A brief history of Urdu language exploring the popular myths that label Urdu as a ‘foreign language’, ‘Islamic language’, ‘camp language’ etc. It also offers a rough sample of a broad and universal linguistic pattern through the case history of India.
Talking about the appeal of Urdu Ghazal, it would be no exaggeration to assert that ghazal dwells outside the bounds of Time. Despite almost eight hundred years of its existence, it hasn’t lost its magnetic sheen. This blog unravels the elements of a ghazal that render to it its essential language-less musicality and enchanting lure.
Kishwar Naheed is known to be an outspoken individual who defied stereotypical expectations. Her verses celebrate the woman who asserts herself and thrives in spite of adversities. Through her poetry, her construction of femininity stands out – uncontrollable and unapologetic.
Women share histories – personal and political. Afreen urges women to recall the stories that contribute to the meaning of their existence. How and where will they go from this point onward?
Some stories never die; they are told again and again, from time to time, place to place, author to author. One such is the story of Heer and Ranjha. About six centuries old now, it was first narrated in verse by one DamodarArora during the reign of Emperor Akbar. Damodar was a native of Jhang where the story is broadly based and he had heard it from one Raja Ram Khatri who is supposed to be an eyewitness to all that happened. Since then it has been narrated variously and in various languages, both in verse and prose. One of the most notable narratives came from Waris Shah in 1766, apart from several others in Sindhi, Haryanavi, Hindi, Urdu, Persian, and English. In Persian alone, there are as many as twenty versions of this story and in Urdu not less than fifteen.
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