Naz'm Tabatabaai, Gray's Elegy and Gor-e-GHaribaaN

[Afzal A. Khan]

One can find Janaab Naz'm Tabatabaai's name at some places in the
pages of ALUP. However, I couldn't find any biographical details
about him nor any discussion about the literary accomplishments of
this most remarkable man of letters. So I thought it was about
time this omission was rectified.

Naz'm was born on the 18th November 1853 at Lucknow, in a
prominent Shia family, which traced its lineage to Hazrat
Imam Hassan (elder brother of Hazrat Imam Hussain, the
Karbala martyr). It is said that Imam Hassan had a slight
speech impediment, a lisp. This is known as "tabataba" in
Arabic, hence the appellation Tabatabai adopted in his family.

Though nearing its end, the kingdom of Awadh, under Nawab Waajid
Ali Shah, and his court was still resplendent. The young Ali Haidar
(to give Naz'm his original name) received his early education
from learned tutors in a 'maktab' and soon acquired good command
over Urdu, Faarsi and Arabic.

In 1856, Nawab Wajid Ali Shah was exiled by the Britishers to
Calcutta and they took over complete control of the State of
Awadh. In Calcutta, Wajid Ali Shah and his court were allowed
to establish themselves in the Matiya Burj area. Many
noble families of Lucknow and its environs also joined the
Nawab in Bengal. Ali Haidar and his family were amongst them.
There he became a tutor to young princes and the children of
prominent courtiers.

Around 1887, at the age of 34, he visited Hyderabad for the first
time. Although Hyderabad State's Chief Justice Maulvi Afzal
Husain Lakhnawi pressed him to settle there permanently, Naz'm
preferred to go back to Calcutta. However, the former ruler
of Awadh, Sultan Wajid Ali Shah, died in September 1987 and the
period of peace and prosperity at Mitiya Burj also drew to a
close. Naz'm was now confronted with the problem of securing
some permanent career that would be in keeping with his scholarly
talents and accomplishments.

Feeling that his future financial well-being was now linked to
Hyderabad, Naz'm returned there later in the same year (1887).
This marked the commencement of the most productive and
fruitful period of his literary career. Apart from securing
a decent and gainful employment, he also became an important
element of the literary scene in Hyderabad.

The year 1917 saw the establishment of the Daar-ul-Tarjuma in
Hyderabad, followed next year by the Jamia Usmania. This was
the first University where Urdu became the medium of instruc-
tion of various subjects, including Science and Technology.

For many years Naz'm remained associated with the Daar-ul-
Tarjuma. He also became a lecturer in Arabic and Faarsi in the
Nizam College. His erudition and command over various languages
(including English, French and German) was such that he also
served as an examiner in other Universities. The Nizam (Mir Usman
Ali Khan) conferred on him the title of Nawab Haidar Yar Jung in
1917.

He was also associated with the Committee charged with finding
Urdu equivalents of foreign language words, particularly English
technical terms. All leading magazines of the day used to publish
his articles written on many diverse subjects, like History,
Biography, Philosophy, Physics, Astronomy, Medicine, Logic,
Literary Criticism etc.

For about 45 years, Naz'm remained engaged in various literary
activities in Hyderabad, that included translating works from
other languages into Urdu, like the voluminous History by Tabari,
which is in Arabic and consists of thousands of pages in about 40
volumes.

Naz'ma was also a noted poet of his time, although he didn't give
poetry the sort of attention that his talent and ability demanded.
He had acquired a profound knowledge of Prosody {'Arooz) and wrote
a brief tract on the subject. He also wrote an explanatory
commentary (or'Sharah') of Ghalib's Urdu Poetry, which is a sort
of milestone in this particular genre.

His busy schedule and constant labours ultimately affected his
health which deteriorated further after his wife passed away in
1928. Even then, he continued attending to his duties and
literary pursuits unremittingly. At last, he passed away due to a
heart attack on the 23rd May, 1933 and was buried in Hyderabad.

In appearance, he was a tall individual, quite fair of complexion,
and rather overweight in his old age. As was customary for many
people of his time, he too sported a beard.

Here, we are concerned with one of his most remarkable works, viz.
the translation of Gray's Elegy into Urdu verse. The Elegy is
rightly considered as an outstanding masterpiece of English
Poetry. Gray spent several years in writing and polishing this
immortal work and at last published it around 1751. It is an
iconic piece of literature and it is extremely difficult to
replicate its reflective sincerity and stoic tone in another
language, and that too in verse form.

It seems that members of the Anjuman-e-Taraqqi-e-Urdu at Aligarh
put forward a suggestion that translations of English poems in
Urdu may be undertaken so as to acquaint the Urdu afficianados in
India with the literary trends and styles of English poetry.
This was seemingly in furtherance of the reformation movement
started by Maulana Haali and Mohammed Husain Azaad. Accordingly,
the first English poem chosen unanimously for this purpose was
Gray's Elegy. There were quite a few translations attempted,
mostly in prose. But none was found satisfactory. It was then
felt that a translation in verse would perhaps be more
appropriate. Accordingly, several people made concerted attempts
to do so, but it was soon realized that it was a most difficult
undertaking. It was in these circumstances that Naz'm was
persuaded to try his hand at this demanding task.

Before proceeding further, it is desirable to quote here the full
text of the English poem. {I could have given a link too, but felt
that it would be a distraction.}





ELEGY WRITTEN IN A COUNTRY CHURCHYARD




The curfew tolls the knell of parting day,
The lowing herd winds slowly o'er the lea,
The ploughman homeward plods his weary way,
And leaves the world to darkness and to me.

Now fades the glimmering landscape on the sight,
And all the air a solemn stillness holds,
Save where the beetle wheels his droning flight,
And drowsy tinklings lull the distant folds:

Save that from yonder ivy-mantled tower
The moping owl does to the moon complain
Of such as, wandering near her secret bower,
Molest her ancient solitary reign.

Beneath those rugged elms, that yew-tree's shade,
Where heaves the turf in many a mouldering heap,
Each in his narrow cell for ever laid,
The rude Forefathers of the hamlet sleep.

The breezy call of incense-breathing morn,
The swallow twittering from the straw-built shed,
The cock's shrill clarion, or the echoing horn,
No more shall rouse them from their lowly bed.

For them no more the blazing hearth shall burn,
Or busy housewife ply her evening care:
No children run to lisp their sire's return,
Or climb his knees the envied kiss to share,

Oft did the harvest to their sickle yield,
Their furrow oft the stubborn glebe has broke;
How jocund did they drive their team afield!
How bow'd the woods beneath their sturdy stroke!

Let not Ambition mock their useful toil,
Their homely joys, and destiny obscure;
Nor Grandeur hear with a disdainful smile
The short and simple annals of the Poor.

The boast of heraldry, the pomp of power,
And all that beauty, all that wealth e'er gave,
Awaits alike th' inevitable hour:-
The paths of glory lead but to the grave.

Nor you, ye Proud, impute to these the fault
If Memory o'er their tomb no trophies raise,
Where through the long-drawn aisle and fretted vault
The pealing anthem swells the note of praise.

Can storied urn or animated bust
Back to its mansion call the fleeting breath?
Can Honour's voice provoke the silent dust,
Or Flattery soothe the dull cold ear of Death?

Perhaps in this neglected spot is laid
Some heart once pregnant with celestial fire;
Hands, that the rod of empire might have sway'd,
Or waked to ecstasy the living lyre:

But Knowledge to their eyes her ample page,
Rich with the spoils of time, did ne'er unroll;
Chill Penury repress'd their noble rage,
And froze the genial current of the soul.

Full many a gem of purest ray serene
The dark unfathom'd caves of ocean bear:
Full many a flower is born to blush unseen,
And waste its sweetness on the desert air.

Some village-Hampden, that with dauntless breast
The little tyrant of his fields withstood,
Some mute inglorious Milton here may rest,
Some Cromwell, guiltless of his country's blood.

Th' applause of list'ning senates to command,
The threats of pain and ruin to despise,
To scatter plenty o'er a smiling land,
And read their history in a nation's eyes,

Their lot forbade: nor circumscribed alone
Their growing virtues, but their crimes confined;
Forbade to wade through slaughter to a throne,
And shut the gates of mercy on mankind,

The struggling pangs of conscious truth to hide,
To quench the blushes of ingenuous shame,
Or heap the shrine of Luxury and Pride
With incense kindled at the Muse's flame.

Far from the madding crowd's ignoble strife,
Their sober wishes never learn'd to stray;
Along the cool sequester'd vale of life
They kept the noiseless tenour of their way.

Yet e'en these bones from insult to protect
Some frail memorial still erected nigh,
With uncouth rhymes and shapeless sculpture deck'd,
Implores the passing tribute of a sigh.

Their name, their years, spelt by th' unletter'd Muse,
The place of fame and elegy supply:
And many a holy text around she strews,
That teach the rustic moralist to die.

For who, to dumb forgetfulness a prey,
This pleasing anxious being e'er resign'd,
Left the warm precincts of the cheerful day,
Nor cast one longing lingering look behind?

On some fond breast the parting soul relies,
Some pious drops the closing eye requires;
E'en from the tomb the voice of Nature cries,
E'en in our ashes live their wonted fires.

For thee, who, mindful of th' unhonour'd dead,
Dost in these lines their artless tale relate;
If chance, by lonely contemplation led,
Some kindred spirit shall inquire thy fate, --

Haply some hoary-headed swain may say,
Oft have we seen him at the peep of dawn
Brushing with hasty steps the dews away,
To meet the sun upon the upland lawn;

'There at the foot of yonder nodding beech
That wreathes its old fantastic roots so high.
His listless length at noontide would he stretch,
And pore upon the brook that babbles by.

'Hard by yon wood, now smiling as in scorn,
Muttering his wayward fancies he would rove;
Now drooping, woeful wan, like one forlorn,
Or crazed with care, or cross'd in hopeless love.

'One morn I miss'd him on the custom'd hill,
Along the heath, and near his favourite tree;
Another came; nor yet beside the rill,
Nor up the lawn, nor at the wood was he;

'The next with dirges due in sad array
Slow through the church-way path we saw him borne,-
Approach and read (for thou canst read) the lay
Graved on the stone beneath yon aged thorn.'

The Epitaph

Here rests his head upon the lap of Earth
A youth to Fortune and to Fame unknown.
Fair Science frowned not on his humble birth,
And Melacholy marked him for her own.

Large was his bounty, and his soul sincere,
Heaven did a recompense as largely send:
He gave to Misery all he had, a tear,
He gained from Heaven ('twas all he wish'd) a friend.

No farther seek his merits to disclose,
Or draw his frailties from their dread abode
(There they alike in trembling hope repose),
The bosom of his Father and his God.




*****************************


And now for Nazm's translation in Urdu :


Gor-e-GHaribaaN

Widaa'-e-roz-e-raushan hai gajar shaam-e-GHaribaaN ka
CharagaahoN se palTe qaafile woh be~zabaanoN ke
Qadam ghar ki taraf kis shauq se uThta hai dehqaaN ka
Yeh weeraana hai, maiN hooN aur taair aashiaanoN ke

Andhera chha gaya, dun'ya nazar se chhupti jaati hai
Jidhar dekho uThaa kar aaNkh, udhar ik hoo ka hai 'aalam
Magas lekin kisi ja bhairaviiN be~waqt gaati hai
Jaras ki door se aawaaz aati hai kabhi paiham

KaheeN ik gun(m)bad-e-kuhna pe boom-e-KHaan'maaN~weeraaN
Falak ko dekh kar shikwoN ka daftar baaz karta hai
K(e) dun'ya se alag ik gosha-e-'uzlat men hooN pin'haaN
Qadam phir kyoN koi is kuNj-e-tanhaaii men dharta hai

Qataar ik saamne hai mool'saryoN ke daraKHtoN ki
Woh in qabroN men kuchh miTTi ke jaise Dher hote haiN
Har ik ne mar ke bas do gaz kafan, do gaz zameeN paaii
Basaane waale jo is gaaNv ke the, sab woh sote haiN

Nafas baad-e-sahar ka, Naala-e-pur~dard bulbul ka
Huwe be~kaar sab, in ko uTha sakta naheeN koi
Huwi be~faaida mastoN ki hu~haq, shor qulqul ka
HaiN aise neeNd ke maate, jaga sakta naheeN koi

Woh choolhe aag raushan hai na ab in ke ghaRe paani
Na ghar waaloN ko ab kuchh kaam hai fikr-e-shabistaaN se
Na bibi ko sar-e-shaam intizaar ab hai, na hairaani
Na bach'che dauRte haiN k(e) lipTeN aa ke daamaaN se

Wuhi haiN yeh jinheN waqt-e-'amal muhlat na thi dam bhar
Wuhi haiN haath chalte rehte hi the besh'tar jin ke
Wuhi haiN yeh jinhoN ne hal chalaaye geet ga ga kar
BaRe sarkash daraKHtoN ko giraate the tabar jin ke

Na dekheN haal in logoN ka zillat ki nigaahoN se
Bhara hai jin ke sar men GHarra-e-Nawwaabi-o-KHaanii
Yeh in ka kaasa-e-sar keh raha hai kaj~kulaahoN se
'Ajab naadaan haiN jin ko hai faKHr-e-taaj-e-sultaanii

Yeh saaheb-e-'azm haiN, go raz'm ki naubat naheeN aayee
Hukoomat apne qariye men ki lekin dost dushman par
Woh Firdausi haiN yeh jin ki zabaaN khulne naheeN paayee
Woh Rustam haiN naheeN Sohraab ka KHooN jin ki gardan par

Nazar aate naheeN kat'be mazaaroN par to kya GHam hai
CharaaGHaaN aur sandal aur gul-o-rehaaN na ho to kya
NaheeN nam'geera aur kamKH(w)aab ki chaadar to kya GHam hai
Jo KHush~aahaNg koi qaari-e-Qur-aaN na ho to kya

Yeh hum se ek dehqaan-e-kuhan~saal aa ke kehta hai
K(e) haaN haaN KHoob hum waaqif haiN, dekha hai ise aksar
Phir is ke b'ad dil hi dil men kuchh GHam kha ke kehte haiN
K(e) ab tak phirta hai aaNkhoN men phirna is ka sabze par

GHaraz ik roz saheb dekhta kya hooN janaaze ko
Liye aate haiN sab paRhte huwe kalima shahaadat ka
TumheN paRhna to aata hoga, aao, paas se dekho
Yeh is ki qabr hai aur yeh kataaba saNg-e-turbat ka

Har ik ke dard-o-dukh se is ko rehta tha sada matlab
Huwa mumkin to yaari ki, naheeN to ashk-baari ki
Diya dast-e-tehi ke saath teenat men karam yaarab
MaiN teri shaan ke qurbaan, kya achchhi talaafi ki

Ab is ke nek-o-bad ka zikr karna hi naheeN achchha
K(e) raushan hai KHuda par 'aalam-e-ummeed-o-beem is ka


***********************

I am not sure whether the text above is complete. The text
furnished by Zafar Syed in an earlier thread is obviously
incomplete. If any of our friends can provide the complete
authentic poem (from a good, recently printed source), it would
be most welcome.

Though the Urdu poem is widely regarded as a translation, there
are a lot of differences and contrasts between the two. The
first contrast can be seen in the very first line. Gray talks
of "curfew" as a physical entity. It was an actual bell that used
to be rung in the late evening (around 8.00 p.m.) in medieval
England. It was a signal to the townsfolk to douse or cover up
their home-fires and go to bed. Even in India, it was a practice
to fire a small cannon around noon and, also, in the evening (at
sundown) during the month of Ramadan. {This latter practice is
something that I have myself witnessed when I was very young.}

Naz'm, on the other hand, uses the term "gajar", which is more or
less the same thing as the "curfew" bell. But, here, it is not a
physical entity. The end of the radiant day (sunset, followed by
dusk) in itself serves as a "curfew". It heralds the onset of the
"Evening of the Poor". The word "GHaribaaN" also has
another subtle sense, that of "the downtrodden" or 'mazloom' ---
those who have not got their due share of the comforts, conve-
niences and opportunities from life. The word is commonly used to
refer to the martyrs of Karbala.

It is also to be noted that while Gray's target audience was the
English populace familiar with the history and practices of their
land, Naz'm has maintained a strict distinction, using phraseology
and idioms which the Indian, Urdu-knowing people could readily and
easily identify with.

In the 13th stanza of his poem, Gray has used the names of three
individuals specifically, whose life and activities must have
been familiar to the English people of his time, viz. Hampden,
Milton and Cromwell. A brief explanation may be necessary here :

1. John Hampden : Prominent Parliamentarian and soldier during
the English Civil War (in the 1640s). He was killed in a
skirmish with Royalist soldiers. He was a steadfast opponent
of the king Charles I, who was ultimately defeated and died at
the scaffold.

2. John Milton : Widely recognized as the foremost poet of his age.

3. Oliver Cromwell : English general. He led the Parliamentary
army in the Civil War and won against the royalist forces,
becoming the ruler of England as the Lord Protector. Later,
he conducted brutal campaigns against die-hard Royalists and
Catholic forces in Ireland and Scotland, during which terrible
massacres of soldiers and civilians alike occurred at many
places. Despite his military genius, Cromwell is despised by
the poet for sullying his hands with the blood of innocents.

In short, the poet is talking about ordinary folks of the village
who, if given due opportunities, could have turned out to be great
patriots (like Hampden), or immortal poets (like Milton) or
military geniuses (like Cromwell).

Obviously, identical references would have been most inappropriate
in an Urdu poem and in an Indian setting. Naz'm, therefore,
employs the examples of Firdausi, composer of the Faarsi epic
"Shah~naama" and the legendary figures of Rustam and Sohrab. The
Indian readers of his poem could (and did) readily understand and
identify with these individuals.

A criticism often levelled against Gray is that it was inappro -
priate for him to name Cromwell and condemn him for shedding the
blood of his own countrymen. This is something that ought to have
been eschewed in an Elegy. But Naz'm has neatly avoided this
blame game by quoting the names of Rustam and Sohrab. The tragic
end of their epic battle was brought about through ignorance of
their true relationship.


As already noted, Naz'm died in Hyderabad on the 23rd May, 1933.
He was buried under a tamarind tree in the Troop Bazaar area of the
city (known in local parlance as Turup Bazaar). The concluding
lines of his "Gor-e-GHaribaaN" {"GHaraz ik roz saheb .........
to ".......'aalam-e-ummeed-o-beem is ka"} are engraved
on his tombstone, in addition to another sher composed by him :

Mil gayee qabr ki jagah, ai Naz'm
Ho gayee KHatm 'umr bhar ki talaash




Afzal

[Naseer]

janaab-i-Afzal SaaHib, aadaab 3arz hai.

I don't believe much more could be said after your extremely detailed
and informative write up of Nazm Tabatabaa'ii's rendition of Thomas
Gray's "Elegy in a country courtyard".

After Eton Thomas Gray went to Cambridge University. Cromwell's birth
place ( at Cromwell House) is in a small town called Huntingdon which
is some 18 miles north of Cambridge. Another market town, St.Ives, six
miles to the east has his (Cromwell's) commanding statue in its
"Market Place". I wonder if Gray's vicinity to these places from
Cambridge brought the thought of Cromwell into his mind.

As you have rightly said, this poem is considered one of the
masterpieces of English poetry. Apparently there are more quotes from
this piece of literature than any other. Lord Byron said about this
poem, "Had Gray written nothing but his "Elegy", high as he stands, I
am not sure that he would stand higher; it is the corner stone of his
glory....Gray's "Elegy" pleased instantly and eternally".

Most people, and I count myself amongst them, would possibly only know
of Nazm Tabataa'ii through his "SharH-i-Ghalib". Only lately have I
become aware of the breadth of his linguistic and literary genius.
Whilst looking for Arabic Grammar books I even came across two volumes
of his Arabic Grammar book in Urdu!

Just a couple of minor points. It is possible that the "tabataba"
title came from Hazrat Imam Hassan's grandson (potaa)Isma3iil having a
lisp. Secondly, in one place there is a typo, 1987 instead of 1887.
But, having written such a lengthy piece it is not surprising for one
or two typos to creep in. I should know, for I can not write anything
without there being a typos!!

Getting back to the rendition, in an article entitled "Nazn
Tabatabaa'ii-ek ta3aaruf" which forms the preface to the SharH-i-
Ghalib, Sayyid Muhammad Hussain Muhsin Hyderabadi writes, "gor-i-
GhariibaaN kii kaamyaabii kaa raaz yih hai kih Nazm SaaHib ne mafhuum
kaa tarjamah kiyaa hai aur Urdu zabaan ke usluub aur maqaamii usluub
aur maaHaul kaa puuraa puuraa liHaaz rakhaa hai. is meN lafzii
tarjamah nah hone ke baa-vujuud "Elegy" kii tamaam xuubiyaaN maujuud
haiN. agar is ke liye lafz "tarjamah" isti3maal nah kiyaa jaa'e to yih
kalaasiikii adab-i-Urdu kii buland paayah manzuumaat meN shumaar kiyaa
jaa saktaa hai."

You have indicated doubt if the Urdu version is complete or not. If I
have counted correctly, there are 32 stanzas in the English and 13+ in
the Urdu. This does indicate that what you have posted may not be
complete. It is of course possible that Tabatabaa'ii did not translate
all the stanzas. Despite my painstaking searches on the net, I have
been able to find only one additional stanza which is given in the
above mentioned preface. Here it is for everyone's benefit.

bahut se gauhar-i-shahvaar baaqii rah ga'e hoN ge
kih nin kii xuubiyaaN sab miT ga'iiN tah meN samandar kii
hazaaroN phuul dasht-o-dar meN aise bhii khile hoN ge
kih jin ke muskuraane meN hai xushbuu mushk-i-azfar kii

Naseer

[Afzal A. Khan]

Naseer Saheb,

I am grateful to you for furnishing a stanza which was missing
from the (incomplete) text given in my original post. In a way,
it may be deemed as the most important stanza of the poem, since
it is the Urdu rendition of the most famous and most often quoted
stanza of the "Elegy", viz. :


Full many a gem of purest ray serene,

The dark unfathom'd caves of ocean bear:
Full many a flower is born to blush unseen,
And waste its sweetness on the desert air.

And, after correcting one typo, let me reproduce the Urdu
rendition :

Bahut se gauhar-e-shahwaar baaqi reh gaye hoNge
K(e) jin ki KHoobiyaaN sab miT gayeeN tah men samandar ki
HazaaroN phool dasht-o-dar men aise bhi khile hoNge
K(e) jin ke muskuraane men hai KHushboo mushk-e-azfar ki

I must say that it is a pity that the complete, authentic text
of Naz'm's poem is not available anywhere on the net (to my
knowledge at least). On the other hand, the text of Gray's
"Elegy" is easily available, though it was published some 150
years earlier.

It is high time our researchers and publishers took steps to
secure Urdu's immortal classics.

As already explained by me earlier, the principal purpose of
my long posts (containing biographical details of the author/s)
and the text of their important compositions is the same : to
gather together these classics at one place (this Newsgroup).
I propose to continue adding to these efforts.


Afzal

[nimish pandya]

great work i really appreciate your efforts in posting such detailed
information thank you

[ndmu...@gmail.com]

Mulla, just wonderful
I was searching for this poem for several years. I just thank the writer for this service to Urdu readers.

[faizan...@gmail.com]

Kindly send me this historic po

[syed...@gmail.com]

Hi..aslkm...I'm nazm tabatabais grand son lives in Hyderabad..I'm proud of my grandfather..if any one want this book..I can give you..my number is 8142629809

[syed...@gmail.com]

Naseer Bhai nazm tabatabais has translated each and every stanzas if you want I can prove it and give you the hard copy also

[vij...@gmail.com]

Syed sahib, aadaab-o-tasliimaat. If you can please either post the missing stanzas here or give them to Naseer sahib, who can in turn post them here, am sure all ALUPers will be grateful.

Thanks and best regards,

Vijay

[syed...@gmail.com]

How can I contract naseer sahab??

[syed...@gmail.com]

I will give the hard copy to naseer sahab

[Naseer]

On Wednesday, 25 May 2016 10:13:36 UTC+1, syed...@gmail.com wrote:
> I will give the hard copy to naseer sahab

Syed SaaHib, aadaab-o-salaam.

I did manage to get the complete poem. I posted it in the following thread.

Gor-i-GhariibaaN: By Haidar Ali Nazm Tabatabaa'ii

https://groups.google.com/forum/#!searchin/alt.language.urdu.poetry/$20$20$20$20Gor-i-GhariibaaN$3A$20By$20Haidar$20Ali$20Nazm$20Tabatabaa$27ii$20$20$20%7Csort:relevance/alt.language.urdu.poetry/SVq8P4iL0Ag/kCZVHq3PanQJ

pahlii baar kisii ne mujh se raabitah karne kii xvaahish kii hai! bahut bahut shukriyah.

qure...@gmail.com

Naseer

[syed...@gmail.com]

Naseer sahab ap kahan hain?

[Naseer]

On Thursday, 26 May 2016 21:31:33 UTC+1, syed...@gmail.com wrote:
> Naseer sahab ap kahan hain?

janaab aap kii xaatir apnii e-mail kaa patah likh diyaa hai. agar aap raabitah karne ke xvaahaaN haiN to bilaa-jhijak kiijiye.

Naseer