MERE QATIL MERE DILDAR NOVEL PDF
Check out this video on Streamable using your phone, tablet or desktop. Aalia Bukhari urdu novels in PDF download, Free Download and Read Online Romantic novels and Books. Famous Urdu Novels list of Aalia Bukhari. Meray Qatil Meray Dildar (Urdu: ميرے قاتل ميرے دلدار ) (meaning My murderer my beloved) . Print/export. Create a book · Download as PDF · Printable version .
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It premiered on 9 October and ended its run on 8 April The show started running again in India from 27 July. The show had garnered popular responses from viewers. On account of the response from Indian viewers, the show was successfully re-run, on 7 December and later as a marathon re-run.
At the annual Hum Awards , the series received ten nominations. Plot[ edit ] The story revolves around Maham Mehwish Hayat , a young lady in her 20s. She is madly in love with Umer Ahsan Khan , who loves her back. Umar's family does not approve of this relationship. But the young lovers finally get married after Umar's elder brother persuades them to give their consent.
After Maham meets Bakhtyar she gets to know that he was the man who had been stalking her for quite a long time. On the other hand, Durdhaana had wanted Umar to marry Shifa. To take revenge Durdaana starts hatching plots against Maham so that all the family members turn against the young bride. But never for once does Umar speaks against Durdaana even if he knows that she is wrong and is lying. Meanwhile, Bakhtyar keeps on stalking Maham and threatens her that if she informs anyone about this then he will get her into big trouble.
A year later Umar's father finally asks Umar to marry Shifa and take her as a second wife, after requests from Durdaana's side. But Umar disagrees and asserts that he may leave his entire family for Maham; after this his father suffers a heart attack and dies. Now Bakhtyar being the head of the family exercises his authority and keeps on misbehaving with Maham. The fourthand fifthcouplets of Anvar Hasan Siddiqi's poem also employ one of the great classical images of Majnun's journey: thatof how Majnun's bare feetwere cut by the thornsof the desert shrubswhich were in turnwatered by his blood and made to blossom.
The same image is referredto in the seventh couplet of 40 Alif18 This content downloaded from The "tilted-cap" kajkulah thatis invoked in the firsthemistichof thatcouplet is a classical image expressingthe lover's indifferenceto proprietyand his utterabandonmentto love.
The finalcouplet of Shahid 'Ishqi's ghazal containsa further image of abandonment,namelythe act of stainingone's shirtwithwine.
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Wine, like the Beloved, intoxicates the lover and the gesture of staining one's shirtwith red wine is also symbolic of the Lover's Passion. Here, the red stain of wine is replaced by the redness of the revolutionary'sblood.
The last couplet of Anvar Hasan Siddiqi's poem uses the image of the night-chamber where lovers long to meet to symbolize the homeland to which the Palestinian exile seeks restitution. Thus the Beloved becomes God, the state of rapturethat is junun signifies the Sufi's mysticdissolutionin the Divine, and so forth. To the greatlovers of the literarytradition,the poets add the figuresof the greatmartyrsof Sufi hagiography.
In poetry,the most importantof these is Mansur al-Hallaj whose execution by the authoritiesin Baghdad in is popularly seen as resulting from his ostensibly blasphemous proclamation, "I am the Truth" ana al-haqq.
In Sufi poetry, al-Hallaj's enigmatic utterance is often seen as expressing the dissolutionof his being in the Divine, but in the contextof modern political verse al-Hallaj is seen as a symbol of the revolutionarywho dares to speak truthto power. The fifthcouplet invokes the executions of al-Hallaj and of the syncretistIndian Sufi Sarmad, knownas the "Martyrof Love", who was put to deathby the Mughal emperor Aurangzeb in about The second couplet of Anvar Hasan Siddiqi's ghazal also draws on mysticism with the utilizationof the idea thatthe head of the martyris illuminatedwith divine light, hence the bright-litexecution-grounds har gam peh maqtal raushan hain.
A furtherclassical image used above is that of Karbala'. Karbala' constitutesthe single mostpowerfultragicmetaphorin Urdu poetry. The referenceis to the place in the Iraqi desertwhere,on 10 October 10 Muharram61 , the Prophet's grandsonal-Husayn b. Mu'awiyah, the second Umayyad Alif18 41 This content downloaded from Karbala' is seen as the archetypalinstanceof martyrdomfor thejust cause and as the archetypaldefeatof justice by injustice,and is the almostexclusive subjectof a genreof Urdu poetryknownas the marsiyah elegy or threnody.
In the penultimatecouplet of Anvar Hasan Siddiqi's poem, the Palestinianfidayin are identifiedwith the encampmentof al-Husayn,besieged in the desert years ago. The thirdcouplet of the same ghazal utilizes anotherstandardimage of Karbala', "the nightof the poor strangers" sham-e ghariban. In the classical marsiyahtradition,the sham-e ghariban signifiesthe night beforethe massacre of Karbala', the referencebeing to the members of al-Husayn's encampmentbesieged in a foreignland.
This phrase thenmade itselfway into the ghazal, where it was used to symbolize thelonelinessof theLover's separationfromtheBeloved. Here, in the contextof politicalpoetryon Palestine,whereit is used to evokethe separationof the exile fromthe homeland,its emotiveeffectis clearly themorepowerfulforits classical antecedents.
Indeed, the forceof these poems lies preciselyin theirability to use the accumulated layers of meaning attached to the classical poetic concepts and images to evoke a profound response in the reader. In these poems, then,the Palestinian struggleis internalised within the ethos of the Urdu poetic universe and is given a distinctivelyUrdu voice. The place of the Palestinianstrugglein that ethos is nicely summed up in the following lines froma free-verse poem by the respected female poet, Sehr Ansari, entitled"To the People of Palestine": People withouta land, may the wealth of your hopes be secure You know thatin thedarknessof everyage It is only Passion thathas illuminatedthe world like the sun In thereligionof Truththemost sacred thingof all Will be the scripturewrittenby yourflowingblood.
Here, the poet makes the veryconcept of a poem a metaphor 42 Alif18 This content downloaded from The most direct expressions of this commitmentare to be foundin the bluntpolitical verse of the activist poet Habib Jalib , popularlyknown as "the people's poet" 'avami sha'ir.
Habib Jalib composed several poems on Palestine including a stirringanthem entitled "To Lebanon! To Lebanon! To give courage to thepeople of Passion To sacrificeour lives to Truth To die in thepathof Fidelity Let us take our heads to thebattlefield To Lebanon!
This war is forjustice in theworld This war is forall thosewho have knownsorrow This war is forall of Adam's children To raise theveryworthof humanity:Go! The outbreak of the Intifadahin the Occupied Territoriesin produced, among others,the following poem by Mehmud Rahim entitled, "Intifadah: To the Unarmed Freedom-fightersof Palestine": Encircledby theenemy,thefootsoldiersgo forth Today thechildrenof resolutiongo forth Marhaba!
Young daughters Whose hands bear no jewels, but stones Marhaba! When tyrannydecreed that honour be stripped of its cloak And the kings in their palaces spun fine words of equivocation Naked, theprocessionof thepeople wentforth Marhaba!
Revolutionof house and alleyway,go forth! Intifadah,go forth! This was expressed,in his usual uncomplicatedstyle,by Habib Jalib in a poem entitled"The Palestinians are fightingYazid". Do not thinkthe shaykhsand kings are the guardiansof the holyplaces These, by God, are but the slaves of gold and silver The shaykhs and kings are themselves parties to oppressionand injustice Do nothope forany kindnessesfromthem How should theseprincesnot standwithWashington?
When Washington'ssupportis theirlife-blood They praydaily forthe sake of Israel Foritis byIsraelthatthesekingdoms stand Their concernis only fortheirthronesand crowns Why should theycare forthemartyrsof Palestine?
Friends:theseare but theagentsof imperialism Along withthe enemy,theirheads too should be made to bow.
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AhmadNadimQasimi, ,one of the leadingUrdu literaryfiguresof the twentiethcentury,wrotea soul-searchingpoem entitled "Jordan - On the GeneralSlaughterof thePalestinianFreedom-fighters"in responseto theeventsof Black September Here,as faras theeyecan see,is a desertofblood Blood - in whichthescentofourownbloodis mixed Blood fromthefragments ofourlivers.
The bloodofthosedaughters Who,veiledinmodestyandbeauty, Wouldlookuponthefootprints ofthefreedom-fighters Andsaytothemselves: "Why is it that the stars are destinedonly for the heavens? ForthesakeofthislandoftheProphets GloriousGod! ForthesakeofyourBeloved36 Save us fromthedaggersofourownsons Forthebloodforwhichtheythirst Is theirveryownblood!
Whomshouldwe ask? Come,letus go andask ourmirrors.
The phrase "theydeparted" voh rukhsathu'e means, in effect,"theydied. They departed And we remain,theirtokens, We who only lament We, thehiccups of our own history We who are only words Mute words Withno language of our own We who are no more thanglass Always at a loss Debris scatteredon theface of theearth They were clad in armour We in therags of dishonour We who know no endeavour We, thejanitorsof thegraves of our ancestors We, theguardiansof worm-eatenhistories Always at a loss Who only lament.
A general sense of outrage that the world was doing littleto help the Palestinianswas compoundedby theprogressivedestructionof Beirut - witnesseddaily on televisionnews reports- and by the attendantloss of civilian life, especially in the massacres by Israeli-backed Alif18 47 This content downloaded from The followingextractsreflectthe sentimentof theday: Where today will the criminal conscience of cowardly nations Find a place to hide and pretendall is well?
The dwelling places are ashes and those who lived there are dust, Who will claim the stenchof gunpowderis the scent of theflowershop? With the repressionof political and social freedomsin Pakistan, several poets critical of the militaryregime were censored,imprisonedor drivenintoexile.
The Israeli invasionof Lebanon itselfcoincided witha period of particularlysevere political repression in Pakistan. For those in opposition to the military government,the politics of Palestine became, more closely thanever, identifiablewith theirown predicament.
General Zia's governmentsoughtlegitimacyamong the Pakistanipopulace by presentingitselfas Islamic dispensation. In the course of buttressingthis claim to legitimacy, the military governmentmade much of its supportfor what it termed"Islamic" causes such as Afghanistanand Palestine.
The Urdu poets of the day seized on the contradiction between the Pakistan government's professionsof supportforthe oppressed Palestinianson the one hand, and its violent suppression of the political aspirations of its own disenfranchisedpopulation on the other.
The poet Habib Jalib,who, among the most outspoken public critics of Gen Zia's government, was imprisonedand torturedby the militaryregime. In the opening lines of a poem entitled"Reagan" Jalibdenounced Gen Zia as a client of the same world order that was responsible for the Palestinian conditionby condemningthe United States' supportfor Zia and for Israel in the same breath: On thehead of everyusurpingtyrantrestsReagan's hand It is he who guides thebanditto thecaravan It is his hand,too, thatis at Israel's back It is he who hands out themachineryof war43 It is he who has looted thetranquillity of everycourtyard On thehead of everytyrantrestsReagan's hand.
The famousopeningcouplet of the followingpoem turnedthe termsof the government'sdiscourse against it and became a popular tauntat Zia's regime: Go to thebattlefieldwhereIslam is in danger! Why do you only threatenour lives? Why don't you go to Lebanon Jalibconcluded thepoem withtheironicobservation: WheneverI ask permissionto go to Beirut, The authoritiessay, "You!
Get offtojail! In a poem writtenforthe memoryof the Palestinianleader Abu Jihadfollowing his assassination by Israeli commandos in Tunis in , Faraz stressedthe common cause which he and Abu Jihad shared. He did not lose the opportunityto undermineGen Zia's claims to be a friend of the Palestiniansby invokingthe fact thatZia had played an active role as an officerin the Jordanianarmyin its operationsagainst the Palestiniansin September That pain whichthrobbedin yourheartlike a blister, That same pain is theulcer on my tongue, We are targetsof the same spear, victims of the same arrow, If thereis a difference, it is only of thehand and thebow.
You were drenchedwithblood in thedesertof exile, We wander in our own home, our chests heavy with sorrow. From the alleyway of the prison to the courtyardof execution, My friends staggerwith nooses about theirnecks. He who spatteredtheblood of yourmartyrs It is his swordthatglittersabove our heads It is thatselfsametyrantwhose hands have Extinguishedtheflameof everylamp-likeface.
From the s to theend of his life,Faiz remained a prominentfigure in the intellectual and political landscape of Pakistan. His fifthcollection of poems, Above the Valley of Sinai Sar-e vadi-e sina , published in , took its title fromthat of a poem Faiz wrote on the June War. Faiz's commitmentto Palestine took on a personal dimension when he went into 50 Alif18 This content downloaded from Faiz took up residencein Beirutfrom and came into close contactwiththe Palestinianexile community.
Faiz wroteseveral poems on the issue of Palestine, one of which, his famous "Song for the Freedom-Fightersof Palestine", was widely sung in Pakistan as an anthem of opposition to Zia's rule. The following are its closing verses: We will win Truly,we will win "Truthis some and falsehoodpassed away"47 Such is thedecree of God, Paradise lies beneathour feet and the shadow of Mercy above our heads What,then,is fear? We will win Truly,one day, we will win At thelast,we will win.
The poem was written by Faiz in Beirut in , and may meaningfullybe read as an eloquentexpressionof his own exile fromPakistan: WheresoeverI have wandered,earthof my motherland, Withthescars of yourhumiliationseared upon myheart Withthecandles of yourhonouryetburningin myheart The pain of your love and of your memorieswent with me The scentof yourorangeblossoms wentwithme A whole companyof unseen friendswalked withme So manyunseen hands sharedtheembraceof my hand Far away in theindifferent bywaysof foreignlands In the streets of strange cities without names or landmarks WheresoeverI unfurledthebannerof myblood Alif18 51 This content downloaded from Child, do notweep For onlyjust now Has yourfather Taken leave of his sorrows.
Child, do notweep Your brother Chasing thebutterfly of his dreams Has gone somewherefaraway, to distantlands. Child, do notweep Your sister'sbridallitter Has leftfora foreigncountry. Child, do notweep For in yourcourtyard They have bathedthebody of thedead sun Buried themoon-god,and departed. Child, do notweep - Mother,father,sister,brother, Sun and moon - If you weep, tonight, The memoryof all thesewill make you cryall themore.
But if you smile,thenperhaps One day, theywill all in some new life Returnto play withyou. Why should I notcryout? I weep so thatmy tearsshould fall upon All theembroideredrobes of shaykhsand kings All theprayerniches and pulpits All theturbans,all theShahnamehs51, And drenchthem. I cryout So thatmy lamentmay become a mightyshoutthatgives To my youths,my freedomfighters, to thecourage of my brave people, The veryforceof life,theverypassion. In consideringthe bases of this identification,we have already noted that the sense of a common Islamic religious identitydoes not seem to have played a primaryrole.
Rather,the conclusions reached in theearlieranalysis of Zahir Kashmiri's poem apply to the rest of the literature:the Urdu poets' identification withPalestine arises froma world-viewinformed by a universal sense of historicalmoralityin which the Palestinian predicamentis seen as resultingfromhistoricalacts of oppressionand injusticeto which no individualof conscience may remainindifferent. In this context,the Palestinian cause is universalizedin Urdu poetry,as was thecause of theVietnamese,as an instanceof the struggle between national liberation and imperialism,between the global structuresof oppression and the global communityof the oppressed.
In the context of civilian opposition to the US-backed militaryregimein Pakistanin the s, Palestinebecame a metaphor in Urdu poetry for resistance to superpower hegemony and authoritarianrule in the Thirdworld,the more so as the military governmenttried to utilize the Palestinian cause to legitimize its political authority. In a larger dimension,the Palestinian cause is viewed in the poetryas an expression of the universal historicalstrugglebetween Alif18 53 This content downloaded from In committingthemselvesto whattheysee as the Truthof the just cause, the modem Urdu poets invoke the classical ghazal ethos of true love, that of self-sacrificingdedication to the Beloved.
In modem political verse, this ethos finds a poetic voice whose distinctiveliteraryquality arises, as we have seen, fromthe poets' continual refiguring of the conceptual and imaginal vocabularies of the classical Urdu poetical tradition.
The Urdu poetry on Palestine, then,is the productof a literaryculturewhich, in the words of Victor Kieman, sees itselfas "a greatethical traditionwhich always did homage to truthand justice and to the uprightman preparedto upholdthemat all hazards". We will go forthtogetherfor the sake of the bannersof companionship, To wheresoeverour friendscall out, If theblade and daggerare thelanguage of Tyranny, We will readythearmourof theWord of Fidelity.
I have attempted,in translating, to strikea balancebetweentheliteraland thepoeticbutsuspectthat readersof Urduwill,nonetheless, finda good deal withwhichto 54 Alif18 This content downloaded from Regrettably,it has not been possible to print the necessary diacritical marks in the transliteration;I hope theywill nonethelessprove intelligible.
The two best introductionsto Urdu literaturein English are D. Some of the Urdu poems on Palestine have been cited by 'Abd al-Haqq Haqqani al-Qasimi in theintroductionto his of study fourprominentPalestinianpoets: Filastin ke char mumtaz shu'ara' New Delhi: TakhliqkarPablikeshanz, Each couplet is self-containedas regards meaning and may or may not relate to the other couplets in the ghazal.
I have omitted3 of the original 11 couplets fromthetranslation. I have been unable to reproducethe rhymeof thisghazal in thetranslation.
For the Layla-Majnun story in Urdu literaturesee the fourthsection by J. Brill, The word which I have translated as "Truth"is "amn", literallya stateof general "peace", "security" or "tranquility".
Since it is understoodthat a state of amn may only exist in a just society where the rule of truthprevails, the meaning of the word is, in some contexts, better rendered as "Truth". Abi Sufyan,in which the cause of 'Ali is traditionallyregardedas therighteousone. At a crucial pointof theconflict,when it seemed that 'Ali's army might win, Mu'awiyah's troops entered the battlegroundwithQurans impaled on the pointsof theirlances and called for a truce.
In the course of the arbitrationthat followed, 'Ali's armybroke up and Mu'awiyah gained the upper hand.Here, the red stain of wine is replaced by the redness of the revolutionary'sblood. How the poems avoided censorhip remains unclear, though urdu poetry is so laden with conventional symbols.
Of the heroic figures in the Islamicate literaturesof love, the most famous is Qays who, overcome by his passion forthe unattainableLayla, became possessed by his love and went mad; forwhich reason he is called "Majnun" "the Possessed" or "the Mad".
Why do you only threatenour lives? When Bakhtyar is caught red handed trying to harass Maham he succeeds in putting the entire blame on her.
When Bakhtyar is caught red handed trying to harass Maham he succeeds in putting the entire blame on her. Throughout the poem, the relationshipof the Palestinians to the land is depicted as that of childrento a mother,an image that is standardin the works of the Palestinian poets themselves. Modern Urdu poetryhas inheritedfromthe classical poetryof the 18th and 19th centuryghazal traditiona distinctethos and a rich lexicon of poetical concepts and images.
A strange dust has buried every footprint.