Bunyad: A Journal of Urdu Studies
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Comments and Reflections on "Prosody" (A Correspondence with Encyclopedia Britannica)
Get PDFThis is the correspondence between contributor Umar Farooq and editors of the Encyclopaedia Britannica. In this article, Farooq quotes the author ‘Elements of Prosody: Scansion’, and draws attention of the editors to some points left unnoticed by the author as he explains these elements through George Herbert’s analysis of Vertue. Farooq also shares his views on ‘Prosodic Style: The Personal Elements’
زندگیوں کے صحن میں کھلتے قبروں کے دروازے: مجید امجد کی نظم میں حزن کا مطالعہ
No full textThis article discusses the major theme of Majīd Amjad’s naẓm, i.e., the modern man’s place in the infinite universe of ‘Time’. The new naẓm posed the question of ‘who is this being?’ This led to the search for man’s identity and put forward several related concerns such as man’s disconnect with his roots, his nationhood and his Creator. The first two were a result of the cultural influx of alien powers, whereas man’s relationship with the Divine was influenced by the emphasis on individualism. Mīrajī in his poetry is concerned with these issues whereas Majīd Amjad focuses on man’s position and place in the ever changing universe of time and space
اردو زبان و ادب پر گارسیں دتاسی کے احسانات: اولین تاریخ ادب اردو
No full textGarcin De Tassy’s (1794-1878) foundational work on Urdu language and literature as well as the study of Islam is a monumental contribution to Oriental Studies. Of great value to Urdu is his book Histoire de la Litterature Hindouie et Hindoustanie , which was first published in 1839 and later in 1847, 1870 and 1871. However, even until ninety years later, the book was not translated into Urdu. Its first Urdu translation was initiated at the Karachi University’s Department of Urdu in 1960. It was translated into Urdu directly from the French by Lilian S. Nazroo. It was presented in 1960 in the Karachi University as a doctoral research paper but remained unpublished for the next fifty years. This article presents a critical analysis of this Urdu translation
میرا جی اور مغالطے
No full textThe peculiar persona of Miraji that emerges from his writings undermines the actual depth and complexity of his work. The creative self of Miraji is in fact very different from his apparent, rather bizarre exterior. His work should therefore be analyzed and studied in its true context. He is considered to be a pioneer of the modern Urdu naẓm and his poems, pulsating with a vivid imagery, provide a model for the twentieth century Urdu poets. Najeeb Jamal has argued that misconceptions about Miraji’s work be reviewed and reinterpreted
میراجی کے تراجم
No full textMiraji’s talent was multidimensional. Initiating the free verse in Urdu and reinterpreting the poetics of modern Urdu poetry, he also enriched literature in Urdu through his translations into Urdu from western as well as eastern sources. Besides modern symbolic French poetry, he translated, through English, from Chinese, Japanese, Vietnamese, Persian, Bengali, Braj and Sanskrit. This article evaluates and interprets Miraji’s contribution in the field of translation in the context of some new theories of translation
قراراللغات: امیراللغات کا تکملہ؟
No full textIn this article a relatively lesser known dictionary of Urdu is introduced and its historical and linguistic value highlighted. Research indicates that Qarār al-Lughāt (316 pages) was compiled around 1914. It has four sections of compound proverbs, idioms, nouns and commonly used Persian phrases. The explanations in the dictionary are brief, there are errors in alphabetical arrangement and at places there are concerns about the authenticity of its references. Although the dictionary does not qualify as a work of high quality and standard, its historical value makes it a significant piece of work.
عالمِ اسلام میں طباعت کا آغاز اور تذبذب: جنوبی ایشیا میں فارسی طباعت کے عروج و زوال کا مطالعہ
No full textPrinting was not introduced in the Muslim world until the beginning of the 19th century. Although printing presses had begun to operate by then in Turkey, Egypt and Iran, they remained sparse until about the middle of the century. The technique and art of printing was not unknown to Muslims but they took pride in their age old tradition of calligraphy and resisted surrendering it to a less meticulous technique that marred the texts with errors in its process of composing them. More was the concern of scholars about Quranic texts. But gradually Turkey, Russia and India made way for the process and ‘Wahabis’ were the first to accept it, after which the rest of the Muslim world followed. This article reviews the history and development of printing in the Muslim world
