A Contemporary poet of Hyderabad e Deccan: Syed Akhtar Zaidi
In the name of Allah (s.w.t) the most Beneficent and Merciful Peace be upon Mohammad e Mustafa and his progeny
 |
| Akhtar Zaidi |
Mrs. FARHAT FATIMA
Research Scholar, Department of H & SS
JNTUH, College of Engineering
JNTUH, Kukatpally, Hyderabad-85
E-mail: farhat_fatima5@yahoo.com
JNTUH, College of Engineering
JNTUH, Kukatpally, Hyderabad-85
E-mail: farhat_fatima5@yahoo.com
Abstract
Akhtar Zaidi has used his verses to
articulate inner thoughts and sentiments and to make sense of melancholy he
underwent whenever he heard about ‘the battle of Karbala’. He has very
efficiently communicated and portrayed to the readers his love for Ahle Bait
(family of Prophet Mohammad) through his poetry in the form of Rubai’s,
Manqabat, Qasida, Musaddas, Salam and Noha’s. He has been one of the most
talented contemporary poets of Urdu Literature. He has been awarded
the title Aftab e-Deccan i.e., the sun of Deccan. He was born on 15th March
1933 in Hyderabad and expired on 4th April 2009. His
education was done in Darul-shifa High School, Intermediate from City College
and attained his Bachelor’s degree in science from Osmania University in the
year 1954. He was recruited in Central Government job in Regional
Research Laboratory. Three volumes of his poetry have been published known as
Ghalib aur Akhtar, Islam aur Karbala and Faizan. Two editions of the work
named Faizan were published. First edition was published in the year 1978
and second edition in the year 1990. Some of his contemporaries are
Baquer Amanathkhani, Sayeed Shaheedi, Sohail Afandi, Qawar Noori and Qairaat
Hussain Natiq. This article aims at studying the different types of verse forms
used by Akhtar Zaidi to portray the battle of Karbala.
Keywords
Rubai, Manqabat,
Qasida, Musaddas, Salam, Noha
Prologue
Syed Ali Abid Zaidi, popularly
known as Akhtar Zaidi is a contemporary Poet of Urdu Literature. He was
awarded the takhallus or title Aftab e Deccan, the sun of Deccan.
He was born on 15th March 1933 in Hyderabad and expired on 4th April
2009. His schooling was done in Darul-shifa High School, Intermediate from City
College and attained his Bachelor’s degree in science from Osmania University
in the year 1954. He was recruited in Central Government job in
Regional Research Laboratory. Coming to his work, three volumes of his
poetry have been published known as Ghalib aur Akhtar, Islam aur Karbala and
Faizan. Two editions of the work named Faizan were published. First
edition was published in the year 1978 and second edition in the year
1990. His poems express love of Ahle Bait (family of Prophet Mohammed)
which heals our grievances and touches our heart. Death, grief and
anguish all these emotions go hand in hand with the happenings of
Karbala. The huge affliction of Karbala starts with the most loved grandson
of Prophet Mohammad, Hussain Ibn Ali’s (Alaihis Salaam) martyrdom and
later the suffering of his elder son Zain ul Abedien (Alaihis
Salaam means 'peace be upon him') and the women folk at the hands of the
unruly forces of the tyrant King Yazid. The pain and the trauma can be
illustrated through poetry recited in majalis {religious congregations for the
mourning of Hussain Ibn Ali’s (Alaihis Salaam) suffering and martyrdom.}
These gatherings connect a person to the grief of Hussain Ibn Ali (Alaihis
Salaam) and his household.
Akhtar Zaidi was a down to
earth and humble human being. He was not only a good Orator but also an
organized and devoted poet. Poetry was embedded in his
family. His family has been involved in the service of Hussain Ibn
Ali {(Alaihis Salaam), The youngest grandson of Prophet Mohammad,
peace be upon him and his progeny} since five generations by giving Hadis
or lectures on the tragedy of Karbala. Through his poetry and oratory
skills he has sought to articulate the spirit of the human conditions prevalent
at that time in Karbala using his full range of knowledge and imaginary
skills. His poetic vocabulary has an ability to capture the abstract
emotions and concrete experiences that have been part of our humanity throughout
the ages. He was very expressive in his poetry and never seemed to
be holding back. He has chosen very beautiful and apt words in his
poetry. He has portrayed many forms of poetry like Rubai’s, Manqabat,
Qasida, Musaddas, Salaam and Noha. Some of his contemporary poets are Baquer
Amanathkhani, Sayeed Shaheedi, Sohail Afandi, Qawar Noori and Qairaat Hussain
Natiq. This article aims at studying the different types of verse forms
used by Akhtar Zaidi to portray the battle of Karbala.
Disquisition of Verses
The poetic language used by Akhtar
Zaidi is outstanding, awfully accomplished, original and deeply moving.
One of the verse forms he has used while portraying his thoughts is his
Rubai’s. Rubai is a verse form of Persian origin
consisting of four-line stanzas. Each rubai stanza is a
quatrain, in which lines 1, 2 and 4 all rhyme. Basically a Rubai is a
form of Persian poetry but its metres had been created by a non-Arab poet known
as Abul Hassan Roudaki. Portrayal of verses through Rubai’s was practiced
more by non-Arab and Urdu poets. Usually Rubai or a Quatrain has special
metres containing 24 different kinds of categories. Rubai’s can only be
composed in 24 different kinds of metres or branches. Out of the four
lines of Rubai the starting two lines are called ‘Sehr’ or Stanza. Both
first and second lines should end in rhyme; third line should be without rhyme
and fourth line again in selected rhyme but within 24 special meters. The
fourth line also is said to be ‘Misra’ contains elevated, tough, absolute and
profound meanings that must be related with above three lines. Rubai is a
complete poem in four lines. It addresses only one point or subject.
The
following is a beautiful Rubai by Akhtar Zaidi
شبئیر کے رُتبہ کا شا ناسا نہ مِلا
عاشق کوئی اِس اہلِ وفا سا نہ مِلا
عبائس نے دُنیا کی بَدل دی تاریخ
دریا کے کنارے کوئی پیاسانہ مِلا
Transliteration
Shabbir ke ruthbay ka
shanasa na mila
Aashiq koi iss ahle wafa sa na
mila
Abbas ne duniya ki badal di
tariq
Dariya ke kinare koi pyasa na
mila (Zaidi, Faizan 23)
No
acquaintance is found as par with the status of Shabbir.
No
follower or lover is found as loyal as him
Abbas
has changed the history of this world
No
one has been found thirsty ever near the bank of a river (Translated by
Fatima, Farhat)
In the above Rubai Akhtar Zaidi very
beautifully portrays the status of Hussain Ibn Ali {(Alaihis Salaam), The
youngest grandson of Prophet Mohammad, peace be upon him and his progeny.} He
says in the first line that there is not a single person who can be equivalent
to Hussain Ibn Ali (Alaihis Salaam), and in the second line of the
sehr or stanza he praises Hussain’s younger step brother Abbas Ibn Ali (Alaihis
Salaam), and says no one can be as loyal as Abbas in this world because he
has changed the history of this world. During the battle of Karbala Abbas
Ibn Ali (Alaihis Salaam), went to his elder brother Hussain
Ibn Ali (Alaihis Salaam), and said brother if you cannot give me
permission to fight at least let me permit to fetch the water from
the river Euphrates for my niece Sakina and the other children.
After seeking permission he went into the battlefield and when the unruly
forces of Yazid saw him coming they dispersed fearfully because his aura was
such valiant, courageous and charismatic. Abbas Ibn Ali (Alaihis Salaam), reached
the river he took the water in his palm and threw it back saying I will not
drink this water because his master and elder brother Hussain Ibn Ali (Alaihis
Salaam), and his children were thirsty since three days. He was so
loyal that he did not think of his thirst. Thus Akhtar Zaidi praises
Abbas Ibn Ali (Alaihis Salaam), in the last line of the Rubai saying
not a single person will return thirsty from the bank of a river as Abbas
Ibn Ali (Alaihis Salaam), did.
The second form of verse writing done
by Akhtar Zaidi was Manqabat. Manqabat is a Sufi devotional poem mostly
written in the honor of Ali Ibn Abi Talib {(Alaihis Salaam), Cousin
and later Son In Law of Prophet Mohammad} and Ahle Bait (family of
Prophet Mohammad) or of any Sufi saint. Akhtar Zaidi has used selective
words while portraying Manqabat. His words are simple, touching and
melancholic with deep meaning. He has portrayed the following lines
of the Manqabat with selective terminology and rhyming canto.
سکونِ کا مِل رہے گا حا صِل، ہماری راہوں پہ چَل کے دیکهو
علُی کی اُلفت میں غرق ہوکر حُسیُن کے غم میں ڈهل کے دیکهو
Transliteration
Transliteration
Sakune
kaamil rahega haasil, hamari rahon pe chalke dekho
Ali ki ulfat mein gharkh hokar, Hussain
ke gham mein dhalke dekho (Zaidi, Faizan 42)
Perfect Calmness will be
attained, walk on our path (i.e., preachings) and see
Submerge
in the love of Ali and sink in the sorrow of Hussain and see (Translated
by Fatima, Farhat)
In the above Manqabat Akhtar Zaidi
depicts his thoughts to the common people that if you want to attain serenity
and tranquility in your life than follow the route which we follow. The
key that we follow is to immerse ourselves in the love of Ali {(Alaihis Salaam), Cousin
and Later Son in Law of Prophet Mohammad} and descend in the grief of
Hussain Ibn Ali {(Alaihis Salaam), The Grandson of Prophet Mohammad,
peace be upon him and his progeny}
Apart from
Manqabat he also practiced writing verses in the form of a Qasida. According
to T. Graham Bailey in his book A History of Urdu Literature A
Qasida is a kind of ‘ode ‘or lyric poem often a panegyric on a benefactor,
sometimes a satire, sometimes a poem dealing with an important event. As
a rule it is longer than the Ghazal, but it follows the same system of rhyme.
In Arabic Qasida means ‘intention’. A Qasida has a single presiding
subject, logically developed and concluded. It is a eulogy or speech of
praise.
The following couplets of Qasida are
superbly written by Akhtar Zaidi
کفو زهئرا، بهائی احمئد کا، پدر حسنیئن کا
تیرے ہر رشتہ سے ہے تطہیرِ کامِل آشکار
!تیری صورت، صورتِ حق، نفس تیرا، نفسِ حق
عینِ حق تیری نظر تُو مظہرِ پرور دگار
Transliteration
Kuffe Zehra, Bhai Ahmed ka, Pidar Hasnain ka
Tere har rishte se hai
tatheer e kaamil aashkar
Teri Surat, Surat e haq, nafs tera, nafs
e haq!
Ain e haq Teri nazar tu mazhar e
parwardigar (Zaidi, Faizan 80)
Equivalent
in status of Zehra, Brother of Ahmed and father of Hasnain
With your every relation perfect
purification is apparent
Your
face is the face of truth; your soul is the soul of truth!
Your precious eye is of truth and you are
manifestation of Sustainer or Lord (Translated by Fatima, Farhat)
In
the above lines, Zehra (peace be upon her) is the daughter of Prophet
Mohammad, Ahmed is the name of Prophet Mohammad (peace be upon
him) & Hasnain is plural form of both the grandsons of Prophet
Mohammad i.e., Hasan Ibn Ali (Alaihis Salaam), and Hussain Ibn
Ali (Alaihis Salaam).
In
the above lines of Qasida Akhtar Zaidi portrays very skillfully the status of
Ali Ibn Abi Talib.{(Alaihis Salaam), Cousin and later Son in Law of
Prophet Mohammad} He says ‘Ali’ (Alaihis Salaam), is the
husband of Zehra (peace be upon her) because he is on par with her status
and he is the brother of Prophet Mohammad (peace be upon him) also
known as Ahmed and he is father of Hasnain (Prophet’s grandson’s) In the
next line of the Qasida he depicts that all his relations shows his elevated
position. In the first line of second couplet of Qasida he praises Ali
Ibn Abi Talib (Alaihis Salaam), and says to him that his face and
soul both reveal truth and his eye portrays truth and he further articulates to
him that you are the phenomenon of almighty Lord.
The
next category of verses Akhtar Zaidi portrayed was genre of six lines i.e.,
sestain or Misra called as Musaddas in Urdu. The manzarkashi or depiction of
the scenes of Karbala through Musaddas by Akhtar Zaidi is quite real as if a
scene is laid down before us. He had an artistic openness of mind and had
heightened receptivity about the tragedy of Karbala in its full and varied
precision. According to Raza Mir in his book The
Taste of Words: An Introduction to Urdu Poetry ‘A Musaddas may be
simply described as a poem of six lines. Typically, the first four lines
of the Musaddas rhyme with each other, while the last two rhyme in a different
format. The format lends itself to longer narratives and epic
poems’. Some of the exponents of Musaddas were Mir Anis, Mirza Salamat
Ali Dabir, Maulana Altaf Hussain Hali, Iqbal and Waheed Akhtar.
The following is a striking Musaddas by Akhtar
Zaidi
میرے آقا تجهے خالق سے فضیلت بهی ملی
تجهه کو کلثوم سے، زینئب سے محبّت بهی ملی
جو کسی کا نہیں حصّہ وہ شہادت بهی ملی
وقت کی قید سے آزاد حکومت بهی ملی
پیکرِ حُسنو وفا صاحبِ احساس ملا
تیرے نانا کو علئی اور تجهے عبّائس ملا
Transliteration
Mere Agha tujhe Khaliq se fazilat
bhi mili
Tujhko Kulsoom se Zainab se
mohabbat bhi mili
Jo kisika nahin hissa woh Shahadat
bhi mili
Waqt ki qaid se azaad hukumat bhi
mili.
Paeykare husn o wafa sahebe
ehsaas mila
Tere nana ko Ali aur tujhe
Abbas mila (Zaidi, Faizan 147)
My
Master you received superiority from the creator
You
also received love of Kulsoom and Zainab
No one
received the martyrdom which you got
You
received governance that is unrestrained by the confinement of time
You got model of beauty and fidelity
and owner of realization
Your grandfather got Ali and you
got Abbas. (Translated by Fatima, Farhat)
In
the above lines of Musaddas Akhtar Zaidi portrays his Stream of Consciousness.
In his conscious mind through his poetry he is speaking to Hussain Ibn Ali {(Alaihis
Salaam), Grandson of Prophet Mohammad.} He says to Hussain Ibn
Ali (Alaihis Salaam), Oh my Master! The creator has bestowed you
superiority over other human beings. You have also received love of
your sisters Kulsoom and Zainab (Granddaughters of Prophet Mohammad, peace be upon
them.) In the third line of Musaddas he says to Hussain Ibn
Ali (Alaihis Salaam), that the creator has ranked you among the first
and best of martyrs. Your governance is unrestrained by constrains of
time. And in the fifth line he praises Abbas Ibn Ali {(Alaihis
Salaam), younger step brother of Hussain Ibn Ali (Alaihis Salaam)} and says you got a model of beauty and fidelity along with faithfulness.
If your grandfather has got Ali {(Alaihis Salaam), cousin and later
son in law of Prophet Mohammad} than you got Abbas Ibn Ali (Alaihis
Salaam). Both Ali (Alaihis Salaam), and
Abbas (Alaihis Salaam), are not only father and son but also they
have similar characteristics. Both were chivalrous, faithful and good
associates to Prophet Mohammad (peace be upon him) and Hussain Ibn
Ali (Alaihis Salaam) respectively.
The next form of verse writing practiced by Akhtar Zaidi was Salam. Salam
is a lyrical salutation or a respectful ceremonial greeting recited in
reverence of Ahle Bait. Soz, Salam and Marsia together are known as Sozkhwani.
According to Ashok Damodar Ranade in his book Music Contexts: A Concise
Dictionary of Hindustani Music "Salam is more flexible in respect of
tempo of rendering and it can be rendered slow or fast as required"
(Ranade, 127)
The following are beautiful lines of Salam
by Akhtar Zaidi in praise of Ali Ibn Abi Talib {(Alaihis
Salaam), Brother and later Son in Law of Prophet Mohammad}
یاعلئی کہتے ہی ٹل جاتی ہے مشکل اختّر
جب بهی آواز دو اِمداد مہں تا خیر نہیی
جب بهی آواز دو اِمداد مہں تا خیر نہیی
Transliteration
Ya
Ali Kahte hi tal jaati hai mushkil Akhtar
Jab bhi Awaaz do imdad mein taqir
nahin (Zaidi, Faizan 212)
When I say O’ Ali My difficulties vanish says
Akhtar
Whenever I call him he helps me
without delay (Translated by Fatima, Farhat)
The above lines of
the Salam are of invocation to Ali Ibn Abi Talib (Alaihis
Salaam), and the poet says whenever he calls Ali Ibn Abi Talib {(Alaihis
Salaam), Cousin
and later Son in Law of Prophet Mohammad } his difficulties vanish and Ali Ibn Abi Talib (Alaihis
Salaam), comes to help him without any delay.
The following is an excerpt from Akhtar Zaidi’s heart rendering noha
Noha is one of the subsequent forms of
poetry practiced by Akhtar Zaidi to portray his thoughts. A Noha or dirge
is a gloomy song or lamentation about the tragedy of Hussain Ibn Ali {(Alaihis
Salaam), grandson of Prophet Mohammad} in the Battle of
Karbala. It is along with Soz a sub-part of Marsia. It is usually a poem
of mourning. Usually the poet or the reciter laments the noha with plaintive
rhythm. The main subject of the noha is the pain from the killing of
Hussain Ibn Ali (Alaihis Salaam), and his 71 associates in the battle
of Karbala and the grievances afflicted on his household after his shahadat or
martyrdom.
The following is an excerpt from Akhtar Zaidi’s heart rendering noha
بهیّا تمہارے بعد انوکهے سِتم ہوئے
دُرّے لگے ردائیں چِهینی خیمے جل گئے
بانو کے قلب کا وه سہارا بهی جل گیا
ماں دیکهتی ہی رہ گئ جهُولا بهی جل گیا
بهائی کی قبر ہل گئ خواہر کے بین سے
زینئب لپٹ گئ ہے مزارِ حُسیئن سے
Transliteration
Bhaiya tumhare baad anokhe sitam huwe
Durre
lage ridayein cheeni khaime jal gaye
Bano
ke qalb ka woh sahara bhi jal gaya
Maa
dekhti hi rah gayii jhula bhi jal gaya
Bhai ki qabr hil gay-ii quahar ke bain se
Zainab lipat gay-ii hai mazare Hussain se (Zaidi, Faizan 231)
Brother
after your martyrdom peculiar oppression's occurred
We
were whipped, our veils were taken forcibly and our tents were burnt
The support of Bano’s heart was also burnt
Mother was looking on and the hammock of her infant
son was also burned
Brother’s
grave was shaken by the bemoaning of his sister
Zainab
clinged to the mausoleum of Hussain (Translated by Fatima, Farhat)
{In the above lines
Bano (peace be upon her) is the wife of Hussain Ibn Ali (Alaihis
Salaam), Grandson of Prophet Mohammad, and Zainab (peace be upon her) is the younger sister of Hussain Ibn Ali (Alaihis
Salaam) and Granddaughter of Prophet
Mohammed.}
In
the above lines of Noha Akhtar Zaidi portrays the grief of a sister, Zainab
(peace be upon her) when she returns to her brothers place of
martyrdom. She complains to her slain brother the hardships they faced
after he was no more. The first line portrays the unthinkable afflictions
they underwent. In second line she gives a gist of those oppression's
like they were lashed, they cloaks were forcibly taken and they tents were
burnt. She further complains to his brother that his wife, Bano’s cause of
living was also taken away from her. Because they also burnt the wooden
hammock of her infant martyred son. Thus her brother’s {Hussain
Ibn Ali’s (Alaihis Salaam)} grave shook by the bemoaning of
his sister when she clinged to his grave and wailed.
Thus, the different ideas and thoughts embodied in Akhtar Zaidi’s various forms
of verse writing portray to us the power of his imagination. The words he
chose to portray the happenings of Karbala are excellent. He remained a
pleasant charisma for the people around him in his later years of life
especially for Shia community who eulogized Hussain Ibn Ali (Alaihis
Salaam). Akhtar Zaidi occupies a special position in the
contemporary era of Urdu Literature. He was not only a versatile
poet but also a straightforward, down to earth, self-reliant and modest human
being. Most of the mourning congregational prayers in Hyderabad end the
bemoaning of Hussain Ibn Ali {(Alaihis Salaam), Grandson of Prophet
Mohammad} with the beautiful rubai of Akhtar Zaidi. This
rubai is sung as a Dua (an act of supplication) addressing Fatima Zehra {(peace be upon her, daughter of Prophet Mohammed and mother of
Hussain Ibn Ali (Alaihis Salaam)}
چین دُنیا میں مِلے، راحتِ عقبیَ مل جائے
شدّتِ عِشق مِلے، غم کا سلیقہ مِل جائے
کاسُہ دل لُے حاضِر ہیں درِ دولت پر
فاطمُہ آپ کی اولاد کا صدقہ مِل جا ُے
Transliteration
کاسُہ دل لُے حاضِر ہیں درِ دولت پر
فاطمُہ آپ کی اولاد کا صدقہ مِل جا ُے
Transliteration
Chyan
duniya mein milay rahate oqba mil jaye
Shiddate
ishq milay, gham ka saliqa mil jaye
Kasaye
dil liye hazir hain dare daulat par
Fatima
aapki aulad ka sadqa mil jaye (Zaidi, Faizan 24)
We should get peace in this world and
contentment of friends
We should get the intensity of love
and the knack to bear sorrow
We have brought the begging bowl of
our heart at your door step
Oh Fatima!! Give us the charity of your children (Translated by Fatima, Fatima)
References
The above Rubai is in the form of a
pleading where Akhtar Zaidi as a devotee pleads to the daughter of Prophet
Mohammad her reverence Bibi Fatima Zehra in a congregational prayer that please
give us peace in this world and the pleasantness of the people around us, give
us the passion of love and the correct manner how to be patient in
sorrow. We have brought the begging bowl of our heart at your
doorstep. Oh Fatima! (Daughter of Prophet Mohammad, peace be upon him and
his progeny) give us the sadaqa or voluntary charity or benevolence of your
progeny
On 4th April
2009 at the age of 76 years Akhtar Zaidi a well-known orator, creative poet,
scientist and luminary hailed as one of the most outstanding versifier in Urdu
literature passed away. Akhtar means ‘star’ in Persian language. Thus, a
brilliant star of the world transited to the hazel galaxy of stars to an abode
of peace and tranquility, to an abode of serenity and calmness. He is buried in
Hyderabad at a graveyard known as Daire Mir Momin. He is
survived by his wife, two sons Hyder Zaidi, Tahir Zaidi and a daughter Zahida
Fatima Zaidi and numerous followers. The service of Hussain Ibn Ali
{(Alaihis Salaam), Grandson of Prophet Mohammad, peace be upon him
and his progeny} has been continuing in the family of
Akhtar Zaidi through oration by his eldest son Hyder Zaidi, Son-in-Law Abid
Bilgrami and grandsons. Thus Akhtar Zaidi a dedicated admirer of Hussain
Ibn Ali (Alaihis Salaam), Grandson of Prophet Mohammad} and Ahle
Bait (Family of Prophet Mohammad) after spreading fragrance through his various
forms of poetry left this temporary world for a permanent destination in
paradise. His poetry has made a mark in the anthologies of Urdu
Literature and he is considered as one of the best among his contemporary
poets.
Bailey, T.Grahame A History of Urdu Literature, Introduction
1932 London 2 Print
Mir,Raza
The Taste of Words: An Introduction to
Urdu Poetry Penguin Books India 2014 https://books.google.co.in/books?id=nCehAwAAQBAJ&pg=PT40&lpg=PT40&dq=exponents+of+musaddas&source=bl&ots=iOKgJORGz0&sig=P6OXFOT3tLULvBCR4Svm01/03/2017
Web
Ranade, Ashok Damodar
Music Contexts: A Concise Dictionary of
Hindustani Music 2006 Promilla and Co.Publishers, New Delhi 127 Print
Society, Iran Chamber
A Brief History of Persian Literature http://www.iranchamber.com/literature/articles/history_literature.php
28/01/2017 Web
Zaidi, Allama
Akhtar Faizan Anjuman e Azadaranein Ahle Bait, Hyderabad 1990 2nd
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---. Faizan Anjuman e Azadaranein Ahle Bait, Hyderabad 1990 2nd Edition 24 Print
---. Faizan Anjuman e Azadaranein Ahle Bait, Hyderabad 1990 2nd Edition 42 Print
---. Faizan Anjuman e Azadaranein Ahle Bait, Hyderabad 1990 2nd Edition 80 Print
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---. Faizan Anjuman e Azadaranein Ahle Bait, Hyderabad 1990 2nd Edition 212 Print
---. Faizan Anjuman e Azadaranein Ahle Bait, Hyderabad 1990 2nd Edition 213 Print
English Translation and Transliteration is done by Farhat Fatima, Research Scholar JNTUH, Kukatpally - Hyderabad.
This paper has been
published in Literary Endeavour (A Quarterly International Referred Journal of English Language, Literature and Criticism) by Chief Editors: Dr. Ramesh Chougule & Dr. S. Subbiah (ISSN 0976-299X): Vol. VIII: Issue: 2 January, 2017) www.Literaryendeavour .org pg.9-14
