Baba Fareed kalam punjabi urdu script

Baba Fareed kalam punjabi urdu script

Download

OR

Baba Fareed kalam punjabi urdu script by (novelsok.com)

Farid's position as the first known Punjabi poet is a matter of curiosity as well as reassurance. The saintly Bawa Sahib (1173-1266A.D.) stands at the far end of Punjabi poetic tradition in an eminent isolation. Nearly three centuries pass before another figure of any status relieves the curious blank.

Farid's renown as a mystic enhances his isolation as a poet. There is, around the Bawa Sahib, a halo of revered legends - a halo, which sometimes seems to touch his poetry and absorb it into itself, and sometimes to focus on the more popular aspects of sainthood and leave out poetry entirely. The curious student of history may follow the arbitrary movements of this legendary halo and strain his eyes between frustrating darkness and suddenly vanishing promises of light.

But paradoxically this isolation of Farid the poet does not, in the larger perspective of the tradition of Punjabi poetry appear to indicate any jolting discontinuity. Once equipped with this perspective we see in Farid a near kin of the later lyric writers and narrative poets. Indeed, if we could rest content with our present knowledge of history, he appears the first manifestation of certain recurrent patterns through which the tradition in Punjabi poetry works. Not that the later poets consciously followed any precepts or precedents left by Farid in matters of technique and choice of subje6.t. The integral relation between Farid and those who follow him at an apparently improbable distance of three centuries could be clearly comprehended only by realizing the nature and working of a poetic tradition.

The commonly prevalent notion of poetic tradition is that of a body of defined principles, and accepted practices, concerning the more obvious aspects of poetic art. Tradition in this sense is thought to take a concrete shape at an early stage in the hands of masters and then passed down to posterity who are to follow it to the detail with meticulous fidelity. This distorted view of tradition and its relation to poetry at any given moment results in the development of a conventionalized idiom. As the poets assiduously imitate the idiom of their predecessors preserving sanctity of old technical modes, they identify the word tradition with the tyranny of certain images, words and rhythms. This tyranny is hard to resist-by their daily surrender the poets continue to authenticate and perpetuate it. They are forced to exercise their ingenuity within the scope offered by these words, images and rhythms.

This commonly prevalent view of tradition is scarcely helpful in appreciating Farid's relation with later poets. Using an old analogy, poetry is the changing, developing foliage, tradition the sap that issues from the past. Tradition to the poet at any particular moment manifests itself in a series of recurrent patterns in the work of the poets before him. These recurrent patterns have corresponding patterns in the consciousness of the people to which the poetry belongs. Poetic tradition thus is a dynamic factor that asserts itself on its own, interpreting the present through its present shape and assuming fresh shapes with every new moment. It is in this latter sense of the word tradition that, we find Farid skipping the disconcerting lapse of ages to sit in the company of seventeenth and eighteenth century "Kafi" poets like Shah Hussain and Bulleh Shah. One should not, however, hasten to the conclusion that F arid and the later poets have many overt resemblances - for such resemblances would only prove the presence of the static conception of tradition mentioned earlier. As an individual poet, Farid is temperamentally distinct from either Hussain or Bulleh Shah.

The poetry of Farid consists mainly of "Dohras." A Dohra as used by Farid is a rhymed couplet. Each of the lines generally has a caesura, the significance of which varies according to the meaning. The Dohra is a complete and self-sufficient unit unless, as on rare occasions, it is followed by a complementary couplet. Usually one of the lines of the Dohra bears the name of F arid.