Auraton ka banaao-singhaar aur zeenat-o-aaraaish ka jo shauq hai, wo unke liye unki bahut si bimaariyon ka qudrati ilaaj hai, aur kisi aurat ko is shauq ke poora karne se baaz rakhna na-munaasib aur unke haq mein nihaayat muzir hai.

Auraton ka banaao-singhaar aur zeenat-o-aaraaish ka jo shauq hai, wo unke liye unki bahut si bimaariyon ka qudrati ilaaj hai, aur kisi aurat ko is shauq ke poora karne se baaz rakhna na-munaasib aur unke haq mein nihaayat muzir hai.

Hamare nazdeek sooba-jaat-e-muttahida ki aam zabaan Hindustani hai aur iski do mumtaaz shaklein hain, jinka naam Urdu aur Hindi hai.

Hamare nazdeek sooba-jaat-e-muttahida ki aam zabaan Hindustani hai aur iski do mumtaaz shaklein hain, jinka naam Urdu aur Hindi hai.

Hamaare sho'ara jab ghazal likhne baithte hain to pahle us ghazal ke liye bohot se qaafiye jama' kar ke eik jagah likh lete hain, phir eik qaafia ko pakad kar us par sher tayyaar karna chahte hain. Ye qaafia jis khayaal ke ada karne par majboor karta hai, usi khayaal ko ada kar dete hain. Phir doosre qaafia ko lete hain, ye doosra qaafia bhi jis khayaal ke ada karne ka taqaaza karta hai, usi khayaal ko zaahir karte hain, chaahe ye khayaal pahle khayaal ke bar-khilaaf ho. Agar hamaari ghazal ke mazameen ka tarjuma duniya ki kisi taraqqi-yafta zabaan mein kiya jaaye, jis mein ghair-musalsal nazm ka pata nahi hai, to us zabaan ke bolne waale nau das (9-10) sher ki ghazal mein hamaare shaa'ir ke is ikhtilaaf-e-khayaal ko dekh kar hairaan rah jaayein. Unko is baat par aur bhi ta'ajjub hoga ki eik sher mein jo mazmoon ada kiya gaya hai, uske theek bar-khilaaf doosre sher ka mazmoon hai. Kuch pata nahi chalta ki shaa'ir ka asli khayaal kya hai. Wo pahle khayaal ko maanta hai ya doosre khayaal ko. Uski qalbi sada pahle sher mein hai ya doosre sher mein.

Hamaare sho'ara jab ghazal likhne baithte hain to pahle us ghazal ke liye bohot se qaafiye jama' kar ke eik jagah likh lete hain, phir eik qaafia ko pakad kar us par sher tayyaar karna chahte hain. Ye qaafia jis khayaal ke ada karne par majboor karta hai, usi khayaal ko ada kar dete hain. Phir doosre qaafia ko lete hain, ye doosra qaafia bhi jis khayaal ke ada karne ka taqaaza karta hai, usi khayaal ko zaahir karte hain, chaahe ye khayaal pahle khayaal ke bar-khilaaf ho. Agar hamaari ghazal ke mazameen ka tarjuma duniya ki kisi taraqqi-yafta zabaan mein kiya jaaye, jis mein ghair-musalsal nazm ka pata nahi hai, to us zabaan ke bolne waale nau das (9-10) sher ki ghazal mein hamaare shaa'ir ke is ikhtilaaf-e-khayaal ko dekh kar hairaan rah jaayein. Unko is baat par aur bhi ta'ajjub hoga ki eik sher mein jo mazmoon ada kiya gaya hai, uske theek bar-khilaaf doosre sher ka mazmoon hai. Kuch pata nahi chalta ki shaa'ir ka asli khayaal kya hai. Wo pahle khayaal ko maanta hai ya doosre khayaal ko. Uski qalbi sada pahle sher mein hai ya doosre sher mein.

Balaaghat ke ma'aani ye hain ki kam se kam alfaaz se ziyaada se ziyaida ma'ani samjhe jaayein. Ye baat jis qadar talmeehaat mein paayi jaati hai, alfaaz ki deegar aqsaam mein nahi paayi jaati. Jis zabaan mein talmeehaat kam hain ya bilkul nahi hain, wo balaaghat ke darje se giri hui hai.

Balaaghat ke ma'aani ye hain ki kam se kam alfaaz se ziyaada se ziyaida ma'ani samjhe jaayein. Ye baat jis qadar talmeehaat mein paayi jaati hai, alfaaz ki deegar aqsaam mein nahi paayi jaati. Jis zabaan mein talmeehaat kam hain ya bilkul nahi hain, wo balaaghat ke darje se giri hui hai.

Iqbal ka Farsi andaaz-e-bayaan ikhtiyaar karna Urdu zabaan ke liye saraasar bad-qismati hai, magar wo apni maslehat ko khud hi behtar jaante hain.

Iqbal ka Farsi andaaz-e-bayaan ikhtiyaar karna Urdu zabaan ke liye saraasar bad-qismati hai, magar wo apni maslehat ko khud hi behtar jaante hain.