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Modern Urdu literary works in India

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  • sabah
    Thanks for the info

    >> A creative writer does not care about the language.<<
    Maybe not, but a ’creative’ reader does care about the language and the msg.

    >>Paradoxically, amongst the 'ahle-zaban' (those who own language) a creative writer hardly ever appeared. It is extremely ironical that weakness in language at times gives strength to creative upsurge<<

    Durango since you posted this, you might know what he means by creative, if he meant to say that ehl-e-zuban failed to express their feelings, ehh this person is sooo wrong. Ghalib, Iqbal, Mir etc where ehl-e-zuban and in my book they were danm creative.

    Leave a comment:

  • durango
    started a topic Modern Urdu literary works in India

    Modern Urdu literary works in India

    KARACHI: Indian Professor Aleemulla Hali, chairman Urdu Department of Magadh University (Bihar, India), was the guest speaker at a fiction group meeting held on Sunday evening. A poet of great repute with three collections of poetry to his credit, Dr Hali burst on the literary scene with the advent of the movement of modernism in India, and has always been at its forefront. He spoke at length about the development of Urdu literature with particular reference to its issues and trends in India.

    After his talk, a question-answer session was held, which was followed by a mushaira in which more than a dozen city poets participated. Prof Hanif Fauq, who had also spoken briefly about the merits of literary criticism, recited his verse. Ali Haider Malik compered the mushaira.

    Urdu ghazal has a magnetic effect. The first Urdu poet, it is true, wrote a ghazal. In all probability, the last poet will also do the same. Be that as it may, it is important to pay attention to other genres of Urdu poetry. It is high time we turned to 'nazam' that carries the poet's message to the listener in totality.

    The creative literature should in the first place be 'creative'. Literary criticism, at present, has become one-sided. Most writers do not delve into the original work. They proffer their comments after reading a few books on criticism. Modernism in Urdu literature emerged in the sixties. It is instructive to note that the first collection of poetry based on modernism also carried verses written by Prof Hali, who is at home in Persian literature as well.

    When asked to comment on the genre of criticism in India, Prof Hali said, this form of literature reflects only the overall literary atmosphere and the level of creative writings in the country. The present-day writings are transparent and clear because the socio-political conditions have changed and the cover of symbols and metaphors has been reviewed.

    He said that apart from a few prominent writers, some new writers, such as Mansoor Umer and Mohsin Raza Rizvi, also emerged. During the last four or five years, analytical criticism gained ground in India. Giving examples to shore up his contention, he said that a writer, Wahab Ashrafi, is compiling a book on the world literature (Adbiat-i-Alam), a promising poet, Shahid Kaleem, has brought out two collections of poetry, and noted writer Irteza Karim has chalked out a grand project of writings on different literary issues.

    Literary collections are these days outnumbered by literary essays that appear in important periodicals. Meanwhile, a new trend, the study on individual authors, is getting popular. Young writers are writing in a positive manner, trying to carve out their own path.

    Asked to comment on the use of idioms and vocabulary, considered 'crude' by discerning literary critics, Prof Hali said the spontaneous expression of the writer's feelings should be the main concern. One should not be too conformist about it. A creative writer does not care about the language. Paradoxically, amongst the 'ahle-zaban' (those who own language) a creative writer hardly ever appeared. It is extremely ironical that weakness in language at times gives strength to creative upsurge