Modern Day Urdu Literature – A Review

Young man reading books

 Still, you should be apprehensive of the great pens like Shafeeq-ur-Rehman, Tarar, If you’re fond of reading and that to of Urdu literature and that to of classical one. I’ve read their books to quench my erudite thirst, again and again, noway felt drag. They’re legends, who we all are proud to have amidst us in the form and proposition of books. 

A child growing up currently would look stupefied by the successors of those legends. I mean, what has happened to the new generation of pens? Why did they miss the classical touch, the super-duper novels, the estimable style, the royal jotting, the supreme dominance over compendiums, the magnific humor, the sweetest of love, and lovely books of our former strain of pens? What happens? I bandied it on Facebook as well in a group, “Shua, Kiran, and Khawateen Digest” but there was no womanish pen to say anything about it. The responses came substantially from compendiums, just like Namal. 

I read ultramodern stories; many names shine. For case in ladies’ pens, substantially who write in womanish acquainted abridgments, my picks would be Umaira Ahmed for sure. She’s kindly close to the great mark or position set by the former pens. Still, by close, I mean close and not over to their position. Another one just behind Umaira is Faiza Iftikhar. I reckon her irony, as well as natural humor, is god’s blessed tool. Also again, not between the species of. Mohammad khan or Shafeeq-ur-rehman. One similar top-notch pen of the moment is Serwat nazir, her novels have good characterization. That isn’t all, Nemrah, I consider to be a high rank and creative pen. Nimra Ahmed recent novel was a great success. Nevertheless, they’re moment’s popular pens, and yet they’re so far from the lights of the classical pens. 

In hunt of knowing the answer, I allowed of coffers. The coffers, especially, erudite were scarce in those old days, and currently, you can have access to the libraries, Umera Ahmedgood tools of wordbooks, glossaries, that can make jotting so easy. Is this the lack of trouble that has caused the difference? Is it the cornucopia of coffers’ access that’s making our new bones low rank? 

In old times, with lower coffers and further trouble, they had put sensations. They used to do hard labor to get honored without any social or medium attention. I explosively laud to the classical pens of Urdu literature who still rule the erudite world of novels and runes. I prompt all the ultramodern bones to” step up” and be among the high species. 

Considering moment’s manly pens, the situation gets worse. His name is Hashim Nadeem who has got a little respect as a new pen, promising one. But, he again is far down from being compared to the classical titans. What would they do to bring a new Manto or Mufti? Where did the gift go? Is it still there or the new generation has no interest in jotting, whatsoever. Being a croaker or a CSP or a mastermind or a businessperson sounds more profitable career to them? 

There must be a reason behind everything, and we need to find a solid one unless the splendid trip of Urdu manly and womanish pens are in peril with every passing day. We’ve penned, but we don’t have legends. Legends are stars that shine for centuries, and simple pens get lost in the dust of time. 

Although Urdu Poetry is a veritably intricate subject that manifests itself in numerous different forms, certain introductory constituents characterize every Urdu lyric. We’ll now take a look at how an introductory Urdu lyric is structured and familiarize ourselves with some of its introductory constituents. 

 In Urdu Poetry, a lyric generally takes the form of a ghazal. A ghazal is a collection of multiple couples, called”ashlar”, that cleave to the rules of”bahar”, “radeef”, “malta”, “data”, and”Safiya”. Each brace or”she”expresses a single study and can stand alone. To understand how the typical Urdu lyric is structured, you must understand what each of these five terms relates to. 

Bahar. In Urdu Poetry, “bahar” refers to the cadence, or length, of a brace. Each line of a brace must have the same bahar as the other. In addition, every single brace in a ghazal must have the same bahar. Urdu Poetry uses 19 different types of bahar which can be classified into short, medium, and long measures. 

 Reef. Reef in Urdu Poetry refers to the same word or expression that’s repeated at the end of the alternate line of every brace. Keep in mind that the radeef are always the exact, same words for every ghazal. 

Malta. Malta in Urdu Poetry refers to the first brace in a ghazal. Both lines of a ghazal’s malta must end in the reef. 

 Maqta. Traditionally, muses of Urdu Poetry generally use pen names which are called Takhallus. The takhallus is generally incorporated into the last brace of the lyric as a kind of hand. The last brace of a ghazal that contains the takhallus is called the”manta”. 

Qafiya. The”Safiya” refers to the sorting pattern that’s used just before the reef at the end of every brace. The Safiya is necessary to the function of every Urdu lyric, indeed when the other rules aren’t stuck to. 

 Now that you know what each of the five terms relates to, we turn our attention to how they govern an Urdu lyric’s structure. First, every brace of a ghazal will have a fully different theme from all the other couples in the same ghazal. Second, all the couples of a ghazal must have the same bahar. Every single brace in a ghazal must also end in the same reef and use the same qafiya. Every Urdu lyric has a matla but some may not have a maqta. 

Like with utmost rules, there are also several exceptions . 

some ghazals don’t contain radeef. 

Occasionally, the ashaar of a ghazal will have the same theme. 

 odern Urdu Poetry is much lower restrictive with the use of bahar than in history. 

 Still, know that that’s normal If you’re feeling a little confused. It’s fully accessible if you do not get it the first time you read it. Take a deep breath a pass to sluggishly digest the information. It is a lot easier than you suppose 



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