DOCSLIB.ORG

Post Partition) Prose Writing in Sindhi Initiated in a Big Way After Standardization of Sindhi Script in 1853

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Post Partition) Prose Writing in Sindhi Initiated in a Big Way After Standardization of Sindhi Script in 1853 Prose - (Post Partition) Prose writing in Sindhi initiated in a big way after standardization of Sindhi script in 1853. After 1947 too, the trend was perpetuated by the writers who migrated from Sindh in the aftermath of Partition. Every aspect of prose flourished and hundreds of books are published in every genre of prose. After Independence , many essay collections by noted writers came into print viz. Tirth Besant’s - (1909 - 1994) - Vasant Varkha - 1959, Sahit Saru - 1961, Sahit Sirj - 1978, Khushboo - e - 1979, Sarang - 1979 and Aatm - Balu - 1982. Tirth Basant’s style is captivating in all the books. Harumal Sadarangani Khadim ’s (1913 - 1992) Kakha ain Kaanaa - 1966, Kanwar Paroon Paataar mein - 1984 are important collections as in the latter book Khadim carried a co mparative study of Shah Abdul Latif (1689 - 1752) with poets of Hindi, Persian and Punjabi and highlighted characteristics of Shah’s poetry. Besides, there are important edited books of essays like Choond Sindhi Mazmoon by Kirat Babani (1922 - 2015) - it is col lection of 28 essays, related to literary evaluation and critical review of literary trends , and Hiro Thakur’s (b.1943) edited Collection of 22 essays Behtreen Sindhi Mazmoon. Naeen Zindagi (1949) was edited by Melaram Vaswani (1901 - 1972) which included 16 essays on miscellaneous subjects. Kirat Babani’s own essays are compiled in Adab mein Qadran jo Suwal (1974), Okha Dokha (1981), Pehi Manjh Paataar and Sindhi Kahani Virhagne Baid (1984) wherein he critically evaluated literary pieces. Hiro Thakur’s Tahqe eq ain Tanqeed (Research and criticism - 1997) also is a n in - depth study of medieval poets like Qazi Qad an (1463 - 1551) , Shah Abdul Latif (1689 - 1752) and Rohal. In his Indlath ( Rainbow - 2008) one important essay, among others is Banished Sindhi literature duri ng British rule . Mohan Gehani’s (b.1938) three collections - Jaa Chitayam Chita Mein (1999), Tiryal Pakhryal Panna (2013) and Vahandar Nadia mein Chand Betaaryoon (2017) include referential articles and also a scholarly appraisal of some books. Popati Hir an andani (1924 - 2005) published about half a dozen collections of essays wherein she underlilned social evils and significance of Sindhi language, and also peeped into cultural heritage of Sindhis . There are number of books that present research and analytical study of medieval poets. Kalyan Advani (1911 - 1994) in his b ooks on Shah (19 51), Sami (1953), Sachal (1954), a long with life, person of the poet concerned , has brought in concerned poet’s philos ophic shades and also literary characteristics. His Shah jo Risalo (1958) and Shah jo Risalo Mujmal (1961) with explanatory notes were highly commendable works and he was awarded Sahitya Akademi Award (1968) on Shah jo Risalo Mujmal. Hiro Thakur’s (b.1943) Qazi Qadan jo Kalaam (1978) and Jhammu Chhugani’s (1940 - 2016) Mahamati Prannath ji Vani (in two parts - 1991 and 1996) are significant research work and critical assessment of concerned poets. Besides, Fatehchand Vaswani’s (1894 - 19 79 ) Shah jo Choond Kalaam in three volumes and Jhamatmal Bhavnani’s (1905 - 1985?) Kaamil jo Kalaam (1954) are good studies of Shah Abdul Latif. Motilal Jotwani (1936 - 2008) too in Shah Abdul Latif - His life and Work - elaborately discussed Sufism and Shah’s poetry in the perspective of Indian poetic trends. In this respect Shah jo Risalo – A Study (1992) by Murlidhar Jetley (b.1930) is significant entry. Bhojraj Nagrani’s (1903 - 1984) Samia jaa Sloka, Jhamatmal Bhavnani ’s Dadu Dayal, Baldev Matlani’s (b.1952) Sachal joon Vayoon, Shah Sachal hiku Taqabli Abhyasu , Lilaram Ruchandani’s Qazi Qadan (1973), Jairamdas Doulatram’s Sant Kavi Mahamati Prannath (1618 - 1694) - 1967, Jhammu Chhugani’s (1940 - 2016) - Mahamati Prannath (1991 and 1996) , Jayant Relwani’s (1936 - 2011) - Mekaran Kapdi (1666 - 1729 ) in which Relwani has described Mekaran’s life and Sindhi poetry , are also meritorious works. There is a good number of books on history of Sindhi literature - Mangharam Malkani ’s - Sindhi Nasur ji Taareekh (1968) is detailed study of Sindhi prose and in his Sindhi 1 Adab jo Mukhtsar Jaizo (1980), the writer has reviewed various l iterary forms. Lalsingh Ajwani (1899 - 1976) in History of Sindhi Literature (1970) - has focus ed on medieval poets like Shah, Sachal Sami etc. and has covered very little review of Post Independence literature. Lilaram Ruchandani’s (1924 - 2002 ) Azadia Baid Sindhi Sahit jo It i haasu (Post Independence History of Sindhi Literature - 1994) covered literatur e till ninth decade of the 20 th century and Popati Hiranandani (1924 - 2005) - in her History of Sindhi Literature ( 1984) discussed literature of the period from 1947 to 1980. Murlidhar Jetley’s - (b.1930) - Sindhi Sahitya jo Itehas (1972) encapsulates evolution of Sindhi Literature from its initial stage to 1970. Its revised edition appeared in 2006 wherein review of literature is updated till turn of the century . Kanaiyalal Lekhwani’s (b.1942) - research work on Sindhi Boli ain Adab ji Tareekh (2011) coverd liter ature r ight from beginning to the year 2008. Histories on Sindh also have appeared - Chetan Mariwala’s (1916 - 1984) two books of historical essays - Itehasik Chitra and Vichitra Varqa appeared in 1950 and 1951 respectively. Ja iramdas Doulatram Aalamchandani (1891 - 1979) in his Sindh ji Khoj (1993) include d articles on history and culture of Sindh. Gangaram Samrat’s (1918 - 2004) important historic books are Arya Virt (1947) Bharat Varsh (1966), Sindh Soveer (1979), Baldev Gajra’s (1931 - 1991) Azadia ji yudh mei n Sindh jo Bhag (1985) , Mohan Gehani’s (b.1938) Sindh je Tareekh joon Jhalkoon (1998) (This book was later published in Hindi and English, too) , Jayant Relwani’s (1936 - 2011) Sindh Kutch ain Kathiawad jaa Sabhyatak Naata (2008) , Jetho Lalwani’s Sindhi Kutch i Lok Sanskriti Parampara (in Hindi - 2014) and Lachhmandas Keswani’s Sindh History from 1840 to1947 (201 4 ) peep into history of Sindh. There is a good number of books that critical ly evaluat e literary books and also literary topics. Hiro Shewkani’s (b.1935) – Jidat jo Mafhoom (1975) for example details principles of modernity in the first part and in the second part applies those principles to evaluate Sindhi Story. His scholarly critical evaluations are collected in about half a dozen books viz. Sirjan jo Sankat ain Sindhi Kahani (2004) which won him Sahitya Akademi Award - 2008 and Sindhi Novel Kathghare mein (2007) wherein Sindhi novel is assessed. His Jaaizo (1981), Lok Lahwaro Vahe toon oocho vahu obhar (2003) and Adab jaa Miyaar ain Sindhi Adab (2013) include miscellaneous articles on Shah, Sachal, Sami, Dukhayal’s poetry, stories of romantic trio Mohan, Guno and Lal Pushp, and also other critical essays. Lal Pushp (1935 - 2009) in Jeevan Jhankyoon (1969) has given in - depth study of Shah, Sachal and Sami’s life and work, along with study of Pre - Partition pillars of Sindhi prose writing namely Bherumal Meharchand, Jethmal Parsram and Amarlal Hingorani. Besides, his books Kahani kala jo Vika s (1972) and Drishti ain Darsani (1972) are landmark in the criticism of Sindhi story . Param Abichandani’s (1926 - 2005) Sahitya Akademi Award winning book Taka Tora (1994) is also a remarkable contribution towards Sindhi criticism Harish Vaswani (1940 - 2013) in his Sahitya Akademi Awardee (1987) book 40 - 84 (1984) sums up critical evaluation of Post Independence Sindhi Short Stories and also covers comprehensive appraisal of two novels - one of them being S ahitya A kademi Award (1973) winning Pyar ji Pyas (Gob ind Malhi - 1972) along with articles on Sindhi Nai Kavita . His second book Buree ain te Butryoon (Cipher and three Ciphers - 2000) is a miscellaneous book containing stories, poetry, travelogue and criticism which includes articles on poetry. His important cr itical analysis of Shah Abdul Latif’s poetry and its relevance in modern times is appreciably acknowledged by scholars. Prem Prakash’s (b.1946) booklets on Kahani (Story - 1989 ) , Natak (Drama - 1990) and Nai Kavita (1988) and his thesis Sindhi Natak ji Osar (Evolution of Sindhi Drama - 1993) are commendable contribution to criticism of Sindhi drama . Namdev Tarachandani ’s (b.1946) - Sindhi Katha Sahit (2004) consists of critical articles on text of Sindhi Stories. Namdev does not rely on set principles of critici sm; instead 2 he depends on his insight into the stories while evaluating them. Navaan Ufaq (New Horizons - 1975 ) edited by Shyam Jaisinghani also deals with new perspectives of Sindhi Story . Vasdev Mohi (b.1944) in Gaalh Shairia ji (2007) brings analytical a rticles on poetry and ghazals. His Virhagne khanpoi Sindhi Ghazal jo Handbook ( Post Partition Handbook of Sindhi Ghazal - 2008) discusses history, format, practice and artistic beauty of Sindhi ghazal that has been in vogue for the last two and a half centur ies in Sindhi poetry. Lakhmi Khilani ’s (b.1935) reviews and thought provoking editorial prefaces in Rachna Quarterly are collected in four volumes of Rachna Yaatraa (2001,2002,2003 and 2005) Satish Rohra’s (b.1929) miscellaneous penetrating and analytical critical writings are included in Chhanda Chhaana (1995), Kavita khan Kavita taaeen (2000), Katha khan Katha taaeen (2002) and Sahitya Sirjan (2005). Jetho Lalwani (b.1945) is credited with many critical books related to folk literature, besides he is closely attached with play writing, and his books related to technical aspects of drama Natak ain Rangmanch Kala, (1981) , Natak jo Vikas (1982), Sindhu Na tya Darshan (1982) and Sindhi Natak Parampara (2012) are good informative books that present critical angle too. Jagdish Lachhani (b.1939) has penned more than a dozen books wherein he has discussed literature right from its basic principles to its evaluat ion in scholarly style. Moreover , he has also written approximately half a dozen monographs under Sahitya Akademi’s ‘Makers of Indian Literature’ series.
Load more

Recommended publications
  • REGIONAL FOLKLORES of PAKISTAN in the PERSPECTIVE of SUFI POETRY and ITS ROLE for PEACE and INTEGRITY Dr
    Mystic Thoughts: Research Journal of Sufism and Peace Supplementary Edition of Vol. I REGIONAL FOLKLORES OF PAKISTAN IN THE PERSPECTIVE OF SUFI POETRY AND ITS ROLE FOR PEACE AND INTEGRITY Dr. Farhat Naz Rahman1 Dr. Kiran Sami2 Abstract Regional folklores of Pakistan like other folklores around the globe encompass poetry, songs, sonnets, tales, legends, myths, traditions, customs and proverbs. Being limitless and denying boundaries they link regions to regions, provinces to provinces and countries to countries. They develop integrity and help making the people of Pakistan as one nation. Sufi practices all over the country shape a strong and significant indigenous force to unite. Along with other factors religion is an influential factor construing the identity of Pakistanis as a nation. Fortunately, Sufism has a firm religious basis. Additionally, its indignity has global links spreading from the sacred centers of Mecca and Medina in Saudi Arabia through Central Asia to the provinces of Pakistan and further spreading deep into the heart and outskirts of the subcontinent. From Baghdad in Iraq and Konia in Turkey to Lahore in Pakistan and Delhi in India and to the remote parts of South Asia with the purest religious spirit the great Muslim saints put interlinked efforts to preach religion, humanity and conscience. It is peculiar that their expositions whether in prose, poetry or speech made extensive use of folklores. As mentioned earlier poetry, songs, sonnets, tales, legends, myths, traditions, customs 1 Dr. Farhat Naz Rahman Department of Islamic Studies, Sir Syed University of Engineering and Technology, Karachi. 2 Dr. Kiran Sami Professor, Department of Political Sciences, University of Sindh, Jamshoro 108 Mystic Thoughts and proverbs all were the tools of their expositions.
    [Show full text]
  • Shahadat and the Evidence of the Sindhi Marthiya
    285 PART III Relations between Shiʿism and Sufism in other Literary Sufi Traditions 285 286 7 Sufism and Shiʿism in South Asia: Shahādat and the Evidence of the Sindhi marṡiya Michel Boivin In one of the first Sindhi-English dictionaries published in 1879, the word marṡiyo615is translated as follows: ‘An elegy or dirge, particularly one sung during the Muhorrum’.616 In Arabic, the marṡiya is an elegy composed to lament the passing of a beloved person and to celebrate his merits. When did the word enter the Sindhi language? Unfortunately, it is not possible to answer but the spread of the marṡiya in Sindhi literature didn’t start before the 18th century. This paper addresses a double issue. On the one hand, it wishes to introduce the marṡiyas from the countryside. What does that mean? In South Asia, the marṡiya is associated with the court culture of the main states that have flourished in the ruins of the Mughal empire. The leading school of marṡiyas growth in Lucknow, the then capital of the state of Awadh in North India. As a matter of fact, the marṡiyas composed by poets such as Mīr Babar ʿAlī Ānīs (1216–1290/1802–1874) were considered as the ultimate reference for the writing of these elegies in the whole Indian subcontinent. Another centre for the production of marṡiya literature was the State of Hyderabad, in Dekkan. The marṡiyas schools of Hyderabad and Awadh both used Urdu, which was then 615 Although the right word in Sindhi is the masculine marṡiyo, I shall use the Persian and Urdu form marṡiya (Arabic, marthiyya) which is increasingly predominant even in Sindhi literature.
    [Show full text]
  • The Activities of the Sindhi Adabi Board, Karachi 1
    THE ACTIVITIES OF THE SINDHI ADABI BOARD, KARACHI 1 BY ANNEMARIE SCHIMMEL Marburg (Lahn) Exactly one century ago, Dr. E. Trumpp, the first German scholar who investigated the Sindhi language and literature, wrote (ZDMG 15/1861, p. 692 ff.) : "Among the recent languages of India that are of sanscritic origin, none has been more neglected by the public interest than Sindhi.... Sindhi has been, since ever, the most despised language among the Indian vernaculars; even the old grammaticians of Prakrit have scarcely thought that it deservesmention." Curious enough that even to-day this language has not attracted the interest of the orientalists, though Trumpp has praised its richness in grammatical forms in the above-mentioned article and in his Sindhi grammar (1872); and its rich literature-of which Trumpp had already given some examples- 2 is almost unknown in the West, though "no vernacular dialect in India ... possessed more, and few so much, original composition" 3. But even official works like "The Gazetteey" (22/19°8) say shortly (p. 406): "Sindhi literature consists mainly of translations from Arabic and Persian, chiefly theological works, and a few rude national ballads": how- ever in the i8th cty. the great scholars of Thatta had composed 1 I have to thank here Pir Sayyid HussamaddinRashdi for all his help and encouragemen in my Sindhi studies; Mr. Ibrahim M. Joyo, Secretary to the Board, has kindly given me a brief report of the activities of the SAB which I have used as starting point (letter, 25.5. 1960),and was kind enough to send me all the publicationsof the Board; Prof.
    [Show full text]
  • Poetry (Sindhi) (Post 1980) by 1980, the Impact of Social Realism and Grey Shades of Nai Kavita (New Wave Poetry) Waned and Fresh Phase of Sindhi Poetry Emerged
    Poetry (Sindhi) (Post 1980) By 1980, the impact of social realism and grey shades of Nai Kavita (new wave poetry) waned and fresh phase of Sindhi poetry emerged. In this phase gloom of earlier Nai Kavita came to be replaced by radiant rays. Nai Kavita continued, but with an altered idiom and content. Along with noted Nai Kavita poets Anand Khemani (b.1933), Shyam Jaisinghani (1937 - 2009), Harish Vaswani (1940 - 2013), Vasdev Mohi (b.1944), Prem Prakash (b.1946), Namdev Tarachandani (b.1946) etc., estab lis hed poets of metrical poetry also ventured into Nai Kavita ; notable among them are M. Kamal (1925 - 2010), Arjan Hasid (b.193 0) and Krishin Rahi (1932 - 2007). They stamped their identity as poets of significance in this form too . Nai Kavita influenced entire spectrum of Sindhi Poetry but its influence on Ghazal form was deeper. Narayan Shyam (1922 - 1989) was considered a poet of delicate sensibility. He assimilated some finer elements of Nai Kavita in his Ghazals. Later, Azadia khanpoi Sindhi Ghazal ji Antholog y ( An Anthology of Post Independence Sindhi Ghazal - 2008) edited by Arjan Hasid highlighted many traits of new wave poetry. Ghazal has been important vehicle of expression for Sindhi poets. Vasdev Nirmal’s (1936 - 2017) Deewan - e - Nirmal (2014) (A Collection of Ghazals based on alphabetical order of Radeefs - refrains) was second Deewan after Lekhraj Aziz’s (1897 - 1971) Surahi ( 1966 ) (though Aziz had included other forms of poetry too in his Surahi ). Post 1980, many Ghazal collections appear ed, some of them being Arjan Hasid’s six collections including Sahitya Akademi Award (1985) winning Mero Siju (Soiled Sun - 1984) ; four collections of Gope Kamal including Sahitya Akademi Awardee book Sija Agyaan Buku (2011); other Sahitya Akademi award winn ing Ghazal collections being M.
    [Show full text]
  • Poetic Resistance to Internal Colonialism in Pakistan by Dr
    Pakistaniaat: A Journal of Pakistan Studies Vol. 6 (2018) Cultural Identity and State Oppression: Poetic Resistance to Internal Colonialism in Pakistan By Dr. Qaisar Abbas Abstract Challenging the conventional wisdom, this article argues that colonialism never left South Asia as it transformed itself into internal colonialism after independence. Strong shadows of British colonialism can still be seen in colonial legacies of legal, administrative and economic structures of Pakistan and other South Asian nations. Within this conceptual framework, this study analyzes poetic discourse in Pakistan’s native languages including Balochi, Brahui, Pashto, Seriaki and Sindhi as it resists forces of internal colonialism. The analysis demonstrates poetic resistance within the two major themes: A consistent quest for cultural identity in Seriaki and Sindhi, and a profound resistance to the state oppression in the Balochi and Pashto poetic discourse. This discourse demonstrates themes of cultural defiance with modernist, post- modernist, realistic and expressionist trends. Although resistance is not the only stream, it is a prominent theme with some similar and distinctive features specific to the nature of oppression to marginalize native cultures. The poetic discourse, along with the political and intellectual struggles, however, became instrumental in gaining some breathing space for native cultures although mechanisms of internal colonialism remain intact in Pakistan. Keywords: Cultural Resistance, Poetic Discourse, Internal Colonialism, Native Languages, Pakistan, Balochi, Brahui, Pashto, Seraiki, Sindhi. Qaisar Abbas Pakistan’s ruling elites have carved out a unique system to govern and thrive which has been instrumental in sustaining their power and control during the last 70 years. The post-colonial history of Pakistan narrates dynamics of internal colonialism where a new kind of operational mechanism was introduced to maintain the colonial structure allowing for a heavy control by the centre to rule the peripheral areas.
    [Show full text]
  • 4.104 M.A. Sindhi Sem III-IV
    UNIVERSITY OF MUMBAI DEPARTMENT OF SINDHI REVISED SYLLABUS PROGRAMME: M.A. SINDHI SEMESTER III & IV CHOICE BASED CREDIT SYSTEM (TO BE INTRODUCED FROM THE ACADEMIC YEAR 2017-2018) Elective Course :I (A) - Mirza Qalich Beg III SEMESTER Code: PAURD 301 Credit = 6 Unit I- (a) Era, life and personality of Mirza Qalich Beg. (b) Introduction of Mirza Qalich Beg’s Book: Autobiography ‘Sao Pan Ya Karo Pano) Unit II- Social, cultural, secular, historical, educational and scientific thoughts of Mirza Qalich Beg Unit III- Mirza’s Qalich Beg’s contribution to Sindhi literature with special reference to his book ‘Sao Pan Ya Karo Pano’ Reference Books: 1- Sao Pan Ya Karo Pano APPENDIX Elective Course I (A) – Mirza Qalich Beg Maximum Marks: 60 Duration 2 Hours Elective Course: I (B) - Lekhraj Aziz III SEMESTER Code – PAURD 301 Credit = 6 Unit I. (a) Life and personality of Lekhraj Áziz. (b) Introduction of Lekhraj ‘Aziz’s books. Unit II. Contribution of Lekhraj ‘Aziz’ in the development of Sindhi prose. Unit III. Detailed study of Lekhraj ‘Aziz’s book: ‘Adabi Aino’ Reference Books: 1- ‘Adabi Aino’ by Lekhraj ‘Aziz’ APPENDIX Revised format of setting question papers on Sindhi at the M.A. (Semester III) examination to be introduced w.e.f. the academic year 2017-2018. Elective Course I (B) – Lekhraj ‘Aziz’ Maximum Marks 60 Duration 2 Hours Elective Course : II (A) - Sachal Saeen IIIrd SEMESTER Code - PAURD 302 Credit = 6 Unit I- (a) Era, life, art and literary personality of Sachal Saeen. (b) Introduction of ‘Sachal Jo Risalo’. Unit II- Study of the Kafis of Sachal Saeen Unit III - Contribution of Sachal Saeen to the Development of Sindhi poetry Reference Books: 1- ‘Sachal Jo Risalo’ By Usman Ali Ansari 2- ‘Shah, Sachal, Sami’ By Mohd.
    [Show full text]
  • Prosody (Sindhi)
    Pro sody (Sindhi) (Post Independence) The first book on prosody that appeared after I ndependence was Chhand Sugandh (1953) by Jhamatmal Khubchand Bhavnani (1905 - 1985?) . In the book writer explained principles of different Chhands ( Pingal Shastra ) along with some forms of poetry like Dohas, Sorthas, Lalit Pad, etc. He has also described different Alankar (Figures of Speech) in detail and also has covered the topics of emotions and aesthetics. But at places the writer has avoided adequate explanation of the topic s like Ras and has given only examples of poems. Besides, the writer has entirely relied on Hindi terminology and has not give n its Sindhi synonyms. Nevertheless, t his book being the first to touch the topic of prosody in India, wr iter’s effort was extensively appreciated. In 1954, same writer brought out the book on Pers i o - Arabic prosody called Sindhi Shair - I ttar - e - Arooz, which also was widely welcomed. Initiating with history of Sindhi language he has glanced over various periods of Sindhi poetry. He has thereafter exhorted elementary principles of Arooz viz stressed - unstressed sounds of words, rhyming schemes, use of Radeef ( refrain), and rules of scansion ( Taqteea ). He also has included details of various f orms of poetry; especially he has explained Kaafi (a lyrical Sindhi poetic form). The writer has not given separate chapter on Alankar (Figures of Speech), but at the end of every chapter he has covered one or another aspect of Alankar through examples of couplets of poems. But sometimes, instead of giving examples of Sindhi poems, the writer relies on Urdu examples, which could have been avoided.
    [Show full text]
  • INSTI Stion PUB DATE EDRS PRICE IDENTIFIERS ABSTRACT I
    DOCUMENT RESUME ED 126 51 CS 202 847 AbTHO ola, Carlo, Ed. v ' ,.IT MAHFIL: A.Quarterly of South Asian Literature, Spring-Summer 1971. INSTI sTION Michigan State Univ., Eas sing. Asian Studies , Center. PUB DATE 71 NOTE 170p. ( EDRS PRICE MF-$0.83 Plus Postage-. HC Not A ailablefrom EDRS. DESCRIPTORS *Asian Studies; Literary Criticism; *Literature; Literature Reviews; Non Western Civilization; *Poetry; Prose; TaleS IDENTIFIERS India . ABSTRACT . 7 '-' . This volume contains both literature fromSouth Asia and articles about South Asian literature.The first article consists of an interview with a leading Pakistani poet, N.M. Bashed, who . discusses modern Urdu literature. Otherarticles are: "Five 'Dangerous' Books " - -on censorship ip EastPakistan--by P. Sarkar; "Bdluchi Language and Diterature"and "Pashto Language and Literature" by A. Bausani; "Sindhi Literature"by A. Schimmel; and "Ahmed Ali and 'TwilightAin Delhi' "- -the genesis of a Pakistani novel--by D.D. Anderson. Literary selections,translated into Engl'sh, include nine poems by N.M. Rashed;three-poems by Z. Haider; and ix stories "The Brock" by A. Husain, "The Tade of i a 'Tulsi' Tree, by S. WaliulIah,,fiGhaazi Mard" by G.Abbas, qhe Rain" by A. Al-Aad, "Conspiratois" by E. Sajjad,and "Of Blackened Face" by J. Abroi The volume also contains three literaryreviews by J.P. Gemil$, R. Gerulaitis, and H. Moayyad. (JM) ******************************i***********************************e' * Documents acquiredi p4-2Arc include ,many informal unpublished * * materials not available from other sources."ERIC makes every effort * * to obtain the best 'copy available.- Nevertheless, items.of marginal * * reproducibility are often encountered and, this"affects the quality * * of the microfiche and hardcopy reproductionsERIC makes available * * via the ERIC Documeit ReproductiOn Service(EDRS).
    [Show full text]
  • Sindhi Ghazal-Past and Present
    Sindhi Ghazal - Past and Present Vasdev Mohi While other poetic forms have witnessed wax and wane phases in their evolution, Ghazal is the only form that has not looked ba ck since its induction as a form of expression in Sindhi poetry by Noor Mohammed ‘Khasta’ (early 18 th century). With a fond attention and significant contribution of stalwarts , Ghazal has undergone tremendous change in its content and expression since its inception in the language. No doubt, the changes at various stages of its evolution ushered in notable trends that have kept this potent form afresh. One most satisfying fact is that while adopting innovations , Ghazal has not tossed traditions: it has main tained the sanctity of the form. After Noor Mohammed ‘Khasta’ , it was Abdul Wahab Sachal, popularly known as Sachal Sarmast (1739 - 1827), who profusely wrote Ghazal in Sindhi. Sachal was well - versed in Arabic and Persian languages, and had mastery over Arab ic Prosodic metres (Urooz). He followed the spirit of Persian Ghazal for his expression, though sometimes he infused flavour of Sindhi language , too , in his Ghazals. But it was Caliph Gul Muhammad ‘Gul’ ( 1811 - 1856) who brought out the first Deewan (collect ion of ghazals with alphabetical refrains - radeefs - using all letters of the alphabet ) of 175 ghazals. He gave a sound foundation to Sindhi Ghazal. His language in ghazals, like Sachal’s, drifted from being highly Persianized to sometimes highly frilled with chaste Sindhi. However, in content he was free from Persian influence and applied local tinge in his ghazals. After Gul Muhammad ‘Gul’, Sindhi Ghazal has always marched forward .
    [Show full text]
  • Sindhi B.A- (1)
    Bloom’s Taxonomy Levels: 1. Remember 2. Understand 3. Application 4. Analysis 5. Evaluation 6. Creation Programme Name: BA (Sindhi) Programme Specific Outcome (PSO) PSO1 Learn and understand the basics of Sindhi language at beginner’s and intermediate level like: grammar, phonetics, culture and History. PSO2 Learn and understand the basics of Sindhi language and literature at advanced level like: grammar, phonetics, culture and History. PSO3 Develop four skills of Sindhi language and literature like: reading, writing, speaking and listening. PSO4 Understand simple and short Sindhi text in the form of poetry and prose. PSO5 Read and Understand the Sindhi Poetry like Poem and Ghazal and Fictional, Non Fictional text. PSO6 Learn and study different literary Genre and text. Also understand the author's point of view in the contemporary society PSO7 Study and understand the literary History, culture and civilization of Sindhi Language and literature with support different literary genre of Sindhi literature. 1 Syllabus of Courses The Maharaja Sayajirao University of Baroda Faculty Of Arts Academic Year 2019-20 Department of Sindhi B.A. (SINDHI): Regular Programme Year I Allied -01 : Sindhi Prose & Rapid Credits / Hours per week 04 Reader Year of Introduction: 2011-12 Semester I Maximum Marks / Grade 100 Year of Syllabus Revision: 2018-19 Mode of Transaction Lectures and Tutorials Course Outcome (CO)-- CO1 Learn and Understanding the Sindhi Alphabet and learn about the basic grammar rules. CO2 Reading and Writing Skill CO3 Pronunciation (phonetics) CO4 Reading and Understanding the Sindhi at beginner’s level CO5 Reading and Understanding the Fictional and Non Fictional Text.
    [Show full text]
  • 18-Imam-Mahdi-Sindhi-Poetry.Pdf © Aesthetixms
    ISSN 0975-2935 www.rupkatha.com Volume VII, Number 3, 2015 General Issue Indexing and abstracting Rupkatha Journal is an international journal recognized by a number of organizations and institutions. It is archived permanently by www.archive-it.org and indexed by EBSCO, Elsevier, MLA International Directory, Ulrichs Web, DOAJ, Google Scholar and other organizations and included in many university libraries. SNIP, IPP and SJR Factors Additional services and information can be found at: About Us: www.rupkatha.com/about.php Editorial Board: www.rupkatha.com/editorialboard.php Archive: www.rupkatha.com/archive.php Submission Guidelines: www.rupkatha.com/submissionguidelines.php Call for Papers: www.rupkatha.com/callforpapers.php This Open Access article is distributed freely online under the terms of the Creative Commons Attribution Non- Commercial License (http://creativecommons.org/licenses/by-nc/4.0/). This allows an individual user non- commercial re-use, distribution, sharing and reproduction in any medium, provided the original work is properly cited with links. For commercial re-use, please contact [email protected]. © AesthetixMS: Aesthetics Media Services Depiction of Imam Mahdi in Sindhi poetry of Sindh (Pakistan) Zulfiqar Ali Kalhoro Pakistan Institute of Development Economics (PIDE), Islamabad, Pakistan Abstract This paper discusses the themes that Persian poets introduced in Sindh during the fifteenth, sixteenth and seventh centuries and how they were incorporated in Sindhi poetry by Sindhi poets. The main themes during these centuries borrowed from Persian poets were the veneration of Imam Ali and the tragedy of Karbala. These two themes were main topics for Sindhi poets. Secondly, when direct relationships were established in the 18th and 19th centuries with Iran, Persian poets came directly from Iran and introduced another theme of Imam Mahdi in both Sindhi and Persian poetry of Sindh.
    [Show full text]
  • Intertextual, Literary and Intercultural Influences in the Poetry of Perveen Shakir
    Intertextual, literary and intercultural influences in the poetry of Perveen Shakir Item type Thesis Authors Peters, Katherine Downloaded 26-Apr-2017 15:06:53 Item License http://creativecommons.org/licenses/by-nd/4.0/ Link to item http://hdl.handle.net/10545/621552 1 UNIVERSITY OF DERBY INTERTEXTUAL, LITERARY & INTERCULTURAL INFLUENCES IN THE POETRY OF PERVEEN SHAKIR Katherine Peters Doctor of Philosophy 2016 2 Contents Abstract…………………………………………………….........................................5 Acknowledgements…………………………………………………………………...7 Note on translations…………………………………………………………………..9 Introduction…………………………………………………………………………..10 Chapter 1. Khushboo (Fragrance): A portrait of the poet as a young girl …… 63 1.1. Introduction……………………………………………………………………..63 1.2. The poems ……………………… ……………………………………………..64 1.3. Defining ghazal…………………………………………………………………………65 1.4. Khushboo: an introduction……………………………………………………...67 1.5. Poems of hidden love…………………………………………………………. .68 i. Departmental store mein (In a Departmental Store) ……………………………. 68 ii. Aaina (Mirror)………………………………………………………………...74 iii. Sirf aik larki (Only a Girl)…………………………………………………...77 1.6. Poems of passion and sexuality…………………………………………………79 i. Ecstasy…………………………………………………………………………80 ii. Wasteland…………………………………………………………………….. 84 iii. Nun…………………………………………………………………………...92 Chapter 2. Sadburg (Marigold): Shakir and the genesis of a radical......................98 2.1. Introduction………………………………………………………………………..98 3 2.2. Political poems……………………………………………………………………103 i. Zill-e ellahi ki problems (His Majesty’s
    [Show full text]