Features of Urdu Script
VocabularyUrdu's vocabulary has borrowings from various languages. A corpus-based quantitative survey of the etymological origins of basic Urdu vocabulary is shown in the adjacent table. Many of the words of Arabic origin have been adopted through Persian and have different pronunciations and nuances of meaning and usage than they do in Arabic. There are also a smaller number of borrowings from Chagatai, and Portuguese.
Levels of formalityUrdu in its less formalised register has been referred to as a rek̤h̤tah (ریختہ, ), meaning "rough mixture". The more formal register of Urdu is sometimes referred to as zabān-i Urdū-yi muʿallá (زبانِ اُردُوئے معلّٰى ), the "Language of the Exalted Camp", referring to the Imperial army. The etymology of the word used in the Urdu language for the most part decides how polite or refined one's speech is. For example, Urdu speakers would distinguish between پانی pānī and آب āb, both meaning "water"; the former is used colloquially and has older Indic origins, whereas the latter is used formally and poetically, being of Persian origin. If a word is of Persian or Arabic origin, the level of speech is considered to be more formal and grand. Similarly, if Persian or Arabic grammar constructs, such as the izafat, are used in Urdu, the level of speech is also considered more formal and grand. If a word is inherited from Sanskrit, the level of speech is considered more colloquial and personal. This distinction is similar to the division in English between words of Latin, French and Old English origins
Urdu scriptUrdu is written right-to left in an extension of the Persian alphabet, which is itself an extension of the Arabic alphabet. Urdu is associated with the Nastaʿlīq style of Persian calligraphy, whereas Arabic is generally written in the Naskh or Ruq'ah styles. Nasta’liq is notoriously difficult to typeset, so Urdu newspapers were hand-written by masters of calligraphy, known as kātib or khush-nawīs, until the late 1980s One handwritten Urdu newspaper, The Musalman, is still published daily in Chennai
PoetryUrdu has been one of the premier languages of poetry in South Asia for two centuries, and has developed a rich tradition in a variety of poetic genres. The Ghazal in Urdu represents the most popular form of subjective music and poetry, whereas the Nazm exemplifies the objective kind, often reserved for narrative, descriptive, didactic or satirical purposes. Under the broad head of the Nazm we may also include the classical forms of poems known by specific names such as Masnavi (a long narrative poem in rhyming couplets on any theme: romantic, religious, or didactic), Marsia (an elegy traditionally meant to commemorate the martyrdom of Husayn ibn Ali, grandson of Muhammad, and his comrades of the Karbala fame), or Qasida (a panegyric written in praise of a king or a nobleman), for all these poems have a single presiding subject, logically developed and concluded. However, these poetic species have an old world aura about their subject and style, and are different from the modern Nazm, supposed to have come into vogue in the later part of the nineteenth century. Probably the most widely recited, and memorised genre of contemporary Urdu poetry is nāt—panegyric poetry written in praise of Muhammad. Nāt can be of any formal category, but is most commonly in the ghazal form. The language used in Urdu nāt ranges from the intensely colloquial to a highly persified formal language. The great early 20th century scholar Ala Hazrat, Ahmed Raza Khan Barelvi, who wrote many of the most well known nāts in Urdu (the collection of his poetic work is Hadaiq-e-Baqhshish), epitomised this range in a ghazal of nine stanzas (bayt) in which every stanza contains half a line each of Arabic, Persian, formal Urdu, and colloquial Hindi. Another important genre of Urdu prose are the poems commemorating the martyrdom of Husayn ibn Ali at the Battle of Karbala } called noha (نوحہ) and marsia. Anees and Dabeer are famous in this regard.
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