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Urdu poetry (Urdu: اُردُو شاعرى Urdū šāʿirī) is a tradition of poetry and has many different forms. Today, it is an important part of the culture of India and Pakistan . According to Naseer Turabi, there are five major poets of Urdu: Mir Taqi Mir (d. 1810), Mirza Ghalib (d. 1869), Mir Anees (d. 1874), Muhammad Iqbal (d. 1938 ...
In Persian, Turkic and Urdu poetry, the matla ' (from Arabic مطلع maṭlaʿ; Persian: مطلع; Azerbaijani: mətlə; Turkish: matla; Uzbek: matla; Urdu: مطلع) is the first bayt, or couplet, of a ghazal. [1] [2] In this sense, it is the opposite of the maqta'.
The Ghazal tradition is marked by the poetry's ambiguity and simultaneity of meaning. [12] Learning the common tropes is key to understanding the ghazal. There are several locations a Urdu sher might take place in: [13] The Garden, where the poet often takes on the personage of the bulbul, a songbird.
Nazm is a significant genre of Urdu and Sindhi poetry; the other one is known as ghazal. Nazm is significantly written by controlling one’s thoughts and feelings, which are constructively discussed as well as developed and finally, concluded, according to the poetic laws.
Urdu literature (Urdu: ادبیاتِ اُردُو, “Adbiyāt-i Urdū”) comprises the literary works, written in the Urdu language.While it tends to be dominated by poetry, especially the verse forms of the ghazal (غزل) and nazm (نظم), it has expanded into other styles of writing, including that of the short story, or afsana (افسانہ).
He can "talk to himself", "to somebody else", "refer to something" etc. For example Firaq Gorakhpuri, whose takhallus is the word for the common theme in Urdu poetry of the state of pining for the beloved, plays on his pen name and the word firaq: Urdu: تو یہ نہ سمجھنا کے فِراق تیری فِراق میں ہیں
A kulliyyāt (from Arabic: كلّيّات kulliyyāt; Persian: کلیات kolliyyât; Azerbaijani: külliyyat; Urdu: کلیات; Uzbek: kulliyat) is a collection of the poetry of any one poet. Cover of the 1872 translation of the works of Mirza Muhammad Rafi Sauda (1713–1781) Kulliyat is one of the principal collection forms of Urdu poetry ...
During that period, he felt that there were limitations in Urdu poetry. He absorbed the essence of Mir and Ghalib to express what he intended. He was fascinated by the lyrical mood of Meera and Kabir and widened his knowledge of poetry by studying T. S. Eliot, Gogol and Anton Chekhov. [8] Nida Fazli. He moved to Mumbai in search of a job in 1964.