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گردشِ رنگِ چمن ☉ [PDF / Epub] ☆ گردشِ رنگِ چمن By Qurratulain Hyder ❤ – Thomashillier.co.uk Amazing Books, گردشِ رنگِ چمن Author Qurratulain Hyder This is very good and becomes the main topic to read, the readers are very takjup and always take inspiration from the contents of th Amazing books, گردشِ رنگِ چمن Author Qurratulain Hyder This is very good and becomes the main topic to read, the readers are very takjup and always take inspiration from the contents of the book گردشِ گردشِ رنگِ Kindle - رنگِ چمن, essay by Qurratulain Hyder Is now on our website and you can download it by register what are you waiting for? Please read and make a refission for you.

About the Author: Qurratulain Hyder

Qurratulain Hyder was an influential Indian Urdu novelist and short story writer, an academic, and a journalist One of the most outstanding literary names in Urdu literature, she is best known for her magnum opus, گردشِ رنگِ Kindle - گردشِ رنگِ PDF or Aag Ka Darya River of Fire, a novel first published in Urdu in from Lahore, Pakistan, that stretches from the EPUB is an ebook file format that uses the epub th century BC to post partition of India Popularly known as Ainee.

10 thoughts on “گردشِ رنگِ چمن

  1. Tarun Tarun says:

    قرۃ العین حیدر کا شہکار ناول 'گردش رنگ چمن ' بہت پسند آیا . دیوالی سے ایک روز قبل تُحفتا ًملی اس کتاب نے بسنت کے تہوار تک چار مہینے میرا ساتھ دیا . بلبل ہزار داستان نے جو افسانہ سنانا شروع کیا تو دہلی ، اودھ ، مغربی یو. پی . ، لندن اور نہ جانے کہاں کہاں کی باتیں نکلیں . عینی آپا کی عندلیب شاخ بہ شاخ پھدکتی ، چہچہاتی گئی اور اس وسیع کینوس پر انواع و اقسام کے نقش ابھرتے گئے . مصیبت کی ماری مغل زادیاں ہوں یا خود مختار 'مخلوط النسل ' ڈانسر ، عینی آپا کا زریں قلم اپنی رفتار سے برابر آب دار کردار تراشتا رہا . کہیں کہیں تصوف کے پھیر میں چال کچھ سست ضرور پڑی لیکن مجموعی طور پر کارواں پوری سرعت سے بڑھتا رہا

    . فی ماہ ایک ستارے کے حساب سے کتاب کو چار ستارے دیے جاتے ہیں

  2. Osama Siddique Osama Siddique says:

    There are writers who undertake the exploration of the depths of a single individual's personal universe - for as Ghalib says we all contain and encompass an entire universe of our own. Others can well capture a particular place, a moment in history, or the particularities of a locale. Qurat-ul-Ain Haider operates at a very different scale altogether. She is one of those rare geniuses whose writing embraces entire civilizations. To my mind what sets her apart from any other writer in Urdu - though I look upon her as a global great and not just the greatest Urdu novelist - are both her equal facility with modernity and tradition (she is as familiar and at ease with western literature, social norms, and philosophy as she is with Hindustan's multicultural, multi-linguistic and multi-religious ethos and history) as well as the complexities of the seismic shifts when entire civilizations collide and what emerges thereafter from the chaos and the rubble.

    Yet while having this vast and grand sweep Haider also excavates the internal universes of her characters like few others do. Gardish-e-Rang-e-Chaman is a superb example of Haider at the heights of her observational and descriptive powers as her characters - primarily highly sophisticated courtesans forced into a way of life due to vagaries of fortune - come to terms with a tumultuous change of political and social order. The vestiges of a culturally advanced, politically weakened and socially decadent Mughal empire giving way to a voracious colonial power and its operatives provides the rich backdrop for this novel. Her politics is both critical at some level of the decadence but also critical of colonial and colonial influenced tendencies to denigrate pre-colonial ethos, practices and normative frameworks. Shamsur-Rahman Faruqi's magnum opus کئی چاند تھے سر ٓاسماں 'Kai Chand thai Sar-e-Asman' in that sense appears to be a continuity of this tradition.

    Tracing the lives of certain female survivors of the 1857 upheaval (and also their successors who seek refuge in higher education, professionalism and high culture), Haider provides brilliant insights into the multifarious aspects of a civilization on the decline and a society undergoing cataclysmic transition; an old order reluctantly dying and a voracious new one emerging; and various people clinging on to a dying tradition and ethos as well as newly emergent entrepreneurs, carpetbaggers and opportunists. Whether it is the travails and misfortunes of Nawab Fatima urf Nawab Begum and Dilnawaz urf Hajjan Bibi or the battles with the skeletons of the past faced by Dr. Umbreen Baig and Andaleeb Banu, Haider conveys the depths and multi-textured nature of complex emotions with great dexterity through multiple strong female characters. The upstartish popular novelist Nigar Khanum and her coquettish sister Shehwar Khanum, on the other hand, are the source of much mirth in what is otherwise a deeply sad and reflective novel.

    In the process, she also delves in metaphysical explorations, social commentary and an enticing description of objects, rituals, vocations and aspects of life that have now died out. This is as much a philosophical commentary on time and the transience of everything as well as the pathos of human existence as it is a treasure cove of a language, way of life and era that is forever erased. But it is neither soppy romanticization and nostalgia nor a pedantic critique and wringing of hands. The experience is more like time travel as Haider recreates a now alien world and the text is rich and open to multifarious takes and meant to provoke reflection and introspection.

    When it comes to creating an atmosphere and pure pathos Haider is a conjuror with words. Very early in the book the chapter 'Sarai Tughral Beg' describes the horrors of cataclysmic political upheaval and how it casts away like autumn leaves two young orphaned girls Dilnawaz Begum and Mahro Bano Begum before the winds of fate. As a storm rages - actual and political - the girls take refuge in an empty Tandoor in a caravanserai that is now the scene of public executions of freedom fighters, recent bloodshed and the decimation of an age. As wild animals howl in the near distance the corpse-strewn place is uninhabited but for the two terrified orphans - Their story starts from this memorably harrowing scene. A little later in the book arrives the heart-rending chapter 'Dasht-e-Maria' which initiates the story of another poor orphan girl Gulrukh Banu who later comes to be known as Nawab Fatima/Nawab Begum, thrown to the dogs of fate after those entrusted to watch out for her by her ailing father decide to usurp her inheritance and reduce her to being an ill-used domestic servant. Together these two and various other subsequent chapters underline time and again the recurrent title and theme of the book 'Gardish-e-rang-chaman' - borrowed of course from Ghalib's melancholic lines -

    عمر میری ہو گئ صرف بہار حسن یار
    گردش رنگ چمن ہے ماہ و سال عندلییب

    denoting the transience and brevity of time and beauty, much like the besotted life of the nightingale that is as short as the transition of color in its beloved garden, its months and years encapsulated in a single season.

    Haider is both a cultural and linguistic archivist and an aesthete and yes indeed at various levels also a romantic with a penchant for the picturesque and though some may feel her narrative to be too sprawling and unstructured I find that to be her great strength - she is no standard, straight-jacketed story teller but someone who magically weaves her web and explores tales and matters of epic proportions. I find her eye for detail, her playful tangents and her always interesting trivia to be fascinating - populate, enrich and authenticate as it does her larger narrative and story. While she weaves and carries forward the strains of her inter-connected stories she regularly provides vignettes and insights into clash of values and cultures, decadence, decline and fall of civilization, with the special focus and locale of this novel being Oudh, Lucknow and the Muslim culture of the these areas - another worth savoring aspect of the book are the passages on the architecture, landmarks and surrounding country of glorious Lucknow.

    Gardish-e-Rang-e-Chaman is also quite intriguing and absorbing because of an entire portion dedicated to spirituality with Haider producing a compelling exchange between scientific and anti-superstition rationalists and those convinced that those of higher spiritual elevation can achieve supernatural powers and miraculous insights. The primary character here is Raja Dilshad Ali Khan - scion of a small feudal family, elegant, Clark Gable look-alike, caddish, and an incorrigible fraudster targeting luxury cruise liners and international haunts of the well-heeled - who despite his deep cynicism and embedded rationality and pragmatism encounters experience after experience that enamors him to the realm of the spiritual and the sufic. The enigmatic character of 'Mian' the youthful Qutb and spiritual leader is quite memorable, as are Raja Dilshad's encounters with him and the witnessing of his 'special gifts.'

    As we continue to lose our ability and interest in and appreciation for reading someone like Haider we are already and eventually will totally lose an entire civilizational, cultural and linguistic heritage and to my mind there is no doubt that we are much impoverished, more enslaved and less profound due to it. Not just the Ganga-Jamuni tehzeeb/culture, Haider is equally steeped in the art, culture and traditions of the west, colonial transitions, and Indic Islamic civilization and spirituality, which is what makes her work so rich in references and allusions.

    Haider is a writer's writer and while pygmies will continue to chatter hers is a colossal presence in our literary pantheon. I usually try and avoid such superlative descriptions but she truly deserves them as there is simply no one like her in our literary tradition - and she is a writer of not just sub-continental but international significance. We neither sufficiently acknowledge and celebrate what a truly global stature she has nor do we truly recognize that our greatest prose writer - and by our I mean not just us but all of Hindustan - is a woman.

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