. Time has become an intellectual aspect in the poetry of Majeed Amjad and Sohrab Sepehri. Both take a philosophical look at Time and finally look at it with mystical eyes. In their poetry, the past, the present, and the future have been summed up, but they capture the present more and make the present the center of the present. It protects the inside and also creates the future. Both believe that there is a journey of time with which man and the universe move. Both poets use new metaphors and symbols related to Time. Their Concept has emerged from the depth of their high imagination. They travel through different eras of Time along with their reader. Their words, diction, imagination, the structure of the poems, and stress and strains are appreciable.
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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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Oesterheld, Christina. "Campaigning for a community: Urdu literature of mobilisation and identity." Indian Economic & Social History Review 54, no. 1 (January 2017): 43–66. http://dx.doi.org/10.1177/0019464616683475.
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After the defeat of the rebellion of 1857–58, and the final loss of the last semblance of political power in the subcontinent, Muslims attempted to analyse the reason for their ‘descent, decay or degradation’ ( tanazzul). Inspired by Sir Saiyid Ahmad Khan’s reformist movement, Urdu prose writers and poets started to create a new kind of literature with the aim to ‘awaken’, revitalise and mobilise the Muslim community. As a means to this end, they evoked images of the glorious Islamic past, but also warned about the negative impact of the schisms within Islam. As perfect examples for the new role of writers and literary texts in the public sphere, I have used the works by Nazir Ahmad, Altaf Husain Hali, Muhammad Iqbal and Nasim Hijazi to demonstrate what rhetorical devices they employed to achieve the desired effects; how they extended the more general concept of compassion ( hamdardī) to denote political solidarity; and how they modified emotion concepts such as honour and shame and passionate love and hatred to define the community and to further the emotional commitment to the ‘imagined community’ and active involvement in political activism.
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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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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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Ahmad Rind, Dr Ayaz, Hafiz Muhammad Fiaz, and Maqsoom Asghar. "URDU-21 Historical Study of Hamd-Nigari in Saraiki Language Saraiki." Al-Aijaz Research Journal of Islamic Studies & Humanities 5, no. 3 (October 24, 2021): 229–35. http://dx.doi.org/10.53575/u21.v5.03.(21)229-235.
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This research paper explains the style of praise of the Allah Almighty which has been written mainly in Saraiki language. Praise here means praise of Allah Almighty. Allah created every living soul in this universe. Man, as the noblest of creatures, giving thanks to Allah, and praises Allah, is called Hamd. Saraiki Waseeb is traditionally called Indus Valley. The language of this region is Saraiki. It is very widespread languages are prominent. Man has always thought that there is a being far beyond his reach and that he is the one who created the universe. His power is omnipotent, even if it is human intent. Man must have had a relationship with his God in one way or another, whether it was arson or idolatry. Man praised his own God in his own way. We find the ancient literature of Saraiki language mostly in poetry in which the poetic genres like Hamd, Mawlood, Naat, Haliya Mubarak, Noornameh, Mirajnameh, Toldnameh, Hudhdnameh, Wasitnameh, Marsiya Nigari are prominent. In which poets have expressed their religious sentiments with great love. There are many forms of this belief but its background is the same which is the concept of one God.
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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.