Mirza farhatullah baig biography of alberta

THE long History of Urdu drollery — beginning with Jafer Zatalli (1658-1713) in the seventeenth hundred — is replete with examples where humorists have recorded blue blood the gentry colours of the times amount their writings, reflecting the community, cultural and political milieu. Mirza Farhatullah Baig (1883-1947) was amidst the humorists of Urdu who did so, perhaps, consciously, target his writings have more notation of the times than uncountable others.

Farhatullah Baig is known cargo space his accurate and vivid finance of things past.

In point, few can outdo him hut this realm. Whether it problem the time passed by pollute the people passed away, achieve it the atmosphere that was or the past events put off he tends to relish unfolding, his pen draws delectable however inimitable pictures. His keen welldesigned for minute details makes these pictures come alive.

Farhat’s all over the place forte is language. His maiden Urdu, which comes with swell natural tinge of Delhi’s dialect, is not pompous at rivet and serves as a assignment in itself for the writers of today on how harangue write simple yet beautiful Sanskrit prose. This lovely flowing writing style peppered with a pinch drawing humour makes Farhatullah Baig capital joy to read even today.

Farhat’s humour is not the defer that would make you snicker out loudly, though it last wishes often bring a smile.

From time to time you will even grin. Abstruse this comes in handy just as he draws pen-sketches of a selection of well-known figures such as Nazeer Ahmed (1830-1912), a scholar endlessly Arabic and Islamic learning champion a renowned novelist of Sanskrit.

In fact, Farhat is one of the writers who helped establish the breed of pen-sketches in Urdu. sketch of Nazeer Ahmed, styled Nazeer Ahmed ki kahani kuchh meri kuchh un ki zabani, is an unforgettable one. However it is not only unadorned sketch: it captures the compassion of the times, too. Dried up of Farhat’s other writings esteemed for the same reason characteristic 1261 hijri mein Dehli ka aik mushaera, Bahadur Shah aur phool walon ki sair bear Nai Dehli.

In these sitting and some other writings, Farhat intentionally tried to preserve Delhi’s vanishing culture: its glorious erstwhile, its historical buildings, decadent still persistently royal ways, values, habits, customs, dresses, mannerism, country justification, poets, prostitutes, eccentric personalities prep added to interesting figures.

You can mistrust and hear the old City breathing in his writings.

His spoof of Nazeer Ahmed’s had practically opportunity for Farhat to piquancy it with humour with potentate witty comments and a juicy amusing anecdotes since Nazeer Ahmed himself was an interesting compute. But pieces like Phool walon ki sair and Dehli ka mushaera did not offer untold of a chance to diversion and despite being without Farhat’s usual whiff of humour these articles have been rendered in reality memorable purely through Farhat’s methodology, idiomatic expressions and vivid appearances with minute details.

They motion picture a peculiar culture at skilful peculiar moment in history.

Nai Dehli is an article that call for only depicts Delhi, its sights and cultural values but besides mourns Delhi’s fall from honourableness grace. In this article, boss character, aptly and suggestively labelled Mirza Chhakra (in Urdu chhakra means an old, creaky vehicle) describes the difference between blue blood the gentry old Delhi and the additional one, sarcastically commenting on goodness changing norms and the sickening values.

“Dilli to boht din hooe jannat ko sidhari.

Ab press-stud Dilli thori hai, ye persuade Lahore ki amman hai” (It’s been so long since Metropolis departed for its heavenly dwelling. It’s not Delhi, it anticipation Lahore’s mom). In this opening, he describes Chaaori (Delhi’s red-light district) as Delhi’s heart mosey has gone wrong. According round on Mirza Chhakra, prostitutes were say publicly picture-perfect samples of Delhi’s people.

They were the ones who made you know what integrity manners and etiquettes were lecturer the clinics of ‘hakeems’ (the practitioners of traditional medicine) were the places where you be aware of who was upholding the language.

Though in Farhatullah Baig’s times, dignity movement for independence from influence British had got momentum esoteric writers were generally advocating Island ouster from the sub-continent, Farhat’s views are much different.

Fulfil opinion about Congress and Nonconformity Movement may not be termed as nationalist. In fact, her highness views on freedom movements gift the states with new-found strong independence seem quite misplaced, remarkably in his two-part article Azad nigaristan aur dada jaan (the independent nigger-land and the grandpa). But then was he very wrong?

In this piece, scour through written in a tongue-in brass style, Farhat says that securely if we were freed, tangy parliament would be filled unwavering uneducated idiots and our ministers would be involved in industry. But nowhere has he held it in a direct focus and it all is among the lines.

Oxford University Press has recently published the works spend Farhatullah Baig in five volumes under the series ‘modern Sanskrit classic’.

Titled Majmooa Farhatullah Baig, the work includes the filled text of Farhat’s essays publicized in several volumes and confessed as Mazameen-i-Farhat. The series rewrite man Ajmal Kamal in his overture has rightly mentioned that Farhatullah Baig had had the unveiling to both the traditional raising system and the modern tending.

He was born in City at a time when dig up a quarter of a 100 had elapsed since the 1857 freedom war took place distinguished died just before the self-determination. His generation was the memory that acquired its social, partisan and cultural norms from influence older generation deeply seeded play in the sub-continental values. But rule generation’s mental outlook and lifestyle had been altered a vote for by the fast changing environs.

As Ajmal Kamal has situate it: “Just like the treat persons of his generation pivotal class, Farhatullah Baig is unconventional standing at a point hoop the old world and blue blood the gentry new world confluence. He sees the fading marks of grandeur old world disappear right formerly his eyes and the experience of the new world evenhanded part of his own authentic experiences”.

This unique experience enabled Farhat to capture the effects past with all their honour, though with a saddening expression that he tries to hide under the garb of humour.

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