BULLEH SHAH POETRY IN PUNJABI EBOOK
BULLEH SHAH POETRY IN PUNJABI EBOOK!
Discover ideas about Baba Bulleh Shah Poetry. Bulleh Shah Punjabi Poetry-'Jis Tan Lagya Ishq Kamal'-Sufi kalam of baba Bulleh Shah. Baba Bulleh Shah. Baba Bulleh Shah Poetry - Find latest collection of Baba Bulleh Shah Poetry in Punjabi & Urdu, Shayari, Kalam, Quotes - Read famous poetry in Hindi also at. IT is easy to wax lyrical about a classical Punjabi poet without fear of When the poet concerned is Bulleh Shah, one can employ any number.
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Author Description Playwright, translator, and poet, Taufiq Rafat — was regarded as one of the finest Pakistani poets writing in English.
His first collection of poems, Arrival of the Monsoon, was published inand Taufiq Rafat: Half Moon, his last collection of poems, appeared posthumously in This is a laudable objective, except that it runs two serious risks: The former may easily sacrifice the intrinsic complexity of poetry at bulleh shah poetry in punjabi altar of accessibility.
The latter can do even worse. Instead of attracting people to read Punjabi poetry in the Punjabi script, it may help them stay minimally literate, even illiterate, in the language even while trying to access its highest literary manifestations.
Baba Bulleh Shah Punjabi Kalam/Poetry/Shayari/Kavita
That is where the problem starts. The history of how the two scripts have become associated with two different religions — Islam and Sikhism — is more complicated than what he suggests. And that is why his prescription of using font names creates more confusion than it resolves. Arabic and Persian, as well as Bulleh shah poetry in punjabi and Punjabi, are written in many fonts other than Nastaliq or Naskh.
What name will the script get when not written in the two fonts he mentions? Offering a single-page summary of controversies around the script, as Ghaffaar does, is certainly not the best way to address such complicated questions.
How to read Bulleh Shah - Newspaper -
The second problem arises from Romanisation. Soon, however, it gets more confusing: Ghaffaar seems to know what he has put himself into, though he does not offer a way out. He could have avoided that by following a standardised method of transliteration used in some recognised dictionary and, more importantly, by somehow encouraging his readers to familiarise themselves with the original script Arabic-Persian in which the great bulleh shah poetry in punjabi of Punjabi poetry wrote his works.
He himself provides the reason why that should be the case. What if there have been limitations in understanding the meaning of a verse and also in expressing it in another language?
Without going into the merits or demerits of his translations, it is sufficient to say that any translation, even that of the best variety, is an approximation. When, however, an bulleh shah poetry in punjabi sits right next to the original in printed text, it is likely to be seen as a substitute for the original.
That is where the argument about accessibility and the loss of nuance as a result of it becomes salient.