04-30-2010, 02:30 PM
Other:
The subject of the wayward love is brought up time and again, in ghazalyaat such as Wo tou khushbu hai, [He is fragrance] Khushbu bhi us k tarz-e-pazeerai per gai [Fragrance's treatment is like his welcome], Gongay laboun pe hurf-e-tamanna kiya mujhe [I am a wish of nonspeaking lips].
Shakir's poetry often speaks of pain, its pain and its joy. It also often mentions loss and loneliness, grief, shattered dreams, life after a break-up and the healing power of love.
The Revolutionary Aspect:
Shakir made extensive use of the Urdu first-person, feminine pronoun in her verses which, though extremely common in prose, was rarely used in poetry, even by female poetesses, until Shakir did so. This was a revolutionary step for Urdu poetry, and can be seen as part of the feminist movement in Urdu literature.
Also, through Khushbu, Shakir introduced the word larki in her poetry, the Urdu substitute for the word 'girl,' and one not often seen in Urdu poetry before her time. She also extensively used larkiyaan, its plural. The usage of the two words can be seen in the following couplets from the book:
The words Larki and Larkiyaan are also mentioned in her poems, Larkiyaan Udaas Hain [The Girls are Sad], Khwaab [Dream] and Sirf Ek Larki [Only a Girl], among others.
The subject of the wayward love is brought up time and again, in ghazalyaat such as Wo tou khushbu hai, [He is fragrance] Khushbu bhi us k tarz-e-pazeerai per gai [Fragrance's treatment is like his welcome], Gongay laboun pe hurf-e-tamanna kiya mujhe [I am a wish of nonspeaking lips].
Shakir's poetry often speaks of pain, its pain and its joy. It also often mentions loss and loneliness, grief, shattered dreams, life after a break-up and the healing power of love.
The Revolutionary Aspect:
Shakir made extensive use of the Urdu first-person, feminine pronoun in her verses which, though extremely common in prose, was rarely used in poetry, even by female poetesses, until Shakir did so. This was a revolutionary step for Urdu poetry, and can be seen as part of the feminist movement in Urdu literature.
Also, through Khushbu, Shakir introduced the word larki in her poetry, the Urdu substitute for the word 'girl,' and one not often seen in Urdu poetry before her time. She also extensively used larkiyaan, its plural. The usage of the two words can be seen in the following couplets from the book:
"That girl, like her home, perhaps,
Fell victim to the flood."
"Girls were sitting, feet dipped inside,
Light seemed to spread within the pond."
"People - They passed through the lanes - none hesitated - paused - returned -
Left behind were the girls - staring, through half-open windows, since eve!"
"All the girls are getting to know each other,
Thus spreads the relation of the ideology of Shahnaz."
Fell victim to the flood."
"Girls were sitting, feet dipped inside,
Light seemed to spread within the pond."
"People - They passed through the lanes - none hesitated - paused - returned -
Left behind were the girls - staring, through half-open windows, since eve!"
"All the girls are getting to know each other,
Thus spreads the relation of the ideology of Shahnaz."
The words Larki and Larkiyaan are also mentioned in her poems, Larkiyaan Udaas Hain [The Girls are Sad], Khwaab [Dream] and Sirf Ek Larki [Only a Girl], among others.