Urdu Literature

Christianityis the religion from the Hazrat Essa (A.S) the Holy Prophet of Allah. Christiansbelieve that Christianity is a perfect religion and this religion save them from hell, and this religion is revealed from Allah. Christian knows that their ideology based upon Hazrat Essa (A.S) and they relate themselves towards Hazrat Essa (A.S).
Different books in different languages have written on the Christianity like English, Arabic, Persian and other languages there are many books written on Christianity in Pakistani national language Urdu and the books written in many languages have translated in Urdu.
The analysis put forward on Christianity in Urdu written books, one thing is clear that which author writes a good, topic on Christianity and on the other hand by studying Christianity students and readers feel easy and will understand about these books easily and search the relevant material easily.
This article shows the analytical study of books written on Christianity in Urdu and translation from other languages nominated Urdu books.

مسیحی حلقے اکثر اِس حقیقت کا انکار کرتے ہوئے نظر آتے ہیں کہ بائبل مقدس تحریف شُدہ ہے۔ بعض اوقات مسیحی احباب جوشِ ایمانی میں یہ تقاضا بھی کر بیٹھتے ہیں کہ اگر بائبل واقعی تحریفات کی حامل کتاب ہے تو اِس کا ثبوت پیش کیا جائے۔ مُسمانوں کے ہاں عمومی مزاج قرآن کے بیان کردہ اصُولی نقطہء نظر تک ہی محدود ہے جہاں یہ تاریخی حقیقت ایک اصُول کی صورت میں بیان کر دی گئی ہے کہ مسیحی اور یہودی کاتبین اور علماء نے اپنی مذہبی کُتب میں تحریفات کرنے سے گریز نہیں کیا، تاہم قُرآنِ کریم اپنے مزاج کے مطابق زیادہ وضاحت فراہم نہیں کرتا اور مزید تحقیق کا عُنصر قاری پر چھوڑ دیتا ہے۔ یہی وجہ ہے کہ اکثروبیشتر مسلمان مسیحی افراد کے سوالات اور اعتراضات کا مُدلّل جواب دینے سے قاصر رہتے ہیں۔

یہ مقالہ اُردو کے اندر بائبل کی تحریف پر ایک شاہکار کی حیثیت رکھتا ہے۔ کسی بھی مسیحی دعویدار یا معترض کو اگر صرف یہ ایک مقالہ بائبل کی تحریف کے ثبوت کے طور پر پیش کر دیا جائے تو مجھے یقین ہے کہ بڑے بڑے مسیحی عُلماء کے پاس بھی اِس کا ردِّ جواب نہیں ہو گا۔

Sitapur is the primeval and historical city of india which is known for its literary, educational, religious and political contributions. Sitapur is engraved with the prints of prehistoric, medieval, and contemporary times. In this article the history, geography and literary contribution of Sitapur is illustrated with old and new references. From ancient times Sitapur had been an important historical and religious place. The account of important religious sites and great personalities is also illustrated. Educational and literary history and the list of personalities are also provided in these pages.

This article focuses on four plays written in Hindi and Urdu, by playwrights Mudrarakshas, Sarveshvar Dayal Saksena, Lakshmi Narayan Lal, and Habib Tanvir.  Each incorporates elements from folk forms such as Nautanki within the urban theatricial idiom.

This paper will examine the essay, “Night Walks” (2000), to see how Charles Dickens (1812-1870), a social-realist writer of the Victorian era, has used elements adapted from the Romantics in order to draw attention to the pitiable social conditions of Victorian London. Dickens’ the realist paradoxically reflected a readiness to think and feel “without immediate external excitement”. He expressed his alignment with Romanticism by way of a cultivation of feeling and empathizing. His genius was, as expressed by Bagehot, “essentially irregular and unsymmetrical” because he was “utterly deficient in the faculty of reasoning”. His daily, or rather nightly walks provided him with the inspiration to follow the Romantic tradition of writing on walks. The essay under consideration, “Night Walks”, clearly supports the notion that Romanticism was fallaciously opposed to realism. The paper will examine the ways in which the theme, style, and structure of the essay evoke the preoccupation of a Ro...

The popularity of mystery and crime fiction globally, in late nineteenth and early twentieth century can be attributed almost singlehandedly to the Holmesian canon. The meteoric rise in popularity of detective fiction worldwide at the turn of the century gave birth to many indigenous crime and detective fiction traditions. In the Indian sub-continent, detective novels became widely popular at the turn of the century with Shaikh Firozuddin Murad, Munshi Teerath Ram Firozepuri and Zafar Omar Zuberi’s ‘transcreations’ setting the stage for a new genre in Urdu fiction. This genre took inspiration from the European and American thrillers, penny dreadfuls and detective novels but was ultimately focused more on the ‘figure’ of the detective or the jasus, than the process of detection itself. The jasūs, in stark contrast to the detectives in European and American crime fiction, took a decidedly different approach towards crime solving, often incorporating elements of intuitive guesswork and brute force along with ‘scientific problem solving’. It can be argued that the popularity of detective fiction in Urdu not only coincided with the incorporation of the ‘modernist’ strain in Urdu fiction, but in some ways actually inspired it. Incidentally, the detective fiction in the early part of twentieth century also paved way for actual policemen in studying new ‘detective methods’ and with the publication of texts such as Funn e Surāgh Rasāni (1924), it became clear that in many instances real life actually mimicked art, as the publication extensively referred to many Sherlock Holmes stories and looked up to the fictional detective for help in solving crimes in the real world. Thus, the jasūs of Urdu detective fiction can be said to have actually stepped out of the fictional world to help with the ‘real world’ crime mysteries. The present study makes an attempt at tracing the evolution of jasūs in Urdu detective fiction from colonial to contemporary times. It also attempts to trace a possible link to early Urdu jasūsi fiction and the dastangoyi tradition. Last but not least, it looks at the intersection of detective work, morality and a constantly evolving socio-economic climate, within the framework of jasūsi fiction.

In this remarkable selection of Faiz’s most memorable poems and ghazals, readers will be able to experience a new dimension of the great poet’s genius. Along with popular favourites like ‘Subh-e Azadi’, with its anguished evocation of the horror and pain of the Partition, The Colours of My Heart also introduces readers to little-known gems that display Faiz’s extraordinary flair for tender hope and quiet longing.

It is a short review on the rich socio-historical and cultural Nawabi heritage of Lucknow, which is an attempt to cover a few wonders of the Owadh by the writer. The city of Lucknow has been given various other historical names too to interpret its value, such as “The Constantinople of India”, “Shiraz e Hind” and “The Golden City of the East” because of its marvels. Lucknow is a large city in northern India which is also a hub of Shia and Sunni Ulama of high repute. Alas! It was looted and destroyed by the cruel and brutal British Empire. Thanks to the veteran writers and the successors of the custodian of the lost heritage, today we know something about it.

A newly proofread (2015) and uncut version of the introduction to and translation of shahr-āshob poems from “The Lament for Delhi” (Fughān-i Dihlī) eventually published in: Nationalism in the Vernacular: Hindi, Urdu, and the Literature of Indian Freedom. Ed. Shobna Nijhawan. Delhi: Permanent Black. 2009. 88-92.

In this discourse, Prabhat Rainjan Sarkar (1922-1990), a spiritual teacher (also known as Shrii Shrii Anandamurti) and social philosopher, describes how the languages of India evolved from pre-historic times to the present. P.R. Sarkar had a vast knowledge of languages and their grammars and spoke many languages fluently. I was present in India in 1988 when he gave a demonstration of speaking in an Indian language the way it was spoken about 20,000 years ago. This spoken discourse was given in Kolkata on 25 September 1990. -- Richard Gauthier, Department of Chemistry and Physics, Santa Rosa Junior College, Santa Rosa, California, USA, 13 September, 2020.

Urdu Playwright and theatre director Afaq Almas is ready with a theatrical dramatization in Urdu of Susan Masotty's English translation of the Diary of Anne Frank. The diary itself is yet to be translated into Urdu, the lingua franca of linguistically diverse South Asian Muslims who make up one third of the global Muslim population. Certain sections of them deny or minimize the Holocaust. Overall there is widespread ignorance of the Holocaust in South Asia. Afaq Almas's endeavour would be a great remedial measure. He also intends to stage the play in all major cities of India and elsewhere in South Asia, though he has little idea as to how he will manage the funds to cover the expenses involved.

The Urdu language has suffered a process of evolution and reforms. In this book this process is explained from a historical linguistics point of view, noting those factors natural and otherwise which have influenced the language to be in the form we find it today.  The book also analyzes the etymological components of the basic vocabulary of Urdu language.

BOOK: Niyogi Books, New Delhi, 2018. The monsoon is the season of pouring rain and intense emotions: love and longing, hope and fear, pleasure and pain, devotion and joyous excess. Through a series of evocative essays exploring rain-drenched worlds of poetry, songs, paintings, architecture, films, gardens, festivals, music, and medicine, this lavishly illustrated collection examines the history of monsoon feelings in South Asia from the twelfth century to the present. Each essay is written by a specialist in the field of South Asian arts and culture, and investigates emotions as reflections and agents of social, cultural, and political change across borders of language and religion and between different arts and cultural practices. The history of emotions in the rain is as rich, surprising, beautiful, and devastating as the thundering monsoon clouds, and will delight general and scholarly audiences alike.

Traduction de l'urdu en français de la nouvelle Toba Tek Singh (ٹوبہ ٹیک سنگھ) de Saadat Hasan Manto publiée en 1955.

The original Urdu text can be found here:
http://www.columbia.edu/itc/mealac/pritchett/00urdu/tobateksingh/phundnetext1955.pdf

The stories collected in this volume represent a distinctive contribution to the modern Urdu short story. Focused primarily on the lives of Urdu-speaking Muslim families in Pakistan and pre-Partition India, the stories explore the nature of compromise and moral death, and the emotional and sexual lives of women with a remarkable command of cultural detail and understatement. But the narrow canvas of the stories and their quietness should not obscure the sense of outrage that lies at the heart of these stories-an outrage at the continued destruction of the unique multicultural heritage of the subcontinent, and of the linguistic heritage of Urdu at the hands of sectarian violence and religious chauvinism.

Hailed as the badshah of mizahiya shayri, Khateeb, who is still relatively unknown across the subcontinent, was prolific, and composed and performed a great number of his works in Dakhani. Suffused with regional idioms, pithy folk wisdom and the sumptuous inflections of the Deccan’s vernaculars, his poetry was accessible to and singularly popular among the people of the region. Khateeb was not just a guardian of Dakhani, he became one of its most be- loved ambassadors. He lit a lamp in the darkened corner to which the language had retreated; his poetry was like a stick of incense burnt in propitiation to its glorious history.

Premchand: The Complete Short Stories, published in four volumes is a collaborative enterprise of around 70 translators working on 300 stories, the project boasts of several short stories being presented in English for the first time. Jamia Millia Islamia Professor M Asaduddin shares with Kalyanee Rajan the journey of the making of these volumes, the unique characteristics, and his future projects.

Premchand: The Complete Short Stories, published in four volumes by Penguin Random House, has been edited by author, critic, and translator in several languages M Asaduddin. A collaborative enterprise of about 70 translators working on 300 stories, the project boasts of several short stories being presented in English for the first time. Taken together, the volumes constitute 3,264 pages of dense printed material, running into more than 1500,000 words. The volumes present Premchand's entire short-fiction oeuvre for the delight of the English-speaking world. Along with a comprehensive foreword by Harish Trivedi and an extensive introduction by the editor, M Asaduddin, this path breaking anthology features several stories not hitherto available either in Hindi or Urdu. Also included are comprehensive notes that provide the publication history of each story-highlighting the differences, sometimes significant and radical, between the Hindi and Urdu versions of the same story-as well as a definitive chronology, making this a truly singular collection. Prof M Asaduddin shares the journey of "the making" of these volumes as it were, the unique characteristics, and his future projects.