KAARONJHAR 2018.Pub

ﺎﺋ ا ﭘﺎران ر و [ ]

ISSN 22222375 10 و: 18 ن 2018 ع ع

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ي و אدو א אدو و א ن. وא . و [ [ ] ISSN 22222375 א: א ي : א ل و אو ل: ن و: 17 ن 2018 ع ع : א : (א : 03003571976 ) ) : و אدو א אدو و א ن. אي : [email protected] ن : Ext:2024 02199215371 : 03013852943 : א. 200 200 :

Edited by: Dr. Inayat Hussain Laghari Sub-Editors: Dr.Kamal Jamro & Seema Abro Year: 10th, Issue:17, June 2018 Published by: Department of Sindhi, Fedral Urdu University of Arts, Science & Technology, Abdul Haq Campus, Karachi, Sindh, Pakistan. Composers: Rafique Bughio Layout: Fahim Solangi (Contact: 0300-3571976) Email: [email protected] [email protected] Tel: 021-99215371 Ext: 2024 , Cell No. 0301-3852943 Printed by: Zaki Printers, Karachi. Prince: 200/= א ﭘو ا اﺎف وא و אدو ﭘو ا ﺎ ا א א.

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Editorial Board’s Policies

Review Process: All manuscripts are reviewed by an editor and members of the editorial boad or qualified outside reviewers. Decision will be made as rapidly as possible, and the journal strives to return reviewer’s comments to authors within two weeks. Articles: The papers must be typed for Sindhi (in MB Bhitai Sattar Font, Size 13) Urdu (in Noori Nastaleeq font, Size 14) and English (in Times New Roman font, Size 12) with double spaced on A-4 size paper. The title should be brief phrase describing the contents of the paper. The tile pages should include the author’s full names and affiliations. All manuscripts to be send in hard copy along with the text in CD to mailing ad- dress of Department of Sindhi and also through email to [email protected] Abstract: The abstract should be informative and completely self- explanatory , briefly present the topic and state the scope of work. The abstract should be 100 to 200 words in length. Tables and Figures: Table should be kept to a minimum and be designed to be as simple as possible. Figure legends should be typed in numerical order on a separate sheet. Graphics should be prepared using applications capable of generating high resolution GIF, TIFF, JPEG or Power Point before pasting in Microsoft Word manuscript file. Tables should be prepared in Microsoft Word or Microsoft Publisher. Acknowledgment: The acknowledgment of people, grants, funds etc should be brief. References: In the text, a reference identified by means of an author’s name should be followed by the year of the reference in parentheses. Patterns are as following: ي: آوا، و، ﭼ ( 1956 )، ي ﺎر اﭼ - رآﺑﺎد: ي ادﺑ ﺑر اردو: ، ڈا، ’’ ا ا ‘‘ ، ص: 48 ، اد ادت ن، 2003 English: Deuze, M. (2005), “Professional identity and ideology of jour- nalists reconsidered”, Journalism, Vol.6, No.4, 422-464 You can follow the given other patterns in this journal also. Copyright: All the statements of fact and opinion expressed in this journal are the sole responsibility of the authors, and do not imply and endorsement on part or whole in any form/shape whatsoever by the editors or publishers.

ي ﺎ .1 ﺎرﮓ ﺎ ا ﺎ ﺎري 9 .2 ﺎ اري ﺑﺎدري ر ﺎ 15 .3 ﭽ زﺎ ن ﺎي ا ﺎ و 31 .4 ي ﺎﺋو ﺎ اﺑو 37 .5 ا ﭘزادي ، “ ط ” ي ﺎﺋو ا ا 44 .6 وا ﮔ ر ا ﺎ و 52 .7 ﺒﺎ ﺎي ﺎ ا ا وﺎ و 58 .8 آﺎ ﺎول “ اوا ر رو ” ا ﮔ 68 ي ﺎﺋو

78 87 102 115 126 140 150 159 170 180 190

1. A Trans -Cultural Feministic Study Of Romana Jabeen Bukhari/ Tess Of The D’urbervilles And The Dr. Tahira Asgher Holy Woman 2. Subsistence Of Patriarchal Social Or Muhammad Akbar ders Through Musical Discourse: A F em Khan /Muhammad inist Critical Study AjmalKhurshid/Nazir Ahmed Malik

3. Mystical Services Of Jeelani Pirs Of Janwari Bashir Ahmed/ Ranipur Prof: Dr. Sahito Imdad Hussain/Tumrani Abdul Jabbar

ار

وﺎ اردو ر ي ﺒ ﭘﺎران ارن ( 18 ) ﺎرو اوﺎن ﭘ ي رﺎ آن. اﺎ آ ﺎﺋ و آ ﭘ ان را رﺎون ن آو اﭼ و ﭘﺎ اﺎ ﺌ ، ﺑﺎود ا ﺌ “ ﺎرو ” و ﭙﺒ ر آ. ﮔي ادﺐ ﺑ ا ﺎري وي ن ز ﺑﺎﺑ ﺎن ﺎري ﺎﺐ ﺎ ا ﺎري ﺐ ﭘ دﺎ آ اﷲ ﺎٰ م ﮐ ادوس ﺎ ﺎﺋ ن ﺎان ﮐ ﺒ ﺎ ﺎﺋ. ﺎل ﺑ ا ﺎن ﺎري و ادﺑ ﺎن ﮔوﮔ ن ﺎ ﺎن ﺎﺋ ﺋﺒي “ ﺑ ا ﺎري ﭘﺒ ﺋﺒي ” م ﺎري، ﮔي ﺎ ﺋ ا آ، ﺎﺎ ﺋﺒي ي ر و ﺋﺒ ﺎن آ ﺎﺐ ﺋﺒي ﮐ ﺎﺋ ﺎم ﮔ ﺎﮐ ﺌ. ن ﮐ ا آ ﺑﺎﺑ ﺎن ﺎري رﺎﺋ ﺋﺒي ا واﮕ ﺎم ﺎ ﮐ ي ري. ن ﮐ ﺎ آ ن ﭘ اﭻ ي ﮑ دوران ﺋﺒي ﺎن ﺎم ﮔ اﺎدو ﺎ ﺑ ا ﺎري ﮐﺎن ﺑ رﺎﺋ ور، ﺑ ا ﺎري وي ادﺑ ﺌ، ن ﭘر “ ﭘرب ﭘ ” (ﺎ/ ن) ﭙ ﭘرو ﭼ آ. ن ﺎن ن ﺒﺎ 25 ﺎل ر . ن ﮐ ﺎي اﺎري ي ، ﺎ ا ﺋ ﺒﺐ آ ﭘﺎ ي وي ادﺑ ﺌﺎ ، اوي ﮐ ﺎ ت ﮕ. ﺎن ا ا ﮔار آﺎن ﺎري ﭙﺎﺋ ا ﺎن ﺎون . ا ﺎ ﺎري ا ﺎرو رچ

ﺎ

ﺎرو [ ] ]

ا ﺎ ﺎري ي ﺒ، وﺎ اردو ر

ﺎرﮓ ﺎ SUR SARANG THE SYMBOL OF HAPPINESS AND PROSPERITY

Abstract Shah Abdul Lateef is a great poet of Sindhi Language. In his poetry we may witness the each and every universal tem poral. He is poet of peace and love, humanity and humbleness. His poetry is consisting over 30 Surs. Sur Sarang is one of them. In Sur Sarang Shah Lateef has portrayed the picture of land before and after rain. Rain is ever considered as the sym bol of happiness, joy, blissful and prosperity. In this research article I have explained the modes of seasons specially the rainy weather. I have also focused on the feelings of common people described by Shah Lateef in Sur Sarang. ده دو ر ا ﺋ،ﺎص ر درﺎ ﭘﺎي ﺎ ﭘ وارن ﺋ ﭘﺎ ﭘﺌ ﺑ ا آ رﮕﺎن ﺎن ﭘﺎ اﺋ ﮐ ر آ، ان ي ﺎ ن اﮐن اﺋ ا ﮐ ن ر ن آ ﺎﺋ وا وري وﺎري وع ﺌ. ﮔ اي وارن ﺋ ، ا ﺒ ﺎ ﮓ، ن ﺎ و ا ون ، اﺎن ﺎ ان ، ﺎ ﺑﺎغ ، و ﺎ ﺎ ف ﭘﺎ ﮐ ﺎ ﺎر آ. ﺎ ﺑ، ﺑ ک ﺎ آ اﺎ آ ده رﺎل ﮐ رﮐي ﺎ ﺎﺐ ﺎرﮓ او ﺎد اﭼ. ﺎرﮓ آ ﮏ ﺎ ، ﺎ ﺎﺎ ﭘو آ ف ﺎ و آ.

9 ﺎرﮓ ﺎ ﺎرو [ ] ] وو وو وون אن هه ووא وאن א ن ن ي ن ن אن ن ن . ( 1:13 ) “ ﺎر ﮓ ت زﺑﺎن آ، آ ر . ان ﮐﺎن وه را ﺑ ﺎ ﺎرﮓ آ . ﺎ ﭙر را ﺎن آ . را ﺎ م ا آ. را ﭙن ﺎ وو آ. ﺎن رو را ﺎﺎ و آ. ي ر ي “ ﺒ ﺎﮔ ” ﺎرﮓ ﮕ، ﺑﺎدل ﮐ ﭘ ﺎﺎ آ. 1” ( ) ا ﭘر ﺎص ( ﭘﺎر) ﺎ ﺎن ﺑ اﺎن ون ﺎن و ﺎ ﭘر ﺎ ص ، ﭘﺎر ود آﺎ ﺌﺎ، ان زﺎ ﺎ آ ﭘﺎر ﺐ ون ن ن (1 ) ﭘر ﺎص ( 2 ) ﺎرا و ( 3 ) ﺐ و ﺑﺌاج ﺎ درﺎ ﭘﺎ ﭘﭽو ﺑﺎ ﺐ ون ﭘﺎ ﭘﭽو ، ﺑﺎ اﺑ آي و ، ﭘ ﺎ رﺎل اﺎ و ﺑ آ ﭘر ﺎص ون ي ﺑﺎ ون ﭘﺎ ﺒﺐ ﺑﭘ ﺑﺎﺑﺎن وا ﮏ ﺌ ر آ، ي ي ﺒﺎ و آ وا ل ﭘﺎ ي او ﺎ آ . ف ﭘر ﺎص ﭘ اﺎ رﺎل آ، ﺎﺎ ﺎن درﺎﺋ ﺎ ﭘﺎﺎن ﭘﺎ ﮔﺎﺋ آ ، ﺎن وري ﭘﺎب ﺎ ﺌ ﺎل ﭘﺎ ﮐ ﺎ و ان ي ﺑا آ آﺋه ﺎ ﺎ رﺎل اﺎن ﺑ و اب ﺌ. ورت ﺎ آ ﺋ ﺎص ر ﺎن ﭘﺎ ﮔ ﺎﺎ و ﺌ ا ﭘﺎ ﮔ ﺎل اﭼ ، ا ﺎ آ ي و ﮐﺎن و و ﭘﮐ ﺎﺋ ﺎﺎ وﺎري ﺑ ﺑﺎت اﭼ ﺑﺎ ﺑ .

ﺎرﮓ ﺎ 10 ﺎرو [ ] ] “ و ﭘﺎ وري آ ، ﮐﺎن ا ﺎ ي ، ﭘﺎ ان ا ﮐ وﺋ ﺎف ي ا او ي ﺎزو ا ﺑﺎﺋ ، ا ي “ ﺎارو ” ﺎرﮓ ﮐ ﺎري ، ر ﭘﺎ ر ازل ﮐﺎ ن آ، ﭘﺎﺋ ﺎر ﭘﺎ ﺋ ﭘ ﺎ ﺌ ان ﺎن ر ﮐ وﺎ . ﭘﺎ ز پ ﺎن اﺎ ﺎج واارو ﺌ ، ا ي ﺎﺋ ﺎرﮓ ﮐ ﺎ ر ا ﮐ ﭘ آﺎ م ﺋ ﮐ وار آ . ” () ﺎ ﺎﺐ ﺐ آ، ﭘﺎ ﺎرﮓ ﮐ ﺎﺐ ﺌ ان ﮐ اﷲ ﺎ وا ﺌ ، ﺎﺎ ﮐ اﺎس آ ﺎ ﺎرو اﺎﺋ ﮐ زﮔ ﮔاري رﺎ آ ان ي ﭘ و ﺎﺋ ﺎر و، ﮏ ﺎ دور او . ﺎرـﮓ ـﺎر ـــ ، اﷲ ـ اــ ـ ﭘــــــﺎ ﭘـ ﭘــــــ ارزان ان ــــــــ وــ وﺎﺋ ـــﮕــﺎرن ـﮏ ـﺌـــــ ﺎ ﺎﺐ ﺎا ﺎ ن ﺎس ﺒ ﺌ ف ﺎ ﭘ ﺎرن ﭘﮑ درد ت ﮐﺎن وا ، ان ي ﺎرﮓ ﮐ و اﺎﺋن ي ﺌ ﺎ ک ن دور َ َﺎررﮓﮓ ﮐ ِ ِ ﺎر، ُ ﺎ، ِ َ ﮔﮔ، ِ ـ ُـ ــن؛ ِ ِ ُــــ آــــن َ ااﺑَــــ َﺑــــ ــــ آــــي، ــــﺎا َــــ ِ ِ ــــــــاررــــ؛ ِ ِ ِ ُ ﭙﭙن َ ُـ َــ ، َـ ـﺌــ ـ َـ ـ ِ ــﺎررـ؛ َـ َ ـ ُ ﭘﭘــ ِـ ِ ِ ﭘﭘـــﺎررـ، ـ َ ــ َ ِـــﮕـــﺎررنن ُ ـ ُـﮏﮏ ِـ ـﺌــ. (ﺎرﮓ 1:17 ) ) “ ﺎ رﮓ ﺎ اﺋ ﺎا آ . ﭘﺎ ﺎن اﺎ ا . ﺎل ﮑ ﺌ ﺎﮕ ﺎ ﺎ. ﭘد و ﭘ ر و ورن ﺎ و ﺎ ﺎ . ا ر آ ان ا ﺎن ﺎر ﺎن ﮏ

11 ﺎرﮓ ﺎ ﺎرو [ ] ] آﺑﺎدي دﺎ ﮔي آ. ” ﺎ ﺎﺐ رﺎ ﭘ ﺎن ﺒ ﭘي ﭘﺎ ﺎي ن ﺌ ﺎري روپ ﺑ ﭼي ، ﮔ ي ﺎ ﺎﺐ ﺎي ﭘﺎ ﮐ ور رت رت ﭘ آ. ﺎرﮓ ﺑ ﺎ ﺎﺐ آﺎﺋ رت دار ﮐ ﭘ آ، ﺎ دل ا رﮐ و آ ﭘو ان ﺎن ﮔ ﺒب ﺑ ﺋ او . ا ﭘ اـــون ، آﮔــــــ ــــــــــــــن ُ اا ﺎو ﭘ ن ! ـــ ـﺎرــــــ ــــــن آﺋن آﺎﺋ آﺎن ، ـــﺎن ﺎﺋـــــــ ــــــــن ﮔ ﮔ ن، ـﺌـ ــــ ـ “ ﮔ ﮔج ، آس اوﺌي ﺑ ﺎ آ ر دا اﮔ ، ﭘ ﭘ ، ﭘ ا ﮐﺎن ﺎس ، ﺑ ﺎن ا ﺎ ن ﮐ ﺎﺋ رت ﺎن ي ﮔ اﺎ ﺎ ﺎرﮓ آ. ان ز آ، ﺌ ﺎﺋ ﺎﺋ : “ ﺎرﮓ ﮐ ، ـــﮐـــــ ـــ ــ ـﺌـ ﮔــــــ ـــ ــــ ﮔـــــﺎن ، آــــــﺋـ آــــــــن ـــﺎر ـــ ــــــــﺎ ، ــــــــﺎري ـــــــ ﺎن اﮐ ﭘﺎﮐ ، ﺑﺎدل آ ﺑـ ـ. 4”( ) ) 4”( ﺎرﮓ ، “ و ن ؛ ﭘ ﭘﺎ؛ ﮐ ﮐ؛ ﮔﮕ ﮔ؛ و ورا؛ ر؛ ﭘ ُ ﭘﭘ ؛ ﺑﺎد او ﺎن ا ا؛ و واان ؛ ﺎي ارن؛ ﭼ ﭼ؛ ﺎل ﺎ ؛ ﺎزن، ن، ﺎرﮕ و؛ ﮔﺎ ؛ ، ﮕ، ﭼ ن כ ﺎب ﺎن ؛ ﮐري ﺒﺋ، ﺎ ﺎ ش ؛ ُ ؛ و ي ﺎ ﺎ ؛ ﺎروﺋن ﺎ ﺑﺎن آ، ا ﮏ ﺎن ﮔ ﺎ ﮏ ﺎ ﮑﺎري ﺎﺋ ﭘ ﺎي ﮐ ود ي آ. ﺎﺋ

ﺎرﮓ ﺎ 12 ﺎرو [ ] ] ﺎرﮓ ﭘري آ. ﭘﺋ ي و ﮐ ﺎن ﮔﺎ ﺎن آدي اال آ. 5”( ) ) 5”( َ ُاا َ ِ رر َ َ ررﮓﮓ، َﺑﺎددل َ ـ ِ ــﺎ ُـ َ ـ ِﺑﺑــ ــ؛ ِ َﺎزز، َ ُ ﺎررﮕﮕـن، ُ َ ا، َ ووﺎﺋـ َـ ُﺑﺑـ َ ـ َ ﭼﭼــﮓﮓ؛ ِ ُ ِ ُ ان َ َ ﺎررﮓﮓ، َ ِ ِ ُ ﭘﭘـن راتت َـ َﭘﭘـامم ـ. (ﺎرﮓ 2:5 ) ) 2:5 ﺎ ﺎﺐ ﺑ ﺎ وار ر ﮐﺎن وه ﺑس ﭼﺎر رت ﮐ ﮐ ﺑﺎن و آ ، ﺎرﮓ ﺑ اي رت ذ آ ﺎ ﭘ ور ﮐﺎن ا ا ﮔﺎري ﺎ! ﭘﺎ ري ، ـ ـ ـان ـ ـــﺎــــ ! ﭙــــﺎـ ﭘــــــﺌـ ــــﺎر ـان ﺎري ن ــــان ، ﺌـــ ِ وور وﺎـــ وارﺋـــــ “ ﺎ ﺎﺐ ﺎري دﺎ ﺐ اﺎر آ ان آدﮔ َ ددر ال ا. ﺎﺌ و، ﭘ ﺎ ﮏ ﺎص اﺎ ﺌ ا، س دل ﺎري ق درد ، ﺎن آﺋ ﺎن (ﺎ) آ. ﺐ ﺎ ﮏ دم او س . ﺎر ذ روش س داﺋ اس ارﺎ ن ، اي ر ﺎن ﺌ ﺋ و. 6”( ) ) 6”( دﺎ اﷲ ﺎ ﺎج آ. ﺑﺎدل ﺎ ﺑ و ان ﮐ ا ﺌ . ﺑﺎت ﭘ ﺎن اﺎر ي ا ذ ﺎ ﭼﺎ ﺎ ﺎ ، ان ي ﺎ ﺎﺐ ا ﮐ ﺑ دﺎ ﺌ آ. ُ ُ ُ ِ َﺑﺎددلل َ ﮐ، َ َﺎررـﮓﮓ َـﺎ َ ـ َ ـ ِ ــ؛ ِ ِ ُ ــ ووــن َ َ ــ َ ووــ آﺋﺋِــ ُــ ــــن، َ ــ َــ َ ــ َــ ــ َ ــ ــــــــ ِــ َــ ِ ــــ؛ ِ ِ َ ـﺎـﮕـ َ ـ ِ ـ ــ ـــ، ـ ـﺎ َ ـ َـ َ ـ َـ ِ ــ؛ َ َ ِﭘﭘ َ ﺎن َ ِ َ ـ ﭘﭘرـ ِـ ــﺎ، ِ َ ـ ااﺋﺋـ ـﺎ َ ِ َووررقق َ َ ِ ووررنن؛ ُ ِ ــﺎررـــﺎ ـــ َ ـــــﺎ، ـــﺎلل َ ُـــ ـــذي َ ـــ ُـــ َـــ َ ِ ـــنن؛

13 ﺎرﮓ ﺎ ﺎرو [ ] ]

َوو ِ رري َ ووي َ َووسس ُ ن، َ ُ ن ِ ُـ ﺎــن َ ـ َ ِ ــاررنن؛ ِ ِ ِ َ ــ ّــ ُــــ ﭼــي َ ــ ِ ــــ، آهه ــهه ُــ ِ ــ ــــــــــ ــ آــو. (ﺎرﮓ 6:8 ) ) 6:8 ا : 1. ق از ، ا: “ ﺎرﮓ” ، ﺐ ي،ﺎ ﺒا ﺎ ﺎ ﺎ / رآﺑﺎد 1998 ص 51، 2. اﺑا ي ص 128 129، 3. ا اﺎ. 4. ﺑچ ﺒ ﺑ، ا : “ ﺎ ﺒا ﺎﺋ ﺎ ن ” : ﺐ ا ﺎ ، ﺎ ﮐﺎ ، 2012 ع ص 503. 5. ﺒﺐ اﷲ ا “ ﺎرﮓ ، ﺐ ي ، ص 109. 6. ا، ا، ﺎ ﺎي ﺎﺎت، ﺎ ﮐﺎ، ، 2013 ع، ص، 153 ، 154 7. ﺎ آوا : “ ﺎ رﺎ ” ﺎﺎوا اردو ﺑﺎزار اﭼ 1996 ص 238 . . 238

ﺎرﮓ ﺎ 14

ﺎرو [ ] ]

ر ﺎ، ﭽاري،ﮔر ﮔ ﮔي ﺎ اب ﭘر ﭘ. ا.ي اﺎ.

ﺎ اري ﺑﺎدري SHAH LATIF’s PHILOSOPHY OF THE BRAVERY IN SUR KADARO

Abstract In this ‘Sur’ shah Abdul Latif explain the character of imam Hussain in the form of bravery & struggle for truth and reality. this Sur awares about the high qualities of humanity in this Sur Latif not only prove the love and affection of imam Hussain but it is the model to tell about the truth, faith and not only the sacrifice of life but the sacrifice of everything to show the faith and bravery. In this Sur Shah Abdul Latif by describing the slaughter of Karbala scotches the battle field, battle craft and battle knights and their wives’ bravery, character and best attitude. There are great other examples of life sacrifice in the history of the world but there is no any example like Karbala. Prophet Christ sacri fice life on slab and Mansour expired by hanging but imama Hussain bears hunger, thrust and other hardness of battle and sacrifice his life for truthfulness and show the example of great bravery and sacrifice in the history. Latif gives more priority to the event of Karbala then the common event of death. Struggle leads to sacrifice. In this article Latif express how to sacrifice the life for the truth and aware the people that what is the actual bravery and the tries his best to clear all this concept. ﺎ ارو، ﺑﺎدري ﺎن را ن ﺑﺎد ري ﺎ اﭼ . ﺎص ر

15 ﺎ اري ﺑﺎدري و ﺎرو [ ] ] اﺎم م دار، رﺎﺋ، دي، و، ﺑ ﭘ ﮐ ِعع ﺑﺎ آ. ا ﮔﺑﺎ ﭘ ا را آ : ” ﺎ اﺎم م س ﮓ ا ي ﺑﺎدري، ﺑ ان ن ن ( ) ﺑ ﺑﺎن آ. اا ااﺋﺎ ﺐ آا ا، ا ، ا اﺎل ﺎ وﺎ آ، ﭘ ﭘ ﭘي َ: ُا ِنن ﺒ، ﺑﺎز، َ ُ ﺒون، ُ َ ، َ ِ َ ﺎرا،، ا ﮕي ﺎ ﺎن رز ﺎص ﺑ ﮑ وي آ ، ﺎدت ﺎري ت ﺎ ي . اي ﺎل ﮐ اﮕي ” ِ ﭘﺌ ﺌ “ ﺑ ” ﺎز “ ي ﭼا آ 1“( ). ﺎ ﺎن م ﺌ ، اﺎم م ﺎن ﮔ ،ﺑ ادن ﺎدت ﺎري ت ﺎ ، ﺑ ﺎن وا ﺌ . ﮐ ، ُ رر ِ ، ِ ﮔ ُ ﺎﺋ، َ ِﮓﮓ ُ وﺋ، ُ َ ِاا ، ﭘﮑ ُﭘﺎ ﭘﺎﺋ ، ت و، ا! ادن ، ُ ن ﺋ ، َ ﭽﺎ َ !. ارو رز ﺎ ر داﺎن آ. رزم ٰ، ﮓ ان ﺌ، ان ﺑ ﭼ ﺎي ﺑﺎن . ” ي ” رزم “ ﺑ ادب ” ر “ ﺋ ﺑﮕرت آ، ﺎ ن ﺎظ ﮐﺎن ﺎي اواﺋ ر آ. ﺑ ا ﺑي ﺐ َ وض ” “ وزن ﺑ ﺎ ﭘ آ. ر ا ن ﮐ ﭼﺌﺒ آ، ان ﮓ ﭘ م داﮕ ا ﮑﺎر ﭘﺎ وا آ.ﮔ ي ا ي ﺎ ا ﺑ ا آ. ر ” ااﺑ ﺎﺑ آ. ﺑ ﺎدري ﺎ ان ﮓ ﭘﺎ وا آ. ا و ااﺑ و آ. ا ﺒﺐ ي ا ﺑ ﺎ ﺑ ر رﮐ

ﺎ اري ﺑﺎدري و 16 ﺎرو [ ] ] و 2“.( ) ﺎري ِ ، ُ ن ِ ا َ ِ ﺎ، ﺎرا ُ َ ِ ، َ َ االل َ َ ووا ، ، ُ َ ، ا ﺋ ﺒﺐ آ ي ادب اي ﺎي، ﮓ ان ا ﺑﺎدري ﺑﺎﺑ ﺑﺎن ، ان ﮐ رز (ر) ﺎي زي آو و . ا ﺑﺎﺑ ا اﺑا را ﺎ وزار آ،ا ﺎﺐ ﺎل : ” رز ﺎي، ﺎي ﺑ د ر رﮐ . ان ﺑﺎدري ﺎ ﺎرﺎﺎ ﭙﺎ ﺎ ﺎ ﺑﺎ ، ﺎ دﭙ ﺑﺎن ﺎ و ﺎ. ﺑ اﺒﺎل ﺎﺎب ﺎن، دور ﺑﺎدري ﺑ واﮐﺎ ﺌ آ. ن ر ز م ا ﺎﺋ دﺎ ر آ. وכ ﺎن رﺎ ، رز م ” اﺌ “ ( Iliad ) ” اود “ ( “ Odyssey ) آ. اان ر ﺎدو، ﮐ رز ﺎي ﭘﺒن ﺎن ﮑ و آ. ” ﺎﺎ“ ، ﺒﺐ ﮐ ” اان “ ﺑ ﭼ وو آ.ب ﺎن ر، ب ﺎ ﺒ ﮐ ﺌ ﺎن ﺎﺑ ان ﺎﺋا ﺌﺎ. ﺑﺎدري ا ﺑ ﮐ ام ﺎ ي ﺎن در ي ﭘ آ. ا ﺑ ﺎد ﺒ اﷲ د ﺎ ام ﺒ آ ﮕ .ا ﺒت ا ﮕ اﭼ 3“.( ). اي ﺑﺎدري ﺎ ح ﺑﺎن ي . ﺑ ﭘ ، ﺎ ﮐﺎﺋن، و ُ ﺎن، ﺒ ﺎﺋن، ﺎﺋن ، ﭘ ﺎ ار . ﺎ ﺎﺋﺎت ذري ﭘزي ﮐ ﺎي ﺎ ، ا ﺑ واري ﮐ ﭘ ﺎﺋ ﺌ آ. ان ﮓ ان اي ااز ﺎن ﺌ آ، ﮐ ﭘي اﺋ س ﺋ ، ﺎ ا ان و د . ا

17 ﺎ اري ﺑﺎدري و ﺎرو [ ] ] ن ﺎم ﺑﺎر ﺑ ﺎن ﺑﺎن ن آ. ﺎن ر ﺑﺎدرن ﺑﺎدري وا ﺌ ، ﭘ ﭘ درد ﺎري ي ي . ا ي اري ا ٰ ﮐ وري آ، ﺌ ﮐ آﺎ ﺎن ﮕ. اري ا ٰ: ارو، ﺎن ﺋ ﮓ ان ر، ﺎص ر ﺑ ن روﭘاﮐ اﺎن ي اﭼ . ﮓ ﮐ ارو ﭘ ﭼ وو آ.اﮔﺑﺎ ارو ٰ ﺑﺎﺑ، ﭘ ﺎﺎ آ : ” ارو ت ” ار “ ﺑﮕ رت آ، ٰ آ، ” ﮓ ان “ ، ﺎ ﮔﺋ را ﺐ، ” اري “ را ﺎ آ، ﺎ دﭙ را ﭘ ﺎرﺎﺋ (زا) ﺎن آ 4“( ). ﺑ ا ﮔﺑﺎ ﺒ ي، ﺑ ، ﺎ ﺋ ٰ ﮑ آ. ﺎا ﮑ : ” اري، ﺎ را ﺎ آ، ﺎدﭙ را ﭘ ﺎرﺎﺋ (زا) ﺎن آ. 5“( ) ) 5“( اي ح آوا ﺎ ﭘ ﺎ ﺋ ﺒ ﺎﺋ آ: ” ارو، ت ﺒ ” ار “ ﺑﮕ رت آ، ٰ آ: ” ﮓ ان “. ” اري “ را ﭘ آ، ﮐ ” ﭙر “ را ي ا آ. رز ﺎ ﺎل آ 6“( ). 6“( ” اري “ ﺎ ﺎ را آ، ” ارو “ د را ﺎر ﺌ . ا ي ا ﺒ ﺑ ﺎن ﺑچ ﭘ ان ﺎ ﮐ وﺎ ح ﺌ آ : ” ي را، ” ارو “ ” ارا “ ﮐﺎن ا آ. روا ” ار “ ِ َ ﺎ آ ” ارا “ ﺎ ” اري “ ِ َ ﺎ را آ. ان ﺑ ي ارو ا ﮕﺎ آ ﺑ ” “ (ٰ ﮓ) ﺎن آ. ا ي ي اح ” ارو “ ن ﺎﺋن آ: ي ٰ ﮓ ٰ ﮕﺎ را ارو

ﺎ اري ﺑﺎدري و 18 ﺎرو [ ] ] رﺎ ﺑ آ : ﺎرو ، را ﺎن ر ، ن ﭘ ﭘﺎ ، ﭘ ” ارو “ “ ﮐﺎﺋ ﮐ ﺎرو ، ﺎﺌ ﭘ ِ ﺌ. ن ااي اﺎ ﭘﭽﺎر ﭘن ﮓ ي ﭘﺎ آ، و ن 7“.( ) ) 7“.( اي ح ﮐ درد ﺎن ﮔوﮔ ﺑﺎدري، ﺎ دي ﭼﺌ وا و. ا ﺑﺎﺑ ﺎ آوا راﭘ ﺎ وزار ، ﺎل آ : ” ﺎ ، ﺑ () را ن رن ( ) آ. ا ﺎن ﮔ ﮓ ان، ﮕ اﺒﺎب، ﮕ ، ﮕ ر ن ز ا دي اٰ ت ت اﮕ ﭼ آ. 8“( ). ﺑ ﺌ ﺎ آ. ﭼ ِ ووﺎ َ ﭼﭼﺎ ، َ َ َ ﺌﺎن َ ﮔ، ُ ِاانن َ َ َ ﺒﺒ، ﺑﺎزز َ ، َ َ ﺒﺒوو ُ ، ا ﺎن، ُ َﭘﭘ َ َااﺎمم ، َ ا راو ُ َررככ . اي ﺎ ﺌ ، ا ،ﭘ ﺎب ” ﭘﺎم “ ارو ﺑﺎﺑ ﭘﺎ ﺎل ﮐﺎن ي، ح ﭘ ﺎ آ، ﮑ : ” ا ﺎر ا س ﺎכ وا آ، ان ي ان ﮐ، ﭘ م ﺎ س ﺎم َ اال ﺑف آ. ﺎص ن آ، ﺎ (وو) ا . ( ) ﺎ ت ﺎ ﮔ ، اﺎم ( م) ﮐ ب ي ﮕ. ﺎ اﺎن ﺑﺎود ﺑ وﺎﺎ ، ﺎﺎﺋ. ن ﺎرا ﺑد ﮐ ، ﭽ ﺑﺎ ال ﺎ ﭻ را ن اوج ﺎ ، (ا) ﺎص ﺎن آ 9“.( ) ﺎ ا ااز ن آ، ﮐ ﺑ ﺑﺎن ي، ﺑﺎدري ﺎ ﺎ آ.

19 ﺎ اري ﺑﺎدري و ﺎرو [ ] ]

ِ و َ َ ، ﭘﺎﮐ ﭘﺎﺋ، َ ااﺎ ُ ُاانن ﮐ ﺌ ، آﺎﮕ آ، ِ ُ ِ رر ُ ﭼﺎﺋ ، ُ رر ﺋ ِ ِ رر ﮔي. اري ﺑﺎدري : ﺎ رز ﮕ آ. اﺎم س ﺎ ( 72 ) ﺎ ﭻ را ، ﺎن و ﺎل ﺑﺎن ي، دﺎ ﺑﺎ ق ﮐ ﺎ ، ان ﺎ و ﮐ اﺎﮔ و آ. و ، ﺎم ر ﺎدت ت ﺎ دﺎﺋن ﮔا آ، ز آ. آن ﭘﺎכ ﭘ ﺎي ﺋ ، ن ﮐ ﺌ ﭼﺌ.آن رت اﺒه، ﭙﺎرو ِ ِ 2 ، آ ﺒ 153 ﺌ ﺎ آ : ” َ َ َ ُ ُ َووا ُّ َ ُ َ ِ ِ ﺒﺒ اﷲﷲ ِ ِ َ َ ُاااتت َ ﺑﺑ َ َ ااﺂ َّ وووٰﮑﮑ َ ّ ﺎ َ ُ ُ َونن “. : ” اﷲ را ﺎ ا ﮐ ﺌ ﭼﺌ، ﺑ ا ﺌا آ، ﭘ ﺎن (ا زﮔ) ﺎ “. “. ان ي ﺎدت ﺎ، اﺎن زﮔ اٰ و آ. ” ﭘ ﭘ ﺎرن ﮐ ن ﺎﺋ، ا او راز (اٰ ) ﺎ آ “( 10 ). ا ﺑﺎدرن ﺎ ﺎ ح ﺑﺎن ي . . ِ َو َ َ ، ُﺎﺋﺋ َ ِ َ ُ ِ ن، ِ َﭘﭘ ِ ﺌﺌ ﭘن ، َ ُ َ ِ ِ َ ُ . د ﺎ ﺎ ﺎﺎب اﺎن ا آ، ﭘ زﮔ ﮐ ا ٰ ﺎت و ي ا آ. ﺎن ﮐ ن ﺑ ، ري دﺎ ﺎ ، ﭘ و ﺑﺎ ﺎر ر ﺎ. ا ﺋ ” ي ﺎ، ﭘ دو ن ﺎ ﺑﺎ ، ﭘ ﺎن ﺑﺎن ي ا آ. اﺎ ا ي ﺎ ﺑﺎ ﺋ آ، ا اود آدم ﮐ ا ن ﺑن ﺎ آ. ﺎﺋﺎت آا و ي ﺎ. ا (ﺋ) آ ، ر ﭼ ن ﺋ ي ﺎ ن اﺑ ﺎن ﺒ ﺎداب آ “( 11 ). دﺎ ا ن ﺎدت ” ن

ﺎ اري ﺑﺎدري و 20 ﺎرو [ ] ] ﺎدت ﺑ ﺎن ﺋ دﺎ ﮔ ﺒ ﺎداب ر. اي ر ﭘﺎ ﮐ ﺎ ي، ﺑﺎ ﮐ ﺎ ر اﺑي ﺎ ﺎ “( 12 ) ﭼﺌ : ي ، ﺎﺋ ﺎ دوس ي، ﺎ ﺎ ” اﷲ “ ، ُ ِ ُ ﭘﭘﺎ، َ َ رربب! ﮑﺎر ُ ررو ، ُ ِ اا ِ َااﺎنن ! اي ر ﺎ، و، ” ﺎﮐ او כ، ” “ آ. ﺎﮐي ر ﭻ آ. دل ﭽﺎﺋ ا، ﺑﺎدي ورت ﺌ . ﺎ ﺎ ﺐ ” “ ﮐ ﺋ ا آ. س ِ ﺐ، ﺋ ا ﺎن ﮐ َ ن اي ﺎن اﮐن اﮐ و ﺎو اﺎﺋ ﺎ ﺑ . اﺋ ﺋ ﺎﮐ ﺑﺎ ﺑ “( 13 ).اي ي اﺎن ﺑﺎدر ﺑ ،او ح اﺋ : ذرو ﺎ ﮐ، اي آﺎر، ار، ا اﺎ . ﺌ ﺑ ﭼﺌ : ذرو ﺎ ﮐ، روه ﺋ ُ ، ُگگ آ ، اود ﮐ . ﺑ ح ﺑﺎن ي : ﺎ ﺑ ، آﺎ ﮓ ان، ر زي، ﺎ آﺎن، כ ر ﺌ ﺎن، ﺎرو . ﺑ ان را ا ﺎ ﭽﺎ ﺎ ﺌﺎ، ” ا آ ا ﺒ اﺎ، ، ﺑﺎ ﮐ اﺎري . ﺎن ﺒ در ِﺎ ﺎن ن ﺎن آ “( 14 ).ان او اار ﺎ ح ﺎﺋ : َدو ُ ﺎﺋ ُداددٰ ، ُ ِ َﺐﺐ ﺎراﺋ،

21 ﺎ اري ﺑﺎدري و ﺎرو [ ] ]

َ ﺎ َ ِ َ ِ ﮐ، َ ِ ُ َ ﺎﺋ، َ ااﷲﷲُ َ ّ َ ُاا ﺑ ِ ُﺎزز، ﺎ َ ي ﺎ ﭼﺎ، ِ اا َ ِ آ، ﺎ ُ ِ ااو ِ ﺎ ِ َااارر ِ . دﺎ ر ” ﺑ ،اﺎم م دا، دا وار ﮓ وا آ. ﺑي و ﺋ دي آ. ﭼ ﺎ آ، ﺎ م ﺎن ﮔ آ، ﭘ اي ، ﺑﺎوت ﺑ، اﺎ ﺋ ﺑﺎدري آ. ﺑﺎدر زﮔ ﺎﮐ آ. ﭘ ت اج ﮕﺎرو آ. و ﺑ ﭼ ﺎ ﺎن ﺎن و. ﮐ ﭼو، آواز اﺎرو، ﺎ ا ﮐ و ور ﺎ و “( 15 ). ﭼﺌ : ِ َ َ ُ َ َ ُ ، ِ َ ُﺎرر ، ِ ﺎﺎن ااي َ َ ُ ככ، ِ ِ ِ َ ِ وو ﺎن َ َ ُقق ، ُ َررככ َ َ ووي را . ا ﺑﺎدر ا ا ن ﺎ آ، وار ﺑ و، ﭘﺎ ﺎ ﺑ ﺎرو، ا ﮕﺒﺎ ﺑ و ا س ﺑﺎدري ﺎن آ.اﺎن زﮔ ر ﺎ ﺐ ا ور و آ. ان ي ” ﭘ ﺐ ا ا اﺎد ﺋ ﺎ ﮐ ﺑﺎ ﺋ “( 16 ). ﺎج اﺎ ﺑﺎ ” آزا دي، اﺎف ﺎوات ﮐﺎن ﮔ ﺑ ﺐ ا ﺎ ﮐ ﺑﺎ آﺎده ي ﮕ “( 17 ). ان اﺎن زﮔ و ﺎ ﺎت ا آ. ﺑﺎد ﺒﺒ ل و آ. اﺎم اﺎن ا ر، ﭘﭼﺎر . س ارادو ﮐ ﭼ . س ﮓ، ﭻ ﮐ وا ، ﺑﺎ درﺎن، ق ﮐ ﺎﺋ ل ﺌ. ” ﺎ ﮐ . ﺑ ح ا ﭘ ﭼﺎ ، ﺌ. ﮐ ان ﺎ ﭘوا ﺌ ، اي ﺎ ان ﺎ ﺎ ا ﺒ آزﺎ ا. ﮐ ، ا ي ﮐ او ﭼ، و ﭻ آ. ض ﺑﺎ ﺎري ز آ . ﭘ ا ﺑ ﭘ ﭼﺎ، ﭼ

ﺎ اري ﺑﺎدري و 22 ﺎرو [ ] ] ذا ﺎد ﺑ. ﺎ ﭘ ديٰ ﺌ، ﺑي ﭼﺎ ﭘ. ا ﺋ ﺒﺐ آ، اﺎن ﮐ ﺎ ﺋ ﺎط ن ﺎ “( 18 ). اﺎم ان ﺎ و ﭘﺎ ﺎن ا و ﺎل، ، دو، ﺎ ﺎ ﮔ ،ان ﺎ. ﺎن رواﮕ ﮐﺎن ﭘ ﺎﺋ ﭘﺎ ا ﺎ وارن ﺎن ﺎﺐ ﭼ : ” ن ﺎن ﮔ ا ، ا ﺎ رﮐو ، س را ﭘ ِنن دل ﺎر و. ﭘ زﮔ ﺎت ﺎن دﺒدار وو “( 19 ). ان ﭼ :” ن ﺎ، ﺎ ! ي “. ان ﺎ ﭼﺌ : ِ ِ ُ ُ َ آﺋﺋ ، ِ ﺎ َ دا ، آﺎن ﺎ ِآ ، َ َ ُﭘﭘﮓﮓ َ ﭘﭘوا، َﺎنن را ِ ﺌ َ ُ ررلل ُ َ َرربب ، َ ِﺒﺒ ﺎ، ِ ِ ُ ُ َ ﺎ ، ُ َﮔ ! َ ﺎﺌ ﮔرﺎن. اﺎم دور رو ” زﺎ اﺌ ﺎش ، ﺎ ﭻ ، ﺑي اﺎس ﺋ و . ﭻ د دﮔ ، اﺎف ﺎ ﺑ ﮔﺎ ﺌ. ام ﺎي ار ﺎ ادا ﺎﺋ ود ﭼ . ﺎ ﺑﺎوت وﺋ. اي ﺎل ﺋ ﮐ ﺌ، ا وي ﭻ ﭼﺌ ي؟ “( 20 ). ). 20 ﭽﺎﺋ ا ادل ي ﺎل آ : ” ﭽﺎﺋ ﮐ ﭼﺌ ﺋ ور ي آ. ان ﮐ ﺎﺋ و ﺑﺎن ، ان م رﮐ. ﭘ ﭽﺎﺋن آﺎ آ. ﺎر ي آ. ﮕ دور ﺎﺌ ر “( 21 ). ا ﺋ ﺒﺐ آ ” ﭽﺎ ا ﺎن ﺑ اﺎن ﺎ ﭘ ﺎن ﺎﺋ ﺎن ﺎدت ﺎ “( 22 ). ا ي ” ﭻ ﺎ ن ﺎ ﺎ ل، دﺎ ﺎر ﺎ ﺑ ﮔﺎﺋ ا، ﭘ ﺑ وا و ر آ ﺎد، و. ت ٰ ﺐ ر ر ﭘ ﺎ ، ﭘ اﺎ ي آزﺎﺋ ﺎن ﺎ .

23 ﺎ اري ﺑﺎدري و ﺎرو [ ] ] ، ﭘﺎ ﺑ ، ﺑﮏ ﭘﺎ ﭻ ﺎن “( 23 ). اي ح ” ﺎ ﺎدم رﺎل ﮐ ، دﺎ ﺎر ﺑﺎدري ﺑﺎ زوال داﺎن ﮐ ر “( 24 ). 24 ا داﺎن ﺑ ان ﺑﺎ اﺎم درﺎن ﺌ . ان ﺎ ﺑﺎدري ﮐ ح ﺑﺎن آ : ا ُ ﺎﺎر، ا ِ َ َ ِ ، ِ ُ ُ ﺎن ُ ا ، ِ ِﭘﺎرر ُ َ ِ نن، ُ َ ِﮔ ُ َ ِﮔنن ، ِ َ ُ ﺋﺋن َ ن. دﺎ ﺎر ، دور ﺑﺑ ﺎ رﺎر ا. ﭘ ﺑ و وا، ﺑ آ. ” ام ا اار اﺎر ﭘﺎ و ﺒ ﺎ. ام ﺎن ﺑ ﺑ כ ا، ا ان ﮐ دﺎ و، ﺌ آ و آ. ﺎل اﺋ آ، ﺌ ري اوو ي، ﺎر ﺎ و ﺎ ﮐ ا ﺑﺎور اﺋ ﮐ ا ﺎ را ﺎ آ. اﺎم اﺑ ﺎر ﭗ، ﺎ و اﺒاد اﺎ ﺎﺑ ، ف ﺎﺒﺎزي ﺑﺎ ﺎﺋ . ﭘ ﭘﺎ ﮐ ﺎ ﺎ ﺒ ا . ﭘﺎ ا، آزادي، ر رواد اري ﺑ ﺎر ، اﺑ ﺎ زﺎد ا ﺎن ﺑ . ﺑ ا ﺎ ﮐ ﺎ ﮐ ا وﺎل ﺎכ و ن ﺎن ﮔري و . ﭘ ِا يٰ ﮐ ز ﺎن و ﺎﺑد . اﺎم ،ﺎل، اود، ، دو، ﺎ، ﭘ اﮐ آو ﺑﺎن ي ﺎ “( 25 ). اﺎم ا ف ﭻ ﺎن ﺒل . اي ﮐ و ﺎن ﭻ اﺋ ﮐﺎن ﺎ. ان ﮓ ارادي ﺎن ﺑ . ” ا ي ﮕ ﺎري ﺎ ا، و . ﺑ ﺎرودﮔﺎر ﺎ . ا ﮐ اﺋ ﺑﺎن آ، اﮐ اال “( 26 ). ان

ﺎ اري ﺑﺎدري و 24 ﺎرو [ ] ] ﮐ ﺑ ح ﺎ آ : ِ ا َ َررتت َ ِ ِررﺎسس ، َ َ ُ ان ُ َﮔﮔ ِ ﺌ، ِ ﭼ َﺎ َ َﭼﭼ ﺌ ، ِ َﭘﭘ ِ ِ ﭘﺎﺎسس، ي ُ َ ّ ، َ ُ َ ِ ﺎسس، ُ ِ َ رر ﮐ ِﺎﺑﺎسس ، َ ِ َﭘﭘ ُ ﭘﭘزا ِ ﺌ. ﺎر ﺎ ﭘﺎﺋ ” ﺑ ﮐ ﺎم ﮐﺎن و ﺋ . ﺎ social) (contract ا ﺑﺎد ﭘﭽ و. ﺎم ﺒ ر ﺎ ﮐ و دا و، وﺎري و واري روش ف ﺎﺋ آ. ﭘ ﭼ وارن ﺎ ﺎل آ، ف اﺎرو ي . ﭽ ﮐ َ ﭘ ﭘﺌ . ﭘ ا ﺎل ﺑ ان ﺎ. ا ﺎ دار، زوال آ. ا ن ﺑدا ي، اﺎن اﺎن ﮐﺎن ﭘ ان را ُ ﺌ آ “( 27 ). ان ﭻ را ن ﮐ ُ ُ و اﭼ. ﺎج ا ﺑﺎ، آﺎن، را ﮐ ي، را ﭼ ﺎ. ﭘ ا اٰ ن و وارا ﺋ وي ﮐ ﭘﭽ ﺎ. ا ان راز ﮐ ورت آ. ان راز اﺋي ﭼﺌ : ﺎدت ، رﺋ ﺎز، ِ رر ﭘو راز، ﺑ . ﺎر ﺎ ﺎن م و ” ﺑ وا، دﺎ ﭘ ﺑﺎ اﺎ ﺎ ﺎن ﺎﺑ آﺎده ي “( 28 ). ان ي ﺎ، و آزادي ﺎﺎ ﮔﺎي ﭼ : “ آﺋن وﺎن وارن ﺎ ﺌ ﮐ آ آﺎن، ا ﺎ آ، ن ﺑ ﺑﺎدر ن زﮔ ﺎن ﺎ آ. ا ﺎن ﮐ اﺎري ﺎ آ ﺑﺎدﺎ ﺎﮑﺎن آزادي ﺎر ﺎ ﭼﺎن اﺎن ﮐ ﺑ ا را ﭘو، ﺎ را اﺑ اﺎر ﺌ “( 29 . اي ح ” ﮐ اا آ، ا ﮐ اوﺎرو و ﭘو، ان

25 ﺎ اري ﺑﺎدري و ﺎرو [ ] ] و آ، ا ﺎم ﭘ “( 30 ). آﺎ داﺎن ﺌ ( 2 )، ﺑ ر ( 16 ) ح ﭼﺌ : ارو כ و، ن اوﭼ و اوﺎر! ا ﺋ ﺎ و را آ. ﺑ ان را وارا، ﺑﺎدري رﺎﺋ ﺎن و، ﭘ ﺎن ا ﺎ. ن زا ﺎ وﭼﺎن ﺎ اوﭼﺎ ﺎ. ” و ﺑﺎدري، زﮔ ا ش ﺑ آ “( 31 ). او ﺑ ﺌ اﺎﺋ : ﺎ! ر َ ِ ﭙﭙ، َ َ وورر! َ ِ وﺎ آ، ِ ِ ِ َ ِﺎﮕﮕ ِ َ ِ َ وو، ُااتت ِ َووکک َ َ ووي ﭘﺎ، ﺎن ﺎن َ ﺌ َمم ﺎ، ﺎن ﺎن ُ َ َ ﭼﭼ . ﺌ وري ان ﺑﺎدر ن ا زا ﺎ ﭼﺌ : ُ ﺎﺎن َ ِ ﺎ ، ِ ِ ﭘﭘ َ َ ِنن َ ﭘﺎرر، ِ ِ ِ ُ ن ! َ َﺎرر ، ُ ااﺎري َ ِ َ ااﺎ ﺎ. ا ﺑ ﺎدرن ﮐ ﮓ ﺑﺎدري ﺎن و اﺎ ﺋ، ال ﺎﺋا ﮔ اﺋي ﺎ ي ح ﺋ : ِ ر! َ ﮐ، َ ِددلل ﺎ َ َ َوو ِ ِ ووﺎرر، َ ُ ﺎ، ِ ُوو ُ ﺎ، ِ آي الل َ َمم ِ ارر، ﺎن ِ َ َ ِارر ، ِﺎرر ﺎرو ِ . ” اﮕ ي رخ ﺎرﺋ ﺎل اﺎم ﺎ ﺎ ا اﺎن رﮐا ﺎ. ا ﺎﺑ ، و ﺑﺎ دن ﺎ ﺑ ا . اﺎم ﺎﺎﺑ ان آ. ﺎ دي ي ي، ﺎ ﺌ “( 32 ). ا ﺋ ﺒﺐ آ ” وﮐ ف، ﭻ ان ُ ُﮕﺎ ، ﭘ ﺎن س ااب ر آ. ﺎﺎ ﭽ ُ ُرر ﭻ ﺎ س ي ﮕ . ﭽ ﺑ ﮔﺎ درد، ﺎﺋﺎت ذرو ذرو س ي . ﺑ ﺑ ﮔﺑ ﮐ ﺎ ﺎﮐ وري آ.

ﺎ اري ﺑﺎدري و 26 ﺎرو [ ] ] وري ﺎﮐي د ﺑﺎ وارو آ “( 33 ). او ﺎ و ح ﺎ آ : ُ ﭘﺎ ِ ﺎ ، َراوتت ِ َ َ ِ رر، ِ ِ ِ ُ ِﺎﺋﺋ َ ا ِ ﺎ ، اﺎن َ ِ ااﺎ. ِ ُ َﺎونن ِ َ ِﺒ اﷲﷲ ِ ، َ ُ اا ﺋ َ ِ ، ُ ُ ررون َﺎرر َ َ ِنن ، ِ َ ا ن ﮐ. ” و ﺎﺋن ﮐﺎن ﺑ ﭘوا، آزادي، اﺎف ﭽﺎﺋ ، ﺑﺎن ﺎﺎم ﺎ ا. ﭘ ﺑﺎ ﺎ و ر ﮐ ﺑ ي ي، ﺑ ” ي “. رخ ﺎر ﮑ : ” ِابب ُ ا ف اﺑﺎت ﭼ ﺑ و. ا ﺎﺋ ﺎري آ “( 34 ). زﮔ ﺎت ، س ﺎ و ، و ﮐﺎن ﮔ او. ام ﺎ و ﺑ ﺎﺎﺋ ﺎ و ﺌ، اﺎ و ﺎﮔداري ﺎ رن ف ﺑﺎوت ﺌ. و ا ﺎن ﺎو اﺎ ﭘ م ﺎررﺎري ﺑﺎ، ي ﭼ. ان ي ا ” ﺎﺐ ﺎ و ﺎر ﮐ ﺌ . ﭼ و ، ا ي و ا ﺎن س اف رﺎ. روا ذرو ﺑاﺑ ﺑ ، ﮐ ز آد ﺒﺎ ن ز ﺎ وﺎ. اﺎ روا ﭘ ر آ، ﺎن ُ ر ِ ي و ﮕ ﮔي ﺌ، ﮔ ﺋ ﺎ َ ﮐﺎ ﺎ. ا ﮔي ن ﺑ ﺎر واﮐﺎن ي، ﺑﺎ ﺎن ﮐ ُ اان ﮔي ار و. ﭘ ا ﺑ و ﺎ ﭘ ﺑ ﺎﺎب . ( ) زﮔ او ور ر، ﮐ ا ﺎ ، ﮐ ُ ﺎ. ﺋ ا اﺑ م ﮐ اﺎ “( 35 ). ). َﺑﺑ ُ َ ُ ِככ،ﺎ َ ِ َ ِاددنن ، ِ َﺎ ﺎ َ ُ َככ ، ُ َررככ رو َ ﺎ.

27 ﺎ اري ﺑﺎدري و ﺎرو [ ] ] ﺑ و ﺑﺎﺑ ” اﺎرﺒﺎﺂ،آاﺎ ﭙﺎ ُ ُ ؟ﭘﮔﺎررﺎ؟واﺑﺎوﺒ ؟. ﺑﺎاﺎاﺎﺎﺎ؟.ان ﺎواارآ،ﮑﺎﮕدﺎﺎﺋﮕﺎﺋ ﺎﺋﮕﺂ. ﺎﺎآﺎ ﺎﺑﺎﺑﺎرﺌ اﺎﺎﺂ “ ( 6 3 ) . ” اﮑﺎ ﺒﺑﺎ ﮐﺎﺎﺋ،اﺎﺑآ.ﺂزﺎﺋ زﮔ ﺌ “ ( 7 3 ). ﺎ وﺑﺎد،ﺂ.زﮔون ﺎﺑﺎﭘ.اﮑﺎاﺑﺎدراﺋﮕﺒ. ارا،ﺎ ﭘﺎم، ﺑﺎدرﺂ: ﺑﺎدرﮔﺋﺎ ﺑﺎدر،ﮐﮑ، و ن ، ﺎﺎر ، ن، ﭽ، ر ﮔ، راو . ا: 1 : ﮔﺑﺎ ﭽ،ا، ” ﺎ رﺎ“ ،ﺎرو:رو ﭘﺒ، 1993 ع،ص: 53 . . 53 2 : ،اﺑا،ا، ” وض “ ،رآﺑﺎد: ادﺑ ﺎﺋ، 1935 ع،ص: 136 . . 136 3 : ،اﺑا،ا، ” ي رز ﺎي“ ،ﺎرو: ﺎ ا ي ادﺑ ﺑر، 1969 ع، ص: 125 . . 125 4 : ﮔﺑﺎ ﭽ،ا، ” ﺎ رﺎ“ ،ﺎرو:روﭙﺒ، 1993 ع،ص: 66 . . 66 5 : ﺎا،م ، ” ﺎ رﺎ“ ،اﭼ:ﺎا، 2005 ع،ص: 656 . . 656 6 : آوا،ﺎ، ” ﺎ رﺎ“ ،ﺎرو: رو ﭘﺒ، 1997 ع،ص: .311 .311 7 : ﺑچ، ﺒ ﺑ، ا، ” ي ﺎر “ ، رآﺑﺎد: ﺎ ﺎ ، 2003 ع، ص: 140 . . 140 8 : آوا،ﺎ، ” ﺎرﺎ“ ،ﺎرو:رو ﭘﺒ، 1997 ع،ص: .311 .311 9 : ا ، ” ﭘﺎم “ ،ﺎرو: رو ﭘﺒ، 2005 ع،ص: .136 .136

ﺎ اري ﺑﺎدري و 28 ﺎرو [ ] ] 10 : آوا،ﺎ، ” ﺎ رﺎ“ ،ﺎرو: رو ﭘﺒ، 1997 ع،ص: .311 11 : ا،م ﺒ،ا، ” ﺎ ﺎي ﮕﺎري“ ،رآﺑﺎد: ﺎ ﺎ ، 1992 ع،ص: .362 .362 12 : آوا،ﺎ، ” ﺎ رﺎ“ ،ﺎرو: رو ﭘﺒ، 1997 ع،ص: .311 .311 13 : و،ﺎز،ا، ” ﺎ ﺒا ﺎﺋ م ﺎﮐ ا “ ، “ اﭼ:ي ﺒ،اﭼ ر، 2008 ع،ص: 223 _ .224 .224 14 : ﺎ،ا،ص: .221 .221 15 : ﺎ،ا،ص: 225_ .230 .230 16 : ﺎ،ا،ص: .223 .223 17 : ري،ا، ” ﺑ، ﭘ رو ﺎل “ ،(ﺎ): ﺎارﺌ زﮔ،اﭘ،اﭼ: ﭘﺎﺎﭙﺒ، 1968 ع،ص: .4 .4 18 : و،ﺎز،ا، ” ﺎ ﺒا ﺎﺋ م ﺎﮐ ا “ ، “ اﭼ:ي ﺒ،اﭼ ر، 2008 ع،ص: 220_ .221 .221 19 : ﭼ،، (ﺎر) ” وا ﺑ ﺎ ﺎودان “ ، اﭼ: ﺎارﺌ زﮔ،آﮔ،ﭘﺎﺎﭙﺒ، 1991 ع،ص: .26 .26 20 : و،ﺎز،ا، ” ﺎﺒا ﺎﺋ م ﺎﮐ ا “ ، “ اﭼ:ي ﺒ،اﭼ ر، 2008 ع،ص: .223 .223 21 : و، ادل،ا، ” ده دور ﭽ م ا اﺎد “ ،ﺎارﭘﺎم،ﺒ،اﭼ:ﭘﺎﺎن ﭘﺒ، 2006 ع،ص: .12 .12 22 : آوا،ﺎ، ” ﺎ رﺎ“ ، ﺎرو: رو ﭘﺒ، 1997 ع،ص: .311 .311 23 : ﺎا، ، ” ﺎ رﺎ“ ، اﭼ: ﺎا، 2005 ع،ص: .656 .656 24 : و،ﺎز،ا، ” ﺎ ﺒا ﺎﺋ م ﺎﮐ ا “ ،اﭼ: ي ﺒ،اﭼ ر، 2008 ع،ص: .221 .221 25 : ﺎ،ا،ص: 222_ .221 .221 26 : ﺎ،ا،ص، .221 .221 27 : ﺎ،ا،ص: .227 .227 28 : ﺎ،ا،ص، .223 .223 29 : ﭼ، ،(ﺎر) ” وا ﺑ ﺎ ﺎودان “ ، اﭼ:ﺎارﺌ زﮔ آﮔ،ﭘﺎﺎن ﭘﺒ، 1991 ع،ص: .25 .25 30 : ﺒﺎ،،ا،(ﺎ) ” ﺎ ﺎ او “ ،ﺐ،آﺎب اﺑو:ﺎ ،اﭼ: ﺎا، 2005 ع،ص: 162. 31 : و،ﺎز،ا، ” ﺎ ﺒا ﺎﺋ م ﺎﮐ ا “ ،اﭼ: ي ﺒ،اﭼ ر، 2008 ع،ص: 224 .

29 ﺎ اري ﺑﺎدري و ﺎرو [ ] ] 32 : ﭼ، ،(ﺎر) ” وا ﺑ ﺎ ﺎودان “ ، اﭼ: ﺎارﺌ زﮔ آﮔ،ﭘﺎﺎن ﭘﺒ، 1991 ع،ص، 26 . 33 : و،ﺎز،ا، ” ﺎ ﺒا ﺎﺋ م ﺎﮐ ا “ ،اﭼ: ي ﺒ،اﭼ ر، 2008 ع،ص: 226 . 34 : ﺎ،ا،ص: 222. 35 : ﺎ،ا،ص: 231 . . 231 36 : ﺎ،ا،ص: 229 . . 229 37 : ،ﺒا، ” او“ ، م،ﺎﺋ 257 س ﺎص اﺎ،اﺎت ﮐﺎ،اﭼ: ،ص: 10 . .

ﺎ اري ﺑﺎدري و 30

ﺎرو [ ] ]

ا ﺎ و اﺒﺎل اوﭘ ر، ام آﺑﺎد

ﭽ زﺎ ن ﺎي ERA AND POETRY OF SACHAL SARMAST

Abstract SachalSarmast is a great mystic poet of Indus valley. His poetry is replete with the themes of love, brotherhood, and peace. He considers humanity above colour, caste, religion, or creed. He also portrayed his era when the invaders came to this valley and it was the disaster over Indus valley and Sachal Sar mast raised his voice against these inhuman attacks. He protest ed against bloodshed, injustice and cruelty of the rulers through his poetry. He presented religious harmony in his poetry.This research article will explore the above mentioned themes of his poetry in a realistic manner. ﭽ زﺎ ﮑ 1739 ع ﮐﺎن 1829 ع ﺎﺋ آ. ﭽ ﺎﺋ ﮐ ﭘ ﺎﭙ ا ﺎ ﺎ ﺎ ﺎو ﮔ ﮔ ﮔر ا ي ﮐﺎن ﺎري ن ﺎ ا ي ا ا وا ﺒﺐ ﺎل روﺎ ا ﭽ ﺎﺋ ذ و ا ا ﺎ ﺎ واﺎ ﺎ ن روان س ﺎي ﺐ آن. ﭽ ﺎ ﺋ ان ﭘﺎم آ ﮐ ﺎ ﺎدن، ﺎ ، و م ح ﺎ ﺎﺋ ﭘ ﺎي ذر ﺎم . ن ﺎي ﭘ ، ر اﷲ و، اﺎ رل، اﺎن ذات ﺎن ﺒ ا، دﺎ و واري ﺎ ﮔار ، ﭙ ﭘ ن ن ﮐﺎن ﭘﺎ رﮐ آ، ا ﺌ آﺎ ﭘﺎم ﺎ ﺒدار ﺌﺎ.

31 ﭽ زﺎ ن ﺎي ﺎرو [ ] ] ﺎ ﮐﺎن ﭘ ﭽ ﮐ وو و ﺑرگ ﺎز ﺎ و . ﺎ ﺎي ﺎل آ ﭽ ﺎﺋ ﺎي ل آ. ا ﺑ آ اﺎن ﺎن ﺎج د ﺑ ﭼ، ﭘ ﺎ، ، ﺎ ا ﭘ، ام دردن و ﺌ ﮐ ﭘ ﺎي ا ﺑﺎ آ. اي ح اﺎن ﭽ ﺎﺋ دو ر ون ﺎ ا دور ﭘا دور ر آ. ﺒا ي ﮑ ﺎ : ” ﺎل 1739 ع ت ﭽ ودت ا ﺎل ﺎ در ﺎ وي ﺒﺎ ﺌ ﺎ ﺎن و ﭘ ﺎ وا ذا ﺑ ﺒﺎ ﺑﺑﺎد ﺎ وﺎ ا ي ﮔا ي ﮔا ﺎدر ﺎ اﭼ ن ﭼن ود آﺋن 1“ ( ) ) 1“ ( اي ح 1753 ع ﭽ ﺎﺋ ﭼ ور ﺌ ا ﺎل ا ﺎ اﺑا ، ن ﮐي وﺋ، ا ﮐﺎن وه د ﺎن ﭘﺎ ا ﺌ ﺎ ﭽ ﺎﺋ ﺎن ﺌﺎ. ان ﮐﺎن وه 1718 ع ﭽ ﺎﺋ ﭘاﺋ ﮐﺎن و ر ا ﺎ ﺎ ﺎدت وا ﭽ ﺎﺋ ﭘاﺋ ﮐﺎن ر ﺎل ا 1733 ع ﮐن وم ﺒاﺎن س 208 ﺎ م ا درد ﺎכ واﺎ ت ﺎ اﺋ ﮕن ﭽ ﺎﺋ دور ن رن اﺎن ذات ن ﺑ دردي ﺎن وا و. ا اﺑا ﮑ ﺎ : ” ﭽ ﺎﺋ دور 45 ﮕن ن، ﭽ ﺎﺋ ﭘ آس ﭘﺎس ﺎ ى ﺎ اﺋ اﮐ ﺎن ﺎ ﺎن ﺎ ي ﺒ ا آ 2“.( ) ) 2“.( ان وا ا ي ح ﺎ ﺎي ﺎن آ اي ح اﺎن ﮐ ﭽ ﺎي ﺑ اﭼ . ﭽ

ﭽ زﺎ ن ﺎي 32 ﺎرو [ ] ] ﺎﺋ ﭘ ﭘ ﺎم ا ﺎ زور آ ﺎﺋﺎت ﺎي ت ﺑﺎدي وت ﺎرﺎ آ. اي ح ﺑ ع اﺎن رﮓ روپ ت ﺑ ا وت ﺎﺋ و . ﭽ ﺎﺋ ذات ﭘﺎت و ﮐ ﺎم ﮔ آ. ا ﺒﺎ ﮑ ﺎ : ” ذات ﭘﺎت و، اﺎ ﮐﺎ ﺎري آ. آر ﭘﺎ ﺎن ا اوچ ﭻ ذات ﺎ وﺎ آا ﺑ در ان ﺐ ﭘاوار آ 3“ ( ) ) 3“ ( ي ح ﺎ ﺎ ” ذات آ ات ، و “ “ ﭽ ﺎﺋ ﭘﺎم آﺎ آ. ن ﭘﺎم زﺎن ﺎن ن ﮐﺎن آ آ . ﭘﺎ ﺐ ، و زﺑﺎن وه ن ون ﭘﺎر ي ﮔ ﺒ ﺌ آ. ج ي ﭘري دﺎ م ﮐ دور و ورت آ. ﭘﺎ ﺎﺋ ﺎ. ﺎن ﺎ ﺌ ﭽ ﺎﺋ ﺐ ي ﺑ ﮐﺎن آزاد ي ﭼا ﺌﺎ. ﭽ ﺎﺋ ﭘ ﮐ د ﮔ ي ﺌ ﺒ س ﺎن ن ار ون. ﭽ ﺎﺋ دور وار ﺒ ﭘ ا ﭗ وج ﺌ، ا ي ﭽ ﺎﺋ ﮐ ا ﭘﺎم ﮐﺎن و ا ذات اﺎن ذات آ. ﭘﺎ اﺎ ﮐ ر ﺎ اي اﺎ ر ، ا دﺎ ﮐﺎن ﮔ ﭘي وو، ﺎن ﭘ واﭘ آ. ” ﮔﺌن ـﺎرغ ــﺎ، ــﺎ دــﺎ ﮐـﺎن دور

33 ﭽ زﺎ ن ﺎي ﺎرو [ ] ] ا ـر آ ـ ــن ـﺎـــن “ ﺑ ر ج ﭘن و ا ﺑي وچ ا ﺎر ان و ﺎ ان ﮐ ا وار ار ﺋ ، وت ادي ر ج ﺎم ﮔ ا آ. ﺎ ﮐﺎن وع و ﭽ ﺎﺋ ﺎﺋ وج ﭘﭽ . ﺎر ﺎ: ” روزا ــــ ــــــــــﺎزون اي ﭘـــــــ ﭼـــــــ ـــــــ، ا ــ ـﺎن ﭘــ ﭘــ ﮐـ “ “ ﭽ ﺎﺋ اﺎ ﺎ ﺎم ﭼﺌ ي: ” ــــﺒــ ــــ ــﺎــــ ــــــــﺎــﺎ ــــــ ﭘــــي ﺑــرﮔــ ﺑــــــ ــــﺎ ﺎزون ي ﭘ ـر وـﺎـﺎ اوا ــــــ آـــﺎ ــــــ وارا ـــ ﮐـــ “ ا از ق ﮑ ﺎ : ” ف ﺎر ورق ﮔدا ي م ﺌ ر ﺎدت ﮐﺎن ﭘ ا دﺎ ﺎﺋ اﷲ ﺎن ﺎ ر ﺑ ﺑﺎכ ا ﭽ ﭘا آ ر واري ﺑ ﺑ ﺑﺎ ﺎن اﺎا و 4“ ( ) ) 4“ ( ﭽ ﺎﺋ ﮐﺎن ا ﺎ ا ي و و وﺎﺋا ﺌﺎ، ﮕ ﭽ ﺎﺋ ف ﺎ اﺎزت ﮔ ﺋ اﺎن دﺎ ﮐﺎ ا ي و و ر ام ﺎﺋ ﭘﭽﺎﺋ ﺎن ﺑي ﺎ آ ا ﺎ آ زﮔ ﮐ ﺎن ي ﭘ ل ف ا م واﺋ. ﭽ ﺎﺋ و ل ﺎ ل ﺎﺋ ﭘﭽ ت ﺑ اﭼ و ان وي ا آ. ﭘﺎ ﺎﺋ ﺎ:

ﭽ زﺎ ن ﺎي 34 ﺎرو [ ] ] ” دم ﺎ دم ﺎ ﺎـﺎ، ﭽ ﺎ دي ﭽ، ﺎ ﭘ اﺎـﺎ “ “ ﭽ ﺎﺋ ﺒ ﭘﺎﺑ ﮐﺎن ﭘﺎ ﮐ آ رﮐ ﺎي ﺒ ر روا ﮐ ا ﺎﺋ. ” اﺎف، ﺌ ﺐ ﺎﺋ ﺎف “ ن ﺒ ل آ اي ﺒ آ ﺎ ﺑ ﮔو ﺐ ﮐﺎن ﭘري اﺎ آ. اﺎ ﺒ ﺎﺋﺎت ﺎر آ. ﭘـ ـ ـــــ ذات ـﺋـ آــﺎن، ـﺋـ آــﺎ اﭼــ اــﺎن ــ اــﺎــــ، ــﺎــ ــــــ ــ رات، ﺎ آ زﺑﺎن ـ اـب ــي ـــﺎت ﭽ ﭘ، ـــن ــﺎت “ “ ﭽ ا ﺎ وﺎ آ اﺎ ﭘاﺋ ﺑﺎدي اﷲ ﺎ ﺎن ﺒ آ ﭘ ا ﺒ ﮐ اﺎ ﺒ ﺒ ي ي . ان ﮐﺎن ا ا ﺒ ﺎ آ. ﭽ ﺎﺋ اﺎ ﺎد ﺎري ﺎﺋ ﺎ: ” ـــ ـﺎن، ـ ـ ﭘــا ﭘـﺎ ــرت ــﺎن ــــﺎ، ــــــ ــي ــرت ﮐــ “ “ ﺎن اﺎري ﮑ ﺎ : ” ن ﺑ ي ﺎج ﺎ ﭘ ﺒ آ ﺒ ﺎﺋﺎ چ اﺎر آ. ﺎ، ﭽ ﺎ اي ﺋ چ ﺎ ﺎ دار ﮔرﺎ آ 5“ ( ) ) 5“ ( ﭽ ﺎﺋ ﭘﺎ ذرﺎ ي ﺎج ﺒﺎ ق ﮔو ﮐ ﺐ آا. اﺎ ﺒدار آ ن اوﭻ ﭻ، ذات رﮓ ﺑﺎ ق ل آ. ا ﮐﺎن و ه ﺎﺋ ﮐ ﭘﺎ ﺒ پ ﺎ آ ﺎﺋ ﺎ : ” و ـــ اـــﺎﺋـــ وـــ، دوﺋـــ دور ـــ ـــ

35 ﭽ زﺎ ن ﺎي ﺎرو [ ] ] ـ ـ ــــﺐ ــ ــﺎن، ــﺎــــ ــﺎ ــــ و ﺎن ، ـﺒـ ـﺎ ـ ــ، ــــــ ﺎن ـــﺌـــ اوـــ، اوـــ ـــ ـــ ــــــ “ “ ا ﺎن ﭽ ﺎﺋ دور ﺑ ل اﺎف وﺎو . ﭽ ﺎﺋ ﮐ ﺑ دﺎ ي ﭼي اي ﺎ اﺎف ﭘ ﺎر ﭘ وارو آ. ” ﭘـﺎ ــــ ﭘـــﺋــ ﭘــــ ــﺎـ ـﺎرــــــ “ “ ﭽ ن، ﺎ، ﭘ ﺎﺋ ﺐ ﭘﭼﺎر ﺎ. ا ﭽ ﺒ ﮐﺎن ﺑ ﺒ آ ا ﺑ د دوزخ ﺎن اﺎ ﮐ ﺎر ي رﺎ آ. ن ﺑ ن ﺐ ا ﺋ ق و آ ن ﺎي ﺎﺋ ﺎﺋ آ، ﺎ ﺎ اي آ ار ن ﭘ ﺎن و آ، ار ﭘﺎﺎﺋ ﺎﺋ و آ ﺎ ا اﺎن ذات ﺋ ي آ. ا ﺋ ﭘ ﺒب ﮐ ﺎﭗ ا ر آ. ﭽ ﺎﺋ ﭘ ﭘﺎم ذر اﺎن ﮐ ا آ.

ا : : 1. ﺒا ي ا، ﭽ ، ﺎرو، ي ادﺑ ﺑر، 1984 ، ص 15 15 2. اﺑا ، ﭘ و، ﭽ ان ﺎ ﺎ، آل ﭘﺎﺎن ا ﺎ، ﺎﭘ، ﭘن، 1992 ، ص 88 88 3. ﺒﺎ، ﺎ ﺎي، رو ﭘﺒ، ﺎرو، 2000 ، ص 83 83 4. از ق، ﭽ ﺎرو ﭻ، (ﺐ) ﺑ اا ﭽ ﺎﮕ، اﭼ، 1989 ع. ص 60 60 5. اﺎري، ﺎن ، ” “ ﭽ ﺎدﮔﺎر ، ﭘر، 1988 ع، ص 21 21

ﭽ زﺎ ن ﺎي 36 ﺎرو [ ] ]

ﺎ اﺑو ي ﺒ، وﺎ اردو ر اﭼ

ي ﺎﺋو SHORT ANALYSIS OF DIFFERENT DIALECTS OF SINDHI LANGUAGE

ABSTRACT Sindhi is most ancient language in sub -continent. Its lexicographical and dialectical study is of unique importance in account of lingual analysis of Sindhi and other contemporary languages of Indo -Aryan family of languages of sub -continent. Sindhi language is known, spoken, explored and examined from the era of Indus Civilization. The study based on the re search of dialects of Sindhi language is direly needed to exam ine on account of origin of language and its etymological stud ies. The various particular linguistic geographies of Sindhi lan guage are of unique and great importance in the various fields of Sindhi linguistics. The research under question fulfills re quirements of subjects noted above to some extents.

ﭘ ا ﺑ دﺎ ﺎ ، ا ادب، ﺎي כ اﭗ ر ن ﺎ ﺎ ﭘ َ ﺎوول ﺎر ﮐ ﺎ ﺎ ﭘ ن واﺋن ﺎ ُ اان و واري ” “ر ُ ﮐﺎ ن و ﺎ ﺎﺋ س اﮐ، ، ﭘن زﺑﺎن ِ ااﺎرن ر ن ﺎ، اﺎن ذ ﺎ ُ ااي ، ا ﺎر اﺎرن ﮐﺎن آوازن ﺎ ﺋ ُ د ، ﮐﺎن ﭘن ﭘن ﮐﺎن ﮐﺎن ُ ﺎل ﺎ ﺎ اﺎر ﺎﺋ ﺌ ﭘﭽ ؟ ﺎﺌ 37 ي ﺎﺋو ﺎرو [ ] ] ر ِ ﺋ ﺎان ﺎ ﺎ ﭘ ﺎول ﺎﺋن ن ، اﺎرن، آوازن و اف ا آ . آواز، ﺎﺎﺋ رﺎر، ااز، ز، و آ . ا ا ﺎر وا ﺎ، ا ذو، ، ﺑﺎن ﮕ اﺎر رات ق او آ . ﺎ ال ﺎ ﮓ ﺎرن ﮐﺎن ا وو ﺎا، ﺒ، ﺎر ﺎ ي اﭼ . ﺎﺋن ا ااد ﺎ ي آ، ﺑ اﺎ ا ااد واري ﺑ ﺎا، م ﺎﺋ اﭼ . ﺎﺌ ا ااد ﺎر ﺑ، ا، ا، ﭘﺎﺋﭗ ر ﭘﺎﺋﭗ ﺎﺋ ي ر . آﺋن ارﺎ ﺎ ﮐﺎﭙ ان ﭘ آﺎن، ﺎ ارﺎ ﺎ ﺎ ﮑ ﭘﺎﺎ ﺎ ﭘ ﺑ ﺎ . .

( ا ) ارﺎ ُ دي ﺎ : : ار ﺎ ا ﺌ ﺐ ُ اان ﺎ وار ) وو آ ﺎر ﭘاﺋ ﮐﺎن و ﺎرو، ﺑﺎ، ان ﭘﺎﺋﭗ ﺎﺋ اﺎرن ﮐﺎن آوازن، آوازن ﮐﺎن ، ﮐﺎن َ ﭘﭘن، َ ﭘﭘن ﮐﺎن ، ُ ﮐﺎن ُ ﺎل ﺎ ورﺎ ﺎﺋ ي رﮓ ﮓ ﺎن ﺌ ي . ُ اان اﺎر ذي درار ي ﺌ ؟ ارﺎ ا َ ﭘﭘ دي ﺎ ارﺎ وارو آ . .

(ب ) ارﺎ ﭘ : : ا ﺌ ﺐ ﺑ ﺎ ﺎر ﺎ زﺎ ُ دﺋ رن ﺎا ﺎ وا و ﺎﺑ ُ اان ﺎﺋو ور وو آ . ُ اان ا وو آ، م ﺎ ﺎر دورن، زﺎ ُ ي رﮓ ﮓ ﺎن وي وي ده ﺎﺋ ﭘ آ . ﺎل ر ي ﭘ

ي ﺎﺋو 38 ﺎرو [ ] ]

دﺋر ﺌ ﺎ ﺎﺋﺒ ُ ﺌ؟ دﺋر ﺌ ﺎﺎﺋﺒ ُ ﺌ؟ ن دﺋر ﺌ ﺎﺎﺋ وي ُ ﺌ؟ ده ﺎ واري دﺋر ﺌ ﺎﺎﺋ وي آ . . ﺑ ارﺎ ن و ﺎ زﺎ ﺎظ ﮐﺎن ﺎ ﺎن ﺎ ﺎ ﺎﮔا ﺎظ ﮐﺎن ا ﺎون ﺋ ا ان ﺎ ﺎ ﺎر ن ون آ . ا ﺎ ﭘ ﭘ ﭘﮕ ﺎﺋ ﭘﭽا آ، ا ﭽ روپ ارا آ. ا ﭘ ﺎ ﭽ ﮐ ا ﺎﭘ ﺎ ن ﺌ ن ﭼﺌﺒ آ . ان ي ا ﭘ ن ﮐﺎن ﭘﺋ و ان ﮐ ﺎن ﭘ ي اد ﭘ ﺑﺎن ن ﺎ.

ﺎ آ؟ ” ﺑ آ. ( 1 ) ) 1 ان ي ٰ آ، زﺑﺎن כ، زﺑﺎن ااز ، ز ، ﺎ ر، ص ﺋ ﺎﺎ .“ 2( ) ) 2( .“ ، وا و و ﺌ . ﺑ ﮐ و ان ﺎ دﮔﺎر ﺎﺑ ﺎ . ان ﺎل اﺋ ﭼﺌ و آ ان ن ﺎر ن ﺎ ﺎ ، ﺎري ﺎري ﺎن ا ر ﺎ . . ي ﺌ ﺎن واﺋ ي ﺑ ﺎ رﮐ ﺎ، ﺌ ﮐﺎن ا ﭘ ﺌ . اداﺋﮕ، ا ُ اﭼﺎر، ر ، ي اﭼﺎر اداﺋﮕ وه ﺎ ﺎ . وي اﺎن ﺎ ﺎ ﺎ ﺌ . ﺋ اﺎ ﺎﭗ اﺋ ، آﺎ ﺎن؟ ﺎﺎ و . ﮐ ط اﺎ ﭘ ي ﮕ ي ﺋ ﺎﺎ وو آ . . ي ﮐ ذ رﮐي اﺋ ﭼﺌﺒ ﺑ ﺎ ﺎو و ﺎ ﺎص ﺒ ﺎ ﺎص ن اﮔﺎ د ِاازز ﮐ ﭼﺌﺒ آ . .

39 ي ﺎﺋو ﺎرو [ ] ]

ي ﺎ ﺎ : ي ر ﺎ، ادﺐ، ﺎ ﺎﺎت ُ ا ﺒ ﺑ ﺎن ﺑچ ُ ا ي ﮐﺎﭙ ي ﺎ ُ ﭘﺋ ﭘ ن ان ﮐﺎﭙ ُ اان ار ار ﺎﭘ 2004 ع ُ ن ” ﺌ ﺎ ي ُ “ ﺎ ﺎن ﭙﺎﺋ ﭘرو . ُ اان ﭘﺎ ري ﺎ ﺎ ﺎﮔا ﺎن ﭼي ﮔ اﺎ، ورכ . ورכ ) ﺎ وي ا ي آ . اي ﮐ ا ﺑﺎ ) ﭼﺌﺒ آ . ان ﺎ ﺎر ﺎم اٰ ﺎ ﺎﺎﺎ وا آ . ا ﺎﺐ ﺎ ي ُ ذي ﮐ ُ اان ﺎورن ﺎ ﺎﺑ ُ َ اا ورﺎﺋ ، ﺎ؛ ُ ااادي ﺎ ُ اا : : ُ اان ﮑ، ﺐ آﺑﺎد، ﺎرﭘر، ﭘر ﺎ ﺎ آ . ي ﺎ ي : : ُاان ﺎص ي رآﺑﺎد اﮐ ﺎ ُ اان ﺎن ﭘﺎر وارن ﺎ ﺎ آ. ﺎ ﺎ ﺎ وارو ﺎ : : ُاان اي ﺎ اا ُاان ﺎن او ف ( ﺎي و واري ) ﺎ دادو ا ﺎ ُ اان ﺎن واري اا . ي ﺎ : : ُ اان ﭘ ﺎر ، ﭙ، ﮕﭘﺎر ﺎي ﺎ آ . .

ي ﺎﺋو 40 ﺎرو [ ] ]

ا ﺎ ﺎ : : ُ اان ﭘﺎر ﺎص واري ﺎ ا ﺎ آ . . ﮐﺎري ﺎ : : اا ُ ن ﺎص ي ﺎري واري اا ﺎ آ . . ﺎ - ﺎ : : ُ اان واري ﺎ اا ﺎ آ . . ﺎ : : ُ اان رﺎ ﺎورن واري ي ﺎ آ . ﺎري ﺎ : ُ اان رآ ﺑﺎد ﺎ ﭘ واري ﺎورو ﺎ آ. ( ( 3 ي ﮕ آ . اﺒ ا ع اﭘﺎر و ﺑ ن واﮕ ا ﺒ ﺑ ﺎن ﺑچ ا و . ا ﺎﺐ ﭘﺋ ي ي ﮕ اﺎر ﭘ اﺎ ﺎري دوران رﺎ ﺎر ﺌ، ﺌ و ﺎ ﭘ ﺎن ﺎﭘ ﺑﺎﺋ ﺋ ي ﺌ ﺎﺎﺋ و ، ﺌ ان ﺎ وﺎت ﺌ و . ان رﺎ ﺐ ﺎر ﺎﺑ ﺎ ﺎﺎ ﺎ وﺎ . . ﺒ – ﺎي ا – اي واري ) ﺎ اوﺎوي ( ( ي – ا

41 ي ﺎﺋو ﺎرو [ ] ] ﺎ ااي ي ي ﺎ ﮐﺎري ﺎص ن ﺎص ﺒ ( 4 ) ) 4 ان ﮐﺎن وه ان ع ا ﺒ ﺑ ﺑچ ﺎب ” ﺎ ل “ 5( ) ي ﺎوري ﺎ ن ﺑﺎن ن ون آ ﺎر ﺎب ” ﺎ ل “ 6( ) ﺑ آ . ي ﺎوري ذ و آ. “ ن ان آ، ﺋ ﺎﺎن و ن . وري ان آ . ﺎ ﺋ ﺎﺎن و ن . وري ﺒ ﮔو ن ن آ . ﺎ ﺎ ﺋ ﺋ ﺎﺎﺋ و . ان ﺋ ﺎظ ﮐﺎن رو ﮔ ق ﺌ . ا ي ﭼا آ ، ﺎر .“ .“ ﺎﺌ ا ا ﺎورن ﺎ ﮐ ” “ ﭼﺌﺒ آ . . ﺎ ا ﮐ ” ﺎورا ” ﺎ ” اﭘﺎﺎﺋن “ ﭘ ﭼا آ . . ﺎ ﺎﺎ وري وارن ﺎ ﺎن دﮕﺌ ا آ . ا ي ا ﺎ ﭘﺎي ا ز و آ . ا ﺎن ﮐ ﺎري ار وو آ . ان ﺋ در ﺎب ﮑﺎ وا آ . ﺎن ان ﺎ ﺎﺋ ري آ. ( 5 ) ) 5

ا:

ي ﺎﺋو 42 ﺎرو [ ] ]

اﺑ، ، ا ( اردو ) ، ﺒ داﺎل ر، ص. 995 995 ﺑچ، ا ﺒ ﺑ ﺎن، ﺌ ﺎ ي ُ ﺎت، ﭘن 2004 ع، ي ﺑﺎاﺎر ادارو ﺑچ، ا ﺒ ﺑ ﺎن، ﺌ ﺎ ي ُ ﺎت، ﭘن 2004 ع، ي ﺑﺎاﺎر ادارو) ” “ “ ” ﺑچ، ا ﺒ ﺑ ﺎن ) ( ﺎرﭘر ) ا ﺒا ي، 1993 ع، ﺎﭘ ﭘن، ي ُ ﺑﺎاﺎر ادارو، رآﺑﺎد .ص -1 .2 . . .2 -1 ﺑچ، ا ﺒ ﺑ ﺎن ، ﺎ ل، ي ﺑﺎ اﺎر ادارو، ر آﺑﺎد آﺑﺎد ، ﺎر، ﺎ ل، ي ادﺑ ﺑر، ﺎرو، . ، ا ﺒا ي، ﺎﭘر ، ﺎﭘ ﭘن، 1993 ع، ي ُ ﺑﺎ اﺎر ادارو، رآﺑﺎد .ص -17، .18

43 ي ﺎﺋو

ﺎرو [ ] ]

ا ا ي ﺒ، اﭼ ر

ا ﭘزادي ، “ ط ” ي ﺎﺋو Critical analysis of Amar Pirzado’s poem “The Condition”

Abstract Amar Pirzado is a Young Poet of Sindhi Language. Ba sically he is modern poet, His Aesthetics and romantic ap proach is laudable. His similes and metaphors are unique and treatment is also distinctive and beautiful. He uses local meta phors with international approach. In this research article I have presented critical analyses of his poem “The Condition”, the poem is included in his latest Book, Fana . In this poem Amar has depicted natural as well as artificial, subjective and objective metaphors. The core philoso phy of this poem is aesthetic appreciation of the beloved. I have critically analyzed the poem discussing its art and philosophy.

اﺎز؛ اﺎز ﮔ اﺎري، “ و ﮐﺎن ﭘ ﺌﭙ ” ﺑﺎﺑ ﭼ اﺎز ﮔ ر ﮐﺎ ﺋ ﺑ ﺎ آ، ﺑ ان ي ﺑ ﮐ ا واﺋ ، ا ﺑ آ. ﮑ ، “ اﺎز ﮔ ﺌ د ﺎ آـ، ــي ــ ﺋـ ـ ﭘ ﺎ واري ي آ. ﺎن ﺎي ﺌ ـ ﺎي ا ﭘ آﺎن اﺎ ﺑـ ﺑــ اا ﺎر اﭼ وي. ان ﺎي ـﺎﮔــداراـ دور ـﺎن ي د ؤر دا ﺎ آﺎر ﺎ ان ـن ـﺒـــن ﺎﺎت و ه روا ﺎي ﮐـﺎن ــــ آـ، اــ ـ

ا ﭘزادي ، “ ط ” ي ﺎﺋو 44 ﺎرو [ ] ] ﭘ ااد ﺎپ آ. ” اﺎز ي روا ﺎ اﺎز ﮔ ا ﺎن ـﺌـ آ؛ ا ﭘزادو ان ﺎ ي روا ﮐ ا واﺋ ، ﺑ ﭘﺎﺎن ن ﺒن اﺎرا ﺐ آ . ـ ـﺎـي ـﺎ ا ﺎﺎت ﺎ ﺎت ﭘﺎﺎن ـــ ﭘــﺎـﺎن ـ ﭘـﺌـاﺋـ ـ ﮕ ﺎ. ي ﺑ س ﺋ و ﺎن آﮓ آ. ، دور ر ان ﺋ دؤر ﺎ ي . دور زر دور ﺑ آ، ــ دؤر ﺑ آ اﺎر ﺎ دور ﭘـ آـ. دورن ـ اـي رـ ﮔ ﺋ ا ا ﺎ رﺎل آ، ﮐ ﭘﺎﺎن ﺎـ ـﺎن و آ. دؤر ﺒ دور آ. اـ ﭘــزادي ـ ــ، “ ط ” ان ﺋ اﺎرن ﺎن آ، ده دؤر ـ ــــﺎـ، ﺎﺎ، روﺎي، ﺎ ﺎ ﺎ آ. آ،

“ اپ ﭼو او و آ

ﺑﺎﺋ ا ﺌ اﺎد آ

ﭘﺎرכ ﭘن ﮐ ود آﺋ آ

رﮓ ﮐ ﭘﺎﺋ ﺌ ﭙن ﺎ ﺎن وﺎﺋ ﺎ و

آﺑﺎر وارن

45 ا ﭘزادي ، “ ط ” ي ﺎﺋو ﺎرو [ ] ] ﺑﺎن ﺌ وا ﺎ ر

ﭼ ﮐ وﺎﺋ ﺌ روز ان ان روپ ﭘ ﺎﺋ

ﺌ آﺎن ﺎن ﭘ ي

ﺎ ﭘ ﺌ ن ر آ

آﺋ ﺌ ﺎ ﭘﺎﺋو ر

ﺎي، ، ري ﺎ ﺎرف آ

ﺑﺎن ﺌ ﺑﺎدي ط آ! ” ”

ﮐ ﺎن ﭘﺎن ﺐ آ ا آﺑ ﮐ ن ﮐ ا ﺎرا ر ﺑﺎن و آ. ا ن//آﺑ آ. اپ، ﺑﺎ ﺋ ا، ﭘﺎرכ ، رﮓ، آﺑﺎر، ﭼ، ـــ، ، آﺋ، ﺎ ي، ، ري . ﺎ ن اﺎرا ر ﺐ آن آ، ا ﮐ ﮔ ﮔ ــــ ي ﮕ . ، ن ؛ ﭘ اﺎ ﺎ و ﺑ آ. ي ﺒﺑ ﭼو، آﺑﺎر، ﭼ، ـ، آــﺎن ا ﭘزادي ، “ ط ” ي ﺎﺋو 46 ﺎرو [ ] ] ﺎ آ. ﺑﺎﺋ ا آﺋ ﺎ آ. ﺎي، ري ﺎ آ. و ــ ﭘـﺎرכ ـ ، رﮓ ﭙن ﺎ ﺎن ﺎ آ. ـﺋــــ ـ ـﭙـ ﺋ ﺎ آ؛ ﺎج آ، ﮐ ـ ﺑﺎدي ط و آ. ا اﺎرن/اﺎ/ /ــن ﮐ ﮔ ﭘﺎ ﮐﺎن ﺑ آ ﮕ . ــــ اـﺎن ان ن ن ا ح ﺎن ﺎﺎ آـ، ن ﺌ ن ﺎﺎ آ. ف ـي ــﺎــﺎت آ ﺑ ان ، ﺎ، ﺎ، وا ﺎﺎت ﭘ آـ. ﺒﺑ ﭼو، آﺑﺎر، ﭼ ، ، آﺎن ـــ ــي ــﺎــﺎت ـن ن آ. ي ﺎﺎت ﺑﺎﺑ ر ف ا ـ ـ ـ ﭼـ آ ف اک د ﺎ ي ﺑ ـــ ـرت ﺎم ﺎ ت ا ﺋ د ي آ. ت ﺋ ـــ ـ اـ ﺎر آ. ال ا ﭘﺌا ﺌ آ ت ﺎ آ؟ ت ا ـــ آ، ا ﺋ د ن، د ﮔ ي آـ، ﭘ ا ﺒ ﮕ ، ت ن ﭘــــ ار ــﺎم ﺎ ﺎﺋ رﮐ ن ﭘ ا ﮔ ﺎ ت آ. “… In one sense, everything is a part of nature for there is a sense in which nature is just the totality of everything.” ﺎ ﺋﺎت د ـ رـ ــت ـﺎن ﺎ ي آ. ﭼﺌ ﮕ “ ت ـ ــ دار ادا . ي ﮐ واﺋ ـ ـ ـف آــﺎن ﺎن ﺎن ﭘﺎ آ ﭘﺎ ﭘﺎﺎل ﺎﺋ ﮔا ـــ آـ. ــ ﺑ ﺎ و ي واﺋ ﺎ ا ﮔ ن ﺎزכ ـــ ﭘـــن ا ﺎ ﭘ ار اﺎس ﭘﺌا ـ ـﺎ. ــ ﭘـﮑــ ـ ن ن ﺎ رس ن ا ﮔﮕ ﭘ ي ـل ﮐ ﺎ ﺑ . ﺒ ي ي ــ اـﺎـ ـي ـ ـ

47 ا ﭘزادي ، “ ط ” ي ﺎﺋو ﺎرو [ ] ] ن، ﮕ ﺎرا ر ﺎن ي ل م ﺎﺋ ﺎ. ﺑرت ﺎ ﺎ ﺎﺎ وا آﺑﺎر ي ـﺎـ آـ ا ون، ان ، ب ﭘﺎ ﺎ ﺎر وا ي ـل ﮐـ واـ ﺎ. اﺋ د ﮐ ﺎرا ﺎد ي ﺎل آ. ” ” ي ﺎل ﺎ آ ــﺒـﺑـ ـ ﭼــو، آﺑﺎر، ﭼ، ، آ ﺎن . ﺎ ﭘﺎ ﮐ ر ا ـ ــي ﺎﺎ ن ﮔ ي ﺑ ﭘ ود ﮐ ا اوـ اــ ﮐـ ااز ﭘ ي . ﺋ ن ﭘ ﭘ ـ وي ادراכ ا آ ن، ﮐ ﺎ ﭘ ار ـــس ــي ﺑــﺎن آ. ت ﮐﺎن ا وي . ت ﮐﺎن ا و ﺎ ﮐﺎن ت ا و ﺌ ﺎد ن آ، ﭘ ان ﺎد ﮐ ﺑ و آ. ﺑ ﮐ ان ﺎدن ﺑران ا آﮕ رﮐ وﺋ آ. ﺎﺎ ا ﺌ ﭼ آ “ ا اـﺎن ـ ــﺎد

ﺎن رت ر و ـي ـ. ﭘﺎ اﺎن ﭘ ـ ﮔـــ آ ي ﮐ ﺐ ﺋ . ي ﭘ ﺎﺎـ ـﮕــ و ذ ﭘﺌا ي ا ذــ ﮐـ ﭘـــــ ﮔ آ ا ﮐ ﭼ اﺎﺋ . اﺋ ت ﭘــــ ــود ﭽﺎ ﮐ و ي ارﺎ ي . “… The beauty of nature reforms itself in the mind and not for barren contemplation but for new crea tion.” ا ﮐﺎن ا ا ﺎن اي آﮕ ﺎ ﭘا ﮐـــاــ ـ اﺎن ﺎت ر ا ﮕ ﺎن ي، ﭘ د ــ ي ﮐ ﭘﺎ آﮓ ﮑﺎر ﺑ ﮔ ن د ﭘا ﮐ ي ﮐﺎن ﺎن ، ﭘ ــ ــ

ا ﭘزادي ، “ ط ” ي ﺎﺋو 48 ﺎرو [ ] ] اي اب . “God reveals himself in men and therefore the best of man’s works are the best of God’s. ” ا ﺑ ي روپ ﭘﺎ ﮐ ﺎ ي ، ان ي ﺑي اٰ ا ا ﺋ آ. “ اپ ” “ ﭘﺎرכ ” ــﺐ آـ ـ اــن ن ﺎ اﺎرا آ ، ﭘ ﮔن ﺎﺋن آ. ـ ـ ـﺎـ ﺎ ذ ي آﺎ ي ت ﺑـ ذوق ـﺎـ، ﭘـ ﮐﺎن ر و آ ا د ﮐـ ـ ﮔـــ. ﭼــو ـﺎ ﭼي ﺎ و ﺎل ا ﺎﺎ آ، ﭘ ان ﺎ ي، ﺌ ــ اپ و ان ﮐ و ز ﺒﺎﺋ ﺑﺎﺋ . ي ﺎ ﺎﺎت زور ي ﺎ آﮕ و آ، ﺎﺑ ــ ﺎﺋ ﮐ ‘ و ُ ﭗ ر ’ اﺎﮕ ﺎن ﮔـرـ ﭘي ، ﺎن ان س ﮐﺎ ﺌ آـ اــ ـــرــ آف ــ ﭘو رــي ـرن ـ îïè ، اــﺎـﺎ ر ﭘو ﺎﺋس ـوــ ، ــــﺎس ر ﭘو دورا ﮕ ، ﺎﺋﮕ ر ﺎ اﺋ اﺎ ﺎ آ. ﭘو رن ـ ﭘــرـ ﺎ ﮐﺎن ﮐ ﭘﮐ رل آ، ار ـﺑـرت ـــ ـﺎ ﭼا ﭙ ا ي ﺎ ﺑﺎ ﺎ آ. ﭘوـ دورا ﮕ ﺎص ر ) ـ ـ ــ آ. ﭼ آ ر ا ر 0.67 ﮐﺎن 1.18 دن 0.8 ﮐـﺎن 1.0 زي اﭼ . ﺎﺋ ﺑ ﺎدن ﭘک ﺑ د ان ﮐ د ي ﺎت ﺎن ﺎ، ﺎر ر ـ اـــاﭘـﺎـ ﺒ ﺎن ع ا ﮔي وــ ــ رــ ﭘ ز ﮑ ﺎﺑ ﮐ ـوري آـ ـ ــ ﺎن دﺎ ﺐ ﺎرن ﺑﺎﺑ ﺎﺎ ﺎن ن اﮐن آن و.

49 ا ﭘزادي ، “ ط ” ي ﺎﺋو ﺎرو [ ] ] “Besides looking good, your eyes must become moist while talking about the world’s poor children.” ا ﭘزادي را ﭼـــ آـ، اـﺎ ﺐ ﺎرن اﮐ ن آن ي، ﭘ س اـ ـــﺎر ل آ. ﺎ را ﺎ ﺌ رﮐـ ـ. ﺎ ﺑﺎن آ، اﺎ ﺎاس ـ ــــ ﮐﺎن ار ﺎ، ﭼ ، “ ن اﮐن ل ﭘ واﮕ آ، ـﮏ ــل واﮕ آ ، ﺎ ﭼﭗ ﭽﺎ ﭙ آ، ـﺎ اـﮓ ﭼــﭙـﺎ ﭘ واﮕ آ. ا ﭘﺎن ا اﭘﺎﺋﺎر ـﮐـ ﭘــ ــو ﺎن آ. ” ” ا ﭘز ادي ﮐ ﭘ ﺒﺑ ﮐﺎن ﺎاس ي ﺎ ﺎـ. ﺎﺎ وت ﮐ ي . ﮐ روﺎي ﺎﺎ اج ي . آﺋن ا ﺑ ﮑ آ آﺎن ﺋ ﭙ ﺋ ـ ـﺎ ـــ آـ. ـاﺋــ ﺐ ﺑ ﺑﺎن ﺎ ادب ﭘﺎري ﺎ ﺌ ا ﺎ ﺑﺎن ـ اـﺎ ور ا ي آ، ﭘ ان ﮐﺎن ﺑ و ا اﺎ ﺎ ي آ، ﺎ ـ اﺋ و. ا آ ﭘ وﺎل س ﭘـ ـﺎـ، ا ﺎرن ﺎ وﺎل ﺎ ا ـ ــــ ﺌ آ. ا “ اچ ” ﮑ ، “ ﺑف ي آ ا اچ ﺎ ﺎ ن ﺑﺎ ا ﭼﭗ ﮐ ﭻ ﭽﺎﺋ ﺎ اﭼن. ” ” اﺎرو و آ، ﭼ ، “ اﺒ ﮔﺎ و ﺎن ا ُ ُ آواز ي، ﭘــــ ـﺎـ ﮐﺎن ﭘ، “ اـ آواز ـﺎ ـ آـ؟، “ ــ ـ ” ، “ ــ ـﺎ آـ؟ ” ـ ﺎن ﭼ، ﺎ ﭼﭙ ﭘﺎر ﺎن ﺎر כ ـي آﺋـ

ا ﭘزادي ، “ ط ” ي ﺎﺋو 50 ﺎرو [ ] ] ﮐ اﺒ ﮔﺎ و ﭘﺎن ﮑﺎر و و. ” ا ﭘزادي ، “ ط ” ﮐ ﺎﺎ رون ﺑﺎر ز د ﺎن ﭘ ﮐ ﮕ . ــــﺎـ ــــ ــ اﺋ، ا، ﮓ ا ﮐ ﺎن رﮐ ﺑ ان ــ ي ﮕ . ﺎ ان ﮐ ﺎا ﺑ ﺎﺎﺋ ي ـﮑـ ـﮕــ ـ. ا ا ﭘر ا ﺎي ﮐ ا ي ا.

ا: Ä اﺎز ﺎ ي ن، : ﺒاﺎر ﭘزادو، ﺎ ﮐﺎـ ـــ ، 2018 ع ص، 101 ﭘزادو ا، ﺎ، ار ﭘزادو ا، اـــ ـاﭼـ، 2018 ع، ص، 150 ، 151 ادب اور زﮔ، ن ﮔرﮐﭙري، ﺒ داﺎل 2008 ع 92 92 ا ا ، ﺎ ﺎي ﺎﺎت،ﺎ ﮐﺎ ـــ ، 2013 ع ص اﺎز ﺎ ي ن، : ﺒاﺎر ﭘزادو، ﺎـ ﮐـﺎـ ـــ ، 2018 ع ص، 188 ﭘزادو ا ، ﺎ، ار ﭘزادو ا، ا ـاﭼـ، 2018 ع، ص،

51 ا ﭘزادي ، “ ط ” ي ﺎﺋو

ﺎرو [ ] ]

ا ﺎ و گ ور ﮔي ﺎ،

وا ﮔ ر CONCEPT OF MEDITATION IN VERAAGI (DEVOTIONAL) SINDHI POETRY

Abstract Sufi saints are our spiritual leaders; they guided us through their practical work and philosophical thoughts. Medi tation is important part of their lives. They avoided participat ing social gatherings based on class division, where poor were insulted by wealthy peoples. In this research paper, I have described with proper ref erences, that how Sufi poets deal with the life, and created de votional ascetic poetry. Concept of meditation was to gave re lief to soul, and to think about the betterment poets created peace, love and harmony to make the society free from the ra cial hatred. وا ﺎن اﺋ ﮐ ا ـ آـ. ﮔــ ﭘن ﺎل ﺋ اﺒ ي، ﺒب ﺎو ﺎا آ. ﺎ ﮔ ﮔﺎن ﮐ ﭘ ا آ. ـﺎــ ــ، ُ ااـ ـﺎن ـﺎــﺎن. 1( 111 )

ا ا ﺋ اا ﺎ ش ا آ، ﭘـﺎ ـﺎن ﭽي ي ﮕا آ، ﭘﺎ ﮐ ا آ. ﭘـ ـد ﺎ واري ﮐﺎن ا ا ﺎ واري ــل ـ رــا آـ. ﮕج، ت، اا ﺋ ﺎ ـاـﺒـ وارا ــ، ـﺎــ، ـــ وا ﮐ ﭘ ا آ. ار ﭘ ﺎ، ﭘ روﺎـ ُ ـ ـﮏ واــ ا ﺎ ا ﺎ وري آ. ﺎ ـ ﺑــ وـا ـ وا ﮔ ر 52 ﺎرو [ ] ] م ﮐ ر ُ ااﺎﮔ ي : َوو ُرر ــﺎ ُ ــ ــــ وــ، ـــ ــــ ــــــو، ﺎﺋ ، ــ ـ ــﺎوﺋــ. 2( )

ُ ااﺎ ُ و ان ﺎ ﺑ آ، دل ُ ﮔﺋ ــﺒـب ـ وـﺎل ﺐ ﺌ. وري ﺑﺎر ﺎ م ﮐﺎن ﭘﺎ ﮐـﭙـ. ـ دار ﺑ ﺎ ، دل ﺑﭽ ﺒﺐ ﺑ، ا ﮐـﺎن ﭘﺎ . ان ﮐﺎن ﺑ آ ﮔ اﺎر . وا ــ ﮐ ﭘ َ ُ ُ ااو رﮐ آ. روح ﮐ اﺎن آ. اﺎ وا واري ﮔ ، و ﮔـ ﮐـﺎن آ . ﺎ اﺎ واري ان اﺋ ﺒـ وارـ رن ﮐ ﭘ ﭘه ر ﮐ آ. ﺒ ﮐ ار ﺎﺋــ آـ، ﺎ ﺎپ ﺎ . ِ ﺎﺋ ﮐﺎن ، ِ ُﮏﮏ ﺎ ـﭙــ، ي ﺎو ، ﺎ ﺎ ـ ــي. 3( )

اﺋ ﺒ ﮐ ار ــﺎﺋـ وارـن ـــــن ـــ وا ﺎن م د آ. ا وا ﺌ ﭘـــ ـم ي زﮔ ا آ، اي ا ل ـ ـ ـق ﺎ. اﺎ ﺋ ا ا اد ﺑي آ، ﺎ ا ﮐ ﺎم ـﺎــ ﮐـﺎن ﺎن ﺎﺑ اام ﺑﺎﺋ . اﺎ دا ﺑ اﺎ رﺎﺋ ﮔــﺎـ وـــ، ـﺎـ اﺎ درس ، دﺎوي ﺎ ﺎ ﮐ دو دﺎ داري ـ او ﺎﺎﺋ ﺎ، ا ﮐﺎن زﮔ ا وي و ﺎﺎ ﭼن ﮔدان ر ﺎ. دﺎ ﭘ ﺌ، ا راﮐ د ُ ن ــ، دﺎ دن ﭼـﺎر ـ، اــ دـ ـ دـي ـــ. 4( ) ُ ﭘ را ان ﮔﺎن ﺎﺋ دﺎ ﺎن ﮔ ﺒ ، ﭘـ د ﺎن ﺒ رک، اﺎ اﭼ، ﭘﺎ ﮐ دﺎ ـ ـاـﺎت ﮐـﺎن ﺑﭽﺎ، ِ ااﺎ ﭼﺌ ﺎر دﺎ آ، دـ، وـ ﮐـﺎن آزاد

53 وا ﮔ ر ﺎرو [ ] ] آ، ﺎ اﺎ ﺎ. ﺎ ﺎدن وا ﺑ ﮔ و آ. ــس ـﺂـي ـ و ﭘ ا ﺑ آ ﭘ ﺒ ﮐ ﺎﺋ ــ ـي ـ. ﺎ ﺎپ ﺎ ، ار ﭘﭽ آ. روﺋ ــ َمم ــ ﭘــرو، ــ ــــــــــﺌــ ــﺎل. ﺎن ﺎن ﭘﺎن ، ، ﺎ ـﺌـ ﭘـﺎل. 5( ) َ ُ ﺎ ا اﺑﺎت ﺒ ﮐ ار ﺎﺋ ﺎ ﺎل ﺑــﺎن آ. ﺎﺋ ا ﺎرو اﺎل و آ. ار ، ﭘ ﺎ ﺑ ﺎ ﺎ . ُ ﺒﺎب آ، ﭘ ُ ﺎ. ا ُ ااﺎ ُ اا ﺎ ﺎ آ، ﮔ اﺎر ي، ار ِ ﭘن ﺎ. ﭘ ﺎتت ا، ﭘ ُ ُ ﭘﭘ ﺎ. ـﺎن اـر ـ اال ﺑ ﺎ . ﺎ ا وو اﺎن آ دل ﺎ راز ﭘـﺎ و ـــظ رﮐ. ا ﮐﺎن ﭘ ا ل ﺒب ﺎن وﺎل آ. “ اﺎ ت ﮐ ﭘ ار ـــ ـ ـﺎﺋــ ﺑد ا رﮐ . اﺎ ُ ﮔﮔري و ـ ُ اا ﺑﺎ ﺎ و ﺎ، ﺎ ﭘ دارن اي ت ﭘا ي ، ﺑ ُ ااا ﺎ اﭼ. ُ اا ود ﭘ ﮔر ِورـ ﮐـ ـ اي ﺎم رﮐ ، ﭘﺎ ﺑ ُ و ــ اﭼ. ” 6( ) ﮔ ﺒ ﮐ ار ﺎﺋ ﮐ ﮐﺎن ﮐ ﺎ ﺑـ ار آ ﮐ ﺎ ان ﮐ ﺑدا ﺋ وـاــ ـ ـ آ. او ﺋ رﮓ ﺎ ﺎﺋ ﭘ دارن آ، ا ﺎل ﺎﺑ م اﭼ ﺎ ﺑ ﺎس ﺎ ُ ﺎاا ﭽﺎﺋ وارو ر ـﺎ . اﺎ ﭗ ﺎ ا دارن ﮐ ﺑﺎﺋ ي. آــــ ـ ـــﺎــــ ــــ، ــــــــﺐ ــــــــﺎــــ، ﭘﭘ، ﺌ ــ ــ ري. 7( ) َ

وا ﮔ ر 54 ﺎرو [ ] ] ا زﺎن ﺎ وا ل اـﺎم آـ. ــس اﺎر آ. ب ﺐ ﺋ ﺎﺐ رــ آـ. ـ ﭘ ﺒ ﺎم اﺎن ﺎن ﺎ . اﺋ ﺎ ﮐ ن ـــ ي ، ﺒب ﺎو ﺎ. ﭽ ﺑ ا ﮐﺎن ﭘﺎ وـاـ وـ ﺎ آ، و ﺋ ﭘ ﺎن آ، آ، س ﮔ ي ، دل ﺐ ي . وا ﺎن اـر ـ راز ﮐ ﺎﺋ اي ﺎﺒ ﮐ ي . ار دو ار ُ ددﮐـﺎﺋـ رﮐ . ان ﺎﺋ ي، س ار آ. ِآــــــــــ ــــــــــج ــــــــــ ــــــــــﺋــــــــــ، ــــــــــ اﮐــ ــــــــ ــــــــــﺎري آــــــــــــــــــــﺎن، ــــــ ﮐــ ــــــﺎن ــــــن، ــﺎل ِ ااــ روﺋــ، َ ن، ن ﮑ ار، ـﺒــﺒـﺎن ـﺋـ. 8( ) ُ — وا ﺎن ا ﺎ ﺎ ﺎﺐ ﺑ آ، ـ ﺎ כ، ﺎ اﺎ وا درس ﺎ، ﮐـ ﮔــﺎن ـگ ﺑـ ﭼن ﺎ. ﺎ وا ﺎ آ، ـن رواــن ـﺎ ـ رــن آـ. ف ﮐﺎن ﺑ ﺎ دور اﺎ و. ﺎ ﺎ כ ﮔﺎ ﮔﺎن ﺎن ﭘر آ. ا ر رﮓ ﺑ ﺎﺎن اﭼ . ا ﮐ رو وا ﺑ ﺎ وس ﺎ ﺎ. ا روﺎـ ـــ وارن اﺎ ﺎت ، ﺎﺎﺋ ـاـ ﮐـ روــ ﭘـي ـ. اﺋ ر وﺎ ﮔ ا ﮐﺎن ﺑﭽﺎﺋ . ﺎ ﺎﺋ : اﺎ ري اﺎر، ــ ــــ، س ﺎـ ﭼـﺌـ، ـن ـي ـ وـﭽـﺎر، ــ ــﺎﮐــ ــــــــﺎر، ــــ ــﺎري ووس . 9( ) َ — “ ﺎ ﺎﺐ وﺋا ﺎ زور اــ ـي ـ آـ ـ ِ اا ﭘ ﭘﺎﺋ ﺎ و آ، ﭘ ﭘ ﭘـﺎﺋـ ﺑـ اــﺎن

55 وا ﮔ ر ﺎرو [ ] ] آ، ا ﭘﺎ ﺎ ﺎ و آ. ” 10( ) ﺎ م ﺑ وا ﺒ ذ آ. ﮔ ، اﺋ ﭘ اﺎن ار ﺎ ﮐ ﺎﺋ . دل و ا ااز ﺌ ، ا ﮔن ﺎ واﮕ ﺑ و. دم ــــــ ﺎــــــــــــ ﮐــــــ ﮔــــــــــــــــــن، ﮔــــــ ــــــــــــــــــن ﮔــــــــار ــــــــ ، ﺎ ِ ﺌﺌ ِ ﺌﺌ ﺌو ، ﭘﺎ ﭼـﮑــﺎ ـ ــن، ادن اﺒ ﺎ ﺎ، ﺒ ـــن. 11( )

— ــﺎــ ــ ﮐــ ــــ ــــن، ــــن ــــــ آ، ﺎ ﺎر ﺎ، ﭘ ﭘـﺌـ ـ ﭘـﺎ. 12( )

“ ﺎ م ي ﺎي ن ﺎن روان ــد آ، ﭘ ف ﭘﭽﮔ ﮐ ﺎي آـ ﭘـاـﺎ ـــﺎ ﺑـ ا ﺎل ﺎ آ ﭘ ان رﺎ ﭘ ﮔﺎ آ. ” 13( )

ش ﺒﺎ ﺑ ﭽ ، رو، ﺎ ــ وا روا ﮐ ا واﺋ ا دار ادا ــ آـ. ـف ـﺎ ا ع س م ﺑﺎ آ، ﺎن ، اﺋ ان ﺎن ﭘا درد اﺎس ﭘ ا ﮐ ار ﺎ ﺎن اﺎر وار ن روان، ش م ﺑن آ، ﺎن ﺑ ااز ﺒﺎ آ. ــ ــــﺒــ ــن ﮐــــ، آــ ﮐــــﺎ، ـــز درد ـــﺎـــﺎن آـــ ــــــﮓ ــــــﺎ. — ـــــ ـــــ ـــــي ــــــــــ آـــــ، ـ ـــــــ ﭘــــــــــــ ــــ ــــاــــ، ُـ ﮐﮐـﭙـ ﺑــــﺎ ـﺎن، ـ ـ ــ ــــ ــﺎ. 14( ) ُ —

وا ﮔ ر 56 ﺎرو [ ] ] ــــــــــ ــــــــــ ﭘــــــــــﺎﺋـــــ ــــــــــﺎز، ـ ــــ ـــــ آـــــ اـــــﺎم اـــــﺎن ـــــ. ـــــت ـــــ اـــــﺎن ـــــ داﺋـــــ، ـــ ــــــ ــــــﺎـــ ـــﺎﺋــــــ ـــﺎﺋــــ، ــــــي ــــــــــــــــــ ــــــــــــﺎز. 15( )

وا ﺎن ن اﺎر ــ آ، ﭘ ااز ﭘ ﭘ آـ. ـ ــن اـ ــع آـ. ﺎن واﺑ ﮐ، اﺋ، ﮔ ـﺒـ ﮐ ﺎم ﮐﺎن ﺎﺋ اﭼ و ، ـ ﺑــﺎن اــ ـ وـاـ ـم د آ، و د ا ااز ﺎﺎن رﮐ . ا

2. ، ﺒا، ي، ا، “ ﺎ ـ ـم” ، روــ ﭘـﺒــــــ، ﺎرو، 2007 ع، ص 189 . . 189 3. آوا، ﺎ، “ ﺎ رﺎ” ، رو ﭘﺒ، ﺎرو، 1997 ع، ص 231. 4. ا، ر اوز، ا (ﺎ)، “ ادﺑ ـﺎـــ ” ، ــا دؤر، ــي ــﺒـ، اﭼ، 2010 ع، ص 18. 5. ﺑچ، ﺒ ﺑ ﺎن، ا، “ ﺎ ﺎدن رﺎ ” ، ا آف ا، ـﺎم ـرو، 1999 ع، ص 150. – .6 ﺎ، (ﺎ)، “ ُ رپ ﺎ ” ، ﺎ ﺒا ﺎ ﺎ ي، رآﺑﺎد، 2002 ع، ص 53 . . 53 7. ﺑوي، اﷲ، “ ي وارن م ” ، ي ادﺑ ﺑر، ﺎم رو، 1964 ع، ص 166 . . 166

9. ، اﺑا، “ ﺎ ﺎ כ ” ، ﺎ ـﺒـاــــ ـــرــ، ــﭘـر، 2015 ع، ص 737.

11. ﺒﺎ، ، “ ﺎ م” ، ي ادﺑ ﺑر ، ﺎم رو، 2014 ع، ص 126 . . 126 12. ً اﺎﺎ، ص 77 . . 77 13. ً اﺎﺎ، ص 44 . . 44

15. ً اﺎﺎ، ص 74 . . 74

57 وا ﮔ ر

ﺎرو [ ] ]

ا اﷲ وﺎ و ي ﺒ، ﺎ ر، ﭘر

ﺒﺎ ﺎي ﺎ THE PHILOSPHY OF AWARENESS IN THE POETRY OF TANVEER ABBASI (1934 – 1999)

Abstract The poets are the true lovers of humanity. They try to see this world as paradise, for this purpose they propose the country people in order to do good deeds and to have good deeds. They compose their poetry on the subjects of the prob lems/affairs of the common people also their solutions. They try to make the people honest, loyal, lover to mankind, to be sincere their job and duty, patriot etc. they also describes the beautiful natural scenes of their country. In the list of these po ets , the name of sindhi poet Tanveer Abbasi comes in first row. He was a true lover of people. He also tried to aware the people as they can become develop and more civilized. In the light of his poetry the philosophy of awareness is analyzed. ي ﺎارو ﺎ ا ﺒﺎ ـــ ـ ا ﺎ ر ﺒ ﺒﺎ ، ﭘر ـــ ـ ـ ــدـو ﺒ ﺎر 1934 ع ، س وا ﺎ ﮔ ﺒﺎـ ﭘ ي ﺎن رﺎﺋ . ـــ ـﺒـﺎـ ـﺎ اﺑـﺎ اا ﺎر ت ي ﺎن ﺎﭘ ﺌﺎ. ﭘﺎ ﭘ ــ ـﺎـ ﺎن ﺎ ﺎﺋ. ﺒﺎ ﭘ آﺎر ﭘ اﺑﺎـ ـ ــدـو ﮐﺎن ﺎﺋن ان ﮐﺎن ﭘ و وز، اﭼ ا ا ــ ﺑ ا وي ﺎ ال ﭘ، ﺌכ ا ﭘري ﺑـ

ﺒﺎ ﺎي ﺎ 58 ﺎرو [ ] ] ﺎ ﺎ دا ورﺎﺋن، ﺎن 1960 ع ا ﺑ ﺑ ا ﭘـﺎس ي ا ﺎن ﭘ آﺎز ﺎﺋـن. ـ ﺎدن ﺎﺋن ا ﺎن ﮐ اود . ﭘ زﮔ آي ام آﺑﺎد وﺎ، 25 25 26 ﺒ وي 1999 ع ﭘ آي ﭘﺎ ﭘرو ي دم، ـ در ا ﺎﺋن، ُ اا ﺋ ﮐ دﺎ و. ﺒﺎ ﭘ ﺎي ـ ـوـﺎت 1950 ع ﮐـﺎن ـﺌـ، ﺎي ﺒ آزﺎﺋ ﺎﺋن. س ﺎر ــ ــي ﺎي ا ﺎ ن ﺌ . ﺎي ﮐﺎن وه ــﺎﺋـن. ان ﮐﺎن وه ﭘﺎ ﺎ ﭽ ﺎي ﺎ ـﺎم ــﺎ ﭘـﺎرﮐـ ﺌﺎ، اي ح ﺎ ﺎي ن ﺎب ﮑ ، ﺎ ﺎي ﮐ ﺌ رخ ي ﭘــ ـ ـﺎــﺎﺑـ ـﺎـ ﺎﺋن. ﭽ ﺎي ﺑ ﮔﺎ ﺋ ﺎ ﮑﺎﺋن. ـ ـ ﺎ واري ﺑﺎﺎ ل ﺎن ش ﺒﺎـ ـﺎـ ــ م ﮐ ي ﺎم آاﺋن. ﺒﺎ ادﺑ ـﺎن واﺑــﺎ رــﺎ، اــ ادﺑـ ﺎن ي ادﺑ ﮕ ا آ. ﭽ ﭼﺌ ﺑﺎ ﺒ ﺑ ر، ـﭽـ ﺎدﮔﺎر ﺎ ﺒ ﺑ ر س ا ادﺑـ ـــ ــض ن ﺋ اازن اارس ﺎن ﮐ از و. “ ا ﺒﺎ زﮔ ﺎن آ، ﮐ ـــ ﭘﺋ ﮐ ﺎج ي ﭘ دس ﺎـ آ. ﭘ ﺎي ﮐ ﺑ ﮐـﺎن ﺑـــ ـر ﭘ ﺑﺎ ﺎ آ، اـ ﺋـ ـﺒـﺐ آ س ﺎر ي ﺎي اول ﺎن ﺌ . 1”( ) ) 1”( ﺒﺎ م ﺎزכ و ﺎن ـﺎ ـﺎل دل ﺎﺋ ﺑﺎ ﺑن س ﺎي ﮐ ُ ﭘﭘ ـﺑـرت ﺑــﺎﺋــ ن. ﺒﺎ وﺎ ت ﺎر اا ﺐ و ـــ ﮐـﺎن ــﺎـ ـ. “

59 ﺒﺎ ﺎي ﺎ ﺎرو [ ] ] 1950 ع ﮐﺎن 1954 ع ﺎﺋ روا ﺎر زده ـﺎـي ـﺌـ. 2”( ) ﭘـ ﺋ ل ﺎ ر وارو رﮓ، ﺐ و ﺎل ﺎﺋ ان ﮐ ﺎ ي ﺎل اب و. ﺎل روﺎﺋ ــي ﺐ و ن ، روا ر، ر ، آﺎرن כ ادب ـي ور ﮐ ﭘ ﺎ ي ار آو. ﺎن ﺎ ﺎورا اح ﮐـــﺎﺋـن، ﺎن ن ﺎ ﺒ ن اﺎرا اﺎل آاﺋن، ـــﺐ ـ ــ ي ﺎل ﮐ ب ح ﭘ ﺎي ﺑﺎﺎﺋن. “ س ﺎ ي ا ﺑ اﺎ آ ان ــﺎـ، ـــﺎج، روا ﺎدﮔ آ، ان ﺑ ادو ﺎا آ، ﭘــ ري واري ﺎ دل ا ﺌ وا ﺎ ﭘ دل س ي ر آ. 3”( ) ) 3”( ﺒﺎ ﺎي ـﺎ ــــ ــع اــادي ـ ﺑـــ اﺎ آ، ف، ﺐ ا ، ﺑﺎ ﭘﺎر ، اﺎ ـت ات ﺎم ﺎﺋﭙ، ﺎم ا ﺎ ا ــﺎ اﭼـ وـ ـﺎ. ـــ ﺒﺎ ﺎي ُ ااﺎ ، ﺎﺎﺋ رﺎ ﺑ آ، ا ﮐ ﮔــ ُ ااﺎ . ب اﷲ و ﮑ : “ اـ ـــ ـﺒـﺎـ ن ﮑ ﺎ ن ااﺋ و ، ان ي ﺌ ـ وارا ﺑـ ﮐ ﺎن ا ﺌﺎ. 4”( ) ) 4”( ﺒﺎ وﮐ اﺎن ، اﺎ ﺎن ﭘﺎر واو ــ اﺎن ، ﭽ ﺎ . و اـاﺋـ و ، و ا ﺎون رو ـ. ون ــ ـي ﺎر ي ﺎ ﺎن ﺒ ـﺎ اـﺎــ ـف آواز اﺎرو، اذ ﺒ ﮐ ﭘﺎن ﮐ ﺎﺋ اﺋـ ﺎن رو . ﺎ ﭽ ﺐ و ﺑ ، ــ ـ ـﺎـا ﺑـ ﺎﺋن. ا ر اوز ا ﮑ : “ ﭘـــ ــي ـم ـ رﺒ رﺎ ﺑ ، ا اﺎ ﭘا ، ﮐ ـــ را ـﮑـﺎري، ﭘ ، ﭘ ﺎي ذر ﭘ م ـﺎــ ﮐـ ـــ،

ﺒﺎ ﺎي ﺎ 60 ﺎرو [ ] ] ﺎ، پ ف، او ، اوﺎر ﺎن ي ا ــن راـن ـان رﺎ ﮔﺎ، ان س ﭘ ش ﺎ، ا ــ ﺑـــ ــو رــ، ﺌن ﺑ ن اﮕن ﭘا و ر. 5”( ) ) 5”( ﺒ ﺎ ﭘ ﺎي ذر ي م ﮐ اﺎ ـﺎ ي ، ن ﺎت ﮐــ ــ ـــ ـﺎري ـ، ﭘ ل ﺎ و ﮐﺎن و ح ﺋ . س اــ ﺑ ﺎن آ. ا از ق ﮑ : “ ﺎي ﭻ ﭘﭻ س دور ﺎر آ، آﺋـــه ـ ﺆرخ ﺎر ﮑو ـم ﮐــ ـور آو رﮐ ﭘو. 6”( ) ) 6”( ﺒﺎ ﮐ ﺎن ﺌ ا ﺎل وﺎ آ ـ ا ﺎ ﮐ وا ان ﮐ م ﮐـﺎن ﮔـرـ ﭘﺌ ، ﺌ ﺎ ﺎ ر آ، ﺎ د ﺎ ﭘ ـﺎرـ ﺎﺑ زه ﺎو آ. ا ﺒاﺒﺎر ﮑ : “ ـــ ﺒﺎ ﭘ ص، ﭙ م ـي ــر آـ. ـل، ، ﮔ، دوﺎ، ﺑ، و ان ﺎﺋﺎ م ـ ذرــ ــي زﺑـﺎن ﮐـ ﺎ...... ﭘﺎر دﺎ و آ و ﺎ ان ﭘﺎر ذر ﺋ اﺎن ﮐ دا ﺎ . 7”( ) ) 7”( ﺒﺎ ﺎي ا ﮐ ﺎ ﺑﺎﺋ ، ﭘا ا و را وار ي . و اﺎري ، س ﺎي ُ ﭘ ُ ﭼﭼ ـ ـﺒـ ﭘــ ـي ـ. س ﺎي ﮐ ﺑ ر ﭘ و و ﮐﺎن و ــس ـﺎـي ـ ــع ُ ﺎ ﭘﺎ ﭘ و. ُ ُ ان ﮐ ﺎﺎﺋ : رات ﮐــــ ا رات ﮐــــ، ﺑــﺎک ــــ او ﺑــﺎک ــــ، ﭼ آـ وـﺎﺋـ ـﺎرو، ـﺎــ ـﺎرو ــﺎــ ــﺎرو، ـــــــــــــــﺎ ـــﺎرو ـــﺎـــ.

61 ﺒﺎ ﺎي ﺎ ﺎرو [ ] ] آــ ــر ــ وــ اــارو، ﭼ آـ وـﺎﺋـ ـﺎرو، ــﺎــ ــﺎرو ــﺎــ ــﺎرو، اوا ﺎن ﮕن ـ، راﺎ ن ﭘـﺎون ﮐــ، آس ري، ﺎכ ﭘ ﭘﺎ رــي، ن ـ ــ اوـﺎـ، ــــــــــﺎ ــﺎرو ــﺎــ، اﭼ اوﺎن ﮐ ﺎن ــﺎرو، ﭼ آ وﺎﺋ ﺎرو، ﺎ ﺎرو ﺎ ـﺎرو. ( 8 ) ) 8 ﺒﺎ ت ﺋ ت ﺎر ـﺎـ ـ ـي، ُ ﭼﭼـ ـ ﺌ ﺑ ِ و و آ، ﭘ ﺒﺎ ﮐ ﺑ ــس ُ ـ ـــ ـﺎن ﺑار ي، ت ﺋ ﮕ رﮐ ﺑ ﭘـﺎ ـﺎن ﮔ ان ت ﭼﮓ ور رﮐ، ﺌ : ت ــي رـ، ت ــــي رــ. ـ ـ ــ ــﺎ ــﭻ ــﭽــﺎﺋــ ــﮕــــ دوــــ، ﭼﮓ ﭼ ﭘـــــ ــﺎﺋـ ــ، رو ــــــــ زــــﮔــــ آ اــــﺎ زــــﮔــــ، اﺎ ﺎن دل ﺎن ﺎﺋ ـ.( 9 ) ) 9 ﺒﺎ و ﺎي ار م ــي ـم ـ ﺑﺋ و ان ار ن و، ــان ﮐـ ﺎن و ا و س ﺋ ، ـت ﺎ ي، ﭘ ﺎن اب آ ـ ـاـــ آـ، اي ح ﺌ ا ﭼي ا دؤر ﮔري ﭼ آ ـــ اب ﺎ وا ﺌﺎ ا ﺎ وا ﺌﺎ ﭘ ا دؤر ا آ، اب ـﺎن ﺒﺎ ﺎي ﺎ 62 ﺎرو [ ] ] ﮔوﮔ اب ﺑ ي ﮑﺎر آ، ﺌ : ا ز ﺎ و ـ ـﺎـ ــا ـﺌـﺎ ـ ـﺎـ ـاب، ا ﺎ ﺎ ـاب ـ ـﺎ ـ ـﺎ ــﺒــون ـ. او ﺎ ــ ـ ــ ـ ـﺎ ــﺎﺋـــا، ان ن آ آ ــون ـ.( 10 ) ) 10 ﺎ و س ﺎي ا ــ ـور ، و ق ل ا و ﺎﮔـ، ﺎﺋاد، ز ل . اي ح ُ ﺑﺑﮏ ﺑوزﮔﺎري، ــﺎ ف ا ﺎ اﭼ و ﺎ. ا ارادي ا ﺌ وري آ، ﺎ ﺎ ت رﮐ ﺎن ﮔوﮔ ﭘ ارادي ﺑ ﭘﮕ رﮐ وري آ، ﺒﺎ وت ﺑ ﺎ ﺎن ا ـ ـــ ــ ـ وכ : ــــﺎ ــــــــ اــــو ــــ رﮐــــــــ آــــ، ﺎﺐ ﮐ وري ـﺌـ، ﺌـ ـ اــ ﮐـ ﺋـ ﭼـــ، ـــﺎ ﺑــــ اﺑــــ آزاد ــــ رــــــــ آــــ، ــﺎــــ اــو ــ رﮐــــ آــ.( 11 ) ) 11 ﮐﺎن و ﺎﺋ زﮔ ـــ ـ ــ ـﺎـ آـ، زﮔ ﭘ ﭘ ﺎو ور ﭘﺌ . ـﺎـي ـ د ي او، ـ ـ ـــ ـ ــو ـ ﮐــ ﺎري ُ ﭘي . ﺎ ﮔد ﭘ ﭘﺎﺋ ـ ـ ـ ـي ـ ﮐ اﺎن ﺎﺎ ي اي ـح ـ ﭘـــــ ﮔــ اــل ﺎر ﭘو. دﺎ ا آ، ﭘـــــ ـ ﭘ ﺑ ﺎو آ. ﺎ ـــ ــي ﺎن ﺎج ﺎ ﺑ ي ﺎ ﺎ ـﺌـ آـ، ـ ﺎ و ع ور . ﺒﺎ ﺑ ﭘ م ﮐ ﺎن ـ ﭼـي

63 ﺒﺎ ﺎي ﺎ ﺎرو [ ] ]

ُ ﺎ ﺎن ﺑار ي ، ﭼي : زـــﮔـــ ـــوــــــ اــــــ ــــــ، زﮔ ـــ ــــ ـﺎري ـ َ ـ ـ، ﺑ ﺒﺐ ـ ـــ ـ اـ ـ، ز ـــﮔـــ ـــﺑـــﺎــــــ ـــ ـــــــــ، زــﮔــ ــــر ــ ﭘــــا ــﺎن ــــــ، ي آ درد ان ﮐﺎن .( 12 ) ) 12

ﺎﺎب م اﺎ آ ﺎ ُ ﺎ آ، ــــ ـ وـ ـ ﮐﺎن و آزادي و ﺒدار ﺎر ر آ، ﺎ ـﺎ ـ آزادي ﮐ و در ﭘ و آ، ي آزاد م ان آزادي ـ َ ﮐ ﺑﺎل ﺑار ر ﮐ ﺑاري ُ ﺎ ﮐﺎن وي آـ، ـــ ﺒﺎ ﺑ ﭘ ر وا ﮐ اﺋ ﺑار ُ ﺎ ر ﺎم ـ ي : اـﺎ ﺑــ ــﺎـــا رــ، اـﺎ ﺑـ ــﺎــا رــ. اﺎ ـ رــ ـ ـــ ـ رـﺒـي ـ آ ــﺎب، ا ﺎ دــ ـ ـــ ـ دوــ ـ آ ــﺎب، اــﺎ ﺑــ ــﺎــــا رــ. ــــﺎن ــ ــرا اوــﺎن ــــ ُــ ــــ ﭘــﺌــ، ـﺎن اوـﺎن ـ اک ـ وـ اوـﺎن ـــ ﭘـﺌـ، اﺎ ﺑ ﺎا ر اﺎ ﺑ ـﺎــا اـــﺎ ﺑـــ ـــﺎــــــا رـــ.( 13 ) ) 13 ، ﺎ ﺎاﺎ ﮐﺎن ــﺎـو ﭘـﺎכ ـ اﷲ ـﺒـﺎرכ و ﺎ و َ ﺑﺑ اﺒﺎء را ــﺎ ـــ اﭼـ اـ و ــﺒـ، اـﺎف ، اﺎ ﺎﺋﭙ رواداري ﺎ ﺒ ﮑﺎرﺎ. ا ﺋ اﺎ ﮐ اي ـــ ﮐـﺎن ﺑار . ﺒﺎ ﺑ ﭘ ﺎي درد ﮐ ُ ـﺎـ ـــو ـار ﺋ ، ﭼﺌ :

ﺒﺎ ﺎي ﺎ 64 ﺎرو [ ] ] درد ﺋ آ ﺎ، “ ِﺑﺎذ ” ﭼﺌ اﺎري، ﺌ دار ﺎري، درد ﭘﺒ. ا و آ ُ ﺎ ! ( 14 ) ) 14 ﺒﺎ و ﺑاري ُ ﺎ ﺎ ــس ـﺎــن اﭼ ﮐ س ﺌ ، س دل ﺑﺎغ و ﺑﺎر ﭘـي ، ﺎ ﺎ ﺎ ش و س اـ ﭘـــﺎم ـ ــ وو آ، ا ي اﺎر ﺒﺎ ـ ـح ـ ي : ا ـــ ـــــــــﺎﺋــــن ــــــــن وري ﺑــــــــار، ـ ــــــــ دل ـــ ﭼــــــ آﺋـــ ﺑــــــﺎر، ــــ ــــــــ اـــــــــب ـــــــــــــــــي، دل اﺎ ـ ـﺎر.( 15 ) ) 15

ﺎن وﮕ ري ﭘا آـ ، ﭘــﺎ ُـ ﭘﭘـزا ـ ﭘــا آـ، درﺎ ﺎ ُ ررخ ﺎﺋ ﮕ ﺒﺎ آ، ﭘ ِ اا و آـ، ــ ﭘـﺎ ﭘ ﺑ د و آ. ﭘﺎ ﭘــ ـﺎن وـ ـ واـن ﺑـ َ ووراﺋـ ﮕﺒن آ. ﺎ ﺑ اي ﺎس ﺒ ﺎ ﺎ ا آ ، ـــ ﭘ م ﺒر ، ور، و وه ﮐـ ﭘـــــ ا ش ا آ، ﺒﺎ ﺑ ا ـــ ـ ﭘﺎ ﭘ اﺋ، ﭼﺌ : ﭘــــــــــ ﭘــﺎ ﭘــــ او ــــي، ﭘــــــــــــــــــــ ﭘــــﺎ ﭘــــــــ. ــــ آو ﭘــــ ــﮑــ ــــﺎن رــــو رــــو آــ، ــــ ــ ــ ﭼــــــو رــــو آــ ــــــو ــﺎــ، و ن وان ﺌ ﺑ وﺌ ﺌــ ـ، ﺌ ﺑ وﺌ ﺌ ـ او ــي، ﭘـــــــــــــــ ﭘـــﺎ ﭘــــــ. ( 16 ) ) 16

65 ﺒﺎ ﺎي ﺎ ﺎرو [ ] ]

ﺒﺎ ﺑ اري ُ ﺎ اﺑ ﺑ ﭘﺎ ـﺎـ ـ اﭼـ ـ اﺎر ي ، ر او ﭼﺌ س ر ﺑـ ــ وـ، ﺑ س ﭘﺎم، واﮕ ﭼ روـ ــو، اــ ـ ــ ي، ان ﭘ ل ﮐ آﺎ ﺎن ﺎ ﮕ . اوﺎن ن اﮐن اوﺎ ﮐﺎن ﭘن ر، ﺑ رات اب ااـ، ا ــﺎن ــ ــر اوــﺎن ﭘــﺎ ﺋــ ــــؤ آــ، آــن ذرا ـ ـ آــﺎب اــاــ.( 17 ) ) 7 1 ﺒ ﺎ ري ﺎي ُ ﺎ س ﺋ ، ُ ﺎ ﺎن ل ﺎ ﮕ ، ُ ﺎ ﺎن اﺎن ﺎن ﺎ ن، ن ﺎ ﭘ ﺎن ﺎ ن. اﮐ ﮐ اوﺎﺎ ـ ﺎن، ﺎن، ﭘﺎ ﭘن ﺎن اﺎن ي ﺎـﺎﺑـ ـﺎـ ـي ﮕن ﺎ، ﺒﺎ ﭘ ﺎي ذر ﭘ ﺎم آﺎن ﺎﺋ ﭘ ــﺎم ـــ ــﺎـ ﺌ آ.

ا : 1. و، اﺎ، ا. ( )، ا ﺎدم، ، اــ. ــن : وري وري ﺎ ( ﺎ) ي ﺎ. ﭘر، ــ : اــ ـــ ﺒﺎ ا آف ِ ﺌ ﭽ، آف آرـ اــ ـــﮕـــ، ـﺎ ﺒا ر. ﺎل 2017 ع،ص، 51 67_ . . 67_ 51 2. ااد، . _4 . ن : ﺒﺎ ﭘ ا اــ ـاــ. ﺎرو : ي ﺒ، ر، ﺎل 1990 ع، ص، 162 . . 162 3. ح، ﺎر ا. ي ادب ﺎرـ ـ ــ ــﺎــ. ـاﭼـ: ـﺎــﺎوا ارز.ﺎل 2006 ع، 390 . . 390 4. و، ب اﷲ، آ. ﺎﺋ، ا ﺒﺎ ﺒ. ن : ﺑ ﮐﺎ ا ـﺒــﺎــ. ــــﭘـر ـــس : ـــي ـــﺒــ، ـﺎ ــﺒـاـــــــ ـــــرـــ، ــﺎل 2002 ع،ص، 144_ 146 . . 146 5. ا،ر اوز، ا. ( )، ا ﺎدم، ، ا. ــن : ـــ ﺎ ﺎ. ﭘر، : ا ﺒﺎ ا آف ِﺌ ـﭽـ، ﺒﺎ ﺎي ﺎ 66 ﺎرو [ ] ] آف آر ا ﮕ، ﺎ ﺒا ر. ﺎل 2017 ع،ص، 31 . . 31 6. ق، از ، ا. ﺎﺋ 7 . ا ﺒﺎ ﺒ، ن : ُ ــﺌـ ــ . ﭘر س : ي ﺒ، ﺎ ﺒا ر. ــﺒـ 2002 ع،ص، 22 . . 22 _17 7. ، ﺒاﺒﺎر، ا. ي ادب ﺎر ( ). رآﺑﺎد : ي ﺌﮕ اﺎر. ﺎل 2005 ع ، ص، 570 . . 570 8. ﺒﺎ، . ﭼﺌ. ﺎرو : ا آف ا، ر آف ــ. ﺎل 1989 ع،ص، 36_ 37 . . 37 9. ﺎ ، ص ، 253 . . 253 10. ﺎ ، ص ، 265 . . 265 11. ﺎ ، ص ، 269 . . 269 12. ﺎ ، ص ، 324 . . 324 13. ﺎ ، ص ، 328 . . 328 14. ﺎ ، ص ، 440 . . 440 15. ﺎ ، ص ، 51 . . 51 16. ﺎ ، ص ، 79 . . 79 17. ﺎ ، ص ، 135.

67 ﺒﺎ ﺎي ﺎ ﺎرو [ ] ]

ا ﮔ ﭽار، ﮔر ﮔي ﺎ ﮔﺎن ، اﭼ

آﺎ ﺎول “ اوا ر رو ” ي ﺎﺋو THE CRITICAL ANALYSIS OF AGHA SALEEM’S NOVEL, “““ONDAHI DHARTI ROSHAN HATH”

Abstarct Agha Saleem is an eminent Scholar of Sindhi Lan guage, his writings included research work on Baba Fareed and Shah Lateef, Short stories and Novels are seen with apprising eyes in the Sindhi Literature. He has depicted on mysticism and History of Sindh in his Novels. He remained best seller Novelist. In this article I have critically analysed his famous Novel, “Ondahi Dharti Roshan Hath”. Basically this Novel is written in the Shadow of history Sindh since Mohen jo Daro to post partition. In this novel Agha has focused on the mystical approach of the people of the Sindh. ﺎول ي ادب اﺎ ﺎخ آ، ر زﮔ ﺎ اوا ﺎ آ. ﺎول ﮐ زﮔ ﺑ و آ ان زﮔ ﭘ ﺎ ي آ. ﺎ اواﺋ دور ﭘ ﺎ. ﺎول ﺌ ر ﺎج ﭘﺌاوار آ اي ان ــﺎج ـ ر د ي آ. اﺋ ﺑ ﺎ ﺎول ف اــٰ ـرن واري ﺎج ﺎ ي . ﺑ ﺎول ﺎج ﺎ ﺎﺎري ي ﺎﺎري ﺌ ﭘﺎﺎ د ا آ.

آﺎ ﺎول “ اوا ر رو ” ي ﺎﺋو 68 ﺎرو [ ] ] ر وار ﭼ “ ﺎول ﮑ ﺎ آ. ” اﺎﺋ ﭘﺎ ﺑﺎ ﺐ، ”Novel : an invented prose narrative of considerable length and a certain complexity that deals imaginative ly with human experience, usually through a connected sequence of events involving a group of persons in a specific setting. Within its broad framework, the genre of the novel has encompassed an extensive rangeof types and styles“. ﺎ ول او ي ﮏ آ، ﺎﺐ ﮕ ـ ـل ر ار وا و اﺎ زﮔ اﭘﺎر ي . . ﺎول ﺌ ز ﮔ ﺎ ﭘﺎﺎ ﺒي ، ﭘ ا دـﭽــﭙـ ﭘﺌا ﺎول ﮕﺎر ﺎ وا ﺎد ﮐ ﺎول ﺎ ـ ﺎ. ف او ﺑ اﺋ ذ ﺎوﮕﺎر ﺎول ﺎ ﮐ ﺎن رﮐ ي ا اﺎل ﺑﺎﺑ ﺎن ﺎ ﺑ ﺎ. ﺎ. ﺑﺎدي ر ﺎول ، ﺎ داﺎن ﮐﺎن ﮔ ــــ آـ اي ﮔ ا ﺎول و ﺋ اﺎ ﮑ آ ﺎول ٰ ـﺌــ ـﺌـ. ا ﺒاﺒﺎر ﮑ ، “ ﺎ ول ﺌ آ. ﺑ م ﺎص و آ. àç ºê اﮕي رﭘ زﺑﺎ ﮔ ا ــ ﭙ... و ﺐ ﺌ ﺎ، ﺌ ااز ﺎن ﭘ ـ ا ﺎول. ” ” ر ﺎول ادب اي آ، ــ ـ ــي ﺎ ﺌ ﮐ ﭘ ﭘ ﭼﺌ . ﭘ ا ي ﺎ ﮐ ﭼﺌﺒ آ. اﺎ ي ﺎ آار ري ﺎول ن ن ﺎن ﺑ ن آ. ﭘ ﮐ اﺎن ﺌ ﺑ ﮕن ﺎ ـ ـ اي درﺎ واﮕ آ، ن ﺋ ن ن دا ن ﺎ ان ﺎن ن ن. ﭘ ي ﭘ آ ﺎﺋ . ( 1947 ) ﺎﺑـ ـﺎول ـ ﺑـــﺎد ــﺎـ آـ. 69 آﺎ ﺎول “ اوا ر رو ” ي ﺎﺋو ﺎرو [ ] ] ﺎﺎ ﺌ ﺌ آ: “….a story is a narrative of events arranged in time se quence “ )p.44) ا ﺑ ﭼ ﺌ ﺎ، اري ﭘ ار ن ا آ: “A plot is also a narrative of events, the emphasis fall ing on causality. ‘the king died and then the queen died’ is story. ‘the king died and then the queen died of grief’ is a plot”. (Forster, 1974). ﺎول ﺑ ادب ا آ. دـﺎ ـ ــــ اﺋ ا ﺎول ﮑﺎ وﺎ آ؛ ﭘ ﺒ ﺎ. ﭘ دور ﺎول ت ﺎن آﮓ آ، ﺎـﺎ ـ ـﺎول آـ ﺋـ دور ﭘﺌاوار. ﺎول ﺌ ي آ ان ي ﺒ ﺎ و . و ي ﺎول ﮕﺎري ﺎم رﺎري ﺎن ا وي آـ. ﺑل ا ﺒاﺒﺎر ، “ ﺎول روا ﺎو ﮐ ي اي ﺒ ط ﺆ ﺎ، ي ﺎرت وا ي ﺎول ﮕﺎرن و آ. ورﺎ ﮐﺎن ﭘ اج آﺎ ﮐﺎن ا ــ ـﺎول ـﮕـﺎرن ا ن ا ارن ن آ. ﺒاد ﺎو ﺎﺑ ـــﺎ ر ﺎول ﮕ ﺎرن ﺎ آ. ﺒاد ﺎوـ ـم ﭘـــ ـ ﭘ اج آ ﺎ ﺎ ﺎول ﺎ ﺎري آ. ا ﮐ ﺎول ﭼﺌ ﮕ . ﺌ ﺑ ي ﺎول ﭘ ﺎن س ن، ﭘار ﺎول، اﷲ ﺑ ﺎﭙ ” ﭘد ﭘﺎر “ آ. ” ” اي ر ﺎول ﮕﺎري ري رﺎري ﺎن ﺋ ﭘ ا وي ر، ورﺎ ﮐﺎﭙء ﺎول ﮕﺎرن ﭘﺎ ﮐ ا ﭘن ﺎ اج اﭼ ي ادب ﭘن و ﺎو ﺎ ﮑ ﭘء ﺒ آﺎ اﭼ ، ﺎر ﺎول ﮕﺎري وو ﺎ . آﺎ ـــ ـ ﺎول ﮕﺎري ﭘ ا ﺒﺐ ﺎم ﮔ ر ﺎرـ ا ﺎن ﮑ س ﺎول ي ادب ا ﺎم رﮐ ﺎ. ي ﺎظ ﮐ ﺎن آﺎ ﺎ ﭼـﺎرﺋـ ـﺎول ـف، ـم دوــ اﺎن دو ﺎن آ. ف ﭘ ﺑـــﺎدي ـر ـ آﺎ ﺎول “ اوا ر رو ” ي ﺎﺋو 70 ﺎرو [ ] ] اﺎن دو ل آ، م دو ﭘ ا اﺎن دو ﺋـ آـ، ان ي اﺎن ﭼﺌ ﮕ ن ﺎ اﺎن دو ﺋ آﺎ ﺎﺐ ﺎو ـ ﺑﺎدي آ، ا ﺎن دو ا وي ـﺎن ﭘـﺎل ﺎر ﭼ آ ، “ اﺎن دو ن ﺎﺋن آ. ـﺎن اـ ﭘ اد و ﮕ ن اﺎن ﮐ ر ـر ﭘ ي ، ﺎل اﺎن ﮐ 80“ دﺎ ﭼ ” واري ﺎ ﺑ . دار ﭼي ﺎﺎ ـ ــﺎز ـ و ﺒ ﺎن اا ر آ ان اﺎن آـ. ـــ ـﺎن ﺐ ا ي ﭘﺎ ﺎز ﺎ ﺎ ﭘ ﮐ ﺎز ـﺎن ـﺎـ آ اﺎن ﺎ ﭘـﺎ ﮐـ اــ اــﺎدن ء ذــار ــــ ...ود ان ﮐ رد ي ـ. ـ ﺑـ وـدي داـر اﺎن ﮐ ﺑ ار و ﺎﺎ اﺎن ـ اﺎ ر آ. اﺎن ﮐ ﺎ واﮕ او ﺑ ـــ درـﺎر ـﺎـ ـ اﺎ ﺎ ا ي آ ﮕ . اﺎـ ﭘ ﺎ واﮕ ﺎ اﺎن دو ا ﺋـ ــ و . اﺎن ﮐ اي اﺎن دو ﮔ. اﺎن دو ـ ﺑ م آ اﺎن ﭘ ذات ﮐﺎن ﺎ رـ ـ. ـ ﭘﺎ ﮐﺎن ﺎ ﭘﺎ ﮐ ﮔ ﺎ ﺎن ﺋ ﭘ ود اﺋـ ـ. ف اٰ ن ﺎ ﭘ وـد ــاﺋـ ـ ـﺎﺑـ ﺑ . اي ح ا ﺎن ﭘﺎ ﮐﺎن ﺌ ، ان ر ﮐ ﮔــ آ ﭘﺎ ﺋ ﺎوراﺋ ﺑ . ” ” ﺎر ﭘ ج ي ر ﺎب، “ اﺎن دوــ ـ ” ﮑ ، “ اﺎن دو روح ﺎ و ري ﺎن ش ﺎن ﮔ ﮐﺎن د آـ ا ﺎ ﺎ و رل آ ﭘن و ﺎر ي (ر) اﺎن ﺎ ﺎ. ان اﺎن دوــ ﺑ اﺎ دﺎ ﺎﺋ ف اﺎ ه ر ﺎ ﮐ ﮔ ي ر آ ﺑ اﺎ چ ـ ن ﭘ ا ﺎر اﺎ ﺑ ا ــ ﭘـ ﭘــ 71 آﺎ ﺎول “ اوا ر رو ” ي ﺎﺋو ﺎرو [ ] ] ي . ” ﺎﺎ ﭼ ، “ ت ﭘ ﺎن ﺎ دﺎ ﮐـ ـي ـ آـ، ﺎﺎ ت ، ﺎر ا اﺎ ﺑ ﮐ و آـ. ـﺎـ س ﭘ ﺑ ﭼ آ. ” ” ﺎ آﺎ ﺎﺐ ﺎوـ ــد آـ. آـﺎ و زﮔ ﮐﺎن ار واري روﺎ آ، ﺑ س ذ ر وي و، زﺎن ﺎن ﺎ ﺎوت ﺎﺋو، ﺎر ـــﺒـ دؤرن و ر . س ر اﺎن ﺑ ار ﺎم ﺎﺋــ ﭘــﭽـ و ا ﺎل او روپ اري ، اﺑ ـ ـﺎـ ﺑ ﭘي . ا ﺒ ﮐ ي ﺎ آ. اﺎ ت ﺒ ﺑ ﮐ ح ﭘ آـ ـﺑـ ـ ﺎن ﭘ آ ﺒ ﮐ اﺎ ﺐ ـــ ـ ـ راز ﺎﺎ آ. ﺑﺎ ، ﺎ وا ﺑران ﭘه ﺎ ﮐ وا ﺎﺋ آ. ا ي ﺋ ي ا ﺎي ادب ﺎرن ﮐ ﺎﺎن ﺎ آ . ” ” . آﺎ ﺎ ﺐ اﺎن ﮐ اول ﺋ ، ﺎ ﺌ ـﺎول ان ﺑ ﺎن ﺎر آ . ﺑ ﺒ رﮐ. ﺑ ﺎل آ اﺎن ﺋ ﮐﺎن ا م آ. آﺎ ﺎﺐ ﺎل آ ﺒ ﮐﺎن اﺎن دو و ا آ، س ﺎول اﺎن دو ﺑـ ـﺎن ــﺎر آ. ﺎظ ﮐ ﺎن س ﺎول ﺑ ﺎ ﺎ آ ﭘ ي ـﺎظ ﮐﺎن ﺎ رﮐي ﺑ س ﺎول ﺑﺎدي ر اﺎن دو ـ ـ ﭘرﺎن س ﺎ، ﺎر ﮐ ع ﺑﺎﺋ اﺎن دو ﭘﭼﺎر و آ. ﺎول ’ اوا ر رو ‘ ﺎر ﮐـ آدرـ اـاز دي ﮐﺎن و ﭘﺎﺎن ﮐﺎﭙ 70 ﺎ ﺎﺋ ﺎر ﮐ ﺑﺎ ن و آ. ﺎول ﭘ ي دارن ﺎرﮓ و ﭼاري ي . ﺎرﮓ و ﺎ ي دار ﺎول ﭘــ ا آﺎ آ. آﺎ ﺎول “ اوا ر رو ” ي ﺎﺋو 72 ﺎرو [ ] ] ﭘن د : دي دور ﺎرﮓ ﺑ ـاش آ و ﺎ ﭘﺎر آ، ﺎرﮓ ـو ـﺎن ﭘــﺎر ـي ـ ـ س ﺑر ت ﺑ ﺎ ﺑ و ﭘ ﺎ ﭘــﺎر ـي ﭼي ؛ ” ﺎ ﺎ وو ﺌـ ـ ـراכ ـ وو ﭘ ن ﺎ ر ﺎ آ اﺎ ـ ـﺎﺋــ ــﺌــي ري آ ﺎﺋ ﺌي رس. “ “ ﺎر ﮓ آ ﺎن رو ـﺎ ــﺎ ـــي ـــس ي ﺎ ﭘﺎري ﺎرﮓ ﺎ واﺋ ﺌ، ــ اي ﺑرت ر ﺎ ﮕ و روﺋ ﭘﺌ . و رـا ﭘﺌ ﭼي ﺎر ﺎ و رو آ. ﺎول ﺎرﮓ و ﺑ اﭼ ـو ـﺎن ﭘﺎر ي و دور وﺋﺎ آ ﺎر ح ﺎن دور ـﺑـ ـ ﭘﺎ ن دور آ دور ﮔﺎن ذ اﭼ ـــ ﺎرﮓ ﭘ ﺑﺎن ي ﺑ ﺎن ﭘﺎر ا ر و ﮐ ﺎ و ﺑ ﭘ ر ﺎن ا ي . ان وـ ا ﮓ چ ﺌ دا ي ﮑﺎري وﺋ آ. ﺎول ﺎرﮓ ﺎت ﭗ ﺎن ﺌ ـ ـــ اﮕ ﺎ ﺎرﮓ ﺎن ﺎم ﮔ دو و ﮐﺎﺋ ﺎ ﺎ ﺐ ﺎ ﺑ ي ي ﮑ ـﺎـ ﺑ ﭘ ﺒﺑﺎ ﺎرﮔ ﮐ ﺎد ي ـو ـي ﮐـ ي ﺎن ﭘ ﺎن ﺎي ﭘ ﺎد ـي ـ ـ ﮐ ي آف ز ﺎد اﭼ ﭼ اﺎن ﮐ ـﺎـ ﮐﭙو ﭘ اﺎن ( ¹ïã ) رכ وﺎ آــن. ﭗ دار ﺎول ﺎم ﮔ ﮑﺎر و آ. ـ ـﺎول ــﭗ وـ ﺎﺋ ا آ آ. ﭘﺎن: ا اﺎ ﭙ ﺑﺎدي زم ـ آـ آـ ـ ﭘ ﺒﺑﺎ ﺎرﮔ ﮐ ﺎد ي . و: ﭗ ــ ـ

73 آﺎ ﺎول “ اوا ر رو ” ي ﺎﺋو ﺎرو [ ] ] آ آ ﺎن ﺑ ﭘﺎ ﺒ ي . ي اـﺎﺑــ ـ ـ اﺋ ، آﺑﭙﺎ ﺎم ري ﺎم ﺐ ي دا ـي ـ، ﺎن ﺎ ﺎ ﺎ ازا و دورن ﺎرـﮓ ــس دو ﺎن اﭼ . ﭘ دور ﺎرﮓ س ﺎـ ـﺎﺋــ ـﺎ ﺑــ ﺎﺋ ﺌ دور ي ا – ب، ﺐ ـﺎرـﮓ ــس ـد ي ﭘ اوﭼﺋ اوﭼ ﺎرﮓ ﮐ ﺎ ﺎن ﺎﺋﺐ ﮑﺎر و آـ د اﮕن ج راﺎﺎ اﮕ ج ﮐـ ــﺎم وو ـﺎـ ﺎن و ﺎرﮓ اﭼ ﭗ ﺎن ﭘـ ـ ، ا ﭗ ﮐ ﭘ ﺎ دو و . ﺎول ﭗ ت ا ي ـ ﮐ ب ﺋ ااﺋ و . ﺎول آي ﺎرﮓ ﮐ ﺎرﭘر ـ وـــ ــي ي را ﮑﺎ ر و آ، ﺎرﮓ ﭘ وي آ ــ ﺎ اب ض و و ﮐ اﭼ ـــ ـ س ﺎت و ﺎن ﺌ ﮐ ﺑ ﭘﺎـ ــﺒـ ﺎ ﭘ و ﺒ ﮔﺎر و ي ﮐ اـﺎ ـﺒـ آ و س ﭘﺎري دو ﺒ آ. ﺎول ا ــﺎـ آـ ــ ﭘـﺎــﺎن ﺎن ار وارا ﺌﺎ ﺎرﮓ و ــ ﮐـ رـ وـﺎري ﺎن اﭼ ا ﺎن ﺋ زﺐ ي ﮐ و ـو ﮔ رﺎﺋ ا ﺎن ﮔ ﺌ آﺎز ي ـ ـــ ﺑﺎدي ﺎر ﺎر ﺒ ﮐ س ﺎر ان دورن اﺋ ا و ـ ـﮕـي دوـ ــ ي س ز ﺐ ﺑﺎدي ر ﭘﺎ ﮔــ ـﺌـﺎ اـ ـري ﭘﭽ ﮐﺎﭙ ﺎرﮓ ﮐﺎن ار و ﺎ ا ِ ـ ـ ﮑ ﭻ اﭼ ﮑﺎر و آ. ﺎول ﭘﺎ اﺎﺋ ﮐﺋ آ ـ ـﺎرـﮓ ﮐـ ــري ﺎﺎم ﮑﺎر و آ ي ا ﭼو ﮑﺎرـوـ آـ ـ ﺑ ﺎ ا ز د وي ان ﺑـ ـــا آـ آﺎ ﺎول “ اوا ر رو ” ي ﺎﺋو 74 ﺎرو [ ] ] ﺌ ﺑﺎر ﺎن آا آ ﭘ ﺎول و ﺎرـﮓ ـــ ـ ـﺎول اﺋ روپ ﺎﺎ آ ﭘ ﭘ آي روپ ﮐﺎن ﭼﺎر ﮑﺎرو و آ آ ﺎرﭘر و ﭘ ي اـ ي ﮑﺎر و آ. س ي س اـــﺎر اـ ي آ ﺎن ي ﺋ ي و ﺎ 14 آﮔـ ﮑﺎر و آ.

: ﺎول ﮐ ﺎر ﺑ ﺐ ﮐـــ وـ آـ ــ ـ دي ﮐﺎﭙر ﺑ، ن دور ﺎرﮓ دار ﮐ اــو ـ ﮔــ ﮑﺎر و آ س ﺎل ﺌ. ا ﺎ ﺎرﮓ ﺑ ﺎ دور ﺑ ﮑﺎر و آ دودي ي ﮓ ﺑ وـ ـ. ﺑ ﺑ و ﺑ ﮐ ار ﮐ اﮕن ج راﺎﺎ ﺑ . ﺎي ﺑ ي ﺒ ﭘا (ﺎ) ﺑ ـﺒـﺎ ﺑـ ي ـ.آـي و ﺎرﮓ ﮐ رﺎ ﮑﺎر و آ ـ ﮔ ﮐﺎن ﺎ ا رو ا ي ﮑﺎر و آ. اﺎ ﺑ ﺒ ﭘ ـ دﺎغ ﺎول ﺎ ﮐ ي ـ. ـﺎــ ــﺎرﭘـر ـ و و ي ﮐ ﭘﺎ ي ﮐ ﭘﺎـ ـي ي ـ ـ ﭘﺎ ﭘﺎ ﭘﺌ و اﺎن واﺋـ ـ (ـ ﺎول ï ëëàçà½ ) ﮑﺎر وـ آـ، ـــ ﭘ ﮐ ﺎﺋ . ﮔي ﭼ ا ﺎ ﺎ ا وـي ﮑﺎر و آ وري ﮔي ﺎن ﭘ ي ﮑﺎر و آـ ﺎن و آواز ي . ر ﺎول اوا ر رو ﺑ ﺐ ﺎرـ آ وا ﮐ ﺎر ﭘ ﮐﺎن ﺎﺋ ﭘ ــ وـ آـ. ـ ﺎول ﺎﺋ ﮐ ار اﺑا ﮐ وـﺎدار ـﮑـﺎرـ وـ آ. ﺎ ﺎر ﺎ آ اﺑا ﺎ اﺑـاــ ــــ ـاري ﺌ ﺌ ﺎﺋ ﭘﺎ ﺎن اﺎم ور آ.

75 آﺎ ﺎول “ اوا ر رو ” ي ﺎﺋو ﺎرو [ ] ]

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.1 ﺎول ﺎ ﺌ، ا ا ﺎرو، دا ا او ﭘﺎرכ ـﮑــﺌـ، اﭘ، 1948 ع، ص، 4 4 2. https://www.britannica.com/art/novel .3 ي ادب ﺎر، ا ﺒاﺒﺎر ، ي ﺌﮕﺌ اﺎر، 4. Forster, E. M (1074). Aspects of the novel. Edit. Oliver stallybrass. Great Britain: Penguin Books. .5 ﺎ ا .6 ود اﺎن دو، ﺎر، ، ﺎ ﺎو، ر، 41 41 .7 اﺎن دو ، ﺎر ، ، ا ، ﺎﺋس ، 2007 ع، ، 63 63 .8 اﺎن دو ، ﺎر ، ، ا ، ﺎﺋس ، 2007 ع، ، 334 .9 ر اوز اﺎ ا، ي ، ا ﺒار ا،ــي ﺌﮕ اﺎر، 2016 ع ع .10 اوا ر رو

آﺎ ﺎول “ اوا ر رو ” ي ﺎﺋو 76

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RESEARCH ANAYLISES OF ARABIC POEMS OF MAKHDOOM MUHAMMAD HASHIM THATVI

Abstract Hazrat Maulana Makhdoom Muhammad Hash imThattawiborned in the house of Makhdoom Abdul GafoorThattawi on Wednesday, 10 Rabbi al -Awal 1104 AH as of 19 November 1662 AD. He acquired primary education from his father who was the prominent scholar of his time and he belonged to the Arab tribe of Haris bin Abdul Muttalib. And he received higher education from different and famous schol ars of his age, in which scholars of Sindh and Harmain (Makkah and Madinah) are remarkable. And he is counted in Sindh's historians, narrative scholars, religious scholars, poets and writers. He published a number of books of which Kifayat - ul -Qari, Athaf Al -Akabir, and BiyazHashmi are on top. And he had the command on many languages of which Arabic, Persian and sindhi are prominent. He was the on the top of poets of his age along with being the author and compil er. He read poetry in Arabic, Persian and Sindhi at a time. And he had dedicated his entire life to the publication, 78 ﺎرو [ ] ] promotion, compilation and teaching of the religion of Islam. Finally, on Thursday, 6 Rajab, 1174 AH as on February 1761 AD he passed away and buried in the Makli cemetery & ' ( ' )* + , - ./ 0 ' 12 34 5 : ;< ' ( = ' > ;< : 9 5 6 7 8 ? @ A B C< D 7 E 34 F ( G > HI J KL M N OP E Q R ST U V W X Y Z , [ ` 3 \ A B C< ]^ E _ d e 34 - ./ 0 f g hd c ab 3 E n j o pq r ddd ij k l m s U t u > U v w n F x h y z { | } f ~4 n Y pq r ( 34 r ~4 n > ddd f g k f ~4 > , { | f > j { | r > W i > n - ./ 0 W * X m f g ^ - ./ 0 > W C C ¡ ¢ £ d W j n ¤ W ( o ¥ Y U ¦ ® ¯ W ° n § U ¨© ª « ¬ Oµ ¢ d ± ² u ³t > Uj ´

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MYSTISISM IN THE POETRY OF BABA

FAREED, ARESEARCH ANAYLISIS

Abstract In Indian subcontinent , the role of Silsila e Chishtiya (Chishti lineage) for spreading awareness of Islam is bright chapter of history. The founder oflineage is Hazrat Khwaja Moinuddin Chishti Ajmeri Aliehi Rehma. Hazrat Baba Fareed Masood Ganj e Shakar Aliehi Rehma , one of the saints of this lineage, made Ajudhan (now Pakpattan) as his living place. With his education , knowledge , actions , extreme prayers (Mujahiday) and especially his role in well -being of mankind resulted in having great place in history which deserves ulti mate appreciation. His personality has various dimensions. To communicate the message from Almighty ALLAH , he also used poetry as his mode of , communication. unfortunately , all of his poetry could not be preserved , however , available poetries are very important for people engaged in fields of Edu cation and Sufism. it's our misfortune that educationalist did not give the deserving importance to his Sufi poetry may be because its Sufi poetry and Sufism has its own point of view. Elaborating the delicate concepts of Wehdatul Wajood and 87 ﺎرو [ ] ] Wehdatul Shahood along with the world and life after world is not less tha accomplishing the impossible. In article under review , we are endeavoring to analyze the colors of Sufism in poetry of Hazrat Baba Fareed Masood Ganj e Shakar Aliehi Rehma and we will try to understand the effect it cast on Indian subcontinent.

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n h V h n n ¥ n j 9 j 2 q{ | n F 4 < n Bh U í t ¾ é ñ U È w n n 4 w n Î á 5 ¦ 4 V 4 T, n , T, n ëì n ± ñ < \ < l Q j n ¨© * q q i í t ¾ é ñ < < n ¾ é ñ n ä ¥ i 3 * l P 4 ´ h À r Á ó F U n n < < q ¥ h r Å Á ó n q ³t n s ( § n s ( j £ / ¥ / E E h s ? > s q & h i v s s n U q & j E 92 ﺎرو [ ] ] Ô ³t < < n g < Û n X h pq pq n 4 F n õ Å î í U 4 ³t ? n j ¥ n ij ij i ( n Î U ³t F ô ñ ³t n ( X n X a v ñ C M û ñ v Î j ñ h s ñ < U È n @ r U v E } O / j D / h í F û ¾ é ñ n , < < q ¥ Â ; Ì Å ; ¾ é ñ 8 w F Y q n j @ I ñ w F ¹ s û h X n j : ò & ¦ j ö ¹ ¾ é O Ò q i - h } Å ñ < ij * x ñ q û < < < ^ - ÀÁ < n T ; 4 r ó ¥ n T T, n j : n T, Û I ¾ é ñ 93 ﺎرو [ ] ] , n ° ñ × I j a , < n n ñ × î n Ç P E Í @ Û U n ì 4 h } t q g n < q P / Ë " j 4 j Ì h < q n n < < h n h ij ¤¥ & 7 X h n n © © ñ < h n h ( U h ñ F n pq < pq ? U Ó n h 2 pq Ü * n E h « F n ° ° F ± ² ³ Ù × . B± i ´ ´ ² s n µ í ( n T F B¯ n T ¶ . ( · j ° » h û ¸ ¹ 4 × . w i º þ q " » ¼ ° n Ë . J õ í* Ó Ò 0 h 8 Û ä s w F U s ( h Ò õ n ì X ä j # < ¥ j * X * 94 ﺎرو [ ] ] È ¯ W h U È w û U Â h 4 U ° À Ì X U ( Å 3 * È h U È 5 q i ´ s n 8 F ; i Ç Á E ¿ 4 ¥ n 4 r ij ¾ é ñ } } Y © © } Y © ( Ò ¾ é ñ Ó j n D " Ô j n ¨ Y < q 0 ¥ Ó j Y © n < ¬ © n @ h Ù @ U & Ù E Å n F íÍ h © nY P 8 h = U » < n X , ¤ Ñ í* X û z pq ¯ r ¹ Ò j < F i 0 } 3 Ë P q } q j Å Û n ß U j à L ± ¤ q h 5 h ± h ¤ á ñâ < j ßj Ä X + ¥ i p < A û Ë i h h ¤ w Å h @ s n @ S ¾ q £ > Å n Q r U T, 95 ﺎرو [ ] ] } 0 ./ . / V j n ùá q . ¥ Ý h á 5 à L I á U T, 3 < . . ñ < û ´ 4 U < q ] h U Y ß Y k ( < Y Z ¥ < Uj < n À P n W ? v n F @ I s Ì v P ij , E , 5 t pq g v h < q + ÀÁ - < X © < ¥ Å X X n X h n X h j ¥ n = F â ?E Ñ h n - M$ j n j ì ß s n ñ ? Ç n ¤ X j s n n Z ñ n ¤ ( n , X T, Û ± ÀÁ j F ? ñ * ñ n j X i Y X h , n hV S F n 96 ﺎرو [ ] ] n þ A m < < n q n 1 ñË s J ô F . h ^ Uj ê J n j V n d n j n ? j ¥ n F j V X @ ij < ñ æ æ ] U ´ T i i s E 8 } F c h d ! " n ¾ @ Y < q Å n < X V h < Å n F ¥ n # # < # V h < ´ 3 $ jE h % & & ' U ( < v )* ( ó < º < q Õ + n Ñ ù v i û n × ( < A n n h , - Í Ù n n h . ¥ n q A k Z /¾ 0 @ Ù 1 qZ 2 3 Å [h ¯ þ ³t Ó · & n j 97 ﺎرو [ ] ] ª 4i 5 6 fh z 7 F | D ù N= j 8 2 V z] w F ö i 9 Ì & y : n j - $ / 0 ³ h ñ h É É ; < < j ¥ n G & q £ > _ q{ | 4 V = U ¼ h & Ö þ 3 Q Ñ Q j * ¥ ßj à h } > % s þ? h 4 @ 2 A 4 ñÛ U A j _ ý B C3 h [h t n Y 8 Ù D ~ E F } í G 4 zH IJ n ? 4 K LNM S q 4 j O V , h P@ i j ¯ ¥ " ³ Q P 8 ´ h = R } S T U N ~ ` } Á } S 4 S U Vn ù U S < q ë d W * X X Å pq pq Uj c ° z C hh Y Y n j : Z F Ò A [ ¥ n j l ü i j \ < 5 n [h F À D ] ^ _ ` û /h 98 ﺎرو [ ] ] ^ - ( U ° a ñ û /h w j . N ¤ < b ¤ V F h n T h q D ^ - w F ¡ hV ( I @ c < 5 n d s n j r i e ¤ > j }Ö W ~ ì " , / % C f g n n h -. hÃ< A < q } í Å ij þ ¯ i n h < . ¥ i p Ý Ë j U w k h[ q{ | 2 @ Û û × á ñ × á Y â h , [h ij % n û s æ h s â ± h n & = F n ê

EEE lll é Y U i . 5 U ó » @h m ÷ ÷ ( ) » » -i . F U È n * n ê n n X ( q À o » ¼ p [h < q ij þ @ , r * U È s m $ + @ , h[ V 1 @ ( n j t * n j íÍ U h Å @ U u q w n ¾ q v Ì @ ô F Z ; h w ÀÁ þ W q v æ û ij Ý X Ë j pq pq x Ì X U · n > % 99 ﺎرو [ ] ] N=h v y t ³t z Q = w { | 5 > @ Ó X Ã n ¤ * Ë X E Í ä } Ø U T, n j Û n j L s @ æ @ e z ` @ Û n ~ X U Û Ö , h Í û s 1 s h ¦ q < y ¦ T, * s æ 8 Å h * v h @ Û U È n v @ n T ± h 5 TÂ À ¯ n ô ¤ X × . 4 W * n @ P G 1 @ n j [ h Ù Ë û S ¤ × . ± h ¤ n ´ ´ ± h ¤ U ¬U w i h @ n & D Ë V Y¦ @ } 5 { ( v h v h p Ãj s j U ¬~ U n h e n v , h ( , h[ n ü w æ Û h i 2

+++ jE q @ jE e iü * ] jE { | z L jE e iü * ] î jE { | z L jE Õ C h ¤ _ J ] h 100 ﺎرو [ ] ] î jE j { | î » C ¬ M ÷ jE q @ jE { | z L r L × . í z P h r A jE { | z L î r L × . í z P h r A î / 0 » " Í C × jE K ¦ f ¤ ¢ jE q @ » { | ] T, ÷ r L × . í z P h r A jE j { | r L × . í z P h r A jE K ¦ f ¤ ¢ r L × . í z P h r A jE q @ jE K ¦ f ¤ ¢ î jE q @ jE » Ãh q » C ¬ M ÷ jE K ¦ f ¤ ¢ î

101

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b HISTORICAL PERSPECTIVE OF MODERN IRANI NOVEL

Abstract The tradition of Persian novel and fiction is very old. In fact, the history of novel writing in the modern Persian litera ture can be traced to over a century. The Persian novel -writing is rich with the translations of novels of other languages, par ticularly the European languages. The Persian novels cover a wide range of topics, which included: history, politics, social, romanticism, biography, psychological, progressive, enlighten ment, wars, resistance, rural and urban life etc. The common and suspense novels are also popular in the modern Persian lit erature. In the Persian novel writing, one may trace various ex amples of modernism, post -modernism, independent thinking and travelogues of ancient stories. The modern novels include both the simple, easy as well as difficult and complex lan guage. Moreover, the Persian literature comprise five periods. It is due to the worst political situation, several novelists have used fictitious names, and have come on the surface after the Iranian Revolution. Furthermore, it can be noted that the pace of modern novel -writing in Persian has increased after the Rev olution. pq i _ n ³ 12 Í n Í P j £ ` n n X ? « Í n 12 4 _ ¥v 2 102 bbb ﺎرو [ ] ] U ¦ ? « X n p · n 12 Þ ' _ § U ¦ Í n p · . ¨h © Í Ì ª 8 n ij Â ª 8 * P j pq Í 4 )* n « ´ X - ¬w n w ¬ Í ® @ ¯ , X ° Í n n ij Â ? Í Å X ¾ 0 ±² n ´ Û Ã³ n Q | i! ´ Â µ n ¶ 2 ? « Ù P " X U · @ Í 4 = ^ ? X « , " Í 3¸ § n t Ù ¹ º ? » n · n j Ä Í ¼ » ½P ® @ Ê F ¬¾h q - 7 ¿ É À À X HI < < ÁÂ Â » ì F h Ã X i Ä ¬ Ù × â P y P Í Å Ç U ? Æ hV d õ ? Æ Æ j ¾ Æ « j Ç Ì Ó j ÈÉ Ê n X ¾ e pq pq 8 « Å h ^ n 3 n a Ý ? É « ¾ h 8 « X < Þ Ø X ×Û X ë Y q Y q Ú v j @ Â « bbb 103 ﺎرو [ ] ] T × Ý Þ ß < Q . @ ] j j 5 ] à ? ø n ö $ T, z ³ n á ñ n Y 3 ? Ì G ] n Ô > j @ ø \] F É Þ t 5 \] } } ] Ê ´ Û Ê ij ç n d p ã h « pq pq ¾è « Z - _ U ¦ )* w y é ¬ 8 ^ E ] pg ÏÒ j Ò X ê ^ Uj @ \] + ¶ ¦ & d 1 * d § p d ë j @ ðd Y > d ìí ¼ î ï d V d Í ñ d Ø g Ð ' ü ò æ ó C 8 ô U ¦ ¬ õ ^ ö ÷ ø ù h N ¹ ïú d g ò û Ì Ì ? ü ý þ û z ` t û ä * * Ó 1 b ' n â X , : 12 8 t × X ? ? ® 8 v^ 8 Ã 8 } d 7 X ë ù h ] | n w @ | n ª X P t Ý X C ù X Û q * t Ì X [ | Ù N X [ ¬ X h ¾w Ø è 104 bbb ﺎرو [ ] ]

¹ d X U } l ^ -n X h[ V n * h t ø n ã + ó n ù? ( t X Ù n Y 4 - . ] æ 8 n ¥Ü q ã n p ] b q û L « + A - U « Þ d n Y g h ³ Ud Ã Ò 2 d õ ? - ¾ 0 _ á ! j , h " | Ù % j Z ? Í 8 w q F ij h # $ Ò " # % M ÷ U ¦ w U È ij 5 j U ¿ Ú E U ¶ 2 g ³t p W @ [ & ú ' l ? x « d , ( L h V ½ ) * Q j » Í @ t " ( Y @ q U + > , ö Þ ¬ @ 8 q . À j y z X @ p õ t ~ <- < ( ( F ¤ d / ? d < . bbb 105 ﺎرو [ ] ] d Þd 0 d 1 o ´ 2 L 6 h d 5 û Y 5 Y Y 3 4 ] d 7 8 ´ f d n ì . D y \] n X h ] 9 : d ¦ j c 1 « Í + q T j d ; d û> - $ d - . < = d p j L t X _ Í j @ hd B C A t @ A d < . F Y d D E d H H ij t Þd G d d Ø d ¾ v d h I d J 8 d / d K. d J £ d . d î £ d o B ? Í U z h n < N d d n Y q d O P @ Í n h t Þ h ] U¦ ó d î W Q Ý u X U S . O P ij @ · R Õ ì j @ X 2 T j L e t z ` A Õ · } U n ï d d @ VW 106 bbb ﺎرو [ ] ] h d à d Z p d d / [ 4 d h h ]^ ¢ d h \ h h @ ` d È z d ` h d ¶ b W þ c l& d a h @ _ h ` ? B « Ò d ³ Ç d e U 0 Ø d / - d f ×Ød C Ô @ h d g t d ×Ød ã ij t Þ W Û ¯ ã i Þ X hd l d Þ X ¿ - 7 e w Ì > w % j @ X f . Í ¢ $ d h h « ¦ d Û F ¾ 0 ¯ ±² ½ · U d ? k 8 ¦ Ò n ì l m h dd h ø n S . . ¬ C n )* d ij à Þ ³ o ³ n j q p U q [ Þ < Â 8 « U h P X h ¯ ¾ U ) r $ p h i Ä C n @ « n ÃX d n F ä UE q ¯ ¬ s ? ij ? X C n ij k 8 @ Þ d » Å ä W j Å i " ã ô Í U w ij ? | > Ð Y 8 t t t h u 8 d Q t + - Õ Eq d Õ hv d Û ³ d bbb 107 ﺎرو [ ] ]

d d d x hy d w$ K. d d T X ? E ô` ± z U 8 n 6 ¦ ~ d E ' l h | d { d æ æ W X 8 T, V n l | d C . } U È n ß w y i í T h Y¦ d ( j @ q Í ( § X û } ® @ d ' ~ E -n Í E Uj Y d ¸ ' d j X » } ¦ À U È w 5 Û « )* 8 r Û õ ¯ ® @ ¶ 8 c t X Þ Xd q d d j t ¦ W ý d e q L - µ d r n n 5 I ý ¾ d T d d ' + j 8 } i ã S . . j c s j t Ò Þd ò d H U È F t q ±² n y n h @ F ¬ j C X h Q } 0 M d 4 d -. $ / a d û A « > V d d Õ 108 bbb ﺎرو [ ] ] d d ò w L W * d © & L Û @ ¸ Í « j W * Þ ý 4 e q L Xd æ ó d r z d õ . W 8 ä ¯ t d h 4 d ? L Õ M j @ U È n j õ . ' d n ä Ù × U ¾ Y j Î U t Û > V Xd ý d n j Ò t * n ß Y ¿ j T X V n d $ )*d @ d ñ j À h U Q i í p n ä d ± j ° Ù 2 Ã 5 U w$ ¬ Xd ] d Õ )*d · h j y ¯ 5 ¬ q Í n 8 F ~ « p ¾ Æ « º « T Ò 0 E ij @ § @ d ¬ Ð @ 5 ¡ ¯ % W w Û H $ ñ j Û ³ e q L j V h ( 9 j y z á ¢ X @ 8 d @ n £ h j t Uj @ ' ° Q ¤ § > > n j 8 . c d > bbb 109 ﺎرو [ ] ] æ d ¥ û d ' h « d Õ $ d t ä Þd ` § d > 9 j ¨ @ n j © ¤ P , Þ q d n > ' $ )* 8 Ì ` U È j » ¯ í d ¦ ® î X É Ç Ì r p Q u q l& Y n ¯ , @ ] ° @ w j ¾ tq ä d ± ² t < d n ´ d ³³ d d á d ¶ d Ç µ d ¨ j ¾ d @d Ë j d · q ¸ d j õ P Y¦ T, t ¨ a ) \] ö ® n y K ¹ U Q í Y q -d a j @ X \] º n ì j ? ² » Ò õ ¼ 8 Q Þ Ì ` Xd § d t d º ½ d d d d d d Õ Õ º d d nd , ¾ ¿ g Õ T 8 U q d ¤ ./ d Á d À n ï 110 bbb ﺎرو [ ] ] d ü d Â 3 d d d j c t t d 5 Ã A @ _ Û Ä Å $ )* ¹ ¨ Æ s ù Ç z ` È · d ¬ yÍ É q û Ç T, Û h Ê ¾ U î 4 Uj k Ë ä ÌÍ Î T Þ Y¦ Ó q Y¦ ý , Ï z ` 4 Þ Z _ Æ y t n Ð û Ñ t Ò ¸ 4 © º d < % O+ d Ó Ô × ¹ d t Ö h Õ d Z Õ d d d ì r ï@ Ø d Õ d V d ä d d @ P , Ð Ù Ó t 4 Ú > ^ t ¤ > > t d Û h d u d d Ý z ` A Q d É Õ q Ü j æ n | | Þ n q û * d X ß . P í à ^ t ¯ n 8 Ã [ c ³ o § « Ù ' Û ³ e q L § n ? ¶ Þ b É d W ³ ? HI = r h T Â h Ë á q µ ³t ? [ ê U j Þ â ¢ w y h ° , ã ä¬ Y¦ ?µ Õ * d æ d m å d bbb 111 ﺎرو [ ] ] d ç d ?µ d Q ä * T ¶ X U 8 ö è T, n 3 é < z ` ? ø ö 4 « êë Q Q @ ö } 8 t n ß 3 Þ ã ö T d g ' ^ n ' p q * d g ç ½ U V d d í Ù g ' d d d Õ - d b T d E ¹ d p g ç d Y Õ d q * d h . ¾h d > Ð q [ ö = V d ç d î î d t Þ X | ï h ã 4 d ò ó 8 ð @ ñ d ô æ d õ d ? ö d ø; ÷ õ d ú ø ù - / ö ¾ û z ` * ( ö ü l n ¾ 0 ¬ Ð ¯ Q ¬ )* g ç 8 ö ¡ ý ' ( á ¢ æ « n ¤ Ü g ç j ï þ ¯

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Y ò ® < Y C Ì ` P õ Õ Y » - « q Y ð @ Y N a $ S Y > Í õ Õ T Y î Û ³ Y î j ¬ õ Ô ® Y ì Í Y É Õ « P Y Ù É Õ j 8 Y ìí

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NAAT GOEE OF AMEER MEENAI

Abstract Ameer Minai is known for his Ghazal, Qaseeda and Masnavi in the world of Urdu literature. No doubt he showed his expertise in such kind of literature but Ameer Minai's part of poetry which is Naat Goi is still hidden and critics of urdu literature could not glance over it sufficiently. Ameer Minai showed his perfection in Naat Goi and transmitted it at highest excellence along with other kinds of literature. Because he be longs to the religious family and after following of Hazrat Ameer Shah he inclined toward Mysticism and religious aspect of ethics dominated over him and he was also influenced by Mohsin Kakori. So his natural abilities and aptitudes inclined him toward Hand and Naat. Major part of his Naat lies in the shape of Ghazal and he increased poetic nature of Naat in the taste of Ghazal.

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116 ﺎرو [ ] ] n > h n k } B n X & = ^ U U ù ± U ¾ é ñ n E û y * U ( X pq pq h * y h r A û n h n h n E Å - t ij h U O M h h h h ¥ C « K , Ð à T ¡ F µ j TË x Ù Ñ T x U ¡ + F 3 É U ! ^ V + ¥ ñ û A j L 117 ﺎرو [ ] ] A % % + h Å @ û * ò W X 8 æ @ E , ½ F ½ G Y + Ø W X Ö ( Ñ ?Ù C M Û ( ( hi j Z - $ ô` z ` F * > ½ [ « ¥ À ' Ó À \ S T, û h q X ] : i Ñ h J û ëì ß U ¥ ± V 5 ( û s g Å U Ë @ z ` s 5 X @ e pq pq b V n @ h J Ö F Í g h Û x U n h v Y ( j @ * ¥ ½ e É n ¥ Ç h hf g h Ó U Ë ñ T ' r h · x W x W P h S 118 ﺎرو [ ] ] @ m ¥ A h Ó J P h U ¡ F q h Ó n ^ z ` j k Õù z ` P Y ?µ ? µ n z n h t t U j U n j E ³t F v t ( 5 h Å h E n , z ` h + D h U ¡n À X o / [ W V ¥ · _ i U @ ¡ 5 û Ô X , X X n v X û M 119 ﺎرو [ ] ] M X ½ G | a h » c ½ X & U x x n Y Û U x ° ¥ Ö S X i Y W q W i û ½ L ¥ û ½ Ò ä v a Ñ » [ @ U ² h + Ö j & } g ¡ j Þ h ñ û × ` ñ d ¹ E U ? Þ ( x 4 h x n Y P , - U V n r X g Þ j 120 ﺎرو [ ] ] Ò" h ¹ Ò ¥ ¹ Ò z n D * U Dp · æ x Ç Ñ Ó P i D û G Û ¥ n h U h n Y × U h G ñ n ñ + Y X n @ « û ß h Å n q + n 0 U V d 5 j F ° h « h Å U ñ Ö Ä x - . H j ò F X Û ÷ ü D ^ j j P ¥ j n j , - iE ( h@ X ¥ ¥ ¦h Å h L 121 ﺎرو [ ] ]

W ù õ : < h 4 X ^ ij à g h ¾¤ @ Å U n X ¨ U _ Y ¨ ( U P Ñ · Û n Y X ¨ pq pq û « × U h , ¾ pq pq n X E Oµ ² h ' ' l t n j n ä åæ E û n j X r ä åæ S n - n ò n åæ n æ h h ¥ n W ê åæ h Ì« n [ ( ( j ¸¹ Ù X n ß pq û 122 ﺎرو [ ] ] p h ( º ªU ¯ ½ » ' E h & h ñ Å U Å b ½ h Ë ¥ n N " Ã n ^ ¥ åæ U n Á Þ ¡ h Â Ã U g X n 5 5 4 g i j h j T n n Å U j Æ T " Ç G D Å " h É Ô Å X q Å Û < j Ë h ª j * ?µ ¥ Ô M n h Ô Ó } Û j } S Û T Û j r Ù É Ë } S h º ^ % % Z ô ô Ï% % ¯ & ( Ø^ Ïn q @ à ^ ¥ n j V h & >

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THEAROTICAL AND PRACTICAL CIRTISIM IN URDU LITRATURE

Abstract In this article Theoretical and Practical Criticism in Ur du deals with a comprehensive definition and discussion of the oretical and practical criticism. The regularity of urdu criticism cannot create a receptive atmosphere for urdu literature without having it's theoretical and practical dimensions. Therefore on a aforementioned atmosphere has been highlighted through the existing body of criticism in urdu. The above mentioned topic in though a new one for traditional Urdu reader but somehow English literary world has some rudiments of it. In this regard, relationship between Theoretical and Practical Criticism go side by side as the quotations and references in this article proved that relation and procedure. Short keys: Theoretical, Practical, Criticism, Urdu Literature, Reader, Writer, Research. ' h } ´ n ß Y ë ± ´ ¦ Û d n 4 q s 6 Á ° n ij õ [ ¥ 0 n j á { ± 0 X K . ± s ij < í Ù T, $ A h M s m ¤ ³ ´ U í î î j g Y¦ Ý

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h ¢ = ÍE À À h Í g ]^ à / T, / º / , / @ Á X -. f @ X Â Ã Ä Å Ã Ä h A + è . À Æ ñ æ î . @ Í * * P à . * * & h à * E h * * P h à T Ç & h + + ± ´ h Q ] ( Ý 2 X h j È & n C i X h j n ì j F i 5 iá h É < ì F

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ó POETRY OF AHMED HAMDANI: IN PER- SPECTIVE OF PROGRESSIVE MOVE- MENT, A RESEARCH ANAYLISIS

Abstract Ahmed Hamdani is one of thepoet who has brought a revolutionary change in the poetry.He has proved his identity in the modren poetry.He raised his voice against the class dif ferentiation between rich and poor societies, the sectarians and the unjustified attitude of the communities.according to him the rich people were becoming richer and poorer. He had also been supporting the doctrine of Progressive Movement(Tarraqui Passand Tehreek).His poetry also high lighted issues which pertained to land lords,governing class,factory owners,capitalist and a common man who have face all the difficulties to earn his bread and butter. Poetry of Ahmed Hamdani had a point of view of Pro gressive Movement(Tarraqui Passand Tehreek), common man's issues had been always been the subject of his poetry.He opposed capitalism and feudalism with full force in a literary way. short keys: Progressive Movement (Tarraqui Passand Tehreek), Poetry, Society, common people, feudalism.

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í C îîî ïïï ð ñòñòñò óóó 141 ﺎرو [ ] ] v^ l Ç F P ? Í @ n z * @ @ U n @ , Å & · } ù j h " U õ L. A @ Ç j n ij V j @ ² t ò v^ @ t t h Å U @ j i i nY º h @ n Y h n } ´ T, ( U Y X h n t Y n X F ? [ F Î A T, G h ³t = 142 ﺎرو [ ] ] Í @ : n @ : @ i Y : í & h Å h U Ø^ t n 5 U ? b ó b n ß r E Z j ¯ ¯ h W i h ß ( Ù ' X æ < § W ô W © W 4 n < t < = W X , ³t ´ + . / . / Ò j i © , U ( w , l i © , l - « * Ç ²

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147 ﺎرو [ ] ]

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AN IMPORTANTS OF LOCAL LANGUAGES AND CULTURE ARE MULTINATIONAL COMPANIES IN THE MUSLIM WORLD

Abstract This article describes the role of local languages, cul ture and islamic values and in addition the peice of the multina tional companies, Muslim world.Local language and culfure are in the information of the multinational companies for going ahead with the business or to make the technique for the inter est in the Muslim nation.Multinational companies have had awesome impact in the improvement of Muslim countries, however have additionally contributed for generation, thought fulness regarding a few point and suggestion for the accomlish ment of the matter of the multinational companies while con sciousness of chiefs to comprehend nearby dialects and culture

150 ﺎرو [ ] ] mindfulness in Muslim world. This article is made to under stand the polices of multinational companies use the quality fiscally to announce the conditions on the host nation, this arti cle has especially called attention to the fundamental part of the multinational companies in the financial field in Muslim world in addition portrayed the procedure of the multinational compa nies aiding advancement of innovation and the assembling technique.

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ÂÂÂ h 2 J * ¯ U z Q Æ n Þ j , J ö h n Ì U n Þ 2 á n X w h ö ¨ Ü | n F h h » » , ¤ 0Q

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úúú ij à h Æ » % )*h 155 ﺎرو [ ] ] Í Î k } Ï f y z Ð í X Í q j T ¬)* Þ ä N » » n ] Ñ Õ » Þ i i f h )* n g d » > ¾ ô` f h Ó Þ Ô d » Ó j i } $ » µ i X » 5 E ij h Ý s T j Ù h ' ? äÂ T i j Ñ A t = n & Â n & Þ · Õ ^/ ü ¤ Þ Ç Ò Þ z @ ¿ Ö * ½ ü f h Ø ?* ¬ Ë Ì + - h n ô` f × h Þ w f ¬ ô` Å Ì h * t = é t = ` f w Ø æ j é E û Ù Æ ¯ Å s n

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IJIJIJ j ; a h v F Z k ³ pq z U ¯ + X 4 I Û . E E n Ã U h eõ ¿ Ü Þ î ¹ æ Æ z Q ¡ n j J » n & ¾ U 8 T T Þ } h ? Í U h 2 n h = iá h Z t P 2 J á h 4 » Î * j w h + F à Û , n q á

+++ jE â Í , ã » P ¢ jE ¯ e q ä jE å s + Jones, Geoffrey. Merchants to Multinationals, oxford university press ۔4 New york,278 -279.2000.

157 ﺎرو [ ] ] Allen C.G. Western Enterprises in Indonesia and Malaysia George ۔5 Allen & unwin Ltd, London (1957). 103 -103 jE * L ÊÓ Í @ w L.. jE ]â A 8. Media literay project org (2014) languge of presuasion / media literacy project (on line) avaibale at ww.medialitercy project.org/language preseuasion (accessed 28 oct2014) jE Q . » * * d availbale at www.universal teacher.org.u.k./ power.htm#adgrammar(accesses)28.oct.2014 jE » ¤ E 14. Mce,F.Jhon,International Business & Multinational enterpris es ,Richard D.Irwin Inc,1903,162 -163 15. hablo ,H.R (1973) nationalism and the multionational enterprises OCEANa Publications,Inc,New york ,11 -12

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USE OF ARABIC LANGUAGE IN THE DE- VAN: “FIRDOS -E– TAKHYUL” OF ZAHIDA KHATOON SHARVANIA

Abstract Zahida khatoon sheerwania holds prominance not only among well known Hindustani Potesses of her time, but amongst all great poets in history of Hindustan. Praised by great poets and writers for her incredible poetic and philosophi cal skills, she was a woman of immance talents and brilliant personality. Born on 18th December 1894 in BheekamPur dis trict AliGarh, she belonged to a respectable educated family. Her mother passed away when Zahida Khatoon was only a child, After which her father took great care of her education and upbringing. Her father, Nawab , held deep love for poetry which contributed to hone her brilliant poetic talents to perfec tion. And in 1905, at the young age of eleven, she became a poetess. Blessed with high intelligence she mastered Persian and Arabic along with her first language, Urdu. And used these 159 ﺎرو [ ] ] languages in her poetry with excellence. Along with the vast knowledge of Quran, Hadith, and Islamic history, which she often referenced it in her poems. The undying love and sympa thy for Ummat -e-Muslimah lead to her great concern for bet terment of the Hidustani society. She used her words in form of poetry to raise voice against the cruelty and unjust women faced in the Hindustani society and promoted women rights. Moreover, she worked for awareness of education and moral istic guidance of youth. Forming a society named "Youth She wanis" for this vary purpose.For this article i have chosen spe cific poetry from her dewaan FIRDOOS E TAKHYYUL with influence of Arabic language, and those incorporating verses from Quran and Hadith.

0 ./ 3 Ø g h ( W Æ ( § l ¦ ß Y É ¾ Æ æ U§ U « Ö z þ Ç + É ( F § Õ h ñ U Ù * U Í B Æ Í pq pq ° ò @ v ¾ U U ¬ & h ¿ U + É l A Æ Ê Z Ë Ì U ó ² & þ U È ô W à Þ , Å U ô ? > U D ° * : E t Æ õ ö h ñ ; Å U ñ Y X l 4 W à ÷ & , X h Õ A F ( Ñ + pq Z Ð p ? o @ · } ù @ ¾ ¨û þ pq 160 ﺎرو [ ] ] § z Û F ö æ r Ñü ú ¯ M ./ y z s U È þ ß Ì û ( o ü U È ñ Q q ý È î Y þ 8 h T, U z Ø ]Ä Q Ñ . þ q & n h X n Õ æ 5 n û Õ Ò j @ n Ó n & ö Ì n q · Ö & F ( ò ¦ F h @ ò q F h h ò F i h n È } @ V þ q q E j pq § J Ã ?µ C = F i! q V n Û U È n Ñ w + ? < Z Ï i! ´ ´ n Ð õ û § h Ø î < þ S Û h E @ U û n § û * ¬ Ç j ¾ 1 Û ( ij pq ê W j ¾ " * Þ ? n ¤ X "í r V " j ù 161 ﺎرو [ ] ] h Û ¬ n n i h ³ h n Y @ y h 1 U h h % A h w h n ß ü D ? A û iû n D ? A û ? ô ü æ Q n q V n ¾ U j á n q V Û h ö n V X @ i U ¾ M Ð > Ù E ¾ Æ J n r Õ Ð · } ù j ~ /U n : n % + n i ! µ ( i O m W Ë i " æ ( Û E ( # õ . h â $ Û A û # * iû & j Ô % n A û D ? þ . h â n ¾ ñ n ö D ? A í A û ô ' & û h . Û 0 h Eh â C h Ø ( { Î Â U n q V Y y Â < h » Ó h n ¤ Þ i! @ 162 ﺎرو [ ] ] Y pq pq ?Ù F ) Å X i S ( ° y U â Y % ? û Ò i! Í n Q ]^ * Õ ´ 3 ÷ E ¾ + ]^ " U È ? Ù Å n O à T, 4Ñ û C M n ß X ì U n ì Y Ð Ò q r P ä @ , n Â ÷ pP U i | x j n X j < <<< EEE û Ñ û - h z O E h k . j É h û ¹ h n ó n ó / 0 % O ½ 1h - . h 2 h û t w h A h 3 3 . j 4 ¾h hw 5 û 6 ¹ 7 ´ ¥ h ( Û E - a # û 8 ûh z Á n > û 9 Fh \ n v û ? ; A û D ? k A û e : D ? < A û D ? A û D 163 ﺎرو [ ] ]

H · j ) | pÇ U à r Å h ñ U & Ð ) = K ñ nY Þ y n X E Å D ¯ û æ . > ì F © " E t Ñ X û ñññ ? M{ ñ C i åæ M hMÛh @ @ A @ A B h C h K ñ C M i rh B h h Ö D E B F M ñ C i G n ú z f hß D ¹ H M ñ C i I @ J K v n ñ C M i F h 0 L . h ± B h h h n U * ñ C M i Í j M . 5 hò ? n ~ M ñ C i é h j n C h O h n 2 N ½ ñ i n & û D ? Û û U 2 E > Ð 164 ﺎرو [ ] ] D þ D D ?Ù S î y + D P ¥E t n * ? P n Y h @ y Xh n j $ Q p ] x j < { ? ; û D ? kk û : Ò + ? û D ? û D ? û û D R < R k û X j ô © y D n ß ü û Ñ h û - z O h S % O 1h - . h 2 h û t w h A h 3 3 j h h h 4 T 5 û W U V ¥ a h ( Û E - # û 8 û z X 4 V ì ï i Y ( < A h h h @ X ) ß 1 h ¾ 1 Z 0 D E ¦ i 4 n û û û F n j Uj ] V n X ^ 165 ﺎرو [ ] ]

| _ | 0 ` n | D | j T, h h c d e b > n + g - f V n & Ñ ) U È Â ò h Y i X j j E " U µ ` Ô D @ | x U 2 @ ê j 4 Z ¢ @ M n Â o k j õ & ß ]x l m | e Ô j @ U Í V n X + n } ) X @ , + U È n n @ Ë + n § ½ n Y ñ + o ) n 3, ( ¦ w n p n qh 2 h h A E r E 2 @ s h n Dh l v j n t u b Þ X w j ë R h , x W h \ Õ Í ¿ Å U @ ¾ U þ Ý Ù ¤ ± ¥ ñ # ¿ ¦ D Þ Ü Ü Ö Í þ q 1 ñ < U M Õ h U · ßj à § ¨ ¨ H Òj _ © ª o Ù ñ . ¨h Í þ « < ¬ ® A j µ T Â h Á w Ó

+++ ôôô +++ Ë e @ ï Í @ $ ¯ - ./ 6 ° ± d þ ð û z D ï z ð Ø jE @E D 168 ﺎرو [ ] ] î î ê z @ ü < 1 Í î ?Ù C M S n ß Y P î. M d ² C Ò n U Ä î î î î î î î Ë e @ ï Í @ $ ¯ jE @E d z î î î î î î î î î î

169

ﺎرو [ ] ]

$ ¢ Ì $ # E

THE ELOQUENCE & RHETORIC ARABIC LANGUAGE AND ITS UNIQUENESS

Abstract The Eloquence & Rhetoric of Arabic Language and its Uniqueness. The Arabic language has always enjoyed a unique status among the major languages of the world. It is a well es tablished fact that all languages of the world have evolved over a period of time through interactions of various communities and cultures. Each language has been influenced by other lan guages through a natural process of organic growth, where new words are added and old ones become obsolete. Arabic language has the exceptional characteristic of being almost frozen in time, after the revelation of Quran. It has maintained its grammar and vocabulary intact during last 1400 years. Another extra ordinary feature of this language is its magnificent eloquence and rhetorics in addition to the rich ness of vocabulary. For muslims, the most important aspect of Arabic language is that it is the language of the Quran, the Prophet (S.A.W.) and the Jannah (Paradise). The paper attempts to describe these qualities with evi dences and brings home the uniqueness and superiority of Ara bic Language. 170 ﺎرو [ ] ] ã Ç > n YZ ·) m c U 2 h Á n n > n Þ = < z ` r r < z ` = j F > r Ò ¯ 1 ëì ´ æ Ç U ¸ Ñ * F B í @ H p n ´ K n j y z ¥ i 7 F æ X Ç n · h Q < ¯ y n ³ x úÀÁ n ù í ´ ½ 5 X § Uj Ò ëì ¸ - . ¹ ñ º × w M n ñ ½ ¾ ñ ¬ % C F 5 ½ »¼ »¼ ¾ ¿ a »¼ _ n Y c ¹ ñ _ U À q F U ¾ é ñ j ½ ^ Á ¾ Ö U @ G ñ j ¡ j ± U u t y h n 12 Þ n j = > n U ¾ é X » n n j X S n n Â ëì 1 « ß n » 171 ﺎرو [ ] ] n ß ¸ Ã ? ¥ n ° z Uj Ä Û » Ó ñ n Ì i G n Ã ¥ X Y S h n n Ì n E Ô _ G ö n @ ñ û ì n t ^ n j Ò + | z / E Å× C w E C Ç ñ ñ û ¹ ñ ¸ [ w n F ù¬ ß j g h Q n Ù j X ß ^ X t È ° n q Þ í , + S n w n ¹ = Å Ì n É n ¹ = X i! ´ ¥ Ê n ÷ = X Uj . z Û n X ^ [ · n F ° h n · z Ë T Ò j Ì Í r Ò Ó T n X Uj Ì n Ù ¯ © © Ò Õ ¹ h § ¤ n ¸ | ´ Ý n Y © ¤ n 1 ëì { ¦ f ] Î ÏC | Ð Ñ 2 Ò Ó × ¦ M M â Ñ ü E . t Ó ! - Û ' a ¤ - E 172 ﺎرو [ ] ] { E ! Õ C Ô Ù ° È M d a « â G É i Y P Ó h j Ø Ö j GÖ × É É n j Ö j ù± j Ø Ù V Ö j ¾ Ù ù Ø ù j Ø X 4 j r * j Ø Ö j ¾ j G× i ^ j p j = ^/ U h j Ú , × j Ò ß Ù Û Å × i j i q 2 × Ü Ý ]^ n M f ¤ - ± - Þ ü ß Å à E º áÒ °E ! â ¦ M @ ? Q - ± n A ü ¤ ¤ Ñ a ¤ d ã E . t º Ò â - Û + n ß pq vX n s ° n j d Y P h r * q w j ? ä × n h ^ h V q v V i i ß Ñ j P Õ å a j æ © ¤ h U ¾ Ë ° ñ n j g E h Q U g h Ó n ·) m n j 1 n ^/ À g n ¾ @ d d b . h h n .î h î - . C B h ç b á¾ T T è T ´ ´ ³t w é h d q 173 ﺎرو [ ] ] é n Y P Á é n O ç T ° ¯ n F h ^ O ÀÁ j F Ì X ? O n E h û n ^ j ¤ i Õ E Õ ê d E · ¤ h é j ¤ j | h é ^ h n Vn é h Q ? d ^ = ë ? h F ä d n F ¤ n é n « ìF X 1 n j ? X ? n í . n = n h Ã ø = n g ½ î ¨ h C h ï j Ì UE X h W , © ¤ n ¾ @ ëì h h d -h . h A h h v s ò ? h h | a < Å U j X < d Ô q d " E w û h M Ô n d ³n h Uj C 1 ß q á n w U s < 1 « j Ô E w ù û ÁÂ ÁÂ X Ô n ì j X j 3 ß j U w G ñ Ã E Ñ s t ^ j * Ô d n @ 174 ﺎرو [ ] ] = e ¥ X N ^ [ Ì < Å = n Þ F ¥y K n j < N ^ À j " Í A " * E ô j ) ó à h E w F " N ^ [ Ì ô n ¾ i! ´ ¥ y K X Ö n i! ´ ¥À Á n n E n E y K ëì T ù ¥ i! ij T i! ´ ¥ U È N F î ³ ¥ Y â É ¾ 0 ¾ 0 ï I < < ºX h Ï Ù U ¶ ä F õ n Õ Þ h ä ´ i! ¤¥ q Ó E E n ¸ § ¥ Ìô Ö T n ° p ¥ X Ë Ì e w F i! ´ d n ù n = ¥ 2 V , Å ( V Ö n l& w n ùµ < õ h n Ì X ê Ø < Ø < i K â K zh ö Â ¯ n j z $ w y ( ? ô j <, U ÷ Z j ø h <, ¯ i R y i i j É w F h É < d U , 175 ﺎرو [ ] ] P â í ¦ { ÷ ñ h i! ´ ¥ Å $ × K Í Ã f ! E A e Ù ù ú û Ä ü Ó ® ý d ¹ £ Ù d K $ ¹ A ù þ Ø -. D Mâ »¼ pq pq Uj ü B * ñ @ _ Ë Ê Ó Ó n ¤ ? n F s * ^ « D E ú T Ê Ë Ö Ú Ë Â Ê û Qq l& û × ´ û ú Ç × ö ´ û q × n v 0 w¬ D E ö T ú × û ö D E ö N í X r , ¥ 4 l& ( Uj Q v 2 P j 5 j 8 ø ¾ U ¾ n Ù l& ¾ e ³ < = : n Æ Ù Î U = n 8 ç L 176 ﺎرو [ ] ] n Ó j y z n o z ` Å i! U È ( É > Å û ° û µ t -î y z U j X ë i! n ° h m P j Y i! n × Ë ×Ì 4 n n = = X 4 4 n Í n 1 ù V & n j qZ n j E Ë n E Ý Ó » ¸ T j U v n j ã ¹ X * Ó w Ì % X U ¡ ¡ » n é E h U J ¦ ¦ , ± n Ì Ì U ü j · D Å Û 12 pq j ° h Å U i v ij , Å h E º Q Ó õ " , t Ý á U U t ê n

IJIJIJ

177 ﺎرو [ ] ] v 2 ã Ç ·) m F U 2 h V n Ù g ÀÁ n r < z ` = n > n YZ v 2 Û 1 n : < z ` r ³ úÀÁ n Ý ¹ = > â ½ 5 X § Uj n j Ì X Ì = n n v 2 T n X Uj Ì h h ï N , Þ e ÀÁ n q Þ > e Å n ø i ¾ é ñ n > i n º P ä Ì ¤ _ n , n g % V û D E ú T Ê N N í , ¥ Ú Ë Â Ê û l& (

ZZZ à L Ë ) z jE _ û Â « @ · ¹ · * æz $ ¹ · * æ q 3 @ 3 @ $ z ] Â 3 û @ 3 Û Û 3 Ï . ± S â Q : C C

178 ﺎرو [ ] ] w jE - Û ' # jE Ý ]^ D ? A A û D @ · $ q ó ç A $ ç D ? D A û @ · $ q ó ç @ · A $ ç · . » z jE » § @ @ 3 @ $ z ] 3 û @ 3 ¡ » Û # { {D ë z $ âí ¦ ñ ÷ @ · S â - . z $ S z -. z P º $ ( z ` = ç L à L Ë z jE û Â «

179

ﺎرو [ ] ] å ? è g /0 å /0

UNPUBLISHED AUTOBIOGRAPHY ‘JO HUM PAY GUZRI’ A RESEACH AND

CRITICAL ANAYLISIS

Abstract Auto -biography happens to be one of the most im portant genres of literature. Urdu literature is replete with quite a rich storage of Auto -biographies. Auto -biography, not only, describes the life events of a writer; but it also encompasses the entire history of his age. Writing about one's .Own self is be lieved to be the hardest of crafts. Auto -biography is a blend of creative literature as well as other literature i.e. Political/ eco nomic/ geographic history . "Jo Ham Pe Guzri" 'is an auto -biography of a versatile intellectual writer Dr. Mahr AbdulHaq which is yet to be pub lished. This auto -biography not only encompasses his personal life. events, but the political, literary and cultural conduct of people in the back drop of twentieth century. The present thesis comprises of a research based critical study of this important document. 180 ﺎرو [ ] ] B @ h h 1 4 UG U ä h 8 D A Â J ¤ ! " A ñ n n ü ¤ U Y n % n ¤ n , i! Ç Þ ¬ Û U 9 Í( Y | U > e i! 2 ì T, 3Û U 4 n + i! ¡ ¬ * h X KL X M j @ T, ø h n X j j þ ð û þ ð û j þ ð û T i * § n « b , ? Ó _ n 5 } 2 þ ð û h P U ¨ h -ë ´ þ ð û û r Â A h + Å n Ó ¦ þ d n Þ X J É i j ¨ ´ @ h r E û n # r V n 5 q t V n | ë 6 7 ( n ì ü X 8 < Å n ì 5 j , X P q d 9 n Z F i E Å d ? n X ? Ó + d 181 ﺎرو [ ] ] Y yÍ 5 h A ä n Y : ) 5 d ] ñ d $ n ¤ y K Þ j Ù r d l 5 û L E ; H < 8 ´ * F < = = r $ É % < = F X r ª · h - ± D h h ¯ F ù1 b h n ° ^ h ´ h r i 9 d i Y Á > V J ¯ n h ° T U h r n ì æ w d i J þ ð û n ¹ Í j é m n q E r > n Ì d n j 1 h ? 4 S + r · E 4 × h r ³E ¬ Î j F ð û = V * r h E r n j Y Ñ · h ÀÁ F X Û n j ? q | | B | j º Y h n X r Å C j X ½ z ` j F r ëì < z v ij h n n q î. ° D < ì j F X E 182 ﺎرو [ ] ] ëì n îl& ; iá } < Å 5 | Ù E ? 3 G Å U Å ê À dc $ n ¥ j Z n h U 4 P b 3 4 n q + n õ q + ð Û D I S × n ì J r þ ð û X h n D T j ÀÁ j + É n j E j 5 c q n h T n < < J ( h F K - ¦ X h Uj ó ö Q h 9 n X = ¬ j n F T, Î Z ¾ L U ( h n n Å T, ±² ú . M U (N Í j O P g ] á Û . ö n Q j n Y 9E i h Æ } > A b , Uj q u q û Æ }û } Ú¬ R d v É q h jE M îl& ¬h W § 6 4 pq pq @ [ 9 U ^ d · Î F Æ S he ì þ ð û ¬ 183 ﺎرو [ ] ] W ~ 4 n s b n @ @ ä & ò ´ U È Ç ' P Þ i < Y 8 h d ¤ ¬ É ( î k û h < n ® E i ª @ « Å + n ( ê ½ Õ }û } V ( @ X ï h ß h ^ @ i U ` U ( b - @ h « n < Ë É n É R Ã T T ( n T j Ä R ø x É R j É î j Ë Â m ¥ í ¾ W T Ò T Z , T ° T n Ù b n É R T Í n o 9 T ¤ 34 % û µ d j ¸ û µ V n 34 ÀÁ n X [ U + @ T, n À X Æ }û } n j R t Ó = W q " q Ð , n ê n î + \ Î X _ b õ g + 184 ﺎرو [ ] ] ^ , ] b , ¾ P ? Ó pq g Ã × . g _ U 12 c n P V W F ^ © 34 { æ t M }Ù h Ó F Y UÖ ¨ á ¼h M í* h `X M ¾ 5 º| | U Uj a q W p ° W h ? Ó © 34 W ^ > W ] ? Ó n ? Ó ^ U 6 U ] ] ] û 34 d 0 , UG cij @ h û U È ( ? Ó ^ , ] F d n * ô n k T, d h ] W T W e ¡ " ? Å n h ^ T f ¾ æ ] 34 h ? Ó ' ] n g q æ ] hi h âÓ W d Õ X ¯ W w q É ð q + ./ q ( D @ i W X ] À ½ ú $ j @ ½ ] < + \U 4 @ l k n Y b , ] a l h ] É 185 ﺎرو [ ] ] b n ß Y ã h ¨ Y ~4 · j F . n E U m n û h U í 34 U ] i Ì " ¡ c ( º ê Ù © ] Ö ] F + ´ d n ß @ ß I ¡ @ nY I 2 2 U i q R r ( ß Î X h P i R i h > g 2 q â q ? Ó j E t W ^ $ n ³ g hi h 2 âÓ Ó U ½ 0 P ¬ 5 n | n ß j n _ $ V z ` j J g ô $ n j í* $ è Ñ Ì Ì ] h · · q Ç j ù s ½ o ¾ 0 ( 4 ü w ? É ^ / p ú ? ( o h ( ° 3 h h Â ( ¬ " j C h Â < t E < E h Q ( ß ü ÀÁ É 5 Æ E ü Â n Æ Ì + ¾ È ? n q A r V 2 ¬ v h Ct û $ ½ Y d ( % ? Ó j E ¬ h Æ Ö ü s ' = U ¬ n > 186 ﺎرو [ ] ] T T ? Ó ? @ z Q t l ú Ò Ò t R ß A U n A q u v = n õ P + v h h ò È n j ó ¤ 3 Ø w n Y X Ìú ¾ Û U T U ¤ õ P X + º ¶ ) ¾j x È çè q r z m q R ¤ F ( yz h É r Ù ¾ ¨ ¶ ( { Þ ¿ ` ± | j e M . X ( 5 Ç U ] } í M < g æ X ¥ v ç Q ÷ V ~ } & T e k q ë õ E ( º k Ö } < h < } í l X ê ß j R õ ú X P v h ü Y 5 R j k B @ _ | ? R P h · Ã U t H j È R < 1 U ¢ Ì » @ ) % % . X ( ¢ Ì æ U . Y á d j F X ¯ U È n pv É Q ^ n + 187 ﺎرو [ ] ] X vE l pq pq & 2Ø J ²l ij Q ~ n j ) h n »E ü þ ð û ¸ a ¬ n d ) D m ' d n E Ch ( , X j h « U pq pq · } ù ½ ) = 3 ñ E y 3 ÷ æ E · + @ q ò r Z ñ 9 U ñ 2 , ? ñ n > h E X h 2 j h E · } ù g îl& n X P ? Ó R pq pq n ß Y g n X ´ # R j b , V n Q n j E H Í n P + n · } ù R w F n ß Y X h âÓ ô` Ñ y R pq

+++ â y jE d ä å î · jE d D r Ï r û L E 188 ﺎرو [ ] ] · D o k Ý > V · z ð Í j jE é E » c » P Ï à ß 4 P , · c × 4 î î î î É £ d ? ð h jE 4 ñ

189

ﺎرو [ ] ]

POST MODERN STUDY OF THE NOVEL “PALOTA”

Abstract The post modernism is a unique philosophy treated in the language and literate of many languages. Along with other languages the scholars and writers of siraiki language is also depicted the post modernism in many and multi dimension. Ba sically the post modernism is a condition which alose many things cultures a psychological condition, aesphicits and social values to interpret different happenings, a siraiki novel palota different social values are depicted in this research papers we have pride to analyse the same. This article basically focus on the post modern condition treated in the novel palota. ( ¦ t : § U V n § . t = ? n 9 j " ¾ % = ? n j ? n 9 j Ó 8 É y U Ãh v^ ( y 8 v^ © ( Ñ h ¾E Ö ( Ê h Ã _ , Ã À n UE < P Ã d h Ãî W h Â 190 ﺎرو [ ] ] d U à ^ n º j Ö ß 8 v^ Ã¾¯ ° h m ß - Y Ì Ë U ¾ j @ j k U z * pq pq U V } k Q . j U g Z m i U Õ ½h j j q É " ¾ § Ò h Z ½ÒE h T j = < j 5 ?& j w = < ¡ ü ?& F 3 2 n 3 2 n E¥ ¢ h 2 Ú £ ü & X ¡ h n j Ù d n F F 4 n = < Â R : ü h 2 2 n & n w m . ? ij ² . ? R Y ? ? î t R n F n n j j F h 2 2 n s H " Ì j T, g V n ³ ¤ ¤ < h q R n ¨ Y n j Y n ß à ^ n ß w y h n j ü h u U É j ? 191 ﺎرو [ ] ] ± j j }Ù i Ñ Å YZ q Þ n ° ñ F n ¯h Ñ Å n n j " j d n j k n j Ñ t ¾ È ¦ n h Ø^ U ( n ¨û R g n § ¨ R n X © R L n à = pq d h l ð ùÅ j q Þ ¤ ª f U § ½ a « C ¬ ~ j w ã ~ Â h ® <, E h < K¬ L% ¯ Õ ° ± g K% O Û < ~ , < ² < ¬ î. T Â D d H ³ h ´ h $ < µ U U > Uj I¬ d × q ¶ Û ( D X ® Â Å pq d ( h F · Ã ¸ = U Æ ij < T ¹ Å U = R i F = X ³t þ ¯ n º l C Ë t l < q j © Y » C h j N Í h Á \ í h h f U ¼ h U < ' C ½ ë » / U ½ \ í j l ( Å ¾ ^ d × q d ( j F N Í h W n h C ô R U (n j » 192 ﺎرو [ ] ] n q ] b q n Y g b l j g Y C C W n ¿ ¤ ( ¨ ¨ E W t W n j " ij L. À d Á C M < C ( hÃ ./ Â d × q d M í Ä h ö ¾ U n O · ? ? n ß < ? j á ? Å h Z Å Æ ? Y h Å U V ? 4 ½ j d ß j v^ n j E > ? § $ ^ * E Å h n j y z n P * æ n ¤ Ù g E n j X s Y n j T, s s j ¿ q Å j Û º · J n 2 Þ l j s ( J ( d ( O ( O X Ö Z É ¹ É d × q

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+++ jE © L ºh » K ¹ \ » ? ×z ¤ ¨ ¤ ¤ ¨ ¤ ¤ ¨ ¤ L L. ¤ d ù ? d ? Ï Ì ¤ ¨ õ ö ÷ ø ¤ ¤ ¨ õ ö ÷ ø ¤ ¤ ¨ õ ö ÷ ø ¤ à á â y jE & Ã ¿q h ¿q H " Ï ? H " ö . Ï , ¤ ¨ õ ö ÷ ø ¤ ºh » Ï ] b N Õ » Ï e Z ºh 197 ﺎرو [ ] ]

ENGLISH SECTION

198

Recognized by Higher Education Commission KAROONJHAR

Bi-annual

[RESEARCH JOURNAL]

ISSN 2222-2375 VOL:10, ISSUE 18, JUNE 2018

Editor Dr.Inayat Hussain Laghari

DEPARTMENT OF SINDHI Federal Urdu Univesrity of Arts, Science & Technology, Abdul Haq Campus, Karachi, Sindh, Pakistan.

Patron in Chief Prof. Dr. Syed Altaf Hussain Vice Chancellor, Federal Urdu University

Patron Prof. Dr. Muhammad Zia-ud-Din Dean, Faculty of Arts, FUUAST

Editorial Board

Prof. Dr. Alamdar Bukhari Dr. Jetho Lalwani Ex: Director Sariki Area Study Center. Madhar Van, Aditya Banglows, Nobel Bahaddin Zakria University of Multan. Nagar, Ahmedabad-382340, India.

Prof. Dr. Nawaz Ali Shauq Dr. Parveen Talpur Professor Advisor, Shah Abdul Latif 03330– Old Vestal Road, Appartment-1, Bhitai Chair, University of Karachi. Sissauga, Toronoto, Canada.

Reviewers Committee

Dr. Murlidhar Jetly Prof. Dr. Muhamad Yusuf D-127, Vivak Vihar Khushuk Dean, Faculty of Social Sciences and Prof. Dr. Khursheed Abbasi Arts Shah Abdul Latif University Khairpur B-178, Block-3 Saadi Town, Karachi. Prof. Dr. Adal Soomro Prof. Dr. Anwar Figar Hakro Waritar Sukkar Chairman, Department of Sindhi, Sindh University Jamshoro. Dr.Aftab Abro 404, Rafique Center, Abdullah Haroon Dr. Muhammad Khan Sangi Road, Saddar, Karachi. Director, Institute of English Language And Literature, University of Sindh, Prof. Dr. Abid Mazhar Jamshoro. Islamic Arcade, near Samama Shoping Center, University Road, Karachi

KAROONJHAR [Reseach Journal] Romana Jabeen Bukhari Assistant Professor,The Department of English Language and Literature, The Government Sadiq College Women University, Bahawalpur, Pakistan - Dr. Tahira Asgher Assistant Professor, The Department of English Language and Literature, The Islamia University of Bahawalpur

A TRANS -CULTURAL FEMINISTIC STUDY OF TESS OF THE D’URBER- VILLES AND THE HOLY WOMAN

Abstract This trans -cultural study aims to examine two specific texts to crystallize the suppression and marginalization of women in societies and cultures where patriarchy subordinates’ women so much so that even their sexuality is defined and controlled by it. The researcher selected two writings from two different writers and diverse cultures i.e. Thomas Hardy’s Tess of the D’Urbervilles, which portrays the plight of women in Victorian England and Qaisra Shahraz's The Holy Woman which shows the subjugation of women in twenty -first century Pakistan. This qualitative study makes a comparative analysis of the female protagonists whose sexuality is controlled by the patriarch through rape and forced marriage respectively. The study also throws light on how female sexual charms, an important aspect of female sexuality, are defined and highlighted in the discourses of patriarchal cultures viewing them with only male gaze and depriving them of an identity of their own. The theoretical insight of feminism is used as a tool to analyze data. Through the discussion of these sexually exploited characters, the study concludes that the female sexuality is the site where male hegemony reigns supreme. Key words; patriarchy , marginalization, sexuality, rape, forced marriage, male hegemony

3 A Trans=Cultural Feministic Study of Tess — KAROONJHAR [Reseach Journal] INTRODUCTION Sexual exploitation of women assumes a major form as sexual objectification in which women are treated as a sex object only. Fredrickson & Roberts (1997) analyze how in a socio -cultural context, the experience of being a female as a sexual object can be understood. In addition, these researches urge psychologists to investigate issues of oppression under patriarchal hegemony at interpersonal and institutional levels. They demand social justice for exploited women and communities (Speight & Vera, 2004). Fredrickson & Roberts (1997) observe that many women are sexually objectified and treated as an object. Their value is assessed through its use by others. Sexual objectification implies that a woman’s body and her physical parts are separated from her as a person and she is looked upon basically as a physical object of male sexual desire (Bartky, 1990). Many women also face more extreme forms such as actual sexual victimization i.e., rape, sexual assault, and sexual harassment besides these everyday commonplace forms of sexual objectification, (Fredrickson & Roberts, 1997). for example, Fisher et al and White et al calculate that one in four women have been victims of rape or attempted rape, and more than half of college women have gone through some sort of sexual victimization(2000; 2001). Society views a sexually abused woman in a totally different perspective than before she had been preyed upon. She is scandalized as an object of gossip. The whole blame is put on the woman and the perpetrator of the crime is let free of charge. So there is duality of moral standards for men and women (Hera Cook in Clark, 2006, p. 57). Our society also does not mete out justice to the victims and regards women who are sexually victimized with con- tempt. According to Clark (2006) Sexual violence in Victorian England was considered a crime, not against the victim women, but a crime against the fathers and husbands. Midwives were directed by law to report pregnant women without wed-

A Trans=Cultural Feministic Study of Tess — 4 KAROONJHAR [Reseach Journal] lock. These unmarried women were forced to reveal the name of the father of the child. Failing which, such women were im- prisoned. In England and Scotland, 'unwed mothers faced hu- miliating public punishments, such as standing in front of the church in sackcloth and ashes (Clark, 2006, p. 60). Another form of female sexual control by society is forced marriage. Sindh is one of the important provinces of Pa- kistan which is strictly patriarchal where there are strict re- strictions on the female behaviour. Sindhi society links family honor to female virtue. Therefore, men construct the roles for women in order to maintain their honor with practices like ka- rokari, vanni, haque bukhshwai. The Sindhi society is particularly dominated by the feudal patriarchs in the rural areas of Sindh where women are subordinated by several factors that hinder their development. One of these practices is haque bakshwai. Khan (n.d.) comments on this practice in which a woman is forced to marry inanimate and holy objects like the Quran or even a tree. This practice, according to him is called 'haque bakshish' which means to withdraw from the right to marry. This inhuman practice usually runs in the families of feudal lords whose purpose is to stop the property from being transferred out of family hands at the time of marriage of their daughter or sister (n.pag). In a report titled 'Married to the Quran' in the Pakistani weekly newspaper The Friday Times, it is mentioned that according to a news published in TheKhabrain, many feudal lords in Sindh had married their daughters and sisters to the holy Quran. A ceremony wasorganized after the girl of the family was asked to take a bath. The holy Quran was put before her and the menfolk asked forgiveness of the girl as she would be condemned to a life of celibacy after this ritual in which she would read the Quran every day. In Sindh, ex -minister Murad Shah’s sister and two daughters, MPA Shabbir Shah’s sister, three daughters of Mir Awwal Shah of Matiari, daughters and sisters of Sardar Ghulam of Mahar tribe,of Sardar Dadan and Nur Khan of the Lund tribe, and the daughters of the pir of

5 A Trans=Cultural Feministic Study of Tess — KAROONJHAR [Reseach Journal] Bharchundi Sharif, were all married to the Quran. All this was done to secure the share of the land which was to goto them. In this way, the feudallords preventedthe redistribution of land (Mazhar, 2003). Kidwai and Siddiqui (2011) report Qaisra Shahraz's remarks on this practice in her interview with Sami Rafiq, 'It is based on the premise of subjecting women to a life of celibacy and religious devotion. It is totally un -Islamic and I make this clear from the start in my work and at various other points. A custom related to economy - purely to keep the land in the family' (p. xxx). This sexual control of women has prevented them from devel- oping their full potential as human beings and denied them their rights of independent choice and authenticity.

LITERATURE REVIEW Many theorists such as De Beauvoir (1948, 1956), Showalter (1981), Braidotti (1994) , Grosz (1995), Butler (1993), and Bordo (1993) have expressed their views regarding the sexual control of women . Their insights serve as a background support for my article and provide the theoretical lens to perceive the texts. Bordo calls woman a politically inscribed entity, controlled by patriarchy '… from foot binding and cor- seting to rape and battering to compulsory heterosexuality, forced sterilization, unwanted pregnancies' (p. 21). Braidotti calls female body 'a culturally coded socialised entity' (p. 238). Grosz (1995) finds the famale bodies as 'inscriptive model . . . marked, scarred, transformed and written upon or constructed by the various regimes of institutional, discursive and non discursive power as a particular kind of body' (p. 33). Butler thinks that female roles are often acted out under the force of society: 'Performance is not a singular act or event but a ritu- lized production, a ritual reiterated under and through con- straint, under and through the force of prohibition and ta- boo…' (Butler, 1993, p. 95). De Beauvoir (1956) believes that a woman's position in

A Trans=Cultural Feministic Study of Tess — 6 KAROONJHAR [Reseach Journal] society is marginal. She investigates the ways through which women are exploited. She is exploited through the lies of 'love, devotion and the gift of herself' (p. 677). She observes that man subordinates and exploits woman by cotrolling her sexuality. When she becomes an adolescent, the father has 'all power over her', he 'transferes it in toto to the husband', when she gets married (p. 107). In the patrilinial societies, she becomes a man's property. A women is a 'perpetuate minor' who is treated like a commodity by her guardian who is either a father , a husband or the latter's heir, and in the default of these, the state. These guardians could transfer their rights at will, as a father gave his daughter in marriage or a husband gave her over to a new husband (p. 111 -112). Thus a woman has no control on her sexuality. The views about sexuality have been changing as they suit- ed the patriarchs. The matters regarding her preference in marriage, childbirth are solely decided by the patriarchs. Commenting on the stereotypical role building of women which is another form of exploitation of women, Showalter (1981) remarks that the term women's sphere implied that in the late eighteenth and nineteenth centuries, the roles, activities and behaviours of women which were thought as appropriate for women were quite distinguished from those of men. The Victorian and Jacksonian ideal had separate roles for the both in which women were subordinate(p. 198). She thinks that women's role in society is to pay attention to her dress, to apply make up and the art of coquettry to hold their husbands. This case accentuates women role as an erotic object, a sexual partner and a reproducer (Showalter, 1981, pp. 84 -85). There is no escape away from the traditional feminine world. The support women need to be the equals of men in the concrete sense is accorded by neither the society nor their husbands (de Beauvoir, 1956). Showalter's idea that a woman's sphere is different and her position is subordinate in society is quite relevant and proves how they are dictated to behave in a way approved by society and any breach of these social norms entitles her to be called a wanton or fallen woman.

7 A Trans=Cultural Feministic Study of Tess — KAROONJHAR [Reseach Journal] RESEARCH METHODOLOGY This study is a comparative analysis of two female protagonists. It is designed on the qualitative pattern in which the extracts from the primary texts have been used as data, and secondary sources like critics' books, journals and web sources will consolidate my point and the existential feminist insight will be applied to orient my viewpoint side by side. My study assumes that society is patriarchal where super structures like religion, law, education and economy etc. are under male control. Therefore, in patriarchal societies women are marginalized and consequently sexually exploited. To prove my argument that women are sexually controlled by males, two novels have been used for analysis. 1. An English novel Tess of the D'Urberville by Thomas Hardy depicting Victorian England. 2. A Pakistani novel The Holy Woman by Qaisra Shahraz reflecting 21 st century interior Sindhi culture in Pakistan. The argument is applied on the female protagonists from the prescribed novels: Tess Durbey field from working class of Victorian England in Tess of the D’Urbervilles and Zarri Bano from feudal class of Modern Pakistan in The Holy Woman. Close reading and observation have been applied to col- lect data. Relevant extracts from the prescribed novels in the form of dialogues or situations have been selected as data for analysis. The researcher has highlighted those areas of the prescribed novels which are related to her point. With the help of close reading and observation, the textual evidence has been col- lected and analyzed. Besides the researcher has incorporated secondary sources such as library books and journals containing critics and theorists views and web sources like online books, articles, review and web pages etc. to support her analysis of data. For the discussion of exploitation of female protagonists, comparison and contrast technique has been used. The feminist views of de Beauvoir and insights of Showalter, Braidotti, Bordo, Grosz and Butler have been applied to further prove the thesis.

A Trans=Cultural Feministic Study of Tess — 8 KAROONJHAR [Reseach Journal] ANALYSIS Tess D'Urberville in Tess of the D'Urbervilles is a sexually targeted character. Tess' sexuality has been highlighted throughout the novel. It appears as if the narrator himself is in love with her physicality and makes use of a 'voyeuristic gaz- ing' (Widowson, 2010, p. 69) in describing her female charms. In the club walking scene, the narrator emphasizes her pouted up deep red mouth which had not yet taken its definite shape. He notes her habit of thrusting her lower lip on the middle of her upper one when they met together after a word was uttered (Hardy, 1978, p. 52). This habit of her became almost an allure when she grew into a woman. For young man with even the least desire, that little upward push in the middle of her red upper lip was maddening. Her lips and teeth brought to mind ‘the old Elizabethan simile of roses filled with snow' (Hardy, 1978, p. 209). In her first encounter with Alec, he looked at her as he spoke, in a way that made her blush a little. She is report- ed to have an attribute which is a disadvantage for her. She is much overgrown than her age, 'and it was this that caused Alec D'Urbervilles' eyes to rivet themselves on her. It was a luxuri- ance of aspect, a fullness of growth, which made her appear more of a woman than she really was' (Hardy, 1978, p. 82). Brady (1999) notes many responses to Tess 'that focus on the violence performed by the text on the heroine's body' (p. 102) and again one common notion in Hardyan narration, that is, ‘its focus on women and on female bodies' (103). Millgate (2004) quotes the words of a reviewer who was later recognized by Hardy as George Saintsbury,' . . . that Tess' sexual attractions were too much insisted upon . . . (p. 294). In that famous para- graph, when Tess is just woken from her sleep, this physicality reaches to its highest. When she was yawning, the red interior of her mouth was visible. The narrator compares it to that of snake. He notes the satin delicacy of her hand arching above her coiled -up hair, her face flushed with sleep, and her eye lids heavy over her pupils. 'It was a moment when a woman's soul is more incarnate than at any other time; when the most spiritu-

9 A Trans=Cultural Feministic Study of Tess — KAROONJHAR [Reseach Journal] al beauty bespeaks itself flesh; and sex takes the outside place in the presentation'(Hardy, 1978, p. 231). Boumelha (1982) compares Tess's sexuality with Har- dy’s other heroines and remarks that Tess' exceptional physical nature dooms her as it arouses erotic responses from men. She is bound with male images like Angel visualizes her rustic in- nocence while Alec finds her proud indifference so challenging (p. 125). Tess' sexual exploitation and finally her rape are closely linked with her economic deprivation. Alec D’Urber- ville embodies the physical threat to Tess. When he first sets eyes on Tess, he views her as a possible victim of his sexual desires. So, he decides to take advantage of her simplicity and naivety. She refuses his offer to drive her home as she ' had never quite got over her original mistrust of him . . . ' (Hardy, p. 109). He takes undue advantage of her insecurity, and mis- leads her through Chase where he takes possession of her helpless and lonely being. Due to the apparent taciturnity of the text, the critics are divided whether the incident at Chase is a rape or seduction. To me, this episode is a proof of patriarchy's efforts to control and possess women's sexuality through the superior force of maleness. Tess' helplessness is symbolized by the drops of tears lingering on her eyelashes (Hardy, p. 119). Widowson (2010) calls ambiguity of seduction or rape about his 'pure heroine' and about marriage, separation, bigamy, extramarital relations as a sign of Hardy's being recast in the mould of feminist thinking about sexuality and patriarchy (p. 75). We can diagnose Tess' case. At the time when she is sent to Trantridge, she is just 16 years old, only a minor in the definition of law. She is grateful to Alec for providing her a job and her family a new cob and the children some toys but she plainly makes it clear that she does not love him and does not like his amorous advances towards her. Besides when Alec re- turns, she is asleep like a tired, innocent child (Hardy, pp. 117 - 119), a clear proof of her not being a participant in the act. There are many occasions before the Chase incident when Tess

A Trans=Cultural Feministic Study of Tess — 10 KAROONJHAR [Reseach Journal] resists his advances. For example, when Tess rejects a kiss from Alec by wiping her cheek with a handkerchief, hethreat- ens, 'You shall be made sorry for that . . . Unless, that is, you agree willingly to letme do it again and no handkerchief' (Hardy, p. 97) or during the ride through the Chase, she pushes him back fearing that he was taking undue advantage of her drowsiness, he shouts at her, 'What am I, to be repulsed so by a mere chit like you?' and asks her authoritatively ' Will you, I ask, once more, show your belief in me by letting me clasp you with my arm? Come between us two and nobody else, now' (Hardy, p. 115). Therefore, it is always Alec who is pursuing and forcing Tess into compliance of his desires. Ged- raitis (n.d.) analyses the incident in the Chase in the light of the legal definition of seduction and rape, and proves through evidence that Tess, being asleep is unable to show either willing- ness or consent. He contends against many critics that consid- ering Alec as Tess' master would be stretching the text too far and maintains that text itself argues for Alec's role as master and employer in the workplace. His efforts to forcefully domi- nate Tess, fall under the sexual harassment paradigm' (p. 4). In addition to this there is evidence in the text that Alec has a history of being a sexual exploiter. Tess' confrontation with Car Darch proves Darch's intimate relation with Alec when she as- serts, 'Ah, th’st think th’ beest everybody, dostn’t—because th’ beest first favourite with he just now! I’m as good as two of such!' (Hardy, p. 111). So, the reader comes to know Tess is not the first victim Alec has preyed upon. Fowler (n.d.) analyses the scene soon after the rape in which Tess has an encounter with a Biblical text painter. He considers her fear at the footsteps of a stranger, her query of a sinful act that is not one's own seeking, and her loss of faith as a sign of her being violated against her will. He writes at the end of his article that like literary doc- tors, we can analyze Tess' case that she has been violated in the most wicked way and is unable to process the whole data, as most people do after a horrible mishap. This, therefore, proves that Tess has been raped and not merely seduced.

11 A Trans=Cultural Feministic Study of Tess — KAROONJHAR [Reseach Journal] When Alec meets her at Flintcomb Ash, he at once realizes that Tess is vulnerable economically. So he asks her about her poor economic condition, hinting that it was harder than when she was with him, harder than she deserved (Hardy, p. 393). Thus, in the apparent guise of sympathy with Tess and her family, he has his self -serving motives. He persistently fol- lows her trying to temp her into surrendering her sexuality to his base desires. In this regard, he offers to do something for her and for her entire family. Tess's answer to this is very logi- cal. She asks him not to mention her little brothers and sisters to make her break down. If he wants to help them, as they most need it, he should do it without telling her. But a bourgeoisie like Alec cannot make a bad bargain. He waits till Tess reaches the margin of her forbearance. Gregor (1974) has discussed Hardyan characters from two levels of depiction: as a human being and as a tool in the narrative. The substitute title he suggests for TD is very interesting: Poor Wounded Name: Tess of the D'Urbervilles . He notes that Alec presents to Tess a sense of power. As her economic and sexual exploiter, 'Alec D'Urberville enters the field, now wholly intent on winning Tess back to him, having abandoned his preaching and re- sumed the old jaunty guise under which Tess had first known her admirer' (p. 193). When he finds out that Tess and her family have been turned out of their father's property, his voice has the undertone of victory over a breaking strength. Nemes- vari (2002) draws a comparison between Claggart and Alec and concludes, 'Claggart's attempt to ruin Billy through his false accusation of sedition is much like Alec's attempt to ruin Tess through his relentless and forced seduction; each seeks to encompass the object of his desire as a way of controlling the response the object evokes, and of demonstrating power over her' (p. 89). Thus, Tess succumbs to the sexual desires of Alec to save the other members of her family, particularly Liza Lu from falling a prey to such fate as hers. Regarding the loss of her identity and being labeled as a kept woman, Gregor (1974)

A Trans=Cultural Feministic Study of Tess — 12 KAROONJHAR [Reseach Journal] observes: 'Tess is to accept this division within herself to such an extent that when Angel meets her at Sandbourne, he feels that her original Tess had spiritually ceased to recognize the body before him as hers'(p. 194). In the light of above discussion, it is evident that first Tess is raped and then she is seduced to live with him for a few weeks more as she does not have the means and heart to leave her family in trouble. Like- wise, Alec uses economic excuse to win over Tess for the second time. In both cases rape and seduction are the different forms of sexual exploitation of Tess. Though Qaisra Shahraz is a female writer but she has not been able to resist the temptation to exploit female sexuality in order to attain popular approval for her creation. That is why Zarri Bano's sexuality in The Holy Woman has been utilized on more than one occasion. In the beginning of the novel, Zarri is the focus of Sikandar's male gaze who finds her in an elegant black shalwar kameze, with a matching black chiffon dupatta which was casually wrapped aroundher shoulders. It was forming a verybeautiful frame for her stunningly gorgeous face (Shahraz, p. 12). Again when Sikandar comes to meet Zarri in order to convince her to resist the decision taken by her patriarchs, she is presented sitting in her lawn in the most casual way. Her long wavy hair was around her shoulders and without dupatta, she felt herself bare. In order to shield herself from his eyes, she held one arm against her breast and put the other on her cheek, but Sikander's eyes were everywhere. They were focused on her face, then moving down her creamy white throat, they slid down her soft feminine curves, her half naked arms and finally her touseled hair (p. 122). Later in Egypt when her privacy is invaded by the sudden arrival of Ibrahim Musa, she is similarly the centre of his gaze. His eyes focused on her slim figure showed off by the cut of her red dress and 'without her burqa, she felt naked under his gaze. Her back throbbed imagining his male gaze roaming on it' (p. 203). The most sensual and sexualized image of her is given when on Ru- by's mehndi, on Gulshan and other women's request, she danc-

13 A Trans=Cultural Feministic Study of Tess — KAROONJHAR [Reseach Journal] es: ' Slowly her arms, hands and legs began to sway in graceful fluid movements around the circle. The shahzadi ibadat was forgotten as her body remembered how to weave magic in movement and rhythm' (p. 248). And all the while Sikandar was watching sitting hidden in the shadow at the far end of the hall. Imtiaz and Haider (2011) also note: 'The central character is represented initially as an exotic maiden represented in terms of her body parts. (p. 14). Zarri Bano's sexuality is not only utilized but it is defined and controlled by patriarchy. Though she has accepted Si- kandar's proposal, her sexual life is determined by her father who announces that there will be no marriage for her. He will not allow her to marryv Sikander or any other man ever (Shahraz, p. 80). Thus, exploitation extends to authority over her sexuality which is controlled through tradition and she is forced to become a holy woman through the ceremony of haque bakshish. Imtiaz and Haider (2011) remark: 'The sexuality of Zarri Bano is controlled by attaching the concept of hon- or, izzat and asmat with her . . . the concept of honor demands a complete negation of sexual desires on the part of the woman' (p. 13). The Holy Quran is used to ensure the control of sexuality of Zarri Bano so that if she tries to revolt, it will be taken as a breach of her faith. Habib Khan is a feudal lord who victimizes his daughter by marrying her to the Holy Quran. Zarri Bano's education, status and feministic leanings cannot save her from this miso- gynistic feudal tradition and her life is no different from many other illiterate and poor women. Engles (2008) links the lot of woman with the the history of the private property, a calamity thatv initiated patriarchy in place of matrilinial regime, and enslaved women to the patrimony. He remarks that even in the countries where children are 'legal heirs to their parents' property, and can not be disinherited . . . like Germany and the countries under French law . . . the children must seek the consent of thier parents in the matter of their marriage. In the countries under English law, where the consent of parents is

A Trans=Cultural Feministic Study of Tess — 14 KAROONJHAR [Reseach Journal] not a legal requisite, the parents can, if they so desire, cut their children off with a shilling' (p. 79). He believes that the indus- trial revolution was the counterpart of that loss of rights and would lead to feminine emancipation. Thus, Zarri Bano is forced to give up her right to marry, comply with her father's wishes and marry the Holy Quran. If she persists on her right to decide her future, she would be termed as a wanton woman. Vogt (2010) views this deprivation in the light of western concepts of freedom: 'A reader with a western background would probably also feel sorry for Zarri Bano but mainly for the lack of freedom she has' (p. 41). For her the denial of freedom to choose how one wishes to live is more tragic than the denial of matrimony and motherhood. In either case, female sexuality is curbed. Habib attacks Zarri's sexuality to make her comply with his desire of making her a holy woman. Kidwai (2011) calls the patriarchal notion of hon- or a sheer hypocrisy because of the double standards of males on sexual issue. He remarks: 'As Habib fails in all of his attempts to persuade his daughter, Zarri Bano to don the mantle of the holy woman, he eventually resorts to the effective tactics of shaming her, alleging that she needs a man in her life, as she speaks her mind about marrying Sikander' (p. 93). The initial hint of this sexual repression is visible when Jafar reprehends his sister for not covering her head. It takes the extreme form of her being made a holy woman condemned to a life of celibacy and denial of motherhood. Shahzada is also grieved over this unjust suppression of her daughter's sexual being. She la- ments that her daughter would remain forever barren and child- less, she will be denied the joys of motherhood. Her arms would never know the aching joys of holding a new -born child to her breast' (Shahraz, p. 70). Zarri Bano's forced marriage to the Quran exposes the ugly face of feudalism which exploits female sexuality to safeguard its interests. To sum up, in all the cultures, women have faced exploitation in every sphere of life. Law and religion are manipulated. Besides, the factors like love, duty, devotion, honour and

15 A Trans=Cultural Feministic Study of Tess — KAROONJHAR [Reseach Journal] spirit of sacrifice is inculcated and indoctrinated in women's mind which makes them an easy and willing prey. Specially sexuality is the site where males have tried to establish their monopoly.

CONCLUSION Women are controlled sexually as well. This hegemony extends from the exploitation of their physical charms to the actual control of their sexuality ranging from rape to forced marriage. In both the novels, the researcher has proved through evidence how the narrator highlights the physicality of the female protagonists. Even a female writer like Qaisra Shahraz has been unable to resist this popular trend of exposing female sexuality. The physical charms of Tess (Widoson, 2010 Brady, 1999, & Millgate, 2004) and Zarri Bano (Imtiaz & Haider, 2011) confirm my point as to how female body and its charm are highlighted. The study has also proved that female sexuality is controlled by society as decisions about it are taken by patriarchs in general. Tess is persistently chased by Alec. Wid- owson's (2010) opinion and particularly Gedraitus's (n.d.) investigation who analyze Tess' rape in the light of legal definition of rape and seduction, and Fowler's (n.d.) analysis increase insight on this issue. Tess's rape and then seduction by Alec testifies to the fact how much female sexuality is dominated by males. Zarri's forced marriage to the holy Quran is materialized despite her protests and protestations of independence (Engles, 2008, Vogt, 2011 & Kidwai, 2011). In the light of these in- stances, there is no denying the fact that female sexuality is defined and controlled by society which is, as I have mentioned earlier, synonymous with male hegemony. Women's sexuality is the site where male hegemony reigns supreme. It extends from the exploitation of their physical charms to the actual control of their sexuality through sexual harassment, rape and forced marriages.

A Trans=Cultural Feministic Study of Tess — 16 KAROONJHAR [Reseach Journal] REFERENCES 1. Bartky, S.L. (1990) Femininity and Domination: Studies in the Phenom- enology of Oppression . New York: Routledge. 2. Bordo, S. (1993) Unbearable Weight: Feminism, Western Culture and the Body . London: California. 3. Boumelha,P. (1982) Thomas Hardy and Women: Sexual Ideology and Narrative Form . Sussex: The Harvester Press. 4. Brady, K. (1999) Thomas Hardy and the matters of gender. In Kra- merD (ed) The Cambridge Companion to Thomas Hardy (pp.93 -111) Available at: https://livreordie.files.wordpress.com/.../thomas -hardy -and -matters -of -gender.p... (accessed 10 July 2014). 5. Braidotti, R. (1994) Embodiment and Sexual Difference in Contempo- rary Feminist Theory . New York: Columbia. 6. Butler, J. (1993) Bodies That Matter . New York: Routledge. 7. Butler, L.S.J.(1978) Thomas Hardy . New York: Cambridge. 8. Clark, A.(2006) Female sexuality. In D. Simonton. (Ed) The Routledge History of Women in Europe Since 1700 (54 -92). New York: Routledge. 9. De Beauvoir, S. (1948) The Ethics of Ambiguity . Frechtman B (trans). N.J: Citadel. Available at: http://www2.webster.edu/~corbetre/ philosophy/existentialism/debeauvoir/ambigu ity.html. (accessed 10 August 2014). 10. De Beauvoir, S. (1956) The Second Sex Parshley HM ( ed. & trans.). London: Jonathan Cap. 11. 12. Engles, F. (2008) The Origin of the Family, Private Property, and the State. Australia: Resistance books. 13. Fisher, B., Cullen, F., & Turner M (2000) The Sexual Victimization of College 14. Women . Washington, DC: U.S. Department of Justice, National Insti- tute of Justice, and Bureau of Justice Statistics. 15. Fowler, S. (n.d.) Of red paint on a blue background: A close reading of Tess of the D'Uerbervilles. Available at: 16. https://www.yumpu.com/en/document/view/18988287/of - red -paint - on -a-blue - background -fowler -funny -farm. (accessed 4 Oct 2014). 17. Fredrickson, B.L.& Roberts, T. (1997) Objectification theory: Toward understanding women’s lived experiences and mental health risks. Psychology of Women Quarterly21 : 173 -206. 18. Gedraitis, A.(n.d.. Tess of the D'Urberville: The modern date rape case study. The Journal of Undergraduate Research and Creative Activi- ties for the State of North Carolina . Available at: https:// www.google.com/webhp?sourceid=chrome - in- stant&ion=1&espv=2&ie=UTF8#q=Tess+of+the+d%E2%80% 99Urbervilles: + The+Modern+Date+Rape+Case+Study+Ashley+Gedraitis. (accessed

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A Trans=Cultural Feministic Study of Tess — 18 KAROONJHAR [Reseach Journal] Muhammad Akbar Khan University of Sargodha, Lahore Campus, Pakistan - Muhammad AjmalKhurshid University of Engineering and Technology, Lahore, Pakistan - Nazir Ahmed Malik The University of Lahore, Chenab Campus, Gujrat, Pakistan

SUBSISTENCE OF PATRIARCHAL SOCIAL ORDERS THROUGH MUSICAL DISCOURSE: A FEMINIST CRITICAL STUDY

Abstract The study examines the patriarchal social orders com- prising social values, norms, concepts and ideologies that are (re)produced, established and maintained through discourse. The researchers undertook Urdu/Hindi/Punjabi musical discourse i.e. songs which are popular among Pakistanis to analyze that how patriarch -centered ideologies are (re)produced and reinforced through above mentioned discourse. Since musical discourse can be interpreted as social practice, it mulls overcertainways of representing maininclination of the social (musical) domain. A form of Critical Discourse Analysis named Feminist Critical Discourse Analysis (FCDA) has been applied to critique the aforementioned discourse as Lazar (2005, p.5)statesthat discourses sustain a patriarchal social order i.e. relations of power that systematically privilege men as a social group and disadvantage, exclude and disempower women as a social group. FCDA has therefore been taken as

19 Subsistence of Patriarchal Social Orders through Musical — KAROONJHAR [Reseach Journal] theoretical framework, then a triangulation of van Dijk’s (2008) “Socio -cognitive Approach” with “Social Representa- tion Theory” by Moscovici (1972) is formulated to analyze selected data i.e. Urdu/Hindi/Punjabisongs.The study ex- ploitsideas of “male” and “dominance” to find out the recip- rocation of gender, male dominance and possible implications on audiences’conception.The findings indicate that said musical discourse helps in sustaining patriarchal hegemony and gender inequality. The discourse exploits various strategies in order to naturalize stereotypical roles of male and female. This study also suggests that critical analysts need to challenge im- plicit social values and decided images for male and female to voice the depressed i.e. women. Keywords: Patriarchal social orders, critical discourse analysis, songs, feminist critical discourse analysis, ideology, stereotypes, hegemony.

1. Introduction In this paper, the researchers illustrate that Urdu/ Hindi/Punjabi songs/musical discourse play a pivotal role in determining and constructing audiences’ ideologies, attitudes, values and notions towards daily life likes and dislikes, social representation, Nexus of Practice and Community of Practice. This work specifically attempts to analyze what and how power relations and status -quo are established, distributed and reproduced through musical discourse in order to promote patriarchal social orders and gender inequality, and how men and women are represented in the said discourse to reinforce their stereotypical roles. It intends to uncover the deliberate effort on the part of media to make women submissive and docile in so- Nexus of Practice:A nexus of practice refersto a group of people who come together to engagein a number of related social actions. Community of Practice: A term developed by Lave and Wenger (1991) to describe the ways thatpeople who have shared sets of common goals interact with each other, particularly related to contexts where people learn tocarry out certain practicesin ‘apprenticeship’ situations. It is a set of relations among persons, activityand world, over time and in relation with other tangential and overlappingcommunities of practice. Subsistence of Patriarchal Social Orders through Musical — 20 KAROONJHAR [Reseach Journal] cial representation that is (re)produced, reinforced, and exercised through media. The aim of this study is to emancipate the women of dynamically modeled cognitions based in the name of norms, values and stereotypes. This paper bringsCritical Discourse Analysis(CDA) and feminist studies together in proposing a Feminist Critical Discourse Analysis(or feminist critical discourse studies), which carries an understanding of the intricate workings of power and ideology in discourse in sustaining (hierarchically) gendered social orders. It is relevant in present times when gender ideologies and institutionalized power (a)symmetries among men and women groups are so intricate, tangled and entwined moreover the other variables do play a part viz. cultural, social etc.(Lazar,2010). FCDA likewise CDA undertakes to emancipate and transform women’s social representation furthermore to unshackle women from restricted and stereotypical roles. With regard to CDA, feminist scholarship is also motivated by the same goals i.e. the critique of largely unequal social orders, social emancipation and transformation of discursive practices of social injustice (Lazar,2010). FCDA emerged out of feminist theory that was a result of feminist movements long ago since Christine de pizan when she wrote epitre au dieu damour (epistle to the god of love ) in the 15th century for the first time in history.Similarly, the feminist ideas and actions associated with the women’s liberation movement beginning in the 1960s (which campaigned for legal and social rights for women) must have been the foundation and need for such a praxis to be made in the world of critical studies. Linguistic theory describes feminism in 1990 and explains that one of other objectives was to question the whole scholarly objective bias of linguistics and to show how assumptions and practices of linguistics are implicated in patriarchal ideology and oppression (Cameron, 1992). Feminism, CDA, FCDA share the destination as for as women’s liberation, emancipation and transformation are con- cerned because feminism involves political and sociological theories and philosophies related with issues of gender rela-

21 Subsistence of Patriarchal Social Orders through Musical — KAROONJHAR [Reseach Journal] tions, as well as a movement that supports gender equality for women and works for women's rights and interests. There have been debates and notions, theories and movements to map out woamen's rights as human beings not based on how they anatomically shaped up or how fragile or submiisive they are, rather they are human beings hence be treated equally to men. Van Dijk’s Socio -Cognitive Discourse Analysis is an approach which interplays between cognition, discourse and society, it is applicable to our study as the hierar- chical social orders are fixed into cognition at first place, then are deliberately made the part of discourse and at last are exercised in public domains i.e. family, work place, religious or- ganizations etc. Cognition, realized in collective mental models as a result of consensus, is the interface between societal and discourse structures (van Dijk, 2009). Moreover, such research will achieve little more than detailing gender divisive practices that we describe in society. While unearthing such practices we will not then be guilty of that; we, as social researchers“calmly ignore social inequalities, political violence, wars, underdevelopment or racial conflict”(Moscovici, 1972 andRei- cher, 1997). This is especially pertinent in today when Paki- stani women is going through the ideological shifts regarding their better representation in the society moreover issues of gender, power and ideology have become gradually multifacet- ed and delicate.

1.1 Objectives of the Study The current study has the following objectives: 1. To unearth the role of Urdu songs/musical discourse in Pakistani audience that how media discourse establish- es, maintains and reproduces stereotypical women’s role in society 2. To spotlight the role of musical discourse in maintain- ing the patriarchal social orders 3. To emancipate women from the fear of conventional representation in musicaldiscourseand to create

Subsistence of Patriarchal Social Orders through Musical — 22 KAROONJHAR [Reseach Journal] awareness of their human rights 4. To draw attention to that a systematic production of desired ideologies through Ideological State Apparatuses and gender stereotyping 5. To bring an insight to understand why songs are loudly appreciated by the public.

1.2 Research Questions The study is based on the following research questions: 1. How do songs overtly appreciate submissive and stereotypical women but play covertly with their psyche to make them obedient and tamed to their male counterparts? 2. How do selected songs/musical discourse aid patriarchs in Pakistani society to maintain the patriarchal social orders to sustain power hierarchy? 3. How male hegemonic ideologies through music are being underpinned covertly into human thinking by using Ideological State Apparatuses i.e. notions and concepts? 4. How male dominance is made to believe natural, spontaneous and inevitable? 5. What are the common grammatical structures and discursive strategies which strengthen and reinforce the exploitative representation of women?

2. Theoretical Framework and Methodology 2.1 Feminist Critical Discourse Analysis (FCDA) The theoretical framework of analysis for the study is Feminist Critical Discourse Analysis (FCDA) a form of Critical Discourse Analysis which is exploited to do critiques of the texts or discourses that eliminate women as a social group and benefit men as social group to maintain and retain the power hierarchy (Lazar 2005, 5).Moreover it takes special concern to analyze such discourses with analytical tools to interpret the hidden ideologies that are systematically (re)produced and retained.

23 Subsistence of Patriarchal Social Orders through Musical — KAROONJHAR [Reseach Journal] 2.2 Ideology and Ideological State Apparatus Ideology is inevitable to maintain a relationship among world and people. Itis further defined as a discipline which carries notions, concepts, norms, values, stereotypes, decided images, restricted domains etcetera. Althusser (1969) elaborates ideological stateapparatus, Ideological State Apparatuses (ISAs) function through ideas that notion, norms and values are true and natural. ISAs belong to the private institutions - to churches, schools, families, and so on.They pro- duce and retain the rule of the dominant class via ideologies. People become submissive just to avoid social ridicule .The ISAs function in a hidden and a symbolic manner (Leitch,2001). Therefore ideologies become representation of social practices and sustain unequal power relations to benefit a few (Dijik, 1995). Through our present research it helps to analyzewhat ideologies, notions, norms and values are enacted in songs which naturalize themale -dominance, while thewomen play roles as submissive and docile. For now it is inevitable and pertinent what power modes control our thinking to make us believe ideologies and stereotypes as subtle truths.

2.3 Gender Stereotyping The present study is also more about stereotypes that are ‘mental representations of socialcategories’ (Kunda, 1999) he views stereotypes purge a person or a social group on the basis of some particular traits more often negative and criminal that are usually exaggerated and are used to create difference among groups or classes (Kunda, 1999). Stereotypes are limits and boundaries …boundaries…must be clearly detailed and so stereotypes, few of the mechanisms of boundary maintenance are characteristically fixed, clearcut, unalterable (Dyer, 1977). Stereotyping tends to occur when there are inequalities of powerand canlead to socialexclusion. In the context of our present research songs/media discourse are the means of gender stereotyping which has been maintained and retained through ideological, cultural and religious boundaries, where women

Subsistence of Patriarchal Social Orders through Musical — 24 KAROONJHAR [Reseach Journal] are supposed to believe in such stereotypical roles as natural, spontaneous and inevitable.

3. Research Methodology The model applied for analysis is “Socio -Cognitive Discourse Analysis” (van Dijk, 2009) in triangulation with the “Social Representation Theory” (Moscovici, 1972).The former is an approach tocarry out Critical Discourse Analysisdevel- oped by Teun vanDijk which makes possible to understand the link between discourse, cognitionand society. In praxis, it analyses topics or macrostructure, local meanings (word choice etc.), ideologies, concepts, knowledge and attitudes, doing so it does explicit the relationship of cognition, discourse and society (van Dijk, 2001). It is as a‘permanent bottom -up and top - down linkage of discourse andinteraction with social structures’ (ibid.).The latter i.e. “Social Representation Theo- ry” by Moscovici is “systems of values, ideas and practices with a two -fold function; first, to establish an order which will enable individuals to orientate themselves in their material and social world and to master it; secondly, to enable communication to take place amongst members of a community by providing them with a code for social exchange and a code for naming and classifying unambiguously the various aspects of their world and their individual and group history ”(Moscovici, 1973).

4. Analysis of the Selected Musical Discourse Urdu/Hindi/Punjabi songs/media discourse from music industries Lollywood, Pakistan and Bollywood, India have been selected for analysis since these songs have a witnessed inclination on audiences’ attitude and social practices. These songs have charming lyrics which are replete of colorful semi- otics and symbolism where women are presented stereotypical- ly i.e. decorative, faithful, helpless, exploitive, passive and likely to be manipulated. The study has taken nine songs (relevant chunks) from the aforementioned film industries and

25 Subsistence of Patriarchal Social Orders through Musical — KAROONJHAR [Reseach Journal] analyzed collectively.The analysis of lexical categories deter- mines the linguistic features, more specifically, the selection of vocabulary. The uses of vocabulary represent ideological framework. According to Fairclough (1989) one can analyze the discursive participants’ choice of vocabulary in relation to their experiential, relational and expressive value of words; with these choices encoding assumption about power is manifested. The producer represents the experience of social world by the pragmatic value of words. Such as the following text expresses.

Merd: Mujhay haqhai, tujh kojeebherkay main dekhon, mjheyhaqhai,busyunheedekhtajaumjheyhaqhai Khatoon: Pia, pia…piabolaymerajia, tumheinhaqhai! Tumheienhaqhai… (Vivah. Hindi Film, 2006) Male: I have right to look at you and keep on looking… Female: My love, my love …. my heartsings out loud… you have right … (The Marriage. Indian Movei, 2006)

Since a patriarch society where man’s honor is attached with his woman’s outlook the word right implicate notions and ideologies that necessarily make men their women’s owners. Such vocabulary in the discourse produces control of men over their women and sanctions them a privilege to exercise male hegemony. Linguistic feature; linguistic agency in the above text; I and you showsthere might be ideological significance of presented (or misrepresented) agencies in the text “the powerbeing exercised here is the power to disguise power . . . it is a form of thepower to constrain content: to favour certain interpretations and “wordings” of events, while excluding The bold italicized expressions (discourse) are analyzed features of the research and are done collectively either under grammatical, linguistic categories, discursive strategies or hegemonic analysis. Agent: Agrammatical agent is a participant in a situation who carries out an action.Linguistic agency refers to how characters or objects are represented inrelation to each other. . In example ‘The policeman attacked the woman, the policeman is the agent, while thewoman is the patient. Subsistence of Patriarchal Social Orders through Musical — 26 KAROONJHAR [Reseach Journal] others . . . It is a form of hidden power”(Fairclough, 1989) the pronouns I and you in the above discourse implicate the same agency the ‘male’. It inculcates the centuries old ideology that man is a protector of woman that inevitably takes power from female and gives command to man in such a normal, natural, and spontaneous way.Until societiesproduce such male oriented ideologies; male dominance will always be glorified through discourse specially the fancy ones i.e. the songs.

Girl: Mujahy Sajan key gharjanahai, MujahySajan key gharjanahai Singer: Jamdianmaapian ton praiyan ho jandian, teeyanmerjanian! Girl: Pal ma natatorr chali main, babul kaghar- chorchali main, ab to pia key des main mje jeevansarabitan hai Girl: I have to go to my lover’s (husband ) home , I have to go to my lover’s (husband) home Singer: Wrecked daughters belong to others ever since they are born Girl: I am breaking up the bond and leaving father’s home in a while I ought to stay at my lover’s (husband) home forever from now onward Singer: Mother cries at what is written in her daughter’s fate (Coyness, Indian Movie, 2001)

The first word lover embodies different social representations of a man in a woman’s life: a bread winner, a protector, a head of family etc. Belong and ever since: the word belong sets a notion and concept that woman is a belonging and a commodity, first to be put at father’s place then be shifted to another (husband’s place) customarily(as a result of marriage), the text ever- since alludes that; since the human inceptionit’s atruth: natu-

27 Subsistence of Patriarchal Social Orders through Musical — KAROONJHAR [Reseach Journal] ral and inevitable that woman has to get married, that sustains the ideology of man’s control on woman. Breaking up tells automaticity of breaking one bond for another. It is a naturalized way to maintain the hierarchal orders that one bond and agreement of dwelling with father can be broken up for the other only when the husband is in. It also implicate that woman can break up the bond living with her family only if there is her husband on the contest utterly neglecting her personal choices whether what she likes, with who she wants to live up or how she wants to enjoy her very own existence. The last part of the discourse which by using the word fate exploits the woman and makesher hushed up against the fate (word of God). Since the fate is unquestionablein the religious society like ours where man is supposedly an earthly God so the male centered notions, concepts and ideologies are largely (re)produced and retained in the name of pseudo religion. A blind religious following makes women dumb in a natural way that they themselves say it is our fate and a liking of God for women to be obedient to males. There is a discursive strategy of argumentation 5 has also been exploited through the word fate and the rest talk and text, which emphasizes the recogni- tion, transformation and analysis of arguments along withthrowinglight on how arguments are exploited bycertain groups in order to maintain justification or legitimizationof the exclusion and discrimination of some groups, it has the objective of providing ajustification for a particularposition (Wodak, 2001). It is achieved through nexus of practice for a certain period of time. At last centuries practiced ideologies are transformed into community of practice to retain the particular male hegemonies, ideas and social orders.

Khatoon: Vey main dilterey qadman vichrakhyatu pair uttay pa tesahee, tuja key vakhateysahee Dil torien gatey deydyangijan tuja key wakhat- eysahee

Subsistence of Patriarchal Social Orders through Musical — 28 KAROONJHAR [Reseach Journal] Terelayeecherhakaaaiwanga sat rangian, torr pan chaddjey nee lagdianchangian (Do Rangeelay, Pakistani Urdu Film) Female: Hey I put my heart into your feet, step up , if you break my heart, I will forfeitmy life I have worn seven color bangles for you, if you don’t like them, break them … (Two Colorful, Pakistani Urdu Film)

The lexical connotations of the word heart are: something so delicate, romantic, full of love, emotional, naïve, something guile and easily tempted to be fooled hence is used deliberately to denote woman. In the similar vein thetext I put my heart into your feet thatindicates the power of man over woman.She herself willingly puts her heart in man’s feet and he has all authority to smash it in his feet. In Pakistani society the foot, the shoe and many other such low ranked words are used to referstereotypical social representation of woman. The word forfeit is used to implicate woman’s vulnerability in front of her male. It conceals the power of man that woman is quite helpless to acknowledge her man’s orders whether she likes or dislikes, rather,more often she compliesto him with her own choice.Though if not truly but seemingly she does so with her all free -will. For desired role of her she is conditioned through such media discourse to behave in the same manner likewise the woman displayed on the television screen. Seeing the rest text of the said song Ihave worn seven color bangles for you, if you don’t like them, break them from the text break that implicate to tear apart and end the life of some commodity. The woman authorizes her male to even act adversely on her love - filled gesture of wearing bangles which she wears to please Argumentation: It defines argumentation as a DiscursiveStrategy, which has the objective of providing a justification for a particularposition. which focuses on the identification, reconstruction andevaluation of arguments as well as showing how arguments are used bycertain groups in order to justify or legitimize the exclusion and discriminationof other groups(Wodak, 2001).

29 Subsistence of Patriarchal Social Orders through Musical — KAROONJHAR [Reseach Journal] him.The discourse necessarily impacts human minds and in- stills the required and preconceived gender roles into thinking processes. Since the discourse i.e. song is sung by the woman that further ratifiesand reinforces the ideology that man has authority to exercise power over her and there is no other choice left for her except being into his slavery.

(Male singer on behalf of the woman): Rab se tu- manglaun, hoobahoomanglaun, perhliahai main ne ishaq da kalma Terebinajeenanaeyee vey sohnya, tere rang rangigaiee vey sohnya Main tehun main nareyee vey sohnya! (Bin Roye, Pakistani Urdu, Drama Film, 2015) (Male singer on behalf of the woman): I have recitedthe verses of Kalma ( Kalma is the faith that God is one) of love, I should ask God for you! The one similar to you… Oh dear! I won’t live without you, dear! I have been col- ored into your color, now I am no longer remained me… (Without Crying, Pakistani Urdu, Drama Film, 2015)

The lexical items like recited, God, verses carry sacred sanctity in our devout society along with male dominant ideologies and notions which are retained in the name of God and religion. The aforementioned words implicate and make women duty bound to accept the social orders which are said to be words by God. Hence, theyserve as Ideological State Apparat- uses to build up male oriented notions and hierarchal social orders. In the same vein, look at another song which is:

Khatoon: Khuda se ziada tum pe aitabar krtehain, gun- ah haijankerbheebaarbaarkrtehain (Dam Lga key Hasia, Hindi Film, 2015)

Subsistence of Patriarchal Social Orders through Musical — 30 KAROONJHAR [Reseach Journal] Female: I trust you more than God ;I do this again and again despite knowing it’s a sin … (Give in all your Energies, Indian Hindi Film, 2015)

This discourse reinforces an unequal power relation between man and woman implicating man’s supremacy on the earth after God. Whereas for woman trusting her man in any circumstance is inevitable and is liken to trust God (supreme power).The vocabulary such as trust , God and sin are exploited as good deeds and ill -doings according to their good and bad connotations in the particular religious society.

Lerki: Tuliadeymujhey golden jhumkay, main kan- nanvichpavan chum chum key! Man ja vey tu menu shopping kradey, mannja vey tu menu picture dikha de! (Roy Hindi Film, 2015)

Girl: Bring me golden earrings that I will kiss and wear Please take me to the shopping, and watch me a movie (Roy Indian Film, 2015)

The text shows economic dependency of woman on her man that inevitably makes her submissive, dumb and docile to her man.As he is the sole breadwinner for her so he controls decisive and financial roles and keeps the powers restrained to himself only. That economic and decisive power ultimately earns a man supremacy and dominance over woman. Further, it entails the reinforcement of power hierarchy and male hegemony. Besides that, it is conventional here for woman to be decorative and beautiful, this convention benefits men as a social Modality: Aspects of modality are sometimes focused on in critical discourse analysis,particularly because modal verbs oftenhighlight powerinequalities orideology – deontic modality can be used to express authority, whereasepistemic modality canconstruct different representations of the world.

31 Subsistence of Patriarchal Social Orders through Musical — KAROONJHAR [Reseach Journal] group hence exploited enormously. The woman is lead to believe that her beauty is everything to her so she remains busy styling and beautifying herself neglecting exploitation being done to her by that very moment. In the money or decisive matters it is instilled into her mind that the notions of male superiority are natural and based on absolute truth. The naturali- zation of the male dominance is further reinforced to keep woman thinking and burning her all energies to look beautiful. For the purpose to look pretty she needs money to spend on which she takes from her male counterpart and subdues to him in return.

Lerka: Tereliye he to signal tor taarkayayaDilliwaligirl friendchorrchaarkay (YehJwaniHaiDeevani, Hindi Film, 2013) Boy: Only for you I broke road signals, left Dillli based girlfriend and came to you (Dilliis a city in India) (The Youth is the Crazy one, Indian Film, 2013)

There is another power abuse of a patriarch society to women, that a man can proclaim openly for a new girlfriend or a new wife having already one two or more while the same rule is not applied and workable for woman who can’t exercise such practice neither she can have any boyfriend nor extramarital affair except a legitimate husband. Such notions are displayed through media to naturalize them in the text and context respectively. In a similar stuff:

Lerki: Deediteradeverdeevana, haye! Ram kuriokoda- laydana Girl: Sister your brother -in -law is a crazy guy, oh God! He flirts with the girls!

In the above chunk from an Indian song a girl is com-

Subsistence of Patriarchal Social Orders through Musical — 32 KAROONJHAR [Reseach Journal] plaining to her sister that her brother -in -law is flirting with the other girls. Through such media discourse a candid role of man in social orders and a complaining role of a woman are reinforced to men and women in a light and causal manner. That naturalizes the process of reproduction of desired male domi- nancy in a spontaneous way that seems not to be harmful but in fact it does harm to female indemnity in the social representation, it gives an image of her as something fragile and weak. Through such media discourse, it is retained that a woman is an easy target to exploit physically, mentally and more of socially.

Lerki: Aai chiknichambili , chupp key akailiboohachar- ha key aai Note hazaron key khullaychuttakrnayaai, hu- san kiteeli se berry chilmjalanayai (Agni Path Hindi Film, 2012) Girl: A hot and beautiful girl sneaked outof home alone bolting the door Thousands Rupees currency she needs to get change with… she will burn the cigar with the fire of her beauty (The Path of Fire Indian Film, 2012)

There are many other means to exercise patriarchy in Pakistani society e.g. the notion and compulsion of being pretty enough to attract man’s attention is attained by engaging her to worry about her good or bad looks.Such means are exercised by values and customs which carry hegemonic notions e.g. controlling her assets by male counterparts, pushing her into an agreement for a monetary dependency on men. The above said discourse she will burn the cigar with the fire of her beauty reinforces her accustomed role in a male dominated society, the notion of being hot and beautiful as symbolized in the song puts a compulsion on her to look beautiful and to work out on it, it is further reinforced by an idea that her beauty can buy her male’s attention and money as well.

33 Subsistence of Patriarchal Social Orders through Musical — KAROONJHAR [Reseach Journal] 5. Conclusion The woman’s representation through musical discourse subtly misrepresents truth and manipulates the people to make them think that patriarchal notions, values, customs and ideologies are natural, spontaneous and inevitable. Women have been portrayed in the musical discourse as; patriarchal society and the state want them to be, for instance: decorative dummies, submissive wives or sisters, efficient mothers and housekeepers. In such a symbolic violence, it becomes essen- tial to elaborate how inequality is made legitimized through sophisticated language. Media and such songs are important in shaping behaviors and for that reason it is needed to look at the discourse embedded in the local context from a view of Critical Discourse Analysis. Therefore, in this study such discourse is analyzed critically that how the use of language in the development of such notions can be manipulative. The present study is a contribution in the field of FCDA. It tries to elaborate the effect of language, presentation of setting on the existing power relations. Finally, this work has emphasized on how grammatical structures can strengthen and reinforce the exploitative representation of women in a docile form.The study would provide motivation and inspiration for women of Pakistan seeking liberation from the chains of patriarchy.There are a plenty of other such media discourses on Pakistani media which can be sieved out for the same or other study questions in relation to women emancipation and liberation. This research is the hope, if occasionally illusory, to change through critical understanding of discourse. The perspective, if possible, that of those women who suffer most from dominance of their male counterparts. Thecritical thinking targets the patriarch -centered institutions that enact, sustain, legitimate, condone or ignore social inequality and injustice. Another aim of this work is solidarity to those who need it most.

References 1. Althussur, L. (1971). Lenin and Philosophy and Other Essays. London:

Subsistence of Patriarchal Social Orders through Musical — 34 KAROONJHAR [Reseach Journal] New Left Books. 2. Cameron, D. (1992). Feminism and linguistic theory (2nd ed.). London: Macmillan. 3. Fairclough, N. (2015). Language and Power. London: Routledge. 4. Fairclough, N. (1994).Conversationalization of public discourse and the authority of the consumer.’ In K. Russell, N. Whiteley and N. Abercombie(eds), The Authority of the Consumer, London: Routledge, pp. 253 –268. 5. Lazar, M. (2007). Feminist Critical Discourse Analysis: Articulating a Feminist Discourse Praxis, Critical Discourse Studies, 4: 2, 141 —164. 6. Lazar, M. (2005). Feminist Critical Discourse Analysis.Gender, Power and Ideology in Discourse. Houndmills: Palgrave Macmillan. 7. Moscovici (2003). Moscovici 1984, Levin -Rozalis et al. 8. Scollon, R. (2001). Action and text: Towards an integrated understandingof the place of text in social (inter)action, mediated discourse analysis and the problem of social action.’ In R. Wodak and M. Meyer (eds), Methods of Critical Discourse Analysis. London: Sage, pp. 139 –183. 9. van Dijk, T. (2008).Discourse and Context: A Socio -cognitive Approach. Cambridge: Cambridge University Press. 10. van Dijk, T. (2008). Discourse and Context: A Socio -cognitive Approach. Cambridge: Cambridge University Press. 11. van Dijk, T. (1996). Discourse as Interaction in Society. Discourse as Social Interaction.Vol 2, pp.1 -37. (Ed). Sage. 12. Van Leeuwen, T. (1997). Representing social action. Discourse and Society, 6(1), (pp.81 –106). 13. Wodak, R. & Meyer, M. (2009). Critical Discourse Analysis: History, Agenda, Theory and Methodology. Ruth Wodak and Michael Meyer (ed). Methods of Critical Discourse Analysis. London: Sage, pp. 1 - 33.

35 Subsistence of Patriarchal Social Orders through Musical — KAROONJHAR [Reseach Journal] Janwari Bashir Ahmed Department of Pakistan Studies, Shah Abdul Latif University Khairpur, Sindh. - Prof: Dr. Sahito Imdad Hussain Dean Faculty of Social Sciences, Shah Abdul Latif University Khairpur, Sindh. - Tumrani Abdul Jabbar Teacher, Federal Government Public School Pano Aqil Cantt

MYSTICAL SERVICES OF JEELANI PIRS OF RANIPUR

Abstract In this paper, mystical services has been discussed with references that, Qadiryah school of thought rapidly flourished in sub -continent, due to the sincere efforts of Pir Abdul Qadir Shah Jeelani Baghdadi. From the same family Pir Ahmed Shah Jeelani started preaching Islam in Sindh. He enhanced the message of mysticism to common people whole family of Pir Ahmed Shah Jeelani paid numerous services in mysticism. They issued religious magazines and held processions for the welfare of people. Some Pirs took the way of poetry and through this they enhanced the message of Sufism. To see the noble character of Pirs of Ranipur, large number of people accepted Islam. So the Pirs of Ranipur remained active in mysticism. Still thousands of their devotees reached Khangah Ghosia Ranipur and receive spiritual comforts. This research paper will be fruitful for the devotees of Pirs of Ranipur as well as the scholars’ particularly social sciences scholars. Keywords: Pir, Sufi, Dargah, Ranipur, Ghosia, Devotees, Murshid

Mystical Services Of Jeelani Pirs Of Ranipur 36 KAROONJHAR [Reseach Journal] Introduction: There are numerous Shrines in Northern Sindh in which Sachal Sarmast, Khush Khair Muhammad Hisbani, Ma- khdoom of Khuhra, Faqeer Ghulam Haider Godrio, Naseer Fa- qeer Jalalani, Bedal Bekas, Hajan Shah Mariwaro and so forth are included. Additionally Dargah Ghosia Ranipur is likewise acclaimed for showing the right way to the individual. “In spite of the fact that the entry of Muslims began from the rise of Is- lam in Sub -Continent however the off -spring of Pir Abdul Qa- dir Shah Jeelani came in 1185 Hijri”. “Though Syed Muham- mad Shah Jeelani came to Sindh, during Ghulam Shah Kal- hora's era but he was expelled as a covert agent of Turkey. Af- ter the demise of Mian Ghulam Shah Kalhoro, Pir Muhammad Shah Jeelani got furious with his father and came to Hyderabad and Khudabad then he reached Khuhra. After one year the younger sibling Pir Ahmad Shah Jeelani likewise came to Khuhra. He requested to his elder brother that go back to Bagh- dad however Syed Muhammad Shah Jeelani refused to do so and told his younger sibling that he has been consent by Hazrat Abdul Qadir Shah Baghdadi to serve the religious services in Sindh”. Subsequent to tuning into this, Pir Ahmad Shah Jeelani likewise chose to live here in Sindh. During that time, Sindh was ruled by Kalhora family and they were highly respected by the rulers of Sindh. Syed Ahmad Shah Jeelani and Syed Mu- hammad Shah Jeelani build up Khangah with the endeavors of Makhdom Ahmedi at Ranipur and Gambat. “There is great impact of Sufism throughout the world”. From Syed Abdul Qadir Shah Jeelani, Mansoor Helaj Sarmad, Waris Shah, Baba Bullah Shah, Rehman Baba, Shah Abdul Latif Bhittai, Hazrat Sachal Sarmast, Sufi Inayat Shaheed till the Sufis of Dargah Ranipur every one of them have assumed an imperative part in controlling individuals through their respectable character. Wherever these Sufis went they lived over the place and helped the general population over yonder. Each of them acted like an educa- tor and spared the humanity from bad deeds and demonstrated to them the correct way, not through words but rather through

37 Mystical Services Of Jeelani Pirs Of Ranipur KAROONJHAR [Reseach Journal] their activities. This is the reason that in the wake of leaving this mortal world they are still recollected individuals still ask from them, as a result of them the supplications of the general population are tuned in by Allah and they get what they need. “Today when everybody lives for himself and each connection appears to blur away, companionships are no more”. What is the purpose for the way that the holy places of these individuals are as yet swarmed and individuals are as yet bowing down at their Shrines? The appropriate response is that they were of high character and they cleared out everything of this materialistic world and recollected to Allah. Their character remained completely clear till their passing. The focal point of their reason- ing was Allah. Day and night they spent as long as they can remember in commending Allah and being content with his will and nothing could alter their course. “When Syed Ahmad Shah Jeelani established this Khangah, He additionally established Ghosia Khangah where Arabic, Persian and Sindhi was taught”. Syed Muhammad Shah Jeelani and Syed Ahmad Shah Jeelani came to Sindh for proclaiming of Islam and hence this Khangah was made. Syed Sakhi Saleh Shah was likewise ad- mitted to this Khangah but he could not get proper education and he preaching Islam. Aakhund Chutto Jamro father of Ghu- lam Qadir used to inhabit Jamrra village close Ranipur. He was the head of Ghosia Khangah and was an extraordinary writer of his time. He was the teacher of Pir Ghulam Muhiuddin Shah -I and Sakhi Saleh Shah. Aakhund Chutto Jamro has written “Jannat -ul -Firdos” in this book he has mentioned mysticism and fiqah. Along with Sakhi Saleh Shah, Molana Deen Mu- hammad Wafai and Molana Muhammad Sadiq Ranipuri ad- dressed the procession. The Pirs of Khangah Ghosia Ranipur additionally opened Khangah’s units in other regions also to guide human being. One is in Rato Dero, at Village Veesar ad- jacent to Sui Gas and In Dera Murad Jamali's village Qamarud- din Brohi has been established Madarsahs. In 1912 the maga- zine “Sahifa al -Qadariyah” was published under the Supervi-

Mystical Services Of Jeelani Pirs Of Ranipur 38 KAROONJHAR [Reseach Journal] sion of Sakhi Saleh Shah, Molana Deen Muhammad Wafai and Muhammad Sadiq Abbasi, which proceeded till 1916. Now a day Pir Asif Ali Shah Jeelani approached and worked for the welfare of individuals and built up a major Khangah in Rani- pur. Syed Asif Ali Shah got his education from Fazal Muham- mad Jamali, Tehsil Garhi Khero district Jacobabad. After re- ceiving the education he began teaching at Dargah Ghosia Ra- nipur which proceeds till date. Syed Asif Ali shah Jeelani is working for religious concordance and otherworldly improvement. Pir Asif Ali Shah Jeelani has adopted the same foot prints of their elders. He is also a scholar. He delivers mystical lectures and prohibited human being from sins. “Pir Syed Mu- hammad Shah Jeelani and Syed Ahmad Shah Jeelani came to Sindh from Baghdad and guided the people that we should pray to Almighty Allah who is the creator of the whole universe so we should remember that one”. Syed Ahmad Shah Jeelani, Syed Abu Saleh shah, Syed Ghulam Muhiuddin Shah, Sakhi Saleh Shah, Ghazi Ahmad Shah, Ghulam Muhiuddin -II alias Meran Sain, Syed Ghulam Ghous Shah alias Began Shah, every one of them instructed individuals to bow down to Allah, who is the genuine master of the rulers and the maker of the entire universe, nothing can move a bit without His will. “The devotees of Dargah Ghosia Ranipur are found in Afghanistan and Hindustan too”. They feel happy to reach at Dargah. “Today in this world where everything is in disorder and individuals are disappointed the Sufism is the main solution of this circumstance”. “Honesty and love is the main theme of Su- fism”. This is expected to the Dargah Ghosia Ranipur that individuals from any position or doctrine are joined together and stand together here. “The Sufi of each time has dependably been exceptionally prompt and no one has taken after any lord or ruler or any wrong pioneer”. In fact they have remained against the pioneers of the time, the immense case of this reality is Makhdoom Bilawal and Sufi Inayat Shaheed, who raised their voices against the rulers and got affliction. The Pirs of Ranipur told their Mureeds purify their hearts. “At the point

39 Mystical Services Of Jeelani Pirs Of Ranipur KAROONJHAR [Reseach Journal] when the heart is spotless it can be loaded with the other thing which is the "Toheed" (Allah's unity). Sufi holy people leave their prints on the hearts of individuals”. This is the reason that Pirs of Ranipur took Allah's approaches to pass on their message and buckled down for it. It is a direct result of them that from wherever their Mureeds have a place with, they take the lessons of their Murshid. Through all the Pirs of Ranipur are related with mysticism, but without Sakhi Saleh Shah the poetry of other Pirs are not available due to the negligence of their relatives. Only Sakhi Saleh Shah promoted Sufism through poetry. To destroy the shades of malice of the general public and pacify individuals the Sufi poet of Ranipur Syed Sakhi Saleh Shah utilized his verse and left incredible prints over their souls and psyches. Syed Sakhi Saleh Shah says:

“ ن و א و כ ب دل א ن ي ن ي ” ”

Man is mortal. Many people came into in this world and departed. Their bodies are no more in this world and are completely forgotten. No one tells about their lives. One should erase foul things and falsehood from hearts, because we all are responsible before Allah for our doings.

Further Sakhi Saleh Shah says:

“ א אت وت ق א אت ي ب دכ ”

Mystical Services Of Jeelani Pirs Of Ranipur 40 KAROONJHAR [Reseach Journal] Research Questions: During the research study different questions are being raised: • How Pirs of Ranipur propagated Islam? • How they promoted Qadiriyah school of thought? • How they enhanced the message of mysticism? • What are the reasons behind that Pirs of Ranipur mi- grated from Baghdad to Sindh (Ranipur)?

Research Methodology: A mixed method, data collection and descriptive approach used in this research and article have been designed. Tashakori and Teddlie (2010) had defined it a combination of an investigation and collection data methods helpful for researcher. Also study has been designed by usage of above method. i.e. questionnaire from Sufis and Pirs (family members) of Dargah Ghosia Ranipur and observe books. I have applied primary and secondary sources in this research, through data collection and observation to see the Jeelani Pirs of Rani- pur has played a vital role in the field of religious and mysticism.

Conclusion: Pirs of Ranipur have played a very important role in field of mysticism. These Pirs are connected with Qadiriyah School of thought. This school of thought propagated the Islam in the world particularly in sub -continent. Pirs of Ranipur follow the same foot prints of their elders and guided the human being. They have founded many Khangahs in Sindh as well as Balochistan for the enhancement of the message of Sufism. Sakhi Saleh shah Jeelani was a great Sufi poet, so he spread the message of mysticism through his poetry. According to Sakhi Saleh Shah this world is temporary so we should prepare our- selves for next world, where we have to live permanently.

41 Mystical Services Of Jeelani Pirs Of Ranipur KAROONJHAR [Reseach Journal] From Ahmed Shah Jeelani up to current sajada nasheen Ghu- lam Ghous Shah Jeelani alias Began Saen, all of them showed the people right path.

References: 1. Qasmi, A.G.M, “Maqalat -e-Qasmi” p154 2. Mazhar Dr: A, (2012) “Shah Abdul Latif Bittai jy Daur men Tassuf ja Silsila” Culture and Tourism department Government of Sindh, p5. 3. Mir, W, (1977) “The Quranic Sufism” p63 4. Waugh, W.E, (2005) “Sufism” p9. 5. Faruqi, Dr. S.Q.M, (2002) “Study of the Mysticism in Darazi school of Sufi thought” Sindh Khairpur, Darazi publication Shah Daraza, pp105, 147. 6. Hami, Dr. A.M, (2009) “Khairpur jy Miran Jo Adab, Siasat aen Sqafat men Hiso” , Govt: of Sindh, Culture and Tourism department, pp133, 158. 7. Makhdoom, A.S.M, (1997) “Tarekh -o-Tzkra Buzrgan -e-Sindh” , Khuhrra, Makhdoom Abdul Rehman shaheed Academy, p46 8. Ahmed, Prof. M.S.A Ibin M.A, (2005) “Tazkra Makhadeem Khuhrra Sharif” , Hyderabad/Larkano, Gulshan publication, p103. 9. Qadri M.R,(2002) “Ilhamat -e-Ghous -e-Azam: Hazrat Shaikh Abdul Qadir Jeelani R.A” . 10. Stoddert W, (1986) “Sufism: the mystical doctrines and methods of Islam” p18. 11. Kara, A.M.T, (2007) “Sufism: the formative period” p88. 12. Aseem A, (1970) “Sa’it Sa’it Rah Nehariyan” p12. 13. Ibid pp17

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