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Muslim Legends

Qamar Jameel

Writer, Poet, and Editor

Qamar Jameel is regarded as one of the creators of prose poetry and is credited with initiating new tendencies in Urdu literature. He was a prominent critic, writer, poet, and editor in Pakistan. Qamar Jameel was born in Hyderabad, Deccan, on May 10, 1927. After the split, he moved to Pakistan. He had a lifelong enthusiasm for reading and literature, which drove him to begin writing, and he went on to make a name for himself in the literary world in the years that followed.

He was from the district of Baliya’s Sikanderpur. He did his twelve grades at Allahabad and his bachelor’s degree at Osmania University in Hyderabad. Jameel is an author of two poetry volumes, Khwab Numa and Chahar Khwab. Jameel was the pen name he used while he wrote. He had authored several papers in favor of Nasri Nazm in addition to creating it, and a few of his studies on the structural understanding of literature were deemed magnificent works of art. Jaded Adab Ki Sarhadein is a two-volume compilation of such articles. He died in Karachi on August 27, 2000.

Qamar Jameel was the creator of a prose poetry movement that began in Karachi and extended throughout the Urdu world. In the 1970s, prominent young poets in Karachi backed the prose poetry trend and created prose poems. Qamar Jameel also encountered a lot of hostility, yet without prose poetry, modern Urdu poetry appears incomplete. Is. After the partition, not a single outstanding poet emerged in a ghazal. A great and great poet is no longer a thing. However, I am certain that prose poetry can capture the spirit of our day and that poets will soon elevate it to worldwide levels.

Qamar Jameel goes on to say, “I have never been so impressed with the fame of European poets. Arrive we are reborn after the fall of the East. In this situation, I do not consider my poets, whether they are classical poets or young poets, inferior to the famous European poets on the basis of fame alone. The fame of our poets is also associated with the rise of our civilization. I see their essence. I want to encourage these young poets. Many people are just stunned by the name of Europe and can’t even imagine that our poets or artists can ever be equal to Europe.”

Qamar Jameel has dedicated his life to the advancement and promotion of poetry and literature. He served as a senior producer for Radio Pakistan in Karachi, where he provided vital and noteworthy broadcasting services. He also championed the case of Pros Poetry and provided mental and literary training to new authors. Aside from the canteen, he was also participated in the most significant literary debates on the radio in his own unique area.

People from Sheerwa Dab also used to come to Qamar Jameel’s residence till late at night. Along with poetry, Qamar Jameel was a brilliant critic. He also contributed a weekly column to the ‘Darwazye’ newspaper. While he was writing about life, his collection of articles ‘Borders of Modern Literature, Volume I and Volume II’ became quite famous. In recent years, an influential literary journal named ‘Daryafat’ was produced, which was well-received in Pakistani and Indian literary communities.

Well-known poet and critic Khawaja Razi Haider has rightly written, “Qamar Jameel is basically an important poet in terms of his intellectual culture and power of expression. Although he has also paid attention to prose literary criticism, poetry is the central point of his unity.”

Around this central point, Qamar Jameel’s unity undergoes a “pluralistic process” and they are divided into different cells, but despite being divided into these cells, neither their identity nor their poet is divided. It is a different matter that in this “pluralistic process” he sometimes descends into the abyss of self-doubt, but in spite of this, he seems to be engaged in his retrieval because his retrieval is the main characteristic of a modern poet.

Qamar Jameel entered the House of Izhar with mesmerizing poems like “The Flood of the Nile” and “Dreams of the Tigris” and was soon captivated by the ghazal. He started prose with a giggle. He chuckled in the gulch of criticism and then adopted a free poem. There were a lot of crowds here. Feeling suffocated, he even saw his own identity being damaged, so he rushed to get out of the crowd and reached the courtyard of the man’s first medium of expression, drawing, and coloring. Began to transfer the blue senses to the canvas, but here too he did not find the abundance of contentment in which he had thrown himself into the fiery furnace of the “pluralistic process” the poet of the dark senses. ۔ Qamar Jameel: “Mirror” in his ghazals and “horse” in prose poems is the basic poetic symbol. Perhaps they take the meaning of self-accountability and criticism from the mirror and the symbol of strength from the symbol of caste and horse. They are against it and they have tried to ban it themselves.

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