Famous Writers and poet's BioGraphy!!

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thank u Chiragh bro so nice of u :)

but thread abhi to be continued hay :p INSHA ALLAH den time mila to ye sab urdu may bhi share kar dungi q k urdu adab section hay {(popcorn)}
 

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Saadat Hasan Manto!

Saadat Hasan Manto


Saadat Hasan Manto' (May 11, 1912 � January 18, 1955) was a South Asian Urdu short story writer, most known for his Urdu short stories , 'Bu' (Odor), 'Khol Do' (Open It), 'Thanda Gosht' (Cold Meat), and his magnum opus, Toba Tek Singh'.

He was also a film and radio scriptwriter, and journalist. In his short life, he published twenty-two collections of short stories, one novel, five collections of radio plays, three collections of essays, two collections of personal sketches.

He was tried for obscenity half-a-dozen times, thrice before and thrice after independence in Pakistan, but never convicted. Some of his works have been translated in other languages.


Saadat Hasan Manto was born in a Kashmiri Muslim family of barristers, on May 11, 1912, in Samrala in the Ludhiana district of the Indian state of Punjab.His father, Ghulam Hasan Manto was a Sub-Judge in Amritsar, while his mother, Sardar Begum, a prior widow, was the second wife to Ghulam Hasan.This never gave the Saadat and his sister Nasira, the requisite place in the Manto clan, and things took a turn for the worse for them, when their father,took an early retirement in 1918.

He received his early education at Muslim High School in Amritsar, but he remained a misfit throughout is school years, rapidly losing motivation in studies, ending up failing twice in matriculation. His only love during those days, was reading English Novels, for which he even stole a book, once from a Book-Stall in Amritsar Railway Station.

In 1931, he finally passed out of school and joined Hindu Sabha College in Amritsar, which was already volatile due the independence movement, soon it reflected in his first story, 'Tamasha', based on the Jallianwala Bagh massacre as witnessed by a seven-year old boy.

After, his father passed away in 1932, he sobered up a bit to support his mother, though the big turning point in his life came, when in 1933 at age, he met Abdul Bari Alig, a scholar and polemic writer, in Amritsar, who encouraged to him find his true talents, and read Russian and French authors.

Within a matter of months he produced an Urdu translation of Victor Hugo's 'The Last Days of a Condemned Man', which was published by Urdu Book Stall, Lahore as Sarguzasht-e-Aseer (A Prisoner's Story) [16] and soon joined the editorial staff of 'Masawat', a daily, published from Ludhiana. His 1934 Urdu translation, of Oscar Wilde's Vera, got him due recognition amongst literary circles. Still at the continued encouragement of Abdul Bari, he published a collection of Urdu translation of Russian stories, as 'Russi Afsane'.

This hightened enthusiasm pushed him to pursue graduation at Aligarh Muslim University, where joined in February 1934, and soon, got associated with Indian Progressive Writers' Association (IPWA). It was here that he met, writer Ali Sardar Jafri and found a new spurt in his writing, got his second story, 'Inqlaab Pasand', published in Aligarh magazine in March 1935.

There was no turning back from then on, and his first collection of original short stories in Urdu, 'Atish Pare' (Sparks; also Quarrel-Provokers) was published in 1936, at age 24.

He left Aligarh within a year, initially for Lahore and ultimately for Bombay.

� "A writer picks up his pen only when his sensibility is hurt."
-- Manto to a court judge �

After 1936, he moved to Bombay, where he stayed for the next few years, editing 'Musawwir', a monthly film magazine, and also started writing scripts and dialogues for Hindi films, including 'Kisan Kanya' (1936) and 'Apni Nagariya' 1939). Soon he was making enough money, though by the time he married Safia on 26th April, 1939, he was once again in dire financial conditions. Despite financial ups and downs he continued writing for films, till he left for Delhi in January 1941.


After the writers who had migrated from various Indian cities settled in Lahore, they started their literary activities. Soon Lahore saw a number of newspapers and periodicals appearing. Manto initially wrote for some literary magazines. These were the days when his controversial stories like Khol Do (Urdu: کھول دو Open it) and Thanda Gosht (Urdu: ٹھنڈا گوشت Cold Meat) created a furor among the conservatives. People like Choudhry Muhammad Hussain played a role in banning and prosecuting the writer as well as the publishers and editors of the magazines that printed his stories. Among the editors were such amiable literary figures as Ahmad Nadeem Qasmi, Hajira Masroor and Arif Abdul Matin. Soon the publishers who were more interested in commercial aspects of their ventures, slammed their doors shut to Manto's writings. He, therefore, started contributing stories to the literary supplements of some newspapers. Even this practice could not go on for long. Masood Ashar who was then editing the literary page of "Daily Ehsan" published some of his stories but the conservative owner of the paper soon asked him to refrain from the practice.

During those days, Manto also tried his hand at newspaper column writing. he started off with writing under the title Chashm-e-Rozan for daily Maghribi Pakistan on the insistence of his friends of Bombay days Ehsan BA and Murtaza Jillani who were editing that paper. But after a few columns one day the space appeared blank under the column saying that due to his indisposition Manto couldn't write the column. Actually Manto was not indisposed, the owner was not favourably disposed to some of the sentences in the column.



The only paper that published Manto's articles regularly for quite some time was "Daily Afaq", for which he wrote some of his well known sketches. These sketches were later collected in his book Ganjay Farishtay(Bald Angels). The sketches include those of famous actors and actresses like Ashok Kumar, Shayam, Nargis, Noor Jehan and Naseem (mother of Saira Banu). He also wrote about some literary figures like Meera Ji, Hashar Kashmiri and Ismat Chughtai. Manto's sketch of Quaid-e-Azam Muhammad Ali Jinnah was also first published in Afaq under the title Mera Sahib. It was based on an interview with Haneef Azad, Qauid-e-Azam's driver of Bombay days who after leaving his job as driver became a well known actor. The article included some of the remarks related to the incident when Dina Jinnah married Wadia. Later when the sketch was included in the book these lines were omitted.

Manto created a new tell-all style of writing sketches. He would mince no words, writing whatever he saw. "I have no camera which could wash out the small pox marks from Hashar Kashmiri's face or change the obscene invectives uttered by him in his flowery style," he wrote.

Manto once tried to present the sketch of Mulana Chiragh Hasan Hasrat in a literary gathering organized in YMCA Hall Lahore to celebrate the Maulana's recovery from heart attack. The sketch entitled Bail Aur Kutta was written in his characteristic style exposing some aspects of Maulana's life. The presiding dignitary stopped him from reading the article and ordered him to leave the rostrum. Manto, however, was in 'high spirits'. He refused to oblige and squatted on the floor, and was with difficulty prevailed upon by his wife, Safia, to leave the stage.

Those days Manto was writing indiscriminately in order to provide for his family and be able to drink every evening. For everything he wrote, he would demand cash in advance. In later days, he started writing for magazines like Director. He would go to its office, ask for pen and paper, write his article, collect the remuneration and go away. This Manto was different from the one who arrived in Lahore in 1948.

The Manto in 1950 had a glowing Kashmiri complexion and a thick crop of long brown hair on his head. He was wearing a light brown gabardine shirwanee with a silken trousers and saleem shahi shoes. He came to Government College, Lahore to read his article How Do I Write a Story.


But the necessity to earn his livelihood consumed him very fast. In a few years, his complexion became pale and his hair turned grey. We saw him reading his story Toba Tek Singh at YMCA Hall at the annual meeting of Halqa-e-Arbab-e-Zauq. He looked older than his years wearing an overcoat with collars turned up. The big eyes that darted out of the thick-rimmed glasses looked pale and yellow. But he read his story in his usual dramatic style and when he finished reading it there was pin drop silence in the hall and there were tears in everyone's eyes.



Simultaneously he had embarked on a journey of self-destruction. The substandard alcohol that he consumed destroyed his liver and in the winter of 1955 he fell victim to liver cirrhosis. During all these years in Lahore he waited for the good old days to return, never to find them again.He was 42 years old at the time of his death. He was survived by his wife Safiyah and three daughters.



On January 18, 2005, the fiftieth anniversary of his death, Manto was commemorated on a Pakistani postage stamp.


===Manto collection (Books)===

*Atishparay -1936
*Manto Ke Afsanay-1940
*Dhuan-1941
*Afsane Aur Dramay -1943
*Lazzat-e-Sang-1948
*Siyah Hashiye-1948
*Badshahat Ka Khatimah-1950
*Khali Botlein-1950
*Nimrud Ki Khudai -1950
*Thanda Gosht-1950
*Yazid-1951
*Pardey Ke Peechhey-1953
*Sarak Ke Kinarey- 1953
*Baghair Unwan Ke-1954
*Baghair Ijazit-1955
*Burquey-1955
*Phunduney-1955
*Sarkandon Ke Peechhey-1955
*Shaiytan (Satan)-1955
*Shikari Auratein - 1955
*Ratti, Masha, Tolah-1956
*Kaali Shalwar-1961
*Manto Ki Behtareen Kahanian-1963 [1]
*Tahira Se Tahir-1971
 
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Deputy Nazeer Ahmad Dehalvi Biography!


Deputy Nazeer Ahmed Dehlvi (1836 - 1912)

'Diptee' (Deputy) Nazeer Ahmad was a leading urdu writer who was also a social and religious reformer, and a prominent scholar. He was a pioneer of Urdu literature whose novels are today a basic part of the educational curriculum in the Indian sub-continent (ie., India and Pakistan).

Nazir Ahmed (1830�1912) came from a distinguished family of religious scholars, maulavis and muftis of Bijnor (Uttar Pradesh) and Delhi.

His father was a teacher in a small town near Bijnore, who taught the boy Persian and Arabic, and in 1842 took him to study with Maulvi Abd ul-Khaliq at the Aurangabadi Mosque in Delhi. In 1846, the boy had the opportunity to enroll at Delhi College, he chose its Urdu section, he later said, because his father had told him 'he would rather see me die than learn English' and studied there till 1853. During this period he also discreetly arranged his own marriage, to Maulvi Abd ul-Khaliq's granddaughter.

He began his career as a teacher in Arabic, in 1854 he joined the British colonial administration, in(1856) he became a deputy inspector of schools in the Department of Public Instruction in Kanpur. And at the end of 1857 he was appointed to a similar deputy inspectorship in Allahabad. Later, for his superb translation of the Indian Penal Code in Urdu, he was nominated for the Revenue Services. He was posted as deputy collector in what was then called the North-West Provinces (i.e. modern U.P.), and hence the name 'Diptee (Deputy) Nazir Ahmad� by which he is popularly known.

In 1877 Nazir Ahmad was offered a well-paid administraive position in the princely state of Hyderabad. He remained there until 1884, when court politics forced him to resign and return to Delhi, where he lived for the rest of his life. He died of a stroke in 1912.
Nazir Ahmad studied at the Delhi College from1846 till 1853.


===Literary Works===


He was the pioneer of Urdu novel. He was prolific writer and published books in varied genres.

Mirat-al-Urus (The Bride's Mirror)-1868�1869-is regarded as the first novel of Urdu. After its release in 1869, within twenty years it was reprinted in editions totalling over 100,000 copies; and was also translated into Bengali, Braj, Kashmiri, Punjabi, and Gujarati.It has never been out of print in Urdu from that day of its first publication. In 1903 an English translation was published in London by G. E. Ward.

Bina-tul-Nash-
(The Daughters of the Bier, a name for the constellation Ursa Major),is another great Novel by Deputy Nazeer Ahmed. It was his 2nd novel after Mirat-tul-uroos. Like Mira-tul-Uroos, this novel is also on education of women and their character building.

Taubat-un-Nasuh (Repentance of Nasuh)1873-1874- Deputy Nazeer Ahmed earned a good name in writing novels for developing moral values and guidance of young generation. His entire work is full of teachings of moral values.

Fasaana-e-Mubtalaa(1885)- another novel for developing moral values and guidance of young generation.

Ibn'ul Waqt- 1888- according to one opinion novel was based on Sir Syed Ahmad Khan, but Deputy Nazeer Ahmad strongly rejected this allegation.

Ayyamah (1891)
Ruya-e Sadiqah (1892).

Deputy Nazir was a leading proponent of the education of Muslim women and he took the issue with great determination and persistence against the Muslim mindset of his era, which was generally against the education of women. Deputy Nazir was among the few who were aware of the problems and sufferings of Indian Muslims during those critical decades when the Muslim society was in a flux. He fully understood the demands of time in context of Indian Muslims. Through his novels he sought to eradicate social evils inherent in a decadent society, particularly those caused by ignorance, illiteracy and frustration. This was very effectively brought about by his novels and writings.
 

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Kishwar Naheed Biography!
Kishwar Naheed
Born in Bulandshahr, Uttar Pradesh, India in 1940, Kishwar Naheed is one of the best- known feminist poets of Pakistan. In a field dominated by traditional male voices, Naheed, writing in Urdu, was a pioneer of a new, distinctively feminine voice and has produced over the span of thirty years a body of work that is innovative, defiant, political, and self-aware. Her poetry dared to go beyond the prescribed accepted 'feminine' realms to include hitherto unmined fields of female sexuality, politics, and social issues. In an interview with Rakhshanda Jalil for the Indian daily The Hindu (11/4/2001), Kishwar Naheed explained her writing as an attempt to redefine the man-woman relationship. Rejecting being branded as a radical or a bohemian, she declared herself "a realist" who "never let herself get pushed around by men or by circumstances."

Born into a traditional family that moved to Lahore, Pakistan during the 1947 Partition of the sub-continent, Naheed had to fight to pursue an education in a milieu where women did not go to school and "were not allowed to speak to boys." She studied at home and obtained a high school diploma through correspondence courses, but went on to receive a masters degree in Economics from Punjab University.

Naheed's first collection of poetry, Lab-i goya, published in 1968, won the prestigious Adamjee Prize of Literature. This collection of traditional ghazals was followed by a collection of nazms, by translations of foreign poetry, and by many works in free verse. She also wrote for children and for the daily Jang, published her autobiography in 1994 (it appeared the following year in India), and in 2001 saw her collected poetic work released in a 1312 page volume entitled Dasht-i qais men Lail'a. Her daily columns in Jang were also collected and published in 1999. Her poetry has been translated into English and Spanish and her famous poem "We, sinful women" gave its title to a path-breaking anthology of contemporary Urdu feminist poetry translated and edited by Rukhsana Ahmad, published in London by The Women's Press in 1991.

Kishwar Naheed has held the position of Director General of Pakistan National Council of the Arts before her retirement, has edited a prestigious literary magazine Mah-i naw, and has founded an organization named Hawwa (Eve) whose goal is to help homebound women become financially independent through cottage industries and the marketing of handicrafts.

The Library of Congress has twenty-five works by Naheed in its collection. She read for the Library in Lahore on December 13, 1977
 

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Munshi Premchand Biography!
Munshi Premchand

Munshi Premchand, (July 31, 1880 - October 8, 1936) was one of the greatest literary figures of modern Hindi and Urdu literature.

Premchand,whose original name was Dhanpat Rai Srivastava, was born on 31 July 1880, in village Lamahi near Varanasi, where his father was a clerk in the post office.He was also known as saala. Premchand's parents died young - his mother when he was seven and his father while he was fourteen and still a student. Premchand was left responsible for his step-mother and step-siblings.

Early in life, Premchand faced immense poverty. He earned five rupees a month tutoring a lawyer's child. He was married at the early age of fifteen but that marriage failed, later he married again, to Shivrani Devi, a balavidhava, (child widow), and had several children, she supported him through life struggles.

Premchand passed his matriculation exam with great effort in 1898, and in 1899 he took up school-teaching job, with a monthly salary of eighteen rupees.
Later, Premchand worked as the deputy sub-inspector of schools in what was then the United Provinces of Agra and Gorakhpur and there is a very lush green park on the name of prem chand - "prem chand park"and government of india has also an autonomous body for research purpose on his literature in Gorakhpur.|Uttar Pradesh].

In 1910, he was hauled up by the District Magistrate in Gorakhpur (near Normal school where DIET - Trtaining centre for B.Ed and B.T.C is eshtablished now a days)for his anthology of short stories Soz-e-Watan (Dirge of the Nation), which was labelled seditious. The first story of the anthology was Duniya ka Sabse Anmol Ratan (The Most Precious Jewel in the World), which according to him was "the last drop of blood shed in the cause of the country's freedom". All the copies of Soz-e-Watan were confiscated and burnt. Initially Premchand wrote in Urdu under the name of Nawabrai. However, after the confiscation of Soz-e-Watan. he started writing under the pseudonym Premchand. Before Premchand, Hindi literature consisted mainly of fantasy or religious works. Premchand brought realism to Hindi literature. He wrote over 300 stories, a dozen novels and two plays. The stories have been compiled and published as Maansarovar.

In 1921, he answered Mahatma Gandhi's call and resigned from his government job. Then he worked as the proprietor of a printing press, editor of literary and political journals (Jagaran and Hans). Briefly, he also worked as the script writer for the Bombay film world. He didn't think much of the film world and once remarked about film Mazdoor (The Labourer)- "The director is the all in all in cinema. The writer may be the king of his pen, but he is an ordinary subject in the director's empire...Idealism creeps into the plots I conceive and I am told there is no entertainment value in them."

Premchand's first marriage was a disaster. The second time, he married a child widow, Shivarani Devi, which was a considered taboo in India at that time. Premchand had three children - Sripat Rai, Amrit Rai and Kamla Devi Srivastava.
Premchand lived a life of financial struggle. Once he took a loan of two-and-a-half rupees to buy some clothes. He had to struggle for three years to pay it back.

When asked why he doesn't write anything about himself, he answered: "What greatness do I have that I have to tell anyone about? I live just like millions of people in this country; I am ordinary. My life is also ordinary. I am a poor school teacher suffering family travails. During my whole lifetime, I have been grinding away with the hope that I could become free of my sufferings. But I have not been able to free myself from suffering. What is so special about this life that needs to be told to anybody?".

Premchand chaired the first all-India conference of the Indian Progressive Writers' Association in April 1936 at Lucknow.

During his last years,he became terribly ill. The money his wife used to give for his treatment was used in running his press "The Saraswati". He was also writing a book "Mangalsutra" which would never be completed. All this had serious impact on his health leading to his early death on 8th October 1936, at the age of 52.
The main characteristic of Premchand's writings is his interesting story-telling and use of simple language. His novels describe the problems of the rural peasant classes. He avoided the use of highly Sanskritized Hindi (as was the common practice among Hindi writers), but rather he used the dialect of the common people.

Premchand called literature a work that expresses the truths and experiences of life impressively. Presiding over the Progressive Writers' Conference in Lucknow in 1936, he said that attaching the word "Progressive" to writer was redundant, because "A writer or an artist is progressive by nature, if this was not his/her nature, he/she would not be a writer at all."

Before Premchand, Hindi literature was confined to the raja-rani (king and queen) tales, the stories of magical powers and other such escapist fantasies. It was flying in the sky of fantasy, until Premchand brought it on the grounds of reality. Premchand wrote on the realistic issues of the day - communalism, corruption, zamindari, debt, poverty, colonialism etc.

Some criticize Premchand's writings as full of too many deaths and too much of misery. They believe Premchand does not stand anywhere near contemporary literary giants of India - Sharat Chandra Chattopadhyay and Rabindranath Tagore. But it should be noted, that many of Premchand's stories were influenced by his own experiences with poverty and misery. His stories represented the ordinary Indian people as they were, without any embellishments. Unlike many other contemporary writers, his works didn't have any "hero" or "Mr. Nice" - they described people as they were.

Premchand was a contemporary of some other literary giants of that era like Acharya Ram Chandra Shukla and Jaishankar Prasad.

Premchand has written about 300 short stories, several novels as well as many essays and letters. He has also written some plays. He also did some translations. Many of Premchand's stories have been translated into English and Russian.

Godaan (The Gift of a Cow), his last novel, is considered the finest Hindi novel of all times.The protagonist, Hori, a poor peasant, desperately longs for a cow, a symbol of wealth and prestige in rural India. Hori gets a cow but pays with his life for it. After his death, the village priests demand a cow from his widow to bring his soul to peace.

In Kafan (Shroud), a poor man collects money for the funeral rites of his dead wife, but spends it on food and drink.



===Famous stories===
*Panch Parameshvar
*Idgah
*Nashaa
*Shatranj ke khiladi
*Poos ki raat
*Atmaram
*Boodhi Kaki
*Bade Bhaisahab
*Bade ghar ki beti
*Kafan
*Dikri Ke Rupai
*Udhar Ki Ghadi
*Namak Ka Daroga
*Panch Phool
*Prem Purnima
*Ram Katha



===Novels===


*Gaban
*Sevasadan
*Godaan
*Karmabhoomi
*Kaayakalp
*Manorma
*Mangalsootra, incomplete
*Nirmala
*Pratigya
*Premashram
*Rangbhoomi
*Vardaan


===Plays===
Karbala
 
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Qurrat-ul-ain haydar biography!

Qurrat-ul-Ain Haider

Qurrat-ul-Ain Haider (January 20, 1926, Aligarh, Uttar Pradesh � August 21, 2007, NOIDA, Uttar Pradesh) was an Urdu novelist and short story writer, an academic, and a journalist. She was one of the most outstanding literary names in Urdu literature Popularly known as "Ainee Apa" among her friends and admirers, she was the daughter of the famous writer Sajjad Haidar Yaldram, (1880-1943). Her mother Nazr Zahra (who wrote at first as Bint-i-Nazrul Baqar and later as Nazr Sajjad Hyder) (1894-1967) was also a writer and protegee of Muhammadi Begam and her husband Syed Mumtaz Ali, who published her first novel.
Born on January 20, 1926 in Aligarh, Uttar Pradesh, (though her family were from Nehtaur, UP), Qurrat-ul-Ain Hyder is one of the most celebrated of Urdu fiction writers. She was named after a notable Iranian poet Qurrat-ul-Ain Tahira. Qurratul Ain, translated literally means 'eyeball' but is used as a term of endearment. A trend setter in Urdu fiction, she began writing at a time when the novel was yet to take deep roots as a serious genre in the poetry-oriented world of Urdu literature. She instilled in it a new sensibility and brought into its fold strands of thought and imagination hitherto unexplored. She was widely regarded as the "Grande Dame" of Urdu literature.

After graduating from Lucknow University's Isabella Thoburn College, she moved to Pakistan in 1947, then lived in England for some time before finally returning to India in 1960. She lived in Bombay for nearly twenty years before shifting to NOIDA. near New Delhi, where she had been staying till her demise. She never married.



===Literary works===


A prolific writer (she began to write at the young age of 11), her literary works include some 12 novels and novellas, four collections of short stories and has done a significant amount of translation of classics. Her books have been translated into English and other languages.
Aag Ka Duriya (River of Fire), her magnum opus, is a landmark novel that explores the vast sweep of time and history. It tells a story that moves from the fourth century BC to the post-Independence period in India and Pakistan, pausing at the many crucial epochs of history. [Aamer Hussein in [The Times Literary Supplement]] wrote that River of Fire is to Urdu fiction what One Hundred Years of Solitude is to Hispanic literature.

Compared to her exact contemporaries, Milan Kundera and Gabriel Garc�a M�rquez, the breadth of her literary canvas, her vision and insight, transcend time.

Her other books are Patjhar ki Awaz (The Voice of Autumn), 1965; Raushni ki Raftar (The Speed of Light), 1982; the short novel Chaye ke Bagh (Tea Plantations), 1965 (one of four novellas including Dilruba, Sita Haran, Agle Janam Mohe Bitiya Na Kijo, exploring gender injustice) ; and the family chronicle Kar e Jahan Daraz Hai (The Work of the World Goes On).

She proved her genius, even after Aag Ka Duriya, in that she continually adapted and innovated her literary style to fit in with the theme of her novels. Best acknowledged in her quasi autobiographical work Kaar-e-jahan Daraz Hai. Her later novels Aakhir Shab ke Hamsafar, Gardish e Rang e Chaman and her last novel Chandani Begum are much more accessible and critics have dubbed Gardish e Rang e Chaman as her finest novel.

Amitav Ghosh writes that "hers is one of the most important Indian voices of the twentieth century."


She migrated along with her family members to Pakistan in 1947 at the time of independence, but some years later decided to go back to India, where she had since lived. She worked as a journalist to earn her living but kept publishing short stories, literary translations and novels regularly, by now almost thirty in number.

She was Managing Editor of the magazine Imprint, Bombay (1964-68), and a member of the editorial staff of the Illustrated Weekly of India (1968-75). Her books have been translated into English and other languages
Hyder also served as a guest lecturer at the universities of California, Chicago, Wisconsin, and Arizona. She was visiting professor at the Urdu Department at Aligarh Muslim University, where her father had earlier been a registrar. She was Professor Emeritus, Khan Abdul Ghaffar Khan Chair, Jamia Millia Islamia, New Delhi.

Her first short story, Bi-Chuhiya (Little Miss Mouse), was published in children�s magazine Phool and at the age of nineteen wrote her first novel "Mayray Bhee Sanam khanay".
Her other works include:

*Mere Bhi Sanam Khane (1949)
*Safina-e-Gham-e-Dil (1952)


She received the Jnanpith Award in 1989 for her novel Aakhir-e-Shab ke Hamsafar (Travellers Unto the Night). She received the Sahitya Akademi Award, in 1967, Soviet Land Nehru Award, 1969, Ghalib Award, 1985. She was conferred Padma Shri by the Government of India for her outstanding contribution to Urdu literature, and in 2005 she was conferred the Padma Bhushan by the Government of India, for her contribution to Urdu Literature and Education. The Padma Bhushan is the third highest civilian honor awarded by the Government of India.

Qurratulain Hyder died in a NOIDA hospital, near New Delhi, India on August 21, 2007 after a protracted lung illness. She has been buried in the Jamia Millia Islamia cemetery, New Delhi.


Her death has been condoled by the President and Prime Minister of India, and Chief Minister of her home state Uttar Pradesh.
 
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Qamar ALi ABbasi Biography!
Qamar Ali Abbasi was born In Amroha, India. At the age of nine he moved to Pakistan along with his parents. He got his early education in Murree Hills then he moved to Hyderabad, Sindh. He completed his higher education at the University of Sindh, receiving his B.A (Hons), M.A (Economics) and M.A (Urdu) from that institution. He joined National College Karachi as Lecturer of Economics. He passed C.P.S.C and joined Radio Pakistan Lahore as Assistant director in 1966. He served Radio Pakistan for 32 years as a station director in Kuzdar, deputy controller and chief editor Ahang Pakistan Calling, controller, station director Radio Pakistan Karachi. After leaving Radio Pakistan he joined Jang publication as an editor of Info Line. In 1999, he moved to the United States and joined the weekly publication Awam as a chef editor. Presently, he is writing daily and weekly columns in Urdu newspapers all over the world which can be accessed through most of the news papers and their web sites. He has written 18 children�s books and 28 travelogues.

Awards


He received the prestigious All Pakistan Newspaper award for the best column in 1991 from prime Minister of Pakistan.He received pride of Tamaga-i-Imtiaz in 2000 from the president of Pakistan.He has received many awards from different association and countries for his contributions to the Urdu literature​
 

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Ismat Chughati biography!

Ismat Chughtai (15 August. 1915 � 24 October, 1991) was an eminent Indian Urdu writer, known for her indomitable spirit and a fierce feministic views.

She was considered the grand dame of Urdu fiction, as one of the four pillars of modern Urdu short story, the other three being Saadat Hasan Manto, Krishan Chander, and Rajinder Singh Bedi.

Her outspoken and controversial style of writing made her the passionate voice for the unheard, and she has become an inspiration for the younger generation of writers, readers and intellectuals.

She was born in Badayun, Uttar Pradesh and grew up largely in Jodhpur where her father was a civil servant. She was ninth of ten children (six brothers, four sisters), and since her older sisters got married while Ismat was very young, the better part of her childhood was spent in the company of her brothers, a factor which she admits contributed greatly to the frankness in her nature and writing.

Her brother, Mirza Azim Beg Chughtai, already an established writer, when Ismat was still in her teens, was her first teacher and mentor.

In 1936, still working on her bachelor�s degree, she attended the first meeting of the Progressive Writers' Association in Lucknow. After her B.A., Ismat worked for a B.T. (a Bachelor�s in Education), thus becoming the first Indian Muslim woman to have earned both degrees. In this period she started writing in secret.

While she was still in college, her first short story Fasaadi (The Troublemaker) was published in Saqi, a prestigious literary magazine.

From 1939-41, she taught at the Raj Mahal Girls' School in Jodhpur and, later, in Bombay, she became Inspector of Schools. She also worked in Aligarh for a time. Here she met Shaheed Latif, who was at the time working on his Master�s degree. The two developed a close friendship, and later they were married in 1941, and had two daughters.

In 1941, just two months before her marriage, her short story "The Quilt" ("Lihaaf" in Urdu) which dealt with xxxxxxxism, and the needs of a woman in cloistered household, established her as a fierce writer and a feminist. It also lead to her being charged with obscenity by then government. Though she was later acquitted when her lawyer successfully argued that the story could not be a corrupting influence because the subject would only be understood by someone who has had a xxxxxxx experience.

In 1943 she completely took to writing as a career.

Through her short stories, novels and political essays, Ismat's work stands for the birth of a revolutionary feminist politics and aesthetics in twentieth century Urdu literature. She was found company amongst writers like Rashid Jahan, Wajeda Tabassum and Qurratulain Hyder.

She explored feminine sexuality, middle-class gentility, and other evolving conflicts in the modern Muslim world. She was briefly associated with the membership of the Urdu Progressive Writer's Movement in Lucknow. She is considered one of the more prolific writers of Urdu short stories.

In collaboration with her husband, Shaheed Latif, Ismat wrote twelve film scripts, and made five films independently. She appeared in Shyam Benegal's 1978 film Junoon for which she also wrote the dialogues. She won the 1975 Filmfare Award for Best Story in Garam Hawa.
She won the 1974 Ghalib Award for Urdu Drama.Terhi Lakeer (translated into English as The Crooked Line by Tahira Naqvi) is considered her best novel. The ups and down of the life of its heroine Shaman can be compared to those of the author.

Her major short story collections are Kaliyan (The Buds),
Choten (Injuries),
Chooi Mooi (Fragile),
Ek Baat (A Point)
and Do Haath (Two Hands).

Her novel are
Tehri- Lakeer (The Crooked Line),
Ziddi (The Obstinate),
Ek Qatra-e-Khoon (A Drop of Blood),
Dil Ki Duniya (Heart�s World),
Masooma (The Innocent),
and Bahroop Nagar (The Deceptive Town)
.[3] She was awarded the Samman Award for Urdu literature in 1990. She died in Bombay in 1991 and was cremated according to her wishes.

Her autobiography is entitled "Kaghazi Hai Pairahan" (Paper-thin is the apparel).

Ismat Chughtai is considered a path breaker for women writers in the subcontinent, as the many women writing at the time of Ismat's birth and childhood - including, notably, Muhammasdi Begum, Sughra Humayun Mirza, Tyaba Bilgrami (to whose novel Anwari Begum Chughtai refers in Terhi Lakeer), and Khatun Akram, were considered to be too caught up in the ideology of slow, conservative and religiously sanctioned changes for women advocated by such male reformers as Mumtaz Ali, Rashidul Khairi and Shaikh Abdullah. However, in Ismat's formative years, Nazar Sajjad Hyder had established herself an independent feminist voice, and the short stories of two very different women, Hijab Imtiaz Ali and the Progressive Dr Rashid Jehan were also a significant early influence on Ismat. (See Aamer Hussein's article, Forcing Silence to Speak, on early women writers in the AUS online).

A Chughtai Collection, Sama Publishing, 2005. ISBN 969-8784-16-0.
Lifting the Veil, Penguin, 2001
The Heart Breaks Free/The Wild One, South Asia Books, 1993..

My Friend My Enemy: Essays, Reminiscences, Portraits, New Delhi, Kali for Women, 2001.
Quilt and Other Stories, New Delhi, Kali for Women, 1996
Terhi Lakhir (The Crooked Line), New Delhi, Kali for Women, 1995
 
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***ibn-e-Inshaa***

Ibn-e-Insha (Punjabi, Urdu: ابن انشاء born Sher Muhammad Khan شیر محمد خان) on 15 June 1927 died 11 January 1978, was a Pakistani Leftist Urdu poet, humorist, travelogue writer and columnist. Along with his poetry, he was regarded one of the best humorists of Urdu. His poetry has a distinctive diction laced with language reminiscent of Amir Khusro in its use of words and construction that is usually heard in the more earthy dialects of the Hindi-Urdu complex of languages, and his forms and poetic style is an influence on generations of young poets.

Biography

Insha was born in Phillaur tehsil of Jalandhar District, Punjab, India. His father hailed from Rajasthan. He received his B.A. degree from Punjab University in 1946 and M.A. from University of Karachi in 1953. He was associated with various governmental services including Radio Pakistan, Ministry of Culture and National Book Centre of Pakistan. He also served UN for some time and this enabled him to visit a lot of places and was the reason of his subsequent travelogues. Some of the places that he visited includes Japan, Philippines, China, Hong Kong, Thailand, Indonesia, Malaysia, India, Afghanistan, Iran, Turkey, France, UK and United States. Insha got the teachers like, Habibullah Ghazenfar Amrohvi, Dr. Ghulam Mustafa Khan and Dr. Abdul Qayyum. Insha spent much of his time in Karachi. He died of Hodgkin's Lymphoma on 11 January 1978 in London and was buried in Karachi.

Literary career

Insha is considered as one of the best poets and writers of his generation. His most famous ghazal Insha Ji Utthoo (انشاء جی اٹھو) (Get up Insha Ji, Let's leave from here) is an influential classic ghazal. He has written several books of travelogues with a touch of humour. His work has been appreciated by Urdu writers and critics. He also translated a collection of Chinese poems in Urdu in 1960.

Bibliography
Poetry
Is Basti Key Ik Koochey Main
Chand Nagar
Dil-e-Wehshi

Travelogue
Awara Gard Ki Diary
Dunya Gol Hey
Ibn Battuta Kay Taqub mein
Chaltay Ho To Cheen Ko Chaliye
Nagri Nagri Phira Musafar

Humor
Khumar e xxxxxm
Urdu Ki Aakhri Kitaab

Khat Insha Jee KayCollection of letters

http://en.wikipedia.org/wiki/Ibn-e-Insha

Ibn-e-Insha Poetry
Dil hijr k dard se bojhal hai, ab aan milo to behter hai,
Is baat se hum ko kya matlab, yeh kaise ho yeh kyun kar ho?
Ik bheek k donon kaasay hain, ek pyaas k donon pyaase hai,
Hum khaiti hain, tum baadal ho, hum nadiya hain tum saagar ho!
Yeh dil hai k jalte seene mein, ik dard ka phora alhar sa,
Na gupt rahe na phoot bahe, koi marham ho koi nishtar hai,
Hum saanjh samay ki chhaya hain, tum charhti raat k chandar maan
Hum jaate hain, tum aate ho, phir mail ki soorat kyun kar ho!
Ab husn ka rutba aali hai, ab husn se sehra khaali hai,
Chal basti mein banjaara ban, chal nagri mein saudagar ho,
Jis cheez ki tujh ko nisbat hai, jis cheez ki tujh ko chahat hai,
Woh sona hai woh heera hai, woh maati ho ya kankar ho,
Ab Insha ji ko bulana kya, ab pyar k deep jalana kya
Jab dhoop aur chhaya ek se hon, jab din aur raat barabar ho,
Woh raaten chaand k saath gayin, woh baatein chaand k saath gayin,
Ab sukh k sapne kya dekhein, jab dukh ka sooraj sar par ho?
 
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***ibn-e-Inshaa***


Ibn-e-Insha (Punjabi, Urdu: ابن انشاء born Sher Muhammad Khan شیر محمد خان) on 15 June 1927 died 11 January 1978, was a Pakistani Leftist Urdu poet, humorist, travelogue writer and columnist. Along with his poetry, he was regarded one of the best humorists of Urdu. His poetry has a distinctive diction laced with language reminiscent of Amir Khusro in its use of words and construction that is usually heard in the more earthy dialects of the Hindi-Urdu complex of languages, and his forms and poetic style is an influence on generations of young poets.

Biography

Insha was born in Phillaur tehsil of Jalandhar District, Punjab, India. His father hailed from Rajasthan. He received his B.A. degree from Punjab University in 1946 and M.A. from University of Karachi in 1953. He was associated with various governmental services including Radio Pakistan, Ministry of Culture and National Book Centre of Pakistan. He also served UN for some time and this enabled him to visit a lot of places and was the reason of his subsequent travelogues. Some of the places that he visited includes Japan, Philippines, China, Hong Kong, Thailand, Indonesia, Malaysia, India, Afghanistan, Iran, Turkey, France, UK and United States. Insha got the teachers like, Habibullah Ghazenfar Amrohvi, Dr. Ghulam Mustafa Khan and Dr. Abdul Qayyum. Insha spent much of his time in Karachi. He died of Hodgkin's Lymphoma on 11 January 1978 in London and was buried in Karachi.

Literary career

Insha is considered as one of the best poets and writers of his generation. His most famous ghazal Insha Ji Utthoo (انشاء جی اٹھو) (Get up Insha Ji, Let's leave from here) is an influential classic ghazal. He has written several books of travelogues with a touch of humour. His work has been appreciated by Urdu writers and critics. He also translated a collection of Chinese poems in Urdu in 1960.

Bibliography
Poetry
Is Basti Key Ik Koochey Main
Chand Nagar
Dil-e-Wehshi

Travelogue
Awara Gard Ki Diary
Dunya Gol Hey
Ibn Battuta Kay Taqub mein
Chaltay Ho To Cheen Ko Chaliye
Nagri Nagri Phira Musafar

Humor
Khumar e xxxxxm
Urdu Ki Aakhri Kitaab

Khat Insha Jee KayCollection of letters

http://en.wikipedia.org/wiki/Ibn-e-Insha

Ibn-e-Insha Poetry
Dil hijr k dard se bojhal hai, ab aan milo to behter hai,
Is baat se hum ko kya matlab, yeh kaise ho yeh kyun kar ho?
Ik bheek k donon kaasay hain, ek pyaas k donon pyaase hai,
Hum khaiti hain, tum baadal ho, hum nadiya hain tum saagar ho!
Yeh dil hai k jalte seene mein, ik dard ka phora alhar sa,
Na gupt rahe na phoot bahe, koi marham ho koi nishtar hai,
Hum saanjh samay ki chhaya hain, tum charhti raat k chandar maan
Hum jaate hain, tum aate ho, phir mail ki soorat kyun kar ho!
Ab husn ka rutba aali hai, ab husn se sehra khaali hai,
Chal basti mein banjaara ban, chal nagri mein saudagar ho,
Jis cheez ki tujh ko nisbat hai, jis cheez ki tujh ko chahat hai,
Woh sona hai woh heera hai, woh maati ho ya kankar ho,
Ab Insha ji ko bulana kya, ab pyar k deep jalana kya
Jab dhoop aur chhaya ek se hon, jab din aur raat barabar ho,
Woh raaten chaand k saath gayin, woh baatein chaand k saath gayin,
Ab sukh k sapne kya dekhein, jab dukh ka sooraj sar par ho?
Ab husn ka rutba aali hai, ab husn se sehra khaali hai,
Chal basti mein banjaara ban, chal nagri mein saudagar ho,
niceee collection bhoot khooob maza a gia perh kr hoorain sis keep it up
stay bless nd always be happy{(goodluck)}
 
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Ab husn ka rutba aali hai, ab husn se sehra khaali hai,
Chal basti mein banjaara ban, chal nagri mein saudagar ho,
niceee collection bhoot khooob maza a gia perh kr hoorain sis keep it up
stay bless nd always be happy{(goodluck)}
ahan thank you :)
aap b is thread may kisi ki biography waghaira share karna chahain to zarur akriyega :-bd
 
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Wasif Ali Wasif - Biography


Wasif Ali Wasif (15 January 1929 – 18 January 1993) was a writer, poet and sufi from Pakistan who was famous for his unique literary style. He used to write short pieces of prose on topics like life, fear, expectations, happiness, and so on. He was the regular columnistof Pakistan Urdu Newspaper Nawa-i-Waqt.
In his life most of his columns were combined to form books with his own selected title. He did poetry in Urdu and Punjabi languages. Probably no contemporary Urdu writer is more cited in quotations than he is. Later years he used to answer questions in specially arranged gatherings at Lahore attended by the notable community. Some of these sessions were recorded in audio and were later published as Guftago (talk) series.



Wasif Ali Wasif was born in 15th January, 1929 at District Khushab. His father was Malik Muhammed Arif. Wasif Ali Wasif received his primary education under the supervision of his father in Khushab. After this, he went to his maternal in Jhang, where he did graduation in first division. Then he moved to Lahore; here he obtainedMSC in Mathematics from Government Islamia College, Civil Lines, Lahore and Masters in English from Government College, Lahore.
Wasif Ali Wasif died on January 18, 1993. Being famous for Sufism and respected by many people, he is usually referred to as Hazrat Wasif Ali Wasif. His shrine is located in Lahore at 25 Bahawalpur Road, near Chawk Chuburjee. His Urs (Religious Festival) is celebrated every year from 22nd to 24th of the month of Rajab.

His quotes
A brief selection of his famous quotes is presented below:

    1. When the eye becomes the heart, the heart becomes the eye
    2. The world is ancient, but it has not lost its newness
    3. Remove the conflict between your desires and your duties, peace will come
    4. Fortunate is the person who remains pleased with his fortune
    5. If you are looking for evil, look within and if you are looking for good, look without
    6. A more fearful thing than death is the fear of death
    7. We earn to live but we live to earn.
    8. When the child is ill, the mother will know how to pray.
    9. If the roof begins to fall; flee but if the heavens are falling! Stay on!
    10. Some are dead in life and some are alive in death.
    11. He who has no light in his heart, what will he gain from the festival of lamps
    12. If you want to live long then die for nation and Islam
    13. He who survives dying dies after survive
    14. A man is happy who is happy with his Naseeb
Books
"Dil Darya Samundar".
  1. Guftago,
  2. Qatra Qatra Qulzam,
  3. Kiran Kiran Sooraj,
  4. Dil Darya Samundar,
  5. Baat Say Baat,
  6. Wasif Wasif,
  7. Harf Harf Haqeeqat,
 
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Umera Ahmed عمیرہ احمد
Umera Ahmed is a best selling Pakistani author of over a dozen Urdu popular fiction novels. She has won numerous best writer awards from some of the most
prestigious media houses and organizations in Pakistan. Her most celebrated workis Pir-e-Kamil (The Perfect Mentor), which she dedicated to Muhammad. She is most known for her unorthodox approach towards some very sensitive issues in Pakistani society that deal with both the religion and culture of the country.
Umera Ahmed was born on December 10, 1976 in Gujranwala, Pakistan. She completed her master’s degree in English Literature from Murray College, Sialkot, the same college that produced one of the most celebrated and gifted scholars and poets of 21st century, Allama Muhammad Iqbal. Umera Ahmed started writing from a very early age, while still at college. She describes the primary reason of writing her first novel as ‘to better [her] hand writing’. That first novel, Zindagi Gulzar Hai, was published in a women monthly digest, Khawateen in 1998. The novel gained instant popularity within the digest readership. The female protagonist, Kashaf, was depicted as a plain looking, bright and hardworking student who is battling acute financial hardship in her personal life. Her father had taken up a second wife when her mother failed to produce a son, and later left his first wife and three daughters on their own. The story dealt with some powerful themes and contained a message that launched Umera Ahmed as a visionary writer. Her later works cemented this early diagnosis of her talent. Before taking up writing full-time, she also taught at Army Public College, Sialkot’s Cambridge wing . During that time, she continued writing for Khawateen and Shua, two of the most prominent monthly digests in Pakistan. Her stories like Meri Zaat Zarra-e-Benishan, Imaan Umeed aur Mohabbat, Amar Bail, Haasil, and La Haasil, gave her a distinct position among her peers. In popular fiction genre, an area dominated by female writers, Umera Ahmed emerged as the radical who had her own views on everything, and she used her writing to convey those views to the masses. Faced with initial criticism over her depictions of role of women in society, the nonconformist approach her female protagonists always take, and her own insistence of writing on some very sensitive topics in Pakistani society, she did start gaining loyal following and readership eventually.
Though she enjoyed success and recognition from the very start of her career, it was her 2004 bestselling novel, Peer e Kamil that launched her as
one of the most successful and influential writers of this era in Pakistan. This novel is also responsible for making her a household name not only in
Pakistan, but overseas too, wherever Urdu is spoken. In 2005, she also won her first best writer award for her serial Wujood-e-Laraib, an original






screenplay for Indus Vision .
In 2006, she won the TV One popular Choice award for The Best Young Talent in Scriptwriting (confirm from Umera the list of her awards). In
2007, she went to England for her enrollment in a few creative writing and scriptwriting courses at Arvon Foundation’s Totleigh Barton Centre. She then proceeded to write Man-o-Salwa, another one of her trademark literary work that further elevated her among her peers. Her most recent novel, Aks, deals with the horror and stigma of sexual abuse against children and how the demons of past can haunt the most strongest of us, and how they can be dealt with. --Writing for TV—Sakina Samoo, a prominent TV actress was among the early fans of Umera Ahmed’s works. For her directorial debut in 2004, Sakina Samoo asked Umera Ahmed to write the script for her first drama serial. Thus, Wujood e Laraib got aired on Vision and earned many awards, including best writer for Umera Ahmed. She then proceeded to adopt her novel, Darbar e Dil into a telefilm, and a play of the same name aired on PTV in the same year, for channel’s drama festival . Between, 2006 and 2009, Umera continued writing many original screenplays as well as adaptations of her novels into dramas and telefilms for TV. These projects included Amar Bail, Wapsi, Thoda Sa Aasman, Malal, La Haasil, Man-o-Salwa, and Doraha. Man o Salwa got Lux Style Awards’ best serial award for 2006. Her novel turned drama Thoda Sa Aasman earned her the best serial award in Lux Style Award in 2007. She again received a best serial award for Malaal in 2009 and the best writer Pakistan Media Award for Malaal in 2010. She describes scriptwriting not as nearly enjoyable as writing novels . Despite this, her novel-turned-drama serial Meri Zaat Zarra e Be Nishan proved to be the most popular drama serial of the year and earned her another best writer Lux Style Award in 2011. Her 2013 project, another novel-turned-drama serial Zindagi Gulzar Hai, topped the charts with each passing episode and the finale of the drama set new rating records when it earned a whopping 9.5 TRP.
Personal Life
Umera Ahmed enjoys a closely guarded private life and seldom gives interviews. Her only appearance onscreen was on the stage of Indus Vision awards to collect her first Best Writer Award in 2005. Despite being active on social media, and involved in showbiz, she leads a private life. Umera Ahmed feels quite strongly about children literacy in Pakistan, and her concerns over the fact that younger children in Pakistan are rapidly losing interest in reading as a hobby, she has launched UA Books, a content development publishing house which works towards reviving the love of books among children once again. The publishing house also offers self-publishing and online bookstore facilities.
Novels

  1. La Haasil (2000)
  2. Imaan, Umeed aur Mohabbat (2001)
  3. Haasil (2001)
  4. Amar Bail (2004)
  5. Peer e Kamil (2004)
  6. Darbar e Dil (2005)
  7. Thoda Sa Aasman (2006)
  8. Man o Salwa (2007)
  9. Aks (2013)
Compilations of Novelettes and Short Stories

  1. Meri Zaat Zarra e BeNishan (2000)
  2. Sehar Ik Ista’ara Hai (2001)
  3. Main ne Khawabon ka Shajar Dekha Hai (2002)
  4. Hum Kahan K Sache The (2003)
  5. Zindagi Gulzar Hai (2004)
  6. Husna aur Husn Ara (2005)
  7. Harf se Lafz Tak
  8. Mere 50 Pasandeeda Scene
TV Serials

S.No
Name of the Serial
Directed By
Channel
Year
1 Wujood e Laraib Sakina Samoo Indus Vision 2004
2 Amar Bail Sakina Samoo TV One 2005
3 La Haasil Angeline Malik Hum TV 2006
4 Husna aur Husn Ara Seema Tahir TV One 2007
5 Man o Salwa Babar Javed Hum TV 2007
6 Thoda Sa Aasman Kazim Pasha PTV Karachi 2008
7 The Ghost Babar Javed Hum TV 2008
8 Doraha Mehreen Jabbar Geo Entertainment 2008
9 Malaal Mehreen Jabbar Hum TV 2006
10 Meri Zaat Zarra e BeNishan Babr Javed Geo Entertainment 2009
11 Daam Mehreen Jabbar ARY Digital 2010
12 Qaid e Tanhai Babar Javed Hum TV 2010
13 Uraan Yasir Nawaz Geo Entertainment 2010
14 Maat Amna Nawaz Khan Hum TV 2011
15 Durr e Shehwar Haissam Hussain Hum TV 2012
16 Shehr e Zaat Sarmad Khoosat Hum TV 2012
17 Zindagi Gulzar Hai Sultana Siddiqui Hum TV 2012
18 Kankar Aabis Raza Hum TV 2013

Awards Received

S.No,Category,Production,Award,Year


1 Best Writer Maat Hum TV Awards 2013
2 Best Serial Shehre Zaat Hum TV Awards 2013
3 Best Serial Malaal Pakistan Media Awards 2010
4 Best Serial Thoda Sa Aasman Lux Style Awards 2009
5 Best Serial Man o Salwa Lux Style Awards 2007
6 Cash Prize of Rs. 50, 000 Telefilm: Hai Lahu Zindagi Geo Telefilm Festival 2007
7 Best Writer Malaal Pakistan Media Awards 2007
8 Best Scriptwriter Meri Zaat Zarra e BeNishan Lux Style Awards 2007
9 Best Young Talent in Scriptwriting Sauda TV One Popular Choice Awards 2006
10 Best Telefilm Sauda TV One Popular Choice Awards 2006
11 Best Serial Amar Bail TV One Popular Choice Awards 2006
12 Best Director La Haasil Lux Style Awards 2006
13 Best Director Doraha Lux Style Awards 2006
14 Best Writer Wujood e Laraib Indus Vision Drama Awards 2005
 
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محسن نقوی وہ جدید طرزِ احساس کے شاعر تھے

عبدالحفیظ ظفر

جدید طرز احساس کا ذکر ہو تو کئی شعرا کے نام سامنے آجاتے ہیں۔ اس قسم کی شاعری کا آغاز 60 کی دہائی میں ہوا۔ بہت سے شعرا نے روایت سے بغاوت کر کے ایک نئی طرز کی شاعری کو اپنایا۔ اس میں ایک تو زبان کے حوالے سے نئے تجربے تھے اور دوسرے نفسِ مضمون کو بھی نئے رنگ اور اسلوب میں ڈھالا گیا۔ جدید خیالات‘ محاوروں اور تراکیب سے مزین شاعری کا ذائقہ سب سے جدا تھا۔ وہ شعرا جنہوں نے غزل کو نیا لہجہ اور نیا مزاج عطا کیا ان میں ظفر اقبال‘ مجید امجد‘ صابر ظفر‘ عبیداللہ علیم‘ خالد احمد‘ عدیم ہاشمی‘ اقبال ساجد اور محسن نقوی کے نام سرفہرست ہیں۔ محسن نقوی کا شعری اسلوب جداگانہ بھی ہے اور اس میں تخیل کی اڑان بھی ہے۔ وہ ایک مقبول شاعر تھے اور ان کے غزل پڑھنے کا انداز بھی دلکش تھا۔ ان کی غزلوں کے بعض اشعار تو اتنے اچھوتے ہیں کہ قاری پر سحر طاری ہو جاتا ہے۔ محسن نقوی کا پورا نام سید غلام عباس نقوی تھا۔ وہ 5مئی 1947کو ڈیرہ غازیخان میں پیدا ہوئے۔ وہ چھ بہن بھائی تھے۔ محسن نقوی نے گورنمنٹ کالج ملتان سے گریجوایشن کی اور بعد میں پنجاب یونیورسٹی سے ایم اے کی ڈگری حاصل کی۔ انہیں ’’شاعر اہل بیت‘‘ بھی کہا جاتا تھا۔ ان کی شاعری کی کئی کتابیں شائع ہوئیں۔ نقوی کی شاعری میں رومانس بھی ملتا ہے اور معروضی صورتحال کا بھی بڑا جامع ذکر ملتا ہے۔ انہوں نے ایک فلم کیلئے گیت لکھا ’’لہروں کی طرح تجھ کو مرنے نہیں دیں گے‘‘ اس گیت کے لئے انہیں ایوارڈ بھی ملا۔ انہوں نے ایک دعا بھی لکھی جو بڑی مشہور ہوئی۔ اس دعا کا یہ شعر ملاحظہ فرمائیے۔ اے رب جہاں پنجتن پاک کا صدقہ اس قوم کا دامن غم شبیر سے بھر دے محسن نقوی نے اپنی خوبصورت شاعری سے ایک زمانے کو متاثر کیا۔ا پنے خیالات کو ایک نئے جذبے میں پرو کر وہ عجیب سماں باندھ دیتے تھے۔ ان کاشاعری کا ایک اور وصف ان کی صاف گوئی اور بے باکی ہے۔ انہوں نے جو کہنا ہوتا وہ لگی لپٹی رکھے بغیر کہہ دیتے۔ محسن نقوی نے طبقاتی تضادات سے پیدا ہونے والے مسائل کو بھی اپنے خوبصورت شعری اسلوب میں بیان کیا ہے۔ اس بات کو ذہن میں رکھنا چاہیے کہ محسن نقوی جدید طرز احساس کے ساتھ شعری طرز احساس کا بھی بھرپور خیال رکھتے تھے۔ اس حوالے سے وہ جمالیاتی طرز احساس کو بھی شاعری کا لازمی جزو سمجھتے ہیں۔ ان کے شعری مجموعوں میں ’’عذاب دید‘ خیمہ جاں‘ برگ صحرا‘ بند قبا‘ موج ادراک‘ طلوع اشک‘ فرات فکر‘ ریزہ حرف‘ رخت شب‘ ردائے خواب اور حق ایلیا‘‘ شامل ہیں۔ اگر زندگی نے ان سے وفا کی ہوتی تو ان شعری کلیات کی تعداد اور بھی زیادہ ہوتی۔ محسن نقوی ایک حساس آدمی تھے اس لئے ان کی شاعری میں جابجا عصری کرب کی جھلکیاں ملتی ہیں۔ وہ خود کہا کرتے تھے کہ عصری کرب ہر شاعر محسوس کرتا ہے اور اگر وہ اپنی شاعری میں اسے ارادتاً نظر انداز کرتا ہے تو یہ بددیانتی ہے۔ ان کے بارے میں یہ بھی کہا جاتا ہے کہ اگر وہ فلمی نغمہ نگاری کی طرف آتے تو اس میدان میں بھی اپنے فن کے جھنڈے گاڑ دیتے۔ اس کی وجہ یہ تھی کہ انہوں نے جس قسم کی رومانوی شاعری کی‘ اس کی کئی پرتیں تھیں۔ وہ رومانوی موضوعات میں بھی یکسانیت کا شکار نہیں تھے اور اس حوالے سے ان کی فکر اپنے زاویے بدلتی رہتی تھی۔ ایسے اوصاف رکھنے والا شاعر ایک عمدہ گیت نگار بن سکتا ہے۔ لیکن شاید انہوں نے اس طرف کبھی توجہ نہیں دی۔ انہوں نے بڑی متاثر کن نظمیں بھی تخلیق کیں لیکن ان کی اصل شہرت غزلوں کی وجہ سے ہے۔ محسن نقوی بیتے ہوئے واقعات کو یہ کہہ کر رد نہیں کرتے تھے کہ ایسا تو ہوتا رہتا ہے بلکہ وہ ان واقعات کے منطقی نتائج سے بھی باخبر رہتے ہیں۔ وہ مصلحت کوش نہیں اور نہ ہی سمجھوتے کرتے نظر آتے ہیں۔ وہ بنیادی طور پر ایک سچے کھرے اور صاف آدمی تھے۔ انہوں نے اپنی شاعری کو نعرے بازی بھی نہیں بننے دیا لیکن ظلم و جبر کے خلاف مزاحمت کا استعارہ بھی بنے رہے۔ ہم ذیل میںمحسن نقوی کی لاجواب شاعری قارئین کی نذر کرتے ہیں۔ جن کے آنگن میں غریبی کا شجر ہو محسنؔ ان کی ہر بات زمانے کو بری لگتی ہے تڑپتا ہے‘سسکتاہے‘ ترستا ہے مگر محسنؔ اسے کہہ دو کسی کے ہجر میں مرتا نہیں کوئی مجھ سے ٹکراتے تھے دنیا کے حوادث لیکن میں تیری زلف نہیں تھا کہ پریشاں ہوتا اُس شخص سے ملنا میرا ممکن ہی نہیں ہے میں پیاس کا صحرا ہوں وہ برسات کی مانند راس آ ہی گیا ترک تعلق اسے آخر آنکھوں میں وہ پہلی سی ندامت نہیں رکھتا وہ مجھ کو ٹوٹ کے چاہے گا‘ چھوڑ جائے گا مجھے خبر تھی اسے یہ ہنر بھی آتا ہے اسے خراج محبت ادا کروں گا ضرور ذرا میں یاد تو کر لوں کوئی وفا اس کی شرم آتی ہے کہ دشمن کسے سمجھیں محسنؔ دشمنی کے بھی تو معیار ہوا کرتے ہیں 15جنوری 1996کو محسن نقوی کو لاہور میں قتل کر دیا گیا۔ ان کی میت کو ڈیرہ غازیخان پہنچایا گیا اور کربلا شریف ڈیرہ غازیخان میں ان کی تدفین ہوئی۔ وہ ایک نادر روزگار شاعر تھے اور کمال کے انسان تھے۔ وہ ہمیشہ یاد رکھے جائیں گے۔ محسن نقوی کے کلام سے چند انتخاب ملاحظہ کیجئے کہ اے فکر کم نشاں مری عظمت کو داد دے تسلیم کر رہا ہوں میں تیرے وجود کو اے شور حرف و صوت مجھے بھی سلام کر توڑا ہے میں نے شہرِ غزل کے جمود کو اے وسعت جنوں مری جرأت پہ ناز کر میں نے بھلا دیا ہے رسوم و قیود کو ۔۔۔۔۔ سایۂ گُل سے بہر طور جُدا ہو جانا راس آیا نہ مجھے موجِ صبا ہو جانا اپنا ہی جسم مجھے تیشۂ فرہاد لگا میں نے چاہا تھا پہاڑوں کی صدا ہو جانا موسمِ گُل کے تقاضوں سے بغاوت ٹھہرا قفسِ غنچہ سے خوشبو کا رہا ہو جانا پہلے دیکھو تو سہی اپنے کرم کی وسعت پھر بڑے شوق سے تُم میرے خدا ہو جانا ۔۔۔۔۔ ہر شاخِ سربُریدہ نقیبِ بہار تھی فصلِ خزاں بھی اب کے بڑی با وقار تھی ہر سنگ میل پر تھیں صلیبیں گڑی ہوئی شاید وہ رہ گذار تری راہ گذار تھی میں تیری آہٹوں پہ توجہ نہ کر سکا میری حیات وقفِ غمِ انتظار تھی آخر سکوں ملا اُسے دشتِ نگاہ میں وہ آرزو جو دل میں غریب الدیار تھی مجھ کو تری قسم ، تری خوشبو کے ساتھ ساتھ میری صدا بھی دوشِ ہوا پر سوار تھی ۔۔۔۔۔ میں چُپ رہا کہ زہر یہی مجھ کو راس تھا وہ سنگِ لفظ پھینک کے کتنا اُداس تھا اکثر مری قبا پہ ہنسی آ گئی جسے کل مل گیا تو وہ بھی دریدہ لباس تھا میں ڈھونڈتا تھا دُور خلائوں میں ایک جسم چہروں کا اِک ہجوم مرے آس پاس تھا تم خوش تھے پتھروں کو خدا جان کے مگر مجھ کو یقین ہے وہ تمہارا قیاس تھا بخشا ہے جس نے روح کو زخموں کا پیرہن محسن وہ شخص کتنا طبیعت شناس تھا

 
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محسن نقوی وہ جدید طرزِ احساس کے شاعر تھے

عبدالحفیظ ظفر

جدید طرز احساس کا ذکر ہو تو کئی شعرا کے نام سامنے آجاتے ہیں۔ اس قسم کی شاعری کا آغاز 60 کی دہائی میں ہوا۔ بہت سے شعرا نے روایت سے بغاوت کر کے ایک نئی طرز کی شاعری کو اپنایا۔ اس میں ایک تو زبان کے حوالے سے نئے تجربے تھے اور دوسرے نفسِ مضمون کو بھی نئے رنگ اور اسلوب میں ڈھالا گیا۔ جدید خیالات‘ محاوروں اور تراکیب سے مزین شاعری کا ذائقہ سب سے جدا تھا۔ وہ شعرا جنہوں نے غزل کو نیا لہجہ اور نیا مزاج عطا کیا ان میں ظفر اقبال‘ مجید امجد‘ صابر ظفر‘ عبیداللہ علیم‘ خالد احمد‘ عدیم ہاشمی‘ اقبال ساجد اور محسن نقوی کے نام سرفہرست ہیں۔ محسن نقوی کا شعری اسلوب جداگانہ بھی ہے اور اس میں تخیل کی اڑان بھی ہے۔ وہ ایک مقبول شاعر تھے اور ان کے غزل پڑھنے کا انداز بھی دلکش تھا۔ ان کی غزلوں کے بعض اشعار تو اتنے اچھوتے ہیں کہ قاری پر سحر طاری ہو جاتا ہے۔ محسن نقوی کا پورا نام سید غلام عباس نقوی تھا۔ وہ 5مئی 1947کو ڈیرہ غازیخان میں پیدا ہوئے۔ وہ چھ بہن بھائی تھے۔ محسن نقوی نے گورنمنٹ کالج ملتان سے گریجوایشن کی اور بعد میں پنجاب یونیورسٹی سے ایم اے کی ڈگری حاصل کی۔ انہیں ’’شاعر اہل بیت‘‘ بھی کہا جاتا تھا۔ ان کی شاعری کی کئی کتابیں شائع ہوئیں۔ نقوی کی شاعری میں رومانس بھی ملتا ہے اور معروضی صورتحال کا بھی بڑا جامع ذکر ملتا ہے۔ انہوں نے ایک فلم کیلئے گیت لکھا ’’لہروں کی طرح تجھ کو مرنے نہیں دیں گے‘‘ اس گیت کے لئے انہیں ایوارڈ بھی ملا۔ انہوں نے ایک دعا بھی لکھی جو بڑی مشہور ہوئی۔ اس دعا کا یہ شعر ملاحظہ فرمائیے۔ اے رب جہاں پنجتن پاک کا صدقہ اس قوم کا دامن غم شبیر سے بھر دے محسن نقوی نے اپنی خوبصورت شاعری سے ایک زمانے کو متاثر کیا۔ا پنے خیالات کو ایک نئے جذبے میں پرو کر وہ عجیب سماں باندھ دیتے تھے۔ ان کاشاعری کا ایک اور وصف ان کی صاف گوئی اور بے باکی ہے۔ انہوں نے جو کہنا ہوتا وہ لگی لپٹی رکھے بغیر کہہ دیتے۔ محسن نقوی نے طبقاتی تضادات سے پیدا ہونے والے مسائل کو بھی اپنے خوبصورت شعری اسلوب میں بیان کیا ہے۔ اس بات کو ذہن میں رکھنا چاہیے کہ محسن نقوی جدید طرز احساس کے ساتھ شعری طرز احساس کا بھی بھرپور خیال رکھتے تھے۔ اس حوالے سے وہ جمالیاتی طرز احساس کو بھی شاعری کا لازمی جزو سمجھتے ہیں۔ ان کے شعری مجموعوں میں ’’عذاب دید‘ خیمہ جاں‘ برگ صحرا‘ بند قبا‘ موج ادراک‘ طلوع اشک‘ فرات فکر‘ ریزہ حرف‘ رخت شب‘ ردائے خواب اور حق ایلیا‘‘ شامل ہیں۔ اگر زندگی نے ان سے وفا کی ہوتی تو ان شعری کلیات کی تعداد اور بھی زیادہ ہوتی۔ محسن نقوی ایک حساس آدمی تھے اس لئے ان کی شاعری میں جابجا عصری کرب کی جھلکیاں ملتی ہیں۔ وہ خود کہا کرتے تھے کہ عصری کرب ہر شاعر محسوس کرتا ہے اور اگر وہ اپنی شاعری میں اسے ارادتاً نظر انداز کرتا ہے تو یہ بددیانتی ہے۔ ان کے بارے میں یہ بھی کہا جاتا ہے کہ اگر وہ فلمی نغمہ نگاری کی طرف آتے تو اس میدان میں بھی اپنے فن کے جھنڈے گاڑ دیتے۔ اس کی وجہ یہ تھی کہ انہوں نے جس قسم کی رومانوی شاعری کی‘ اس کی کئی پرتیں تھیں۔ وہ رومانوی موضوعات میں بھی یکسانیت کا شکار نہیں تھے اور اس حوالے سے ان کی فکر اپنے زاویے بدلتی رہتی تھی۔ ایسے اوصاف رکھنے والا شاعر ایک عمدہ گیت نگار بن سکتا ہے۔ لیکن شاید انہوں نے اس طرف کبھی توجہ نہیں دی۔ انہوں نے بڑی متاثر کن نظمیں بھی تخلیق کیں لیکن ان کی اصل شہرت غزلوں کی وجہ سے ہے۔ محسن نقوی بیتے ہوئے واقعات کو یہ کہہ کر رد نہیں کرتے تھے کہ ایسا تو ہوتا رہتا ہے بلکہ وہ ان واقعات کے منطقی نتائج سے بھی باخبر رہتے ہیں۔ وہ مصلحت کوش نہیں اور نہ ہی سمجھوتے کرتے نظر آتے ہیں۔ وہ بنیادی طور پر ایک سچے کھرے اور صاف آدمی تھے۔ انہوں نے اپنی شاعری کو نعرے بازی بھی نہیں بننے دیا لیکن ظلم و جبر کے خلاف مزاحمت کا استعارہ بھی بنے رہے۔ ہم ذیل میںمحسن نقوی کی لاجواب شاعری قارئین کی نذر کرتے ہیں۔ جن کے آنگن میں غریبی کا شجر ہو محسنؔ ان کی ہر بات زمانے کو بری لگتی ہے تڑپتا ہے‘سسکتاہے‘ ترستا ہے مگر محسنؔ اسے کہہ دو کسی کے ہجر میں مرتا نہیں کوئی مجھ سے ٹکراتے تھے دنیا کے حوادث لیکن میں تیری زلف نہیں تھا کہ پریشاں ہوتا اُس شخص سے ملنا میرا ممکن ہی نہیں ہے میں پیاس کا صحرا ہوں وہ برسات کی مانند راس آ ہی گیا ترک تعلق اسے آخر آنکھوں میں وہ پہلی سی ندامت نہیں رکھتا وہ مجھ کو ٹوٹ کے چاہے گا‘ چھوڑ جائے گا مجھے خبر تھی اسے یہ ہنر بھی آتا ہے اسے خراج محبت ادا کروں گا ضرور ذرا میں یاد تو کر لوں کوئی وفا اس کی شرم آتی ہے کہ دشمن کسے سمجھیں محسنؔ دشمنی کے بھی تو معیار ہوا کرتے ہیں 15جنوری 1996کو محسن نقوی کو لاہور میں قتل کر دیا گیا۔ ان کی میت کو ڈیرہ غازیخان پہنچایا گیا اور کربلا شریف ڈیرہ غازیخان میں ان کی تدفین ہوئی۔ وہ ایک نادر روزگار شاعر تھے اور کمال کے انسان تھے۔ وہ ہمیشہ یاد رکھے جائیں گے۔ محسن نقوی کے کلام سے چند انتخاب ملاحظہ کیجئے کہ اے فکر کم نشاں مری عظمت کو داد دے تسلیم کر رہا ہوں میں تیرے وجود کو اے شور حرف و صوت مجھے بھی سلام کر توڑا ہے میں نے شہرِ غزل کے جمود کو اے وسعت جنوں مری جرأت پہ ناز کر میں نے بھلا دیا ہے رسوم و قیود کو ۔۔۔۔۔ سایۂ گُل سے بہر طور جُدا ہو جانا راس آیا نہ مجھے موجِ صبا ہو جانا اپنا ہی جسم مجھے تیشۂ فرہاد لگا میں نے چاہا تھا پہاڑوں کی صدا ہو جانا موسمِ گُل کے تقاضوں سے بغاوت ٹھہرا قفسِ غنچہ سے خوشبو کا رہا ہو جانا پہلے دیکھو تو سہی اپنے کرم کی وسعت پھر بڑے شوق سے تُم میرے خدا ہو جانا ۔۔۔۔۔ ہر شاخِ سربُریدہ نقیبِ بہار تھی فصلِ خزاں بھی اب کے بڑی با وقار تھی ہر سنگ میل پر تھیں صلیبیں گڑی ہوئی شاید وہ رہ گذار تری راہ گذار تھی میں تیری آہٹوں پہ توجہ نہ کر سکا میری حیات وقفِ غمِ انتظار تھی آخر سکوں ملا اُسے دشتِ نگاہ میں وہ آرزو جو دل میں غریب الدیار تھی مجھ کو تری قسم ، تری خوشبو کے ساتھ ساتھ میری صدا بھی دوشِ ہوا پر سوار تھی ۔۔۔۔۔ میں چُپ رہا کہ زہر یہی مجھ کو راس تھا وہ سنگِ لفظ پھینک کے کتنا اُداس تھا اکثر مری قبا پہ ہنسی آ گئی جسے کل مل گیا تو وہ بھی دریدہ لباس تھا میں ڈھونڈتا تھا دُور خلائوں میں ایک جسم چہروں کا اِک ہجوم مرے آس پاس تھا تم خوش تھے پتھروں کو خدا جان کے مگر مجھ کو یقین ہے وہ تمہارا قیاس تھا بخشا ہے جس نے روح کو زخموں کا پیرہن محسن وہ شخص کتنا طبیعت شناس تھا

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شاعری کی کھچڑی
 
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intelligent086

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دوبارہ بحث شروع کردی ہے اس کھچڑی کی وضاحت کر چکا ہوں ۔۔۔۔
 
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intelligent086

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ڈاکٹر ایم ڈی تاثیر
ڈاکٹر ایم ڈی تاثیر وہ اعلیٰ تعلیم یافتہ اور باکمال شاعر تھے، علامہ اقبالؒ اُن کے دوست تھے
115350


عبدالحفیظ ظفر

بیسویں صدی میں اردو کے بڑے عظیم شعرا پیدا ہوئے۔ اگر ان کا ذکر کیا جائے تو یہ فہرست بہت طویل ہو جائے گی۔ ایک شاعر ایسے بھی گزرے ہیں جن کو اتنی زیادہ شہرت نہیں ملی جس کے وہ مستحق تھے۔ یہ بات قابلِ افسوس ہے کہ ان کے مقام اور مرتبے کو درست طور پر شناخت نہیں کیا گیا۔ یہ تھے ڈاکٹر محمد دین تاثیر (ایم ڈی تاثیر)۔ ایم ڈی تاثیر 28فروری 1902 کو ضلع امرتسر کے علاقے اجنالہ میں پیدا ہوئے۔ وہ کشمیری خاندان سے تعلق رکھتے تھے۔ ان کے والد جو ایک کسان تھے اُس وقت انتقال کر گئے جب ایم ڈی تاثیر ابھی کم سن تھے۔ ان کی پرورش لاہور میں ان کے ماموں نظام الدین نے کی۔ ایم ڈی تاثیر بچپن سے ہی علامہ اقبالؒ کے دوست تھے۔ 1933میں ڈاکٹر تاثیر نے ایک ادبی جریدہ ’’کارواں‘‘ کا اجرا کیا۔ ایم اے کرنے کے بعد وہ پنجاب یونیورسٹی میں اسسٹنٹ پروفیسر کے طور پر ملازم ہو گئے۔ اس کے بعد وہ انگریزی ادب میں پی ایچ ڈی کرنے کیلئے کیمرج یونیورسٹی چلے گئے۔ ان کو علامہ اقبالؒ نے سفارشی خط بھی دیا تھا۔ وہ 1933میں لندن پہنچے اور پیم بروک یونیورسٹی کیمرج سے ایم لِٹ کرنے کی تیاری کرنے لگے۔ ان کے پی ایچ ڈی کا مقالہ تھا ’’شروع کے دنوں سے لے کر 1924تک انگریزی ادب میں ہندوستان اور مشرقِ قریب کا حصہ‘‘۔ ان کے ریسرچ سپروائزر آرتھر کوئلر کاؤچ نے یونیورسٹی سینٹ سے کہا تھا کہ وہ تاثیر کو ایم لِٹ کی ڈگری حاصل کرنے سے پہلے پی ایچ ڈی کرنے کی اجازت دی جائے۔ تاثیر صاحب کے بارے میں کہا جاتا ہے کہ انگریزی ادب میں انگلینڈ سے پی ایچ ڈی کرنے والے وہ برصغیر کے پہلے آدمی تھے۔ 1935 کے آخر میں ایم ڈی تاثیر ایم اے او کالج امرتسر کے پرنسپل بن گئے۔ فیض احمد فیض کے ساتھ وہ انجمن ترقی پسند مصنفین کے بانیوں میں سے ایک تھے۔ 1941 میں ڈاکٹر تاثیر سری نگر کے پرتاپ کالج کے پرنسپل مقرر کر دیئے گئے۔ 1942 میں وہ امر سنگھ کالج کے بانی پرنسپل بن گئے۔ تقسیم ہند کے بعد وہ پاکستان چلے آئے اور اسلامیہ کالج کے پرنسپل کی حیثیت سے فرائض سرانجام دیئے۔ اکتوبر 1947 کے پہلے ہفتے میں حکومتِ پاکستان نے انہیں فیض احمد فیض کے ساتھ شیخ عبداللہ کے پاس بھیجا جو اس وقت جموں اور کشمیر نیشنل کانفرنس کے رہنما تھے۔ انہیں اس لئے بھیجا گیا کہ وہ شیخ عبداللہ کو پاکستان میں شامل ہونے کی ترغیب دیں۔ شیخ عبداللہ کو اس وقت مہاراجہ کی حکومت نے قید سے رہا کیا تھا۔ شیخ عبداللہ قائل نہ ہوئے۔ ان کا خیال تھا کہ اگر کشمیر پاکستان میں شامل ہو گیا تو ان کے ساتھ وہی کچھ ہوگا جو کپور تھلہ کے ساتھ ہوا۔ یعنی وہ یہ سمجھتے تھے کہ مذہبی اقلیتوں کو ہلاک کر دیا جائے گا یا انہیں بھگا دیا جائے گا۔ شیخ عبداللہ کے مطابق ڈاکٹر تاثیر نے انہیں بتایا اگر کشمیر پاکستان میں شامل نہ ہوا پھر انہیں ’’دوسرے راستوں‘‘ پر غور کرنا ہوگا۔ 1937 میں ڈاکٹر ایم ڈی تاثیر ایک برطانوی خاتون کرسٹوبل جارج کی محبت میں گرفتار ہو گئے۔ وہ بھی کیمرج یونیورسٹی سے تعلیم حاصل کر چکی تھیں۔ 1938 میں دونوں کی شادی ہو گئی۔ علامہ اقبالؒ نے خود نکاح نامہ تیار کیا اور اس میں کرسٹو بل جارج کو طلاق کا حق بھی دیا گیا۔ کرسٹو بل نے اسلام قبول کر لیا اور ان کا اسلامی نام بلقیس تاثیر رکھا گیا۔ کرسٹو بل کی بہن ایلس نے فیض احمد فیض سے شادی کی۔ ایم ڈی تاثیر سابق گورنر پنجاب سلمان تاثیر کے والد تھے۔ان کی مشہور کتابوں میں ’’آتش کدہ اور مقالاتِ تاثیر‘‘ کے نام لئے جا سکتے ہیں۔ ڈاکٹر تاثیر نے رومانوی شاعری کو نئی جہتوں سے روشناس کیا۔ ان کی غزل کا اپنا ایک آہنگ ہے۔ چھوٹی بحر میں انہوں نے کمال کی غزلیں تخلیق کیں۔ ان کی شاعری کا دوسرا اہم وصف سادگی اور سلاست ہے۔ یہی وجہ ہے کہ ان کی شاعری ان کے نام کی طرح پُرتاثیر ہے جو فوری طور پر قاری کو متاثر کرتی ہے۔ پھر ان کی شاعری میں لطافت بھی ہے۔ سہلِ ممتنع کی شاعری بھی ملتی ہے۔ ذیل میں ہم اپنے قارئین کیلئے ڈاکٹر تاثیر کی غزلوں کے کچھ اشعار پیش کر رہے ہیں۔ میری وفائیں یاد کرو گے روؤ گے فریاد کرو گے مجھ کو تو برباد کیا ہے اور کسے برباد کرو گے دشمن تک کو بھول گئے ہو مجھ کو تم کیا یاد کرو گے غیر کے خط میں مجھے اُن کے پیام آتے ہیں کوئی مانے یا نہ مانے مرے نام آتے ہیں عافیت کوش مسافر جنہیں منزل سمجھیں عشق کی راہ میں ایسے بھی مقام آتے ہیں ہزار ہم سخنی، ہزار ہم نظری مقامِ جنبشِ ابرو نکل ہی آتے ہیں متاعِ عشق وہ آنسو جو دل میں ڈوب گئے زمیں کا رزق جو آنسو نکل ہی آتے ہیں وہ ملے تو بے تکلف، نہ ملے تو بے ارادہ نہ طریقِ آشنائی، نہ رسومِ جام و بادہ وہ کچھ اس طرح سے آئے، مجھے اس طرح سے دیکھا میری آرزو سے کم تر، میری تاب سے زیادہ داغ سینے پہ جو ہمارے ہیں گل کھلائے ہوئے تمہارے ہیں ربط ہے حسن و عشق کا باہم ایک دریا کے دو کنارے ہیں کوئی جدت نہیں حسنیوں میں سب نے نقشے ترے اتارے ہیں ایم ڈی تاثیر کی بیٹی سلمیٰ محمود نے اپنے والد کی یادداشتیں ’’دی ونگز آف ٹائم‘‘ کے عنوان سے شائع کیں۔ 1953ء میں اس نادرِ روزگار شخص کا لاہور میں انتقال ہو گیا۔
 
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Elephent

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Apr 19, 2019
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ڈاکٹر ایم ڈی تاثیر
ڈاکٹر ایم ڈی تاثیر وہ اعلیٰ تعلیم یافتہ اور باکمال شاعر تھے، علامہ اقبالؒ اُن کے دوست تھے
View attachment 115350

عبدالحفیظ ظفر

بیسویں صدی میں اردو کے بڑے عظیم شعرا پیدا ہوئے۔ اگر ان کا ذکر کیا جائے تو یہ فہرست بہت طویل ہو جائے گی۔ ایک شاعر ایسے بھی گزرے ہیں جن کو اتنی زیادہ شہرت نہیں ملی جس کے وہ مستحق تھے۔ یہ بات قابلِ افسوس ہے کہ ان کے مقام اور مرتبے کو درست طور پر شناخت نہیں کیا گیا۔ یہ تھے ڈاکٹر محمد دین تاثیر (ایم ڈی تاثیر)۔ ایم ڈی تاثیر 28فروری 1902 کو ضلع امرتسر کے علاقے اجنالہ میں پیدا ہوئے۔ وہ کشمیری خاندان سے تعلق رکھتے تھے۔ ان کے والد جو ایک کسان تھے اُس وقت انتقال کر گئے جب ایم ڈی تاثیر ابھی کم سن تھے۔ ان کی پرورش لاہور میں ان کے ماموں نظام الدین نے کی۔ ایم ڈی تاثیر بچپن سے ہی علامہ اقبالؒ کے دوست تھے۔ 1933میں ڈاکٹر تاثیر نے ایک ادبی جریدہ ’’کارواں‘‘ کا اجرا کیا۔ ایم اے کرنے کے بعد وہ پنجاب یونیورسٹی میں اسسٹنٹ پروفیسر کے طور پر ملازم ہو گئے۔ اس کے بعد وہ انگریزی ادب میں پی ایچ ڈی کرنے کیلئے کیمرج یونیورسٹی چلے گئے۔ ان کو علامہ اقبالؒ نے سفارشی خط بھی دیا تھا۔ وہ 1933میں لندن پہنچے اور پیم بروک یونیورسٹی کیمرج سے ایم لِٹ کرنے کی تیاری کرنے لگے۔ ان کے پی ایچ ڈی کا مقالہ تھا ’’شروع کے دنوں سے لے کر 1924تک انگریزی ادب میں ہندوستان اور مشرقِ قریب کا حصہ‘‘۔ ان کے ریسرچ سپروائزر آرتھر کوئلر کاؤچ نے یونیورسٹی سینٹ سے کہا تھا کہ وہ تاثیر کو ایم لِٹ کی ڈگری حاصل کرنے سے پہلے پی ایچ ڈی کرنے کی اجازت دی جائے۔ تاثیر صاحب کے بارے میں کہا جاتا ہے کہ انگریزی ادب میں انگلینڈ سے پی ایچ ڈی کرنے والے وہ برصغیر کے پہلے آدمی تھے۔ 1935 کے آخر میں ایم ڈی تاثیر ایم اے او کالج امرتسر کے پرنسپل بن گئے۔ فیض احمد فیض کے ساتھ وہ انجمن ترقی پسند مصنفین کے بانیوں میں سے ایک تھے۔ 1941 میں ڈاکٹر تاثیر سری نگر کے پرتاپ کالج کے پرنسپل مقرر کر دیئے گئے۔ 1942 میں وہ امر سنگھ کالج کے بانی پرنسپل بن گئے۔ تقسیم ہند کے بعد وہ پاکستان چلے آئے اور اسلامیہ کالج کے پرنسپل کی حیثیت سے فرائض سرانجام دیئے۔ اکتوبر 1947 کے پہلے ہفتے میں حکومتِ پاکستان نے انہیں فیض احمد فیض کے ساتھ شیخ عبداللہ کے پاس بھیجا جو اس وقت جموں اور کشمیر نیشنل کانفرنس کے رہنما تھے۔ انہیں اس لئے بھیجا گیا کہ وہ شیخ عبداللہ کو پاکستان میں شامل ہونے کی ترغیب دیں۔ شیخ عبداللہ کو اس وقت مہاراجہ کی حکومت نے قید سے رہا کیا تھا۔ شیخ عبداللہ قائل نہ ہوئے۔ ان کا خیال تھا کہ اگر کشمیر پاکستان میں شامل ہو گیا تو ان کے ساتھ وہی کچھ ہوگا جو کپور تھلہ کے ساتھ ہوا۔ یعنی وہ یہ سمجھتے تھے کہ مذہبی اقلیتوں کو ہلاک کر دیا جائے گا یا انہیں بھگا دیا جائے گا۔ شیخ عبداللہ کے مطابق ڈاکٹر تاثیر نے انہیں بتایا اگر کشمیر پاکستان میں شامل نہ ہوا پھر انہیں ’’دوسرے راستوں‘‘ پر غور کرنا ہوگا۔ 1937 میں ڈاکٹر ایم ڈی تاثیر ایک برطانوی خاتون کرسٹوبل جارج کی محبت میں گرفتار ہو گئے۔ وہ بھی کیمرج یونیورسٹی سے تعلیم حاصل کر چکی تھیں۔ 1938 میں دونوں کی شادی ہو گئی۔ علامہ اقبالؒ نے خود نکاح نامہ تیار کیا اور اس میں کرسٹو بل جارج کو طلاق کا حق بھی دیا گیا۔ کرسٹو بل نے اسلام قبول کر لیا اور ان کا اسلامی نام بلقیس تاثیر رکھا گیا۔ کرسٹو بل کی بہن ایلس نے فیض احمد فیض سے شادی کی۔ ایم ڈی تاثیر سابق گورنر پنجاب سلمان تاثیر کے والد تھے۔ان کی مشہور کتابوں میں ’’آتش کدہ اور مقالاتِ تاثیر‘‘ کے نام لئے جا سکتے ہیں۔ ڈاکٹر تاثیر نے رومانوی شاعری کو نئی جہتوں سے روشناس کیا۔ ان کی غزل کا اپنا ایک آہنگ ہے۔ چھوٹی بحر میں انہوں نے کمال کی غزلیں تخلیق کیں۔ ان کی شاعری کا دوسرا اہم وصف سادگی اور سلاست ہے۔ یہی وجہ ہے کہ ان کی شاعری ان کے نام کی طرح پُرتاثیر ہے جو فوری طور پر قاری کو متاثر کرتی ہے۔ پھر ان کی شاعری میں لطافت بھی ہے۔ سہلِ ممتنع کی شاعری بھی ملتی ہے۔ ذیل میں ہم اپنے قارئین کیلئے ڈاکٹر تاثیر کی غزلوں کے کچھ اشعار پیش کر رہے ہیں۔ میری وفائیں یاد کرو گے روؤ گے فریاد کرو گے مجھ کو تو برباد کیا ہے اور کسے برباد کرو گے دشمن تک کو بھول گئے ہو مجھ کو تم کیا یاد کرو گے غیر کے خط میں مجھے اُن کے پیام آتے ہیں کوئی مانے یا نہ مانے مرے نام آتے ہیں عافیت کوش مسافر جنہیں منزل سمجھیں عشق کی راہ میں ایسے بھی مقام آتے ہیں ہزار ہم سخنی، ہزار ہم نظری مقامِ جنبشِ ابرو نکل ہی آتے ہیں متاعِ عشق وہ آنسو جو دل میں ڈوب گئے زمیں کا رزق جو آنسو نکل ہی آتے ہیں وہ ملے تو بے تکلف، نہ ملے تو بے ارادہ نہ طریقِ آشنائی، نہ رسومِ جام و بادہ وہ کچھ اس طرح سے آئے، مجھے اس طرح سے دیکھا میری آرزو سے کم تر، میری تاب سے زیادہ داغ سینے پہ جو ہمارے ہیں گل کھلائے ہوئے تمہارے ہیں ربط ہے حسن و عشق کا باہم ایک دریا کے دو کنارے ہیں کوئی جدت نہیں حسنیوں میں سب نے نقشے ترے اتارے ہیں ایم ڈی تاثیر کی بیٹی سلمیٰ محمود نے اپنے والد کی یادداشتیں ’’دی ونگز آف ٹائم‘‘ کے عنوان سے شائع کیں۔ 1953ء میں اس نادرِ روزگار شخص کا لاہور میں انتقال ہو گیا۔
ہمارے بلوچستان میں بھی بہت بڑے بڑے شاعر ہیں
ان کو بھی اتنی شہرت نہیں ملی
آپ کا علم کافی اچھا ہے ہے
آپ بتا سکتے ہیں بلوچستان میں کس کس جگہ پہ شاعر ہیں
مطلب راءے دینی ہے
 
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