Tahqeeq Nama
Not a member yet
466 research outputs found
Sort by
بحر سخن کے گم نام شناور: موج دین فریدی
No full textMauj Din Faridi is an unknown but one of the prominent poets of Baba Farid's city Pakpattan. An immense variety of subjects is found in his poetry. The maturity of his thoughts and artistic perfection of his poetry prove him as an eminent poet. We can find mysticism, spiritual wisdom, situations of separation and union in his poetry. His verses reveal his profound affection and regard for Hazrat Baba Farid Masood Gunj Shakar (RA). Mauj Din Faridi's disposition is quite suitable for writing poetry. As he sits to write he unleashes the stream of knowledge and wisdom. His longings and aspirations reflect his deep thinking and vast scope of poetic thoughts. He uses words of Punjabi, Arabic, Hindi, English, Purbi, Urdu and Particularly Persian language to construct his poetic diction. He has written Hamd, Naat, Mankabat, Urdu and Persian Ghazals, poems and Qataats. His poetry is reflection of consciousness of modern age
نئی شاعری اور عہدِ حاضر کا المیہ (فرد و سماج کے تناظر میں)
No full textGenerally modern urdu poetry enumerates in ''NEW POETR'' but particularlyin urdu poem's narration''NEW POETRY'' meaning is that literary movement whichemerged nearly 1958 and famed by the ''LESANI TASHKEELAAT''.This literarymovement was not a bussinesslike incitement but a applied declaration of co conceptpoets and critics. Rejection and aberration was landmark of this movement which wassuperdded by scattered social and political native conditions.Mostly each literary reigndiscovers its own freshness and newness under its social, economical and politicalcircumstances. After the dismemberment of 1947 topsyturvy conditions of nativepolitics and international idealogical disorder created a congregational social tregadywhich gave the birth of a man who was interspersed ,jagged and was torn into piecesby iner and outer self. Till 1960 this social and human tregady touched to its peak ofdecline, this tregady and irregularity procreat the ''NEW POETRY'' .new petry'sexcelling preference was insurrection and infraction , which is illustrious in the poemsof all new poets in diverse countenances. ''THE NEW POETRY'' made changes in thebasic grid of urdu poem and made it more flexible so that the urdu poets could acclaimsignificance beyond to fettered of grammar and countenance. Noteable name of ''NEWPOETRY'' who work to visualised the new poetry indivisualy are,Iftakhar Jalib,Jeelani Kamran, Abbas Athar, Anees Nagi, Saleem ur Rehman,Zahid Darr,TabassumKashmiri , Abdul Rasheed and Saadat Saeed whose poems enlighted the features ofnew poetry. NEW POETRY'S movment was end up in 1980 as a movement. Thispoetry broke the boundries of traditional poetry and use the human and social facts as aintervention to say the agony and tregady of mankind.In this article it is tried toindicate the social and human tregady of present age which is ruining the destiny ofmankind
راجندر سنگھ بیدی کے منتخب افسانوں میں فضا سازی کا تجزیاتی مطالعہ
No full textRajindar Singh Baidi is one of the most prominant short story writer of subcontinant. He is very much expert to present characters and story with the atmosphere surroundings. The depiction of whereabouts of stories of Rajindar Singh Baidi is discused in this article
میرا جی کے مطالعے کی حقیقی اساس
No full textSanaullah Meera Ji (May 1912-Nov1949) was made a character of fiction because of his way of life and pen-name attributed to his unsuccessful love story. His sketch written by Manto (May 1912-Jan 1955) made his character more mysterious rather abnormal though he painted his innocence. In fact, he was a significant poet among giants of his time , representative of the anger and depression of younger generation trying to explore creative idiom for inner life. He was influenced by 20th century french poets. His sentimental poetry has sexual touch. But he gave his poetry an innovative colour, mixed with the desire of death and ecstasy of passion. Some psychological issues and habits should not become basis of studying w poetic idiom of Meera Ji
ڈواینڈی کا تصور اور کلاسیکی اردو شاعری (سراج اورنگ آبادی کی غزل کے خصوصی تناظر میں)
No full textFederico Garcia Lorca (1898-1926) is considered to be one of the famous spanish literary theorist and poet of twentieth century.He gave theory of 'Duende' to replace different existing theories regarding the process of creation of Art. Duende is probably the first theory of Art, that relates to the presentness of Art. This theory was originally constructed for spanish music; but later on it made its way in the realm of literature.Siraj Aurangabadi's poetry(a well known classical Urdu poet of eighteenth century) almost synchronizes with all the elements of Lorca's theory.This Article tries to find the basic four elements of Duende;''1.Irrationality 2.Earthiness 3. A Heightened awareness of Death 4,A Dash of Diabolical" in Siraj's Ghazlals by considering the perspective of classical Urdu poetics
لاہور میں فارسی نثر کا ابتدائی سرمایہ
No full textLahore used to be famously named "Ghazni Khurd" as regards persian language and literature. In this region the early intellectual activities after the advent of Muslims, were in persian and this language remained established for more or less eight centuries. Persian prose writers belonging to Lahore had great contributions in the history of persian language and literature of sub-continent. The present article presents a critical survey of some of these prominent early persian prose writers from Lahore
اجتماعی انسانی لا شعور اور آگ
No full textThe element of "fire"has always been a source of interest for human being.The concept and rituals about the element "fire" have amazing similaritiesthroughout the world.The ideas of usefullness,fertality and purity are linked to"fire".That is why a ,bird's eye view of language and literature,reveals the thoughtsand feelings of the writers and poets.They have been using the dimensions of fireeffectively.This article is a study of various features of the concepts of "fire"inmythology,religon and literatur
ولیؔ دکنی کی ریختہ گوئی، فسانہ بابت شاہ گلشن اور دہلویت کی بالا دستی
No full textWali Deccani is often known as the first entrenched and traditionally established classical poet of Urdu Ghazal. His Deewan (Collection of Ghazals) after its arrival at Delhi settled new horizons in the tradition of rekhta-goi in North India as it introduced a new and wonderful way of expressing one's feelings in local vernacular along with regional themes, imagery, allegory, melodious sounds and metaphors. In other words this was the dawn of invading great north India of "mirzeyan (Mughals) and faseehan" by Deccanis/south Indians through art and inventiveness in local language (Urdu/Hindi). Being a challenge to the supremacy of North Indian poets and writers on language and classical poetic tradition of India, it was quite unacceptable for North Indians. The subsequent historians and especially 'tazkara' writers of Delhi like Meer Taqi Meer and Qaem Chandpuri propagated the renowned theory regarding a Persian poet of that time Shah Gulshan's suggestion to Wali to write in local dialect and adopt local themes for his ghazal. This was just to maintain the authority and supremacy regarding use of language and poetical creativity of 'Dehalviat' over 'Deccaniat'. This article presents a research and analysis of this formulated theory
ڈاکٹر خورشید رضوی کی غزل۔۔۔۔ کلاسیکیت و جدیدیت کا سنجوگ
No full textDr. Khurshid rizvi is a versatile, thoughtful and world recognized poet, butmany aspects of the exotic splendour of his art and thought have yet to be arranged andstudied. one such aspect is an impact of classical poets on his poetry. Dr. khurshidrizvi accepted the impact of the classical poets in his ghazals with the true touch ofgenius and took it one stage forward. However his love for the classicism is alsoevincible in his poetry
بیرونی حملہ آوروں پر پنجابی واریں
No full text“Vaar” ( epic poem) is such an important genre of Punjabi literature thatcovers the whole range of heroic traditions of Punjab. One face of Punjab has beenpreserved in the tradition of other languages. However, a different version of Punjabhas been documented in Punjabi “Vaar” ( epic poem).This write-up discusses onlythose epic poems (Vaaran) which have been written in Punjabi language with athematic focus on foreign invaders. This article is a brief analytical survey of Punjabiepic poems (Vaaran) spanning from the period of Zaheer-ud-Din Babur to the War ofIndependence in 1857. It is actually a Punjabi perspective on the history of this period