Pashto for CSS - Page 4

Islaw Khan · #31 Thursday, October 08, 2009

ABDUL HAMEED BABA

ABD-UL-Hameed, was born at Mashu Khel a small village belonging to the Kudrizi clan, or branch, of the Afghan tribe of Mohmand, one of the purely Afghan tribes at present dwelling in the Peshawar district. Hence, Hameed, like Rahman, was a Mohmand, but of a different clan. The exact year of his birth I have been unable to discover, but it was certainly about the middle of the last half of the seventeenth century. He was brought up to the priesthood, and is said to have been endowed with a considerable amount of learning, which he acquired at Peshawar; and students from all parts of the surrounding districts sought his instruction.

He is the cynical poet of the Afghans-the Shaykh Sadi of the Pashto language and the beauty of his compositions is fully acknowledged, even amongst a nation so rich in poets as the Persians, by whom he is styled “Hameed the Hair-splitter.” His poetry, though generally of a moral tendency, and breathing contempt of the world and its vanities, is still tinged with Sufi doctrines, as all Muslim poetry, in whatever language written, more or less is. He was the author of three works-a poem entitled “ Nairang-i-Ishk,” or “ Love’s Fascination; “ “ Shah Gada,” or “The King and the Beggar ;“ and a Collection of Odes, entitled “Dur-o-Marjan,” or “Pearls and Corals,” from which the following translations have been selected.

The year of the poet’s decease is, like that of his birth, somewhat uncertain; but the people of his native village account his death to have taken place about the year A.D. 1732; and his descendants, on inquiring of them, state, that four generations have passed since that event occurred, which, at the usual computation of thirty years for each generation, agrees within five years with the period mentioned. An aged man of the same village, who died about twenty years since, in the 107th year of his age, had been, repeatedly, heard to say, by the people of the hamlet, that he had, in his youthful days, seen Mulla Hameed frequently, who, at that time, was upwards of fifty years old. Another patriarch, Malik Aziz Khan who is about a century old, states, that he had heard his father and grandfather relate, that they remembered Hameed well; and that he was just coming into notice as a poet, towards the close of Rahman’s life; and some of Hameed’s odes having reached the ear of Rahman, he sent for the poet to come and visit him; and was so pleased with his modesty and humility, that he gave him his blessing, and prayed that his verses might be sweet unto all men, and that no one might ever excel him in Afghan poetry. Up to the present day, certainly, Hameed has not been surpassed.

The poet’s grave is still pointed out by the people of his native village. Some of his descendants continue to dwell at Mashu Khel, and some are dispersed in other villages. The dwelling in which Hameed was horn, lived, and died, is now in ruins.

Islaw Khan · #32 Thursday, October 08, 2009

KAZIM KHAN KHATTAK
SURNAMED SHAIDA

KAZIM KHAN was the son of Muhammad Afzal Khan, chief of the Khattaks-and author of several extensive and valuable prose works in the Pashto language-who was son of the poet Ashraf Khan and hence Kazim was the great-grandson of Khushhal Khan, already noticed. He was horn some time during the five years subsequent to H. 1135 (A.D. 1722). On the death of his father, the chieftainship fell to Asad-ullah Khan Kazim’s elder brother, who, after a fashion too common in Eastern countries, considered it the safest and most prudent course to act with great severity towards his brothers and other near male relatives. Kazim, who was quite a youth at the time, could not brook this tyrannical treatment, and therefore separated from him, and even abandoned the jagir or grant of land, then in his possession. Asad-ullah, who appeared to have been rather more favourably inclined to Kazim Khan than to his other brothers, on becoming acquainted with the fact of his distrust, sent for Kazim, and used every endeavour to soothe his fears and set his mind at ease; and, the more effectually to bring this about, he conferred upon him an additional grant of land, and betrothed him to a daughter of one of their uncles. However, the suspicions and fears of Kazim-who doubtless had heard of the treatment the sons and grandsons of Khushhal had expe-rienced at the hands of his own father-increased, at all this extreme kindness, to a greater degree than before; and he secretly fled from his home. Some say that he had an antipathy to his young cousin as a wife; and that, at the time, he requested his brother not to betroth her to him, as he did not like her. This Asad-ullah would not listen to; and, according to the Afghan custom, named her as the future wife of his younger brother. Be this, however, as it may, Kazim took to a wandering life, and spent several years in Kashmir, where he acquired considerable learning. He subsequently lived a long time at Sirhind, in Upper India, but afterwards proceeded to the Afghan principality of Rampur, in that country, where he took up his residence; and there he passed the greater part of his life.

On several occasions his brother Asad-ullah sent many of his confidential friends to endeavour to induce him to return to his native country; but without effect. On one occasion the poet had gone as far as ljasan Abdal, a town some few miles east of Attak, in the Panjab, on a pleasure excursion, with some of his particular acquaintances, at which time a number of his relatives came to see him, from the Khattak country, beyond the Indus, and only two days’ journey distant; but, notwithstanding all their entreaties, he would not return home, and went back to Ramptir again.

When the gift of poesy was bestowed upon him, he took the poetical surname of “Shaida,” signifying “The Devoted” or “Lovelorn ;“ for he had now turned devotee, and had become the disciple of the holy men of Sirhind; and, according to the mystic doctrines of the sufis, considered himself devoted to the ]ove of the Divine. His poetry, like that of Mirza, is deeply tinged with the mysticisms of that sect.

The fame of Shaida’s poetry soon began to be noised abroad; and at length, Mi’an Mubammàdi, son of Mi’an Abdullah of Sirhind, who belonged to the family of Shaida’s spiritual guide, expressed a wish to be furnished with a copy, on which the poet sent him the, at present, only known copy-which now lies before me-bearing the impression of his seal. These poems were alpha-betically collected into this volume in the year H. 1181 (A.D. 1767), and, indeed, it is supposed to be the only copy that was ever made; for until shown to them by me, the descendants of his elder and other brothers, who dwell in the vicinity of Peshawar had never seen a copy of his poems, although so celebrated among them. This unique volume, which I procured at Lahore, is most beauti-fully written and illuminated, and contains a number of odes inserted on the margins of the pages.

Shaida’s poetry is highly polished, but deep and difficult; and approaches nearer to that of the Persians than of any other of the Afghan poets, whose simplicity is the chief charm of their writings. The poet also introduces a greater number of Persian and Arabic words.

Shaida’s first disappointment appears to have given him a dis-taste for matrimony; and he died unmarried, at Rampur, where he had dwelt so long. Soon after his decease, his relatives came and removed his remains, and conveyed them to the poet’s native country; and they found a resting-place at Sara’e, where the Khattak chieftains, and their families, have, for centuries past, been interred.

Islaw Khan · #33 Thursday, October 08, 2009

QALANDAR MOHMAND

Sahibzada who became Qalandar of Pashto

The eminent Pushto writer, poet, playwright, linguist, critic, research scholar and the patron chairman of the Peshawar Press Club, Prof Habibur Rehman Qalandar Momand, breathed his last here in Peshawar last year.
Qalandar was born on 1st September, 1930. After passing his matriculation examination with distinction, he got admission at historic Islamia College. From his early days, he had a special flair for literary and research pursuits. He was a true revolutionary who worked all his life for the social, political and cultural emancipation of his people. He got his MA in English literature and LLB degrees from the University of Peshawar with distinction.

He started his practical life as an employee in the agriculture department, but his restless soul did not allow him to stay in one place and soon he switched over to Angus Robertson, a private construction company.

Qalandar remained the secretary of the famous literary organisation, Ulasi Adabi Jirga. In 1962, he launched another representative literary organisation by the name of Da Saho Lekonkyo Maraka and worked as the secretary general of this organisation till his death. This organization introduced a number of new trends in the Pakhto poetry and criticism and encouraged a large number of budding writers in their literary activities.

Later on, his literary taste impelled him to join teaching as a profession. He performed his duties as a dynamic and versatile teacher of English at the Government Colleges in Peshawar and Abbottabad. In 1980, Qalandar was appointed as the principal of the Law College of the Gomal University, DI Khan.

In 1983, he devoted himself to the compilation of the first authentic Pakhto dictionary, Daryab, and accomplished this task in 1993. He was not only a versatile writer of Pushto, Urdu, Hindko, Arabic and Persian but also a bold journalist who contributed numberless articles to the well-known English dailies.

He started his journalistic career as a reporter with the daily al-Haq. He also worked in different capacities with the dailies Anjaam, Shehbaz, Bang-e-Haram, Khyber Mail, Peshawar Times, Frontier Guardian, Naqeeb, Laar, Rehbar, Nangyalay, Sarhad and Masawaat.

He performed his duties as a reporter for the famous weekly magasines of the former East Pakistan like the Weekly Holiday and Young Pakistan.

As a political figure, he was the most active and enthusiastic activist of the late Bachaa Khan's Khudai Khidmatgar movement. During his struggle against Ayub Khan's martial law regime, he was removed from service and kept at the Multan, Lahore, Nowshera and Peshawar jails as a political prisoner.

He has a large number of research and creative books to his credit, among which his two books, Gujrai of Pakhto fiction (1957) and Sabawon of poetry collection (1976) got immense popularity among the lovers of the Pakhto literature. His research works include A Critical Study of Khairul Bayan, Pata Khazana fil Mezan, Nazmiyat, Translation of the Chapter on Criticism from Introduction to the Study of English Literature by Hudson, Da Rehman Baba Kuliyat, Da Muhammadi Sahibzada Diwan, Critical Study of two books of Munshi Ahmad Jan, Hagha Dagha and Da Qissa Khwani Gup and Da Abol Qasim Diwan. Qalandar Momand was decorated with the Pride of Performance Award and Award for Democracy by the Government of Pakistan for his meritorious services in the fields of literature and journalism.

Being a multi-dimensional personality, his death has created a vacuum which will take a long time to be filled. He will be remembered for his outstanding services to the Pakhto literature.

Islaw Khan · #34 Thursday, October 08, 2009

ABDUL QADIR KHAN KHATTAK

ABDUL-Qadir KHAN, son of Khushhal Khan Khattak, and brother of Ashraf, was born in the year H. 1063 (AD. 1652), and is the most eloquent writer and poet of all Khushhal’s sons, several of whom were poets of no mean ability. Although his father had little reason to he very partial towards his sons generally, on account of their very unnatural conduct, and unfaithfulness towards himself on too many occasions; yet, upon the whole, Abd-ul-KIadir appears to have been a favourite, and to have shared considerably in his father’s affection.

Abdul-Qadir was as good at the sword as at the pen; and in the battle with the Mughal troops at Kottah a place in the vicinity of the Peshawar district, the victory of the confederate Afghans was chiefly owing to the skill displayed by the poet on that occa-sion; and it was he also who led the assault against that fortress, which, after three hours of severe fighting, he captured. He after-wards distinguished himself, in like manner; in the war of Bangash, during which operations he was wounded; and the successes gained in the war were celebrated in his name. When his father abdicated the chieftainship of the tribe, and the sons were each struggling to supplant each other, and grasp the vacant authority, Abdul-Qadir did not hold back.

He tried very hard to gain the chieftainship, but fortune was unpropitious; and Ashraf, who, as the eldest son, had certainly the best right, was chosen by his father and the tribe to succeed him. When Ashraf was betrayed into the hands of the Mughals, and sent by Aurangzeb into the Dakhan as state prisoner, “Bahram the Malignant,” the brother; who had betrayed him, seized the chieftainship; but, subsequently, Afzal Khan, the son of Ashraf, became chief of the clan. To pay obedience to this nephew appears to have been extremely difficult and bitter for Abdul-Qadir; who wished to hold the authority himself; and although the whole of his brothers, then living, sided with him in his ambitious designs, it was of no avail; for the tribe were unanimous in favour of Ashraf’s son Afzal, in whom was the hereditary right, as previously stated. The upshot, however, was, that Afzal, the nephew, saw no other practicable solution of the difficulty, according to the custom of those days, than to get rid of all rivals; and, accordingly, Abdul-Qadir, together with ten of his brothers, and a number of their sons, were put to death, at the village of Zaman Garraey, in one day, and buried in one grave; thus escaping the sorrows and troubles of chieftainship.

The poems of Abdul-Qadir, which are deeply imbued with sufl mysticism, are thought very highly of by the Afghans; and his language is extremely polished. His chief works, now known, are a Diwan or Collection of Odes, from which the following poems are taken; a translation of Molawi Jami’s celebrated poem of Yusuf and Zulikha from the Persian, which is rendered by the translator into the most difficult style of Eastern poetry, and is considered the most perfect of its kind in the Afghan language; the affecting love tale of Adam and Durkhana’i-which three or four other authors have written on, both in verse and prose-together with translations of Shaikh Sadi’s Gulistan and Bostan, from the Persian. He is said, by his descendants of the present day, to have been the author of about sixty different works; but with the exception of a small volume on enigmas, charades, and verses of mysterious meaning, even the names of them are now unknown. Specimens of his Odes in the original Pashto, together with a portion of Yusuf and Zulikha and the first part of the Gulistan, will be found in the “GULSHAN-I-ROH,” or Selections in the Afghan Language, published by me last year.

Khan Riaz · #35 Thursday, October 08, 2009

Dear Sir!
Its great Work and many thanks for this generous approach but the problem is that we are supposed to reproduce these in PASHTO. It will be appreciated if the poetry may be posted in Pashto please.

Islaw Khan · #36 Thursday, October 08, 2009

Quote:

Originally Posted by Khan Riaz

Dear Sir!
Its great Work and many thanks for this generous approach but the problem is that we are supposed to reproduce these in PASHTO. It will be appreciated if the poetry may be posted in Pashto please.

well dear khan Riaz pashto poetry is present in the pashto poetry section and that is in pashto.
click this link

http://www.cssforum.com.pk/off-topic...pashto-poetry/

Islaw Khan · #37 Friday, October 09, 2009

The Rise of Pashto

According to G.P. Tate, the author of The kingdom Afghanistan the first to use Pashto for literary purposes was the famous Pir Roshan in the seventeenth century. His arch-rival Akhund Derweza (1533-1638) was also compelled to use Pashto to arouse his followers against the Roshania movement. Apparently, both the giants exploited religious and mystic sentiments of their followers. The windfall of that movement was the freedom of Pashto prose from the influence of Arabic and Persian languages.

The most remarkable achievement of that era was the innovation by Pir Roshan that made the writing of Pashto easy. He realized that Pashto could not be written in Arabic script owing to some of its peculiar sounds. He, therefore, invented 13 alphabets to represent those sounds. Some of these alphabets patched up vocal differences between the hard and soft dialects of Pashto as well. Subsequently, Khushhal Khan Khattak came to be known "the father of Pashto". Apart from his unsurpassed works in verse and prose on various topics including hunting, falconry, medicine and religion, he compiled a good deal of information on the history of the Pakhtoons.

There was a lull in the eighteenth and nineteenth centuries until the emergence of the Ahmad trio (Mir Ahmad Shah Rizwani, Maulvi Ahmad and Munshi Ahmad Jan). Mir Ahmad Shah Rizwani compiled two books for the course of Pashto Honours introduced in the University of Punjab during the last quarter of the nineteenth century. The famous prose work of Munshi Ahmad Jan, Da Qissa Khawane gup (The gossip of Qissa Khawani) was published in the second edition with introductory notes by C.L. Pert, dated January 22, 1930.

Then comes Syed Rahatullah alias Rahat Zakheli (1884-1963), the harbinger of modern Pashto prose. He introduced or revived almost every genre of the time in Pashto. He wrote the first imaginary novel, published in 1912 under the title of Mah Rukh or Natija-i-Ishq (the result of love). His short story Konda jeenae (the window girl) was published in the newspaper Afghan in 1917. It was the first but a perfect short story. He compiled history and grammar also in Pashto.

In the political arena, Hazrat Bacha Khan gave due attention to the renaissance of the Pashto language, literature and culture. He encouraged and sponsored Pashto poets and writers. Professor Hafiz Muhammad Idrees wrote a novel, Peghla (The damsel), which is considered the first comprehensive novel in Pashto language. Said Rasul Rasa, Abdul Rahim Majzoob and Fazal Haq Shaida modernized Pashto literature by introducing odes and some other genres of English literature. At this juncture, Pashto took a sharp turn to change its oriental style into a European style. Said Rasul Rasa was a good poet but he is best known for his five novels - Mafroor, Shamae, Khund Kushi, Maimunae and Maikhana.

By that time, Pashto received a momentum in Afghanistan also with the emergence of a number of good writers, Saleh Mohammad Hotak, Abdul Haye Habibi, Gul Bacha Ulfat, Qiayamuddin Khadim, Siddiq Ullah Rishtin, Zalmay Hewadmal, Abdur Rauf Benawa and many others. Abdullah Mahak wrote the most voluminous novel - Zamarudda in three volumes on the post-revolutionary situation in Afghanistan. A great number of Afghan writers are busy now-a-days in almost every field of literature. In Pakistan, this writer too has authored five novels - Gul Khan, Amanat, Rahman Koroona, Ghunday and Wade 'o'n'sho to Pashto prose. Rahim Shah Rahim wrote historical novels. The novel of Tahir Afridi Kano kshe razoona (the stone veins) depicts the inter-tribal jealousies. The novels of Mato Khan are mostly erotic, which do not appeal to the conservative psyche of the Pakhtoons.

In the field of research, the Ph.D holders, whose thesis have been published include Iqbal Naseem Khattak, Rajwal Shah Khattak and Muhammad Azam Azam.

Many writers have contributed to Pashto drama but only a few dramas have reached the market. Dost Muhammad Khan Kamil introduced academic research to Pashto language with his laborious work on Khushhal Khan Khattak and Rehman Baba. Some writers work on religious matters also. The outstanding in this field is Faqir Mohammad Abbas Qadria whose works in various size-from 10 to 1000 pages-have been published in more than 3000 books. According to Dr Hidayat Ullah Naeem, the religious theme in Pashto books is more voluminous than in any other language of Pakistan.

The prose writers also include some figures of national and international stature like Muhammad Afzal Khan Lala, Khan Abdul Wali Khan (on the Khudai Khidamtagar Movement in four volumes), and Hazrat Bacha Khan (Autobiography Zama zswand auo jaddo jehhad" (My life and struggle).

Pashto prose today covers most of the genres in vogue in Urdu and English including the short story, novel, drama, travelogue, essay, character-sketch, critical evaluation, book reviews, grammar, figures of speech, history, biography, autobiography and columns.

Nonchalant · #38 Sunday, October 18, 2009

( pukhtoon wali
nanawatey
kanrrey or teega: )

Islah G, great work, i think this is more than enough for pashto paper..... you have missed only one point to my knowledge, and that is "Neekat", please shed some light on this in your next post....,

Thanking you in anticipation

regards,

Islaw Khan · #39 Sunday, October 18, 2009

@Nonchalant
well i think still a few things missing and inshaALLAH u will see those soon.
NEEKAT?......poya na shum p plz lag explain kay taso.

Nonchalant · #40 Sunday, October 18, 2009

Quote:

Originally Posted by islah_G

@Nonchalant
NEEKAT?......poya na shum p plz lag explain kay taso.

About Neekat, i was reading a book by an English author written about the tribal people and their customs, but it was not explained there, just the mention of this term.

It is basically about the equal share of material wealth (among the members of the family, the different sub-castes of a main caste etc), not considering that higher the number, greater the share, because it is not in tribal blood and they will never consent to it, they all want equal share.

I hope my rough explanation was of any help....

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The Following User Says Thank You to Nonchalant For This Useful Post:
Islaw Khan (Sunday, October 18, 2009)