यूँ तो बहुत सी बातें हैं जो किसी शे’र को एक बेहतरीन शे’र बनाती हैं और उन पर दुनिया भर की बातें हुईं हैं मगर एक चीज़ जिस पर बात बहुत कम होती है वो है, “उल्टा इस्तेमाल” या मुख़ालिफ़ मअनी को साथ ला कर नए मअनी पैदा करना।
Majrooh was not a novice in the Bombay film industry. He had started his career as a lyricist with the 1946 Shahjahan which included the pathos-ridden “Jab dil hi toot gaya”. Born in 1919, his real name was Asrar ul-Hassan Khan and he adopted the pen name Majrooh (wounded) when he started writing. A trained Unani physician, he realized fairly early that his calling was poetry.
وہ کبھی ‘ایران کی بیٹی اور ہندوستان کی بہو’ اور کبھی ” عندلیب دکن “اور کبھی” سخن شیریں” کہی جاتی تھیں۔
یہ تھیں اردو کی عاشق ، اردو ، فارسی اور انگریزی کی شاعرہ اور افسانہ نگار ، نیلی آنکھیں ،گوری رنگت، کالے بالوں والی ایرانی نژاد، ملنسار ،خوش گفتار ، روشن خیال ، بانو طاہرہ سعید
“The appropriateness of speech means that it should be divided into such parts which, when recited, create a beautiful continuity in the voice, and which have a delightful proportion and balance to each other.”
When we look at the canon of Urdu literature, it doesn’t take much time to realise women are abnormally absent from the picture. If we speak of the classical age, The important Tazkiras like Khush-Marka-e-Zeba or Majmua-e-Naghz rarely mention a female.
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