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"Lab Pe Aati Hai Dua" (Urdu: لب پہ آتی ہے دعا; also known as "Bachche Ki Dua"), is a duʿā or prayer, in Urdu verse authored by Muhammad Iqbal in 1902. [1] The dua is recited in morning school assemblies almost universally in Pakistan, [2] [3] and in Urdu-medium schools in India.
Jasoosi Dunya (Urdu: جاسوسى دنيا) is a popular series of Urdu detective stories created by Ibne-Safi. Its first novel, Dilaer Mujrim (دلير مجرم) was published in March 1952. In the following 27 years, Ibn-e-Safi wrote 127 books in the series with his last Jasoosi Dunya novel, Sehra'ee Deewana (صحرائی دیوانہ ...
The passer-through-walls (French: Le Passe-muraille), translated as The Man Who Walked through Walls, The Walker-through-Walls or The Man who Could Walk through Walls, is a short story published by Marcel Aymé in 1941.
Dilli Abhi Door Hai" (Urdu: ہنوز دلی دور است, romanized: hanūz dillī dūr ast, Hindi: दिल्ली अभी दूर है, romanized: dillī abhī dūr hai) [1] is a Hindi-Urdu phrase from Persian: هنوز دهلی دور است, romanized: hanūz dihlī dūr ast, lit.
Thus to Iqbal, awakening of the self means a life fraught with meaning, purpose and ideal; without it, is dreariness, decay and finally death. In Iqbal’s poetry awakening occurs through the burning passion of desire, the desire to explore, discover and bring to light the secrets and mysteries of existence. [15]
Rangila Rasul was published in May 1924 [4] and its copies sold out in a matter of a few weeks. [19]Originally published in Urdu [1] and later translated into Hindi, it was written by a member of the Hindu reformist Arya Samaj sect [20] by the name of Pandit Chamupati [21] (or Champovati).
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 ...
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]