By Ferial Jabouri Ghazoul
The difficulty of Alif explores a substantial number of issues and difficulties that exist in modern South Asia, offereing views on poetry and fiction, pop culture and mythmaking, in addition to the long-lasting resonance of Gandhian rhetoric and philosophy. regardless of the undeniably severe difficulties that afflict the folks of South Asia, there's additionally a lot to have a good time after part a century of independence. there's a pervasive feel that the subcontinent has eventually emerged from lingering shadows of the British Raj, assesting a brand new and ascendant identification, via paintings, literature, track, movie, and other kinds of pop culture.
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Extra info for ALIF 18: Post-Colonial Discourse in South Asia
20 The great expression of Majnun's love was his journey of terrible suffering through the desert in search of Layla's caravan. In the modern political poetry, this journey becomes symbolic of the suffering of those devoted to a just cause. In the present context of a poem on Palestine, Majnun's journey through the desert also becomes an eloquent expression of the tribulations of exile. It is the image of Majnun that is invoked in the opening couplet of Anvar Hasan Siddiqi's ghazal. The image of the shirts that are not yet torn (aur chak-e gareban baqi hairi) is a reference to a famous gesture of Majnun's passion, his rending of his garment at the agony of his heart.
7 The Urdu poetry on Vietnam, of which I have gathered several examples, has to the best of my knowledge never been studied. 8 I have confined my research to literary sources, and have not consulted the political journals of the Islamist groups in Pakistan which may contain poetry on Palestine rooted in religious sentiment. ", Ada Ja'fari, "Masjid-e Aqsa", Ghazalan turn bhi vaqifho (Lahore: Maktabah-e Funun) 1974, 13. ", Riyaz Siddiqi, "Blek sitambar", Afkar 37 (April 1973), 23. / hijrat ke manzar dikhate hain/ han log kaise ukharte hain apni zamin se/ ujarte hain apne gharon se/ bichharte hain apne hi khun se/ vaqt ki nadiyon men lahu, ag jal kar jo behte hain/ darya samundar bhala kis tarah shant rehte hain/ yeh sare manazir miri ankhon se mere andar utar kar/ dhamakon ki surat mirejism ojan par guzarte hain/aur main khud bhi arz-e filastin ki manind afat bajan hun/jo biti hai vahan, voh 56 A/I/18 (1998) mire jism men bhi bapa hai/ aise men main bhala kis tarah qubrusi nazm ka tarjamah kar sakunga/ mujh se arz-e filastin ke rangin dinon tak ka jo fasilah hai/ voh har ghair mulki adabpare ka tarjamah hair Tariq Jami, "Main filastin ka tarjamah kar raha to", % 47 (1984), 131.
Each couplet is self-contained as regards meaning and may or may not relate to the other couplets in the ghazal. 34). 16 For an excellent study of the imagery of classical Persian poetry, see Annemarie Schimmel, A Two Colored Brocade: The Imagery of Persian Poetry (Chapel Hill: The University of North Carolina Press) 1992. 1 have omitted 3 of the original 11 couplets from the translation. ^"mehtab hai nah 'aks-e rukh-e yar ab ko'i/ kate to kis tarah yeh shab-e tar ab ko'i// mumkin hai dast o bazu'e qatil to thak bhija'e/ shay ad thame nah didah-e khunbar ab ko'i// ahl-e jafa se kehna tarashen salib o dar/shayan-e sarv-e qamat-e dildar ab ko'i//har 'ahd men agarcheh raha jurm harf-e haqq/ shayad nah a 'e aisa gunahgar ab ko'i// han ae junun!