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Ghulam Abbas has also written stories, plays and poems for children, his main field is fiction. He has a very high position in modern Urdu fiction. He takes the plot of the fiction from around him and writes it so skillfully that the reader gets lost in its details. And is shocked at the end of it. Their characters belong to the real world.
Urdu in its less formalised register is known as rekhta (ریختہ, rek̤h̤tah, 'rough mixture', Urdu pronunciation:); the more formal register is sometimes referred to as زبانِ اُردُوئے معلّٰى, zabān-i Urdū-yi muʿallá, 'language of the exalted camp' (Urdu pronunciation: [zəbaːn eː ʊrdu eː moəllaː]) or لشکری ...
Hafeez Jalandhari was unique in Urdu poetry for the enchanting melody of his voice and lilting rhythms of his songs and lyrics. His poetry generally dealt with romantic, religious, patriotic and natural themes. His language was a fine blend of Hindi and Urdu diction, reflecting the composite culture of South Asia. [3]
Kishwar Naheed (Urdu: کشور ناہید) (born 18 June 1940) [1] is a feminist Urdu poet and writer from Pakistan. She has written several poetry books. She has written several poetry books. She has also received awards including Sitara-e-Imtiaz for her literary contribution to Urdu literature .
Man-o-Salwa (Urdu: من و سلویٰ; transl. Manna from Heaven) is an Urdu language Pakistani telenovela broadcast in 2007 by Hum TV, based on Umera Ahmad's novel of the same name. [ 1 ] [ 2 ] The telenovela, which stars Resham , Faisal Qureshi , and Noman Ijaz , is directed by Babar Javed and produced by Momina Duraid .
Angarey or Angaaray (translated alternatively as "Embers" or "Burning Coals") is a collection of nine short stories and a one act play in Urdu by Sajjad Zaheer, Rashid Jahan, Mahmud-uz-Zafar and Ahmed Ali first published in 1932 and generally considered to have marked the beginning of the Progressive Writers' Movement in Indian literature.
According to a major Pakistani English-language newspaper, Altaf Hussain Hali and Maulana Shibli Nomani played key roles in rescuing Urdu language poetry in the 19th century, "Hali and Shibli rescued Urdu poetry. They re-conceived Urdu poetry and took it towards a transformation that was the need of the hour."
The Urdu ghazal makes use of a store of common characters, settings, images, and metaphors that inform both readers and poets of how to navigate the aforementioned ghazal universe. [33] These tropes have been cultivated for hundreds of years and are meant to deeply resonate with listeners of the ghazal, invoking their expectations of meaning. [33]