User talk:YASIR ABBAS RAJETVI

امیر خسرو دهلوی

مده پندم که من در سينه سودايي دگر دارم زبان با خلق در گفت است و دل جايي دارم

خرامان هر طرف سروي و جان من نياسايد که من اين خار خار از سرو بالايي دگر دارم

مرا اين تشنگي از بهر آبي ديگرست، ارنه نمي بيني که در هر ديده دريايي دگر دارم

طبيبا، خويش را زحمت مده چون به نخواهم شد که من اندر سر شوريده سودايي دگر دارم

ترا گر راي خونريز من مسکينست، بسم الله چه مي پرسي ز من، جانا، نه من راي دگر دارم

به بازار تو دل را من بريد يک نظر کردم کرم کن يک نظر ديگر که کالايي دگر دارم

همه مستي من در کار چشم و زلف و رويت شد لبم خاموش و در هر يک تقاضايي دگر دارم

مران سوي کسانم چون تنم شد خاک در کويت نماند آن سر که جز پاي تو دريايي دگر دارم

نمي انديشي از دمهاي سرد من، نمي داني که در هر کو چو خسرو بادپيمايي دگر دارم

PERSIAN WORKS OF MIRZA SALAMAT ALI DABEER
--YASIR ABBAS RAJETVI (talk) 10:44, 15 February 2015 (UTC)yasirabbasgazi

The Persian language was came to India with the Mehmood Ghaznawi’s attack and becomes famous because of its sweetness and politeness, and has gradually expanded during the Timurid kings peaked and become the courtly language. Literary fame terror, Cuddle kings and princes and rulers of the land of poets and artists attracted attention. So they went from every nook and corner of Iran to India, that number is too high. Every poet’s dream and heartly wish to meet Indians kings and princes. But Engels dominate the Persian language and color of prosperity and began losing its past glory. Nineteenth century, the last of the glorious history of Persian literature in India. Most of the time, the poet had zulsanyn.means they were reciting poetry in two languages(Urdu, Persian). And this is one of the features of this period. This time around the Persian poet and writer in various corner of India, trying to light up the Persian literature lamp,and their literary works and signs are still preserved in the libraries. Indicate that their sundry poems and poets that most of the Ghazal, Masnavi, and focus more on thy reflection. Here are just a few of the leading poets, Mirza Asad-ul-Allah Ghalib, Hakeem Momin Khan, Shah Niyaz Ahmed Bareilvi, Chandoo Lal Shadan, Nawab Mustafa Khan Shefta, Molvi sadrud deen Aazurdeh, Munshi Hargopal Tuftah, Molvi Fazle imam, Syed Muzaffar Ali, Mirza Salamat Ali Dabeer. Mirza Salamat Ali Dabeer has a specific place in 19th century Indian poets. He was a leading Urdu poet who excelled and perfected the art of Marsiya writing. He is considered the leading exponent of Marsiya Nigari or marsiya writing along withMir Anees.Mirza Dabeer was born in 1803 in Delhi. A few days after his father, Mirza Ghulam Hussain migrated from Delhi to Lucknow .His grand father Hashim Shirazi was the brother of Aehli Shirazi, and he has Pride March is an imitation on  Aehli Shirazi’s authorship Halal Sahar. He studied traditional text books all this time. Most studies have been completed and the expert.he completed his study at 18 years old. He started reciting poetry since childhood and at 12year age he cesite a Quaternary in Urdu. He recite the Marsiya during Muharram ceremonial gatherings called majalis (singular-Majalis). He started writing poetry under the tutelage of Mir Zameer. Dabeer himself was an erudite scholar of his time. He migrated from Delhi to Lucknow, where he found suitable environment to develop and demonstrate his skills in marsiya and other poetry writing. However, the real reason for their popularity is their writing Urdu elegy,he had complete control on Persian like other most of the 19th century poets, and his Persian poetry is outstanding and very serious and attract the scholars .His other work has not identified but is hidden. Also his lament writing Urdu ,Persian memorable playing pickle are very valuable. As well as their Urdu signs, Persian must also introduce evidence. He has not only recite poetry but have left their many traces in the Persian prose. Sadly very few people are aware of their Persian works. So title of my research on this topic is given below.”A critical study of Persian works of Mirza Salamat Ali Dabeer”. This thesis is thus setting: Cahpter 1: The political, social, literary conditions of Mirza Salamat Ali Dabeer’s Period Chapter 2: The Famous Poets in Mirza Salamat Ali Dabeer’s Period Chapter 3: Life and works of Mirza Salamat Ali Dabeer Chapter 4: Criticism on Persian poetry works Mirza Salamat Ali Dabeer Chapter 5: Criticism on Persian prose works Mirza Salamat Ali Dabeer Conclusion.