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Ashob remained an historical genre in Persian, Urdu and Turkish literature used by the writers, predominantly by the Mughal poets to express their anguish and sorrows over political and social shifts. [4] [5] The Ashobs are generally describing emotional thoughts of a writer in a narrative poem based on several competencies. [6]
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 ...
Apathy, also referred to as indifference, is a lack of feeling, emotion, interest, or concern about something. It is a state of indifference, or the suppression of emotions such as concern, excitement, motivation, or passion. An apathetic individual has an absence of interest in or concern about emotional, social, spiritual, philosophical ...
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).
The concept of a work's tone has been argued in the academic context as involving a critique of one's innate emotions: the creator or creators of an artistic piece deliberately push one to rethink the emotional dimensions of one's own life due to the creator or creator's psychological intent, which whoever comes across the piece must then deal ...
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Laziness (also known as indolence or sloth) is emotional disinclination to activity or exertion despite having the ability to act or to exert oneself. It is often used as a pejorative; terms for a person seen to be lazy include " couch potato ", " slacker ", and " bludger ".
In indifference, the text "dedefines" itself, etches itself in a texture or network of meaning, which is not limited to the text itself. Barry describes this as a "structuralist approach to literature, there is a constant movement away from the interpretation of the individual literary work and a parallel drive towards understanding the larger ...