Sadia Laghari rated it liked it Aug 17, Want to Read saving…. Raks promoted the Urdu language and supported the Urdu-speaking people of Pakistan. Suhail rated it really liked it Nov 06, Mudabbar Asaan marked it as to-read Feb 27, If books available, I will upload them for all the Urdu Lovers here. Ok mdmm, I have asked one of my friends at karachi to purchase the books for me. Bihar Urdu Youth Forum. Goodreads helps you keep track of books you want to read.
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They popularise a genre so much that it gets a new lease of life. Similarly, Iqbal gave a new vigour and a different vision to Urdu ghazal that ensured its survival in the decades to come though before Iqbal ghazal was a genre much criticised for its typical themes, limited imagery and peculiar vocabulary.
But it is very rare that a poet pioneers a genre and makes it such a smashing success that it becomes an integral part of daily newspapers. The poet was Raees Amrohvi and the genre was political qata-nigari or qata-writing. So what is a qata or qita?
Qata was, initially, an intra-connected portion or a detached segment of a ghazal or qaseeda that could as well be read independent of the original work. Later, it developed as an independent genre of Urdu poetry. Some poets began giving a title to it, too, and now Urdu qata is quite different from its Persian and Arabic prototypes. Another interesting development was the use of qata for humour or political satire.
Yet another development was reducing qata to just four lines and making it a succinct and subtle weapon for political satire or recording the events of everyday life and getting it published in dailies. Most prominent among the poets who began composing a four-line, political, satirical qata for a daily was Raees Amrohvi. There have been some other poets too, of course, who contributed towards developing and popularising the new qata but Raees Sahib has the distinction of composing and publishing a qata everyday for over 40 years and in fact it was him who made a four-line qata on current affairs a must for Urdu dailies.
Whether it was a political issue or a social trend, an economic problem or a new scientific invention, be it a historic event or a natural disaster, whether it concerned education or it was a moral problem, Raees Sahib captured its essence in four lines and made it a food-for-thought kind of piece.
Luckily, his qatas were published in four volumes in his lifetime and his collected poetic works were published in one volume posthumously. Raees Amrohvi was a journalist, poet, prose-writer, social worker and a practitioner of occult science and parapsychology. Born Syed Mohammad Mehdi into a well-known family of scholars and poets of Amroha on Sept 12, , Raees Amrohvi had a long journalistic career that goes back to his early stints with some magazines and newspapers in lates and earlys.
Later, his brother Taqi Sahib, too, came to Pakistan and joined Jang. Though Raees Sahib had begun writing qatas in June , for Jang he began composing qata s from January and wrote a qata daily till he breathed his last on Sept 22, At the height of the popularity of these columns, the number of letters he received in mail was in hundreds every month. He also wrote some short stories but more popular was a series of his short stories based on a character, Hakeem Buddhan, written for a digest.
Drama was another domain of Raees Sahib. Yet another field in which he proved his mettle was song-writing. His social work and service to the society at large need a separate account.
Raees Sahib penned over 50 books. This multi-faceted personality died when unidentified assailants murdered him at his home. It is commonly believed that Raees Sahib had become a victim of religious differences, which is surprising because he did not believe in religious fanaticism and always preached non-violence. Raees Amrohvi left his indelible marks on Urdu poetry and journalism and one can see these marks every day, almost in every newspaper of the country, in the shape of qatas that capture the social and political atmosphere in four lines.
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