About Poetry in Urdu



Poetry in Urdu sounds simple, ranging in length from a few sentences to a full book. Compared with prose, sad poetry in Urdu requires more understanding, creativity, and skills. In the figure, in addition to the traditional layout, the end of the line does not need to extend to the right margin. It is characterized by the three pillars of emotion, image, and music, which can but not necessarily include alliteration, metaphor, simile, repetition. The most important thing is that the form is different from the content and distinguished from other genders. While reading, strengthening, and translating prose through punctuation and sentence structure, poetry gains great explanatory value.

John Strachan and Richard Terry wrote in their “Poetry: An Introduction” (New York University Press, 2000, p. 24): “Love poetry in Urdu more than What we read, and what we see.” We know at a glance whether this poem is written regularly or irregularly, whether Ines is long or short, and whether this verse is connected or interrupted… many (Poets) have specially designed works designed to attract readers’ attention to their image. “

They went on to say that Funny poetry in Urdu is “a linear language that exhibits measurable phoneme patterns and shows varying degrees of regularity” (ibid., p. 11).

Although poetry is not necessarily easy to define, many writers have internalized it. For example, Grace Paley wrote: “Poetry is the school where I go to learn prose.” William Stafford said: “Everyone starts as a poet. “The real problem Why do most people stop? “John Ciardi pointed out: “The poet can only show us because he immediately proved that we have never learned to touch, smell, taste, hear and see. “The philosopher Leon Garfield (Leon Garfield) said: “The job of an artist is to make ordinary things beautiful. “Diane Ackerman wrote: “The most important thing is that we ask the poet to teach us a way of observation so that he will not spend his entire life on this planet, and will not notice how the green light shines when the sun goes down, or the Milky Way is spreading over the stars, this is a summer night. “

The need for any creativity stems from the heart of the writer and requires a constantly changing workload before it is ready to take root on paper. Then water it with words to make it germinate and grow to maturity, until the reader is ready to pick the flowers and enjoy at least the fruit of cross-pollination.

John Updike once said: “My original intention for art when I was young was that the artist brought things that didn’t exist in the world into the world, and what he did did not destroy anything else.” In my opinion, this is still its core charm and the essence of joy.”

When a writer is addicted to emotion, the only way to get rid of it is usually to describe it on paper in a poetic form, so that he can pass it on to the reader in the process. Although, like other art forms, its value can only be determined by its interpretation and impressing readers, the ultimate goal is to transfer the soul from the creator or writer or recipient or reader to the soul.

David Kirby wrote in his book “Writing Poems: Where Poetry Comes From and How to Write” (The Writers Company, 1988, pp. 10-11.) “Most great art is The improvement of existing works starts from the character of the author.”

In contrast to prose, poetry is not limited to stories and sharing emotions, but also uses sounds and forms, and can include forms ranging from free poetry to sonnets.

Osman once said: “Poetry is not said, but a way of saying.”

Mary Elizabeth said in “Non-Painful Poetry” (Barron Education Series, Company, 2001, p. 3): “…Poetry is a specialized use of language, different from prose. “(He) can pick up and What cannot be conveyed by mobile prose, while poetry works through emotions, not just thoughts. “

Hair structure:

Although prose is composed of sentences, sentences, paragraphs, sections, and pages, with appropriate grammar and punctuation, poems can take many forms according to the author’s intention and can increase the influence, purpose, and tone of the work.

Its design displays its visual image and organization according to the character style and size on a specific page. Sometimes, it is assumed that the shape of the chart is unique, such as an hourglass, diamond or tail.

Its lines are building blocks.

Elizabeth (ibid., p. 177) said: “The line can be long or short.” “Choosing a line length opens up some possibilities, but limits others. Short lines are good for expressing eloquent notes and are suitable for each part of a sentence. The ellipse is more useful. Long lines can handle complex stories, philosophical discussions and complex sentences.”

“Glued line” means that the phrase or sentence ends at or on the right edge, while “tangled” means it wraps around and continues on the next line.

These lines are grouped into audio segments that provide additional visualization of subsections and are separated by blank or skipped lines themselves. They usually share the same line length, rhythm system and capillary flow meter.

Section form:

The section length depends on the number of rows. For example, a double syllable is a pair of link lines, also called “prosody”, and usually ends with a final. Similarly, a trinity can also be considered a “triple”, which consists of three consecutive rhymes, and the four lines correspond to rhymes. The five, six, seven and eight-line syllables are designated as “five tones”, “six tones”, “seven tones” and “eight tones” respectively.

Structural aspects:

Although poetry can incorporate some literary techniques that can be regarded as traditional prose, it also introduces many unique styles.

First, the word order can be very fashionable. Certain elements may be placed at the beginning or end of the line, for example, to deliberately emphasize them and promote scale and rhythm work.

Just like a poetic puzzle, the words themselves must fit into a smaller literary space and have the greatest weight, and must be grouped in a way that enhances meaning, vision, sound, and feeling.

Prosody is the close repetition of two words, containing the repetition of the last vowel and having the same final consonant. Rhythm may be more related to poetry and certainly contributes to smoothness and rhythm, but it is by no means a mandatory part of composition, nor does it necessarily need to share the same spelling to achieve. For example, the words “bow” and “trough” are spelled differently, but they rhyme. Excessive use of this technology may become mandatory, artificial and expensive.

When prose uses the same vocabulary, phrases, sentences, idioms and even figurative language, it avoids rhyming, because rhyming distracts the reader’s attention and diverts the reader’s attention from meaning to sound. If a special order of words is required in the poem, then it can also be counter-creative.

However, from the front, it can create a sound pattern that can almost reach the level related to music and can attract people’s ears. Like “Jack and the Generation on the Mountain”, it also makes it easier to understand children’s poetry.

Other advantages include the principle of syllable organization, because its composition depends on its rhyming scheme. It provides anticipation or anticipation of repetitive sounds and improves the poet’s technique to convey meaning, keep decoration and define the words needed to keep rhythm.

Rhymes can appear at the beginning of a sentence (main rhyme), in the middle (rhyme) or at the end of a sentence (rhyme).

In the case of four-line syllables, they can appear in “aabb” or “abab” patterns-that is, these words simulate the sound of the previous or next line.

The regularity of sound effects is another fundamental difference between poetry and prose, called “rhythm”. Except for free poetry, most poetry forms have consistent decoration.

Strachan and Terry (ibid., p. 75).

They continued: “According to your point of view, the gauge (the basic stress pattern in a particular line) is both a popular structural system and a heavy straight jacket.” (ibid., p. 111). It is for this last reason that free poetry has become popular.

Poetry and standard prose share many literary techniques, first of all perceptual photography. If he often starts by observing and making sounds, then move on the other three senses: taste, touch and smell, to increase his emotional imprint, because the poet passes his experience to the reader.

Strachan and Terry (ibid., p. 138) said: “All experience is obtained through our senses.” “We may use our thoughts and hearts later, but it will enter our consciousness through the senses. Attract one or Multiple (among them) one-sensory details are called sensory details. An extended description of the scene, focusing on sensory details is the image.”

Another element of prose and poetry is iconism. By making one person, image or concept represent another person, the poet can evoke many connections in the reader’s mind. For example, colors can represent many emotions, and the cross can symbolize religion.

Metaphor is another tool. It can compare one element with another, but it is not literally understood like “it burns with desire”.

The irony is that metaphors are similar, but it uses words like “like” and “like” in the comparison. For example, “You run away from the explosion like a villain.”

Because sometimes the phoneme dimension of poetry achieved through allusions is an important distinguishing feature, it is another important style.

Strachan and Terry suggested (ibid., p. 51), “These two words are consonants of adjacent or closely related words of the same phoneme or letter” and created sound patterns in poetry.

Onomatopoeia requires the use of words that mimic the sound of the animal, thing, or verb described, such as “ringing”, “hissing”, “double-layer”, “plo pirating” and “rude”.

Anthropomorphism is the last element, which involves giving animals, things, or nature to one or more human characteristics, such as “tree bows and crying”.

Hair elements:

Poetry can share many other elements in prose.

First of all, the environment is the environment, place or atmosphere where poetry occurs, and can manage actions from the natural environment to the historical, social and cultural environment.

The character is the second.

Elizabeth said: “A role refers to a person who acts, chooses, reflects, feels, is expressed or mentioned in the poem” (ibid., p. 28). “One of the important roles of each poem is the speaker-real or fictitious. Through his thoughts and heart, we can feel the reality when reading the poem. This may or may not be a goal.”

Although poems can illustrate the environment, feelings, experiences, thoughts, characters or images, sometimes they also contain meaningful plots.

Elizabeth continued: “… the actions taken by one or more characters (possibly including the plot of this poem) trying to achieve the expected and desired results.” “The character at the center of the plot is often called the main character.”

Compared with the plot, the object of the work is another element, the central idea, not the object. Since many people do not have a clear definition, it may be interpreted by readers. Other poems that express emotions and emotions may not contain any poems at all.

Emotion is another component, usually related to posture.

Finally, tone is the location of writing, and it is expressed through pitch, volume and intonation.

Hair type:

The types of poetry vary according to length, lines, syllables, structure, rhyme, rhythm and rhythm, but perhaps the most popular types of poetry do not contain any structure or scheme at all, such as free poetry.

“Most poems written today basically have no rhyme, no fixed metric chart or fixed number of lines,” Kirby suggested (ibid., p. 5).

Probably the most similar to prose, it allows the author to express his feelings or any content that needs to be linked in an unrestricted way, thereby determining the line length and syllables.

List poetry is another relatively easy type, the oldest one. As the name suggests, it is made up of closely related, consistent, and inconsistent boundaries related to the life of the poet, people, places, feelings and interests, and often appears in the inscription. The last entry is particularly powerful or important. Provide him with sequencing experience. It’s simple, but powerful, and it provides an easy starting point for writing poetry, especially because the beginning of each line (the list itself) is the same, such as “When I have time, I like to read. When I have In time, I like to meditate…”

Important elements include arranging lists, maintaining privacy when naming and identifying ideas, choosing words carefully and using five senses where appropriate.

Other genres include narrative poetry, which is a story told by a speaker or narrator in the form of poetry, enabling him to tell a series of events. Poetry and epic are specific forms of narrative.

Dramatic poems are poems in which characters speak and represent scenes similar to traditional prose. If it is only a character, then he is trying to reveal something about himself to readers through dramatic monologues.

Lyrics are another genre whose origins can be traced back to works that are spoken aloud and accompanied by guitar performance, and then the name is explained. Since the instruments are no longer a necessary component after they are written down, they still retain their musical qualities. It is usually short in nature and has a high emotional content, which makes it a love poem.

A sonnet consists of sonnets, usually ten syllables per line, and can carry several forms of rhyming schemes.

Poetry writing skills:

Because poetry is a creative process and comes from the heart, not from the heart, any instructions that guide the formation of poetry can only be organized and intellectual. However, there are many more that might help.

Kirby suggested: “Only superficial and imposters fully understand what they have to say” (ibid., p. 17). “An honest writer starts with ignorance and then takes pictures.”

This means that the poet will not necessarily realize on a conscious level that he is seeking to escape and establish himself through writing channels until he knocks on the door for the first time. Like the clay of the sculptor, the words make him like a poet.

The seeds of any literary work can originate from within-that is, by touching the soul’s inspiration-or without literary seeds, which can be derived from observations or experiences that the author thinks must be resolved and expressed.

He should pair a valid title with his work because it provides purpose and direction.

He or she may want to deal with small thoughts of limited attention, and then expand it to include larger and more inclusive themes and concepts as experience increases, such as love or meaning in life. He may like to take a sentence from his memory, dream or even hear it, and use it as the limit of creativity. The details will definitely follow.

The purpose of poetry can have two aspects, that is, if the writer tries to capture and explore the inner emotion or emotion, then the poetry may be beneficial to him. On the other hand, if he tries to correlate events or stories or make statements, the external focus will be on reaching these aspects and communicating them to the reader.

If needed, free verse can provide the easiest way to enter poetic expression and can serve as a more organized starting point for gaining more experience. On the other hand, if he wants to use rhyming schemes, he must make sure that he has enough abilities so that he will not sacrifice the ideas he wants to express because of nursery rhymes.

He must also use a line structure, the length of the line can be subjective or capillary, determined by the shape; use sentences instead of isolated pictures. Include standard usage instead of combining words, creating new words or inventing new spellings for existing words; and use a specific language.

The subject of this poem may not necessarily be mentioned directly, or in the case of sentiment, it may not contain any content at all. Poetry usually originates and extends to the hearts of writers and readers, not thoughts. Every word must exert its weight by conveying its meaning, and phonemes are an integral part of the poem.

The writer must use a new or unique way to describe things, as if he was seeing things for the first time. This may be particularly effective if the standard situation is reversed-in other words, it can describe a person’s life rather than explain a person’s life as if he were a puppet, a victim, or a bystander of everything. Or, as an extension, he must use his vision and creativity to turn familiar things, deal with ordinary things and reverse or reverse them.

Depending on the poem, he may wish to perfect it with rhythm, rhythm, measurement, sensory imagery, metaphors, similes, alliteration, onomatopoeia and prognosis.

Most importantly, he must not forget that poetry is the expression of sound, and sound should attract the reader’s eyes and ears.

ku sentence:

Haiku is a compact form of descriptive ancient Japanese poetry designed to be read in one go, traditionally involving nature and the senses, but can focus on the smallest elements, such as a piece of grass or a drop of dew. However, it still delivers a message.

Elizabeth said: “Haiku is one of the most common syllable poem forms. It is a Japanese form that looks very simple: five syllables in a row, seven syllables in a row, and the last five syllables in a row” (ibid. , Page 275). “But there are some rules that make it different. It is made up of fragments. It uses tangible language to talk about daily affairs. It (usually indirectly) refers to a chapter. Not much to say. It introduces a kind of Tense.”

The following sentence can be used to illustrate many of its elements. “The shop is dark. Christmas morning, the gifts are beautifully wrapped.”

In addition to its standard five to seven and five-part structure, it also consists of two parts-one part is very short and can be seen as one part, and the other is longer and can be seen as a phrase.

Jane Richold (Jane Richold) said in her article “The Naked Bones School of Hai Sentences”: “Japanese people write a sentence in one line to clearly see its components.” In English, each part All have one line. This gives the reader time to form an image in his mind before his eyes return to the left edge for more words. The newline character is also a punctuation mark. “

The second element is the separator between the syllable and the phrase, and their arrangement is interchangeable, allowing the phrase to precede the syllable. In this case, the separator between the two will become a silent hinge, allowing the reader to pause and establish a connection, correlation or contrast between the two. Here, when Origin showed gifts that were not packaged for Christmas cheers or moved to the place where the event moved, the dark shop became a sharp contrast to the image that was once crowded. These two pictures are the center of each other.

A silent break can suddenly enlighten or illuminate people, for example, “Oh, they are enjoying gifts, so the department store is still quiet and has served this purpose.”

Assistant Professor Michael Dylan Welch of the Northwestern College of Letters and Arts once said: “A poem enters a deliberately excluded void through an intuitive or emotional leap that occurs in the space between the two parts of the poem. And gained energy…”

Although it does not always exist, especially because the poem is in a more modern form, the word “kijo” or “season”, there is another element that indicates when the poem was created, but it does not necessarily mention it. This is left to the imagination and explanation of the reader. Because of its small size, there is almost no literary form. The “Christmas” in the last poem serves this purpose.

Feeling images can be regarded as the engine of sentences.

Reichhold continued: “No matter what words any writer uses, his five senses are the most important tools for creating sentences. And the poetry must be the result of the author’s experience rather than the result of his thoughts.” “As a kind of Literary form, which relies heavily on the images that readers can see and experience through written text.

“To be more efficient, the reader must avoid using adjectives and adverbs, but should tend to simplify-that is, he must avoid telling the reader what to think, but should provide a guiding path to reshape the thinking of the author who follows him, and He leads to the same emotional destination.”.

Another important element of the sentence is its interaction, that is, the shared experience between the writer and the reader, as if it is happening but not really existing. As a result, it is written in the current tense, and the personal pronoun “I” is omitted to eliminate the author’s presence and produce immortal feelings or emotions.

It does not explain the feeling the image or scene brings to the author, but clarifies the elements or aspects that cause the image or scene so that readers can share experiences. He said: “Basically, this is the winter scenery, which makes me feel lonely. If I show you, you will feel that way too.”

Due to the basic structure of hai sentence poems, it ignores specific and uncertain articles, so that nouns can exist independently, without capitalizing words, deviating from standard grammar, and almost no rhyme