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This is an attempt to make Urdu literature, particularly Urdu poetry available to a wider range of audience, including those who cannot read Urdu script, may not be completely familiar with classical Urdu and need some help with background and classical metaphors and nuances.
Urdu poetry is very powerful not only because of its rich metaphors and musicality but also because of its content.Â The popular concept of Ghazal as it is sometimes sung in a performance can be crudely characterized as â¦ Â âpila saaqiya, naach dilrubaâ Â â¦ and is an insult to Urdu poetry.
This site offers an exposure to the richness of content which tries to answer this insult.
There is a whole generation of native Urdu speakers who cannot read or write and have a limited vocabulary.Â I have also discovered that there is an even greater population of non-native Urdu speakers who greatly appreciate Urdu poetry, nod their heads in approval even when they understand only a part of what they hear, enjoy its musicality and power of expression.Â How much better it would be if they had access to more of Urdu poetry!
I daresay that even Urdu speakers and those somewhat familiar with the language will benefit from a discussion of the fine points of metaphor and subtlety, although I am NOT an expert is such discussion.Â More of that in âWhoâ.
This site also recognizes that oral rendition is an extremely important part of Urdu poetry and includes a recitation and oral discussion.
Finally there are several very good Urdu websites. Â I owe a huge debt of gratitude to Prof. Frances Pritchett whose website /www.columbia.edu/itc/mealac/pritchett/00ghalib/index.html inspired me to do UrduShahkar.Â I also strongly recommend 3163823829.Â UrduShahkar site, though not scholarly like Frances Pritchettâs (not even in the same league), serves a purpose.Â It combines several valuable features that others donât have â¦ multiple scripts, word meaning, explanation and commentary and a sensitivity to two groups (a) those who do not claim Urdu to be their native language and Â (b) those who do, but who, like me, never received formal education in Urdu.Â But the site also attempts to retain the interest of those familiar with Urdu.
The selections on this site are mostly progressive or classical.Â There are a few exceptions to illustrate different (more conservative) points of view.Â The manager of this site is unabashedly biased (progressive) and the discussion of the reactionary/conservative compositions clearly reflects that bias.
The selections are grouped into â shaaâer, marsia, quotables.Â There is no rigour (I daresay that there cannot be) in the classifications.Â The following is a brief description of what you will get.
This grouping contains short to medium nazms and Ghazals, mostly progressive.Â Where more conservative pieces are selected, they are used (interpreted) with a strong progressive bias.Â There is a fair balance of light-hearted musical and romantic compositions as well as thought provoking compositions.Â I have made no attempt at withholding my bias. Sahir, Faiz, Fahmida Riaz, Makhdoom, Jazbi, Josh and many more â¦ and the list will keep growing.Â Click on âPoet Indexâ to get a picture gallery of poets.Â Click on any poet to get the nazm/Ghazal of that poet posted on this site.Â Finally, click on any poem of choice.
There is an audio icon at the top and in some cases a musical rendering might also be available.Â Urdu, Hindi and English scripts are given in their respective tabs.Â In addition word meanings and notes are given in the âNotesâ tab.Â If you hover over any passage, meanings and discussion corresponding to that passage pop-up in a window.Â If you prefer an uninterrupted reading of the nazm/Ghazal in Roman script, you can get that without making the window pop-up.Â On the other hand, the âNotesâ tab allows you to scroll down and see original text and meaning and discussion one below the other.
The âmarsiaâ category is a major new contribution of this site.Â Joshâs marsiaâs have not appeared widely in the literature, yet they are a pleasure to read, both linguistically and for their content.Â Marsiaâs by other poets will be added later. Â Joshâs marsias have a wide range of metaphors, vocabulary and musicality that remains unequalled.Â The major symbolism in these marsias is to use Husainâs struggle as a struggle against absolute power and injustice.Â In that sense Joshâs marsias can be enjoyed as completely secular compositions.
Marsiaâs are very long generally in the form of a musaddas (six line stanza).Â In order to make for easy reading each marsia is broken up into thematic segments.Â If you click on the marsia index you will get to a pictorial index of marsias.Â If you click on the picture of the selected marsia you will get to a listing of thematic segments of that marsia.Â Clicking on the name of the name of the thematic segment will get you to the post where that actual segment of the marsia can be enjoyed in any of the three scripts and in audio.Â It has the same features of âpop-upâ windows and notes.
A pleasureable experience is to have someone quote relevant âashaâarâ during conversation.Â This stream contains âpopular and quotableâ ashaâar that you may memorise and use.Â The selection is necessarily subjective.Â It requires wide reading to be able to pick and choose from the vast range available.Â Your contributions will be particularly valuable.Â Readers have found this âshort attention spanâ reading of enjoyable bits of poetry to be valuable.
If you click on âmuntaKhib asha’arâ it will take you to a âpicture galleryâ of broad themes. If you click on the “picture” of any broad theme it will lead you to a list of sub-themes/posts. Each post will have many asha’ar in multiple scripts, discussion and audio. The problems are that classification into major and sub-themes is entirely arbitrary and a she’r can have multiple such places where it can be placed. But the search feature helps make the classification less relevant. You have to be careful about transliteration spelling and alternative spellings.
Please let me know what you think on 7255009894.Â You can also send you comments by posting them on “Readers’ Comments page. Thanks.
I (SM Shahed) am managing the web site but the real spirit behind the work is (1) the beauty of Urdu (2) the power of shuâaraa (poets) and (3) the knowledge and wisdom of Moazzam Siddiqi (freely and generously shared with me).
I have received no formal education in Urdu. Â I do not recall how/when I learnt to read and write it. Â Moazzam has been very generous in holding my hand all the way. Â Even so, there are likely to be many mistakes. Â Besides, given my engineering background, the translation is purely âutilitarianâ and far from ârefined literaryâ.Â The idea is to convey the meaning or multiple meanings and let the reader return to the beauty of the original.Â Never-the-less, I have sought help in refining some of the translations.Â Badri Raina has done a lot of work on translations in spite of failing eyes and continues to help and encourage.Â I have also sought and received help from Syeda Imam in marking up my mundane translations and making them a tad better.Â Lately, my wife, Asha has worked hard at transcribing and re-formatting much of the material that I am posting.Â Her project too started as a way to teach herself Urdu.
Given all the shortcomings, what gives me the audacity to undertake this project?
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girte hain shahsawar hi maidan-e-jung meN
vo tifl kya giregaga jo ghuTnoN ke bal chale
Only horsemen fall in the field of battle
How can an infant who crawls on its knees fall
All criticism/comments/suggestion is most welcome and I will use it to improve the blog. Thanks. In truth I started writing this because it was the most effective way to teach myself Urdu (with Moazzamâs generous help). I found it so rewarding that I thought other people in my situation would benefit from it and enjoy it. Hence this blog.
There are multiple ways to navigate through the site.
Click on Poet Index to get a gallery of photographs of poets. Â Click on the photograph of the poet you want to read and you get a list of nazm/Ghazal of that poet. Â Click on the selected nazm/Ghazal and you get to the content of that nazm/Ghazal.
Each Post (of content) has multiple tabs Urdu-Hindi-English-Notes. Â In some cases it might have more (self-explanatory)
The Urdu and Hindi tabs contain the text/content in fonts that are close to Nafees Nastaliq and Mangal. Â The English tab has the text/content in Roman script and selected words in passages/stanzas have superscript numbers. Â These numbers correspond to meanings of those words. Â Meanings pop up in a window when you click on the passage/stanza. Â Meanings are contextual e.g. “aab” ordinarily means “water” but it is also sued to mean “brilliance/shine” or “sharpness. Â The pop-up window also has a discussion/prose translation and comments calling attention to metaphors and subtleties as well as to background information. Â Clicking again makes the window disappear. Â The “Notes” tab has the same content as the “English” tab except the whole thing is displayed without the need for pop-up windows. Â This also means that the reading of the original text is interrupted by meanings/discussion.
You can also navigate using the
There is a magnifying glass icon on the top right hand side of a page/post. Â Clicking on it gives you a box into which search criteria can be entered. Â You can enter a poet’s name, a snippet of a she’r or key words to search for what you are looking for. Â You can also enter your search criteria in Hindi or Urdu fonts if you have the ability to reproduce the fonts used on this website. Â There is a potential problem with search based on Roman script. Â There is no standard for transliteration and the one that I have used is arbitrary. Â So you may have to try several variations of spelling in transliteration. Â Thus the Urdu word for “far” is “door” but because it ends up being a common English word, I transliterate it as “duur” to help with pronunciation. Â Transliteration is heavily influenced by pronunciation. Â Thus the same word may be transliterated differently in different places depending on the pronunciation called for. Â So search function has to be used with some caution and your suggestions can help improve it.
You can navigate through
in much the same way.
If you click on the “Marsia Index” you get a picture gallery of marsia titles. Â If you click on the selected Marsia title you get a listing of thematic posts within that marsia. Â Thus the marsia title “zindagi o maut” has been broken up into themes such as “anaa”, “zindagi”, “maut”, “sarkashi” etc. This break-up into themes is not the poet’s but mine and only for convenience of posting. Â Clicking on any theme will get you to the post/content of that theme which will have 10-20 stanzas of that theme associated with that marsia. Â Thus 5-8 themes with 10-20 stanzas will cover all 60-100 stanzas of a marsia.
Similarly, if you click on “Quotables Index” you will get a picture gallery of major “Quotable Themes”. Â If you click on a major theme you will get a listing of minor themes. Â Clicking on a minor theme will take you to a page with multiple tabs. Â Each tab will have a selection of several “asha’ar” (couplets) in multiple scripts and audio associated with each “she’r”.
marsia and quotables are accessible with the search function with the same qualifications as noted before.
I am including this brief note on the convention that I have followed because there is no standard convention and mine might be a little disconcerting.
Urdu script that I have used is Nafees Nastaliq and it does not work well in Explorer. Â I strongly recommend using Google Chrome for this site. Â I am somewhat limited in what I can do with the Hindi script. The transliteration routine that I use does not always give me exactly what I want. Particularly the gutteral âGhâ and âqâ and the âKhaiâ are not always easy to get.
In transliterating into English, I have tried to use the following guidelines (not always consistently).
(1) No capitalization at the beginning of verse lines, because there are no capitals in Urdu and because I am using capitals in the middle of words and sentences for gutteral or nasal sounds.
(2) the same convention is carried to transliterating names â¦ no capitalization. Names are capitalized when they appear in the context of English TRANSLATION but not in TRANSLITERATION. Thus âmaKhdoomâ also appears as âMakhdoomâ depending on the context.
(3) Examples of transliteration are â¦
I have tried to use the apostrophe â â â for â Ø¹ â but very awkwardly. The reader will have to use context in many places to get to it. A couple of frequent words are noteworthy â¦ âshaaâerâ for poet, and âshâerâ for couplet. I know that I have not been consistent and will be happy to take corrections. Some of the âconventionâ, I adopted after I had already much of the writing e.g. R for Ú . I will go back and make corrections. Your help in locating errors will be greatly appreciated. Hopefully you will be able to read intuitively and spot the errors. Thanks.
The site and scripts don’t work well with Internet Explorer or with Microsoft Edge. Â It appears that Safari too has problems on mobile devices. Â Things work much better with Google Chrome.
The search function has to be used with many alternative spellings for transliteration such as sahr, sahar, sehar, seher etc. Â Your continuous suggestions on how to make this more standard will be helpful.
There are still several glitches with the site. Â The “text box” which contains the main content sometimes simply expands and covers up the side bar which can be used to convenient navigation. Â We are working on solving the problem but if it occurs for you, please do take a screen shot and let me know. Â Please let me know even you don’t take a screen shot.
There are many spelling mistakes in Urdu and Hindi. Â I would appreciate it if you can point them out and let me know.
There are inconsistencies in transliteration. Â Please help me make them more consistent even if there is no standard method … at least consistent within this website.
Please suggest content in terms of your favourite nazm/Ghazal.
If there are pronunciation problems in the audio, please let me know.
Any suggestions on improving the aesthetics, readability and functionality.
Any suggestions on how to increase the readership … if you want your friends to be added to the distribution list, let me know.
I would welcome any and all feedback including (1) correcting mistakes (2) adding your favourite suggestions (3) improving the interpretation (4) improving the translation (5) adding word meanings.
My contact information â¦ 5106245951
I would eventually like to convert this into a cooperative effort. I am getting on in years (70+ but still running marathons) and it will be good if a group of âirfaaNâ can take over the administration of the site. I invite the âaâarifeenâ among you to please step up and let me know if you can join this cooperative effort.
Also, please help circulate this especially to the generation like me who received education in English and was formally taught Hindi and Telugu but not Urdu.