Literary narratives are known to have a latent relationship between their oral and written forms. Two analogous Indian narratives–Singhasan Batteesi (Thirty-Two Tales of the Throne) and Baitaal Pacheesi (Twenty-five Tales of Baital)–that have passed from the oral to a variety of written forms over a long period of time may be mentioned in this context.
Mirror has been used both as a metaphor and a symbol in Urdu poetry. Here is how some of the poets have explored the different aspects of a mirror in their shers: Now, looking at herself in the mirror she is despaired Then, how proud she was for not proffering her heart Look into the… continue reading
मोहम्मद क़यामुद्दीन ‘क़ाएम’ चाँदपुरी अठारहवीं सदी के मुम्ताज़ शाइ’रों में शामिल हैं। ‘क़ाएम’ चाँदपुरी की पैदाइश तक़रीबन 1725 में क़स्बा चाँदपुर, ज़िला बिजनौर के क़रीब ‘महदूद’ नाम के एक गाँव में हुई थी। लेकिन वो बचपन से दिल्ली में आ रहे और 1755 तक शाही मुलाज़मत के सिलसिले से दिल्ली में ही रहे। दिल्ली की… continue reading
She was neither a figment of Manto’s imagination, nor his fantasy; she was real as a real being could be —made of flesh and blood who could put him to a tough test.
بات ہے جمنا کے کنارے بسی ہوئی اس دلیّ کی جس کی آغوش میں ابھی مرزا اسداللہ خاں غالب کی سانسیں لہر لے رہی ہیں غالب نفس کوچے شعر و سخن کی فضا میں اپنے پیچ و خم طے کر رہے ہیں پر کشش ہویلیوں کے دریچوں پر ٹھہری ہوئی ہوائیں شمعِ محفل کو داد… continue reading
A major modernist poet, by all means, Meeraji is also a myth of sorts. He had to be so, for he lived a life completely atypical and totally abysmal.
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