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Ya ALLAH! Mere Walidain ko un 70 hazar logon mein shamil farma yehi haqeeqi tableegh hai.Īaj jitne bhi hath teri barghah mein uthy han,ĭua Hai kisi ki dukh ki wja kabhi meri zaat na ho Jab tum kisi ka koi aeib dekho tou ussay apne andar talash karo, Jummah Mubarak! ALLAH TA’ALA aap ko aise hazaron jummay naseeb farmaye.īeshak zindagi thaka dene wali cheez hai or jab tum thak jao Or jo post parh rahe hain un sab ki dili muradain, tamanian, khwahishain, aasain,
mere jo gunah TERE ilm mein hainĪy kainat ke MALIK iss mubarak din ka sadqa, hamare pyaron, aziz rishtadaron ki He recited some of these poems in such a way that the listeners, for whom these poems were ambiguous, meaningless and far from poetry, they too became enchanted by them even managing to discover in those poems a bit of poetry.Ae Mere RAB! Bakhsh De or raham farma. Then, Famous actor and broadcaster Zia Mohiuddin experimented with reciting Noon Meem Rashid's poems at various events. When new poetry appeared in the form Azad Nazm, it found no takers as no one seemed willing to listen to it. … Anis ne is andaz se paDhi ki mujhe sho’le bhadakte hue dikhai dene lage aur main un ka padhna-sunna mein aisa mahv hua ki tan-badan kaa hosh na rahaa.” Sho’le tirii talaash mein baahar nikalte hain Saato.n Jahannum Atish-e-Furqat mein jalte hain
“Ek martaba Ittefaqan Anis Ki Majlis mein shirkat hui. A contemporary of famous Marsiya-reciter Meer Anis, and who didn’t find favor with Anis’s Marsiya composition, wrote: Although Taht-ul Lafz recitation is common in Mushairas, but those who recited Marsiyas (elegies) in this manner in mourning assemblies, turned it into a dramatic artform. However, in Taht-ul-Lafz, one enjoys the full effect of poetry with the grandeur of words and the crescendo of the rise and fall of the reciter’s voice. If read in Tarannum, the reciter’s tone and voice largely draw the attention of the audiences. Poetry that’s recited without a Tarannum (tune) is known as ‘Taht-ul-Lafz’, or differently, ‘Taht Mein Padhna’.
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