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اردو تنقید میں پاکستانی تصور قومیت اس مقالے کو چھے ابواب میں تقسیم کیا گیا ہے ۔ پہلے باب میں قیام پاکستان سے قبل اردو تنقید کا جا ئزہ لیا گیا ہے ۔ یہ تنقید کا محض پس منظر ہے جس میں اردو تنقید کے ابتدا ئی آثار، عہدِ سر سید کی تنقید، تر قی پسند تحریک اور حلقہ اربابِ ذوق کا اجمالی جا ئزہ لیا گیا ہے ۔ دوسرا باب تنقید اور تصورِ حیات کے عنوان سے لکھا گیا ہے ۔ اس میں ادب میں تصورِ قومیت کی اہمیت اور پھر بعد میں پا کستانی قوم کی تشکیل کن عناصر کے ذریعے ہو ئی ، اس کا جائزہ لیا گیا ہے۔ تیسرے باب میں پاکستانی تنقید میں قومی طرزِ احساس کی تحریکیں اور نظر یات زیرِ بحث آئے ہیں ۔ ادب کے سا تھ سا تھ کلچر اور زبان کا جائزہ بھی لیا گیا اور سیا سی ماحول میں وقوع پذیر ہونے والی تبدیلیوں کے تنقید پر جتنے اثرات مر تسم ہو ئے ہیں ، ان پر بحث کی گئی ہے۔ چو تھا باب پا کستانی تنقید اور تا ریخی شعور کے لیے مخصوص ہے۔ اس باب میں ایسے چند نقا دوں کا تذکرہ ہے جنہوں نے پاکستانی تنقید کی نظر یہ سا زی کر نے کی کو شش کی ۔ اس باب میں جیلا نی کا مران ، ڈاکٹر وزیر آغا، فتح محمد ملک، ڈاکٹر سید عبداللہ، ڈاکٹر وحید قریشی، خلیفہ عبدالحکیم ، ڈاکٹر انور سدید اور ڈاکٹر جمیل جالبی کے نظریات کو سمجھنے کی کو شش کی گئی ہے۔ پانچویں باب میں جدید ادب میں قومی طرزِ احساس کی کا ر فر مائی کو زیرِ بحث لا یا گیا ہے ۔ ہمارے ادب میں سا ٹھ کی دہا ئی کی اہمیت یہ ہے کہ اس دور میں جدید ادب کی تحریک پیدا ہو ئی ۔ نہ صرف مو ضوعات میں تبدیلی آئی بلکہ اسا لیب کو بھی نئے چلن دستیاب ہو ئے ۔ یہ زمانہ مغربی نظریات سے اثر قبول کر نے کا زمانہ ہے ۔ لہٰذا اس دور میں گذشتہ دور کی طرح روایتی فکر مو جود دکھا ئی نہیں دیتی ۔ جدید ادب کے زمانے میں ایک نیا طرزِ احساس پیدا ہوا مگر اس طرزِ احساس میں بھی قومی شعور کی جھلکیاں مو جود ہیں ۔ جدید ادب میں ایک بڑی تبدیلی 1970ءکے بعد آئی۔ پاکستان میں یہ زمانہ سیا سی اعتبار سے بڑی بڑی تبدیلیوں کا زمانہ ہے ۔ پاکستان دولخت ہوا ۔ جمہوری آزادیوں کی تحریک چلی اور 1977ء میں آئین توڑ کر مار شل لاء لگایا گیا ۔ ان واقعات نے دانشوروں کے لیے نئے فکری مسا ئل پیدا کیے۔ عدم تشخص اور عدم تحفظ اس زمانے کے دو بنیادی عناصر ہیں جنہوں نے تخلیقی ادب میں نئی نئی علا متوں میں اظہار پا یا۔ یہی قومی طرزِ احساس کا ایک نیا رخ تھا۔ تنقید میں دو گر وہ ایسے پیدا ہو ئے جنہوں نے ادبِ تہذیب اور زبان کی نئے سرے سے نظریاتی تشکیل کر نے کی کو شش کی۔ ایک گر وہ اس خطے کے اپنے قدیم ثقافتی ورثے اور ادبی نظر یات کے ساتھ پاکستانی ادب کو جوڑتا تھا تو دوسرا گر وہ پاکستانی ادب کی نظر یاتی بنیادوں کو دو قومی نظر یے کی روشنی میں دیکھتا تھا۔ اگر چہ دونوں کی نظر یاتی بنیا دیں مختلف تھیں لیکن دونوں کی فکر مندی ایک ہی طرح کی تھی۔ چھٹے باب کو اپنے مو ضوع کے مجموعے جائزے کے لیے مخصوص کیا گیا ہے۔ اس باب میں پاکستانی تنقید میں قومی طرزِ احساس کی مو جودگی کا مجموعی جائزہ لیا گیا ہے اور یہ بتانے کی کو شش کی گئی ہے کہ قیامِ پاکستان کے بعد سے قومی سطح پر جس طرح کی شکست و ریخت ہو ئی ہے اس نے ہماری تنقید کو بھی متاثر کیا ۔ اسی لیے ان پچاس بر سوں میں جوادب پیدا ہوا اور جو تنقید سامنے آئی، اس کا پاکستانی مزاج الگ سے شناخت ہو جاتا ہے ۔ اس کے باوجود کہ پاکستانی ادب کے مختلف نظریاتی گروہ پاکستانی ادب کی الگ الگ تعبیر اور تشریح کر تے ہیں مگر ہر تنقیدی نظریے میں پاکستانی قوم کے تشکیلی عناصر اور اس کی امنگوں کو ہی بنیاد بنایا جا تا ہے۔
اردو افسانے میں اسلوب اور تکنیک کے تجربات مقالے کو چھے ابواب میں تقسیم کیا ہے جن کی تفصیل یہ ہے : پہلا باب افسانے میں اسلوب اور تکنیک کی اہمیت کے بارے میں ہے۔ اس باب کے آغاز میں افسانے کی فنی مبادیات کا جائزہ لیا گیا ہے۔ اس صنف نے مغرب میں جنم لیا۔ اس لیے اس کے اصول بھی وہیں مرتب کیے گئے۔ لیکن اس صنف کی اردو میں آمد تک ہیئت کے اعتبار سے کئی تبدیلیاں آئیں۔ اسلوب اور تکنیک کے کئی تجربات ہوئے۔ اس باب میں ان باتوں کا جائزہ لیا گیا ہے۔ علاوہ ازیں تکنیک اور اسلوب کے فنی مسائل پر بحث کی گئی ہے اور مغرب میں افسانہ نگاری کی روایت اور اس روایت کی بدلتی ہوئی صورتوں کو موضوع بنایا گیا ہے۔ دوسرے باب کا تعلق اردو افسانے کے دورِ اولین سے ہے۔ پریم چند اور سجاد حیدر یلدرم ہمارے دو ایسے افسانہ نگار ہیں جنہوں نے اپنی حیات ہی میں دبستان کی شکل اختیار کر لی تھی۔ اس طرح افسانوی نثر میں حقیقت نگاری اور رومانویت کو ارتقا کرنے کا موقع ملا۔ اسی باب میں سجاد ظہیر اور ڈاکٹر رشید جہاں کے مجموعے "انگارے" کا بھی تنقیدی اور تجزیاتی مطالعہ کیا گیا ہے۔ اس مجموعے پر مغرب کی جدید تحریکوں کے اثرات ہیں۔ اس طرح رومانیت اور حقیقت نگاری کے علاوہ جدیدیت کی مغربی روایت کا جائزہ لیا ہے۔ تیسرے باب میں اردو افسانے کو ترقی پسند تحریک کے ساتھ اور حقیقت نگاری کی مقبولیت کے محرکات کے ساتھ سمجھنے کی کوشش کی گئی ہے۔ یہ اردو افسانے کا زریں دور ہے۔ جب سعادت حسن منٹو ، کرشن چندر، غلام عباس، عصمت چغتائی، احمد ندیم قاسمی ، راجندر سنگھ بیدی جیسے اہم افسانہ نگار سامنے آئے جن کی مقبولیت میں آج بھی کوئی کمی واقع نہیں ہوئی۔ ترقی پسند تحریک ایک واضع منشور کے ساتھ شروع ہوئی تھی۔ اس منشور کا تقاضا تھا کہ جو کچھ لکھا جائے وہ حقیقت نگاری کے پیرائے میں ہو۔ یہی وجہ ہے کہ اس عہد میں حقیقت نگاری کو خوب مقبولیت حاصل ہوئی۔ لیکن حقیقت نگاری میں بھی ہر بڑے افسانہ نگار نے اپنا انفرادی رنگ پیدا کیا ۔ اس باب میں جہاں ایک طرف حقیقت نگاری کی مقبولیت کے اسباب کا جائزہ لیا ہے وہاں پر اہم افسانہ نگار کی انفرادی خصوصیات کا بھی تجزیہ کیا گیا ہے۔ چوتھا باب ترقی پسند عہد- اردو افسانے پر مغرب کے نفسیاتی و تکنیکی اثرات کے موضوع پر ہے۔ ترقی پسند عہد میں اگرچہ حقیقت نگاری کو مقبولیت حاصل ہوئی مگر سماجی شعور کے ساتھ ساتھ ایک حلقہ ایسا بھی تھا جس نے مغربی تحریکوں اور نظریات سے کسبِ فیض کا سلسلہ جاری رکھا۔ خاص طور پر علمِ نفسیات کے اثرات بعض افسانہ نگاروں پر بہت نمایاں دیکھے جا سکتے ہیں۔ اس باب میں مغرب کے نفسیاتی و تکنیکی اثرات کا مجموعی جائزہ لینے کے ساتھ ساتھ افسانہ نگاروں کے انفرادی مطالعے بھی شامل ہیں۔ پانچواں باب "آزادی کے بعد اردو افسانہ" کے موضوع پر ہے۔ تقسیم ہند کے بعد فسادات کے موضوع پر بہت لکھا گیا۔ یہ المیہ جس نے انسانیت کے اخلاقی رویوں کی دھجیاں اڑا دی تھیں اپنے ساتھ کئی کہانیاں لے کر آیا۔ اس عہد میں افسانہ نگار کے رویے اور طریقہ اظہار کی جو صورتیں سامنے آئیں۔ ان کا مطالعہ کرتے ہوئے یہ سمجھنے کی کوشش کی گئی ہے کہ فسادات کے زمانے میں معیاری افسانہ تعداد میں کیوں کم ہے۔ علاوہ ازیں فسادات کے بعد ہجرت کے کرب اور رومانویت کابھی تنقیدی جائزہ لیا گیا ہے۔ ہمارے ہاں ساٹھ کی دہائی میں جدید افسانے کا آغاز ہوا اسی باب میں ساٹھ اور ستر کی دہائی میں جدید افسانے کے محرکا ت کا بھی جائزہ لیا گیا ہے۔ چھٹا باب جدید افسانے میں اسلوب اور تکنیک کے نئے تجزیات کے مجموعی جائزے اور انفرادی مطالعوں پر مشتمل ہے۔ اس باب میں نئے افسانے کے فکری پس منظر، علامتی نظام اور اس کے فنی لوازم، اسلوب اور تکنیک کی سطح پر وقوع پذیر ہونے والی تبدیلیوں ، ابلاغ کے مسائل ، نئے زاویہ نظر کی آمد اور علامتی افسانے کی مقبولیت کے محرکات کو تفصیل سے جاننے کی کوشش کی گئی ہے۔ ساٹھ کے بعد ابھرنے والے افسانہ نگاروں میں بے شمار نام ایسے ہیں جو اپنا انفرادی رنگ رکھتے ہیں اس باب میں منتخب جدید افسانہ نگاروں کی تکنیک اور اسلوب کو پیش نظر رکھتے ہوئے ان کی انفرادیت کو سمجھنے کی کوشش کی گئی ہے۔
بیسویں صدی کے سیاسی اور سماجی حوالے سے منٹو کے افسانوں میں عورت کا کردار The woman character in Manto's short stories with the socio-political reference of 20th century Male dominance and oppression of woman started from the decline of matriarchal system and the beginning of civilization. This oppression has been continuing up to the capitalism of modern era through the feudal system of Medieval ages. But within this wide socio-political background the consciousness against this subjection of woman started in Europe under the capitalistic system. Whereas in India this change in the mind set initiated under the British colonial administrative attempts with the reference of changing socio-political scenario of 20th century. According to this socio political awakening Manto presented a common Indian woman in his stories in such a way that the enslaved and declined India was being portrayed through it. According to the current socio-political trends this common Indian woman gradually continued to become so perfect in his fiction that within her oppression and subjection she had great human characteristics. These characteristics became the bases of Manto's Ideal woman with the 20th century socio-political references. In his stories Manto had to select subjects, style, techniques and characters which ultimately became a great contribution to the Urdu literature. This went on a long way in establishing once and for all the 20th century socio-political concept of woman and womanhood in India but he had to pay for it. Charges of all kinds were levied against him. The triggering force behind these charges was the ethics of middle class that had emerged under the colonial-order. But Manto opposed this socio-political issue of 20th century in the court and in literature as well. It was presented as a degenerating patriachal morality. He vociferously refuted this idea that the concept of pornography and obscenity is confined to a woman only and hence making such literature condemnable as well.
جدید اردو فکشن میں تصور وقت Time is a fascinating, perplexing and absurd concept. The days, months and years as life span when finally come to a halt become timeless. It may cease to exist for us on an individual level but is omnipresent till life stays on earth. It is interesting to study this phenomenon in literature, especially when no prior study has yet been done in this perspective. The thesis under review is divided into four chapters. The first chapter is related to the theoretical debates of time. What is time? How time can be interpreted in the context of space, and how one can understand the concept of time in fictional perspective? These questions have been discussed in this chapter in a lucid and clear manner to the maximum. The second chapter deals with the concept of time in the background of Dastan, while the third and fourth chapters are devoted to the novel and short story where Qurrat-ul-Ain Hyder, Intizar Hussain, Jamila Hashmi, Mustansir Hussain Tarar and Khalida Hussain has been discussed in detail as these are the writers who have used techniques based on time-sequence. The stream of consciousness, flash back and free association of thought have fully been utilized in the fiction of above mentioned writers. The last chapter is based on the total results and findings of the research.
اردو افسانے پر بیسویں صدی کی ادبی تحریکوں اور رجحانات کے اثرات In the present research work, the effect of thought and stylistic study of Modern Poem on Urdu Ghazal is discussed in detail. Urdu Ghazal and modern poem reflects the human feelings and truth of the present. Therefore for this research work, the mutual relationship of Modern Poem on Urdu Ghazal, thinking, technical and stylistics study is taken as a topic for research. It is tried to find the changes and factors producing changes, what is the creative process of both and what is the individual value of each and what is the individuality though the study of thinking effect of Modern Poem on Urdu Ghazal. For this purpose the present research work is divided into five chapters. First chapter is about the introduction of the topic in detail. In this chapter with the basic discussion on Urdu Ghazal and Poem the differences between Ghazal and Poem and Molana Aaltaf Hussain Haale to the present shape is analyzed beautifully. The second chapter is about the formal effects of modern poem on Urdu Ghazal. In this chapter the formal process of Modern Poem and the appearance of new formal changes under the effect of Modern Poem in Urdu Ghazal is also analyzed. The effect of Modern Poem on Urdu Ghazal is also important that because of it in Urdu Ghazal, Anti Ghazal, Azad Ghazal, Zain Ghazal, Ghazal like Geet, Tedy Ghazal, Mukalmati Ghazal, Mokalmati Azad Ghazal and Ghazal-e-Musalsal is discussed in this chapter in detail. The third chapter of this research work is about the analysis of formal effect of Modern Poem on Urdu Ghazal, formal process and the constituent of formal relation of poem and Ghazal, imagination, language and expression, symbolism, punctuation, changes in language and expression, changes in expression and immediate reaction is possible only by the effect of Modern Poem. The chapter four is about the discussion of thinking effect of Modern Poem on Urdu Ghazal. Therefore in this chapter thinking combination of Ghazal and Poem, creation process between Urdu Ghazal and Modern Poem and the thinking effect of Modern Poem on the Urdu Ghazal is discussed in detail in this chapter. The last and final chapter is the overall analysis of the topic and suggestion are listed here for further research work on the base of present research work.
اردو ناول میں سماجی شعور The present research is an analysis of 'Social Consciousness in Urdu Novels'. An attempt has been made to review how social changes emerging in different periods provided food for through to novelists. The period included for this research extends from the beginning of Urdu Novel to the end of 19th Century. The focus of the research is those social changes that took place after the War of Independence of 1857 in the Indian society, under the influence of the West. This was a transitory period when old and new traditions, both, co-existed; and which were equally reflected in Urdu Novel. Since the very beginning of 20th Century, defensive attitude changed into a more aggressive sentiment, and newer visions of nationhood. This evolution of thought and attitude strongly influenced Indian culture. The researcher has tried to trace this 'consciousness' and the resultant social changes from the beginning of 20th Century till the creation of Pakistan (1947). The new social set up of post-partition days was dominated by class conflicts and influenced by Islamic thought. As such, the 'social consciousness' of the society that emerged after Pakistan's independence was different from that of its predecessors. The researcher has discussed this 'Social Consciousness' in the perspective of novels written during that period. The research is a journey through the social changes that occurred and influenced Urdu Novel from its beginning to the 20th Century and a critical analysis of their conscious and unconscious expression in Urdu Novel.
جدید اردو نظم میں درد مندی کا عنصر The Element of Social Sympathy in Modern Urdu Poems The following thesis consists of five chapters. The first chapter describes the history of society, and analytically elaborates the parts constituting the society that shape the specific behavior of the people of the Subcontinent. This chapter also gives an introduction on social sympathy and its connection with poetry. The second chapter gives a sketch of the society in the times of Sir Syed Ahmad Khan, emphasizing the cause of reflection of social sympathy in poem genre in that era. This chapter also includes study of famous poets from pre-partition era such as Maulana Altaf Hussain Hali, Allama Mohammad lqbal, Akhtar Shirani, Hafeez Jalindhary, Josh Malih Abadi and Sahir Ludhyanvi. The third chapter elaborates the building blocks of Pakistani society, and sheds light on social sympathy with a political background amongst Pakistani poets. The fourth chapter consists of a study on poems of Pakistani poets on social sympathy from various angles. These poems revolve around urban and rural issues, social injustice, domestic problems, social worth of women, social etiquettes and problems related to new generations. The fifth chapter focuses on painful aspects of social status and importance or worth of poets in our society, and concludes on their concerns, their disappointment due to the current social system, their questions on apathy, and their hopes for improvements in the coming ages.
اردو غزل پر بیسویں صدی کی ادبی تحریکوں اور رجحانات کے اثرات Urdu Literature, particularly Urdu Poetry, can boast of having narratives not known in other world literatures. One of them being Ghazal, a unique form of versification that is specific to Urdu poetry alone. The focus of the thesis is the study of Modern, that is, 20th century Urdu Ghazal. There are two main reasons for this choice, or delimitation of the study. First, though it is true that lot of literature is found on Urdu poetry, but unfortunately, most of it is in the form of essays and articles and no authenticated researched document is available on this genre. Second, lot has been written en Classical Ghazal but Modern Ghazal has not yet been ventured enough by critics and researchers. An effort has been made in the present study to view Modern Ghazal in the light of 20th Century literary movements, and its influence on Urdu Ghazal. There are in all eight chapters. The first chapter is an introduction of the tradition of Ghazal and its evolution in 18th & 19th century. The second chapter presents an analysis of the literary ambience, the political atmosphere and the intellectual environment at the advent of the 20th century, and it is in this backdrop that Romantic Ghazal is studied. The third chapter is a study of the distinct features of lqbal's Ghazal and its influence on Urdu Ghazal. The fourth chapter focuses mainly on the Progressive Movement and its influence on Urdu Ghazal. The fifth and sixth chapters are about different Urdu literary circles and movements, like Halqa-i-Arbab-i-Zauq, Pakistani Adab, Islami Adab, Arzi Saqafti Tehreek, and their contribution in promoting Urdu literature in general and Urdu Ghazal in particular. The seventh chapter is on modern trends and thoughts, their detailed analysis and their impact on Urdu Ghazal. The eighth chapter is a conclusion of the research followed by recommendations for further study.
پاکستانی اردو ناولوں میں اسلامی فکر کی عکاسی The Reflection of Islamic Thought in Pakistani Urdu Novels". It has been divided into five chapters. Chapter one comprises two parts: the first deals with the ideal of Muslim Nationhood. The concept of Nationhood propounded by lqbal and Jinnah has been primarily focused upon whereas the definition of Muslim Nationhood has been determined with reference to various critics and thinkers. In the second part of this chapter, after a brief introduction of other international religions, their concept of Nationhood has been discussed. Basic tenets of Islam Oneness of God, Prophet hood, eschatological details along with the basic rights of the non-Muslims have also been discussed. Chapter two also comprises two parts. The first part analyzes Islamic trends and traditions of Urdu literature. Some other major literary movements have also come under discussion, but the focus remains on those intellectuals and critics who are associated with the movement of Islamic literature. The second part is about the origin, effects of Islamic literary movements and other relevant issues. The first part of chapter three discusses the background of Pakistan movement Two-Nation theory. Sir. Syyid Movement, the Movement of Islamic literature with its background of Urdu - Hindi controversy, and the concept of Muslim Nationhood. The second part of this chapter includes a discussion of Islamic thought in pre-independence Urdu. The fourth chapter deals with the theme of Islamic thought and civilization in the post-independence Urdu novels. A list of other Pakistani novels in other languages such as Punjabi, Pashto, Sindhi, Balochi and Saraiki has also been included. These novels stand for Islamic thought in relation to Pakistani civilization. The fifth chapter is gist comprising conclusions and estimations derived from analyses of the researcher
اردو ادب کی آپ بیتیاں: تحقیقی و تنقیدی جائزہ Autobiographies in Urdu Literature - a Critique Autobiography is an important, popular and authentic genre of biography writing. To more than 400 autobiographies in Urdu, a greater contribution has been made by the Urdu prose writers and poets. Releasing the important need of literature, the writer has taken pains to critically assess the autobiographies of Urdu literature. The thesis has been divided into seven chapters. In the first chapter, the origin and evolution, earliest impressions and various forms of autobiography in Urdu have been taken into consideration. Discussing the art, style another elements of biography and Autobiography separately difference between the two has been established in the same chapter. The second chapter contains a study of the early period of autobiography and the evaluation of the first autobiography in Urdu literature. Besides, a general discussion on the remarkable autobiographies written before partition has been made in the perspective of the particular socio-political scenario of the age. The third chapter of the thesis is vitally important for it contains concentrated critical assessment of the most important autobiographies written after partition. These are the popular autobiographies that depict the particular circumstances and aftermaths of the partition of India. The fourth chapter shows the distinguished style, literary trend and approach of women autobiography writers. Fifth chapter discusses 20th century's other autobiographies which gained popularity for their eloquent style. A few autobiographies written in verse have also been discussed as vitally important to the topic. The sixth chapter is important as it deals with the autobiographies that came out in the early seven years of 21' century. Written by literary celebrities, these autobiographies shows expanding thematic horizons due to scientific approach and the most modern literary trends. The seventh and last chapter contains a brief history and evolution of the autobiography as well as a discussion on autobiographies written by non-literary writers such as high military officials, politicians and bureaucrats. After a bird's eye view of the autobiographies translated from other languages, the discussion has been summed up. To avoid unnecessary length only choice autobiographies have been discussed in detail while others have only been touched upon generally. The writer believes that the research work will contribute towards establishing the literary status of Urdu autobiographies.
اردو داستان کے مرکزی کردار The time period form 17th century to 19th century, in Urdu prose, is called the era of 'Dastan'. Though some attempts or endeavor can also be seen in Dastan writing after this time period. Because of a leading kind of its time period, Dastan is of prime importance. In this thesis, under consideration research carried out about a very important part of Dastan. The investigatory and the critical analysis of the main characters of the Dastan not only drag this kind of speech from darkness of past but also helps to highlight the standard of characterization of that era. All those Dastans are included in this thesis which are published, having unity of plot and revolve around central character. Collection of proverbs is included in this selection. All those Dastans are avoided to include in which most of the material was borrowed from other Dastans or which revolves around the same topic. In this thesis, standard of characterization in Dastans, capabilities of characterization and how was it differ from the characterization of modern was discussed. Character of Dastan is also examined according to social and moral standardization of modern era. The thesis has been divided in to four parts. Part one deals with the central theme of 'Dastan'. Part two deals with the main characters of the prominent Dastan published pre Fort William College period. Part three consists of critical analysis of important characters of the stories published under the patronage of Fort William College, while part four comprises critical analysis and evaluation of the central characters of important Dastans published during the same period but not under the patronage of the college. The objective of the thesis is to highlight the fundamental characters of the Dastan, portray their importance and judge the standard of characterization. It is also our objective to enable the modern reader establish, by himself, a link between the ancient and modern literature. Epilogue is captioned "collective evaluation". In epilogue the central characters of the Dastans, included in the thesis, have been discussed briefly.
ادیبوں میں خودکشی کے محرکات: اردو ادب کے خصوصی حوالے سے Reasons of Suicide in Writers" (With Particular Reference to Urdu Literature). There are five chapters of my research thesis. In the first chapter, the definition of Suicide has been described in the light and references of Dictionaries, Internet, Encyclopedias, Economic, Social and Biochemical factors. It also covers the views of different religions in this regard. In the second chapter, the important literary figures who have committed suicide in the west has been described individually, whereas the third chapter is concerned with Pakistani Urdu writers, who had committed suicide. In the fourth chapter, those writers in Urdu Literature have been discussed, who had led their lives in the charm and love of death. They tortured themselves by using excessive narcotics and attempting suicide. The last chapter includes the analysis of those reasons, which remained helpful in the suicide of writers. The main points in this reference are following: They were ultra-sensitive and highly imaginative people, so they set unrealistically very high goals in their lives. Although many economical, social, mental and psychiatric problems were involved with them, but actually they were death lovers. For them the death was not the end of life, but it was the continuity of a new life and finding the unseen truth. Those writers were idealistic and due to the fulfillment of their dreams, they often committed suicides. Urdu writers also followed the suicidal trend of the western writers like the other literary trends. My topic is exclusively concerned with the suicides of writers. Instead of the detail of their lives, only the reasons and that particularly state of mind has been highlighted, which pushed them towards suicide, the suicide which is called "Suicidology" in literary terms. Lastly, only those English terms are written in thesis as it is, which do not produce their sufficient sense and meaning in Urdu.
پاکستان میں دفتری اردو کا تجزیاتی مطالعہ The status of Urdu as an official language has a history that goes back to the first quarter of 19th century. At that time Urdu enjoyed the status of official language in some parts of the sub-continent. The court of Maharaja Ranjit Singh was linked with Urdu in quite a few ways. The Maharaja and his ancestors patronized the Urdu writers and poets as their courtiers. Even if the official language of the Maharaja's court was Persian the ruler himself employed Panjabi for daily administrative matters. But he used Urdu language while conversing with the visitors, the tourists, the diplomats from friendly countries and also with the British officers. From this it is easy to surmise that even if Urdu was not the official languages of his court it was still the language of everyday use for courtly and informal occasions. In the thesis under review an attempt has been made to study Urdu in the ways it has been used as an official language, in various times and eras. When the Quaid-e Azam declared Urdu as an official language of Pakistan such a study becomes imperative. There is a need to study Urdu as an official language in its various styles and this thesis makes a humble attempt to fulfill the need. The aim is to analyse Urdu as official language, particularly in view of the Quaid's declaration, and to study its significance as such. During the writing of the thesis the research matter has been analysed in a historical context. Every effort has been made to ensure the authenticity of the sources and these encompass the unpublished as well as the published material from antiquity to the modern times. In this way a period of two centuries have been covered to reflect to real purpose of the thesis.
پاکستانی اردو لغات (جامع) کا تقابلی جائزہ + ضمیمہ A comparative of Pakistani Comprehensive Urdu Dictionaries has been undertaken in the thesis. For this purpose three lexicons have been chose, which are commonly used in offices and institutions: Ilmi Urdu; Feroze-ul-Lughaat and Nasim ul Lughaat. In chapter one details are given in "MOQADMA" about this thesis and then thesis has been divided according to the alphabet, for instance the alphabet for Alif to Say have been analysed in Chapter two. Chapter three has been devoted to Jeem to Kha and in the fourth chapter alphabet Daal to Zhey have been dealt. In chapter five the alphabet Seen to Ghain are studies. Chapter six deals with letters Fay to Gaaf and in chapter seven the alphabets from Laam to the last letter Yay. Finally a general discussion has been Conducted in chapter eight. The diacrical sign A' has been Taken from all the three dictionaries and all the words starting with A have been put together that are in harmony with each other in their idioms, sayings, proverbs, composition, pronunciation and calligraphic shape and also in the masculine and feminine forms. Besides there are such words that are found in TWO dictionaries and are not included in the THIRD dictionary. Such words and composites are analyzed separately. In the case where in one alphabet the number of synonymous words, and proverbs are too many, are given on three/ fourth ¾ of the pages. The rest are given in annexure so that the volume of thesis does not get out of the proportion of other alphabets, and the size of the thesis does not get unwieldy. The words are usually spoken in Punjabi are written under separate heading. It has been mentioned as to which word are found in a particular dictionary, and the others that are found in all the dictionaries have been mentioned. The meanings of such words as given in dictionaries are also mentioned. Then there are words of English origin that have been urduised because of constant usage such words have been treated separately according to the dictionary where these occur. Feroze-ul-Lughaat has mentioned such words even when their synonyms in Urdu are available. Lastly there is a list of words that have been mentioned differently in one or two dictionaries in respect of pronunciation, discritical signs, shape, writing or in masculine or feminine forms. Such words have been researched critically with reference to other dictionaries. In majority of cases the unanimity of rules and the usage have been observed. Similarly the masculine and feminine forms have been authenticated and effort has been made to attend to all possible lexical aspects. In this way all the words from Alif to Yay have been analysed and researched.