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Poetry of the modern-day region called Afghanistan has ancient roots, which is mostly written in Dari and Pashto. [1] Afghan poetry relates to the culture of Afghanistan and is an element of Afghan literature .
The great poet Rumi was an Afghan poet who wrote in Dari language throughout his life. Other poets also wrote in Dari, however several other poets were deeply influenced by Persian, Pashto and Arabic Languages. [8] [9] Modern women usually write the traditional Afghan poetry form, consisting of two lines of rhyme, called landay. [10]
Qahar Asi (Dari: قهار عاصی; September 26, 1956 – September 28, 1994) was a poet and agriculturist from Afghanistan.. He was born in Malima in Panjshir province.He is considered to be Afghanistan's most famous modern poet who has practiced both "New" and "Classic" poetry styles.
Jalaluddin Jalal was born on 15 October 1923 in Kabul.He was the son of the treasurer Masdjidi Khan and grew up in an intellectual Afghan family. He was interested in music, art and literature since being a youth.
Ayesha Durrani, also known as Aisha-i-Durani and Aisha Durrani (18th-century) was an Afghan poet, one of the wives of Timur Shah Durrani of the Durrani Empire.A number of her poems were compiled into a manuscript in 1882, and Durrani is credited with founding the first school for girls in Afghanistan.
Poetry in Afghanistan has long been a cultural tradition and passion. It is mainly in Persian/Dari and Pashto languages, although in modern times it is also becoming more recognized in Afghanistan's other languages. Classic Persian and Pashto poetry plays an important role in the Afghan culture. Poetry has always been one of the major ...
Wealth inequality casts its shadow on everything from children's early development to adults' emotional well-being. It directly impacts education, housing, wellness and mental health.In fact ...
The book won the 2014 PEN Award for Poetry in Translation. [6] Tess Taylor described the book's poetry in NPR as feeling "both anonymous and universal" and commented on the window it offered to the lives of women living in Afghanistan. [7] The book was described as a "rich and graceful collection" by Elizabeth T. Gray Jr. in the Harvard Review.