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The title poem has been cited by cultural and political figures in the years since its publication. The reasons for the work being cited vary. From the poem being critically and universally praised, [23] [21] to it becoming one of the most famous poems to be written about Kashmir, it was a poem that connected to the land and the people of the ...
Agha Shahid Ali Qizilbash (4 February 1949 – 8 December 2001) was an Kashmiri-born American poet. [1] [2] Born into a Kashmiri Muslim family, Ali immigrated to the United States and became affiliated with the literary movement known as New Formalism in American poetry.
Lalleshwari, (c. 1320–1392) also commonly known as Lal Ded (Kashmiri pronunciation: [laːl dʲad]), was a Kashmiri mystic of the Kashmir Shaivism school of Hindu philosophy. [1] [2] She was the creator of the style of mystic poetry called vatsun or Vakhs, meaning "speech" (from Sanskrit vāc).
The poem first appeared in Hope's first collection of poems, The Garden of Kama (1901), also known as India's Love Lyrics. The following year, when Amy Woodforde-Finden set to music Four Indian Love Lyrics , "Kashmiri Song" emerged as the most popular, quickly becoming a drawing room standard and remaining popular until the Second World War .
His poetry is believed to have strong influences across Afghanistan, Iran, Turan an India. Gani Kashmiri is known for his Persian poetry that reflects the rich cultural and intellectual heritage of Kashmir. While not directly political, his work is seen as a testament to Kashmiri identity and resilience during times of external domination.
Literature of Kashmir has a long history, the oldest texts having been composed in the Sanskrit language. Early names include Patanjali, the author of the Mahābhāṣya commentary on Pāṇini's grammar, suggested by some to have been the same to write the Hindu treatise known as the Yogasutra, and Dridhbala, who revised the Charaka Samhita of Ayurveda.
The story of Himal and Nagaray is considered to be a "well-known tale", representative of the Kashmiri region. [8] [9]Indian scholarship states that the tale has existed in the oral repertoire of the Kashmir region, [10] with multiple renditions appearing in both Persian and Kashmiri in the 18th and 19th centuries.
In 1877, after sketching the royalty of the Kingdom of Jammu and Kashmir, while on his way back, at Thanna Mandi, a place near Rajouri, in the afternoon of 13 June, V. C. Prinsep (1838-1904) met a traveling Kashmiri bard, a singing fakir, who regaled him with Kashmiri songs for hours while they walked. Prinsep made some notes, and later got two ...