Speak, your life is still yours. If they snatch my ink and pen, I should not complain, For I have dipped my fingers In the blood of my heart. I should not complain Even if they seal my tongue, For every ring of my chain Is a tongue ready to speak. The wall has grown all black, upto the circling roof.
Memory: Poetry of Faiz Ahmad Faiz
Roads are empty, travellers all gone. Once again My night begins to converse with its loneliness; My visitor I feel has come once again. Henna stains one palm, blood wets another; One eye poisons, the other cures. My visitor I feel has come once again, Of her own will, my old friend—her name Is Death: a friend in need, yet an enemy— The murderess and the sweetheart! Reading About the World is now out of print. You can search for used copies using the following information:Paul Brians, et al.
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Reading About the World , Vol. Loneliness Loneliness like a good, old friend visits my house to pour wine in the evening. Tonight Do not strike the chord of sorrow tonight! Speak Speak, your lips are free.
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Stanza If they snatch my ink and pen, I should not complain, For I have dipped my fingers In the blood of my heart. My Interview The wall has grown all black, upto the circling roof. The reader was created for use in the World Civilization course at Washington State University, but material on this page may be used for educational purposes by permission of the editor-in-chief: Paul Brians Department of English Washington State University Pullman This is just a sample of Reading About the World, Volume 2.
شاید کہ پھر ملو تو، یہ ذوقِ نظر نہ ہو
Apart from being a linguistic process, it also has social and political impact on its reader. The translation allows readers to acquaint themselves to an unknown cultural and linguistic world. It also introduces a rich developing world reference point to translation methodology and development education alike.
Faiz is of the most famous poets of the Urdu language from State of Pakistan and is one of the most prominent poets who have won unparalleled global acclaim. His poetry embodies the desires, suffering, agony, pain, miseries of not any one community or country but he speaks for the entire humanity. He is a revolutionary, a philosopher, a teacher, a poet of Urdu, a great scholar of English and Arabic.
He wants to motivate oppressed people to fight for their rights in his placid manner. Faiz was organic in the sense that he was inspired by Sufi traditions of dissent and was progressive in the sense that he was vowed Marxist and like other artists of the progressive writers movement was committed to anti-imperialism and was driven by aim to bring arts to the masses. Despite being repeatedly accused of atheism by the political and military establishment, Faiz's poetry advocates his commitment to religion in general and Islam in particular.
He is, nevertheless, inspired by South Asia's Sufi traditions. Faiz is controversially named and linked by Prime Minister Liaquat Ali Khan's government for hatching the conspiracy against Ali Khan's government, being Plot's central leader which is supported by left-wing military sponsor Major-General Akbar Khan. Having being arrested by military police, Faiz receives a maximum sentence by JAG branch, although his sentence is commuted after the assassination of Liaquat Ali Khan in Faiz is inspired by the Marxist ideology.
His poetry speaks for lower-class people. It exhibits a unique blend of beauty nourished by the long, rich tradition of Urdu literature and poetic diction of contemporary Urdu poetry. His love poems are also no less. He uses traditional meters and rhythms to compose poetry which is a blend of Romanticism and Realism. His poems are the exemplary which prove that change does not need mass participation, rather trickle-down effect is sufficient for initiating a change successfully.
Poetry if channelized properly can act as the catalyst of this change.
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The increasing popularity of translation has provided a great field to engage in exploration of cross-lingual and cross-cultural sensibilities that intersect and resemble each other. Apart from being a linguistic process it also has social and political impact on its reader.
It can bridge the gap between two cultures and countries.
Many of the translators tried to translate Urdu poetry into English. But the question is what the expectations are from translation? What kind of problems is solvable, and what is probably not?
Translation is not something that often receives a kind mention. This caution is not without basis, however. The responsibility of a translator is to remain not only faithful to the letter and spirit of the poets lines no putting words into the poets mouth, no going off tangent, no over-explanations, etc.
IN MEMORY OF FAIZ AHMAD FAIZ | Maulana imam shamshad sahib a… | Flickr
IJELLH Volume V, Issue X, October Since modern Urdu poets so often make a point of avoiding the traditional kinds of complex wordplay, multivalent meanings, subtle allusions, and so on, there tends to be less to lose: starkness, simplicity, deliberate prosiness, colloquial language seem to travel so much better across the language barrier. He is generally perceived as the hinge between the classical and modern ghazal. He is widely known, loved, and even revered.
Compared to his contemporaries, he has been by far the most amply translated: at least five translators have produced whole English volumes of his work, and he appears in countless anthologies.