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Mohsin Naqvi - Ye pichle ishq ki baatein hain

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  • Description: Mohsins poetry is a mixture of love and hate. Love for the beloved ones and hatred for the enemies of beauty, love, compassion, sublimity and the dignity of man.



    In poetry, great importance is attached to the task of recreating emotional and sensuous experiences. Poet "wanders lonely as a cloud", gathers celestial ideas and feelings, enters the sphere of imagination, searches appropriate words and recreates a new world in harmony with his perceptions, reflections, morals and commitments. All men can kill the things they love but poet kills himself in order to manage the survival of his loved ones. A reader is welcomed by a diction imbued with a delicate blend of protest and love upon entering the world of his recently poetic collection, Tulu-e-Ashk. Phoenix rises from his own ashes but here the poet has chosen the metaphor of tears to express the stuff, the dreams of a better morrow are to be made of. In Tulu-e-Ashk, one neither finds any lack of practical struggle nor a cumbersome presence of an aimless confusion of ideas, more often than not generated to hoodwink intellectual debilitation. Calling a spade a spade, he writes,



    "In spite of overwhelming tyranny, confounding hatred and turmoil around me, I am neither disgusted nor disillusioned with the significance of human relation, strength of passions, universal appeal of everlasting peace, victory of truth and domination of love over cold calculations."



    Obviously, a hermit or a blockhead could not make these claims; however, we must accept this harsh reality that literature or art cannot solve the problems of deserted fields, famine stricken towns and miserable human beings. Poets and artists cannot snatch the right to live for the dying people. Then, how can we expect the poets will cross the rivers of fire and water. If poets could treat humanity of its complicated maladies, then it would have been meaningful to request the poets to set aside all activities except writing poetry. However, such an approach can only damage the art of poetry and the poor chaps may get themselves into troubled waters. So poetry should not be employed to stall the bulging waves of flooded rivers nor expect to water the drought-stricken fields. The poetic compositions can only substantiate the struggle waged by the really decisive forces. He can neither fight dictatorial and fascistic injustice nor hope to succeed in isolation.



    Unfortunately our poets generally ignore this reality and strive in vain to prostitute their art for objectives altogether outside the jurisdiction of their craft. Mohsin Naqvi, along with quite a number of other Urdu poets, took a leaf out of faiz's book and mocked the poets who betrayed some partiality for sensuous and aesthetical values without thinking much of social concerns. He chose to address the socio-political issues and protested against despotism and dictatorship. Mohsin decried the things bothering his conscience. His poetic imagination and artistic treatment chose to do

    away with the meaningless romantic sobs. However his poetry has ample demonstration of the fact that a poet cannot fare well without the love expressions based on reality
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