Urdu Love Poems Biography
Source(google.com.pk)Hasrat Jaipuri's real name was Iqbal Husain. Till 1939, he lived in hometown Jaipur where he studied English till 'medium level' and then acquired his 'taalim' in Urdu and Persian from his learned grandfather, Fida Husain. He began writing verse as late as the age of 20, and around that time, he fell in love with a neighborhood girl called Radha. “Love knows no mazhab or dharam,” he told me. “It is not at all necessary that a Muslim boy must fall in love only with a Muslim girl. My love was silent, but I wrote a poem for her, `Yeh mera prem patra padh kar, ke tum naaraaz na hona.’” And that 'letter' may never have been delivered to Radha, but Raj Kapoor was to later deliver it to the world as the perennial mantra for lovers of all generations in his Sangam (1964).
In Mumbai, Hasrat Jaipuri took the secure job of a bus conductor and satiated his creative urges by participating in mushairas. The late Prithviraj Kapoor heard his verse and recommended him to his son Raj Kapoor who was planning a musical love story with two new composers, Shanker - Jaikishan. "We met at the canteen of the Royal Opera House where Prithvirajji used to stage his plays, and Rajji signed me for Barsaat. My first recorded song was "Jiya beqaraar hai" tuned by Shanker. The second was "Chhod gaye baalam", my first song with Jaikishan, and my first duet.”
This association continued till 1971. “After Jai's death and the failures of Mera Naam Joker and Kal Aaj Aur Kal, Rajsaab changed his music team. I was happy that he left us to go to the only other great team in our films - Laxmikant Pyarelal and Anand Bakshi. But he wanted to call me back for Prem Rog. That did not work out because someone recommended Amir Qazalbash to Rajsaab. But I was back with "Sun sahiba sun" which Rajsaab told me to write to one of his own tunes which he had used as the English song "I love you" in Sangam. He then called me for three songs for Henna, but after Rajsaab's death, the music director conspired to scrap them and replace them with his own lyrics.” This was the only time I found Hasrat Jaipuri bitter: “They were my last link with Raj Kapoor and RK,” he said, his voice brimming with a queer mix of anger, grief and resignation.
The eternal realist, Hasrat Jaipuri told me how lucky he was to have married a woman who advised him to invest his earnings in property. “Today, the rents that come in from my tenants keep me comfortable so that I am not forced to work for my rozi-roti and my family. I accept assignments that are offered and don't have to run after films, music directors and music companies for work. I am very proud of my children - two sons and a daughter - but the art of poetry is God-gifted and cannot be learnt, and they have not been gifted with it.”
He won innumerable awards, honours and mementos. Among them were two Filmfare trophies (for `Baharon phool barsao’ from Suraj and `Zindagi ek safar hai suhana’ from Andaz) and two awards - the Doctorate from the World University Round-Table and the Josh Mahilabadi award from the Urdu Conference for his literary work as a poet. Also the Dr Ambedkar award for a film song, `Jhanak jhanak tori baaje payaliya’ from Mere Huzoor, which was written with a blend of Hindi and Brij Bhasha. Apropos that, the poet once said, "Hindi and Urdu are like two great and inseparable sisters. Even my books on poetry are in Hindi as well as Urdu." His latest published compilation was "Abshaar-E-Ghazal."
About 350 films and 2000 recorded songs old, Hasrat Jaipuri's last releases were Saazish with Jatin-Lalit and Sher Khan (with Bappi Lahiri) last year, and at the time of his death he was working on a few small films and a book of shaayari. “I never discriminated between small and big films and composers. I have the biggest list of music directors among any lyricist - from SJ and Sajjad down to Anand-Milind, Nadeem-Shravan and Jatin-Lalit,” says the man who was master of romance even amidst his versatility. And without being arrogant about it, Hasrat Jaipuri did realize his own worth. 'Humne who naqsh chhod hai that mywork will always be remembered even after I have gone,”he told me once with the honest precision of a scientist stating a proven fact. And even if you consider only the crème-de-la-crème of his work, like "Zindagi ek safar hai suhana" (Andaz), "Teri pyari pyari soorat ko" (Sasural), "Pankh hote to ud aati re" (Sehra), "Tere khayalon meinhum" (Geet Gaya Pattharon Ne), " Tu kahan yeh bataa" (Tere Ghar KeSaamne), "Muhabbat aisi dhadkan hai" (Anarkali), "Tu mere saamne hai,teri zulfein hai khuli" (Suhagan), "Nain se nain" (Jhanak Jhanak Paayal Baaje), "Ehsan tera hoga mujh par" (Junglee), "Teri zulfon se" (Jab PyarKisise Hota Hai) and "Tum mujhe yoon bhula na paaoge" (Pagla Kahin Ka) and add a whole range of songs like "Sayonara sayonara" (Love In Tokyo)," Aao twist karen" (Bhoot Bungla)." Ajhoon na aaye baalma" (Sanjh AurSavera) and "Duniya bananewale" (from his friend and closest associate Shailendra's production Teesri Kasam), one cannot but accept that the maestro was right. As he wrote once, "Tum mujhe yoon bhula na paaoge/ Jab kabhi bhi sunogegeet mere/ Sang sang tum bhi gungunaaoge/ Haan, tum mujhe yoon bhula na paaoge."
Bano Qudsia (born 1928) is a writer, intellectual, playwright and spiritualist from Pakistan who is regarded among the best Urdu novelists and short story writers of modern times. She is best known for her novel Raja Gidh. She writes for television and stage in both Urdu and Punjabi languages. She is the wife of famous novelist Ashfaq Ahmed. She has written a number of popular television plays.Bano moved with her family to Lahore during the Partition of India. Her father, a landlord with a Bachelor's degree in agriculture, died when Bano was very young. She attended school in Dharamsala in eastern India before moving to Lahore. Her mother, Mrs. Chattah, was an educationalist, and this inspired the young Bano to develop a keen interest in academics, which turned her into a conscientious student. Her marriage to Ashfaq Ahmed consummated the artist in her, though she says she never discussed any of her works with her husband nor has the writer-spouse ever tried to influence her writings. "We work very independently. Writing a book is like bearing a child and you do not share that with anyone. God is your only confidant. It is also like falling in love. You keep it personal and private.As a student, she wrote for college magazines and other journals. Her memories of her days at Kinnaird College in Lahore, from where she graduated, are still quite vivid. She talks of the literary inspiration that was a hallmark at Kinnaird's campuses during those days. Though her stay at Kinnaird went a long way in sharpening her scholarly skills, Bano felt an incessant need to polish her expressions in Urdu, the only language with which she could reach the minds of the people. So in 1951, she completed her M.A. degree in Urdu from the Government College Lahore with distinction.She has authored numerous short stories, novelettes, television and radio plays, and stage plays. Her short stories include Baz Gasht, Amar Bail, Doosra Darwaza and Twajju ki Talib. Of her novels, none has received as much recognition as Raja Gidh which centers around the forbidden truth. The plot buildsaround the symbol of a vulture, a bird of prey, that feeds on dead flesh and carcasses. The moral sought implies that indulgence in the forbidden leads to physical and mental degeneration.Some of her best plays include Tamasil, Hawa key Naam, Seharay and Khaleej. The plight of women and other socio-economic issues have often been the subject of her television serials that have inspired families wherever they have been aired. The Graduate Award for Best Playwright was conferred on Bano in 1986, followed by the same award for three consecutive years from 1988 to 1990. In 1986, she was also given the Taj Award for Best Playwright.Rather critical of the deviation of today's woman from her natural role of mother and home keeper, Bano decries what she terms 'a woman's unsolicited and disoriented escape from responsibility.' Interestingly, though, she blames men for plotting a conspiracy to push women out of the house, her only domain. "And women fall easy prey to this trap. Men of the post-industrialization era gave women a taste of luxurious lifestyles and then instigated them to step out of the house and earn that lifestyle. The woman developed a taste for what she thought was freedom for her, but which actually bonded her as a labourer and a breadwinner."She cites the example of the woman who does the dishes in her home. "This woman is more liberated than your modern women, since she does not suffer from any conflicts of the 'self'. Poverty is all that hurts her and she is not caught in a rat race to prove something to herself or carve out an identity for herself. Her existence is identity enough.Bano also feels that what she calls women's 'strength of softness' has been lost in their struggle to prove themselves equal to men. What women take as their weaknesses are in fact their strengths, she believes.Bano Qudsia planned to co-author a book with her (now late) husband. Her obligations towards her family are much more important for her than her work. "My husband (now late), my three sons and daughter-in-law have all been very kind to me and have always showered their affections on me. So, how can I ever put anything else before them?"Having lived a fulfilling life, which Bano ascribes to the benevolence of those around her, she kept herself busy caring for her husband. She is now working on her present literary undertaking - a novel which she plans to title Dastan Serai, after her home. "I formally started work on this novel in 1992. Prior to this, I had worked on it during the 1950s. The novel is set against the backdrop of Partition and revolvesaround the theme of intention and motivation. It highlights the importance of intention as the key determinant behind every act.
Books. Aatish Zeir Pa . Adhi Baat . Aik Din . Amr Bail . Assey Passey . Bazgasht . Chahar Chaman . Dast Basta . Dosra Darwaza . Dusra Qadam . Foot Path Ki Ghaas . Haasil Ghaat, Read online . Hawwa Key Naam . Kuch Aur Nahi . Marde Abresham . Maum Ki Gallian . Naqabal e Zikr . Piya Naam Ka Diya . Purwa . Purwa and Aik Din . Raja Gidh, Read online . Saman-e-Wajood . Shehr-e-bemisaal . Sudhraan . Suraj Mukhi . Tamaseel . Tawjha Ki Talib . Dastan Sarei, forthcoming
Urdu Love Poems Urdu Quotes In English Images About Life For Facebook On Love On Friendship On Education Pics
Urdu Love Poems Urdu Quotes In English Images About Life For Facebook On Love On Friendship On Education Pics
Urdu Love Poems Urdu Quotes In English Images About Life For Facebook On Love On Friendship On Education Pics
Urdu Love Poems Urdu Quotes In English Images About Life For Facebook On Love On Friendship On Education Pics
Urdu Love Poems Urdu Quotes In English Images About Life For Facebook On Love On Friendship On Education Pics
Urdu Love Poems Urdu Quotes In English Images About Life For Facebook On Love On Friendship On Education Pics
Urdu Love Poems Urdu Quotes In English Images About Life For Facebook On Love On Friendship On Education Pics
Urdu Love Poems Urdu Quotes In English Images About Life For Facebook On Love On Friendship On Education Pics
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Urdu Love Poems Urdu Quotes In English Images About Life For Facebook On Love On Friendship On Education Pics
Urdu Love Poems Urdu Quotes In English Images About Life For Facebook On Love On Friendship On Education Pics
Urdu Love Poems Urdu Quotes In English Images About Life For Facebook On Love On Friendship On Education Pics
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