Masnavi In Urdu Pdf Download

[Dimple Belousson]

greatto see Rumi translated into urdu. its tragic that Pakistani nation has abandoned Farsi and lost teachings of great thinkers like Rumi,Hafiz Shirazi,Saadi,Jami,Neshapuri and many more.Its tragic.how can you study Iqbal if you have not studied Rumi and Shirazi. Also a nation will remain intellectually dwarf if they just rely on couple of thinkers and discard rest of extraordinary people.i want Farsi back into schools.It will connect us with our Muslim civilisation and will give us badly needed identity.Otherwise Pakistan will merge into India or will remain child of India.

I want to ask the administrator of this website to grant us some drops from the ocean of Attar as well. Please translate his poetry from Persian into Urdu as well. I have been trying to find his Book " The Conference of Birds" with Persian verses and Urdu translation. I have not found it. I request you to translate his poetry into Urdu as well. Thank you very much.

salam alikum this is mohammad Khalid kakar ,i just want to say thanks and have to say this words mulana jalaluddin mohammad balkhi he is the God of poetry its not easy for you Guy's to translate is be care full

we have been benefited and enjoying reading Masnavi The great book of the great sufi Roomi we love him very much he is a becon of light for us.Your translations and work is Excellent Keep it up jazakillah may Almighty keep us safe from evils eyes and bless you health walth both of spititual and material, deen u dunia ma surkh roo karay give you more courage to spread true knowledge in this world and make you successful in hereafter Ameen Khaksar Karim Khan

El masnavi, tamb anomenat masnawi o mathnavi, s un gnere potic de les literatures persa, turca, urdu i rab, compost en estrofes de dos versos o apariats, en nombre indeterminat, tot i que s generalment extens i amb el patr de rima aa/ bb/ cc, etc.[1][2][3]Malgrat que sobretot utilitzat per a la poesia heroica, histrica i pica romntica, el gnere masnavi tamb s'empra en la de carcter didctic, amb temes filosfics o religiosos. La mtrica de cada hemistiqui no excedia d'onze sllabes.

El primer masnavi rellevant que es coneix s del perode samnida (s. X).Tot i que apareix ms tard que el seu homleg en llengua rab, el muzdawid, el masnavi s considerat per la immensa majoria d'erudits moderns una continuaci d'una forma potica iraniana i no del seu equivalent rab, si b s molt probable que sorgs d'un procs d'adaptaci de la potica preislmica a la prosdia de l'etapa islmica. Les etapes d'aquest procs no es poden determinar actualment, per l'escassetat de vestigis que es conserven de la poesia persa preclssica.

En general, els masnavis contenen una srie de seccions o captols introductoris (comunament denominats dibaca) i el text prpiament del masnavi. En les seccions introductries es tracta una srie de temes, alguns considerats necessaris o d'obligat esment i altres afegits a criteri del poeta. Entre els primers estarien la lloana a Du, pregries, elogi del Profeta, en qu se sol incloure la seua famlia i companys, una dedicatria al patrocinador del poeta, aix com explicacions sobre les circumstncies de la composici, el tema principal, etc.

La literatura persa del perode islmic est fortament imbuda de l'esperit del sufisme i aquesta influncia es faria sentir en la forma del masnavi que, molt rpid, va servir com a manera d'expressi suf tal com ocorregu amb Sanai, el poeta de Gazni, que fou el primer a utilitzar-lo en aquest sentit en el Hadiqat al Haqiqa, o El Jard de la Veritat i que s considerat precursor dels coneguts masnavi Mantiq al Tayr i Masnavi-ye Manavi.[4][5]

L'element principal del masnavi narratiu era la trama amorosa entre dos personatges principals, home i dona, que donaven ttol a l'obra. L'estructura i contingut del relat eren molt semblants als de la cassida rab, tot i que sense la rigidesa d'aquesta forma potica.[1]

Quant al masnavi misticodidctic, l'introdu a Anatlia al Din Rumi i el seu fill Sultan Walad.El Wasilat al-najat (1409) de Suleyman Celebi o Suleyman de Bursa (m. 1429), que aborda el naixement i els miracles del profeta Muhammad, s immensament popular.[10]A partir del segle XIV, els poetes turcs van fer brillants traduccions i adaptacions d'originals perses. El terme ghazawat-name es refereix a poemes narratius que celebren els triomfs militars dels otomans. Les epopeies en turc i en persa que, en l'estil del Shahnameh, van ser produdes al segle XVI en honor de soldans contemporanis, foren criticades en el seu propi temps per la seua absncia de mrit literari o histric.

El primer perode, que correspon als segles xvi i xvii, est relacionat amb la fase de la literatura urdu caracteritzada per l's del dakhini (una de les seues varietats dialectals). El masnavi constitueix el gnere ms popular de la poesia en dakhini i comprn una gran quantitat de poemes religiosos i profans dels quals alguns tenen milers de dstics. Malgrat que sovint eren traduccions o adaptacions de procedncia persa, moltes n'eren originals.[1]

El perode mitj del masnavi en urdu comena al s. XVIII. Aquesta etapa veu aparixer molts excellents masnavis que han deixat empremta en la literatura urdu. Els masnavis heroics perden terreny en aquest perode, mentre prosperen els de temtica romntica, i se n'enriqueixen d'estil. Aquells que tractaven temes d'amor basats en experincies personals creixen de manera significativa.

El perode modern del masnavi en urdu s'inicia a la fi del s. XIX, coincidint amb tendncies literries reformistes. En aquest predomina el masnavi social. A ms no sn tan extensos com els anteriors i tampoc segueixen les restriccions que el costum n'imposava a la mtrica.

La majoria de masnavis perses i rabs del perode medieval i fins i tot posterior s'editaren en forma de manuscrits illuminats i impulsaren aquesta expressi d'art islmic a les majors cotes d'esplendor i bellesa.[19][20]

Ghalib was extremely courteous and genial and had a host of friends and admirers. He was always a regular and prompt correspondent and corrected the verses of his pupils and replied to the letters of his friends with unfailing punctuality to the last day of his life. He was possessed of broad sympathies and was a man of extremely tender, loving and loveable nature as is revealed by his letters and verses. He translated the prejudices of religion and stood against bigotry and fanaticism. He was, in fact, a latitudinarian caring neither for creed of various Islamic sects nor for the so-called infidelity of the Hindus. His best friends and pupils were amongst the Hindus, the most notable of them being Munshi Hargopal Tufta, a remarkable writer of the Persian verse. (Sammiuddin, Abida, 2007: 229-230)

Masnavi is a form of verse in which the two misras (half verses) of a couplet are rhymed. All the couplets have likewise internal rhyme, but the rhyme keeps on changing with every couplet. Thus, the rhyme composition of the couplets of a masnavi is an aa, bb, cc, etc. As the composer has to care about two rhymes only at a time, it is possible to compose any length of poem in this form. Because of this facility, all the long poems in Persian and Urdu are clothed in the masnavi form, e.g., the great Persian Shahnameh of Firdowsi. Masnavi is found in all sizes, ranging from two to about 60,000 couplets. In the Urdu literature it is common to come across poems in masnavi form consisting of 10 to 100 lines with all sorts of themes.

The Persian masnavi could be written in one of the seven prescribed meters. Urdu followed the pattern as far as long masnavi are concerned with the sole exception of Shahnameh-ye-Islam of Hafiz Jullunduri which is in a different meter. Even short masnavis were written in the prescriber meters but in recent times this rule is not being adhered to. There is no logical reason why masnavi should be confined to any prescribed meters. (Ibid, vol. II, 399)

The themes of Urdu masnavis are not as variegated as those of the Persian masnavis. Unlike the epic and mystic masnavis in Persian, in Urdu, almost all the long masnavis are love romances. They are hardly any epic or mystic masnavis of the first order in Urdu.

Thematically, the most of the Urdu masnavis can be classified into two types: 1. comparatively shorter masnavis depicting the intensity of love sentiments, the frame-story being very slim, a mere excuse to give expression to all pervading emotions, 2. verse stories (dastans) telling the love exploits and amorous escapades of a knightly hero who is always a prince. These masnavis have supernatural elements like fairy, giant. (Ibid, 400)

Varanasi refers to the area that lies between the Varuna in the north, Assi in the south, Delhi Vinayaka in the west and the Ganga in the east even though the Assi can hardly be called a river -it is at best an apology of a drain. (Fowler, 2004: 76)

To the Hindu, Ganga is a mother. She nurtures, gives life, dispenses grace, must be worshipped and ultimately takes you back in the form of your ashes. Banarasis calls her Ganga maiya. (Kunal, 2004: 93) The Ganges is the most sacred river and is a gift from heaven and a bath in it or drink from it is highly purifying. So all Hindus hope to bath in the Ganges once in their life time and hope that their ashes will be cast into it. (Ibid, 77)

21. Tripurari-siras-cuda The tuft on the head of the enemy of Tripura (Shiva) (Tripura was a triple fortification, built in the sky, air and earth of gold, silver and iron respectively, by Maya for the Asuras, and burnt by Shiva)

In this way, Ghalib considers Benaras as the Ka'ba of India. This masnavi is the sound of peace and tranquility which frees Ghalib's spirit from the shackles of pain, sorrow and friends' lack of attention in Delhi. He releases his spirit in Banaras through application of particular similes, metaphors and allusions.

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