There is a debate in English literature as to whether poetry
has been killed by the blank verse or by the old style of criticism or by the
new style of criticism.
The views of all three factions are strong. But the
knowledge of today's reader has become much more diverse than that of the
readers of old. That is why new accessories and perspectives are needed to look
at new poetry. This is not a matter of my individual taste. The logical
conclusion is that Urdu poetry needs a new critique!
Much of English poetry, and what is technically known,
consists of material trained and published by universities. What was once
called the murder of English poetry is now generally known as modern poetry. It
comes out of weight and sea and also comes out of harmony. Which Urdu poetry
has given the name of prose in English imitation. However, the general method of
reading the English blank verse was made dramatic, while in Urdu it is not read
with a dramatic impression. Even the "prose poet" himself is not able
to read his attempt with a dramatic impression. Which is surprising. Because
some fiction writers have been reading their fictions dramatically like Sultan
Jameel ... Asif Farkhi etc!
But the funny thing is that the poets who wrote English
poetry before the age of twenty had no university education.
In the year 45 and 46, symbolic poetry appeared in the name
of postmodernism.
And poetry
magism, symbolism, surrealism, dadaism, minimalism,
I was hidden.
For example, let's look at how the changes took place before
and after.
Ezra Pound (1885-1972): "'We ought I think, to say in
civil terms: you be damned' (Palmerston to Russell, re / Chas H. Adams)"
We want to wrap up in words and curse.
Hilda Doolittle, pen name H.D. (1886-1961): "In me (the
worm) clearly / is no righteousness"
For the first time, Hilda made the same claims in poetry as
the male poets used to do in their poetry.
E.E. Cummings (1894-1962),:
“While in the
battered /
bodies the odd
unlovely /
souls struggle slowly
and writhe /
like caught. brave: flies ”
After the historical consolation, the First World War had
left a deep impression on poetry and prose. ۔
Poets in nineteenth-century literature include Warlin and
Whitman, and Oscar Wilde's plays, and Mark Twain and Robert Lewis.
The effects that he created during and after World War II changed
into the form of war poets. Such poets were called war poets, including Rupert
Brooke, Kipling, Wilford Owen, Hillier Blake. Included ...
McRae, a Canadian poet ... And there was the engineer and
the doctor and the mogul ... he died of pneumonia on the battlefield ... one of
his poems, In Flander's Fileds
It became very popular and with the help of this poem, funds
were collected during or after the wars.
This parable was meant to prove that living poetry absorbs
and reflects the changes of the times in any culture. It is impossible for a
society to have more sexual abuse of girls and boys and Their sexual harassment
became the headline of the daily newspaper and the poet who is a reflection of
the delicate emotions of the time should compile the pages with his imaginary
poetry without being influenced by this scenario ... which is the awakening of
traditional poetry. Look at some poets. Those who do not write at all about the
changes and joys and sorrows of the times but compose their poetry in the limited
shell of their caste. I asked such a poet if my brother is sitting in Canada.
Not a job for your profession. You are delivering pizza and how do you do
poetry of peacock dancing in the forest when domestic affairs are not in your
power. So he said I have done poetry in modern times ... I wrote a ghazal which
The line is ... the corpse will not emerge ...
Since I am fully acquainted with the living conditions of
that poet, I can take a psychological and incidental look at his poetry, and in
order to understand the pain of wars in the poetry of the poet according to the
above parable, his personal life is his general. If his poetry cannot be fully
understood without knowing the family and regional situation, then obviously
the criticism will not be correct.
In Urdu? In Ghalib's poetry, in Mir's poetry, the turbulent
city is definitely seen in some places, but it is very expensive compared to
English poetry.
If Urdu poets had written elegies on real and present life
instead of religious eulogies, Urdu would have become a powerful language but
Urdu is still a spoken language and so far there are no names of thousands of
modern things in Urdu. Some improvement could have come from the establishment
of Pakistan but it too fell prey to prejudice against Hindi, Punjabi, Balochi,
Seraiki, Sindhi and Arabic was forcibly imposed where Persian techniques were
not possible but the right of local languages was
killed. Due to which more powerful modern poets tried to defeat the language,
which was not successful because instead of using it on a daily basis, they
consciously tried to formulate new words which are one of the most common Is
tantamount to sin.
The above discussion was meant to show that in order to
criticize a poem, unlike the traditional critique, it is very important to know
the life, place and environment of the poet.
If I write that ...
The vampire who said he was you /
And drink my blood
for a year. ”
And if I translate it into Urdu ...
The blood-drinking plague said, "He ... you ..."
And he drank my blood for a year ...
Have you ever read these lines: Wordsworth, William Blake,
Cates, Yates, Rumi, Iqbal, Ghalib, Mir, Ezra Pound, Faiz, Faraz? Iqbal Sajid
cannot be attributed to Shakib Jalali. If you can, there are only two names ...
And that Sarah Shagufta of Urdu or Sylvia Plath of English!
Now the question is how do you attribute these lines to
these two poets? What is the angle of view that helped them reach them?
First of all, the style of both poets. Both poets made their
own metaphors unlike traditional poetry and did not hesitate to use them. The
statement not to hesitate is very important here. Because Urdu poets are
especially afraid of trying to rebel against tradition. They are afraid of the
objections of other contemporary poets and traditional critics, so the process
of killing flies continues and the result is this. There are so many poems in
the poetry of the last forty years about which it can be easily said that these
poems are not the style of any one but it seems that all of them are writing
poetry of the same style and diction together.
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