Dhanakk - The Colors of Life

Urdu poetry is one of the most prominent & dominant poetry of times and has many different colors. It has generated its root from Arabic and mainly from Persian and is an important part of Indian culture. Urdu Poetry has two main types i.e. Ghazal and Nazm. Like other languages, the history of Urdu Poetry does not have a firm starting point and shares origins and influences with other linguistic traditions within the Urdu-Hindi-Hindustani mix. Literary figures as far back as Kabir (1440 - 1518) and even Amir Khusro (1253-1325 AD) deserve mention as influences later Urdu poets draw on for inspiration as well as intellectual and linguistic sources. Meer, Dard, Ghalib, Iqbal and Faiz Ahmed Faiz are among the greatest poets of Urdu. The tradition is centered in the Indian subcontinent. Following the Partition of India in 1947, it found major poets and scholars residing primarily in modern Pakistan and India. Mushairas (or poetic expositions) are today held in almost every major metr

wo jo ham main tum main qaraar thaa tumhain yaad ho ke na yaad ho vahi yaanii vaadaa nibaah kaa tumhain yaad ho ke na yaad ho wo naye gile vo shikaayatain vo maze maze ki hikaayatain wo har ek baat pe roothna tumhain yaad ho ke na yaad ho koi baat aisi agar hui jo tumhaare jee ko buri lagi to bayaan se pahale hi bhulanaa tumhain yaad ho ke na yaad ho suno zikr hai kai saal kaa, koi vaada mujh se thaa aap kaa wo nibaahane kaa to zikr kyaa, tumhain yaad ho ke na yaad ho kabhi ham main tum main bhi chaah thi, kabhi ham se tum se bhi raah thi kabhi ham bhi tum bhi the aashna, tumhain yaad ho ke na yaad ho hue ittefaaq se gar baham, vo vafaa jataane ko dam-ba-dam gilaa-e-malaamat-e-arqabaa, tumhain yaad ho ke na yaad ho wo jo lutf mujh pe the beshtar, vo karam ke haath mere haath par mujhe sab hain yaad zaraa zaraa, tumhain yaad no ki na yaad ho kabhi baithe sab hain jo ru-ba-ru to ishaaraton hi se guftaguu wo bayaan shauq ka baramala tumhain yaad ho ki na yaad ho wo bigadana vasl ki raat k

shahar kii raat aur main naashaad-o-naakaaraa phiruun jagmagaati jaagati sadakon pe aavaaraa phirun gair ki basti hai kab tak dar badar maraa phirun ai Gam-e-dil kyaa karun ai vahashat-e-dil kyaa karun jhilmilate qumqumon ki raah main zanjeer si raat ke haathon main ki mohani tasvir si mere seene par magar chalati hui shamashir si ai Gam-e-dil kyaa karun ai vahashat-e-dil kya karun ye rupahali chhaaon ye aakaash par taaron ka jaal jaise suufi kaa tasavvur jaise aashiq kaa Khayaal aah lekin kaun jaane kaun samajhe ji kaa haal ai Gam-e-dil kyaa karun ai vahashat-e-dil kyaa karun phir vo tootaa ik sitaaraa phir vo chhuutee phuljhadi jaane kis ki god main aaye ye moti ki ladee hook si seene main uthee chot see dil par padee ai gam-e-dil kyaa karun ai vahashat-e-dil kyaa karun raat hans hans kar ye kahatee hai ke maikhaane main chal phir kisee shah_naaz-e-laalaarukh ke kaashaane main chal ye naheen mumkin to phir ai dost veeraane main chal ai Gam-e-dil kyaa karun ai vahashat-e-dil kyaa karu

Josh Malihabadi was born as Shabbir Hasan Khan on 5th December, 1898 at Malihabad. He did his senior secondary from St. Peter's College, Agra in 1914. In 1918, he spent about six months at Shantiniketan. He studied Arabic and Persian. Due to the death of his father, Bashir Ahmed Khan, in 1916, Josh was unable to avail of a college education. In 1925, Josh start working at Osmania University, supervising the translation work. He was exiled from state of Hyderabad for writing a nazm against Nizam. He then started the newsletter or magazine called ' Kaleem ' in which he freely wrote articles in favour of independence and against the British rule. Soon, he was being called " shaayar-e-inquilaab ". He got actively involved in the freedom struggle and became very close to quite a few of the political leaders of that era, specially Jawahar Lal Nehru. On the advice of director W.Z.Ahmed, he also wrote ghazals for Shalimar Pictures. During this time, he stays in Pune. Af