Monday, 15 August 2011

Ajab Pagal si Ladki Hai

عجب پاگل سی لڑکی ہے 
مجھے ہر خط میں لکھتی ہے 
مجھے تم یاد کرتے ہو؟
تمھیں میں یاد آتی ہوں ؟

میری باتیں ستاتی ہیں 
میری نیندیں جگاتی ہیں 
میری آنکھیں رلاتی ہیں 

دسمبر کی سنہری دھوپ میں
اب بھی ٹہلتے ہو
کسی خاموش رستے سے
کوئی آواز آتی ہے 
ٹھٹرتی سرد راتوں میں 
تم اب بھی چھت پہ جاتے ہو
فلک کے سب ستاروں کو 
میری باتیں سناتے ہو 
کتابوں سے تمھارے عشق میں کوئی کمی آئی
یا میری یاد کی شدت سے آنکھوں میں نمی آئی 
عجب پاگل سی لڑکی ہے مجھے ہر میں لکھتی ہے 
جواباً اس کو لکھتا ہوں
صبح سے شام آفس میں چراغِ عمر جلتا ہے 
پھر اس کے بعد دنیا کی کئی مجبوریاں 
پاؤں میں بیڑی ڈال رکھتی ہیں

مجھے بے فِکر چاہت سے بھرے سپنے نہیں آتے 
ٹہلنے ، جاگنے ، رونے کی مہلت ہی نہیں ملتی 
ستاروں سے ملے عرصہ ہوا، ناراض ہوں شاید
کتابوں سے شگف میرا ابھی ویسے ہی قائم ہے
فرق اتنا پڑا ہے اب اُنہیں عرصے میں پڑھتا ہوں 
تمہیں کس نے کہا پگلی، تمہیں میں یاد کرتا ہوں

کہ میں خود کو بھلانے کی مسلسل جستجو میں 
تمہیں نہ یاد آنے کی مسلسل جستجو میں 
مگر میری یہ کوشش بہت ناکام رہتی ہے 
میرے دن رات میں اکثر تمھاری شام رہتی ہے 
میرے لفظوں کی ہر مالا تمھارے نام رہتی ہے

تمہیں دل سے بھلاؤں تو تمھاری یاد آئے نہ 
تمہیں دل سے بھلانے مجھے فرصت نہیں ملتی 
اور اس پر تمہارے خط کا یہ جملہ 
مجھے تم یاد کرتے ہو، 
میری چاہت کی شِدت میں کمی ہونے نہیں دیتا
بہت راتیں جگاتا ہے مجھے سونے نہیں دیتا 
سو اگلی بار اپنے خط میں یہ جملہ نہیں لکھنا 
عجب پاگل سی لڑکی ہے مگر پھر بھی وہ لکھتی ہے 
مجھے تم یاد کرتے ہو ،
تمہیں میں یاد آتی ہوں ؟۔۔۔۔۔۔۔۔۔

Thursday, 7 July 2011

Biography of Parween Shakir

Parveen Shakir (November 24, 1952 – December 26, 1994) was a Pakistani Urdu poet, teacher and a civil servant of the Government of Pakistan.
Parveen Shakir started writing at an early age and published her first volume of poetry, Khushbu, to great acclaim, in 1976. She subsequently published other volumes of poetry – all well-received – including Inkaar, Sad-barg, Khud Kalami and Kaf-e-Aa’ina, besides a collection of her newspaper columns, titled Gosha-e-Chashm, and was awarded one of Pakistan’s highest honours, the Pride of Performance for her outstanding contribution to literature.
Parveen Shakir died in 1994, as a result of a car accident while on her way to work.
Parveen Shakir Early Career
Parveen Shakir started writing at a young age, penning down both prose and poetry, and contributing columns in Urdu newspapers, and a few articles in English dailies. Initially, she wrote under the pen-name, Beena.
Parveen Shakir Poetry
Parveen Shakir’s first book, Khushbu (Fragrance), was published in 1976 and won Pakistan’s Adamjee Award. She subsequently published Sad-barg (Marsh Marigold), Khud kalami (Conversing with the Self), Inkaar (Refusal), Maah-e-Tamam (Full Moon) and Kaf-e-Aaina (The Edge of the Mirror), all to great acclaim.
Parveen Shakir Poetry Style
Parveen Shakir employed mainly two forms of poetry in her work, one being the prevalent ghazal, and the other being free verse. The most prominent themes in Shakir’s poetry are love, feminism, and social stigmas, though she occasionally wrote on other topics as well. Her work was often based on romanticism, exploring the concepts of love, beauty and their contradictions, and heavily integrated the use of metaphors, similes and personifications.
Arguably, Parveen Shakir can be termed the first poetess to use the word larki (girl) in her works—the male-dominated Urdu poetry scene seldom employs that word, and uses masculine syntax when talking about the ‘lover’. Similarly, she often made use of the Urdu first-person, feminine pronoun in her verses which, though extremely common in prose, was rarely used in poetry, even by female poetesses, before her.
Parveen Shakir Ghazalyaat
Parveen Shakir’s ghazalyaat are considered “a combination of classical tradition with modern sensitivity,” and mainly deal with the feminine perspective on love and romance, and associated themes such as beauty, intimacy, separation, break-ups, distances, distrust and infidelity and disloyalty.
Most of Parveen Shakir’s ghazalyaat contain five to ten couplets, often – though not always – inter-related. Sometimes, two consecutive couplets may differ greatly in meaning and context [For example, in one of her works, the couplet ‘That girl, like her home, perhaps/ Fell victim to the flood is immediately followed by ‘I see light when I think of you/ Perhaps remembrance has become the moon’.
Parveen Shakir’s ghazalyaat heavily rely on metaphors and similes, which are repeatedly and thought-provokingly used to bring force and lyricism in her work. A fine example of this is seen in one of her most famous couplets, “Wo tou khushbu hai, hawaon main bikhar jaye ga/ Masla phool ka hai, phool kidher jayega?” where Shakir relates ‘fragrance’ to an unfaithful lover, ‘air’ to the unfaithful’s secret loves, and ‘flower’ to the person being cheated. Other metaphors Shakir commonly uses are titli for a Romeo, badal for one’s love, baarish for affection, and andhi for difficulties.
Some of Parveen Shakir’s ghazalyaat or, more specifically, couplets, have gained an iconic status in Urdu literature. One of her most famous couplets if the one given above. Another famous, Shakir couplet is “Jugnuu ko din kay wakt parakhne ki zid karain/ Bachchay hamaray ehed kay chalaak ho gaye”, which is often quoted to comment on the often surprising knowledge and awareness of the 21st century child.
Free Verse
As compared to her ghazalyaat Shakir’s free verse is much bolder, and explores social issues and taboos, including gender inequality, discrimination, patriotism, deceit, prostitution, the human psyche, and current affairs. It is also much more modern and up-to-date.
Parveen Shakir is known for having employed the usage of pop culture references and English words and phrases, that have mixed up with Urdu, in her free verse – a practice that is both generally considered inappropriate, and criticized, in Urdu poetry. An example is the poem Departmental Store MeiN, which is named thus despite the fact that there the term ‘departmental store’ could easily have been substituted with its Urdu equivalent, and where words like ‘natural pink,’ ‘hand lotion,’ ‘shade,’ ‘scent’ and ‘pack’ are brought into use, and references made to cosmetics brands like, Pearl, Revlon, Elizabeth Arden, and Tulip. Other examples are her poems Ecstasy, Nun and Picnic.
Parveen Shakir’s free verse also contains a few, credited translated or inspired works i.e. poems that are translations of, or inspired by, other authors. Examples are Wasteland, a poem inspired by Elliot’s poem of the same name, and Benasab Wirsay Ka Bojh, a translation of W.B. Yeats’s Leda and the Swan.
Critical Reception
Parveen Shakir’s poetry was well-received, and after her untimely death she is now considered one of the best and “most prominent” modern poets Urdu language has ever produced. Hailed as a “great poetess,” her poetry has drawn comparisons to that of Iranian poet Forough Farrokhzad, and she is considered among the breed of writers “regarded as pioneers in defying tradition by expressing the “female experience” in Urdu poetry.”
A source states, “Parveen … seems to have captured the best of Urdu verse … Owing to style and range of expressions one will be intrigued and … entertained by some soul-stirring poetry.” Another praises “her rhythmic flow and polished wording.”
Literary figure Iftikhar Arif has praised Shakir for impressing “the young lot through her thematic variety and realistic poetry,” for adding “a new dimension to the traditional theme of love by giving expression to her emotions in a simple and pellucid style,” and using a “variety of words to convey different thoughts with varying intensities.”
The Delhi Recorder has stated that Shakir “has given the most beautiful female touch to Urdu poetry.”
Parveen Shakir Honours
Parveen Shakir’s first book, Khushbu, was awarded the Adamjee Award. Later, she was awarded the Pride of Performance, one of Pakistan’s highest honours.
Upon her death, the Parveen Shakir Trust was established by her close friend, Parveen Qadir Agha. The Parveen Shakir Trust organizes a yearly function and gives out the “Aks-e-Khushbo” award.
Parveen Shakir Personal Life
Parveen Shakir Birth
Parveen Shakir was born on 24 November 1952 in Husainabad Gaya Bihar in INDIA,.
Parveen Shakir Education
Parveen Shakir was highly educated. She received two undergraduate degrees, one in English literature and the other in linguistics, and obtained MA degrees in the same subjects from the University of Karachi. She also held a PhD, and another MA degree in Bank Administration.
In 1982, Parveen Shakir qualified the Central Superior Services Examination. In 1991, she obtained an MA degree in Public Administration from Harvard University, USA.
Parveen Shakir Family and Death
Shakir married a Pakistani doctor, Naseer Ali, with whom she had a son, Syed Murad Ali—but the marriage did not last long and ended in a divorce.
On Dec 26th, 1994, Parveen Shakir’s car collided with a bus while she was on her way to work in Islamabad. The accident resulted in her death, a great loss to the Urdu poetry world. The road on which the accident took place is still called Parveen Shakir Road.
Parveen Shakir’s Books
Following is a list of Shakir’s published books. A translation of each’s title follows in italics.
Volumes of Poetry
  • Khushbu (1976) – Fragrance
  • Sad-barg (1980) – Marsh Marigold
  • Khud-kalaami (1990) – Talking to the Self
  • Inkaar (1990) – Refusal
  • Maah-e-Tamaam (1994) – Full Moon
  • Kaf-e-Aa’ina – The Edge of the Mirror
 
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