Sher, Ghair-e-sher Aur Nasr

In the school of supplication, what is a word and what is a sound? Like a letter of prostration, we have written it everywhere. — Bedil   **(1) Or We Could Devise a Few Markers**   Just as it is necessary to publish the finest examples

Hamaari Classicy Ghazal Ki Sheariyaat: Kuchh Tanqeedi Kuchh Taareekhi Baatein

The concepts upon which the poetics of the classical Urdu ghazal are based can be broadly divided into two categories. The first are epistemological in nature; that is, these concepts are based on the question: what do we gain from a verse? The second

Nazm Kya Hai?

The purpose of this question is not to determine the nature of what we call a *nazm* (that is, versified speech). In other words, the aim is not to debate the ontology of poetry. Is a poem inherently meaningful or not? Does its meaning reside within

Urdu Lughaat Aur Lughat-nigaari

The late Askari Sahib once wrote to me, "Sometimes we have to teach all ten papers to the M.A. classes, ranging from drama to W.H. Auden." Reading this reminded me of him and his late teacher, Professor S.C. Deb, who would step in to teach any subject

Nasri Nazm Ya Nasr Mein Shayari

As a poet, repeating myself, and as a critic, citing my own work, are practices I find highly distasteful. However, the current situation is such that I am forced to reiterate things I have already said. Some people believe that I am opposed to the prose

Ghalib Ki Mushkil-pasandi

Shumar-e-subha marghoob-e-but-e-mushkil pasand aaya Tamasha-e-ba-yak kaf burdan-e-sad dil pasand aaya [The counting of the rosary pleased the idol who loves complexity; The spectacle of carrying away a hundred hearts in a single palm pleased

Akbar Allahabadi, Nau-aabadiyati Nizam Aur Ahd-e-Hazir

Certain views about Akbar Allahabadi are quite common. We can briefly summarize them by dividing them into two categories: (1) Akbar was a great poet of satire and humor. (2) He was a champion of freedom. (3) While he may not have raised a banner of

Adabi Takhleeq Aur Adabi Tanqeed

Over the past forty years, certain questions regarding the mutual relationship between literary creation and criticism, the existential tension between them, and the role of the critic itself have arisen—or have been raised—many times in our literary

Urdu Ghazal Ki Riwaayat Aur Iqbal

Shayari Ka Ibtedaai Sabaq

**Part One** (1) The metrical is better than the non-metrical. (1) (a) Since prose poetry possesses a sense of measure, prose poetry is better than prose. (2) Creative expression (*insha*) is better than mere reporting (*khabar*). (3) Implication (*kinaya*)

Alaamat Ki Pahchaan

Creative language is composed of four elements: simile, image, metaphor, and symbol. There are other devices akin to metaphor and symbol, such as allegory, sign, and emblem. However, these are attributes of creative language, not its prerequisites. Their

Plot Ka Qissa

Theoretical discussions on fiction begin with Aristotle. Since tragedy, comedy, and narrative fiction all involve the recounting of events, whatever Aristotle said about events in tragedy and comedy was assumed to be equally valid for fiction. Consequently,

Maghrib Mein Jadidiyat Ki Riwaayat

Kipling’s infamous quote, "East is East, and West is West, and never the twain shall meet," has long been a target of criticism for intellectuals in both India and Europe. There is no doubt that the underlying sentiment behind this statement was highly

Insaani Ta'alluqaat Ki Shaayari

This brief analysis of Mir's language and its comparison with Ghalib's reveals that the two poets both share and diverge in their linguistic sensibilities. Even looking beyond their use of language, certain commonalities remain apparent. I mentioned

Kuchh Urdu Rasm-ul-khat Ke Baare Mein

It can only be called the misfortune of our language that proposals to change its script are raised time and again. It is as if the script is not a writing system but a mark of infamy that must be discarded as quickly as possible. Sometimes the Roman

Khuda-e-sukhan Meer Ke Ghalib?

We must admit that we have not yet done justice to Mir. Aside from the occasional writings of Aal-e-Ahmad Suroor, Majnun Gorakhpuri, Gopi Chand Narang, and Muhammad Hasan Askari, along with the vigorous defense and advocacy by Asar Lakhnavi, the field

Ghazal Ki Sheriyaat: Firaaq Aur Ahmad Mushtaq Ka Muhakima

Hosts: Hameed Qaiser, Suhail Ahmad Zaidi Report: Ahmad Mahfooz It was probably in 1986 that a special session of the Idara-e-Fann-o-Adab (Institute of Art and Literature), Allahabad, was held at the residence of Mr. Hameed Qaiser. There was a specific

Ghalib Aur Meer: Mutaale Ke Chand Pahloo

Ghalib repeatedly drew inspiration from Mir. This serves as evidence that Ghalib and Mir were fundamentally similar kinds of poets. That is to say, both preferred to employ similar poetic devices to express certain cosmic phenomena and life experiences.

Meer Ki Shakhsiyat: Unke Kalaam Mein

In our literary circles, it is a common belief that poetry is an expression of the poet's personality. This idea has been articulated in various ways. For instance, Nur-ul-Hasan Hashmi argued that poetry—or at least "true" poetry—is an "internal" phenomenon.

Urdu Ghazal Ki Riwaayat Aur Firaq

(Raghupati Sahay Firaq Gorakhpuri, 1896–1982) Given Firaq Sahib's current reverence and fame, saying anything controversial about him is like stirring up a hornet's nest. In my defense, I can only say that I did this to some extent even during his lifetime.

Afsaane Mein Bayaniya Aur Kirdaar Ki Kashmakash

A common concern expressed about the modern short story is that it harbors an irrational hostility toward tradition; it not only leans toward breaking tradition but is actually afflicted with the disease of iconoclasm. It possesses few, if any, of the

Muqaddama-e-diwaan-e-chirkeen

There is hardly anyone among us who did not hear a few of Charkin’s couplets during their boyhood. There must also be some—myself included—who even memorized a couplet or two. Yet, it is unlikely that more than a handful of boys or elders ever sought

Urdu Shayari Par Ghalib Ka Asar

A great poet does not establish a school of their own. This is certainly strange, but not as strange as the fact that the poetic style which emerges immediately after a great poet passes away is almost the exact opposite of their own style—and if not

Kya Nazariyaati Tanqeed Mumkin Hai?

What is criticism? The answer to this question may not be entirely satisfactory, but the answer to "what is *not* criticism?" can certainly be both satisfactory and largely definitive. Criticism is not merely a general or cursory expression of opinion.

Meer Ki Zabaan, Roz-marra Ya Istiaara (1)

The misconception that Mir is a poet of pure language or everyday speech became widespread for several reasons. First, there is an inevitable, albeit superficial, similarity between Mir and some of his contemporaries, as they all shared the same foundational

Taareekh, Aqeeda Aur Siyaasat

In ancient times, there was no language called "Urdu." Those who use the term "Old Urdu" are employing a linguistically and historically inaccurate expression. Furthermore, using the term "Old Urdu" today is not without its perils. As the name of a language,

Shuru'aat, Waqfe, Qiyaasaat

The credit for the formal inception of Urdu literature can be attributed to Masud Sa'd Salman Lahori (1046–1121). However, no trace remains of the "Hindi" *diwan* (poetry collection) that he compiled. Our oldest source regarding this *diwan* is Muhammad

Tareekh Ki Ta'meer-e-nau, Tahzeeb Ki Tashkeel-e-nau

It was necessary to provide the preceding brief overview of when and how the terms "Hindi" and "Urdu" came into use, the various myths fabricated around them, and their actual historical reality. This is because many scholars today argue that the language

Saadgi, Asliyat Aur Josh

The foundations upon which Hali sought to build the edifice of modern poetry can be termed imagination, simplicity, reality, and passion. Regarding imagination, it is widely known that Hali’s ideas on the subject were borrowed from Coleridge, even though

Saheb-e-zauq Qaari Aur Sher Ki Samajh

Can any reader truly be considered a person of refined taste? I regret to say that the answer to this question is no. Is it possible for a reader to exist whose understanding of poetry we all—or if not all, then most of us—can trust? I regret to say

Daryaaft Aur Baazyaaft: Tarjume Ka Muamla

Questions and issues surrounding translation are deeply connected to questions about the origin and nature of language. If there was no single ancient language that we could call the mother of all languages, and if every language is entirely unique and

Urdu Aur Iska Rasm-ul-khat: Eik Mubahisa

I read the article titled "A Few Words on the Urdu Script" in issue 250 of *Shab-e-Khoon*. After reading the entire piece, a single thought compelled me to pen a few lines. In the words of Faiz: Woh baat jis ka fasane mein koi zikr na tha Woh baat un

Wali Naam Ka Ek Shakhs

According to an estimate made in 1966, there were 65 extant manuscripts of *Diwan-e-Wali* that included a date of transcription, and 53 that did not. In addition to these, there were 33 manuscript anthologies (*bayaz*) containing a substantial selection

Chand Kalme Bayaaniya Ke Bayaan Mein

Mumtaz Shirin began her exceptional essay, "Diversity of Technique in the Novel and Short Story," with these words: "Pick a few good Urdu short stories at random—'Aanandi,' 'Haramjadi,' 'Hamari Gali,' 'Shikwa Shikayat.' What technique are they written

Faiz Aur Classici Ghazal

When discussing Faiz's ghazals, the first point usually made is that he endowed classical symbols with new meaning and relevance. It is also argued that a major reason for his popularity lies in his methodology: while his feet remained firmly planted

Jadeed Sheri Jamaaliyat

"If even a dog crosses an empty field, people will turn to look at it." (Valéry) If classical poetic aesthetics has become obsolete, then the field is empty. In such a scenario, it is highly likely that whatever steps in to fill the void will be counterfeit.

Tanqeed Ko Naee Simt Bataane Wala Naqqaad Shamsur Rahman Faruqi

Hamaari Shayari Par Ek Nazar-e-saani

Nima rah-numay-e man ast, amma man sakhta-e khudam [Nima is my guide, but I am my own creation.] — Forugh Farrokhzad I cannot recall exactly when I first heard the name Masud Hasan Rizvi Adeeb. However, I can certainly say that, much like Hali and Muhammad

Urdu Ghazal Ki Riwaayat Aur Firaq, Pas-Nawisht

About two or three years ago, when I submitted my essay "Urdu Ghazal Ki Riwayat Aur Firaq" (The Tradition of the Urdu Ghazal and Firaq) for publication in Karachi's *Naya Daur*, Jameel Jalibi told me, "The essay will certainly be published, but you must

Meer Ki Zabaan, Roz-marra Ya Istiaara (2)

An extraordinary quality of Mir's language is its unpretentiousness. This trait is shared by him and some of his contemporaries and predecessors, but it is most prominent in Mir's work. Obviously, if Mir was employing everyday language at a literary

Meer Saahab Ka Zinda Ajaeb Ghar, Kuchh Taajjub Nahi Khudai Hai

Muhammad Husain Azad recounts a famous anecdote about Mir Taqi Mir, in which the poet tells a friend that he had no idea his own house had a garden. While the story is widely known, reading it in Azad’s highly ornate and flowery prose offers a unique

Kya Naqqaad Ka Wajood Zaroori Hai?

It is highly doubtful whether anyone in the realm of criticism is, or can be, an equal or a fellow traveler to another. Some people who are annoyed with critics or criticism claim that those who fail at creation open up the shop of criticism. If this

Ghalib Aur Jadeed Zahan

Afsane Ki Himaayat Mein (1)

The truth is, Ram Lall Sahib, there are people far better equipped than I am to offer a fitting opinion on these matters. However, since you came across Harry T. Moore’s book, *Twentieth-Century French Literature*, and asked me why it makes no mention

Faruqi Ke Tabsire

Afsaane Mein Kahani-pan Ka Mas'ala

If a short story possesses "storyness," does it automatically become interesting? If the answer to this question is "yes," then storyness and interest become two names for the same thing. Or, if they are not the exact same thing, they certainly become

Ghalib Ki Meeri

Ghalib drew upon Mir time and again. This proves that Ghalib and Mir were poets of the same ilk; that is, both preferred to use similar literary devices to express certain cosmic phenomena and life experiences in their poetry. This does not mean that

Qira'at Tabeer, Tanqeed

**Reading and Critical Reading** Whether we are general readers of literature or critical readers, in both capacities we say that every literary work demands interpretation. But saying this is not enough. Along with this statement or claim, it is also

Nazeer Akbarabadi Ki Kaayenaat

I want to make it clear right from the outset that I do not consider Nazeer a great poet. I do not even consider him a good poet. He is certainly an important, interesting, and highly readable poet, but good or great poetry lies beyond his scope. Perhaps

Marsiye Ki Maanawiyat

What is the relevance of the *marsiya* (elegy) in the present day? To answer this, we might first ask: what was its relevance some one hundred and twenty-five years ago, during the era of Anees (1802–1874) and Dabeer (1803–1875)? One could argue that