Literature assessment on syed nasir raza kazmi

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Syed Nasir Pueblo Kazmi was obviously a renowned Urdu poet of Pakistan. He should be ranked among the ones from our freelance writers who were certainly not destined to have long nevertheless who, during their limited course, wrote substantially and carressed the altitudes of imagination before passing away.

Soon after Kazmi’s death, Ahmad Mushtaq sat down to put together what had been written about his poetry fantastic personality and brought out a series titled Hijr Ki Raat ka Sitara.

Now, following nearly 40 years, Mushtaq, in co-operation with Basir Kazmi, has brought the actual revised release of the book. During these years, much has become written about Kazmi’s achievement in poetry. A strict collection from these kinds of writings at this point forms portion of the revised release of Hijr Ki Raat ka Sitara. This addition to the collection provides a lot valuable to the volume level. Now it offers the impression that authorities have been capable of access what Kazmi had written after the distribution of his first collection Berg-i-Nai and are also in a better position to generate an examination of his work

The articles within the first release show that the critics of Kazmi’s beautifully constructed wording were continue to under the mean of his early period covered in Berg-i-Nai. Of course , that period has superb significance and carried a lot of appeal. Kazmi got emerged like a new tone of voice in Urdu poetry, aiming to capture the initial experience of his age. And it was an age which in turn, under the pressure of Canton, had emerged as pregnant with far-reaching consequences for people on both equally sides of the separating line. It had been left to get Muhammad Hasan Askari to point out that Nasir Kazmi may be the one poet who was capable of capture this great experience in his ghazal. Enriched with this kind of experience, Kazmi’s ghazal attained an fascinating quality which has been very popular with all the readers.

But as Suhail Ahmad Khan has pointed out in the article, Kazmi’s admirers, within their immense popularity of the poet, forgot the truth that a genuine poet under no circumstances likes to be considered a prisoner of any one means of expression or any one setting of feeling, however well-liked. He must is more famous in search of something different or new. So the ghazals in his second collection Diwan tend to be a little different, thus the a sense of maturity in place of the romantic taste.

Not only this but also in Kazmi’s graceful journey there comes a point if he says farewell to the ghazal and becomes to nazm. Thus his collection Nishat-i-Khwab has something different to offer all of us. Ahmad offers tried to make clear the kind of nazm he had written. Kazmi, relating to Ahmad, is trying to understand his encounter through the classic form known as hikayat or perhaps parables. These types of experimentations appear to be pointing towards his childhood experiences and to the social region where the Ajami nature mingled together with the Hindi nature.

Others appear unaware of virtually any attempt about Kazmi’s portion to write a verse enjoy. In fact , simply two authorities in the complete collection, Suhail Ahmad, and Shamim Hanafi, have considered Kazmi’s varied tries to come out by what Ghalib called the narrow street of ghazal and discover a large field pertaining to his poetic expression. The rest seem curled upon dealing with him simply and exclusively as a ghazal writer.

Shamim Hanafi provides tried to take into consideration all of Kazmi’s writings. He has taken notice of the poetry collected inside the volume Nishat-i-Khwab, particularly his long composition carrying similar title. In Hanafi’s evaluation, this is a wonderful piece of poems. As viewed by him, the composition brings to life a ethnical atmosphere which usually had confused under the pressure of circumstances in a way that two aesthetic customs appeared to make one prevalent cultural tradition.

He covers in more details the number of ghazals released under the name Pehli Barish. This series, relating to him, is the most exceptional experimentation in the tradition of Urdu ghazal. One may declare, according to Hanafi, the fact that whole surroundings of the poet’s inner community appears to breathe in the ambiance of the past. All the ghazals have been drafted in the past anxious. We find here a tale of love told in a way that was something new and unfamiliar for ghazal. Here is, Hanafi says, a combination of poetry and dastangoi, a thing unknown towards the tradition of ghazal.