‫ر‬ ‫ﺌران‬ ‫ﺌﺊ ا‬

‫ﻛـﺎروﻧـﺠـﮭـﺮ‬ ‫ﮀﻬﻪ ﻣﺎﻫﻲ‬

‫[ ﺗﺤﻘﻴﻘﻲ ﺟﺮﻧﻞ ]‬
‫‪ISSN 2222-2375‬‬

‫ﺟﻠﺪ‪ ،9-‬ﺷﻤﺎرو‪ ،17 :‬ڊﺳﻤﺒﺮ ‪2017‬ع‬

‫اﻳﮉﻳﭩﺮ‬
‫ڊاﻛﭩﺮ ﻛﻤﺎل ﭴﺎﻣﮍو‬

‫ﺳﻨﮅي ﺷﻌﺒﻮ‪ ،‬ﻓﻴﻜﻠﭩﻲ آف ﻟﻴﻨﮕﺌﻴﺠﺰ‬

‫وﻓﺎﻗﻲ اردو ﻳﻮﻧﻴﻮرﺳﭩﻲ آف آرﭨﺲ‪ ،‬ﺳﺎﺋﻨﺲ ۽ ﭨﻴﻜﻨﺎﻻﺟﻲ‪،‬‬
‫ﻋﺒﺪاﻟﺤﻖ ﻛﻴﻤﭙﺲ‪ ،‬ﻛﺮاﭼﻲ‪ ،‬ﺳﻨﮅ‪ ،‬ﭘﺎﻛﺴﺘﺎن‪.‬‬
 .‫ﺳﭛ ﺣﻖ ۽ واﺳﻄﺎ ﻣﺤﻔﻮظ‬

‫ﻛﺎروﻧﺠﻬﺮ‬
‫ﮀﻬﻪ ﻣﺎﻫﻲ‬
]‫[ﺗﺤﻘﻴﻘﻲ ﺟﺮﻧﻞ‬
ISSN 2222-2375
‫ڊاﻛﭩﺮ ﻛﻤﺎل ﭴﺎﻣﮍو‬ :‫اﻳﮉﻳﭩﺮ‬
‫ ڊاﻛﭩﺮ ﻋﺎﺑﺪه ﮔﻬﺎﻧﮕﻬﺮو ۽ ﺳﻴﻤﺎ اﺑﮍو‬،‫ڊاﻛﭩﺮ ﻋﻨﺎﻳﺖ ﺣﺴﻴﻦ ﻟﻐﺎري‬ :‫ﭔﺎﻧﻬﻦ ﭔﻴﻠﻲ‬
‫ع‬2017 ‫ ڊﺳﻤﺒﺮ‬،17 :‫ ﺷﻤﺎرو‬،‫ﻧﺎﺋﻮن‬ :‫ﺳﺎل‬
‫ﻇﻔﺮ آﻓﺘﺎب اﺑﮍو‬ :‫ﻟﻲ آﺋﻮٽ‬
‫ وﻓﺎﻗﻲ اردو ﻳﻮﻧﻴﻮرﺳﭩﻲ آف‬،‫ ﻓﻴﻜﻠﭩﻲ آف ﻟﻴﻨﮕﺌﻴﺠﺰ‬،‫ﺳﻨﮅي ﺷﻌﺒﻮ‬ :‫ﮀﭙﺎﺋﻴﻨﺪڙ‬
،‫ اردو روڊ‬‫ ﺑﺎﺑﺎ‬،‫ ﻋﺒﺪاﻟﺤﻖ ﻛﻴﻤﭙﺲ‬،‫ ﺳﺎﺋﻨﺲ ۽ﭨﻴﻜﻨﺎﻻﺟﻲ‬،‫آرﭨﺲ‬
.‫ ﭘﺎﻛﺴﺘﺎن‬،‫ ﺳﻨﮅ‬،‫ﻛﺮاﭼﻲ‬
[email protected] :‫اي ﻣﻴﻞ‬
0301-2399345 :‫ ﻣﻮﺑﺎﺋﻴﻞ‬،021-99215371 Ext: 2024 :‫ﭨﻴﻠﻴﻔﻮن ﻧﻤﺒﺮ‬
0336-3559905 :‫ ﻓﻮن‬.‫ ﻛﺮاﭼﻲ‬،‫ﭘﻴﻜﺎڪ ﭘﺮﻧﭩﺮز‬ :‫ﮀﺎﭘﻴﻨﺪڙ‬
‫ رﭘﻴﺎ‬200 :‫ﻗﻴﻤﺖ‬

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KAROONJHAR
Bi-annual
[Research Journal]
ISSN 2222-2375
Edited by: Dr. Kamal Jamro
Sub-Editors: Dr. Inayat Laghari, Dr. Abida Ghanghro &
Seema Abro
Year: 9th, Issue: 17, December, 2017
Published by: Department of Sindhi, Faculty of Languages
Federal Urdu University of Arts,
Science & Technology, Abdul Haq Campus,
Karachi, Sindh, Pakistan.
Layout: Zafar Aftab Abro
Email: [email protected]
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Price: Rs. 200/-
 ‫ﺳﺮﭘﺮﺳﺖ‬
‫ا ﺌف‬ ‫ڊا‬ ‫و‬
‫واﺋﺲ ﭼﺎﻧﺴﻠﺮ‪ ،‬وﻓﺎﻗﻲ اردو ﻳﻮﻧﻴﻮرﺳﭩﻲ‬

‫ر ﺐ رڊ‬ ‫ا‬
‫‪ ‬ڊاﻛﭩﺮ ﭴﻴﭡﻮ ﻻﻟﻮاﮢﻲ‬ ‫‪ ‬ڊاﻛﭩﺮ ﻣﺤﻤﺪ ﻗﺎﺳﻢ ﭔﮕﻬﻴﻮ‬
‫ﻣﮅروﻳﻦ‪ ،‬ادﻳﺘﻴﻪ ﺑﻴﻨﮕﻠﻮز‪ ،‬ﻧﻮﺑﻞ ﻧﮕﺮ‪،‬اﺣﻤﺪ آﺑﺎد‪،‬‬ ‫ﭼﻴﺌﺮﻣﻴﻦ‪ ،‬ﭘﺎﻛﺴﺘﺎن اﻛﻴﮉﻣﻲ ادﺑﻴﺎت‪،‬‬
‫‪ ،382340‬اﻧﮉﻳﺎ‪.‬‬ ‫اﺳﻼم آﺑﺎد‪.‬‬
‫‪ ‬ڊاﻛﭩﺮ ﭘﺮوﻳﻦ ﭨﺎﻟﭙﺮ‬ ‫‪ ‬ﭘﺮوﻓﻴﺴﺮ ڊاﻛﭩﺮ ﻧﻮاز ﻋﻠﻲ ﺷﻮق‬
‫‪ ،3330‬اوﻟﮉ وﻳﺴﭩﻞ روڊ‪ ،‬اﭘﺎرﭨﻤﻴﻨﭧ ‪ ،1‬وﻳﺴﭩﻞ‪،‬‬ ‫ﭘﺮوﻓﻴﺴﺮ اﻳﮉواﺋﻴﺰر‪ ،‬ﺷﺎﻫﻪ ﻋﺒﺪاﻟﻠﻄﻴﻒ ﭜﭩﺎﺋﻲ‬
‫ﻧﻴﻮﻳﺎرڪ‪ 13850 .‬آﻣﺮﻳﻜﺎ‪.‬‬ ‫ﭼﻴﺌﺮ‪ ،‬ﻛﺮاﭼﻲ ﻳﻮﻧﻴﻮرﺳﭩﻲ‪ ،‬ﻛﺮاﭼﻲ‪.‬‬
‫‪ ‬ڊاﻛﭩﺮ ﺷﻬﻨﺎز ﺷﻮرو‬ ‫ڊاﻛﭩﺮ ﻛﻤﺎل ﭴﺎﻣﮍو‬ ‫‪‬‬
‫ﻳﻮﻧﭧ ‪ 4900 ،1505‬ارن ﮔﻠﻴﻦ ڊراﺋﻴﻮ‪ ،‬ﻣﻴﺴﻴﺴﻮﮔﺎ‪،‬‬ ‫ڊﻳﻦ ﻓﻜﻠﭩﻲ آف ﻟﻴﻨﮕﺌﻴﺠﺰ‪ ،‬وﻓﺎﻗﻲ اردو‬
‫ﭨﻮرﻧﭩﻮ‪ ،‬ﻛﻴﻨﺎڊا‪.‬‬ ‫ﻳﻮﻧﻴﻮرﺳﭩﻲ‪ ،‬ﻋﺒﺪاﻟﺤﻖ ﻛﻴﻤﭙﺲ‪ ،‬ﻛﺮاﭼﻲ‪.‬‬

‫ﺌ‬ ‫ﺌ ن‬
‫‪ ‬ﭘﺮوﻓﻴﺴﺮ ڊاﻛﭩﺮ ﻣﺤﻤﺪ ﻳﻮﺳﻒ ﺧﺸﻚ‬ ‫‪ ‬ڊاﻛﭩﺮﻣﺮﻟﻴﮅر ﺟﻴﭩﻠﻲ‬
‫ڊﻳﻦ‪ ،‬ﺳﻮﺷﻞ ﺳﺎﺋﻨﺴﺰ اﻳﻨﮉ آرﭨﺲ‪،‬‬ ‫‪ D-127‬ووڪ وﻫﺎر‪ ،‬دﻫﻠﻲ‪ ،110095 ،‬اﻧﮉﻳﺎ‪.‬‬
‫ﺷﺎﻫﻪ ﻋﺒﺪاﻟﻠﻄﻴﻒ ﻳﻮﻧﻴﻮرﺳﭩﻲ ﺧﻴﺮﭘﻮر‪.‬‬
‫‪ ‬ﭘﺮوﻓﻴﺴﺮ ڊاﻛﭩﺮ ﺧﻮرﺷﻴﺪ ﻋﺒﺎﺳﻲ‬
‫‪ ‬ڊاﻛﭩﺮ آﻓﺘﺎب اﺑﮍو‬ ‫‪ ،B-178‬ﺑﻼڪ‪ ،3:‬ﺳﻌﺪي ﭨﺎﺋﻮن‪ ،‬ﻛﺮاﭼﻲ‪.‬‬
‫‪ ،404‬رﻓﻴﻖ ﺳﻴﻨﭩﺮ‪ ،‬ﻋﺒﺪا� ﻫﺎرون روڊ‬
‫‪ ‬ﭘﺮوﻓﻴﺴﺮ ڊاﻛﭩﺮ اﻧﻮر ﻓﮕﺎر ﻫﻜﮍو‬
‫ﺻﺪر‪ ،‬ﻛﺮاﭼﻲ‪.‬‬
‫ﭼﻴﺌﺮﻣﻴﻦ‪ ،‬ﺳﻨﮅي ﺷﻌﺒﻮ‪،‬‬
‫‪ ‬ڊاﻛﭩﺮ ﻗﺎﺳﻢ راﭴﭙﺮ‬ ‫ﺳﻨﮅ ﻳﻮﻧﻴﻮرﺳﭩﻲ ﭴﺎﻣﺸﻮرو‪.‬‬
‫ﭘﺮﻧﺴﻴﭙﺎل‪ ،‬ﮔﻮرﻧﻤﻴﻨﭧ ﻋﺎﺋﺸﻪ ﺑﺎواﻧﻲ‬
‫‪ ‬ڊاﻛﭩﺮ ﻣﺤﻤﺪ ﺧﺎن ﺳﺎﻧﮕﻲ‬
‫ﻛﺎﻟﻴﺞ ‪ ،2-‬ﻛﺮاﭼﻲ‪.‬‬
‫ڊاﺋﺮﻳﻜﭩﺮ‪ ،‬اﻧﺴﭩﻴﭩﻴﻮٽ آف اﻧﮕﻠﺶ‬
‫‪ ‬ڊاﻛﭩﺮ ﻋﺎﺑﺪ ﻣﻈﻬﺮ‬ ‫ﻟﻴﻨﮕﺌﻴﺞ اﻳﻨﮉ ﻟﭩﺮﻳﭽﺮ‪ ،‬ﺳﻨﮅ ﻳﻮﻧﻴﻮرﺳﭩﻲ‪.‬‬
‫اﮘﻮﮢﻮ ﭼﻴﺌﺮﻣﻴﻦ‪ ،‬ﺳﻨﮅي ﺷﻌﺒﻮ ﻛﺮاﭼﻲ‬
‫‪ ‬ڊاﻛﭩﺮ ادل ﺳﻮﻣﺮو‬
‫ﻳﻮﻧﻴﻮرﺳﭩﻲ‪.‬‬
‫واري ﺗﮍ‪ ،‬ﺳﮑﺮ‪.‬‬
 Editorial Board’s Policies
Review Process:
All manuscripts are reviewed by an editor and members of the editorial
board or qualified outside reviewers. Decision will be made as rapidly as possible,
and the journal strives to return reviewer’s comments to authors within two
weeks.
Articles:
The paper must be typed for Sindhi (in MB Bhitai Sattar Font, size 13),
Urdu (in Noori Nastaleeq font, size 14) and English (in Times New Roman font,
size 12) with double spaced on A-4 size paper. The title should be brief phrase
describing the contents of the paper. The title pages should include the author’s
full names and affiliations. All manuscripts to be send in hard copy along with
the text in CD to mailing address of Department of Sindhi and also through
email to [email protected]
Abstract:
The abstract should be informative and completely self-explanatory, briefly
present the topic and state the scope of work. The abstract should be 100 to 200
words in length.
Tables and Figures:
Tables should be kept to a minimum and be designed to be as simple as
possible. Figure legends should be typed in numerical order on a separate sheet.
Graphics should be prepared using applications capable of generating high
resolution GIF, TIFF, JPEG or Power Point before pasting in Microsoft Word
manuscript file. Tables should be prepared in Microsoft Word or Microsoft
Publisher.
Acknowledgement:
The acknowledgement of people, grants, funds etc should be brief.
References:
In the text, a reference identified by means of an author’s name should be
followed by the year of the reference in parentheses. Patterns are as following:
:‫ﺳﻨﮅي‬
‫ ﺳﻨﮅي ادﺑﻲ ﺑﻮرڊ‬:‫ ﺣﻴﺪرآﺑﺎد‬-‫ ﺟﻲ ﺗﺎرﻳﺦ ﻛﺮاﭼﻲ‬‫ ﺳﻨﮅي ﭔﻮﻟﻲ‬،(1956) ‫ ﻣﻬﺮﭼﻨﺪ‬،‫ ﭜﻴﺮو ﻣﻞ‬،‫آڏواﮢﻲ‬
:‫اردو‬
‫ء‬2003،‫ن‬ ‫ا د اد ت‬،48:‫ص‬،“ ‫ا‬ ‫ا‬ ”، ‫ڈا‬،
English:
Deuze, M. (2005), “Professional identity and ideology of journalists
reconsidered”, Journalism, Vol. 6, No. 4, 422-464
You can follow the given other patterns in this journal also.

Copyright:
All the statements of fact and opinion expressed in this journal are the
sole responsibility of the authors, and do not imply and endorsement on part or
whole in any form/shape whatsoever by the editors or publishers.
‫‪4‬‬ ‫اﻳﮉﻳﭩﻮرﻳﻞ ﺑﻮرڊ ﺟﻮن ﭘﺎﻟﻴﺴﻴﻮن‬ ‫‪‬‬
‫‪7‬‬ ‫اﻳﮉﻳﭩﻮرﻳﻞ‬ ‫‪‬‬
‫ﺌ‬ ‫ي‬
‫‪9‬‬ ‫ڊاﻛﭩﺮ ﻛﻤﺎل ﭴﺎﻣﮍو‬ ‫ﮀﺎ ﺳﻨﮅ ﺟﻮ ﺻﻮﻓﻲ ﻣﺰاج ﺗﺒﺪﻳﻞ ﭘﻴﻮ ﭤﺌﻲ؟‬ ‫‪1‬‬
‫‪18‬‬ ‫ڊاﻛﭩﺮ ﺷﻴﺮ ﻣﻬﺮاﮢﻲ‬ ‫ﺷﺎﻫﻪ ﻟﻄﻴﻒ وٽ اﻣﻦ ﺟﻮ ﻋﺎﻟﻤﻲ ﻓﻠﺴﻔﻮ‬ ‫‪2‬‬
‫‪29‬‬ ‫ڊاﻛﭩﺮ اﺣﺴﺎن داﻧﺶ‬ ‫ﺷﺎﻫﻪ ﻟﻄﻴﻒ ﺟﻲ ﺷﺎﻋﺮي‪ ‬۾ ﻋﺸﻖ ۽ درد ﺟﻮ‬ ‫‪3‬‬
‫ﻻﮘﺎﭘﻮ‬
‫‪39‬‬ ‫ﻣﻮﺟﻮه دور ۾ ﺳﭽﻞ ﺟﻲ ﻓﻜﺮ ۽ ﻓﻠﺴﻔﻲ ﺟﻲ ڊاﻛﭩﺮ ﻓﻴﺎض ﻟﻄﻴﻒ‬ ‫‪4‬‬
‫اﻫﻤﻴﺖ‬
‫‪57‬‬ ‫ُ‬
‫ﻋﺮﺑﻲ ﺳﻨﮅي آﺋﻴﻮﻳﭩﺎ ﺟﻲ اﮐﺮن ﺟﺎ اﭼﺎري ڊاﻛﭩﺮ اﻟﻄﺎف ﺟﻮﮐﻴﻮ‬ ‫‪5‬‬
‫ﻧﺎﻻ ۽ ﻣﻌﻴﺎري ﻟﻬﺠﻮ‬
‫‪71‬‬ ‫ڊاﻛﭩﺮ ﻗﺎﺳﻢ راﭴﭙﺮ‬ ‫ﺳﻨﮅي ﭨﻴﻠﻲ وﻳﺰن ڊراﻣﻮ‪ :‬ﻛﺎﻟﻬﻪ ۽ اڄ‬ ‫‪6‬‬
‫‪84‬‬ ‫ڊاﻛﭩﺮ ﻋﺎﺑﺪه ﮔﻬﺎﻧﮕﻬﺮو‬ ‫ﻣﺮﻟﻲ ڌر ﺟﻲ ﺷﺎﻋﺮي‪ ‬ﺟﻮ ﺗﻨﻘﻴﺪي اﭜﻴﺎس‬ ‫‪7‬‬
‫‪108‬‬ ‫ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮارام ﺟﻲ ادﺑﻲ‪ ،‬ﺻﺤﺎﻓﺘﻲ ۽ ﻟﻐﻮي رﻳﺎﺿﺖ ﻋﻠﻲ ﭔﺮڙو‬
‫‪8‬‬
‫ﺧﺪﻣﺘﻦ ﺟﻮ ﺟﺎﺋﺰو‬
‫‪114‬‬ ‫ُ‬ ‫ُ‬
‫ﭔﺎرڙن ﺟﻲ ﻣﺎﻫﻮار رﺳﺎﻟﻲ ‘ﮔﻞ ﭰﻞ’ ﺟﻲ ارﺗﻘﺎ ﻏﻼم ﻣﺼﻄﻔﻰ ﺳﻮﻟﻨﮕﻲ‬ ‫‪9‬‬
‫‪124‬‬ ‫ﻣﻤﺘﺎز ﻣﺮزاﺟﻲ ﺷﺨﺼﻴﺖ ۽ ﺳﻨﺪس ﺧﺪﻣﺘﻮن ﻃﺎرق ﻋﺰﻳﺰ ﺷﻴﺦ‬ ‫‪10‬‬
‫‪138‬‬ ‫ﺧﻠﻴﻔﻲ ﻧﺒﻲ ﺑﺨﺶ ﻟﻐﺎري‪ ‬ﺟﻲ ُﺳﺮ ﻛﻴﮇاري ﻟﻄﻒ ا� ﺳﻴﺎل‬ ‫‪11‬‬
‫ﺟﻮ ﺗﻨﻘﻴﺪي اﭜﻴﺎس‬
‫‪149‬‬ ‫ﺳﻨﮅي ﺷﻌﺒﻲ ﭘﺎران اﻳﻢ ﻓﻞ‪/‬ﭘﻲ اﻳﭿ‪-‬ڊي ﻛﻴﻞ‪ /‬ﻛﻨﺪڙ اﺳﻜﺎﻟﺮن ﺟﺎ‬ ‫‪12‬‬
‫ﻣﻮﺿﻮع ۽ ﻧﺎﻻ‬
‫اردو‬
‫‪155‬‬ ‫ا‬ ‫ہ‬ ‫ؒ‬ ‫ت ہ ا‬ ‫ادب‬ ‫ا‬ ‫‪13‬‬
‫‪173‬‬ ‫ا‬ ‫ر‬ ‫ى‬ ‫‪ 14‬اُردو‬
‫‪English Articles‬‬
‫‪15‬‬ ‫‪Influence of English Vocabulary on‬‬ ‫‪Abbas Ali Gopang and‬‬ ‫‪3‬‬
‫‪Sindhi Language‬‬ ‫‪Bisharat Ali Lanjwani‬‬
‫‪16‬‬ ‫‪The Conquest of Sindh: Reality and Facts Muhammad Hanif‬‬ ‫‪18‬‬
‫‪Laghari‬‬
‫‪17‬‬ ‫‪The Oedipus Complex is in the Wane‬‬ ‫‪Mahrukh Khan‬‬ ‫‪26‬‬
 ‫ر‬ ‫ا‬

‫ﻛﺎروﻧﺠﻬﺮ ﺟﻮ ﺗﺎزو ﺷﻤﺎرو اوﻫﺎن ﺟﻲ ﻫﭥﻦ ۾ آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ۾ وڌ ۾ وڌ‬

‫ﻛﻮﺷﺶ ﻛﺌﻲ وﺋﻲ آﻫﻲ ﺗﻪ اوﻫﺎن ﺗﺎﺋﻴﻦ ﻣﻌﻴﺎري ﻣﻘﺎﻻ ﭘﻬﭽﺎﺋﺠﻦ‪ .‬ﻣﻌﻴﺎري‬
‫ﺗﺤﻘﻴﻖ وﺳﻴﻠﻲ ﺋﻲ اﺳﺎن ﺳﻨﮅي ﭔﻮﻟﻲ‪ ،‬ادب ۽ ﺛﻘﺎﻓﺖ ﮐﻲ اﮘﺘﻲ وڌاﺋﮡ ۾ ﭘﻨﻬﻨﺠﻮ‬
‫ﺻﺤﻴﺢ ﻛﺮدار ادا ﻛﺮي ﺳﮕﻬﻮن ﭤﺎ‪ .‬ﺗﻮڙي ﺟﻮ ﻛﺎروﻧﺠﻬﺮ ﻳﻮﻧﻴﻮرﺳﭩﻴﻦ ۾‬
‫ﻣﻼزﻣﺖ ﻛﻨﺪڙ ۽ اﻳﻢ ﻓﻞ‪/‬ﭘﻲ اﻳﭿ‪-‬ڊي ﻛﻨﺪڙ اﺳﻜﺎﻟﺮن ﺟﻲ ﺿﺮورت ﺑﮣﺠﻲ‬
‫ﭼﻜﻮ آﻫﻲ ﭘﺮ ﺗﻨﻬﻦ ﻫﻮﻧﺪي ﺑﻪ اﺳﺎن ﮐﻲ وڌ ﮐﺎن وڌ ﻣﻌﻴﺎري ﻣﻘﺎﻟﻦ ﺟﻲ ﺳﺨﺖ‬
‫ﮔﻬﺮج ﻣﺤﺴﻮس ﭤﺌﻲ ﭤﻲ‪.‬‬
‫ﻫِﻦ ﺗﺤﻘﻴﻘﻲ ﺟﺮﻧﻞ ﺟﻮ داﺋﺮو ﭔﻮﻟﻲ‪ ،‬ادب ۽ ﺛﻘﺎﻓﺖ ﺟﻲ ﻣﻮﺿﻮﻋﻦ ﺗﻲ ﻟﮑﻴﻞ‬
‫ﻣﻘﺎﻟﻦ ﺗﺎﺋﻴﻦ ﻣﺤﺪود آﻫﻲ‪ .‬ان ﺣﻮاﻟﻲ ﺳﺎن ﺳﻨﮅي ﭔﻮﻟﻲ‪ ،‬ادب ۽ ﺛﻘﺎﻓﺖ ﮐﻲ اوﻟﻴﺖ‬
‫ڏﻧﻲ وﭸﻲ ﭤﻲ‪ .‬ﭔﻴﻦ ﭔﻮﻟﻴﻦ‪ ،‬ادﺑﻦ ۽ ﺛﻘﺎﻓﺘﻦ ﺑﺎﺑﺖ ﻟﮑﻴﻞ ﻣﻘﺎﻟﻦ ﺟﻲ ﭘﮡ آﺟﻴﺎن ﻛﺌﻲ‬
‫وﭸﻲ ﭤﻲ‪ .‬ﻣﻘﺎﻟﻮ ﺳﻨﮅي‪ ،‬اردو‪ ‬۽ اﻧﮕﺮﻳﺰي ﭔﻮﻟﻲ‪ ‬۾ ﻟﮑﻲ ﺳﮕﻬﺠﻲ ﭤﻮ‪.‬‬
‫ان ﮘﺎﻟﻬﻪ ﺟﻮ ﺳﺨﺖ ﺧﻴﺎل رﮐﻴﻮ وﭸﻲ ﺗﻪ ﻣﻘﺎﻟﻮ ﺑﻠﻜﻞ ﻧﺌﻮن ﻫﺠﻲ‪ .‬ان ﺟﻲ‬
‫ﻧﺌﻴﻦ ﻧﻜﻮر ُﻫﺠﮡ ﺑﺎﺑﺖ ﻟﻴﮑﻚ‪/‬ﻣﺤﻘﻖ ﻟﮑﺖ ۾ ﺻﺪاﻗﺖ ﻧﺎﻣﻮ ﻣﻮﻛﻠﻲ ﺗﻪ ﻗﺮب‬
‫ﭤﻴﻨﺪا‪ .‬ﻣﻘﺎﻟﻲ ۾ ﻫﻚ ﮐﺎن وڌﻳﻚ ﻟﻴﮑﻜﻦ‪/‬ﻣﺤﻘﻘﻦ ﺟﺎ ﻧﺎﻻ ﺷﺎﻣﻞ ﻛﺮڻ ﮐﻲ ُﺳﭡﻮ‬
‫ﻧﻪ ﺳﻤﺠﻬﻴﻮ وﻳﻨﺪو‪ .‬ﺟﻴﻜﮇﻫﻦ وڌﻳﻚ ﻧﺎﻻ ُﻫﺠﻦ ﺗﻪ اﻧﻬﻦ ﺟﻲ ‪ Justification‬ﻫﺠﮡ‬
‫ﻻزﻣﻲ آﻫﻲ‪.‬‬
‫اﺳﺎن ﺟﻲ ﻛﻮﺗﺎﻫﻴﻦ ﺟﻲ ﭘﮡ ﻧﺸﺎﻧﺪﻫﻲ ﻛﺌﻲ وﭸﻲ ﺗﻪ ﺟﻴﺌﻦ ﺑﻬﺘﺮ ﮐﺎن ﺑﻬﺘﺮ‬
‫ﻛﻢ ﻛﺮي ﺳﮕﻬﻮن‪.‬‬
‫ﻳﻮﻧﻴﻮرﺳﭩﻲ‪ ‬۾ ﺗﺪرﻳﺲ ۽ ﺗﺤﻘﻴﻖ ﮔﮇ ﻫﻠﻨﺪا آﻫﻦ‪ .‬ﺗﺤﻘﻴﻖ ﺟﻲ ﺣﻮاﻟﻲ ﺳﺎن‬
‫ﻫﻲ‪ ‬ﺗﺤﻘﻴﻘﻲ ﺟﺮﻧﻞ اوﻫﺎن وٽ ﻣﻮﺟﻮد آﻫﻲ‪ .‬ان ﮐﺎن ﺳﻮا‪ ‬ﺳﻨﮅي ﺷﻌﺒﻲ ۾ ﺟﻴﻜﺎ‬
‫ﺗﺤﻘﻴﻖ ﭤﺌﻲ ﭘﺌﻲ ان ﮐﺎن ﺑﻪ اوﻫﺎن ﮐﻲ واﻗﻒ ﻛﺮڻ ﺿﺮوري ﭤﺎ ﺳﻤﺠﻬﻮن‪ .‬اﺳﺎن‬
‫وٽ ﺟﻦ ﻣﻮﺿﻮﻋﻦ ﺗﻲ ﺗﺤﻘﻴﻖ ﭤﺌﻲ ﭘﺌﻲ‪ ،‬اﻧﻬﻦ ﺟﻲ ﻟﺴﭧ اﻟﮗ ڏﻧﻲ وﺋﻲ آﻫﻲ‪.‬‬
‫ﻫﻦ ﺷﻌﺒﻲ ﺟﻲ ﭘﻬﺮﻳﻦ ﭘﻲ اﻳﭿ‪-‬ڊي اﺳﻜﺎﻟﺮ ڊاﻛﭩﺮ ﻋﺎﺑﺪه ﮔﻬﺎﻧﮕﻬﺮو آﻫﻲ‪،‬‬
‫ﺟﻨﻬﻦ ﮐﻲ ڊاﻛﭩﺮ ﺧﻮرﺷﻴﺪ ﻋﺒﺎﺳﻲ‪ ‬ﺟﻲ ﻧﮕﺮاﻧﻲ‪ ‬۾ آﮔﺴﭧ ‪2015‬ع ۾ ڊﮔﺮي ڏﻧﻲ‬
‫وﺋﻲ‪ .‬ان ﮐﺎن ﭘﻮ‪ ‬ﭔﺌﻲ اﺳﻜﺎﻟﺮ ﭰﻠﻮ ﻣﻴﮕﻬﻮاڙ ﺑﻪ ﭘﻨﻬﻨﺠﻲ ﭤﻴﺴﺲ ﻣﻜﻤﻞ ﻛﺮي‬
‫ﺟﻤﻊ ﻛﺮاﺋﻲ ﮀﮇي آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ﺟﻮن رﭘﻮرﭨﻮن ﺑﻪ اﭼﻲ ﭼﻜﻴﻮن آﻫﻦ ﺗﻪ زﺑﺎﻧﻲ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫اﻣﺘﺤﺎن ﺑﻪ ﭤﻲ ﭼﻜﻮ آﻫﻲ‪ .‬ﮐﻴﺲ ﺟﻠﺪ ﺋﻲ ﭘﻲ اﻳﭿ‪-‬ڊي ڊﮔﺮي ﺟﺎري ﻛﺌﻲ وﻳﻨﺪي‪.‬‬
‫وﻓﺎﻗﻲ اردو ﻳﻮﻧﻴﻮرﺳﭩﻲ‪ ،‬اردو ﭔﻮﻟﻲ‪ ‬ﺟﻲ ﻧﺎﻟﻲ ﺗﻲ ﭘﺎﻛﺴﺘﺎن ۾ واﺣﺪ‬
‫ﻳﻮﻧﻴﻮرﺳﭩﻲ آﻫﻲ‪ .‬ان ﻳﻮﻧﻴﻮرﺳﭩﻲ‪ ‬۾ ﻣﺨﺘﻠﻒ ﭔﻮﻟﻴﻦ ﺟﻬﮍوڪ اردو‪ ،‬ﺳﻨﮅي‪ ،‬ﻋﺮﺑﻲ‬
‫۽ اﻧﮕﺮﻳﺰي‪ ‬ﺟﺎ ﺷﻌﺒﺎ ﺗﻪ ﺷﺮوع ﮐﺎن ﺋﻲ ُﻫﺌﺎ‪ ،‬ﺟﻴﻜﻲ آرﭨﺲ ﻓﻴﻜﻠﭩﻲ‪ ‬ﺟﻲ‬
‫ﻣﺎﺗﺤﺖ ﻛﻢ ﻛﻨﺪا ﻫﺌﺎ‪ .‬ﺟﮇﻫﻦ ﺗﻪ ﻣﻠﻚ ﺟﻲ ﻛﺠﻬﻪ ﻳﻮﻧﻴﻮرﺳﭩﻴﻦ ۾ ﭔﻮﻟﻴﻦ ﻻ‪‬‬
‫اﻟﮗ ‪ Faculty of Languages‬ﻗﺎﺋﻢ آﻫﻲ‪ .‬ان ﮐﻮٽ ﮐﻲ ﻣﺤﺴﻮس ﻛﻨﺪي‬
‫ﻳﻮﻧﻴﻮرﺳﭩﻲ‪ ‬ﺟﻲ اﮘﻮﮢﻲ واﺋﻴﺲ ﭼﺎﻧﺴﻠﺮ ﭘﺮوﻓﻴﺴﺮ ڊاﻛﭩﺮ ﻇﻔﺮ اﻗﺒﺎل ‪14‬ﻫﻴﻦ‬
‫آﻛﭩﻮﺑﺮ ‪2013‬ع ﺗﻲ ﺳﻴﻨﮉﻳﻜﻴﭧ ﺟﻲ ‪28‬ﻫﻴﻦ اﺟﻼس ﻣﺎن ﻓﻴﻜﻠﭩﻲ آف‬
‫ﻟﻴﻨﮕﺌﻴﺠﺰ ﻣﻨﻈﻮر ﻛﺮاﺋﻲ‪ ،‬ﺟﻨﻬﻦ ﮐﻲ اردو‪ ‬۾ “ ُ‬
‫ﻛﻠﻴﻪ اﻟﺴﻨﻪ” ﭼﻴﻮ وﭸﻲ ﭤﻮ‪.‬‬
‫ﻛﻠﻴﻪ اﻟﺴﻨﻪ ﺟﻲ ﻋﻤﻠﻲ ﻃﻮر ﺷﺮوﻋﺎت ﮀﻬﻴﻦ آﻛﭩﻮﺑﺮ ‪2017‬ع ﮐﺎن ﻛﺌﻲ‬ ‫ُ‬
‫وﺋﻲ‪ ،‬ﺟﻨﻬﻦ ﻻ‪ ‬ﻣﻮن ﮐﻲ ﻓﻴﻜﻠﭩﻲ‪ ‬ﺟﻮ ﭘﻬﺮﻳﻮن ڊﻳﻦ ﻣﻘﺮر ﻛﻴﻮ وﻳﻮ‪ ،‬ﺟﻴﻜﻮ ﻣﻮن‬
‫ﻻ‪ ‬ﻫﻚ اﻋﺰاز آﻫﻲ‪ .‬ﻫﺎﮢﻲ اردو ﻳﻮﻧﻴﻮرﺳﭩﻲ‪ ‬ﺟﻲ ﻋﺒﺪاﻟﺤﻖ‪ ،‬ﮔﻠﺸﻦ اﻗﺒﺎل ۽‬
‫اﺳﻼم آﺑﺎد ﻛﻴﻤﭙﺴﻦ ﺟﺎ ﭔﻮﻟﻴﻦ وارا ﺳﻤﻮرا ﺷﻌﺒﺎ آرﭨﺲ ﻓﻴﻜﻠﭩﻲ‪ ‬ﺑﺪران‬
‫ﻟﻴﻨﮕﻴﺌﺠﺰ ﻓﻴﻜﻠﭩﻲ‪ ‬۾ اﭼﻲ وﻳﺎ آﻫﻦ‪ .‬ﺳﻤﻮرن ﺷﻌﺒﻦ ۾ ﺗﺪرﻳﺴﻲ ۽ ﺗﺤﻘﻴﻘﻲ‬
‫ﻣﺎﺣﻮل ۽ ﻣﻌﻴﺎر ﺑﻬﺘﺮ ﻛﺮڻ ﺟﻲ ﻛﻮﺷﺶ ﺟﺎري آﻫﻲ‪.‬‬
‫اوﻫﺎن ﮐﻲ ان ﺣﻮاﻟﻲ ﺳﺎن ﺑﻪ ﺳﻬﻜﺎر ﻛﺮڻ ۽ ﺗﺠﻮﻳﺰن ڏﻳﮡ ﺟﻲ ﮔﺬارش‬
‫ﻛﺠﻲ ﭤﻲ‪.‬‬
‫اوﮬﺎن اﺳﺎن ﺟﻮ ﻫﻲ‪ ‬ﺗﺤﻘﻴﻘﻲ ﺟﺮﻧﻞ وﻓﺎﻗﻲ اردو ﻳﻮﻧﻴﻮرﺳﭩﻲ‪ ‬ﺟﻲ وﻳﺐ‬
‫ﺳﺎﺋﻴﭧ ﺗﻲ ﭘﮡ ﭘﮍﻫﻲ ﺳﮕﻬﻮ ﭤﺎ‪.‬‬
‫‪https://fuuast.edu.pk/‬‬

‫ﺌل ﺌ و‬ ‫ڊا‬

‫‪8‬‬
 [ ] ‫ﺌرو ﮬ‬

‫ﺌل ﺌ و‬ ‫ڊا‬

‫ﺋ ؟‬ ‫اج ﺑ‬ ‫ﺌﮡ‬ ُ ‫ﺌ‬

IS THERE ANY CHANGE IN SUFI THOUGHT IN
THE PEOPLE OF SINDH?
A research analysis.
Abstract
Sindh is a land of Sufis since centuries. There are many great Sufis
and Sufi poets like Shah Abdul Latif Bhitai, Sachal Sarmast, Sami, etc.
who played a vital role regarding peace, brotherhood, religious harmony,
liberalism and enlightenment through their actions and messages. Poetry
is the strongest and most effective tool to preach and spread the message
of love in the Subcontinent, which is why most Sufis of Sindh utilized
this wisdom.
The impact that mystic poetry has on the people of Sindh can be
seen by observing the past. Since the last few years we see changes in the
society and cases of extremism in Sindh like Noreen Laghari case,
Safoor a incident, Ansarul Sharia etc. According to reports, youth and
graduates from universities and colleges are involved in these cases.
Before these cases there was reported involvement of uneducated
and madressah students in such cases of religious extremism. This is the
matter of great contemplation for our society. What is the strategy and
role of our educational institutes and universities in the implementation
of Sufism for a behavioral change in our student?.
The question arises then, has the message of Sufism become
obsolete for our society? Or is there another reason for the rise of
extremist thought process in our youth? Or any fault in the role of our
media, social media, universities and learned persons to create awareness
and spread the message of love, peace and harmony in the society.
Not only does the given overview analyses the situation, but has
also suggested about eradication of extremism through Sufism in this
article.
‫ﺷﻌﺮ ۽ ادب ﻧﻪ ُرﮘﻮ اﻧﺪر ﺟﻲ اﻇﮭﺎر ۽ ﭘﻨﮭﻨﺠﻦ ﺧﻴﺎﻟﻦ ﮐﻲ ﭔﻴﻦ ﺗﺎﺋﻴﻦ ﭘﮭﭽﺎﺋﮡ ﺟﻮ‬
‫ ﺷﺮوﻋﺎﺗﻲ ﺷﺎﻋﺮي‬.‫ُﺳﮭﮣﻮ ﻃﺮﻳﻘﻮ آﻫﻲ ﭘﺮ ان ﺟﺎ ﻣﻘﺼﺪ ﻫﺮ دور ۾ ﺗﺒﺪﻳﻞ ﭤﻴﻨﺪا رﻫﻴﺎ آﻫﻦ‬
‫ ﻫﺎﮢﻲ‬،‫ﻣﻀﻤﻮن ﺗﻲ آڌارﻳﻞ ُﻫﺠﮡ ﺳﺎن ﮔﮇ ﺗﻔﺮﻳﺢ ۽ ُﺳ ُﺮور واري ﻣﻠﻨﺪي‬
ُ ‫ُﺣﺴﻦ ۽ ﻋﺸﻖ ﺟﻲ‬
9 ‫ﮀﺎ ﺳﻨﮅ ﺟﻮ ﺻﻮﻓﻲ ﻣﺰاج ﺗﺒﺪﻳﻞ ﭘﻴﻮ ﭤﺌﻲ؟‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬
‫ﺑﻪ اﻫﻮ ﻋﻨﺼﺮ ُ‬
‫ﻣﻮﺟﻮد آﻫﻲ‪ .‬ﺷﺎﻋﺮي‪ ‬ﭘﮍﻫﮡ ﺳﺎن ﺑﻪ ﻣﺰو اﭼﻲ ﭤﻮ ﭘﺮ ان ﮐﻲ ﺳﺎزن ﺗﻲ ﮘﺎﺋﮡ ﻳﺎ‬
‫ﺳﺮور ﻣﻠﻲ ﭤﻮ‪ .‬ﺳﻤﺎج ُﺳﮅارﻛﻦ ﺷﻌﺮ ۽ ادب ﺟﻲ اِن ﻛﺎرج ﺳﺎن‬ ‫ُﭔﮅڻ ﺳﺎن ﺗﻤﺎم ﮔﻬﮣﻮ ُ‬
‫ﮔﮇ ان ﮐﻲ ﺳﻤﺎج ُﺳﮅارڻ ڏاﻧﮭﻦ ﭘﮡ ﻣﻮڙﻳﻮ‪ُ .‬ﻫﻨﻦ “ادب‪ ،‬ادب ﻻ‪ ”‬واري ﺧﻴﺎل ﺑﺪران “ادب‬
‫زﻧﺪﮔﻲ‪ ‬ﻻ‪ ”‬واري ﺧﻴﺎل ﻳﺎ ﻧﻈﺮﻳﻲ ﺗﻲ زور ڏﻧﻮ‪ .‬ﺗﻔﺮﻳﺤﻲ ادب ﺑﻪ زﻧﺪﮔﻲ‪ ‬ﻻ‪ ‬آﻫﻲ ﭘﺮ ان‬
‫ﭼ ُﺲ ﺣﺎﺻﻞ ﭤﺌﻲ ﭤﻮ‪ ،‬ﻛﻲ ﻋﺎﻟﻢ ان ﮐﻲ زﻧﺪﮔﻲ ﺧﺮاب ﻛﺮڻ ﻳﺎ ﮐﺎرڻ ﺳﻤﺠﻬﻦ‬ ‫ﻣﺎن رﮘﻮ َ‬
‫ﭤﺎ‪ .‬ﺧﺎص ﻛﺮي ﺳﻤﺎج ﺳﮅارڪ اﻫﮍي ﻛﻼم ﮐﻲ ﻧﻨﺪﻳﻦ ﭤﺎ‪ .‬ﺗﻨﻬﻨﻜﺮي ادب زﻧﺪﮔﻲ‪‬‬
‫ﻻ‪ ‬ﺟﻮ ﻋﺎم ﻣﻘﺼﺪ اﻧﺴﺎﻧﻲ ﺗﺮﻗﻲ‪ ‬۾ ﻛﺮدار ادا ﻛﺮڻ ﮐﻲ ﺳﮇﻳﻮ وﻳﻮ‪ .‬ﺷﻌﺮ ۽ ادب ﮐﻲ‬
‫ﻛﺘﺐ آﮢﮡ ﺿﺮوري ﺳﻤﺠﻬﻴﻮ وﻳﻮ‪.‬‬ ‫ﺷﻌﻮر ُاﭜﺎرڻ ﻻ‪َ ‬‬
‫ﻣﺎﮢﮭﻦ ﺟﻲ زﻧﺪﮔﻲ ﺑﮭﺘﺮ ﻛﺮڻ ۽ ُ‬ ‫ﻋﺎم ُ‬
‫ﮔﻬﺮﺟﻲ‪ُ .‬ﻫﻮ ﭘﻨﮭﻨﺠﻴﻦ ﻟﮑﮣﻴﻦ‬ ‫ﻣﻄﻠﺐ ﺗﻪ ادﻳﺐ ۽ ﺷﺎﻋﺮ ﻫﻚ ﺳﻤﺎج ُﺳﮅارڪ ﺑﻪ ُﻫﺠﮡ ُ‬
‫آﮢﻴﻦ‪ .‬اﺳﺎن ﺟﺎ اﻛﺜﺮ ﺳﻨﮅي ﺷﺎﻋﺮ ۽ ادﻳﺐ ان ﺋﻲ‬ ‫ِ‬ ‫َوﺳﻴﻠﻲ ﺳﻤﺎج ۾ ﻣﺜﺒﺖ ﺗﺒﺪﻳﻠﻲ ﺑﻪ‬
‫رﺳﺘﻲ ﺗﻲ ﻫﻠﮡ وارا آﻫﻦ‪ .‬ﻗﺎﺿﻲ ﻗﺎدن‪ ،‬ﺷﺎﻫﻪ ﻛﺮﻳﻢ‪ ،‬ﺷﺎﻫﻪ ﻋﺒﺪاﻟﻠﻄﻴﻒ ﭜﭩﺎﺋﻲ‪ ‬۽ ﺳﭽﻞ‬
‫ﺑﻴﻮس‪َ ،‬ادل‬
‫ﺳﺮﻣﺴﺖ ﮐﺎن وﭠﻲ ﺣﺎﺟﻲ اﺣﻤﺪ ﻣﻼح‪ ،‬ﺷﻴﺦ اﻳﺎز‪ُ ،‬اﺳﺘﺎد ُﺑﺨﺎري‪ ،‬ﺗﺎﺟﻞ َ‬
‫ُﺳﻮﻣﺮي ۽ اﻳﺎز ُﮔﻞ ﺗﺎﺋﻴﻦ‪ ‬ﺟﻲ ﺷﺎﻋﺮن ﺳﻨﮅي ﺳﻤﺎج ۾ ﺑﮭﺘﺮ ﺗﺒﺪﻳﻠﻲ آﮢﮡ ﻻ‪ ‬ﺷﺎﻋﺮي‬
‫ﻛﺌﻲ آﻫﻲ‪.‬‬
‫ُ‬ ‫ُ‬
‫ﻟﮗ ﭜﮗ ﺳﻤﻮرن ﺷﺎﻋﺮن ﻣﻴﭟ ﻣﺤﺒﺖ‪ ،‬اﻣﻦ ۽ آﺟﭙﻲ ﺟﻮ ﭘﻴﻐﺎم ڏﻧﻮ آﻫﻲ‪ .‬دﻧﻴﺎ ﺟﻲ‬
‫ﺷﺎﻳﺪ ﺋﻲ ﻛﻨﮭﻦ ﺷﺎﻋﺮ ﺳﻬﭗ‪ ،‬اﻣﻦ ۽ ﭘﻴﺎر ﺧﻼف ﺷﻌﺮ ﭼﺌﻲ ﻧﻔﺮت ﭘﮑﻴﮍي ُﻫﺠﻲ‪ .‬اﺳﺎن‬
‫ﺻﻮﻓﻲ ﺷﺎﻋﺮن ﺗﻲ‪ ،‬ﺟﻦ ﺟﻮ‬ ‫ﺳﻤﻮرن ﺷﺎﻋﺮن ﺗﻲ ﻓﺨﺮ آﻫﻲ‪ ،‬ﺧﺎص ﻛﺮي ُ‬ ‫ﮐﻲ ﭘﻨﮭﻨﺠﻦ ُ‬
‫ﺑﻠﻜﻪ اﻧﺘﮭﺎﺋﻲ ﺳﮕﻬﺎرو ۽ ُﭘﺨﺘﻮ ﺑﻪ آﻫﻲ‪ .‬ﺳﻨﺪن ﭘﻴﻐﺎم‬
‫ِ‬ ‫ﺷﻌﺮ ﻧﻪ ُرﮘﻮ ﮔﻬﮣﻮ ُ‬
‫ﻣﻘﺒﻮل آﻫﻲ‬
‫اﻋﻠﻲ ﺗﻌﻠﻴﻤﻲ ادارا‬ ‫ُ‬
‫درﮔﺎﻫﻮن ۽ ﻣﻴﮉﻳﺎ ذرﻳﻌﻮ آﻫﻦ ﭔﻴﻮ ﺳﻨﮅ ﺟﺎ ٰ‬ ‫ﭘﮭﭽﺎﺋﮡ ﻻ‪ ‬ﻫﻚ ﺗﻪ ﺳﻨﺪن‬
‫ﺣﻜﻮﻣﺖ ﺟﺎ ُﻣﺨﺘﻠﻒ ادارا وﺳﻴﻠﻮ آﻫﻦ‪ .‬ﻫِﺘﻲ ُرﮘﻮ ٰ‬
‫اﻋﻠﻲ ﺗﻌﻠﻴﻤﻲ ادارن ﺟﻮ ﺟﺎﺋﺰو‬ ‫ُ‬ ‫۽ ﺳﻨﮅ‬
‫ُ‬ ‫ُ‬
‫وﭠﻨﺪاﺳﻴﻦ ﺗﻪ اﺗﻲ ﺻﻮﻓﻴﻦ ﺟﻲ ﭘﻴﻐﺎم ﺟﻮ ﻛﻴﺘﺮو اﺛﺮ ﭤﻴﻮ آﻫﻲ؟ ﺟﻴﻜﮇﻫﻦ اﺛﺮ ﻧﻪ ﭤﻴﻮ‬
‫ﺻﻮﻓﻲ ﺷﺎﻋﺮي ﭘﻨﮭﻨﺠﻮ اﺛﺮ ِوﭸﺎﺋﻲ وﻳﭡﻲ آﻫﻲ ﻳﻌﻨﻲ ‪ Outdated‬ﭤﻲ وﺋﻲ آﻫﻲ؟‬ ‫آﻫﻲ ﺗﻪ ﮀﺎ ُ‬
‫ﻳﺎ اﺳﺎن ﺟﺎ ﺗﻌﻠﻴﻤﻲ ادارا ﺻﺤﻴﺢ ﻛﻢ ﻧﻪ ﭘﻴﺎ ﻛﻦ؟‬
‫اﻋﻠﻲ ﺗﻌﻠﻴﻤﻲ ادارن ﺟﻮ ُﺑﻨﻴﺎدي ﻣﻘﺼﺪ ﺗﻌﻠﻴﻢ‪ ،‬ﺗﺤﻘﻴﻖ ۽ ﺗﺮﺑﻴﺖ وﺳﻴﻠﻲ ﺳﻤﺎج‬ ‫ٰ‬
‫ُ‬
‫ﮐﻲ ﺗﺮﻗﻲ ڏﻳﺎرڻ‪ ،‬اﻧﺴﺎﻧﻲ دﻣﺎﻏﻦ ﺟﻮن ﺻﻼﺣﻴﺘﻮن اﭜﺎرڻ‪ ،‬ﻛﺮدار ﺳﺎزي ﻛﺮڻ‪ ،‬ﺳﻤﺎﺟﻲ‬
‫ﺑﺮاﺑﺮي آﮢﮡ ۽ روﺷﻦ ﺧﻴﺎﻟﻲ وڌاﺋﮡ ﺑﻪ آﻫﻲ ﺟﻴﻜﺎ ﺷﻌﺮ ادب‪ ،‬ﻓﻠﺴﻔﻲ‪ ،‬ﻧﻔﺴﻴﺎت‪ ،‬ﻟﻮڪ‬
‫اﻋﻠﻲ ﺗﻌﻠﻴﻤﻲ‬
‫ٰ‬ ‫ﺳﻮﻻﺋﻲ‪ ‬ﺳﺎن وڌي ﺳﮕﻬﻲ ﭤﻲ‪ .‬ﺑﺪﻗﺴﻤﺘﻲ‪ ‬ﺳﺎن اﺳﺎن ﺟﺎ‬ ‫ڏاﻫﭗ وﺳﻴﻠﻲ َ‬
‫ادارا ﺧﺎص ﻛﺮي ﻳﻮﻧﻴﻮرﺳﭩﻴﻮن ڏﻳﻨﮭﻮن ڏﻳﻨﮭﻦ ﭘﻨﮭﻨﺠﻲ‪ ‬ذﻣﻴﻮاري‪ ‬ﮐﺎن ﭘﻮﺋﺘﻲ‬
‫ﻫﭩﻨﺪﻳﻮن ﭘﻴﻮن وﭸﻦ‪ .‬ﺟﻴﺘﻮﮢﻴﻚ اﻧﮭﻦ ﺑﻴﻦ اﻻﻗﻮاﻣﻲ ﺳﻄﺢ ﺗﻲ ﭘﺎڻ ﻣﭹﺎﺋﻴﻨﺪڙ ﻣﺤﻘﻖ‪،‬‬
‫ﺳﺎﺋﻨﺴﺪان‪ ،‬ﺗﻌﻠﻴﻤﻲ ﻣﺎﻫﺮ‪ ،‬ﻓﻼﺳﺎﻓﺮ ۽ ﻣﺨﺘﻠﻒ ﺷﻌﺒﻦ ﺟﺎ ﻣﺎﻫﺮ ﭘﻴﺪا ﻛﺮڻ ﺑﻨﺪ ﻧﻪ ﺑﻪ ﻛﻴﺎ‬
‫آﻫﻦ ﺗﻪ ﮔﻬﭩﺎﺋﻲ ﺿﺮور ﮀﮇﻳﺎ اﭤﻦ‪ .‬اﺳﺎن وٽ ﺷﻌﺮ ۽ ادب ﺟﻲ ﺷﻌﺒﻲ ۾ ﺗﻪ ﻛﺠﻬﻪ ﻧﻪ‬
‫ﻛﺠﻬﻪ اﺳﻜﺎﻟﺮ ڏﺳﮡ ۾ اﭼﻦ ﭤﺎ ﭘﺮ ﭔﻴﻦ ﺷﻌﺒﻦ ﺟﻬﮍوڪ ﺳﺎﺋﻨﺲ‪ ،‬ﻣﻌﺎﺷﻴﺎت‪ ،‬ﻓﻠﺴﻔﻲ‪،‬‬
‫‪10‬‬ ‫ﮀﺎ ﺳﻨﮅ ﺟﻮ ﺻﻮﻓﻲ ﻣﺰاج ﺗﺒﺪﻳﻞ ﭘﻴﻮ ﭤﺌﻲ؟‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﺳﻤﺎﺟﻴﺎت‪ ،‬ﻧﻔﺴﻴﺎت‪ ،‬ﺳﻴﺎﺳﺖ‪ ،‬ﻃﺐ وﻏﻴﺮﻫﻪ ۾ آﮜﺮﻳﻦ ﺗﻲ ﮘﮣﮡ ﺟﻴﺘﺮا ﻣﺤﻘﻖ‪ ،‬اﺳﻜﺎﻟﺮ‬
‫۽ ﻣﭹﻴﻞ ﻋﺎﻟﻢ ﺑﻪ ﺷﺎﻳﺪ ﺋﻲ ﻣﻠﻦ‪ .‬ﮔﻬﮣﻲ ﻋﺮﺻﻲ ﮐﺎن ڊاﻛﭩﺮ ﻋﺒﺪاﻟﺴﻼم ۽ ﺳﺎﺋﻴﻦ وڏل‬
‫ﺷﺎﻫﻪ ﺟﮭﮍو ﻛﻮ ﺑﻪ ﭘﻴﺪا ﻧﻪ ﭤﻲ ﺳﮕﻬﻴﻮ آﻫﻲ‪.‬‬
‫ان ﮐﻮٽ ۽ ﺟﮭﺎﻟﺖ ﺳﺒﺐ ﺳﻨﮅ ﺟﻮ ﺻﻮﻓﻲ ﻣﺰاج ﺗﺒﺪﻳﻞ ﭤﻴﮡ ﻟﮙﻮ آﻫﻲ‪ .‬اﻧﺘﮭﺎ‬
‫ﭘﺴﻨﺪي ﺗﻴﺰي‪ ‬ﺳﺎن ﺻﻮﻓﻲ ﺳﻮچ‪ ،‬ﻣﺬﻫﺒﻲ رواداري‪ ‬۽ ﺳﮭﭗ ﺟﻲ ﺟﺎ‪ ‬واﻻرﻳﻨﺪي ﭘﺌﻲ‬
‫وﭸﻲ‪ .‬ﭘﺎﻛﺴﺘﺎن ﺧﺎص ﻛﺮي ﺳﻨﮅ ﺟﻮن ﻳﻮﻧﻴﻮرﺳﭩﻴﻮن‪ ،‬ﺟﻴﻜﻲ روﺷﻦ ﺧﻴﺎﻟﻲ‪ ‬۽‬
‫ﻟﺒﺮل ﺳﻮچ ﭘﻴﺪا ﻛﺮڻ ﺟﻮن ﻓﻴﻜﭩﺮﻳﻮن ۽ ﺳﻨﮅ ﺟﻲ ﺻﻮﻓﻲ ﺷﺎﻋﺮن ﺣﻀﺮت ﺷﺎﻫﻪ‬
‫ﻋﺒﺪاﻟﻠﻄﻴﻒ ﭜﭩﺎﺋﻲ‪ ،‬ﺳﭽﻞ ﺳﺮﻣﺴﺖ ۽ ﭔﻴﻦ ﺟﻲ ﺻﻮﻓﻴﺎﮢﻲ ﭘﻴﻐﺎم ﭘﮑﻴﮍڻ ﺟﺎ َاڏا ﻫﻮﻧﺪﻳﻮن‬
‫ﻫﻴﻮن ﺳﻲ ﻫﺎﮢﻲ ﻣﺬﻫﺒﻲ اﻧﺘﮭﺎ ﭘﺴﻨﺪي‪ ،‬ﻏﻴﺮ ﻧﻈﺮﻳﺎﺗﻲ ﺳﻴﺎﺳﺖ‪ ،‬واﭘﺎري ذﻫﻨﻴﺖ‬
‫)‪ (Commercialization‬۽ َاﺳﮭﭗ ۽ اﮢﺒﺮاﺑﺮي‪ ‬ڏاﻧﮭﻦ ڊوڙﻧﺪﻳﻮن ﭘﻴﻮن وﭸﻦ‪ .‬ﺗﺎزا ﭤﻴﻞ واﻗﻌﺎ‬
‫ﺳﻤﻮرﻳﻦ‬‫ان ﺟﻮ ِﭼﭩﻮ ﺛﺒﻮت آﻫﻦ‪ .‬ﻣﺮدان ﻳﻮﻧﻴﻮرﺳﭩﻲ‪ ‬۾ ﻣﺸﺎل ﺧﺎن ﺟﻮ ﻗﺘﻞ ُﻣﻠﻚ ﺟﻲ ُ‬
‫ﻳﻮﻧﻴﻮرﺳﭩﻴﻦ ﺟﻲ ُﻣﻨﮭﻦ ﺗﻲ ﭼﻤﺎٽ آﻫﻲ‪ .‬ﺳﻨﮅ ﺟﻲ ﻳﻮﻧﻴﻮرﺳﭩﻴﻦ ﺟﻲ ﺻﻮرﺗﺤﺎل ﺑﻪ ﺧﺮاب‬
‫ﭤﻴﻨﺪي ﭘﺌﻲ وﭸﻲ‪ .‬ﺟﻴﻜﮇﻫﻦ اﻫﻮ ﺳﻠﺴﻠﻮ ﺟﺎري رﻫﻴﻮ ﺗﻪ ﻫﺘﻲ ﺑﻪ ﺟﻠﺪ ﺋﻲ ﻣﺸﺎل ﺧﺎن ﺟﮭﮍا‬
‫ﻛﺠﻬﻪ ﭨﻴﻠﺮ ﻫﺘﻲ ﺑﻪ ﻫﻠﻲ ُﭼﻜﺎ آﻫﻦ‪ ،‬ﺟﻴﻜﻲ‬ ‫ﻗﺘﻞ ﭤﻲ ﺳﮕﻬﻦ ﭤﺎ‪ .‬اﻧﺘﮭﺎ ﭘﺴﻨﺪي‪ ‬ﺟﺎ ُ‬
‫ﻛﺠﻬﻪ ﻣﺜﺎل ﻫﺘﻲ ﭘﻴﺶ ﻛﺠﻦ ﭤﺎ‪.‬‬ ‫اﺳﺎن ﺟﻲ اﮐﻴﻦ َﭘﭩﮡ ﻻ‪ ‬ﮐﻮڙ آﻫﻦ‪ .‬اﻧﮭﻦ ﻣﺎن ُ‬
‫‪ .1‬ﻛﺮاﭼﻲ‪ ‬۾ ﭤﻴﻞ ﺻﻔﻮران ﺳﺎﻧﺤﻲ ۾ ‪ 13-05-2015‬ﺗﻲ ‪ 46‬اﺳﻤﺎﻋﻴﻠﻴﻦ ﮐﻲ ﺟﻨﮭﻦ‬
‫ﺑﻴﺪردي‪ ‬ﺳﺎن ﻣﺎرﻳﻮ وﻳﻮ ُان ﺟﻮ ﻣﺜﺎل ﻧﻪ ﭤﻮ ﻣﻠﻲ‪ .‬اﺧﺒﺎري رﭘﻮرﭨﻦ ُﻣﻄﺎﺑﻖ ﻣﺎرڻ وارا‬
‫اﻋﻠﻲ‬
‫ٰ‬ ‫ﺑﻠﻜﻪ ُاﻧﮭﻦ ﺟﻮ ﺗﻌﻠﻖ‬
‫ِ‬ ‫ﻛﻲ ﻣﺪرﺳﻲ ﺟﺎ ﭘﮍﻫﻴﻞ ﻧﻪ ُﻫﺌﺎ ﻧﻪ ﺋﻲ وري اﮢﭙﮍﻫﻴﻞ ُﻫﺌﺎ‬
‫ﺗﻌﻠﻴﻤﻲ ادارن ﺳﺎن ﻫﻮ‪ .‬ﺳﻌﺪ ﻋﺰﻳﺰ ﭨﻦ ﭨﻦ آ‪ ‬ﺑﻲ اي ﻛﺮاﭼﻲ‪ ‬ﺟﻮ ﺑﺰﻧﻴﺲ‬
‫ﮔﺮﻳﺠﻮﺋﻴﭧ‪ ،‬اﻇﮭﺮ ﻋﺸﺮت ﺳﺮ ﺳﻴﺪ ﻳﻮﻧﻴﻮرﺳﭩﻲ‪ ‬ﻣﺎن ﭘﮍﻫﻴﻞ اﻟﻴﻜﭩﺮاﻧﻚ‬
‫ﺳﻤﻮرن‬‫اﻧﺠﻨﻴﺌﺮ‪ ،‬ﺣﺎﻓﻆ ﻧﺎﺻﺮ ﭘﻮﺳﭧ ﮔﺮﻳﺠﻮﺋﻴﭧ ۽ ﭔﻴﺎ ﺑﻪ ﭘﮍﻫﻴﻞ ﮘﮍﻫﻴﻞ ُﻫﺌﺎ‪ .‬اﻧﮭﻦ ُ‬
‫اﻋﻠﻲ ﺗﻌﻠﻴﻤﻲ ادارن ﺟﻲ ﻧﺼﺎب ۽ ﻣﺎﺣﻮل‬ ‫ٰ‬ ‫ﮔﺮﻳﺠﻮﺋﻴﭩﺲ ﺟﻲ ﺳﻮچ ۽ ﻓﻜﺮ ﺗﻲ‬
‫ﺿﺮور اﺛﺮ ﮀﮇﻳﻮ ُﻫﻮﻧﺪو‪.‬‬
‫‪ .2‬ﻟﻴﺎﻗﺖ ﻣﻴﮉﻳﻜﻞ ﻳﻮﻧﻴﻮرﺳﭩﻲ‪ ‬ﺟﻲ ﺷﺎﮔﺮدﻳﺎﮢﻲ ﻧﻮرﻳﻦ ﻟﻐﺎري‪ ‬ﺟﻮ ڏﻫﻴﻦ ﻓﻴﺒﺮوري‬
‫‪ 2017‬ﮐﺎن ﻏﺎﺋﺐ ﭤﻴﮡ ۽ ‪ 14-04-2017‬ﺗﻲ ﻻﻫﻮر ﻣﺎن ﻫﻚ آﭘﮕﻬﺎﺗﻲ ﺑﻤﺒﺎر ﺟﻲ‬
‫ﻣﻮﺟﻮد ﻣﺬﻫﺒﻲ اﻧﺘﮭﺎ ﭘﺴﻨﺪي‪ ‬ﮐﻲ ﻇﺎﻫﺮ‬ ‫ﺣﻴﺜﻴﺖ ۾ ﻫﭣ اﭼﮡ ﻫﻚ ﻳﻮﻧﻴﻮرﺳﭩﻲ‪ ‬۾ ُ‬
‫ﻛﺮي ﭤﻮ ﺑﻠﻜﻪ “ﺳﻨﮅي ﻃﺎﻟﺒﺎن” ﭘﻴﺪا ﭤﻴﮡ ﺟﻲ ﻧﺸﺎﻧﺪﻫﻲ ﭘﮡ ﻛﺮي ﭤﻮ‪ .‬ان ﺗﻲ ﺑﻪ‬
‫ﺳﻨﺠﻴﺪﮔﻲ‪ ‬ﺳﺎن ﺳﻮﭼﮡ ﺟﻲ ﺳﺨﺖ ﺿﺮورت آﻫﻲ‪.‬‬
‫‪ .3‬ﺳﻨﮅ ﻳﻮﻧﻴﻮرﺳﭩﻲ‪ ‬۾ ﺳﺎل ‪2017‬ع ﺟﻲ ﺷﺮوع ۾ ﻫﻮﻟﻲ‪ ‬ﻣﻠﮭﺎﺋﮡ ﺟﻲ ﻣﻌﺎﻣﻠﻲ ﺗﻲ ﭤﻴﻞ‬
‫ﺳﻤﻮرن ادارن ﺗﺎﺋﻴﻦ ﺟﻨﻮﻧﻴﻦ‬‫ﻣﻼﮐﮍو ﺑﻪ ُاﺗﺎن ﺟﻲ ﺳﻮچ ﮐﻲ ﻇﺎﻫﺮ ﻛﺮي ﭤﻮ‪ .‬ﻣﻄﻠﺐ ﺗﻪ ُ‬
‫ﺟﻲ ﭘﮭﭻ ﭤﻲ ُﭼﻜﻲ آﻫﻲ‪.‬‬
‫‪ .4‬اﻧﺼﺎر اﻟﺸﺮﻳﻌﻪ ﻫﻚ ﺗﻨﻈﻴﻢ ﻇﺎﻫﺮ ﭤﻲ‪ ،‬ﻣﻴﮉﻳﺎ ﺟﻲ رﭘﻮرﭨﻦ ﻣﻮﺟﺐ ان ۾ ﭘﮍﻫﻴﻞ‬
‫‪11‬‬ ‫ﮀﺎ ﺳﻨﮅ ﺟﻮ ﺻﻮﻓﻲ ﻣﺰاج ﺗﺒﺪﻳﻞ ﭘﻴﻮ ﭤﺌﻲ؟‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﮘﮍﻫﻴﻞ ﻧﻮﺟﻮان ﺷﺎﻣﻞ ُﻫﺌﺎ‪/‬آﻫﻦ‪.‬‬

‫‪ .5‬ﺗﻌﻠﻴﻤﻲ ادارن ۾ ﻣﺬﻫﺒﻲ ﺗﻨﻈﻴﻤﻦ ﺟﻮن ﺳﺮﮔﺮﻣﻴﻮن ۽ ﺳﭵﻲ‪ ‬ﺳﻨﮅ ۾ ﻣﺪرﺳﻦ ۾ ﭘﻴﻞ‬
‫ﺑﺮﻛﺖ‪ ،‬ﻣﺤﺮم اﻟﺤﺮام‪ ،‬رﺑﻴﻊ اﻻول‪ ،‬رﻣﻀﺎن ﺷﺮﻳﻒ ۽ ذواﻟﺤﺞ ۾ ﭤﻴﻨﺪڙ ﺟﺪت ۽‬
‫ﺷﺪت ﺳﻮﭼﻦ ۽ ﺧﻴﺎﻟﻦ ﺗﺒﺪﻳﻞ ﻛﺮڻ ۾ اﻫﻢ ﻛﺮدار ادا ﻛﻴﻮ آﻫﻲ‪.‬‬
‫ﺣﻜﻮﻣﺖ ‪2011‬ع ۾ ﭜﭧ ﺷﺎﻫﻪ‪،‬‬ ‫ُ‬ ‫ﺻﻮﻓﻲ ازم ﺟﻲ ﺗﻌﻠﻴﻢ ۽ ﭘﺮﭼﺎر ﻻ‪ ‬ﺳﻨﮅ‬ ‫‪ .6‬ﺳﻨﮅ ۾ ُ‬
‫ﺿﻠﻌﻲ ﻣﭩﻴﺎري‪ ‬۾ ﺻﻮﻓﻲ ﻳﻮﻧﻴﻮرﺳﭩﻲ ﻗﺎﺋﻢ ﻛﺌﻲ‪ .‬اﻫﺎ ﺑﻪ اﺻﻞ ﻛﻢ ﻧﻪ ﭘﺌﻲ ﻛﺮي‪.‬‬
‫اِن ﺣﻮاﻟﻲ ﺳﺎن روزاﻧﻲ ﻛﺎوش ﺣﻴﺪرآﺑﺎد ۾ ‪١٢‬ﻫﻴﻦ ُﺟﻮن ‪٢٠١٧‬ع ﺗﻲ ﻧﻴﻮ‬
‫ﺳﻌﻴﺪآﺑﺎد‪ ،‬ﺿﻠﻌﻲ ﻣﭩﻴﺎري‪ ‬ﺟﻲ ﻣﺤﺘﺮم ﻧﺬﻳﺮ ﻛﺎﻛﺎ ۽ ‪١٤‬ﻫﻴﻦ ُﺟﻮن ‪٢٠١٧‬ع ﺗﻲ‬
‫ﺷﻜﺎرﭘﻮر ﺟﻲ ﻣﺤﺘﺮم ﻋﻘﻴﻞ ﻋﺒﺎس ﺳﻮﻣﺮي ﺟﻮ ﺧﻂ ﻫﺎﺋﻴﮉ ﭘﺎرڪ ۾ ﺷﺎﻳﻊ ﭤﻴﻮ آﻫﻲ‪ .‬ان‬
‫ﺻﻮﻓﻲ‬ ‫ﮐﺎن ﺳﻮا‪ ‬ﻗﻮﻣﻲ ﻋﻮاﻣﻲ ﭘﺎرﭨﻲ‪ ‬ﺟﻲ ﺳﺮﺑﺮاﻫﻪ ﻣﺤﺘﺮم اﻳﺎز ﻟﻄﻴﻒ ﭘﻠﻴﺠﻲ ُ‬
‫ﻳﻮﻧﻴﻮرﺳﭩﻲ‪ ‬ﺟﻮ دورو ﻛﺮي ﭘﺮﻳﺲ ﻛﺎﻧﻔﺮﻧﺲ ﻛﺌﻲ ﺟﻴﻜﺎ ‪١٧‬ﻫﻴﻦ ُﺟﻮن ‪٢٠١٧‬ع ﺗﻲ‬
‫روزاﻧﻲ ﻋﻮاﻣﻲ آواز‪ ،‬ﻛﺎوش‪ ،‬ڊان ۽ ﭔﻴﻦ اﺧﺒﺎرن ۾ ﺷﺎﻳﻊ ﭤﻲ‪.‬‬
‫ﻫِﺘﻲ ﻋﻘﻴﻞ ﺻﺎﺣﺐ ﺟﻮ ﺧﻂ ڏﺟﻲ ﭤﻮ “‪١٢‬ﻫﻴﻦ ُﺟﻮن ‪٢٠١٧‬ع واري ﻛﺎوش ۾ ﻧﺬﻳﺮ‬
‫ﺻﻮﻓﻲ ﻳﻮﻧﻴﻮرﺳﭩﻲ ﭜﭧ ﺷﺎﻫﻪ ﺑﺎﺑﺖ ﺧﻂ ﮀﭙﻴﻮ آﻫﻲ‪ .‬اِن ﺣﻮاﻟﻲ ﺳﺎن‬ ‫اﺣﻤﺪ ﻛﺎﻛﺎ ﺟﻮ ُ‬
‫ﺻﻮﻓﻲ ﻳﻮﻧﻴﻮرﺳﭩﻲ‪ ‬ﺟﻮ ُﺑﻨﻴﺎد ِوڌو ﺗﻪ ڏاڍي ﺧﻮﺷﻲ ﭤﻲ‬ ‫ﺣﻜﻮﻣﺖ ُ‬ ‫ُ‬ ‫وڌﻳﻚ ﻋﺮض ﺗﻪ ﺟﮇﻫﻦ‬
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‫ﭘﺮ ﺟﻨﮭﻦ ﻃﺮﻳﻘﻲ ﺳﺎن ﻳﻮﻧﻴﻮرﺳﭩﻲ‪ ‬ﺟﻲ ﺷﺮوﻋﺎت ﻛﺌﻲ وﺋﻲ آﻫﻲ ان ﺗﻲ ڏاڍي ﻣﺎﻳﻮﺳﻲ‬
‫ﭤﻲ‪ .‬اﺑﺘﺪا ۾ ﺋﻲ ﻫﻦ ﻳﻮﻧﻴﻮرﺳﭩﻲ‪ ‬ﮐﻲ ﺳﻨﮅ ﻳﻮﻧﻴﻮرﺳﭩﻲ‪ ‬ﺟﻲ ﻣﺎﺗﺤﺖ ﻛﺮي ﭘﻮﻟﻴﭩﻴﻜﻞ‬
‫ﺳﺎﺋﻨﺲ ﺟﻲ ﻫﻚ ﭘﺮوﻓﻴﺴﺮ ﮐﻲ ﭘﮭﺮﻳﺎن ﻛﻮآرڊﻳﻨﻴﭩﺮ ۽ ﭘﻮ‪ ‬ﭘﻲ وي ﺳﻲ ُﻣﻘﺮر ﻛﻴﻮ وﻳﻮ‪.‬‬
‫وري ‪٢٠١٦‬ع ۾ ﻫﻚ اﻫﮍي ﻋﻮرت ﭘﺮوﻓﻴﺴﺮ ﮐﻲ وي ﺳﻲ ُﻣﻘﺮر ﻛﻴﻮ وﻳﻮ‪ ،‬ﺟﻨﮭﻦ ﮐﻲ‬
‫ﺻﻮﻓﻲ ازم ﺗﻪ ﭘﺮي ﺟﻲ ﮘﺎﻟﮭﻪ ﭘﺮ ﺷﺎﻫﻪ ۽ ﺳﭽﻞ ﺟﻮ ﺑﻴﺖ ﺑﻪ ﭘﮍﻫﮡ ﻧﻪ ﭤﻮ اﭼﻲ‪ .‬ﺟﮇﻫﻦ اﻫﮍا‬ ‫ُ‬
‫ﺣﻜﻮﻣﺖ ﺟﻲ اﻫﮍي‬ ‫ُ‬ ‫ﻣﺎﮢﮭﻮ ُﻣﻨﺘﻈﻢ ُﻣﻘﺮر ﻛﻴﺎ وﻳﻨﺪا ﺗﻪ ﻧﺘﻴﺠﺎ ﺑﻪ اﻫﮍا ﺋﻲ ﻧﻜﺮﻧﺪا‪ .‬ﺳﻨﮅ‬‫ُ‬
‫ﻓﻴﺼﻠﻲ ﺧﻼف ُﺳﭵﺎڻ ُڌرﻳﻦ ﻧﻪ ُرﮘﻮ اﻋﺘﺮاض وارﻳﺎ ﭘﺮ اﺣﺘﺠﺎج ﺑﻪ ﻛﻴﺎ‪ .‬ادﻳﺒﻦ ۽ ﺷﺎﻋﺮن‬
‫ﻣﺨﻤﻮر ُﺑﺨﺎري‪ ،‬ڊاﻛﭩﺮ ﺷﻴﺮ ﻣﮭﺮاﮢﻲ‪ ،‬ﻋﺎﺟﺰ رﺣﻤﺖ ا�‬ ‫۾ ﻋﺒﺪاﻟﻐﻔﺎر ﺗﺒﺴﻢ‪ ،‬ڊاﻛﭩﺮ ُ‬
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‫ﻻﺷﺎري‪ ،‬رﻳﺎﺿﺖ ُﭔﺮڙي ۽ ﭔﻴﻦ ﺟﺎ اﺧﺒﺎرن ۾ ﺑﻴﺎن ﺑﻪ ﮀﭙﻴﺎ ﭘﺮ اﻧﮭﻦ ﺗﻲ ﻛﻮ ڌﻳﺎن ﻧﻪ ڏﻧﻮ‬
‫وﻳﻮ‪ .‬ﺗﺎزو ﺳﻨﮅ ﺟﻲ وڏي وزﻳﺮ ﺳﭽﻞ ﺳﺮﻣﺴﺖ ﺟﻲ ُﻋﺮس ﺟﻲ ﻣﻮﻗﻌﻲ ﺗﻲ درازا ﺷﺮﻳﻒ ۾‬
‫ﺻﻮﻓﻲ ﻳﻮﻧﻴﻮرﺳﭩﻲ‪ ‬ﺟﻲ ﻛﺌﻤﭙﺲ ﻗﺎﺋﻢ ﻛﺮڻ ﺟﻮ اﻋﻼن ﻛﻴﻮ آﻫﻲ‪ ،‬ﺟﻨﮭﻦ ﺟﻲ اﺳﺎن‬ ‫ُ‬
‫ﺻﻮﻓﻲ‬ ‫آﺟﻴﺎن ﻛﺮﻳﻮن ﭤﺎ‪ .‬ان ﺳﺎن ﮔﮇ اﻫﻮ ﻋﺮض ﺑﻪ ﻛﺮﻳﻮن ﭤﺎ ﺗﻪ ﺳﺎﺋﻴﻦ! ﺟﻴﻜﮇﻫﻦ ُ‬
‫ﻳﻮﻧﻴﻮرﺳﭩﻲ‪ ‬ﮐﻲ ﻓﻌﺎل ﻛﺮڻ ﭼﺎﻫﻴﻮ ﭤﺎ ﺗﻪ ﭜﻼﺋﻲ ﻛﺮي ان ﺟﻮ ﺳﺮﺑﺮاﻫﻪ ﺑﻪ ﺗﺼﻮف ﺳﺎن‬
‫ﺗﺼﻮف ﺗﻲ‬ ‫ُ‬ ‫ﺻﻮﻓﻲ ﻳﻮﻧﻴﻮرﺳﭩﻲ‪ ‬ﺟﻮ ُﻣﻜﻤﻞ ﻓﻮﻛﺲ‬ ‫ﻣﺎﮢﮭﻮ‪ ‬ﮐﻲ ُﻣﻘﺮر ﻛﺮﻳﻮ! ُ‬‫واﺑﺴﺘﺎ ُ‬
‫ﻣﻀﻤﻮﻧﻦ ﻻ‪ ‬ﺗﻪ ﻻﮘﺎﭘﻴﻞ ﻳﻮﻧﻴﻮرﺳﭩﻴﻮن ُ‬
‫ﻣﻮﺟﻮد آﻫﻦ‪”.‬‬ ‫ُ‬ ‫ﮔﻬﺮﺟﻲ‪ .‬ﭔﻴﻦ‬ ‫ُﻫﺠﮡ ُ‬
‫ﺻﻮﻓﻴﻦ ﺟﻲ ﭘﻴﻐﺎم ﭘﮑﻴﮍڻ ۾ ﺳﻨﺪن ﻓﻘﻴﺮن ۽ راﮘﻴﻦ ﺑﻪ وڏو ﻛﺮدار ادا ﻛﻴﻮ آﻫﻲ‪.‬‬ ‫ُ‬
‫ﺻﻮﻓﻲ راﮘﻲ ﭼﻴﻮ‬ ‫ﺻﻮﻓﻲ ﺷﺎﻋﺮن ﺟﻮ ﻛﻼم آﻫﻦ‪ ،‬ﺟﻦ ﮐﻲ ُ‬ ‫ﻛﻲ ﮘﺎﺋﮣﺎ ﺗﻪ ﮘﺎﺋﻴﻨﺪا ﺋﻲ ُرﮘﻮ ُ‬
‫‪12‬‬ ‫ﮀﺎ ﺳﻨﮅ ﺟﻮ ﺻﻮﻓﻲ ﻣﺰاج ﺗﺒﺪﻳﻞ ﭘﻴﻮ ﭤﺌﻲ؟‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬
‫ﺻﻮﻓﻲ ﮘﺎﺋﮣﺎ ُ‬
‫ﻣﺸﮭﻮر آﻫﻦ‪ .‬ﻣﺜﺎل‬ ‫وﭸﻲ ﭤﻮ‪ .‬اِن ﺳﻠﺴﻠﻲ ۾ ُﻣﺨﺘﻠﻒ درﮔﺎﻫﻦ ﺳﺎن ﻻﮘﺎﭘﻴﻞ ُ‬
‫ﺷﺎﻫﻪ ﻟﻄﻴﻒ ﺟﻲ درﮔﺎﻫﻪ‪ ،‬ﺳﭽﻞ ﺳﺮﻣﺴﺖ ﺟﻲ درﮔﺎﻫﻪ‪ ،‬درﮔﺎﻫﻪ ﺟﻬﻮڪ ﺷﺮﻳﻒ ۽ ﭔﻴﻦ‬
‫درﮔﺎﻫﻦ ﺟﺎ راﮘﻲ وﻏﻴﺮﻫﻪ‪ .‬ﻫِﻦ وﻗﺖ ﻣﺎﻧﺠﻬﻲ ﻓﻘﻴﺮ‪ ،‬ﺳﻮڍل ﻓﻘﻴﺮ وﻏﻴﺮﻫﻪ ﮔﻬﮣﺎ ُ‬
‫ﻣﺸﮭﻮر‬
‫آﻫﻦ‪ .‬ﻣﺎﻧﺠﻬﻲ ﻓﻘﻴﺮ ﻫﻦ دور ﺟﻮ ﺻﻮﻓﻲ آﻫﻲ‪ ،‬ﺟﻴﻜﻮ ﮘﺎﺋﮡ ﺳﺎن ﮔﮇ ﺷﺎﻋﺮي ﺑﻪ ﻛﺮي ﭤﻮ‪.‬‬
‫ﻫﻮ اﻛﺜﺮ ﭘﻨﻬﻨﺠﻲ ﺷﺎﻋﺮي ﺋﻲ ﮘﺎﺋﻴﻨﺪو آﻫﻲ‪ .‬ﺳﻨﺪس ﮘﺎﻳﻞ ﻛﺠﻬﻪ ﻛﻼم ﺗﻪ ﺗﻤﺎم ﮔﻬﮣﺎ‬
‫ﻣﻘﺒﻮل ﭤﻴﺎ آﻫﻦ‪ ،‬ﺟﻦ ۾ ﻧﻮﺟﻮاﻧﻦ ﮐﻲ ﻫﻴﭡﻴﻮن ﻛﻼم ڏاڍو ﭘﺴﻨﺪ آﻫﻲ‪:‬‬
‫ﻛــﻮ رﺣــﻤــﺎن ﺟــﻲ ﭘــﺎﺳــﻲ‪،‬‬
‫ﻛــﻮ آﭜﮙــﻮان ﺟــﻲ ﭘــﺎﺳــﻲ‪،‬‬
‫ﻣﻨﻬﻨﺠﻮ ﺳﺠﺪو اﻧـﻬـﻲ‪ ‬ﮐـﻲ آ‬
‫ﺟﻴﻜﻮ آ اﻧﺴﺎن ﺟﻲ ﭘـﺎﺳـﻲ‪.‬‬
‫ُﻫﻦ ﺻﻮﻓﻴﺖ ﺟﻲ ﭘﺮﭼﺎر ﻻ‪ ‬ﻣﺎﻧﺠﻬﺎﺋﻲ ﺟﻤﺎﻋﺖ ﺟﻮڙي آﻫﻲ‪ .‬ان ﺟﻤﺎﻋﺖ ﺟﻮ آﺷﺮم‬
‫ﺷﻬﺪادﭘﻮر وﻳﺠﻬﻮ ﮘﻮٺ ﭔﺮﻫﻮڻ ۾ ﻗﺎﺋﻢ ﻛﻴﻮ اﭤﺎﺋﻴﻦ‪ .‬ﻛﺎوش ﺷﻮﺑﺰ آن ﻻﺋﻴﻦ ۾‬
‫ﮘﺎﻟﻬﺎﺋﻴﻨﺪي ﻣﺎﻧﺠﻬﻲ ﻓﻘﻴﺮ ُﭔﮅاﻳﻮ ﻫﻮ ﺗﻪ “ﺻﻮﻓﻲ دﻳﻦ ڌرم ﺑﺪران اﻧﺴﺎن ﺟﻲ دل ۽ دﻣﺎغ ﮐﻲ‬
‫ﺗﺒﺪﻳﻞ ﻛﻨﺪا آﻫﻦ‪ ،‬آ‪ ‬دﻗﻴﺎﻧﻮﺳﻲ ﺗﺼﻮف ﮐﻲ ﻧﻪ ﻣﭹﻴﻨﺪو آﻫﻴﺎن‪ .‬ﺗﺼﻮف وﻗﺖ ﺟﻲ‬
‫ﺣﺴﺎب ﺳﺎن ﻫﻠﻨﺪو آﻫﻲ‪ .‬اﺋﻴﻦ ﻧﺎﻫﻲ ﺗﻪ ﺗﺼﻮف ﺳﭽﻞ ۽ ﻟﻄﻴﻒ ﺗﺎﺋﻴﻦ ﺧﺘﻢ ﭤﻲ وﻳﻮ‪.‬‬
‫ﺗﺼﻮف ۾ ﻛﻴﺘﺮﻳﻮن ﺋﻲ ﺷﻴﻮن وﻗﺖ ﮔﺬرڻ ﺳﺎن ﮔﮇ ُﻣﺪي ﺧﺎرج ﭤﻲ ﭼﻜﻴﻮن آﻫﻦ‪.‬‬
‫ﺗﺼﻮف وﻫﻨﺪڙ درﻳﺎﻫﻪ آﻫﻲ‪ ،‬ان ۾ اﻳﻨﺪڙ ﺗﺒﺪﻳﻠﻴﻦ ﮐﻲ ﻗﺒﻮل ﻛﺮڻ ﮔﻬﺮﺟﻲ‪ .‬درﮔﺎﻫﻦ ﺗﻲ‬
‫اﻧﺘﻬﺎﭘﺴﻨﺪن ﺟﻲ ﻗﺎﺑﺾ ﭤﻴﮡ ﺳﺒﺐ ﺻﻮﻓﻴﻦ ﮐﻲ اﻧﭩﺮي ﻧﻪ ﭤﻲ ڏﻧﻲ وﭸﻲ‪ .‬ﭔﻬﺮاڙﻳﻦ ۾‬
‫ﺗﺼﻮف ﺟﻮ ﭘﻴﻐﺎم ﻋﺎم ﻛﻴﻮ وﭸﻲ‪ .‬ﺳﻨﮅ ﺟﻮ ﻣﺴﺘﻘﺒﻞ ان ۾ آﻫﻲ ﺗﻪ ﻣﺎﮢﻬﻮ ﺻﻮﻓﻴﻦ ﺟﻮ‬
‫داﻣﻦ ﭘﻜﮍﻳﻦ‪ ،‬ﻛﺠﻬﻪ ﻧﻤﺎﺋﺸﻲ ﺻﻮﻓﻴﻦ ﺑﺪران ﻣﺎﮢﻬﻮ ﻻﻛﻮﻓﻲ ﺻﻮﻓﻴﻦ ﺟﻲ ﭘﻮﻳﺎن ﻫﻠﻦ‪.‬‬
‫)روزاﻧﻲ ﻛﺎوش ‪(13-11-2017‬‬
‫ﻣﺎﻧﺠﻬﻲ ﻓﻘﻴﺮ ﭤﻮرن ﻟﻔﻈﻦ ۾ ﺗﺼﻮف ﺑﺎﺑﺖ وڏﻳﻮن ﮘﺎﻟﻬﻴﻮن ﭼﻴﻮن آﻫﻦ‪ .‬ﺧﺎص‬
‫ﻛﺮي ﺻﻮﻓﻴﻦ ﺟﻲ درﮔﺎﻫﻦ ﺑﺎﺑﺖ ﺳﻨﺪس را‪ ‬ﺗﻤﺎم ﮔﻬﮣﻲ اﻫﻤﻴﺖ واري آﻫﻲ‪ .‬درﮔﺎﻫﻦ‬
‫ﭘﻨﻬﻨﺠﻮ ﻛﺮدار ﺳﺴﺖ ﻛﺮي ﮀﮇﻳﻮ آﻫﻲ ﻳﺎ ﺗﺒﺪﻳﻞ ﻛﺮي ﮀﮇﻳﻮ آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ﺳﺎن‬
‫اﺗﻬﺎﭘﺴﻨﺪي‪ ‬ﮐﻲ ﻓﺎﺋﺪو ﭘﻮي ﭤﻮ‪ .‬ان ﺳﭵﻲ ﻣﺎﺣﻮل ﺟﻮ اﺛﺮ ﺗﻌﻠﻴﻤﻲ ادارن ﺗﺎﺋﻴﻦ ﺑﻪ ﭘﻬﭽﻲ ﭤﻮ‪.‬‬
‫ﺻﻮﻓﻴﺖ ﮐﻲ وﻗﺖ ﻣﻄﺎﺑﻖ ﺟﺎري رﮐﮡ ﻳﺎ اﺧﺘﻴﺎر ﻛﺮڻ ﺑﻪ ﺿﺮوري آﻫﻲ‪ .‬ان ﺣﻮاﻟﻲ‬
‫ﺳﺎن ﺗﻌﻠﻴﻤﻲ ادارا ﺗﻮڙي ﻋﻈﻴﻢ ﺻﻮﻓﻴﻦ ﺟﻮن درﮔﺎﻫﻮن ﭘﻨﻬﻨﺠﻮ ﭘﻨﻬﻨﺠﻮ ﻛﺮدار ﺻﺤﻴﺢ‬
‫ﻧﻤﻮﻧﻲ ادا ﻛﻦ‪.‬‬
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‫ﺻﻮﻓﻴﺖ ﺟﻮ ﻛﻮ ﻓﺎﺋﺪو ﻧﺎﻫﻲ اﻫﻲ ﻣﮭﺮﺑﺎﻧﻲ ﻛﺮي ﺳﻨﮅ‬ ‫ﭼﻮن ﭤﺎ ﺗﻪ ُ‬
‫ﺟﻴﻜﻲ دوﺳﺖ َ‬
‫ﺟﻲ ﺳﻤﺎج ﮐﻲ ﻏﻮر ﺳﺎن ِڏﺳﻦ‪ .‬اﻧﺘﮭﺎ ﭘﺴﻨﺪي‪ ‬ﺟﺎ اﻳﻜﮍ ﭔﻴﻜﮍ واﻗﻌﺎ ﺿﺮور ﭤﻴﺎ آﻫﻦ‪،‬‬
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‫ﺳﺎﻣﮭﻮن رﮐﻲ ُﻣﻮن ُﺳﺠﺎڳ ﭤﻴﮡ ۽‬ ‫ﺟﻦ ﺟﻮ ذﻛﺮ ُﻣﻮن ﻫِﺘﻲ ﻛﻴﻮ آﻫﻲ‪ .‬اﻧﮭﻦ واﻗﻌﻦ ﮐﻲ‬
‫ﺻﻮﻓﻴﺖ ﮐﻲ وڌﻳﻚ ﭘﮑﻴﮍڻ ﺟﻲ ُﮔﺬارش ﻛﺌﻲ آﻫﻲ‪ .‬ﺗﻨﮭﻦ ُﻫﻮﻧﺪي ﺑﻪ ﺳﻨﮅي ﺳﻤﺎج ۾‬ ‫ُ‬
‫‪13‬‬ ‫ﮀﺎ ﺳﻨﮅ ﺟﻮ ﺻﻮﻓﻲ ﻣﺰاج ﺗﺒﺪﻳﻞ ﭘﻴﻮ ﭤﺌﻲ؟‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫اﺳﻼم ﻣﺬﻫﺐ ﮐﺎن ﺳﻮا‪ ‬ﭔﻴﻦ ﻣﺬﻫﺒﻦ ﺟﮭﮍوڪ ﻫﻨﺪو‪ِ ،‬ﺳﮏ‪ ،‬ﻋﻴﺴﺎﺋﻲ‪ ‬وﻏﻴﺮﻫﻪ ﺳﺎن اﺳﺎن‬
‫ﻣﺤﺴﻮس ﻧﻪ‬‫ﺟﻮ روﻳﻮ ﭜﺎﺋﭙﻲ‪ ‬وارو آﻫﻲ‪ .‬اﻧﮭﻦ ﺳﺎن ﮔﮇ ﮐﺎﺋﮡ ﭘﻴﺌﮡ ۽ ُاﭤﮡ وﻳﮭﮡ ۾ ﻛﻮ ﻓﺮق ُ‬
‫ﻛﻨﺪا آﻫﻴﻮن‪ .‬ان ﺳﺎن ﮔﮇ ﺳﻨﮅ ۾ ﺋﻲ ﻏﻴﺮ ﺳﻨﮅﻳﻦ ﺟﻮ ﻫﻨﺪن ﺳﺎن روﻳﻮ‪ ،‬اﺳﻼم آﺑﺎد ۽‬
‫ﺻﻮﻓﻴﺖ ﺟﻲ اﺛﺮ ﺟﻲ‬ ‫ﺳﻠﻮڪ ِڏﺳﻨﺪا ﺗﻪ اوﻫﺎن ﮐﻲ ﺳﻨﮅﻳﻦ ﺗﻲ ُ‬ ‫ﻻﻫﻮر ۾ ﻏﻴﺮ ُﻣﺴﻠﻤﺎﻧﻦ ﺳﺎن ُ‬
‫ﺧﺒﺮ ﭘﺌﺠﻲ وﻳﻨﺪي‪ .‬ﺳﺎﮘﻲ‪ ‬رﻳﺖ ﻛﺮاﭼﻲ‪ ،‬ﺣﻴﺪرآﺑﺎد ۽ ﭔﻴﻦ ﺷﮭﺮن ۾ رﻣﻀﺎن ﺷﺮﻳﻒ‬
‫دوران ﭘﻴﺪا ﭤﻴﻞ ﻣﺎﺣﻮل ﺑﻪ ﻛﻴﺘﺮا ﺋﻲ ﻓﺮق واﺿﺢ ﻛﻨﺪو‪ .‬ﻧﺞ ﺳﻨﮅي ذﻫﻦ اڄ ﺗﺎﺋﻴﻦ‬
‫ﻗﺒﻮل ﻧﻪ ﭤﻮ ﻛﺮي‪ .‬ﻫﻨﺪن ﮐﻲ زوري‪ُ ‬ﻣﺴﻠﻤﺎن ﻛﻨﺪڙ ﭼﻨﺪ ُ‬
‫ﻣﺎﮢﮭﻦ ﮐﻲ‬ ‫ﻃﺎﻟﺒﺎﻧﺎﺋﻴﺰﻳﺸﻦ ُ‬
‫ﺳﻤﻮرن ﺳﻨﮅﻳﻦ ﺟﻲ ﺳﻮچ ﻧﻪ ﭤﻮ ﭼﺌﻲ ﺳﮕﻬﺠﻲ‪ .‬زوري‪ ‬ﻣﺴﻠﻤﺎن ﻛﻨﺪڙن ﮐﻲ ﺳﻨﮅي‬ ‫ُ‬
‫ﺻﻮﻓﻴﻦ‬ ‫ﺑﺎﺷﻌﻮر ﻣﺎﮢﻬﻮ ﺳﭡﻮ ﻧﻪ ﭤﻮ ﺳﻤﺠﻬﻲ‪ .‬ﻛﻲ ﺗﻪ ان ﻋﻤﻞ ﺧﻼف اﺣﺘﺠﺎج ﺑﻪ ﻛﻦ ﭤﺎ‪ُ .‬‬
‫ﺟﻲ ﻛﺮي اﻛﺜﺮ ﺳﻨﮅﻳﻦ ﺟﻲ ﺳﻮچ روﺣﻞ ﻓﻘﻴﺮ واري آﻫﻲ‪:‬‬
‫ﻫِــﻚ ﻫــﻨـ ُـﺪو‪ ،‬ﭔــﻴــﻮ ُﻣﺴــﻠــﻤــﺎن‪ ،‬ﭨــﻴــﻮن ِوچ ِوڌاﺋــﻮن وﻳــﺮ‬
‫َاﻧــﮅن ُاوﻧــﺪﻫــﻪ ﻧــﻪ ﻟــﮭــﻲ‪ ،‬ﺗــﻦ ﮐــﻲ ﺳــﭻ ﭼـ َـﻮﻧــﺪو ﻛــﻴــﺮ؟‬
‫روﺣــﻞ راﻫــﻪ ﭘــﺮﻳــﻦ‪ ‬ﺟــﻲ‪ ،‬ﮔ ـ ِﻬــﮍي ِڏﭠــﻮﺳــﻴــﻦ ﮔــﻬــﻴــﺮ‬
‫ﺗــﻪ رب ﻣــﮍﻧــﻲ ۾ ﻫــﻴــﻜــﮍو‪ ،‬ﺟــﻨــﮭــﻦ ۾ ﭰــﻨــﺪ ﻧــﻪ ﭰــﻴــﺮ‬
‫ﺟــﺎ ُﺳــﺘــﻲ ﻛــﻌــﺒــﻲ ِوچ ۾‪ ،‬ﺳــﺎ ﻛــﺎڏي ﻛــﻨــﺪي ﭘــﻴــﺮ؟‬
‫اﺳﺎن ﺳﻨﮅﻳﻦ ﮐﻲ ان ﮘﺎﻟﮭﻪ ﺗﻲ ﻓﺨﺮ ُﻫﻮﻧﺪو آﻫﻲ ﺗﻪ اﺳﺎن ﺻﻮﻓﻲ ﻣﺰاج رﮐﻨﺪڙ ۽‬
‫ﻟﺒﺮل آﻫﻴﻮن‪ .‬ﭔﺎﻫﺮان آﻳﻞ ﻣﺎﮢﮭﻮن اﻧﺘﮭﺎ ﭘﺴﻨﺪ ﺳﻮچ رﮐﻦ ﭤﺎ‪.‬‬
‫ﻣﺬﻫﺒﻲ اﻧﺘﮭﺎ ﭘﺴﻨﺪي‪ ‬واري ﺳﻮچ ﻫﺘﺎن ﺟﻲ ﻛﺠﻬﻪ ﻗﺪﻳﻢ رﻫﻮاﺳﻴﻦ ﺟﻲ آﻫﻲ ﻳﺎ‬
‫ﺗﺎزو آﺑﺎد ﭤﻴﻠﻦ ﺟﻲ آﻫﻲ‪ .‬ﻫﻴﻨﺌﺮ ان ﺑﺎﺑﺖ دﻟﻴﻞ ڏﻳﮡ ﻳﺎ ﺑﺤﺚ ﻛﺮڻ اﺟﺎﻳﻮ آﻫﻲ‪ .‬ﺟﻴﻜﻲ‬
‫ﺑﻪ ﻣﺎﮢﮭﻮ ﺳﻨﮅ ۾ رﻫﻦ ﭤﺎ ُاﻧﮭﻦ ﺟﻮ ﻫﺮ ﭼﮝﻮ ﻳﺎ ُﺑﺮو ﻋﻤﻞ ﺳﻨﮅ ﺟﻲ ﮐﺎﺗﻲ ۾ ﺋﻲ ﻟﻴﮑﺠﻲ ﭤﻮ‪.‬‬
‫ﺗﻨﻬﻦ ﻛﺮي روﺷﻦ ﺧﻴﺎﻟﻲ‪ ‬آﮢﮡ ﻳﺎ ُان ﮐﻲ وڌاﺋﮡ ﻻ‪ ‬ﺳﭝﻨﻲ ﮐﻲ ﮔﮇﺟﻲ ﻛﻢ ﻛﺮﮢﻮ‬
‫ﺻﻮﻓﻴﻦ ﺟﻮ ﭘﻴﻐﺎم اڄ ﺑﻪ ﺳﻤﺎج ﺳﺎن ُﻣﻄﺎﺑﻘﺖ رﮐﻲ ﭤﻮ‪ .‬اڄ ﺟﻲ ﺣﺎﻟﺘﻦ ﺳﺎن ﭠﮭﻜﻲ‬ ‫آﻫﻲ‪ُ .‬‬
‫اﭼﻲ ﭤﻮ‪ .‬اﺳﺎن ﺷﺎﻳﺪ اِن اﻧﺘﻈﺎر ۾ آﻫﻴﻮن ﺗﻪ ﺷﺎﻫﻪ ﻟﻄﻴﻒ ۽ ﺳﭽﻞ ﺳﺮﻣﺴﺖ ﭘﺎڻ ﻗﺒﺮن ﻣﺎن‬
‫ﻛﻨﻦ ۽ ذﻫﻨﻦ ۾ ﭘﻨﮭﻨﺠﻮ ﻛﻼم ۽ ﭘﻴﻐﺎم اوﺗﻦ‪ ،‬ﺑﺎﻗﻲ اﺳﺎن ﺳﻨﺪن‬ ‫ُاﭤﻲ اﭼﻲ اﺳﺎن ﺟﻲ َ‬
‫رﺳﺎﻻ ﻧﻪ ﭘﮍﻫﻨﺪاﺳﻴﻦ؛ ﻛﻼم ﻧﻪ ُﭔﮅﻧﺪاﺳﻴﻦ‪ .‬ﺧﺎص ﻛﺮي ﻧﻮﺟﻮاﻧﻦ ﺟﻲ دﻟﭽﺴﭙﻲ ﮔﻬﭩﺒﻲ‬
‫ﭘﺌﻲ وﭸﻲ‪ُ .‬ﻫﻮ ُﻣﻄﺎﻟﻌﻮ ﻧﻪ ﭤﺎ ﻛﻦ‪.‬‬
‫ﻛﺠﻬﻪ ﺗﺠﻮﻳﺰون‬ ‫ﺣﻜﻮﻣﺖ‪ ،‬ﻋﺎﻟﻢ ۽ ُﺳﭵﺎڻ ڌرﻳﻮن ﮀﺎ ﻛﻦ؟ ان ﺣﻮاﻟﻲ ﺳﺎن ُ‬
‫ﻫﺘﻲ ڏﺟﻦ ﭤﻴﻮن‪.‬‬
‫‪ .1‬ﻫﺮ ﻣﺬﻫﺒﻲ ﻋﺒﺎدت ﮐﻲ ذاﺗﻲ ﻋﻤﻞ ﺳﻤﺠﻬﻴﻮ وﭸﻲ‪ .‬ان ﺧﻼف ﻓﺘﻮاﺋﻦ ۽ ﻓﻴﺼﻠﻦ ﺗﻲ‬
‫ﭘﺎﺑﻨﺪي ﻫﻨﺌﻲ وﭸﻲ‪.‬‬
‫‪ .2‬ﻫﺮ ﻫﻚ ﻣﺬﻫﺐ ۽ ﻓﺮﻗﻲ ﺟﻮ ﻻزﻣﻲ اﺣﺘﺮام ﻛﻴﻮ وﭸﻲ‪ .‬ﻣﺬﻫﺐ ﺟﻲ ﺗﻮﻫﻴﻦ ﺟﻲ‬
‫ﺻﻮرت ۾ ﻣﺎﮢﮭﻦ ﺑﺪران ﻋﺪاﻟﺘﻮن ﻓﻴﺼﻼ ﻛﻦ‪.‬‬
‫‪14‬‬ ‫ﮀﺎ ﺳﻨﮅ ﺟﻮ ﺻﻮﻓﻲ ﻣﺰاج ﺗﺒﺪﻳﻞ ﭘﻴﻮ ﭤﺌﻲ؟‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﺣﻜﻮﻣﺖ ﺳﻨﮅ ﺟﻲ ﻫﺮ ﻫﻚ ﮘﻮٺ ۾ ﻻزﻣﻲ اﺳﻜﻮل ﮐﻮﻟﻲ‪ ،‬ﺟﺘﻲ آﺑﺎدي ﮔﻬﮣﻲ‬ ‫ُ‬ ‫‪ .3‬ﺳﻨﮅ‬
‫ُﻫﺠﻲ اﺗﻲ ﻛﺎﻟﻴﺞ ۽ ﻳﻮﻧﻴﻮرﺳﭩﻴﻮن ﻗﺎﺋﻢ ﻛﺮي ﺗﻪ ﺟﻴﺌﻦ ﻣﺪرﺳﻦ ﮐﻮﻟﮡ ﺟﻲ‬ ‫ُ‬
‫ﺿﺮورت ﻧﻪ ﭘﺌﻲ‪.‬‬
‫ﻣﻮﺟﻮد ﻣﺪرﺳﻦ ۾ ﺟﺪﻳﺪ ﻋﻠﻢ ۽ ﺻﻮﻓﻴﺎﮢﻮ‬ ‫‪َ .4‬ﻧﻮن ﻣﺪرﺳﻦ ﮐﻮﻟﮡ ﺗﻲ ُﻣﻜﻤﻞ ﭘﺎﺑﻨﺪي ۽ ُ‬
‫ﻧﺼﺎب ﺳﺨﺘﻲ‪ ‬ﺳﺎن ﻻﮘﻮ ﻛﻴﻮ وﭸﻲ‪.‬‬
‫‪ .5‬ﭘﺮاﺋﻤﺮي‪ ‬ﮐﺎن ﻳﻮﻧﻴﻮرﺳﭩﻲ‪ ‬ﺗﺎﺋﻴﻦ ﻧﺼﺎب ۾ ﺗﺒﺪﻳﻠﻲ آﮢﻲ ان ﻣﺎن ﻫﺮ ﻗﺴﻢ ﺟﻲ ﻧﻔﺮت‬
‫ﻣﻀﻤﻮﻧﻦ ﺟﻮ واڌارو ﺑﻪ‬‫ُ‬ ‫ﻛﺠﻬﻪ ﻻزﻣﻲ‬ ‫ﺑﻠﻜﻪ ُ‬
‫ِ‬ ‫ﭘﮑﻴﮍﻳﻨﺪڙ ﻣﻮاد ﻧﻪ رﮘﻮ ﻛﮃﻳﻮ وﭸﻲ‬
‫ﻛﻴﻮ وﭸﻲ‪ .‬ﺟﻬﮍوڪ‪ :‬اﺳﻼم ﮐﺎن ﺳﻮا‪ ‬ﭔﻴﻦ ﻣﺬﻫﺒﻦ ﺟﻮ ﻋﻠﻢ )‪ ،(Theology‬ﺳﻨﮅ ﺟﻲ‬
‫ﺻﻮﻓﻲ ﺷﺎﻋﺮن ﺟﻲ ﻛﻼم ۽ ﭘﻴﻐﺎم ﺗﻲ ﭔﮅل ﻣﻀﻤﻮن ۽ اﻧﺴﺎﻧﻲ ﺣﻘﻦ ﺑﺎﺑﺖ ﻣﻀﻤﻮن‪.‬‬
‫ﻣﻀﻤﻮن ُﻣﺨﺘﺼﺮ ﻧﻤﻮﻧﻲ ﭘﮍﻫﺎﻳﺎ وﭸﻦ ﭤﺎ ﭘﺮ اﻧﻬﻦ ﻣﻀﻤﻮﻧﻦ ﮐﻲ‬ ‫ُ‬ ‫ﺗﻮڙي ﺟﻮ اﻫﻲ‬
‫ﻫﺮ ‪Discipline‬ﻻ‪ ‬ﻻزﻣﻲ ﻛﻴﻮ وﭸﻲ‪ .‬ﺳﺎﺋﻨﺲ وارا ﺑﻪ ﭘﮍﻫﻦ ﺗﻪ آرﭨﺲ وارا‪ ،‬ﻛﺎﻣﺮس‬
‫وارا‪ ،‬ﻣﻴﮉﻳﻜﻞ وارا‪ ،‬اﺳﻼﻣﻴﺎت وارا‪ ،‬اﻳﺠﻮﻛﻴﺸﻦ ۽ ﺑﺰﻧﻴﺲ اﻳﮉﻣﻨﺴﭩﺮﻳﺸﻦ وارا ﺑﻪ‬
‫ﭘﮍﻫﻦ‪ .‬ﺟﻴﻜﻲ ﺳﻨﮅي ﭔﻮﻟﻲ ﻧﻪ ﭤﺎ ﭘﮍﻫﻲ ﺳﮕﻬﻦ ُاﻧﮭﻦ ﮐﻲ ُاردو‪ ‬۽ اﻧﮕﺮﻳﺰي‪ ‬۾ ﺗﺮﺟﻤﻮ‬
‫ﻛﺮي ﭘﮍﻫﺎﻳﻮ وﭸﻲ‪.‬‬
‫‪ .6‬ﻳﻮﻧﻴﻮرﺳﭩﻴﻦ ۾ ادﺑﻲ ﺛﻘﺎﻓﺘﻲ ۽ ﻏﻴﺮ ﻧﺼﺎﺑﻲ ﺳﺮﮔﺮﻣﻴﻦ ۽ ﺧﺎص ﻛﺮي ﺻﻮﻓﻴﺎﮢﻲ‬
‫راڳ ﺟﻲ ﻣﺤﻔﻠﻦ ﮐﻲ وڌاﻳﻮ وﭸﻲ‪.‬‬
‫‪ .7‬اﺳﭩﻮڊﻧﭩﺲ ﻳﻮﻧﻴﻨﻮن ﺑﺤﺎل ﻛﺮڻ ﺳﺎن ﮔﮇو ﮔﮇ اﺳﭩﮉي ﺳﺮﻛﻞ ﺑﻪ آﺑﺎد ﻛﻴﺎ وﭸﻦ‪.‬‬
‫‪ .8‬ﻣﻴﮉﻳﺎ اﻫﻢ ﻛﺮدار ادا ﻛﺮي ﺳﮕﻬﻲ ﭤﻲ‪ .‬ﺳﻨﮅي ۽ ُاردو ﻣﻴﮉﻳﺎ‪ ،‬ﺧﺎص ﻛﺮي‬
‫ﺻﻮﻓﻴﺎﮢﻲ ﻓﻜﺮ ﮐﻲ‬ ‫رﻳﮉﻳﻮ‪ ،‬ﭨﻲ وي ﭼﻴﻨﻞ ﭘﻨﮭﻨﺠﻦ ﭘﺮوﮔﺮاﻣﻦ ۽ ڊراﻣﻦ وﻏﻴﺮﻫﻪ ۾ ﺑﻪ ُ‬
‫ﻧﻤﺎﻳﺎن ﺷﺎﻣﻞ ﻛﻦ‪ .‬ﺷﺎﻫﻪ ﻟﻄﻴﻒ‪ ،‬ﺳﭽﻞ ﺳﺮﻣﺴﺖ‪ ،‬ﺧﻮاﺟﺎ ُﻏﻼم ﻓﺮﻳﺪ‪ ،‬ﺑﺎﺑﺎ ﺑﻠﻬﻲ‬
‫ﺷﺎﻫﻪ ۽ ﭔﻴﻦ ﺻﻮﻓﻲ ﺷﺎﻋﺮن ﺟﻮ ﻛﻼم ُاردو ۽ اﻧﮕﺮﻳﺰي ﺗﺮﺟﻤﻲ ﺳﺎن ﮔﮇ ڏﻳﻦ‪.‬‬
‫ﻛﺘﺐ آﮢﻴﻮن‪.‬‬ ‫‪ .9‬اﺳﺎن ﺳﭛ ﺳﻮﺷﻞ ﻣﻴﮉﻳﺎ ﮐﻲ اِن ﻣﻘﺼﺪ ﻻ‪َ ‬‬
‫اﺳﻜﻮﻟﻦ‪ ،‬ﻛﺎﻟﻴﺠﻦ ۽ ﻳﻮﻧﻴﻮرﺳﭩﻴﻦ ﺟﻲ ُاﺳﺘﺎدن ﺗﻮڙي ﺻﺤﺎﻓﻴﻦ ﻻ‪ ‬ورﻛﺸﺎپ‬ ‫ُ‬ ‫‪.10‬‬
‫ﺑﻠﻜﻪ ﻫﻮ‬ ‫ُ‬
‫ﻛﺮاﺋﻲ‪ ،‬اﻧﮭﻦ ﮐﻲ ﺻﻮﻓﻴﺎﮢﻲ ﻓﻜﺮ ﺟﻲ ﭘﺮﭼﺎر ﻻ‪ ‬ﻧﻪ رﮘﻮ ﺗﻴﺎر ﻛﻴﻮ وﭸﻲ‬
‫ِ‬
‫ﭘﻨﮭﻨﺠﻮ ﻓﺮض ﺳﻤﺠﻬﻲ ﭘﺮﭼﺎر ۽ ﻛﺎﺋﻮﻧﺴﻠﻨﮓ ﻛﻦ‪.‬‬
‫‪ .11‬ﭘﺮاﺋﻤﺮي ﺗﻌﻠﻴﻢ ﺗﻲ وڌ ۾ وڌ ڌﻳﺎن ڏﺋﻲ‪ ،‬ان ۾ ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬ﺟﻲ ﺗﻌﻠﻴﻢ ﺟﻮ ﻣﻌﻴﺎر وڌاﻳﻮ‬
‫وﭸﻲ ﺗﻪ ﺟﻴﺌﻦ ﺷﺎﻫﻪ‪ ،‬ﺳﭽﻞ ۽ ﭔﻴﻦ ﺻﻮﻓﻴﻦ ﮐﻲ ﭘﮍﻫﮡ ۽ ﺳﻤﺠﻬﮡ ۾ ﺳﻮﻻﺋﻲ ﭤﺌﻲ‪.‬‬
‫ﻗﺎﻧﻮن ﻻﮘﻮ ﻛﻨﺪڙ ﺳﻤﻮرا ادارا دﻫﺸﺘﮕﺮدي‪ ‬ﺧﻼف ﺟﻨﮓ وڙﻫﻦ ﭘﻴﺎ ﭘﺮ ان ﺳﻠﺴﻠﻲ‬
‫۾ ﮐﻴﻦ اﭸﺎ وڌﻳﻚ ﭼﺴﺖ ﭤﻴﮣﻮ ﭘﻮﻧﺪو‪.‬‬
‫َ‬
‫ان ۾ ﻛﻮ ﺷﻚ ﻧﺎﻫﻲ ﺗﻪ ڏﻧﻞ ﺗﺠﻮﻳﺰن ﺗﻲ ﻋﻤﻞ ﻛﺮڻ ﻳﺎ ﻛﺮاﺋﮡ ﻛﻮ ﺳﻮﻟﻮ ﻛﻢ‬
‫ﻧﺎﻫﻲ ﭘﺮ ﻧﺎﻣﻤﻜﻦ ﺑﻪ ﻧﺎﻫﻲ‪ .‬اﻫﮍي‪ ‬رﻳﺖ ان ﺟﻮ ﻧﺘﻴﺠﻮ ﺗﻜﮍ ۾ ﺑﻪ ﻧﻪ ﻧﻜﺮﻧﺪو ﭘﺮ ﭘﻚ‬
‫ﭴﺎﮢﻮ ﺗﻪ ُﺳﺘﺖ ﺋﻲ ﺑﮭﺘﺮ ﻧﺘﻴﺠﻮ ﻧﻜﺮﻧﺪو‪ .‬ان ﻻ‪ ‬ﺣﻜﻮﻣﺖ ﭘﻨﮭﻨﺠﻲ ﺣﺼﻲ‪ُ ،‬اﺳﺘﺎد‪،‬‬
‫‪15‬‬ ‫ﮀﺎ ﺳﻨﮅ ﺟﻮ ﺻﻮﻓﻲ ﻣﺰاج ﺗﺒﺪﻳﻞ ﭘﻴﻮ ﭤﺌﻲ؟‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﺻﺤﺎﻓﻲ‪ُ ،‬ﺳﭵﺎڻ ڌرﻳﻮن‪ ،‬ﺳﻴﺎﺳﻲ‪ ،‬ﺳﻤﺎﺟﻲ ۽ ﻋﻠﻤﻲ ادﺑﻲ ﺗﻨﻈﻴﻤﻮن ﭘﻨﮭﻨﺠﻲ ﭘﻨﮭﻨﺠﻲ‬
‫ﺣﺼﻲ ﺟﻮ ﻛﻢ ﻛﻦ ﺗﻪ ﻣﻨﺰل ﭘﺮي ﻧﺎﻫﻲ‪ .‬ﺟﻴﻜﮇﻫﻦ ُدﻧﻴﺎ ﺟﻲ ﻋﻈﻴﻢ ﺷﺎﻋﺮ ﺣﻀﺮت‬
‫ﺷﺎﻫﻪ ﻋﺒﺪاﻟﻠﻄﻴﻒ ﭜﭩﺎﺋﻲ‪ ‬ﺟﻲ ﻫﻴﭟ ڏﻧﻞ ﻫﻚ ﺑﻴﺖ ﺗﻲ ﺋﻲ ﻋﻤﻞ ﻛﺒﻮ ﺗﻪ ﭔﻴﮍا ﭘﺎر ﭤﻲ‬
‫وﻳﻨﺪا‪:‬‬
‫روزا ۽ ﻧــﻤــﺎزون‪ ،‬اي ُ‬
‫ﭘــــﮡ َ‬
‫ﭼــﮝــــﻮ ﻛــــﻢ‬
‫او ﻛﻮ ﭔﻴﻮ ﻓﮭـﻢ‪ِ ،‬ﺟـﻨـﮧ ۾ َﭘ َﺴ ُ‬
‫ـﮡ ﭘـﺮﻳـﻦ ﮐـﻲ‪) .‬ﺳـﺮ آﺳـﺎ(‬
‫دﻧﻴﺎ ۾ ﻫﻦ وﻗﺖ ﻫﭥﻴﺎرن وارﻳﻮن ﺟﻨﮕﻴﻮن ﺑﻪ ﻫﻠﻦ ﭘﻴﻮ‪ ،‬ﭘﺮ ان ﺳﺎن ﮔﮇ ذﻫﺎﻧﺖ‬
‫ڏاﻫﭗ‪ ،‬ﻋﻠﻢ ۽ ﻣﻴﮉﻳﺎ‪/‬ﺳﻮﺷﻞ ﻣﻴﮉﻳﺎ وﺳﻴﻠﻲ ﺑﻪ ﭼﻮٽ ﺟﺎ ﻣﻘﺎﺑﻼ ﭤﻴﻦ ﭘﻴﺎ‪ .‬ﻣﺎﮢﻬﻦ ﺟﺎ ذﻫﻦ‬
‫ﺗﺒﺪﻳﻞ ﻛﺮي ﻧﻪ رﮘﻮ وﺳﻴﻼ ﭰﺮﻳﺎ ﭘﻴﺎ وﭸﻦ ﭘﺮ ﻫﻜﭕﺌﻲ ﮐﻲ ﻣﺎراﻳﻮ ﺑﻪ ﭘﻴﻮ وﭸﻲ‪ .‬اﻫﮍي‪‬‬
‫ﺻﻮرﺗﺤﺎل ۾ ﺳﻮچ ﺗﺒﺪﻳﻞ ﻛﺮاﺋﮡ واري ﺟﻨﮓ ﺗﻤﺎم ﮔﻬﮣﻲ اﻫﻢ آﻫﻲ‪ .‬ﺳﻮﭼﻦ ۾ ﺗﺒﺪﻳﻠﻲ‬
‫اﻣﻦ‪ ،‬اﻧﺼﺎف ۽ اﻧﺴﺎﻧﻲ ﭜﻠﻲ ﻻ‪ ‬اﭼﮡ ﮔﻬﺮﺟﻲ‪ .‬اﻫﮍي ﺳﻮچ ﺻﻮﻓﻴﺖ وﺳﻴﻠﻲ ﺳﻮﻻﺋﻲ ﺳﺎن‬
‫ﭘﻴﺪا ﻛﺮي ﺳﮕﻬﺠﻲ ﭤﻲ‪ ،‬ﺻﻮﻓﻴﻦ وٽ اﻧﺴﺎﻧﻲ ﭜﻼﺋﻲ‪ ‬ﺟﻮ ﻫﺮ ﻧﺴﺨﻮ ﻣﻮﺟﻮد آﻫﻲ‪.‬‬
‫ﺿﺮورت ان ﮘﺎﻟﻬﻪ ﺟﻲ آﻫﻲ ﺗﻪ اﻧﻬﻦ ﻧﺴﺨﻦ ﮐﻲ ﺳﻤﺠﻬﺠﻲ ۽ ﺻﺤﻴﺢ اﺳﺘﻌﻤﺎل ﻛﺠﻲ‪.‬‬
‫ﺻﻮﻓﻴﻦ ﺟﻲ ﻛﺮدار ۽ ﻋﻤﻞ ﮐﻲ ڏﺳﻨﺪاﺳﻴﻦ ﺗﻪ اﻧﻬﻦ ﻛﮇﻫﻦ ﺑﻪ ﻛﻨﻬﻦ ﻣﺎﮢﻬﻮ‪ ‬ﺟﻮ ﻗﺘﻞ‬
‫ﻧﺎﻫﻲ ﻛﻴﻮ ﻳﺎ ﻛﺮاﻳﻮ‪ ،‬ﺟﮇﻫﻦ ﺗﻪ اﺳﺎن وٽ ﻣﺬﻫﺐ ﺟﻲ ﻧﺎﻟﻲ ﺗﻲ اﮢﮙﮣﻴﺎ اﻧﺴﺎن ﻣﺎرﻳﺎ وﻳﺎ‬
‫آﻫﻦ‪ .‬اﻫﻮﺋﻲ ﺳﺒﺐ آﻫﻲ ﺗﻪ ﺳﭽﻞ ﺳﺮ ﻣﺴﺖ ﻓﺮﻣﺎﻳﻮ ﺗﻪ‪:‬‬
‫ﻣـــﺬﻫـــﺒـــﻦ ﻣـــﻠـــﻚ ۾‪ ،‬ﻣـــﺎﮢـــﻬـــﻮن ﻣـــﻨـــﺠـــﻬـــﺎﻳـــﺎ‪،‬‬
‫ﺷـــﻴـــﺨـــﻲ‪ ‬ﭘـــﻴـــﺮي‪ ‬ﺑـــﺰرﮔـــﻲ‪ ،‬ﺑـــﻴـــﺤـــﺪ ُﭜـــﻼﻳـــﺎ‪،‬‬
‫ﻛــﻲ ﻧــﻤــﺎزون ﻧــﻮڙي ﭘــﮍﻫــﻦ‪ ،‬ﻛــﻦ ﻣــﻨــﺪر وﺳــﺎﻳــﺎ‪،‬‬
‫اوڏو ﻛـــــﻴـــــﻦ آﻳـــــﺎ‪ ،‬ﻋـــــﻘـــــﻞ وارا ﻋﺸـــــﻖ ﮐـــــﻲ‪.‬‬
‫ﺳﭽﻞ ﺳﺮ ﻣﺴﺖ وڌﻳﻚ ﻓﺮﻣﺎﺋﻲ ﭤﻮ ﺗﻪ؛‬
‫وﻗــــﺖ اﻫــــﺎ ﭤــــﺌــــﻲ وﻳــــﻞ‪ُ ،‬دوﺋــــﻲ ُدور ﻛــــﺮڻ ﺟــــﻲ‬
‫ﻛـــﮃ ﻣـــﺬاﻫـــﺐ ﻣـــﻦ ﻣـــﺎن‪ ،‬ﺳـــﺎﺟـــﻬـــﺮ ﺳـــﺎڻ ﺳـ َــﻮﻳـــﻞ‬
‫ﻫــﻨــﺪو ﻣــﻮﻣــﻦ ﺳــﺎن ﻣــﻠــﻲ‪ ،‬ﻣــﺤــﺒــﺖ ﺟــﺎﻛــﺮ ﻣــﻴــﻞ‬
‫وﻳـــﻞ‪ ،‬اوﻟـــﻬـــﻪ ﺳـــﺞ ﻧـــﻪ ُاﻟـــﻬـــﻲ‪.‬‬
‫ﻣـــﺘـــﺎن ﭤـــﻴـــﺌـــﻲ َا َ‬

‫روﺣﻞ ﻓﻘﻴﺮ ﻣﺬﻫﺒﻲ رواداري‪ ‬ﺑﺎﺑﺖ ﻛﺠﻬﻪ ﻫﻦ رﻳﺖ ﻓﺮﻣﺎﺋﻲ ﭤﻮ ﺗﻪ؛‬

‫ﻣﺴـــــﺠـــــﺪ ۽ ﻣـــــﻨـــــﺪر ۾‪ ،‬ﭔـــــﺮي ﻫـــــﻚ ڏﻳـــــﺌـــــﻮ‪،‬‬
‫ﺟــﻲ اﺳــﻼم ا� ﻛــﻴــﻮ‪ ،‬ﺗــﻪ ﻛــﻔــﺮ ﻛــﻨــﻬــﻦ ﻛــﻴــﻮ‪،‬‬
‫روﺣـــﻞ ﻛـــﻴـــﺌـــﻦ ﭘـــﻴـــﻮ؟ ﺧـــﻠـــﻞ ﻫـــﻦ ﺧـــﻠـــﻖ ۾‪.‬‬

‫‪16‬‬ ‫ﮀﺎ ﺳﻨﮅ ﺟﻮ ﺻﻮﻓﻲ ﻣﺰاج ﺗﺒﺪﻳﻞ ﭘﻴﻮ ﭤﺌﻲ؟‬

 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫اﻛﺜﺮ ﺻﻮﻓﻴﻦ ﺟﻮ ﭘﻴﻐﺎم ﭘﻨﻬﻨﺠﻲ ﺧﻄﻲ ﺟﻲ ﻣﺎﺣﻮل ﻣﻄﺎﺑﻖ ۽ اﺗﺎن ﺟﻲ ﭔﻮﻟﻲ‪ ‬۾‬
‫ﻫﻮﻧﺪو آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ﮐﻲ ﺳﻤﺠﻬﮡ اﻧﺘﻬﺎﺋﻲ آﺳﺎن ﻫﻮﻧﺪو آﻫﻲ‪ .‬اﻫﻮ ﭘﻴﻐﺎم ﺗﻤﺎم ﮔﻬﮣﻮ‬
‫اﺛﺮاﺋﺘﻮ ﭘﮡ ﻫﻮﻧﺪو آﻫﻲ‪ .‬ان ۾ ﻣﺬﻫﺒﻲ رواداري ﺑﻪ ﻫﻮﻧﺪي آﻫﻲ ﺗﻪ ﻋﺎم ﻣﺎﮢﻬﻦ ﺟﻲ ﺣﻘﻦ ﺟﻲ‬
‫ﮘﺎﻟﻬﻪ ﺑﻪ ﭤﻴﻞ ﻫﻮﻧﺪي آﻫﻲ‪ .‬ﺟﮇﻫﻦ اﺳﺎن ﺳﭛ ﻫِﻦ ڌرﺗﻲ‪ ‬ﺟﻲ ﻋﻈﻴﻢ ﺻﻮﻓﻲ ﺷﺎﻋﺮن ﺷﺎﻫﻪ‬
‫ﻟﻄﻴﻒ‪ ،‬ﺳﭽﻞ ﺳﺮ ﻣﺴﺖ ۽ ﭔﻴﻦ ﮐﻲ ﭘﻨﻬﻨﺠﻮ رﻫﺒﺮ ﺳﻤﺠﻬﻮن ﭤﺎ ﺗﻪ ﭘﻮ‪ ‬اﻧﻬﻦ ﺟﻲ ﭘﻴﻐﺎم ﮐﻲ‬
‫ﭘﮑﻴﮍڻ ﮐﺎن ﮀﻮﭤﺎ ﻛﻴﭕﺎﻳﻮن؟ ﭘﻨﻬﻨﺠﺎ ﻣﺰاج ﮀﻮ ﭘﻴﺎ ﻣﭩﺎﻳﻮن؟ اﭼﻮ ﺗﻪ ﺳﻨﮅي ﺻﻮﻓﻴﺎﮢﻲ‬
‫ﻣﺰاج ﮐﻲ اﮘﺘﻲ وڌاﻳﻮن!‬

‫ﺣﻮاﻻ‪:‬‬
‫روزاﻧﻲ ﻋﻮاﻣﻲ آواز‪ ،‬ﻛﺎوش ۽ ﭔﻴﻦ اﺧﺒﺎرن ۾آ ﻳﻞ ﺧﺒﺮون )‪ 11-02-2017 ،14-05-2015‬۽ ‪-2017‬‬ ‫‪.1‬‬
‫‪(15-04‬‬
‫روزاﻧﻲ ﻛﺎوش ﺣﻴﺪرآﺑﺎد ﺟﻲ ﻛﺎوش ﻫﺎﺋﻴﮉ ﭘﺎرڪ ۾ ﺷﻜﺎرﭘﻮر ﺟﻲ ﻋﻘﻴﻞ ﻋﺒﺎس ﺳﻮﻣﺮي ﺟﻮ‬ ‫‪.2‬‬
‫ﺷﺎﻳﻊ ﭤﻴﻞ ﺧﻂ )‪ .(14-06-2017‬ص؛ ‪04‬‬
‫روزاﻧﻲ ﻛﺎوش ﺣﻴﺪرآﺑﺎد ﺟﻲ ﺳﻠﺴﻠﻲ ﻛﺎوش ﺷﻮﺑﺰ آن ﻻﺋﻴﻦ ۾ ﺻﻮﻓﻲ راﮘﻲ ﻣﺎﻧﺠﻬﻲ ﻓﻘﻴﺮ ﺳﺎن‬ ‫‪.3‬‬
‫ﭤﻴﻞ ﮘﺎﻟﻬﻪ ﭔﻮﻟﻬﻪ ﻣﺎن ﭨﻜﺮا )رﭘﻮرٽ‪ :‬ﺳﺘﺎر ﺳﺮوﻫﻲ ۽ ﻋﻈﻤﺖ ا� ﻛﻨﭝﺮ( )‪ (13-11-2017‬ص‪02 :‬‬
‫ﺑﻠﻮچ‪ ،‬ﻧﺒﻲ ﺑﺨﺶ ﺧﺎن‪ ،‬ڊاﻛﭩﺮ‪ ،‬ﺷﺎﻫﻪ ﺟﻮ رﺳﺎﻟﻮ )ﺷﺎﻫﻪ ﺟﻲ ﺳﻮاﻧﺢ ۽ ﻓﻜﺮ ﺳﻤﻴﺖ ﭘﻨﺠﺎﻫﻦ ﻗﻠﻤﻲ‬ ‫‪.4‬‬
‫۽ ﺟﻤﻠﻲ ﮀﺎﭘﻲ رﺳﺎﻟﻦ ﺳﺎن ﭘﻴﭩﻴﻞ ﻣﺘﻦ ۽ ﻣﻌﻨﻰ وارو زﻳﺮن زﺑﺮن ﺳﺎن ﺳﭵﻮ ﺻﺤﻴﺢ رﺳﺎﻟﻮ( ﺛﻘﺎﻓﺖ ۽‬
‫ﺳﻴﺎﺣﺖ ﮐﺎﺗﻮ‪ ،‬ﺣﻜﻮﻣﺖ ﺳﻨﮅ‪2009 ،‬ع‪ -‬ص‪.232 :‬‬
‫ﺑﻴﮓ‪ ،‬ﻋﻠﻲ ﻗﻠﻲ‪ ،‬ﻣﺮزا‪) ،‬ﻣﺮﺗﺐ( ﺷﻮق ﻧﻮاز ﻋﻠﻲ‪ ،‬ڊاﻛﭩﺮ )ﻣﻘﺪﻣﻮ( رﺳﺎﻟﻮ ﻣﻴﺎن ﺳﭽﻞ ﻓﻘﻴﺮ ﺟﻮ‪،‬‬ ‫‪.5‬‬
‫ﺛﻘﺎﻓﺖ ۽ ﺳﻴﺎﺣﺖ ﮐﺎﺗﻮ‪ ،‬ﺣﻜﻮﻣﺖ ﺳﻨﮅ‪2008 ،‬ع‪ ،‬ص‪.54 :‬‬

‫‪17‬‬ ‫ﮀﺎ ﺳﻨﮅ ﺟﻮ ﺻﻮﻓﻲ ﻣﺰاج ﺗﺒﺪﻳﻞ ﭘﻴﻮ ﭤﺌﻲ؟‬

 [ ] ‫ﺌرو ﮬ‬

‫اﮡ‬ ‫ڊا‬
‫ﺳﻨﮅي ﺷﻌﺒﻮ ﻛﺮاﭼﻲ ﻳﻮﻧﻴﻮرﺳﭩﻲ‬،‫اﺳﺴﭩﻨﭧ ﭘﺮوﻓﻴﺴﺮ‬

‫ﺌ‬ ‫وٽ ا‬ ‫ﺌ‬

PHILOSOPHY OF PEACE IN THE POETRY OF
SHAH LATIF

Abstract
Peace is a basic element to survive the life process properly. Where
life needs nutrition, clothing and shelter there life also needs the peace
and tranquility. Peace is one of the highest human values. Peace is
basically the dearth of conflict, aggression, violence and war. Through
histories all kind of Violence, war and hate are rejected but as things may
happen, so history of war and violence is also written with the blood and
swards. But it is also fact that sensible and sagacious persons have always
condemned the war and violence. To oppose the conflict is actually to
serve the peace and tranquility. Persons have always served for peace
with nature and God to peace with oneself and other than oneself.
In this research article it is tried to explore the concept of peace in
the poetry of Shah Latif. Shah Latif have depicted all the four kinds of
peace in his poetry which are known as; the peace with God, Peace with
the universe (world of existence), Peace with one's self and the Peace
with others. In this research paper I have focused on all above through
the poetry of Shah Latif.
‫ ازل‬.‫ ﺟﻮ اﺣﺴﺎس اﭜﺮي اﭼﻲ ﭤـﻮ‬‫اﻣﻦ ﺟﻮ ﻟﻔﻆ ذﻫﻦ ﺗﻲ اﻳﻨﺪي ﺋﻲ ﻫﻚ ﺷﻐﻔﺘﮕﻲ‬
‫ اﻫـﻮ‬،‫ ﺟﻨﻬﻦ ﺷﺌﻲ ﮐﻲ ﮔﻬﮣﻮ ﺗﻼﺷﻴﻮ ۽ ﮘﻮﻟﻬﻴﻮ آﻫـﻲ‬‫ ﮐﺎن ﭘﻮ‬‫ﮐﺎن وﭠﻲ اﻧﺴﺎن رزق ۽ روزي‬
‫ روزي ﮔﻬﮣﻲ ﻣﻘﺪار ۾ ﻫﻮﻧـﺪو‬،‫ رزق‬،‫ ﮀﺎﻛﺎڻ ﺗﻪ ﺟﺘﻲ ﺑﻪ ﺧﻮﺷﺤﺎﻟﻲ ﻫﻮﻧﺪي ﻫﺌﻲ‬.‫اﻣﻦ آﻫﻲ‬
‫ دﻧﻴـﺎ ۾‬.‫ اﺗﻲ ڌارﻳﺎ ﺣﻤﻠﻮ ﻛﻨﺪڙ ﻛﺎﻫﻪ ﻛﺮي اﻳﻨﺪا ﻫﺌﺎ ۽ اﻧﺎج وﻏﻴﺮه ﭰﺮي وﻳﻨﺪا ﻫﺌﺎ‬،‫ﻫﻮ‬
‫ ﺑﻠﻜﻪ‬،‫ﺳﭛ ﮐﺎن ﭘﻬﺮﻳﻮن ﺟﻨﮕﻴﻮن اﻧﺎج ۽ ﮐﺎڌي ﭘﻴﺘﻲ ﺟﻲ ﺷﻴﻦ ﺟﻲ ﻛﺮي ﻟﮙﻴﻮن ﻫﻴﻮن‬
‫ اﻣﻦ ﺟﻨﮓ‬.‫ ﻟﮙﻦ ﭤﻴﻮن‬‫اڄ ﺑﻪ اﻛﺜﺮ ﺟﻨﮕﻴﻮن وﺳﻴﻠﻦ ﺗﻲ ﻗﺒﻀﻮ ﻛﺮڻ ۽ اﻧﻬﻦ ﮐﻲ ﭰﺮڻ ﻻ‬
،‫ ﺟﻲ ﻟﻬﺮ اﭜﺮي ﭘﻮي ﭤﻲ‬‫ ﺟﻨﮓ ﺟﻮ ﺗﺼﻮر ذﻫﻦ ﺗﻲ اﻳﻨﺪي ﺋﻲ ﻫﻚ ﺑﻴﭽﻴﻨﻲ‬.‫ﺟﻮ ﺿﺪ آﻫﻲ‬
‫ ﺣﻔﻆ ۽‬،‫ اﻣﻦ و اﻣﺎن‬.‫ﺟﮇﻫﻦ ﺗﻪ اﻣﻦ ﺟﻮ ﻟﻔﻆ ذﻫﻦ ﺗﻲ اﻳﻨﺪي ﺋﻲ ﻓﺮد ُﭘﺮﺳﻜﻮن ﭤﻲ وﭸﻲ ﭤﻮ‬
‫ ُﭘﺮ اﻣﻦ ﻣﺎﺣﻮل ۽ ُﭘﺮ اﻣـﻦ ﻣـﻌـﺎﺷـﺮو ﻳـﺎ ان‬،‫ ُﭘﺮ اﻣﻦ ﻓﻀﺎ‬،‫ ﻣﺤﻔﻮظ‬،‫ ﺗﺤﻔﻆ‬،‫ ﺣﻔﺎﻇﺖ‬،‫اﻣﺎن‬
18 ‫ﺷﺎﻫﻪ ﻟﻄﻴﻒ وٽ اﻣﻦ ﺟﻮ ﻋﺎﻟﻤﻲ ﻓﻠﺴﻔﻮ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﺟﻬﮍا ﭔﻴﺎ ﻟﻔﻆ ذﻫﻦ ۾ ﻫﻚ ﭤﺎﻧﻴﻜﻮ ۽ وﮢﻨﺪڙ ﺗﺼﻮر ﭘﺌﺪا ﻛﻦ ﭤﺎ ۽ اﻫﻲ اﺻﻄﻼح ﻫـﺮ ذي‬
‫ﺷﻌﻮر ﺟﺎ آﺋﮉﻳﻞ ﭤﻲ ﺳﮕﻬﻦ ﭤﺎ‪ .‬اﻧﮕﺮﻳﺰي‪ ‬اﻣﻦ ﻻ‪ ‬ﻫﻲ ﭼﻮﮢﻴﻮن ﻣﺸﻬﻮرآﻫﻦ ؛‬
‫‪"Peace at any price.", "The most disadvantageous peace is better‬‬
‫‪than the most just war.", "Peace is more important than all justice.", "I‬‬
‫‪prefer the most unjust peace to the justest war that was ever waged.",‬‬
‫”)‪"There never was a good war or a bad peace.(1‬‬
‫ﻣﺨﺘﻠﻒ ﻋﻠﻤﻦ ۾ اﻣﻦ ﮐﻲ ﻣﺨﺘﻠﻒ ﻧﻤﻮﻧﻦ ﺳﺎن ﺳﻤﺠﻬﻴﻮ ۽ ﺳﻤﺠـﻬـﺎﻳـﻮ وﻳـﻮ آﻫـﻲ‪.‬‬
‫ﻛﻦ اﻣﻦ ﮐﻲ ﺳﻮﺷﻞ ﻛﺎﻧﭩﺮﻳﻜﭧ ﺳﮇﻳﻮ آﻫﻲ‪ .‬ﻛﻦ وري اﻣـﻦ ﮐـﻲ‪“ ،‬ذﻫـﻨـﻲ ﺣـﺎﻟـﺖ”‬
‫ﻳﻌﻨﻲ ﻣﻴﻨﭩﻞ اﺳﭩﻴﭧ ﺳﮇﻳﻮ آﻫﻲ ﺗﻪ ﻛﻦ وري اﻣﻦ ﺟﺎ وڌﻳﻚ ﭼﺎر ﻗﺴﻢ ﭴﺎﮢﺎﻳﺎ آﻫﻦ‪.‬‬
‫ﺧﺪا ﺳﺎن اﻣﻦ ‪1. Peace with God‬‬
‫ﻛﺎﺋﻨﺎت ﺳﺎن اﻣﻦ )‪2. Peace with the universe (world of existence‬‬
‫ﭘﻨﻬﻨﺠﻮ ﭘﺎڻ ﺳﺎن اﻣﻦ ‪3. Peace with one's self‬‬
‫ﭔﻴﻦ ﺳﺎن اﻣﻦ ‪4. Peace with others‬‬
‫ﻣﺨﺘﻠﻒ ﻣﺬﻫﺒﻦ ۾ ﺧﺪا ﺳﺎن اﻣﻦ ﮐﻲ ﻫـﻚ اﻣـﺘـﺤـﺎن ﻛـﺮي ﺳـﮇﻳـﻮ وﻳـﻮ آﻫـﻲ‪،‬‬
‫ﮀﺎﻛﺎڻ ﺗﻪ ﺧﺪا ﻫﻚ ﭘﮁﺎﮢﻮ ﻛﻨﺪڙ ﻫﺴﺘﻲ آﻫﻲ‪ ،‬ﭘﺮ ﭜﭩﺎﺋﻲ‪ ‬ڏاڍو ﺧﻮﺑﺼﻮرﺗﻲ‪ ‬ﺳﺎن “ﺧﺪا‬
‫ﺳﺎن اﻣﻦ” واري اﺳﺘﻌﺎري ﮐﻲ ﺗﺎزﮔﻲ ﺑﺨﺸﻲ آﻫﻲ‪.‬‬
‫ﺗﺎري‪َ ‬ﺗﮙﻲ ُﺗﻨ ِﻬﻨﺠـﻲ‪،‬‬
‫ﻬﺎن‪ ،‬ﺳﻮ ِ‬‫ﺟﻴﻜﻲ َﻣﻨﺠ ِﻬﻪ َﺟ َ‬
‫َ‬
‫ﻛـﺎن‪،‬‬ ‫ٽ َ‬
‫ﻛـﻤِـﻲ‬ ‫ﻄﻒ ِﺟﻲ َﻟ ُ‬
‫ﻄﻴﻒ ﭼﺌﻲ‪ ،‬ﺗـﻮ َو ِ‬ ‫ُﻟ َ‬
‫ﻀ َـﻞ ﺟـﻮ‪.‬‬
‫ـﺞ َﻓ ُ‬ ‫َﻋ َﺪ َل ُﮀﭩﺎن آن َﻧﻪ‪ ،‬ﻛﻮ ﭰـﻴـﺮو ِ‬
‫ﻛ ِ‬
‫ﺧﺪا ﺳﺎن ﻣﺨﺎﻃﺐ ﭤﻴﻨﺪي ﭜﭩﺎﺋﻲ ﭼﻮي ﭤﻮ‪‘ ،‬ﺟﻴﻜﻲ ﻛﺠﻬﻪ ﻫﻦ ﺟﻬﺎن‪ ،‬ﻫﻦ دﻧﻴـﺎ ۾‬
‫ﻣﻮﺟﻮد آﻫﻲ اﻫﻮ ﺗﻨﻬﻨﺠﻲ ﺋﻲ آﺳﺮي ۽ ﺳﻬﺎري آﻫﻲ‪ ،‬ﺗﻮ وٽ اﻣﻦ‪ ،‬ﺳﻜﻮن ۽ ﺧﻮﺷﻲ‪ ‬ﺟـﻲ‬
‫ﻛﺎ ﺑﻪ ﮐﻮٽ ﻧﺎﻫﻲ‪ ،‬ﺟﻴﻜﮇﻫﻦ ﺗﻮ ﭘﮁﺎﮢﻮ ﻛﻴﻮ ﺗﻪ آﺋﻮن آﺟﻮ ﻧﻪ ﭤﻲ ﺳﮕﻬﻨـﺪس ان ﻛـﺮي‬
‫ﻣﻨﻬﻨﺠﺎ ﻛﺮﻳﻢ رب ﭘﻨﻬﻨﺠﻲ ﻓﻀﻞ ﺟﻮ ﭰﻴﺮو ﻛﺠﺎن‪ ‬۽ ﻣـﻮن ﮐـﻲ ﻣـﻌـﺎف ﻛـﺠـﺎن‪’،‬‬
‫اﻧﮕﺮﻳﺰي ﺟﻲ ﻣﺸﻬﻮر ﭼﻮﮢﻲ ﭘﮡ آﻫﻲ ﺗﻪ ‘ﺳﭝﻨﻲ اﻧﺼﺎﻓﻦ ﮐﺎن اﻣـﻦ وڌﻳـﻚ اﻫـﻢ آﻫـﻲ’‪.‬‬
‫"‪ "Peace is more important than all justice.‬ﺳﺎﮘﻲ ﺋﻲ ﮘﺎﻟﻬﻪ ﭜﭩﺎﺋﻲ ﭘـﮡ ﻛـﺮي ﭤـﻮ ﺗـﻪ‪،‬‬
‫‘آﺋﻮن ﻋﺪل ﻳﺎ اﻧﺼﺎف ﺳﺎن آﺟﻮ ﻧﻪ ﭤﻲ ﺳﮕﻬﻨﺪس ﻣﻮن ﺗﻲ ﻓﻀﻞ ۽ ﻣﻬﺮﺑﺎﻧـﻲ ﭤـﺌـﻲ‪ ’.‬ﺧـﺪا‬
‫ﮐﺎن اﻣﻦ‪ ،‬ﺳﻜﻮن ۽ ﻓﻀﻞ ﮔﻬﺮڻ ﮐﺎﻧﭙﻮ‪ ‬ﭜﭩﺎﺋﻲ ﺑﻨﺪي ﮐﻲ ﺑﻪ ﺗﻠﻘﻴﻦ ﭤـﻮ ﻛـﺮي ﺗـﻪ‪‘ ،‬ﺗـﻮن‬
‫ﺧﺪا ﮐﻲ ﮀﮇي ﭔﻴﻦ ﺟﻮ ﭔﻴﻠﻲ‪ ،‬ﻫﻤﺮاﻫﻪ ۽ ﻣﺪدﮔﺎر ﭤﻲ اﻧﻬﻦ ﮐﺎن ﻣﺪد ﮀﻮ ﭤﻮ ﮔﻬﺮﻳـﻦ‪ ،‬ﺗـﻮن ان‬
‫ﻛﺮﻳﻢ‪ ،‬رﺣﻴﻢ ۽ رﺣﻤﺎن ﺟﻲ وﻳﺠﻬﻮ اچ ﺟﻴﻜﻮ ﺳﻤﻮري ﺟﮗ ﺟﻬﺎن ﺟﻮ ﻣﺎﻟـﻚ ۽ واﻟـﻲ‬
‫آﻫﻲ‪ ،‬ﻳﻘﻴﻨﻦ اﻫﻮ ﺳﮏ‪ ،‬ﺳﻜﻮن ۽ اﻣﻦ ﺳﺎن رﻫﻨﺪو‪ ،‬ﺟﻴﻜﻮ ﭘﻨـﻬـﻨـﺠـﻲ ﭘـﺮوردﮔـﺎر ﺳـﺎن‬
‫ﻋﺸﻖ ﻛﻨﺪو ۽ ان ﺳﺎن ﻧﺎﺗﻮ ﺟﻮڙي رﮐﻨﺪو‪.‬‬
‫‪19‬‬ ‫ﺷﺎﻫﻪ ﻟﻄﻴﻒ وٽ اﻣﻦ ﺟﻮ ﻋﺎﻟﻤﻲ ﻓﻠﺴﻔﻮ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﮀــﺎﮐــﻲ َو ِﭸــﻴــﻮ ﮀــﻮ‪ ،‬ﭔــﻴــﻠــﻲ ﭤِــﺌــﻴــﻦ ﭔِـ َـﻴـ ِـﻦ ﺟــﻮ‪،‬‬

‫ﻳﻢ ﺟﻲ‪َ ،‬ﺟ َ‬ ‫ﻛ َ َ َ‬ ‫ٺ َ‬ ‫َو ُ‬
‫ﮗ ﺟﻮ واﻟِـﻲ ﺟـﻮ‪،‬‬ ‫ﻨﺠﻚ ﻛ ِﺮ َ ِ‬
‫ِﺸـﻖ ا� ﺳـﻴـﻦ‪.‬‬ ‫َﺳﺆﮐﻮ ُﻫﻮﻧﺪو ﺳﻮ‪ِ ،‬ﺟـﻨـﻬـﻦ ﺟـﻮ ﻋ ُ‬

‫ﺷﺎﻫﻪ ﻟﻄﻴﻒ ﺟﻲ ﻫﻦ واﺋﻲ‪ ‬۾ ﭘﮡ اﻣﻦ ﺟﻲ ُﮔﻬﺮ ۽ ﺧﻮاﻫﺶ آﻫﻲ‪،‬‬

‫ﻛﺎن‪ ،‬ﻳﺎ َا ُﻣﻦ َا َ‬
‫ﻣﺎن!‬ ‫َ‬ ‫ﺳﺎرﻳﺎن‬
‫ﻛﻨ ِﮅي ِ‬
‫ﻳـــﺎ اِﻻﻫِـــﻲ! ﭔـــﺎﺟـــﻬـــ َﻪ ﭔِـــﻼﭨِـــﻲ ﭜـــﺎﺋِـــﻴـــﺎن‪.‬‬
‫ـﮡ ﮘــﺎﮢــﻴــﭩــﻮ ﻧــﺎهِ ﻛــﻮ‪َ ،‬اﭘــﺮ ﭤِــﻴــﺎ ﻋِﺼــﻴـ َ‬
‫ـﺎن‪،‬‬ ‫َﮘـ َـﮣـ َ‬
‫ﻳـــﺎ اﻻﻫِـــﻲ! ﭔـــﺎﺟـــﻬـــ َﻪ ﭔِـــﻼﭨِـــﻲ ﭜـــﺎﺋِـــﻴـــﺎن‪.‬‬
‫ـﮡ َﺳــﭕــﺎﺟــﻬــﺎ ُﺳـ ِـﭙ ـ ِﺮﻳــﻦ! َﻧـ َـﻌــﺮو‪ ،‬ﻧِــﮕــﻬــﺒـ َ‬
‫ـﺎن‪،‬‬ ‫ُﺳـ ُ‬
‫ﻳـــﺎ اِﻻﻫِـــﻲ! ﭔـــﺎﺟـــﻬـــ َﻪ ﭔِـــﻼﭨِـــﻲ ﭜـــﺎﺋِـــﻴـــﺎن‪.‬‬
‫َ‬
‫ـﻴـﻮان‪،‬‬ ‫ﺣﺎل ﺗﻲ‪َ ،‬ﻫﺌﻲ َﻫﺌﻲ َ‬
‫ﻛ ِـﻦ َﺣ‬ ‫ﻫِ َﻦ ُﻣﻨﻬﻨﺠﻲ َ‬
‫ﻳـــﺎ اِﻻﻫِـــﻲ! ﭔـــﺎﺟـــﻬـــ َﻪ ﭔِـــﻼﭨِـــﻲ ﭜـــﺎﺋِـــﻴـــﺎن‪.‬‬
‫ـﺎن‪،‬‬ ‫وﻳــﭡــﻮ ﭘــﻨــﻲ ﭘــﻨــﮣــﻮ‪َ ،‬‬
‫ﻛ ـ ِﺮ ﭜــﻴــﺮو ﻣــﭥــﻲ ﭜـ َ‬ ‫ِ‬ ‫ِ‬
‫َ‬
‫ﻳـــﺎ اِﻻﻫِـــﻲ! ﭔـــﺎﺟـــﻬـــﻪ ﭔِـــﻼﭨِـــﻲ ﭜـــﺎﺋِـــﻴـــﺎن‪.‬‬
‫ـﺬران‪،‬‬‫ـﻮﻟ ِـﻦ ﺟـﺎ ُﮔـ َ‬
‫ـﻮب ﻛــﻴــﺎ‪ ،‬ﮔـ َ‬
‫ﺧـﺎﻟِـ َـﻖ ﺗــﺎن ُﺧـ ُ ِ‬
‫ﻳـــﺎ اِﻻﻫِـــﻲ! ﭔـــﺎﺟـــﻬـــ َﻪ ﭔِـــﻼﭨِـــﻲ ﭜـــﺎﺋِـــﻴـــﺎن‪.‬‬
‫ــﻮان‪،‬‬ ‫داڙو ۾ دِﻳـ َ‬
‫ِوﻳـ ُــﺮ َو ِﺳـــﻴـــﻠـــﻮ آﻫـــﻴـــﻴـــﻦ‪ُ ،‬‬
‫ﻳـــﺎ اِﻻﻫِـــﻲ! ﭔـــﺎﺟـــﻬـــ َﻪ ﭔِـــﻼﭨِـــﻲ ﭜـــﺎﺋِـــﻴـــﺎن‪.‬‬
‫ـﻠـﻄـﺎن‪،‬‬‫َ‬ ‫ﭼ ِﺌـﻲ‪ُ ،‬ﺳـ ِﮣـﺞ ﻛـﺎ ُﺳ‬ ‫ِﻴﻒ َ‬‫ُاﺗﻲ َﻋﺒﺪاﻟﻠـﻄ ُ‬
‫ﻳـــﺎ اِﻻﻫِـــﻲ! ﭔـــﺎﺟـــﻬـــ َﻪ ﭔِـــﻼﭨِـــﻲ ﭜـــﺎﺋِـــﻴـــﺎن‪.‬‬
‫ﺟﻴﺘﻮﮢﻴﻚ ﻫﻮ ‘ﺧﺪا ﺳﺎن اﻣﻦ’‪ ،‬ﻋﺪل ﺟﻮ ﻃﺎﻟﺒﻮ آﻫﻲ‪ .‬ﭘﺮ ﺷـﺎﻫـﻪ ﻟـﻄـﻴـﻒ ﻋـﺪل ﻳـﺎ‬
‫اﻧﺼﺎف ﻣﺎن ﻓﺮد ﺟﻲ ﺟﻨﺪ ﻧﻪ ﮀﭩﻨﺪي ڏﺳﻲ ان ذات واﺣﺪ ﮐﻲ ﻓﻀﻞ ﺟﻲ درﺧﻮاﺳﺖ ﻛـﺮي‬
‫ﭤﻮ‪ .‬ﮀﺎﻛﺎڻ ﺗﻪ ﻓﺮد ﺟﮇﻫﻦ روﺣﺎﻧﻲ ﻃﺮح ﺳﺎن ﺧﺎﻟﻲ ﭤﻲ وﭸﻲ ﭤﻮ ﺗﻪ ﻫﻦ ﮐﻲ رﮘﻮ ﻫـﻚ ﺋـﻲ‬
‫رﺳﺘﻮ ﻧﻈﺮ اﭼﻲ ﭤﻮ ۽ اﻫﻮ رﺳﺘﻮ ﮐﻴﺲ ﺧﺪا ﺳﺎن ﺟﻮڙي ﭤﻮ‪،‬‬
‫‪All humanity is seeking the answer to the confusion, the moral‬‬
‫‪sickness, the spiritual emptiness, that oppresses the world. All mankind‬‬
‫)‪is crying out for guidance, for comfort, for peace. (2‬‬
‫ﻓﺮد ﺟﻲ وﻳﮙﺎﮢﭗ ۽ اﻛﻴﻼﺋﻲ ﮐﻴﺲ ﺟﺘﻲ ﭘﺎڻ ﺗﻲ ﺳﻮﭼﮡ ﺗﻲ ﻣﺠﺒـﻮر ﻛـﺮي ﭤـﻲ‪،‬‬
‫اﺗﻲ اﻫﺎﺋﻲ اﻛﻴﻼﺋﻲ ﮐﻴﺲ ﻓﻄﺮت ﺳﺎن ﻫﻢ آﻫﻨﮓ ﻛﺮي ان ﺳﺎن ﻻﮘﺎﭘﺎ اﺳﺘـﻮار ﻛـﺮڻ‬
‫ﻻ‪ ‬آﻣﺎدو ﻛﺮي ﭤﻲ‪ .‬۽ ﻫﻮ ‘ﻛﮇﻫﻦ ﺳﭝﻴﺌﻲ ﺳﺒﺤﺎن ﺟﻲ ﻛﺮ ﺣﻮاﻟﻲ ﻛﻢ’ واري ﮘـﺎﻟـﻬـﻪ‬
‫ﻛﺮي ﭤﻮ ﺗﻪ ﻛﮇﻫﻦ وري ﭼﻮي ﭤﻮ‪،‬‬
‫‪20‬‬ ‫ﺷﺎﻫﻪ ﻟﻄﻴﻒ وٽ اﻣﻦ ﺟﻮ ﻋﺎﻟﻤﻲ ﻓﻠﺴﻔﻮ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﭔﻮ ِڙﻳﻴﻦ ﭼﺎڙﻫﻴﻴﻦ ُﺗﻮن ِڌﮢﻲ! ﭔِﻲ ﺟﻮ دَﻋﻮ ٰي دَﺳـﻲ ﻧَـﻪ دَ ُم‪،‬‬
‫ﻣـﻴـﻬ َـﺮ ﺗـﻲ َﻣ َ‬
‫ـﻌـﻠـﻢ‪،‬‬ ‫َ‬ ‫ﺣـﺎل ﺟـﻮ‪،‬‬‫َ‬ ‫ﻫِ َﻦ ُﻣـﻨـﻬـﻨـﺠـﻲ‬
‫َ‬
‫ﺟـﻬـﻮر ۾‪.‬‬ ‫رک ﭜﻴﻠﻲ ﺟـﻮ َﭜ َـﺮ ُم‪ ،‬ﺟـﻮ َا ِﭼـﻲ ِﭘـﻴـﻮ َا‬
‫‘ﭜﻴﻠﻲ ﺟﻲ ﭜﺮم’ رﮐﮡ ﺟﻲ ﮔﺬارش ﺑﻪ ﻫﻮ ان ذات ﮐﻲ ﺋﻲ ﻛﺮي ﭤﻮ‪ .‬آﺧـﺮ اﺋـﻴـﻦ ﺑـﻪ‬
‫ﭼﻮي ﭤﻮ ﺗﻪ‪‘ ،‬ﺟﻮ ﺑﻨﺪو ﻛﻢ ﻛﺮي‪ ،‬ﺳﻮ ﻣﮍﻳﻮﺋﻲ ڏوﻫﻪ’ ﻳﻌﻨﻲ ﻓﺮد ﭘـﺎڻ ﮐـﻲ ﮔـﻬـﭧ ﻛـﺮي‬
‫ازﻟﻲ ﻗﻮت ﺳﺎن ﻻﮘﺎﭘﻮ ﻗﺎﺋﻢ ﻛﺮي ﭤﻮ ۽ ان ۾ ﺋﻲ ﻫﻦ ﮐﻲ ﭘﻨﺎﻫﻪ ﻣﻠﻲ ﭤﻲ‪.‬‬
‫ﻧﺎﻟﻴﻮاري ﻟﻴﮑﻚ رﺳﻞ ڊﺳﭙﻴﺮرس ﺗﻪ ان ﺣﺪ ﺗﺎﺋﻴﻦ ﺑﻪ ﭼﻴﻮ آﻫﻲ ﺗﻪ ﺟﻴﻜﮇﻫﻦ ﺧـﺪا‬
‫ﻣﻮﺟﻮد آﻫﻲ ﺗﻪ اﺳﺎن اﻧﺠﺎ زرڙا آﻫﻴﻮن‪.‬‬
‫‪If God exists, we are atoms of that, almost infinite Being and‬‬
‫‪without doubt among such atoms those who think do exercise an action‬‬
‫)‪upon the evolution of God. (3‬‬
‫ﭔﻲ ﭘﺎﺳﻲ ﺗﺼﻮف ۾ ﺗﻪ ﻣﺨﻠﻮق ﮐﻲ ﺧﺪا ﺟﻮ ﺧﺎﻧﺪان ﺳﮇﻳﻮ وﻳﻮ آﻫﻲ‪.‬‬
‫“اﻟﺨﻠﻖ ﻋﻴﺎل ا�” )‪(4‬‬
‫ﭘﺮ ﻓﺮد ﭘﺎڻ ﮐﻲ ان ذات ﺟﻲ اﮘﻴﺎن ﻫﻤﻴﺸﻪ ﻫﻴﮣﻮ ﻣﺤﺴﻮس ﻛﻴﻮ آﻫﻲ ۽ ان در ﺗـﺎن‬
‫ڏڏ ﭤﻲ ڏان ﮔﻬﺮي ﭤﻮ‪،‬‬
‫ﺮﻳﺞ ُﺗـﻮن‪َ ،‬ﮀـﮇي ِوﭴـﺎ ِﺟـﻲ واﺋِـﻲ‪،‬‬ ‫ﮔﻬ ِ‬ ‫َڏ ُڏ ﭤِﻲ ُ‬
‫ڏان ُ‬
‫رات َﺳــﻨــﺒــﺎﻫِــﻴــﺎ‪ ،‬ﺗــﺎزي ﺗــﻮ ﻻﺋِــﻲ‪،‬‬
‫ِ‬ ‫َﺳ َ‬
‫ــﭝ َــﺮ‬
‫ﺟﻮ ﭴﺎﮢﻲ ﻧَﻪ ﻛﺎﺋِﻲ‪ ،‬ﺗِﻨﻬﻦ ﺳﻴﻦ ﭔﻴﻠﻲ َڌﮢِﻲ‪ُ ‬‬
‫ﭔﺎﺟﻬﻪ ﻛـﻲ‪.‬‬
‫ﺗﻮڙي ﺟﻮ دﻧﻴﺎ ﺟﺎ ﻓﻠﺴﻔﺎ ان ﮘﺎﻟﻬﻪ ﺗﻲ ﻳﻘﻴﻦ رﮐﻦ ﭤﺎ ﺗﻪ ﭘﺎﺋﻴﺪار اﻣﻦ ﺟﻨﮓ ۽ ﺟﺴﺘﺠـﻮ‬
‫ﮐﺎن ﺳﻮا‪ ‬ﻣﻤﻜﻦ ﻧﺎﻫﻲ‪ ،‬ﮀﺎﻛﺎڻ ﺗﻪ ﭘﺮﻣﺎري ﻗﻮﺗﻮن ﺗﻴﺴﺘﺎﺋﻴﻦ ُﭘﺮ اﻣﻦ ﻗﻮﻣﻦ ﮐﻲ اﻣﻦ ﺳـﺎن‬
‫رﻫﮡ ﻧﻪ ڏﻳﻨﺪﻳﻮن ﺟﻴﺴﻴﺘﺎﺋﻴﻦ اﻧﻬﻦ ﮐﻲ اﻫﺎ ﺧﺎﻃﺮي ﻧﻪ ﭤﻲ وﭸﻲ ﺗﻪ ﻫﻮ ﭘﻨﻬﻨﺠﻮ ﺑﭽﺎ‪ ‬ﻛـﺮي‬
‫ﺳﮕﻬﻦ ﭤﻴﻮن‪ .‬ﭘﻨﻬﻨﺠﻮ ﺑﭽﺎ‪ ‬ﺗﻮڙي ﺟﻲ ﺟﻨﮓ ﺟﻲ ﺋﻲ ﻫﻚ ﺻﻮرت آﻫﻲ‪ ،‬ﭘﺮ ان ۾ ﻛﻨﻬـﻦ‬
‫ﺟﻮ ﺣﻖ ﭰﺮڻ وارو ﻋﻨﺼﺮ ﻣﻮﺟﻮد ﻧﺎﻫﻲ ﻫـﻮﻧـﺪو‪ .‬ﺷـﺎﻫـﻪ ﻟـﻄـﻴـﻒ ﺟـﮇﻫـﻦ ‘ﻫـﮡ ﭜـﺎﻻ وڙﻫـﻪ‬
‫ﭜﺎﻛﺮﻳﻦ’ ﺟﻮ درس ڏﺋﻲ ﭤﻮ ﺗﻪ ان ۾ ﺣﻤﻠﻲ ﺟﻮ ﻋﻨﺼﺮ ﻧﻪ ﺑﻠﻜﻪ ﭘﻨﻬﻨﺠﻲ ﺑﭽﺎ‪ ‬ﺟﻮ ﻋـﻨـﺼـﺮ‬
‫ﻣﻮﺟﻮد آﻫﻲ‪ .‬ﺷﺎﻫﻪ ﺳﺎﺋﻴﻦ ﭘﻨﻬﻨﺠﻲ ﺷﺎﻋﺮي‪ ‬۾ ﺟﻴﻜﻲ ﭤﻮرﻳﻮن ﺗﻠﻘﻴـﻨـﻮن ﻛـﻴـﻮن آﻫـﻦ‬
‫اﻧﻬﻦ ۾ ﺟﺎﮘﮡ‪/‬اوﺟﺎﮘﺎ ﻛﺮڻ‪ ،‬ﻫﻤﺖ ﻛﺮڻ‪ ،‬ﺟﺴﺘﺠﻮ ﻛﺮڻ ﭘﮡ ﺷﺎﻣﻞ آﻫﻲ‪ .‬ﻫﻦ واﺋﻲ‪ ‬۾‬
‫ﭘﮡ ﺳﺎﮘﻲ ﮘﺎﻟﻬﻪ آﻫﻲ‪:‬‬
‫واﺋﻲ‬
‫َ‬
‫ﺟــﺎﮘــﻮ‪ ،‬ﻳــﺎرا! ﺟــﻴــ ِﮇ ُﻳــﻮن! ﭘــﺎڻ َﭘــﺮﻧــﺠــﻲ‪،‬‬
‫ﺟــﺎﮘــﻮ ﺟــﻮﺷــﺎن‪ ،‬ﺟــﻴ ـ ِﮇ ُﻳــﻮن! ﭘـ َ‬
‫ـﺎڻ َﭘــﺮﻧــﺠــﻲ‪.‬‬
‫ـﺒـﻴـﺒ ِـﻦ ڏي‪ ،‬وﻳـﻠـﻮ ِو َچ ﻧـﻪ ﻛـﺠـﻲ‪،‬‬ ‫َﻫﻠـﻨـﺪي َﺣ َ‬

‫‪21‬‬ ‫ﺷﺎﻫﻪ ﻟﻄﻴﻒ وٽ اﻣﻦ ﺟﻮ ﻋﺎﻟﻤﻲ ﻓﻠﺴﻔﻮ‬

 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﮔـﻮڙ ُﻳـﻮن ﻛـ ِﻴـﻮ َﮔـﺠـﻲ‪،‬‬ ‫ُ‬

‫ﻣـﻮت ﻣ ِِـﮍ ِن ﺗـﻲ‪ِ ،‬‬ ‫آﻫﻲ‬
‫َا َﺟـ ُـﻞ اِﻳــﻨـ ُـﺪ‪ ‬اوﭼــﺘــﻮ‪ ،‬ﺟــﻮ َﺳــﺪا ﭤــﻮ ُﺳــﭵــﻲ‪،‬‬
‫ﻛـﻴـﺎ ُﮘــﺠـﻬـ َﻪ ُﭔـﺠـﻬــﻲ‪،‬‬‫ﻋـﻴـﺐ آﻧـﻬــﺠـﺎ‪َ ،‬ڍ ِ‬
‫َ‬ ‫آﮔـﻮ‬
‫ﺻﺎﺣـﺐ ﺳـﻮ َﺳ ُـﻤـﺠـﻬـﻲ‪،‬‬‫ُ‬ ‫َ‬
‫ﺟﻴﻜﻲ َوﻫﻲ ُو ُﺟﻮد ۾‪،‬‬
‫ِ‬
‫َا ُﻣـ ُـﻦ آﻫــﻲ ُان ﮐــﻲ‪ ،‬ﺟــﻮ َﻣــﻨــﺠ ـ ِﻬــﻪ َا َ� َاﺟــﻬــﻲ‪،‬‬
‫ﺟﺎﮘﻮ ﺟﻮﺷﺎن‪ ،‬ﺟﻴ ِﮇ ُﻳﻮن!‬
‫ﻣﻌﻨﻲ ﺧﻴﺰ اﺳـﺘـﻌـﺎرو آﻫـﻲ‪،‬‬
‫ٰ‬ ‫اﻣﻦ ﮐﻲ ا� ﺟﻲ اﺟﻬﻲ ﺳﺎن ﻣﻨﺴﻮب ﻛﺮڻ ﭘﮡ ﻫﻚ‬
‫ﺟﻨﻬﻦ ۾ ﭜﭩﺎﺋﻲ ﻣﻌﻨﺎ ﺟﻮن ﻧﻴﻮن ﺳﺮﺣﺪون ﻣﺘﻌﻴﻦ ﻛﻴﻮن آﻫﻦ‪.‬‬
‫ﺟــﺎدم َﺟــﮑــﺮي‪،‬‬
‫َ‬ ‫ِوﭤِــﻲ ِوچ َﻧــﻪ ﭘــﻮ‪َ ،‬ﻫــﭥــﺎن‬
‫َ‬
‫ﺣـﺎﺗ َـﻢ ﭘـﺎﺳـﻲ ﻫـﻮ‪،‬‬ ‫ﭘﻴﺌـﻲ ﺳـﻮ ُﭘـﺮ ﭤِـﺌـﻲ‪ ،‬ﺟـﻮ‬
‫ﻴﻒ ڌاران ﻛﻮ‪ِ ،‬ﺟﻴـﺌـﻲ ﻛـﻮ َم َ‬
‫ﺟـﻬ َ‬
‫ـﺎن ۾‪.‬‬ ‫َ‬
‫ﻛ َ‬

‫ﻛﻴﻒ ﮐﺎن ﺳﻮا‪ ‬ﺟﻬﺎن ۾ ﺟﻴﺌﮡ ﺿﺮور ڏﮐﻴﻮ ﻫﻮﻧﺪو‪ .‬ﭘﻮ‪ ‬اﻫﻮ ﻛﻴﻒ ﻣﮅ ﺟﻮ ﻫـﺠـﻲ‬
‫ﻳﺎ ﻋﻠﻢ ﺟﻮ‪ ،‬ﻳﻘﻴﻨﻦ اﻫﻮ ﻛﻴﻒ ﻋﻠﻢ ۽ ڏاﻫﭗ ﺟﻮ ﺋﻲ ﻫﻮﻧﺪو‪.‬‬
‫اﻋﻠﻲ آﻫﻲ‪ .‬ﺷﺎﻫﻪ ﺟﻮ رﺳـﺎﻟـﻮ‬
‫ﭜﭩﺎﺋﻲ ﮔﻬﮡ رﺧﻮ ﺷﺎﻋﺮ آﻫﻲ‪ ،‬ﺳﻨﺪس ﻫﺮ رخ ﻋﻈﻴﻢ ۽ ٰ‬
‫ﻫﻚ اﻫﮍو دﺳﺘﺎوﻳﺰ آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ﮐﻲ ﭘﻴﺎر‪ ،‬اﻣﻦ ۽ ﻣﺤﺒﺖ ﺟﻮ ﻣـﻴـﻨـﻴـﻔـﻴـﺴـﭩـﻮ ﭘـﮡ ﺳـﮇي‬
‫ﺳﮕﻬﺠﻲ ﭤﻮ‪،‬‬
‫“ﺷﺎﻫﻪ ﺳﺎﺋﻴﻦ ﺟﻮ ﺳﻤﻮرو رﺳﺎﻟﻮ ﺳﻮن ورﻧﻴﻦ ﺳﭩﻦ ﺳﺎن ﺳﭥﻴﻮ ﭘﻴﻮ آﻫﻲ‪ .‬رﺳﺎﻟـﻲ ﺟـﺎ‬
‫ﭨﻴﻬﻪ ﺋﻲ ﺳﺮ روﺷﻨﻴﻦ‪ ،‬رﻫﻨﻤﺎﻳﻦ ۽ ﺧﻮﺷﺒﻮﺋﻦ ﺳﺎن ﭜﺮﻳﺎ ﭘﻴﺎ آﻫﻦ‪ .‬رﺳﺎﻟﻲ ﻣﺎن ﺳﻮﻳﻦ روﺷـﻦ‬
‫ﺳﺞ ﻧﻜﺮﻧﺪي ﻣﺤﺴﻮس ﭤﻴﻦ ﭤﺎ‪ .‬اﻫﺎ ﺳﻨﺪس ﺧﻴﺎل ﺟﻲ ﺑـﻠـﻨـﺪي ۽ ﭘـﺎﻛـﺎﺋـﻲ آﻫـﻲ ﺟـﻮ‬
‫ورﻫﻴﻦ ﭘﭵﺎﮢﺎن ﺑﻪ ﺳﻨﺪس ﭘﻴﻐﺎم ﺟﻴﺌﻦ ﺟﻮ ﺗﻴﺌﻦ اﺛﺮ اﻧﮕﻴﺰ ۽ دل آوﻳﺰ آﻫـﻲ‪ .‬اﻫـﮍي رﻳـﺖ‬
‫ﺷﺎﻫﻪ ﺳﺎﺋﻴﻦ ﺟﻲ رﺳﺎﻟﻲ ﺳﺎن ﻟﻨﻮ ﻻﺋﻴﻨﺪڙ ﻟﻄﻴﻒ ﺷﻨﺎس ﺟﻬﮍوﻛﺮ دﻧﻴﺎ ﺷﻨـﺎس ﭤـﻲ ﭘـﻮن‬
‫ﭤﺎ‪ .‬ﻫﻮ ﭘﮡ ﮐﺮي ۽ ﮐﻮﭨﻲ ﺟﻲ ﭘﺮک ﻛﺮڻ ﻟﮙﻦ ﭤﺎ‪ .‬ﮀﺎﻛﺎڻ ﺗﻪ ﻣﭥﻦ ﭜـﭩـﺎﺋـﻲ‪ ‬ﺟـﻲ ﻋـﻈـﻴـﻢ‬
‫ڏاﻫﭗ ﺟﻮ ﻫﭣ رﻫﻲ ﭤﻮ‪ .‬اﻫﺎ ﺳﻨﺪس ﻛﻼم ﺟﻲ ﺧﻮﺑﻲ آﻫﻲ ﺟﻮ اڄ ﻫﺮ ﺳﻨﮅي‪ ،‬ﻫـﺮﻋـﻠـﻢ ۽‬
‫ادب دوﺳﺖ وﭨﺎﺋﻨﺲ ﻣﺤﺒﺖ ۽ ﻣﻴﭟ ﺳﺎن ﮔﮇ ﺳﻮﻧﻬﻦ ۽ ﺳﭹﺎڻ ﺟﻮ ﺳﺒﻖ وﭠﻲ ﭤﻮ‪(5)”.‬‬
‫ﺷﺎﻫﻪ ﺳﺎﺋﻴﻦ ﺟﻲ ﺷﺎﻋﺮي‪ ‬۾ ﻋﺎﻟﻤﻲ اﻣﻦ ﺟﻮ ذﻛﺮ آﻫﻲ‪ ،‬ﻫﻮ ﺳﭵﻲ ﻋﺎﻟﻢ اﻧﺴﺎﻧﻲ ﺗـﻪ‬
‫ﮀﺎ ﺑﻠﻜﻪ ﭼﺮﻧﺪ‪ ،‬ﭘﺮﻧﺪ ۽ ﻓﻄﺮت ﺳﺎن ﺑﻪ اﻣﻦ ﺟﻮ ﺗﻤﻨﺎﺋﻲ آﻫﻲ‪.‬‬
‫ﻫﺘﻲ ﺳﭛ ﮐﺎن ﭘﻬﺮﻳﺎن ﺗﻪ اﻫﻮ ﺳﻮال ﭤﻮ ﭘﺌﺪا ﭤﺌﻲ ﺗﻪ ﭔﻴﻮ ﻛﻴﺮ آﻫﻲ؟ ﭘﻨﻬﻨﺠﻲ وﺟـﻮد‬
‫ﮐﺎن ﺳﻮا‪ ‬ﻫﺮ وﺟﻮد ﭔﻴﻮ ۽ ﻏﻴﺮ آﻫﻲ‪ .‬ﺟﺘﻲ ﭜﭩﺎﺋﻲ‪ ‬ﺧﺪا ﺳﺎن اﻣﻦ ﺟﻲ ﮘﺎﻟﻬﻪ ﻛـﺌـﻲ آﻫـﻲ‪،‬‬
‫اﺗﻲ ﻫﻮ ﭔﻴﻦ ﺳﺎن ﺑﻪ اﻣﻦ ﭼﺎﻫﻲ ﭤﻮ‪ ،‬ﭔﻴﻦ ﺳﺎن اﻣﻦ ﺻﺮف ‘ﻫﻴﭡﺎﻫﻴﻦ ﻫﻠﮡ’ ۾ ﻣﻤﻜﻦ آﻫـﻲ‪.‬‬
‫ﻳﺎ ﭔﻴﻦ ﺟﻲ ﺳﺨﺖ ﻟﻬﺠﻲ ﺟﻲ ﻣﻮٽ ۾ ﻧﺮم ﻟﻬﺠﻲ ﺳﺎن ﻣﺨﺎﻃﺐ ﭤﻴﮡ ﺳﺎن ﺑﻪ ﭔﻴﻦ ﺳـﺎن اﻣـﻦ‬
‫ﻣﻤﻜﻦ ﭤﻲ ﺳﮕﻬﻲ ﭤﻮ‪.‬‬
‫‪22‬‬ ‫ﺷﺎﻫﻪ ﻟﻄﻴﻒ وٽ اﻣﻦ ﺟﻮ ﻋﺎﻟﻤﻲ ﻓﻠﺴﻔﻮ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ذات ﺳـﻴـﻦ‪،‬‬ ‫ُ‬

‫ﻛﻮ ﺟﻮ آﻫِ ِﺲ ﻛﻮڏ‪ ،‬ﭔـﺎروﭼـﺎﮢِـﻲ‪ِ ‬‬
‫ﺟﻲ ﻫﻮ ُﭼﻮﻧﺲ “ ُ‬
‫ﭔﻮڏ”‪َ ،‬ﺗﻪ “ﺟﻲﱡ ” ُﺳﮣﺎﺋﻲ َﺟ َ‬
‫ـﮗ ﮐـﻲ‪.‬‬ ‫ِ‬ ‫ِ ِ‬
‫ﻳﻌﻨﻲ ﻫﻦ ﮐﻲ ﭔﺎروﭼﺎﮢﻲ‪ ‬ذات ﺳﺎن ﻛﺎ اﻫﮍي اﻧﺴﻴﺖ آﻫﻲ‪ ،‬ﻣﺤﺒﺖ‪ ،‬ﻛﻮڏ‪ ،‬ﻣـﺎﮢـﻮ‬
‫۽ ﭘﻨﻬﻨﺠﺎﺋﭗ آﻫﻲ‪ ،‬ﺟﻮ اﺗﺎن ﺳﮇ ﺟﻲ ﻋﻴﻮض ‘ﭰﻮٽ’‪‘ ،‬دڙود’ ﻳﺎ ‘ﭔﻮڏ’ ﭤﻲ ﻣﻠﻴﺲ ﺗﮇﻫـﻦ ﺑـﻪ‬
‫ﺟﮗ ﮐﻲ اﻫﻮ ﭘﺌﻲ ﭔﮅاﺋﻲ ﺗﻪ ﮐﻴﺲ ‘ﺟﻲ‪ ’‬۽ ‘ﭜﻠﻴﻜﺎر’ ﻣﻠﻲ آﻫﻲ‪ .‬ﭔﻴـﻦ ﺳـﺎن اﻣـﻦ اﻫـﮍي‬
‫روش ﻫﻠﮡ ﺳﺎن ﻣﻤﻜﻦ آﻫﻲ‪ .‬ﭘﺮﺷﺮط آﻫﻲ ﺗﻪ ﭔﻴﺎ ﺗﻮﻫﺎن ﺟﻲ وﺟﻮد ﮐﺎن ﺳﻮا‪ ‬ﺗﻪ ﭜﻠـﻲ ﭔـﻴـﺎ‬
‫ﻫﺠﻦ ﭘﺮ ڌارﻳﺎ ﻧﻪ ﻫﺠﻦ‪‘ ،‬ڌرﻳﺎن ﺋﻲ ڌارﻳﺎ‪ ،‬ﻣﭧ ﻣﺌﻲ‪ ‬ﺟﺎ ﻧﻪ ﭤﻴﺎ’ اﻫﮍا ﭔﻴﺎ ﻳﻘﻴﻨﻦ ﭘﻨﻬﻨـﺠـﺎ ﻧـﻪ‬
‫ﭤﻴﻨﺪا ۽ اﻧﻬﻦ ﺳﺎن ﭜﭩﺎﺋﻲ‪ ‬اﻣﻦ ﺑﺪران ﺟﻨﮓ ﺟﻲ ﮘﺎﻟـﻬـﻪ ﻛـﺌـﻲ آﻫـﻲ‪‘ ،‬ﻫـﮡ ﭜـﺎﻻ‪ ،‬وڙﻫـﻪ‬
‫ﭜﺎﻛﺮﻳﻦ’ ﺟﻮ ڏس اﻧﻬﻦ ﻻ‪ ‬ﺋﻲ ڏﻧﻞ آﻫﻲ‪ .‬ﭘﻨﻬﻨﺠﻦ ﻻ‪ ‬ﺗﻪ ﻫﻮ ﭼﻮي ﭤﻮ‪‘ ،‬ﻫﻮ ﭼﻮﻧـﻲ ﺗـﻮن ﻧـﻪ‬
‫ﭼﺌﻮ‪ ،‬واﺗﺎن وراﺋﻲ’‪ ،‬ﻳﻌﻨﻲ ﭜﭩﺎﺋﻲ ﭘﻨﻬﻨﺠﻦ ﺳﺎن اﻣﻦ ﭤﻮ ﭼﺎﻫﻲ‪.‬‬
‫َ‬ ‫َ‬ ‫َﭜﻠِﻲ َ‬
‫ﭔـﺎروﭼ ِـﻦ ﺳـﻴـﻦ‪،‬‬ ‫ﻛﺮي ﭤِﻴـﻮم‪ ،‬ﻫِـﻲ‪َ ‬ﺳـﮛ‬
‫ـﻮم‪ُ ،‬ﭘ ـ ِﭡــﻲ‪َ ‬ﻟ ِﮙــﻲ َﺟـ ِـﻦ ﺟــﻲ‪.‬‬
‫َو ِﭸــﻲ ﻛــﻴــﭻ ِڏﭠـ ِ‬
‫—‬
‫َاد ُِﻳــﻮن ﻛــﺎ اِﻳــﻨــﺪي‪َ ،‬ﮀـ َـﭙ ـ ِﺮ ُﻣــﻮن َﺳــﮛ ﭤِــﻴــﻮ‪،‬‬
‫َ‬
‫ـﺲ ﻟِﮝـ ِـﻦ ﮐــﻲ‪َ ،‬ﻣ ـ ِﻠــﻴــﺮان ﻣــﻴــﻨــﺪي‪،‬‬ ‫ﻻﺋِــﻴــﻨ ـ ِﺪ َﻳـ ِ‬
‫ﻛـﺮي‪.‬‬ ‫ﭴـﺎم َاﺟـﻬـﻮ َ‬ ‫آﺋﻮن وﻳـﻨـﺪي‪ ،‬آري‪ُ ‬‬ ‫ﻧﺪ ِر ُ‬‫و ُ‬
‫ِ‬
‫—‬
‫ُ‬ ‫َ‬
‫َﺳـﺮدي ﺳـﺎﻟِ ُـﻢ َﻧـﻪ َرﻫـﺎن‪ ،‬ﮔـﺮﻣِـﻲ‪ ‬ﭤِـﻴـﺎن ﮔــﺪاز‪،‬‬
‫ُ‬
‫ُ‬
‫ﺳــﺎز‪،‬‬ ‫ـﻦ ڏﻳــﺞ َا َ‬
‫ﻣــﺎن ُﺗــﻮن‪ ،‬ﺳــﺎﺋِ ُــﻞ َﻫــﮣــﻲ‬ ‫َا ُﻣـ ُ‬
‫ـﺞ َﺧـ ِﻠــﻴـ َـﻞ ﺟــﻮ‪.‬‬
‫ـﺺ ڏﻳـ ِ‬ ‫راز‪ ،‬ﺧــﺎﻟِـ ُ‬‫رﺑــﺎﺑِــﻲ‪ ‬ﮐــﻲ ُ‬

‫ﺳﻨﮅي اﺳﺎﺳﻲ ﺷﺎﻋﺮي‪ ‬۾ ‘ﺗﻮﺳﺎن ﻣﻨﻬﻨﺠﻲ ﺳﻬﮣﻞ ﺳﺎﺋﻴﻦ رﻫـﺠـﻲ اﭼـﻲ ﺷـﻞ‪’...‬‬
‫ﺟﻬﮍو اﺳﺘﻌﺎرو ﻣﻠﻲ ﭤﻮ‪ ،‬ﺟﻨﻬﻦ ۾ ﻣﺤﺒﻮب ﺳﺎن رﻫﺠﻲ اﭼﮡ وارو ﺧﻴﺎل اﺻﻞ ۾ ﻣـﺤـﺒـﻮب‬
‫ﺳﺎن اﻣﻦ ﻗﺎﺋﻢ ﭤﻴﮡ ڏاﻧﻬﻦ اﺷﺎرو آﻫﻲ‪.‬‬
‫ﭜﭩﺎﺋﻲ‪ ‬ﺟﻮن ﺑﻪ ﺳﭝﺌﻲ ﺳﻮرﻣﻴﻮن ﭘﻨﻬﻨﺠﻦ ﻣﺤﺒﻮﺑﻦ ﺳﺎن اﻣﻦ ﭼﺎﻫﻴﻦ ﭤﻴﻮن‪.‬‬
‫ﻫﻮ ﻣﺤﺒﻮﺑﻦ ﺟﻲ ﮀﺎﻧﻮ ۾ رﻫﮡ ﭼﺎﻫﻴﻦ ﭤﻴﻮن‪ ،‬اﻧﻬﻦ ﺟﻲ ﺣﻔﺎﻇﺖ ۽ ﺗـﺤـﻔـﻆ ۾ رﻫـﮡ‬
‫ﭼﺎﻫﻴﻦ ﭤﻴﻮن‪ .‬ﻫﻮ اﻧﻬﻦ ﮐﺎن ڌار رﻫﮡ ﻧﭥﻴﻮن ﭼﺎﻫﻴﻦ‪ ،‬ﮀﺎﻛﺎڻ ﺗﻪ ﺳﻨﺪن ﺧﻴﺎل آﻫﻲ ﺗـﻪ ﻫـﻮ‬
‫ﺟﻴﻜﻲ ﭘﻨﻬﻨﺠﻲ ﻛﺎﻧﮅ ﮐﺎن ﭘﺮي آﻫﻦ‪ ،‬اﻫﻲ ﻏﻴﺮ ﻣﺤﻔﻮظ آﻫﻦ‪.‬‬
‫ﻛ َ‬
‫ـﺎن‪،‬‬ ‫َﺳﺮدي‪ ‬ﺳﺎﻟِ ُﻢ َﻧﻪ َرﻫﺎن‪ ،‬ﻛـﻮ ِﺳـﻲ َﺳـﻬـﺎن َ‬
‫ور َ‬
‫ﻛــﺮي ﭔــﻴــﺎ َ‬
‫دان‪،‬‬ ‫ـﺞ َاﻣـ ُ‬
‫ـﺎن ُﺗــﻮن‪ُ ،‬د ِ‬ ‫َا ُﻣـ ُ‬
‫ـﻦ ڏﻳـ ِ‬
‫ِ‬
‫َ‬
‫ﭘـﻴـﻨـﺎر ﺗـﻲ‪.‬‬ ‫ـﺞ ﭘ َ‬
‫ـﻚ‬ ‫ﭘﺎﻧﮉپ! ﮐﺎﺋِـﻲ َ‬ ‫َ‬
‫ﭘـﺎن‪ِ ،‬وﺟـ ِﻬ ِ ِ‬

‫‪23‬‬ ‫ﺷﺎﻫﻪ ﻟﻄﻴﻒ وٽ اﻣﻦ ﺟﻮ ﻋﺎﻟﻤﻲ ﻓﻠﺴﻔﻮ‬

 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻧﻪ ﺻﺮف ﭜﭩﺎﺋﻲ‪ ‬ﺟﻮن ﺳﻮرﻣﻴﻮن اﻣﻦ ﺟﻮن ﻣﺘﻼﺷﻲ آﻫﻦ ﺑﻠﻜﻪ ﻫﻦ ﺟﺎ ﭔﻴﺎ ﻛـﺮدار‬
‫ﺑﻪ ﺳﺎﮘﻲ ﺗﻤﻨﺎ ۽ ﺧﻮاﻫﺶ رﮐﻦ ﭤﺎ‪.‬‬
‫ُ‬
‫ﺣــﺎل‪،‬‬ ‫ــﺲ راﭴــﻴــﺎ‪ ،‬ﻫِ َ‬
‫ــﻬــﮍو َوﭠِــﻲ‬ ‫آﻳ ِ‬ ‫ﺗــﻮ َدر ُ‬
‫ِ‬
‫ـﻴــﻞ ﺟــﻮ‪َ ،‬ﺳــﭕــﺎﺟــﻬــﺎ! ُﺳـ ُ‬
‫ـﻮال‪،‬‬ ‫ـﺞ َﻋ ـ ِﻠـ َ‬ ‫ُاوﻧــﺎﺋــﻴـ ِ‬
‫ﻛــﻬــﻲ ﻛــﻲ َﻗـ ُ‬
‫ـﻮال‪،‬‬ ‫َاﮜــﮡ َﻣــﭥــﻲ آﻧ ـﻬــﻨــﺠــﻲ‪َ ،‬‬
‫ِ‬ ‫ِ‬
‫َ‬ ‫ُ‬ ‫َ‬ ‫ُ‬
‫َﭜـــﻼ! ﻛـــﺮي ﭜـــﺎل‪ ،‬اﻣـــﻦ ِڏﻳـــﻮ ان ﮐـــﻲ‪.‬‬
‫ُ‬ ‫ُ‬ ‫َ‬
‫—‬
‫َ‬
‫ــﺲ را ِﭴــﻴــﺎ‪ ،‬ﭔِــﻴــﺎ َد َر ﻛــﺮي ُدور‪،‬‬ ‫ﺗــﻮ َد ِر ُ‬
‫آﻳ ِ‬
‫ـﺮدم ُان ُﺣ ُ‬ ‫َ‬ ‫ﺳــﺎﺋِـ ُـﻞ ﭤــﻮ َﺳــﻴـ َ َ‬
‫ﻀــﻮر‪،‬‬ ‫ـﻦ ﻫــﮣــﻲ‪ ،‬ﻫـ َ ِ‬
‫ــﻦ ڏﻳــﻮ ُا َن ﮐـــﻲ‪.‬‬
‫ﭔِــﻴـــﻮ َﻧــﻪ َﻣ ِﮝـــﻲ ُﻣــﻮر‪َ ،‬ا ُﻣـ ُ‬
‫ﮀﺎ اﺳﺎن وﺳﺎري ﺳﮕﻬﻮن ﭤﺎ ﺗﻪ اﻫﻮ اﻣﻦ ﺟﻲ ﺧﻴﺮات ﮔﻬﺮﻧﺪڙ ﭔﻴﺠﻞ را‪ ‬ڏﻳﺎچ ﺟﻮ ﺳﺮ‬
‫ﻛﻴﺌﻦ وﭠﻲ وﻳﻮ‪ .‬ﻻﺷﻚ ﭜﭩﺎﺋﻲ‪ ‬ﺟﺎ ﻛﺮدار ﻫﺮ ﻟﺤﺎظ ﮐﺎن اﻫﻢ ۽ اﺗﻢ آﻫﻦ‪.‬‬
‫ﻳـﻢ ﺟـﺎ‪.‬‬‫ﻛـ ِﺮ َ‬ ‫ﭜـﺎل َ‬ ‫ﺳﻬﺴﻴﻦ ُﺷﻜﺮاﻧﺎ‪ ،‬ﻛﻮڙﻳﻴﻦ َ‬
‫ﺟـﻮر َﻫـ ِﮣـﻲ ﺟـﺎﻧـﺎ‪،‬‬‫ِ‬ ‫ـﻜ َ‬
‫ـﻴـﻢ ﮐـﻲ‪،‬‬ ‫ﭼﺌـﺞ َﺣ ِ‬ ‫َﺣ َ‬
‫ﻤﺪ َ‬
‫ﻛـــــ ِﺮﻳـ َ‬
‫ــــﻢ ﺟـــــﺎ‪.‬‬ ‫َ‬ ‫ﻛـــــﻮڙﻳـــــﻴـــــﻦ ﭜـ َ‬
‫ــــﺎل‬
‫ــﻜــﮍا‪ ،‬ﺟــﻮﺷــﺎن‪ُ ،‬ﺟــﻮاﻧــﺎ‪،‬‬ ‫ــﺐ ﭤِــﻴــﻮ َﺗ ِ‬‫ﺗــﺎﺋِ َ‬
‫ــــﻢ ﺟـــــﺎ‪.‬‬‫ﻛـــــ ِﺮﻳـ َ‬ ‫َ‬ ‫ﻛـــــﻮڙﻳـــــﻴـــــﻦ ﭜـ َ‬
‫ــــﺎل‬
‫َﺗــﻪ َﻟــﻬــﻴــﻦ ُﺗــﻮن َﻟ ـ ِﻄــﻴــﻒ ﮐــﺎن‪َ ،‬اﻣـ ُـﻦ اِﻳــﻤــﺎﻧــﺎ‪،‬‬
‫ــــﻢ ﺟـــــﺎ‪.‬‬ ‫َ‬
‫ﻛـــــ ِﺮﻳـ َ‬ ‫ﻛـــــﻮڙﻳـــــﻴـــــﻦ ﭜـ َ‬
‫ــــﺎل‬
‫—‬
‫ُ‬ ‫َﭜـ َ‬
‫آﮀـــﻲ ان!‬ ‫ــﺮ ُم ﭜـــﺎروڙي‪َ ‬رﻫـــﻲ‪ِ ،‬ﺟـــﻨـــﻬـــﻦ ِ‬
‫ـﺲ ُﺗـ َ‬
‫ـﻦ‪،‬‬ ‫ـﮡ وﻳ ـ ِﭡــﻲ ِوﻧ ـ ِﮅﻳــﺎن‪ ،‬ﺗــﻮڙي ُﭘــﻮﻧِـ ِ‬ ‫ﺗــﻪ ُﭔـ ِ‬
‫َ‬
‫ـﻦ‪،‬‬‫ﻳـﺐ ﮐـﻲ‪ُ ،‬ﻋ َـﻤ َـﺮ! َﻣـﻨـﺠـﻬـ ِﻪ َا ُﻣ َ‬ ‫ک ﻏـ ِﺮ ِ‬
‫ﻏﺎﻓِـﻞ َر ُ َ‬
‫ِ‬
‫ـﺎڻ َﺳـ ُـﻤـﻦ‪ ،‬آﻫِـ ِـﻢ ُاﭠِــﻲ ِﻣــﻴـﻨـ َـﻬــﮍﻳــﻦ‪.‬‬
‫ِ‬ ‫ـ‬ ‫ﺳ‬ ‫َﺳ َـﺮﺗِ ِ‬
‫ـﻦ‬
‫ـ‬ ‫ـﻴ‬
‫ـ‬
‫—‬
‫ﭘــﺎر‪ ،‬ﻧــﻪ ُﻫــﻦ‪ ،‬وﻳــﭽــﺎري وﻫــ َﻪ وچ ۾!‬
‫َ‬ ‫ــﻦ َ‬ ‫ﻫِ َ‬
‫ـﻦ‪،‬‬ ‫ـﺲ ُﺗ َ‬ ‫ـﭻ ﻧِـﻬـﺎري َﻧـﻪ ﮔِـﻬـﮍي‪ ،‬ﺗِـﻨـﻬـﻦ ۾ ِﭘ َـﻴ ِ‬ ‫ﻧِ َﻴ ُ‬
‫ـﺎرﻳــﻴــﻦ‪.‬‬ ‫ُ‬ ‫ـﺎڻ َا ُﻣـ َ‬
‫َا َ�‪ ،‬ﺳـ ُ‬
‫ﻛــﻨــﻬــﻦ اﻛـ ِ‬ ‫ـﻦ‪ ،‬اران ِ‬
‫ﻓﻄﺮت ﺳﺎن اﻣﻦ ﭘﮡ ﺗﻤﺎم ﮔﻬﮣﻮ اﻫﻢ آﻫﻲ‪ ،‬ﺗﻮڙي ﺟﻮ ﻓﺮد ﻓﻄﺮي ﻟﻘﺎﺋﻦ ۽ اﻧﻴﺎﺋﻦ ﮐـﻲ‬
‫ﻣﻨﻬﻦ ڏﻳﮡ ﻻ‪ ‬ﻫﻚ ڊﮔﻬﻮ ﺟﺪوﺟﻬﺪ ﻛﺌﻲ آﻫﻲ‪ .‬اﻧﺴﺎن ﭔﻮڏن‪ ،‬زﻟﺰﻟﻦ‪ ،‬ﺑـﺮﺳـﺎﺗـﻴـﻦ‪ ،‬ﮘـﮍن‪،‬‬
‫وڏ ﭰﮍن‪ ،‬ﺟﻬﻜﻦ ۽ ﺟﻬﻮﻟﻦ ﮐﻲ ﻣﻨﻬﻦ ڏﻳﻨﺪي ﺟﻬﮍوﻛﺮ ﻓﻄﺮت ﺳﺎن ﻣﻬﺎڏو اﭨـﻜـﺎﺋـﻴـﻨـﺪو‬
‫‪24‬‬ ‫ﺷﺎﻫﻪ ﻟﻄﻴﻒ وٽ اﻣﻦ ﺟﻮ ﻋﺎﻟﻤﻲ ﻓﻠﺴﻔﻮ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫رﻫﻴﻮ آﻫﻲ‪ .‬ﭘﺮ اﻫﻮ ﻣﻬﺎڏو ﺟﮇﻫﻦ ﻏﻴﺮ ﻓﻄﺮي ﻃﺮﻳﻘﻦ ﺳﺎن اﭨﻜﺎﺋﺠﻲ ﭤﻮ ﺗﻪ ﻓﺮد اﭸﺎ وڌﻳـﻚ‬
‫ڏوﺟﻬﺮن ﺟﻮ ﺷﻜﺎر ﭤﻲ ﭘﻮي ﭤﻮ‪ .‬ﭘﻮ‪ ‬ﭘﻮپ ﺟﻬﮍي ﻣﺎﮢﻬﻮ‪ ‬ﮐﻲ ﺑﻪ اﻣﻦ ﺟﻲ ﻋﺎﻟﻤﻲ ڏﻳﻨﻬـﻦ ﺗـﻲ‬
‫ﻫﻲ‪ ‬ﺑﻴﺎن ڏﻳﮣﻮ ﭤﻮ ﭘﻮي ﺗﻪ‪،‬‬
‫‪”In our day, there is a growing awareness that world peace is‬‬
‫‪threatened not only by the arms race, regional conflicts and continued‬‬
‫‪injustices among peoples and nations, but also by a lack of due respect‬‬
‫‪for nature, by the plundering of natural resources and by a progressive‬‬
‫)‪decline in the quality of life.“(6‬‬
‫ﻳﻌﻨﻲ اڄ ﻋﺎﻟﻤﻲ اﻣﻦ ﮐﻲ ﺟﺘﻲ ﻫﭥﻴﺎرن ﺟﻲ ڊوڙ‪ ،‬ﻣﻘﺎﻣﻲ ﺟﻬـﻴـﮍن ۽ وﮘـﻮڙن ﻣـﺎن ﺧـﻄـﺮو‬
‫آﻫﻲ اﺗﻲ ﻓﻄﺮت ﮐﻲ ﮔﻬﺮﺑﻞ آﺑﺮو ﻧﻪ ڏﺋﻲ ﻛﺮي اﺳﺎن ﻓﻄﺮي ﺣﻮاﻟﻲ ﺳﺎن ﻫﻚ وڏي ﭜﻮﻧﭽـﺎل‬
‫۾ ﮔﻬﻴﺮﺟﻲ رﻫﻴﺎ آﻫﻴﻮن ۽ اﺳﺎن ﮐﻲ وڏو ﺧﻄﺮو ﻓﻄﺮي ﺣﺎدﺛﻦ ۽ واﻗﻌﻦ ﻣﺎن آﻫﻲ‪ ،‬ﺟـﻨـﻬـﻦ ﺳـﺎن‬
‫زﻧﺪﮔﻲ ﻫﻚ ﻧﺌﻴﻦ ڏﭼﻲ ۾ ﭘﺌﺠﻲ ﺳﮕﻬﻲ ﭤﻲ‪ .‬ﭘﺮ ﭜﭩﺎﺋﻲ‪ ‬وٽ ﻓـﻄـﺮت ﺳـﺎن ﺟـﻨـﮓ ۽ ﺟـﻬـﻴـﮍي‬
‫ﺑﺪران اﻣﻦ ﺟﻮ درس ﻣﻠﻲ ﭤﻮ‪ .‬ﺷﺎﻫﻪ ﺳﺎﺋﻴﻦ‪ ‬ﺟﻲ ﺷﺎﻋﺮي ﻓﻄﺮي ﻣـﻨـﻈـﺮن ﺟـﻮ ﻫـﻚ اﻫـﮍو اﻇـﻬـﺎر‬
‫آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ۾ ﻫﺮ ﻫﻨﮅ ﻓﻄﺮت ﭘﻨﻬﻨﺠﻲ ﺷﻔﻘﺖ ۽ رﻧﮕﻴﻨﻴﻦ ﺳﺎن ﻫﻢ ﻛﻨﺎر ﻧﻈﺮ اﭼﻲ ﭤﻲ‪.‬‬
‫ﻛـ َ‬
‫ـﻦ‬ ‫آﻳــﻮن َﻣــﭥــﻲ ُ‬ ‫ـﺎر َﺗــﺮي‪ُ ،‬‬‫ـﺮي ﺗـ ِ‬ ‫َ َ َ‬
‫ﭼــﺎﻫــﻚ ﭼـ ِ‬
‫ـﻦ‪،‬‬ ‫َ‬
‫ﺳـﺎﻫ َـﮍ ﺟـﻲ َﺳ ُـﻤ َ‬ ‫ﻛ َﺮ َﮐ ِﮣـﻨـ ِﺪ ُﻳـﻮن‪،‬‬‫ﻛﻮڙﻳﻴﻦ َ‬
‫ﭘـﺎر َﻟـﻨـ ِﮕـﻬـﻨـ ِﺪ ُﻳـﻮن‪.‬‬
‫ـﻦ‪َ ،‬ﭘـﺮ ِﭼـﻲ ِ‬ ‫ﺳﺎڻ َا ُﻣ َ‬
‫ﻣﻴﻨﻬﻮن ُ‬

‫ﻓﻄﺮي ﻣﻨﻈﺮن۽ ﻣﻈﻬﺮن ﺟﻲ ﺣﻮاﻟﻲ ﺳﺎن ﺷﺎﻫﻪ ﺳﺎﺋﻴﻦ ﺟﻲ ﺷﺎﻋﺮي‪ ‬۾ ﺳﻤﻨﮉ‪ ،‬ﭘﻬـﺎڙ‪،‬‬
‫ﻣﻴﻨﻬﻦ‪ ،‬ﻣﻴﻬﻮﮘﻴﻮن‪ ،‬ﺟﻬﻜﻮن ﺟﻬﻮﻻ ﺳﭛ ﻓﺮد ﺟﺎ ﻓﻄﺮي دوﺳﺖ ﭤﻲ ﺳﺎﻣﻬﻮن اﭼﻦ ﭤﺎ‪.‬ﺷـﺎﻫـﻪ‬
‫ﺳﺎﺋﻴﻦ‪ ‬ﺟﻲ ﺷﺎﻋﺮي‪ ‬۾ ﺳﻤﻨﮉ ۽ ﭘﻬﺎڙ ﻳﺎ ڏوﻧﮕﺮ ﺗﻪ ڏﻳﻨﺪڙ ۽ ﻋﻄﺎ ﻛﻨﺪڙ ﺟﻲ ﺣﻴﺜﻴـﺖ ﺳـﺎن‬
‫ﻣﻠﻦ ﭤﺎ‪ .‬ﭘﺮ اﻫﺎ ﻋﻄﺎ ﻛﺠﻬﻪ ﺟﺎﮐﻮڙ ﺟﻲ ﮔﻬﺮﺟﺎﺋﻮ ﺑﻪ آﻫﻲ‪.‬‬
‫ڏور ُڻ ُ‬
‫ڏاﮐـﮍو‪،‬‬ ‫ﻛـﺮي‪ ،‬ﺗـﻪ ُڏ َ‬
‫وﻧـﮕ ُـﺮ َ‬ ‫ٿ َ‬ ‫ﺟﻴﻜـﻮ ُڏ ُ‬
‫ـﻦ ِڏﺋــﻲ‪ُ ،‬ﺳـ َ‬
‫ـﻮﮐـ ِـﮍ ُﻳــﻮن ُﺳـ َـﺘـ ِـﻦ ﮐــﻲ‪.‬‬ ‫ﻛــﻴـ َ‬‫َﮀـ َـﭙـ ُـﺮ ِ‬
‫ﻳﻌﻨﻲ ﺟﺒﻞ ﻳﺎ ﭘﻬﺎڙ ﺳﻮﮐﮍﻳﻮن ﺗﻪ ڏﺋﻲ ﭤﻮ ﭘﺮ اﻧﻬﻦ ﮐﻲ ﺟﻴﻜﻲ ڏوﻧﮕﺮ ڏورﻳﻦ ﭤـﺎ‪ .‬ﻫـﻮ‬
‫ﺳﺘﻦ ﮐﻲ ﻛﮇﻫﻦ ﺑﻪ ﺳﻮﮐﮍﻳﻮن ﻧﭥﻮ ڏﺋﻲ‪ .‬ﻓﺮد ﻓﻄﺮت ﮐﺎن ڌار ﻧﺎﻫﻲ‪ ،‬ﻫﻮ ان ﺟﻮ ﺣﺼﻮ آﻫـﻲ‪،‬‬
‫ان ﻛﺮي ﻫﻮ ان ﺳﺎن ﻫﻢ آﻫﻨﮕﻲ ﺟﻲ ﮔﻬﺮﺟﺎﺋﻮ آﻫﻲ‪.‬‬
‫‪…“In one sense, every thing is a part of nature for there is a‬‬
‫)‪sense in which nature is just the totality of every thing.” (7‬‬
‫ﻳﻌﻨﻲ ﻛﺎﺋﻨﺎت ۾ ﻣﻮﺟﻮد ﻫﺮ ﺷﻲ‪ ‬ﻛﻨﻬﻦ ﻧﻪ ﻛﻨﻬﻦ رﻳﺖ ﻓﻄﺮت ﺳﺎن ﺳـﻠـﻬـﺎڙﻳـﻞ‬
‫ﻫﻮﻧﺪي آﻫﻲ‪ .‬ﺑﻠﻜﻪ ﻓﻄﺮت ﺗﻪ ﺷﻴﻦ ﺟﻲ ﻛﻠﻴﺖ ﺟﻮ ﻧﺎﻟﻮ آﻫـﻲ‪ .‬ﺟـﮇﻫـﻦ ﺳـﭛ ﻛـﺠـﻬـﻪ‬
‫ﻓﻄﺮت ﺟﻲ ڏور ۾ ﭔﮅل آﻫﻲ ﺗﻪ ﻓﻄﺮت ﺳﺎن ﭘﻴﺎر اﺻﻞ ۾ ﻓﺮد ﺟﻮ ﭘﺎڻ ﺳﺎن ﭘـﻴـﺎر آﻫـﻲ‪ .‬ﻫـﻮ‬
‫‪25‬‬ ‫ﺷﺎﻫﻪ ﻟﻄﻴﻒ وٽ اﻣﻦ ﺟﻮ ﻋﺎﻟﻤﻲ ﻓﻠﺴﻔﻮ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻓﻄﺮي ﻟﻘﺎﺋﻦ ﺟﻲ ﺧﺪﻣﺖ ﻛﺮي ﭤﻮ‪.‬‬

‫ﺳﻤﻨﮉ ﺟﻲ ﺣﻮاﻟﻲ ﺳﺎن ﺗﻪ ﭜﭩﺎﺋﻲ ان ﺟﻲ ﺳﻴﻮا ۽ ﺧﺪﻣﺖ ﺟﻲ ﮘﺎﻟﻬﻪ ﻛﺌﻲ آﻫﻲ‪ .‬ﻫـﻮ‬
‫ﭼﻮي ﭤﻮ ﺳﻤﻨﮉ ﺟﻲ ﺳﻴﻮا ﻳﻌﻨﻲ ﺧﺪﻣﺖ ﻛﻴﻮ ﮀﺎﻛﺎڻ ﺗﻪ ان ۾ ﻛﻴﺘﺮا ﺋﻲ اﻣـﻠـﻬـﻪ ﺧـﺰاﻧـﺎ‬
‫آﻫﻦ‪ ،‬ﺟﻴﻜﮇﻫﻦ ﺗﻮﻫﺎن ﺳﻤﻨﮉ ﺟﻲ ﺧﺪﻣﺖ ﻛﺌﻲ ﺗﻪ ﻫﻮ ﺗﻮﻫﺎن ﮐﻲ ﭜـﺮي ﮀـﮇﻳـﻨـﺪو‪ُ ،‬ﭘـﺮ‬
‫ﻛﺮي ﮀﮇﻳﻨﺪو‪.‬‬
‫ﺖ َﺟ ُـﺮ َوﻫـﻲ ﭤـﻮ َﺟـﺎل‪،‬‬ ‫ﻨﮉ ِﺟﻲ‪ِ ،‬ﺟ ِ‬ ‫ﻛﺮ َﺳ ُﻤ َ‬ ‫َ‬
‫ﺳﻴﻮا ِ‬
‫ﻻل؛‬‫ﻣـﺎﮢـﻚ‪ ،‬ﻣـﻮﺗـﻲ‪َ ،‬‬ ‫َ‬ ‫ﭙﭵﻦ َﺳ ُﻤ َ‬
‫ـﻨـﮉ ۾‪،‬‬ ‫َﺳﺌﻴﻦ ُﺳ ُ‬
‫ﻣـﺎل‪ ،‬ﺗـﻪ ُﭘـﻮﭴـﺎرا ُﭘـ ِﺮ ﭤـﺌـﻴـﻦ‪.‬‬ ‫ﺟﻲ ﻣﺎﺳﻮ ﻣِﻠﻴ ِﺌـﻲ َ‬
‫ﺳــﻲ ُﭘــﻮﭴــﺎرا ُﭘــﺮ ﭤِــﻴــﺎ‪َ ،‬ﺳـ ُـﻤــﻨـ ُـﮉ ﺳــﻴـ ِـﻮﻳــﻮ َﺟـ ِـﻦ‪،‬‬
‫ِــﻴــﻖ ﻣــﺎن‪ُ ،‬ﺟــﻮﺗِــﻲ َﺟـ َ‬
‫ـﻮاﻫــ ِﺮ ِن‪،‬‬ ‫آﻧــﺪاﺋــﻮن َﻋ ـﻤ َ‬
‫َ‬ ‫ُ‬
‫ـﻒ ﭼــﺌــﻲ‪ ،‬ﻻﻟــﻮن ﻣــﺎن ﻟــﻬ ـ ِﺮ ِن‪،‬‬ ‫ـﮅاﺋــﻮن َﻟ ـ ِﻄــﻴـ ُ‬
‫َﻟـ ُ‬
‫ـﺖ َﺗ ِـﻦ‪ُ ،‬ﻣ ُـﻞ َﻣــﻬـﺎﻧـﮕـﻮ ُا ِن ﺟــﻮ‪.‬‬ ‫ِـﻴـﻤـ َ‬
‫ﻛـﺎﻧـﻬـﻲ ﻗ َ‬
‫ﻳﻌﻨﻲ ﺳﻤﻨﮉ ﺟﻴﻜﻮ ﻓﻄﺮي ﺟﻤﺎل ۽ ﺟـﻼل ﺟـﻮ ﻫـﻚ وڏو اﻫـﭹـﺎڻ آﻫـﻲ‪ ،‬ﺷـﺎﻫـﻪ‬
‫ﺳﺎﺋﻴﻦ‪ ‬ﺟﻲ ﺷﺎﻋﺮي‪ ‬۾ ﺳﻤﻨﮉ ﺳﺎن اﻣﻦ ﺻﺮف ان ﮘﺎﻟﻬﻪ ۾ آﻫﻲ ﺗﻪ ان ﺟﻲ ﺧﺪﻣﺖ ﻛـﺌـﻲ‬
‫وﭸﻲ‪ ،‬ان ﮐﻲ ﻧﺬراﻧﻮ ڏﻧﻮ وﭸﻲ‪ ،‬ڏﻳﺌﺎ ﭔﺎري ان ۾ ﻟﻮڙﻫﻴﺎ وﭸﻦ ۽ ﻣﻮٽ ۾ ﺳﻤﻨﮉ ﭔﻴﻦ ﺳﻮﮐﮍﻳـﻦ‬
‫ﺳﺎن ﮔﮇ اﻧﻬﻦ ﺳﺎﻣﻮﻧﮉﻳﻦ ﮐﻲ ﺑﻪ ﻣﻮﭨﺎﺋﻲ آﮢﻴﻨﺪو ﺟﻴﻜﻲ ﺷﻜﺎر ﺳﺎﻧﮕﻲ ﺳﻤﻨـﮉ ۾ ﮔـﻬـﮣـﻮ‬
‫اﮘﺘﻲ ﻧﻜﺮي وﻳﺎ آﻫﻦ‪.‬‬
‫ﻛـﺎر ِڻ ُﻣـﻮن‪ ،‬ﭤـﻲ َﺗ َـﮍ ُﭘـﻮﭴـﺎرا ُﭘـﻮ ِﭴـﻴـﺎ‪،‬‬
‫َ‬ ‫َﺟﻨِﻴﻦ‬
‫ــﭵ َ‬
‫ــﮡ آﺋِــﻴــﺎ‪.‬‬ ‫ُ‬
‫ﻣــﻴــﺪون‪ ،‬ﺳــﻴــﺌــﻲ َﺳ َ‬ ‫ــﻢ ُا‬ ‫ُﭘــﻨِ َ‬
‫ــﻴ ِ‬
‫—‬
‫َ‬ ‫َ‬ ‫َ‬
‫ﻛ ِـﻦ‪ ،‬اﭸـﺎ ِﺳـﮍه ﻧـﻪ ﭘـﮅرا‪،‬‬ ‫واﺋﻨ ِﭩ ُـﻴـﻮن ﭤِ ُـﻴـﻮن َو َر َ‬
‫ُ‬
‫ﺳﻴﺌـﻲ ﭤِ ُـﻴـﻮن َﻣ َ‬
‫ـﺮﻛ ِـﻦ‪ُ ،‬ﺟـ ِﻨـﻴـﻦ َﺳـﻨـﺪا آﺋِـﻴـﺎ‪.‬‬
‫—‬
‫ـﻴـﻦ ِﺳـﺮ َﮘـﻨـﮃ‪َ،‬‬ ‫ُ‬ ‫ُﮐ َ‬
‫ـﻮﻫ ِـﻦ ِﺳـ ِﺮ واﻧـﺌـ ِﭩ ُـﻴـﻮن‪ ،‬واﺋـﻨـ ِﭩ ِ‬
‫ِ‬
‫ﮐــﻴــﮍي ﮐــﻴــﮍي َﮐــﻨــﮉ‪ ،‬ﻣــﺎ‪ ‬ﺳـ ُ‬
‫ـﺎﻣــﻮﻧــﮉي آﺋِــﻴــﺎ‪.‬‬
‫ﺟﻦ ﺳﻤﻨﮉ ﺟﻲ ﺳﻴﻮا ﻛﺌﻲ آﻫﻲ ۽ﮐﭥﻮري‪ ‬ﺟﺎ ﺗﺤﻔﺎ ڏﻧﺎ آﻫﻦ‪ .‬ﺳﻤﻨﮉ ﻣﻮٽ ۾ اﻧـﻬـﻦ‬
‫ﮐﻲ ﭘﻨﻬﻨﺠﺎ ﭘﻴﺎرا ﻣﻮﭨﺎﺋﻲ ڏﻧﺎ آﻫﻦ‪ .‬ﺷﺎﻫﻪ ﺳﺎﺋﻴﻦ ﻟﮗ ﭜﮗ ﺳﭝﻨﻲ ﻓﻄﺮي ﻣﻨﻈﺮن ﺳـﺎن اﻣـﻦ‬
‫ﺟﻲ ﮘﺎﻟﻬﻪ ﻛﺌﻲ آﻫﻲ ﺳﻮا‪ ‬درﻳﺎﻫﻪ ﺟﻲ‪ .‬درﻳﺎﻫﻪ ﮀﺎﻛﺎڻ ﺗﻪ ﺳﻬﮣﻲ‪ ‬ﮐﻲ ﭔـﻮڙﻳـﻮ آﻫـﻲ‪ ،‬ان‬
‫ﻛﺮي ﺷﺎﻫﻪ ﺳﺎﺋﻴﻦ ﻛﮇﻫﻦ ان ﺟﻲ ﻻ‪ ‬ﺳﻜﮡ ﺟﻲ ﮘﺎﻟﻬﻪ ﻛﺌﻲ آﻫﻲ ﺗﻪ ﻛﮇﻫﻦ ان ﺗـﻲ‬
‫ڏﻳﻨﻬﻦ ﻗﻴﺎﻣﺖ ﺟﻲ داﻧﻬﮡ ﺟﻲ ﮘﺎﻟﻬﻪ ﻛﺌﻲ آﻫﻲ‪.‬‬

‫‪26‬‬ ‫ﺷﺎﻫﻪ ﻟﻄﻴﻒ وٽ اﻣﻦ ﺟﻮ ﻋﺎﻟﻤﻲ ﻓﻠﺴﻔﻮ‬

 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫واﻫ َﮍ! َوﻫﻴﻦ َم ﺷﺎل‪ُ ،‬ﺳ ِ‬

‫ﻜﻲ ﭔـﻴـﻼﭨ ِ ُـﻴـﻮن ﭤِـﻴـﻴـﻦ!‬ ‫ُ‬
‫ـﭧ ۾‪ ،‬ﻻﮢــﺎ‪ُ ،‬ﻟ َ‬
‫ـﻮت ﻟِــﻴـ َ‬
‫ـﺎر‪،‬‬ ‫َﭘﺴـﺎن ُﺗــﻨـﻬــﻨــﺠــﻲ ﭘــﻴـ َ‬
‫ِ‬
‫ُ‬
‫ﭔـﻮڙﻳـﻮن‪.‬‬ ‫ُ‬ ‫َ‬
‫ﭴـﻤـﺎر‪ ،‬آﺳـﺎﺋِـﺘـﻴـﻮن ِ‬ ‫َ‬ ‫َ‬
‫ِﺟﻨﻬـﻦ ﺗـﻮ ﺳـﭛ‬
‫واﻫﮍ ﻳﺎ درﻳﺎﻫﻪ ﺳﺎن ﭜﭩﺎﺋﻲ‪ ‬اﺋﻴﻦ ﮔﻔﺘﮕﻮ ﻛﺌﻲ آﻫﻲ ﭴﮡ اﻫﻮ ﻛـﻮ ﺳـﻨـﺪس ﭴـﺎڻ‬
‫ﺳﭹﺎڻ وارو ﻫﺠﻲ‪ ،‬ﻫﻮ ﮐﻴﺲ ﭼﻮي ﭤﻮ‪ ،‬اي درﻳﺎﻫﻪ اﻳﮇو اﺗﺎﻣﺮو ﻧﻪ ﭤﻲ ﺳﭝﺎﮢﻲ ﺗﻮﮐﻲ ﺑﻪ ﻟـﻴـﮑـﻮ‬
‫ڏﻳﮣﻮ ﭘﻮﻧﺪو‪ ،‬ﮀﺎﻛﺎڻ ﺗﻪ ﺳﺪاﺋﻴﻦ ﺗﻪ ﺳﺎﻧﻮڻ ﻧﻪ ﻫﻮﻧﺪو ﻧﻪ‪.‬‬
‫ـﮡ ﻟــﻴــﮑــﻮ ِڏ َﻳـ ُـﮣــﻮن‪،‬‬ ‫َ‬
‫واﻫـ َـﮍ! ﭜِـ ُ‬
‫ـﺮﻳــﻮن َم ﭘــﺎ‪ ،‬ﺗــﻮ ُﭘـ ِ‬
‫ـﺎو ِڻ ِڏﻳــﻨـ َـﻬــﮍا‪ ،‬ﻫِــﻴــﻨــﺌــﻴــﻦ ﻧــﻪ َﻫــﻮﻧــﺪا‪‬‬
‫ﺳــﺪا ﺳـ َ‬
‫َ‬
‫ــﺮ اﺗـــﺎﻫـــﺎن ﻟـــﻬـــﻲ‪.‬‬‫ُ‬ ‫ِوﻫـــﺎﮢِـــﻲ‪ ‬وﻳـــﻨـــﺪا‪َ ،‬‬
‫اوﭜـ َ‬

‫ﭜﭩﺎﺋﻲ ﺑﻨﻴﺎدي ﻃﻮر ﺗﻲ ﺗﻪ اﻣﻦ ﭘﺴﻨﺪ آﻫﻲ‪ .‬ﭘﺮ ﻫﻮ ﻋﺸﻖ ﺟﻲ ﻣﺎﻣﺮي ۾ ﻗـﺮﺑـﺎﻧـﻲ‪ ‬ﮐـﻲ‬
‫ﻣﺎن ﮐﺎن وڌﻳﻚ ﺳﻤﺠﻬﻲ ﭤﻮ‪ .‬اﻫﻮ ﭘﮡ ﻫﻚ ڊﮔﻬﻮ ﺑﺤﺚ آﻫﻲ‪ .‬آﺋﻮن ﻫﺘﻲ ﺻـﺮف ﭔـﻪ ﺑـﻴـﺖ‬
‫ڏﻳﺎن ﭤﻮ‪ .‬ﺟﻦ ۾ اﻣﻦ ﺑﺪران ﻋﺸﻖ ۽ ﻗﺮﺑﺎﻧﻲ ﮐﻲ ﻓﻮﻗﻴﺖ ﺣﺎﺻﻞ آﻫﻲ‪.‬‬
‫ﻛــﺎﺗِــﻲ ﺗ ـ ِﮑــﻲ َم ﭤــﺌــﻲ‪َ ،‬ﻣـ ُـﺮ ُﻣــﻨــﻴــﺎﺋِــﻲ ﻫــﻮ‪،‬‬
‫ﻣــﻦ ﺗــﻮ‪ ،‬ﻣــﻮن ﭘِــﺮﻳــﺎن ﺟــﺎ ﻫــﭥــﮍا‪.‬‬ ‫َ‬
‫ﻣــﺎن ُو َر ِ‬
‫—‬
‫ﺟﺎن وڍﺋﻴﻦ ﺗﺎن وﻳﻬ ُﻪ‪ ،‬ﻧﻪ ﺗﻪ وﭠﻴﻮ واٽ وان‪ ‬ﺗـﻮن‪،‬‬
‫ﻫِﻲ‪َ ‬ﺗﻨﻴﻦ ﺟﻮ ڏﻳـﻬـ ُﻪ‪ ،‬ﻛـﺎﺗِـﻲ َﺟـﻨِـﻴـﻦ َ‬
‫ﻫـﭣ ۾‪.‬‬

‫ﺷﺎه ﺳﺎﺋﻴﻦ‪ ‬ﺟﻲ ﺷﺎﻋﺮي اﻣﻦ ﺟﻲ ﺣﻮاﻟﻲ ﺳﺎن ﻫﻚ اﻫﮍو دﺳﺘﺎوﻳﺰ آﻫﻲ‪ ،‬ﺟﻨﻬـﻦ ۾‬
‫اﻣﻦ ﺟﻮن ﻛﻴﺘﺮﻳﻮن ﺋﻲ ﺻﻮرﺗﻮن ﻣﻮﺟﻮد آﻫﻦ‪ .‬ﻫﻮ اﻧﺴﺎن ﮐﻲ ﺧﺪا ۽ ﻓﻄﺮت ﺳﺎن ﺑﻪ ُﭘﺮاﻣﻦ‬
‫ﻣﺎﺣﻮل ۾ ڏﺳﮡ ﭤﻮ ﭼﺎﻫﻲ ﺗﻪ ﻫﻮ اﻧﺴﺎن ﮐﻲ اﻧﺴﺎن ﺳﺎن ﺑﻪ ُﭘﺮاﻣﻦ رﻫﮡ ﺟﻲ ﮘﺎﻟﻬﻪ ﻛـﺮي ﭤـﻮ‪.‬‬
‫ﺗﺎن ﺟﻮ ُﻫﻦ ﻓﺮد ﮐﻲ ﭘﻨﻬﻨﺠﻲ ﭘﺎڻ ﺳﺎن ﺑﻪ ُﭘﺮ اﻣﻦ رﻫﮡ ﺟﻲ ﮘـﺎﻟـﻬـﻪ ﻛـﺌـﻲ آﻫـﻲ‪ .‬ﺟـﻴـﺌـﻦ‬
‫ﻓﺮاﺋﻴﮉ ﺟﻮ ﭼﻮڻ آﻫﻲ ﺗﻪ ﻓﺮد ﺟﻴﻜﮇﻫﻦ ﺳﮅي ﻳﺎ اﮢﺴﮅي‪ ‬ﻃﺮح ﭘﺎڻ ﮐﻲ ﭤﻮري ﺑﻪ ﺗﻜﻠﻴـﻒ‬
‫ڏﺋﻲ ﭤﻮ ﺗﻪ اﻫﻮ ﺟﻬﮍو ﻛﺮ ﭘﻨﻬﻨﺠﻲ ﭘﺎڻ ﺳﺎن دﺷﻤﻨﻲ ﭤﻮ ﻛﺮي‪ .‬ﺷﺎﻫـﻪ ﺳـﺎﺋـﻴـﻦ ﭘـﺎڻ ﺳـﺎن‬
‫دﺷﻤﻨﻲ ﻧﻪ ﺑﻠﻜﻪ دوﺳﺘﻲ ۽ اﻣﻦ ﻗﺎﺋﻢ رﮐﮡ ﺟﻲ ﮘﺎﻟﻬﻪ ﻛﺌﻲ آﻫﻲ‪ .‬ﺷـﺎﻫـﻪ ﺳـﺎﺋـﻴـﻦ ﻓـﻄـﺮي‬
‫ﻗﺪرن ﺟﻮ ﺗﻤﺎم وڏو ﺷﺎﻋﺮ آﻫﻲ ان ﻛﺮي ﺳﻨﺪس ﺷﺎﻋﺮي‪ ‬۾ ﻫﺮ وڏي ﻗﺪر واﻧﮕﺮ اﻣﻦ ﮐﻲ ﺑﻪ‬
‫اﻫﻢ ﺟﺎ‪ ‬ﻣﻠﻴﻞ آﻫﻲ‪ .‬ﻫﻮ ﻧﻪ ﺻﺮف ﻓﺮد ﺟﻲ ﺧﻮﺷﺤﺎﻟﻲ ﭼﺎﻫﻲ ﭤﻮ ﺑﻠﻜﻪ ﻫـﻮ‪“ ،‬دوﺳـﺖ ﻣـﭡـﺎ‬
‫دﻟﺪار ﻋﺎﻟﻢ ﺳﭛ آﺑﺎد ﻛﺮﻳﻦ” ﺟﻬﮍي آﻓﺎﻗﻲ ﺳﭧ ﭼﺌﻲ ﭘﺎڻ ﮐﻲ ﻋﺎﻟﻤﻲ اﻣﻦ ۽ ﺧﻮﺷﺤـﺎﻟـﻲ‪‬‬
‫ﺟﻮ ﭘﻴﻐﺎﻣﺒﺮ ڊﻛﻠﻴﺌﺮ ﻛﺮي ﭤﻮ‪.‬‬

‫‪27‬‬ ‫ﺷﺎﻫﻪ ﻟﻄﻴﻒ وٽ اﻣﻦ ﺟﻮ ﻋﺎﻟﻤﻲ ﻓﻠﺴﻔﻮ‬

 [ ] ‫ﺌرو ﮬ‬

‫ ﻗﺎﺿﻲ ﺟﻲ ﺗﺮﺗﻴﺐ ڏﻧﻞ ﺷـﺎﻫـﻪ ﺟـﻲ‬‫ آ‬‫ ﻣﻘﺎﻟﻲ ۾ ﻛﺘﺐ آﻳﻞ ﺑﻴﺖ ۽ واﻳﻮن ﻋﻼﻣﻪ آ‬:‫ﻧﻮٽ‬
.‫رﺳﺎﻟﻲ ﺗﺎن ورﺗﻴﻮن وﻳﻮن آﻫﻦ‬

:‫ﺣﻮاﻻ‬
1. https://www.brainyquote.com/quotes/quotes/d/desiderius133928.html
2. Graham Billy, Peace with God, w publishing group united states of America, 1952, page, 3
3. The Art World, Vol. 1, No. 3 (Dec., 1916), pp.224
13‫ ﺻﻔﺤﻮ؛‬،‫ اردو ﺑﺎزار ﻻﻫﻮر‬،‫ ﭘﺮوﻓﻴﺴﺮ ﻳﻮﺳﻒ ﺳﻠﻴﻢ ﭼﺸﺘﻲ داراﻟﻜﺘﺎب‬، ‫ ﺗﺎرﻳﺦ ﺗﺼﻮف‬.4
‫ ﺳﻮﺟﻬﺮو ﭘﺒﻠﻴﻜﻴﺸﻦ‬،‫ ڊاﻛﭩﺮ ﺷﻴﺮ ﻣﻬﺮاﮢﻲ‬،‫ ﺟﻮ ﺟﺪﻳﺪ اﭜﻴﺎس‬‫ ﺷﺎﻫﻪ ﻟﻄﻴﻒ ﺟﻲ ﺷﺎﻋﺮي‬.5
131 ،‫ع ص‬2014 ،‫ﻛﺮاﭼﻲ‬
6. https://w2.vatican.va/content/john-paul-ii/en/messages/peace/documents/hf_jp-ii_ mes_
19891208_xxiii-world-day-for-peace.html
7. The Aesthetic Appreciation of Nature, Malcolm Budd, Oxford university press, N. York 2002
pp.2

28 ‫ﺷﺎﻫﻪ ﻟﻄﻴﻒ وٽ اﻣﻦ ﺟﻮ ﻋﺎﻟﻤﻲ ﻓﻠﺴﻔﻮ‬

 [ ] ‫ﺌرو ﮬ‬

‫ﺌن دا‬ ‫ا‬ ‫ڊا‬

‫ﺌ يﮭ ۾‬ ‫ﺌ‬
‫ﮗﺌ‬ ‫۽ درد‬
THE RELATIONSHIP OF LOVE AND PAIN
IN THE POETRY OF SHAH ABDUL LATIF BHITAI

Abstract
Love is the culmination of ideas and feelings, without it a creative
work remains superfluous and lifeless. It is the phenomenon of mental
energy and restlessness of soul that sets feelings afire. Love bestows
elevation and sublimity to ideas which is the lifeblood of a great creation.
The tradition of embracing Pain on the path of Love is highly prominent
in the poetry of Shah Latif. His characters love Pain and pour its beauty
inside them. The fire of Love increases the feeling of Pain and a lover
achieves an ecstasy by an ultimate touch of Pain.
Shah Latif visualizes Love as a vast and endless ocean. Its flow in
all directions leads to a different destination. Persons with an imperfect
passion of Love remain restless to reach the destination with various
whims in their hearts. Those whose hearts are immersed in the sublime
Pain of Love always have their destination in sight. Shah Latif introduces
myriad forms of Pain in his poetry which I have briefly tried to point out
in this article.
‫ﻋﺸﻖ ﻫﻚ اﻫﮍي اﻧﺴﺎﻧﻲ ﻛﻴﻔﻴﺖ آﻫﻲ ﺟﻨﻬﻦ ﺟﻲ ﻟﻔﻈﻦ ۾ ﺗﺸﺮﻳﺢ ﻧﻪ ﭤﻲ ﻛﺮي‬
‫ ﺟﻨﻬﻦ ﻣﺎن ﮔﺬرڻ ﺑﻌﺪ ﺑﻪ ﺳﻨﺪس وﺳﺘﺎر ﻛﺮڻ‬،‫ اﻫﻮ ﻫﻚ اﻫﮍو ﻣﺮﺣﻠﻮ آﻫﻲ‬.‫ﺳﮕﮭﺠﻲ‬
‫ ﻛﺮي‬‫ اﻧﻬﻲ‬.‫ ان ﻛﺮي ﻋﺸﻖ ﺟﻲ رﻣﺰ ﮐﻲ ﺳﻤﺠﮭﮡ ڏاڍو اوﮐﻮ ﻛﻢ آﻫﻲ‬.‫ڏﮐﻴﻮ آﻫﻲ‬
:‫ ﻓﺮﻣﺎﻳﻮ ﻫﻮ ﺗﻪ‬‫ﻣﻮﻻﻧﺎ ﺟﻼل اﻟﺪﻳﻦ روﻣﻲ‬

‫و‬ ‫در‬ ‫در‬

‫ش‬ ‫در‬
‫ ﺟﻨﻬﻦ‬،‫ ﮀﻮﺗﻪ اﻫﻮ ﻫﻚ اﻫﮍو ﺳﻤﻨﮉ آﻫﻲ‬،‫)ﻋﺸﻖ ﮔﻔﺘﮕﻮ ۾ ﺳﻤﺎﺋﺠﻲ ﻧﻪ ﭤﻮ ﺳﮕﮭﻲ‬
(.‫ﺟﻮ َﺗﺮو ﻛﻨﻬﻦ ﻟﮅو ﺋﻲ ﻧﺎﻫﻲ‬
،‫ اﻫﻮ ﻋﺸﻖ ﺋﻲ ﻛﻬﮍو ﺟﻨﻬﻦ ۾ درد ﻧﻪ ﻫﺠﻲ‬.‫درد ﺟﻮ ﺣﻘﻴﻘﻲ ﺳﺮﭼﺸﻤﻮ ﻋﺸﻖ آﻫﻲ‬
29 ‫ ۾ ﻋﺸﻖ ۽ درد ﺟﻮ ﻻﮘﺎﭘﻮ‬‫ﺷﺎﻫﻪ ﻟﻄﻴﻒ ﺟﻲ ﺷﺎﻋﺮي‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻳﻌﻨﻲ درد ﮐﺎن ﺳﻮا‪ ‬ﻋﺸﻖ ﺟﻮ ﺗﺼﻮر ﺋﻲ ڌﻧﮅﻟﻮ آﻫﻲ‪ ،‬ﺗﻨﻬﻦ ﻛﺮي ﻋﺸﻖ ۽ درد ﮐﻲ ‘ﺣﺮف‬
‫ﻣﮍوﺋﻲ ﻫﻴﻚ’ ﺳﻤﺠﮭﮡ ﮐﭙﻲ‪ .‬روﻣﻲ ﭼﻮي ﭤﻮ ﺗﻪ‪:‬‬

‫مو دارى‬ ‫ِ‬ ‫اى‬

‫دوش ِم د ت دم در ِد دوا‬
‫)اي ﻋﺸﻖ! ﺳﭝﻨﻲ ﺟﻲ اﮘﻴﺎن ﺗﻨﻬﻨﺠﺎ ﻛﻴﺘﺮاﺋﻲ ﻧﺎﻻ ۽ ﻟﻘﺐ آﻫﻦ؛ ﻣﺎن ﻛﻠﻬﻪ رات‬
‫ﺗﻨﻬﻨﺠﻮ ﻫﻚ ﭔﻴﻮ ﻧﺎﻟﻮ “در ِد ﺑﻲ دوا” رﮐﻴﻮ آﻫﻲ‪(.‬‬
‫“ﻋﺸﻖ ﺟﻮ ﺗﻴﺮ ﺑﻲ ﭘﻴﺮ آﻫﻲ‪ ،‬ﻫﻦ ﺟﻮ درد ﺑﻲ درد آﻫﻲ‪ ،‬ﺟﻴﺌﻦ ﻋﻄﺎر ﻓﺮﻣﺎﺋﻲ ﭤﻮ ﺗﻪ‪:‬‬

‫ودرد‬ ‫ںرا‬
‫درد را آد در ر‬
‫)ﻓﺮﺷﺘﻦ ﮐﻲ ﺑﻪ ﻋﺸﻖ آﻫﻲ‪ ،‬ﻟﻴﻜﻦ درد ﻧﻪ آﻫﻲ ۽ اﻫﻮ درد اﻧﺴﺎن ﮐﺎن ﺳﻮا‪ ‬ﭔﺌﻲ‬
‫ﻛﻨﻬﻦ ﺟﻲ ﻻﺋﻖ ﻧﻪ آﻫﻲ‪(1) ”(.‬‬
‫ﻋﺸﻖ اﻧﺴﺎن ﺟﻲ اﻧﺪر ۾ اﻧﻴﻚ ﭘﻴﮍاﺋﻦ ﺟﺎ ﭴﺎر وﮀﺎﺋﻲ ﮀﮇي ﭤﻮ ۽ ﻣﺎﮢﻬﻮ‪ ‬ﺟﻲ ﺟﺬﺑﻦ‬
‫ﻋﺸﻖ ﺧﻴﺎﻟﻦ ۽ ﺟﺬﺑﻦ ﺟﻲ ﺷﺪت ﺳﺎن ﭜﺮﭘﻮ ﻫﻮﻧﺪو‬ ‫۽ ﺧﻴﺎﻟﻦ ۾ ﻫﻠﭽﻞ ﻣﭽﺎﺋﻲ ﮀﮇي ﭤﻮ‪ُ “ .‬‬
‫آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ﮐﺎن ﺳﻮا‪ ‬ﺗﺨﻠﻴﻘﻲ ﻋﻤﻞ رﮘﻮ ﺳﻄﺤﻲ ۽ ﺑﻲ ﺟﺎن رﻫﻨﺪو آﻫﻲ ﻳﺎ ﻓﻘﻂ‬
‫“ﺻﻼﺣﻴﺘﻦ ﺟﻮ اﻇﻬﺎر” رﻫﺠﻲ وﻳﻨﺪو آﻫﻲ‪ .‬ﻋﺸﻖ ﻫﻚ اﻫﮍي ذﻫﻨﻲ ﺗﻮاﻧﺎﺋﻲ ۽ روﺣﺎﻧﻲ ﺑﻲ‬
‫ﺗﺎﺑﻲ‪ ‬ﺟﻮ ﻣﻈﻬﺮ آﻫﻲ‪ ،‬ﺟﻴﻜﻮ ﺟﺬﺑﻦ ۾ ﺑﺎﻫﻪ ﭔﺎري ﮀﮇﻳﻨﺪو آﻫﻲ‪ .‬ﺧﻴﺎﻟﻦ ۾ ﺑﻠﻨﺪي ۽ ﺗﺨﻴﻞ‬
‫۾ ﺗﻴﺰي ﭘﻴﺪا ﻛﻨﺪو آﻫﻲ‪ .‬ﺟﻴﻜﻮ ﻫﺮ ﺳﭡﻲ ﺗﺨﻠﻴﻖ ۾ اﻫﮍي رﻳﺖ روان دوان رﻫﻨﺪو آﻫﻲ‪،‬‬
‫ﺟﻴﺌﻦ رﮘﻦ ۾ ﺧﻮن ﮔﺮدش ﻛﻨﺪو آﻫﻲ‪ ،‬۽ ﺧﻮن ﺟﻲ ﮔﺮدش ﺋﻲ زﻧﺪﮔﻲ آﻫﻲ ۽ ان ﺟﻮ‬
‫ﺑﻴﻬﻲ رﻫﮡ ﻣﻮت آﻫﻲ‪ .‬ﺗﺨﻠﻴﻘﻜﺎر ﺟﻮ ﻋﻤﻞ ﺟﺬﺑﻲ ﺟﻲ اﻧﻬﻲ‪ ‬ﺷﺪت ﺳﺎن ﻋﺒﺎرت‬
‫آﻫﻲ‪ (2) ”.‬ﺟﺬﺑﻲ ﺟﻲ ان ﺷﺪت ۾ درد ﺟﻲ آﻣﻴﺰش ﭔﺎرڻ ﺟﻮ ﻛﺮدار ادا ﻛﻨﺪي آﻫﻲ‪.‬‬
‫ﺟﮇﻫﻦ اﻧﺴﺎن درد ﺟﻲ ﺑﭡﻲ‪ ‬۾ ﭔﺮي ﭤﻮ ﺗﻪ زﻧﺪﮔﻲ‪ ‬ﺟﻮ ﺣﻘﻴﻘﻲ ﺷﻌﻮر ۽ آﮔﻬﻲ ﺣﺎﺻﻞ ﻛﺮي‬
‫ﭤﻮ‪“ .‬ﺷﺎﻋﺮي ﺟﻮ ﻋﻈﻴﻢ دﺑﺴﺘﺎن ﻋﺸﻖ ﺟﻲ درد ﺟﻲ ﺑﺪوﻟﺖ آﺑﺎد آﻫﻲ‪ .‬۽ اﻫﻮ ﻋﺸﻖ ﺟﻮ ﺋﻲ‬
‫درد آﻫﻲ ﺟﻨﻬﻦ وﺳﻴﻠﻲ اﻧﺴﺎن ﺣﺴﻦ ۽ ﺳﻮﻧﻬﻦ ﺟﻲ اﺛﺮ اﻧﺪاز ﭤﻴﻨﺪڙ ﺳﮕﻬﻪ ﻣﺎن ﻣﺤﻀﻮض‬
‫۽ ﻣﺨﻤﻮر ﭤﺌﻲ ﭤﻮ‪ .‬ﻳﻌﻨﻲ درد راﺣﺖ ڏﻳﻨﺪڙ ﺑﮣﺠﻲ وﭸﻲ ﭤﻮ‪ .‬ﭘﺮ ﺻﺮف اﻫﻮ درد ﺋﻲ راﺣﺖ‬
‫ﺑﺨﺸﻲ ﺳﮕﻬﻲ ﭤﻮ ﺟﻨﻬﻦ ۾ ﺟﻤﺎﻟﻴﺎﺗﻲ ۽ ﻋﺸﻘﻴﻪ ﻋﻨﺼﺮ ﻣﻮﺟﻮد ﻫﻮﻧﺪا‪(3) ”.‬‬
‫ﺷﺎﻫﻪ ﻟﻄﻴﻒ ﺟﻲ ﺷﺎﻋﺮي‪ ‬۾ ﻋﺸﻖ ﺟﻲ راﻫﻪ ﺗﻲ ﻫﻠﻨﺪي درد ﮐﻲ ﮘﻠﻲ ﻻﺋﮡ ﺟﻲ رواﻳﺖ‬
‫ِﭼﭩﻲ ڏﻳﻨﻬﻦ واﻧﮕﺮ ﻣﻮﺟﻮد آﻫﻲ‪ .‬ﻫﻦ ﺟﺎ ﻛﺮدار درد ﺳﺎن ﭘﻴﺎر ﻛﻦ ﭤﺎ ۽ ان ﺟﻲ ﺳﻮﻧﻬﻦ ﮐﻲ‬
‫ﭘﻨﻬﻨﺠﻲ اﻧﺪر ۾ اوﺗﻴﻦ ﭤﺎ‪“ .‬ﺷﺎﻫﻪ ﻋﺸﻖ ﺟﻲ ﺑﭡﻲ‪ ‬۾ ﭘﭽﮡ ﺟﻮ ڏس ﺗﻪ ڏﺋﻲ ﭤﻮ ﭘﺮ ﻋﺎم ﺗﺎﺋﻴﻦ ان‬
‫آڳ ﺟﻲ ﺣﻘﻴﻘﺖ ﺟﻲ آﮔﺎﻫﻲ ﭘﻬﭽﺎﺋﮡ ﮐﺎن ﻣﻨﻊ ﻛﺮي ﭤﻮ ۽ اﻫﻮ ﺑﻪ ﻓﺮﻣﺎﺋﻲ ﭤﻮ ﺗﻪ ﺟﻲ ﻧﻴﻬﻦ‬
‫ﮏ ﺟﻴﻜﺎ ﺳﭵﻮ ڏﻳﻨﻬﻦ ﺳﮍﻧﺪي ﺑﻪ ﭔﺎﻫﺮ ﭔﺎڦ ﻧﻪ‬ ‫ﻟﮙﺎﺋﮡ ﺳﮑﮣﻮ اﭤﺌﻲ ﺗﻪ ان ﻧﻬﺎﺋﻴﻦ ﮐﺎن ِﺳ ُ‬
‫‪30‬‬ ‫ﺷﺎﻫﻪ ﻟﻄﻴﻒ ﺟﻲ ﺷﺎﻋﺮي‪ ‬۾ ﻋﺸﻖ ۽ درد ﺟﻮ ﻻﮘﺎﭘﻮ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻛﮃﻧﺪي آﻫﻲ‪ (4) ”.‬اﻫﺎ ﭔﺎڦ ﭔﺎﻫﺮ ﻧﻪ ﻛﮃڻ ۽ ﻋﺎم ﮐﻲ ﻛﺎ ﭔﺎﭔﻮر ﻧﻪ ڏﻳﮡ ﺣﻘﻴﻘﺖ ۾ ان ﻋﺸﻖ‬
‫ﺟﻲ آڙاﻫﻪ ﻣﺎن اﭤﻨﺪڙ درد ﺟﻲ ﺷﻌﻠﻲ ﺟﻲ ﺣﻘﻴﻘﺖ ﺳﻤﺠﮭﮡ ۾ ﻣﺪد ڏﺋﻲ ﭤﻲ‪.‬‬
‫ﻣﺤﻤﺪ ﺣﺴﻴﻦ ﻛﺎﺷﻒ ﻟﮑﻴﻮ آﻫﻲ ﺗﻪ “ﺣﻀﺮت ﻋﺸﻖ” ﺟﮇﻫﻦ ﭔﻨﭝﻲ ﺗﻲ اﭼﻲ ﻫﭣ‬
‫ﻫﮣﻲ‪ ،‬ﺗﺎڙي ﮐﻮﻟﻲ‪ ،‬ﻃﺎق ﭘﺮي ﻛﺮي‪ ،‬ﺟﻲ‪ ‬۾ ﺟﻠﻮو ﭘﺴﺎﺋﻲ ﭤﻮ ﺗﻪ ﺻﻮرﺗﺤﺎل ﺋﻲ ﺑﺪﻟﻴﻮ‬
‫ﻋﻘﻞ اﻧﺴﺎﻧﻲ‪‬‬
‫وﭸﻲ‪ .‬اﻫﻮ ﺟﺬﺑﻮ ۽ ان ﺟﻲ ﻛﺸﺶ‪ ،‬ﺟﻴﻜﺎ ﺻﻮرﺗﺤﺎل ﭘﻴﺪا ﻛﺮي ﭤﻲ‪ ،‬اﻫﺎ ِ‬
‫ﮐﻲ اوراﻧﮕﮭﻲ اﮘﺘﻲ ﻧﻜﺮي وﭸﻲ ﭤﻲ‪ ،‬ﺟﺘﻲ ﮀﻮ ۽ ﻛﻴﺌﻦ ﺟﻲ ﻛﺎﺋﻲ ﺣﺠﺖ ۽ ﺣﺎﺟﺖ‬
‫ﻧﻪ ﭤﻲ رﻫﻲ‪ .‬ﻟﻄﻴﻒ ﭼﻮاﮢﻲ‪:‬‬
‫ﻣــﭥــﻲ ﻣــﻨــﺠــﮭــﺎن ﻣــﻴــﻨــﻬــﻦ‪ ،‬ﭘﺴــﻮ ﭘــﺎﮢــﻲ‪ ‬ﺟــﻴــﺌــﻦ وﻫــﻲ‪،‬‬
‫ﻣﻮن ﭜﺎﻧﺌﻴﻮ ﻧﻴـﻨـﻬـﻦ‪ ،‬ﭘـﺮ ﭴـﭝـﻴـﻮن ﭴـﻴـﺮي ﺳـﻨـﺪﻳـﻮن‪(5) .‬‬
‫)ﺳﺮ ﺣﺴﻴﻨﻲ‪ ،‬د ‪(2‬‬ ‫ُ‬
‫اﻫﻲ ﻋﺸﻖ ﺟﻲ ﭴﺮ ﺟﻮن ﭴﭝﻴﻮن‪ ،‬اﻧﺴﺎن ﺟﻲ اﻧﺪر ۾ درد ﺟﻲ اﺣﺴﺎس ﮐﻲ وڌاﺋﻴﻦ‬
‫ﭤﻴﻮن ۽ ﻫﻚ ﻋﺎﺷﻖ ان ﻣﭡﻲ ﻣﭡﻲ ﺳﻮز ﻣﺎن ﺳﺮور ﺣﺎﺻﻞ ﻛﺮي ﭤﻮ‪ .‬ڊاﻛﭩﺮ ﺑﺸﻴﺮ اﺣﻤﺪ‬
‫ﺷﺎد ﻟﮑﻴﻮ آﻫﻲ ﺗﻪ “ﻋﺸﻖ اﻧﺴﺎن ﺟﻲ اﻧﺪر ﮐﻲ اﺟﺎري ﭤﻮ‪ ،‬ﺷﺨﺼﻴﺖ ﮐﻲ ﻧﮑﺎري ﭤﻮ ۽ ﺻﺒﺮ‬
‫ﺗﺤﻤﻞ ۽ ﺑﺮدﺑﺎري ﺳﻴﮑﺎري ﭤﻮ‪ .‬ﺟﻴﺴﻴﺘﺎﺋﻴﻦ اﻧﺴﺎن ۾ ﺻﺒﺮ ﺟﻮ ﻣﺎدو ﭘﻴﺪا ﻧﻪ ﭤﻴﻮ آﻫﻲ‪،‬‬
‫ﺳﻮر ۽ ﺳﺨﺘﻴﻮن ﺳﻬﮡ ﺟﻲ ﻻﺋﻖ ﺋﻲ ﻧﻪ ﻟﻴﮑﺒﻮ‪ .‬ﺻﺒﺮ ۽ ﺑﺮدﺑﺎري ﻋﺸﻖ ﺟﻲ‬ ‫ﺗﻴﺴﻴﺘﺎﺋﻴﻦ ﻫﻮ َ‬
‫اوﻟﻴﻦ ﺗﻘﺎﺿﺎ آﻫﻲ‪ .‬ﻣﺤﺒﺖ ﺟﻲ راﻫﻪ ۾ ﺟﻴﺘﺮﻳﻮن ﻣﺸﻜﻼﺗﻮن درﭘﻴﺶ اﭼﻦ اﻧﻬﻦ ﮐﻲ‬
‫ﺻﺒﺮ ﺳﺎن َﺳﻬﮣﻮ آﻫﻲ‪ُ .‬ﮐﻠﻲ ﻋﺎم واوﻳﻼ ﻣﭽﺎﺋﮣﻲ ﻧﻪ آﻫﻲ‪(6) ”.‬‬
‫ﻟﻄﻴﻒ ﺳﺎﺋﻴﻦ ُﺳﺮ ﻛﺎراﻳﻞ ﺟﻲ ﻫﻚ ﺑﻴﺖ ۾ ﭼﻮي ﭤﻮ ﺗﻪ ﻋﺸﻖ ﻫﻚ ُاڃ آﻫﻲ‪.‬‬
‫ﻛﻨﻮل ﺟﻮن ﭘﺎڙون ﭘﺎﺗﺎل ۾ آﻫﻦ ۽ ﭜﻮﻧﺮ آﺳﻤﺎن ۾ اﺗﻲ ﭘﻴﻮ ﭰﻴﺮا ڏﺋﻲ ﺟﺘﻲ ﻛﺎ وﺳﻨﺪي‬
‫ﻧﺎﻫﻲ ۽ ﺳﭷ آﻫﻲ‪ ،‬ﭘﺮ ﭔﻨﻬﻲ ﺟﻮ ﻣﻠﮡ ﻋﺸﻖ ﺟﻮ ﻛﺮﺷﻤﻮ آﻫﻲ‪ .‬ﭜﻮﻧﺮ ﺟﻲ ﻣﻦ ۾ اڃ آﻫﻲ‬
‫ﺟﻴﻜﺎ ﻛﻨﻮل ﺟﻲ ﮔﻞ ﺳﺎن ﮔﮇﺟﮡ ﺑﻌﺪ ﺑﻪ اﺟﮭﻴﻮ ﻧﻪ ﭤﻲ اﺟﮭﻲ‪.‬‬
‫ـــﺮ ﭜِــــﺮي ۾ ُﺳـ َ‬
‫ـــﭷ؛‬ ‫ـــﺎر ۾‪َ ،‬ﭜــــﺆﻧـ ُ‬ ‫ﻛــــﺆﻧــــﺮ ﭘـ ُ‬
‫ـــﺎڙون ﭘــــﺎﺗـ َ‬ ‫َ‬
‫ـــﮍي‪ ،‬ﻋِﺸــــﻖ ا ُ ِّي ُاﻫـ َ‬
‫ـــﭷ؛‬ ‫ﭔِــــﻨِــــﻴــــﻦ َﺳــــﻨــــ ِﺪي ﮘــــﺎﻟــــﮭـ ِ‬
‫َ‬
‫ﭘـــﺎڻ ۾‪.‬‬ ‫ـــﻦ‬ ‫ـــﻬـــﻴـــﻦ ُا َڃ‪ ،‬ﺟـــﻲ ِﭘـــﻴـــﻮ ِﭘ َ‬
‫ـــﻴ ِ‬ ‫ِ‬ ‫ﺗـــﻮ‪ ‬ﻧـــﻪ َﻟ‬
‫)ﺳﺮ ﻛﺎراﻳﻞ‪ ،‬د ‪(1‬‬ ‫ُ‬
‫ان ﻋﺸﻖ ﺟﻲ اڃ ﺟﻲ ﺷﺪت ﻣﺎن درد ﭰﭩﻲ ﭤﻮ‪ .‬ﻟﻄﻴﻒ ﺳﺎﺋﻴﻦ وٽ ﻋﺸﻖ ۽ درد ﺟﻮ‬
‫ﺗﻌﻠﻖ اﻫﮍو ﺋﻲ آﻫﻲ‪ ،‬ﺟﻬﮍو ﺗﻌﻠﻖ ﺟﺴﻢ ﺳﺎن ﺳﺎﻫﻪ ﺟﻮ آﻫﻲ‪ .‬ﻫﻦ ﺟﻮ ﻛﻼم ﭘﮍﻫﮡ ﺳﺎن‬
‫ﻣﻌﻠﻮم ﭤﻴﻨﺪو ﺗﻪ “ﻋﺸﻖ ﺟﻮن راﻫﻮن ڏاڍﻳﻮن اﮢﺎﻧﮕﻴﻮن آﻫﻦ‪ .‬ﻋﺸﻖ رﻫﻨﻤﺎ ﺑﻪ ﭤﺌﻲ ﭤﻮ ﺗﻪ رﻫﺰن‬
‫ﺑﻪ‪ .‬ﺗﻨﻬﻦ ﻛﺮي ﻋﺸﻖ ﺟﻮ ﭘﻨﮅ ﮔﮭﮣﻮ ُﭘﺮ ﺧﻄﺮ آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ﺗﻲ ﻫﻠﮡ ﻫﺮ ﻛﻨﻬﻦ ﺟﻮ ﻛﻢ ﻧﻪ‬
‫ﻛﮑﻴﻞ ﺋﻲ ڏﺋﻲ ﺳﮕﮭﻨﺪو‪ .‬ﻋﺸﻖ‬ ‫ڏﻧﮓ ﺟﻲ ﺧﺒﺮ ﻛﻮ َ‬ ‫َ‬ ‫آﻫﻲ‪ .‬ﻋﺸﻖ ﻧﺎﻧﮓ آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ﺟﻲ‬
‫ﻛﺎ ﭔﺎراﮢﻲ راﻧﺪ ﻧﺎﻫﻲ ان ﻻ‪ِ ‬ﺳ َﺮ ﺟﻮن َﺳﭩﻮن َﺳﻬﮣﻴﻮن ﭘﻮﻧﺪﻳﻮن آﻫﻦ‪ (7) ”.‬ﻋﺸﻖ ﺟﮇﻫﻦ‬
‫‪31‬‬ ‫ﺷﺎﻫﻪ ﻟﻄﻴﻒ ﺟﻲ ﺷﺎﻋﺮي‪ ‬۾ ﻋﺸﻖ ۽ درد ﺟﻮ ﻻﮘﺎﭘﻮ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻧﺎﻧﮓ ﺑﮣﺠﻲ ﭘﻮي ﭤﻮ ﺗﻪ ان ﺟﻲ ڏﻧﮓ ﺟﻲ درد ﮐﻲ ﺑﻪ َﺳﻬﮣﻮ ﭘﻮي ﭤﻮ‪ .‬ﻋﺸﻖ ﺳﻮر ﺟﻲ ﺳﻮري‪‬‬
‫ﺗﻲ ﺑﻪ ﭨﻨﮕﻲ ﭤﻮ‪ ،‬ان ﻛﺮي ان راﻫﻪ ۾ ﺳﺮ ﺳﺎﻫﻪ ﺟﻲ ﭘﺮواﻫﻪ ﻧﻪ ﻛﺮﮢﻲ آﻫﻲ‪ .‬ﮀﻮﺗﻪ ﻋﺸﻖ درد‬
‫ﺟﻮ اﻛﭣ ﺳﻔﺮ آﻫﻲ‪ ،‬ان ﺳﻔﺮ ۾ ﺳﺴﻲ ﻧﻴﺰي ﭘﺎﻧﺪ اﮀﻠﮣﻲ ﭘﻮﻧﺪي آﻫﻲ‪.‬‬
‫ُ‬
‫ﺳــﺎﻧــﮓ؛‬ ‫ﻣــﺤــ ّﺒــﺖ ﺟــﻲ ﻣــﻴــﺪان ۾‪ِ ،‬ﺳ َــﺮ ﺟــﻮ ﻛــﺮ َم‬
‫ُ‬
‫ﭼــﺎﻧــﮓ؛‬ ‫ﭼ ُ‬
‫ــﮍه ﺗــﻪ ﭤــﺌــﻴــﻦ‬ ‫ﺳــﻮري‪ُ ‬ﺳــﭙــﻴــﺮﻳــﻦ ﺟــﻲ‪َ ،‬‬ ‫ِ‬
‫ِ‬
‫َ‬
‫ﻋﺸــــﻖ آﻫــــﻲ ﻧــــﺎﻧــــﮓ‪ ،‬ﺧــــﺒــــﺮ ﮐــــﺎڌ ِن ﮐــــﻲ ﭘــــﻮي‪.‬‬
‫—‬
‫َ‬
‫ــﺲ ﮘـــﭝـ ُــﺮو؛‬ ‫َ‬
‫ﻋﺸـــﻖ ﻧـــﻪ آﻫـــﻲ راﻧـــﺪ‪ ،‬ﺗـــﻪ ﻛـــﻲ ﻛـــﻨـ ِ‬
‫ــﺎن ِﺟــﻲ‪ ،‬ﭜـــﭹــﻲ ﺟــﻮ ﻫـــﻴــﻜـــﺎﻧـــ ِﺪ؛‬ ‫ــﻲ ُﺟﺴـــﻲ ۽ ﺟـ ِ‬ ‫ِﺟ َ‬
‫َ‬ ‫ُ‬
‫ﺳِــــﺴِ ــــﻲ ﻧــــﻴــــﺰي ﭘــــﺎﻧــــ ِﺪ‪ ،‬اﮀــــﻞ ﺗــــﻪ اڌ ﭤــــﺌــــﻲ‪.‬‬
‫)ﺳﺮ ﻳﻤﻦ ﻛﻠﻴﺎڻ‪ ،‬د ‪(6‬‬ ‫ُ‬
‫ﺷﺎﻫﻪ ﺟﻲ ﺧﻴﺎل ۾ﺳﻚ ۽ ﺳﻮر ۾ ﻛﻮ ﺳﻨﮅو ﻧﻪ آﻫﻲ‪ .‬ﭔﺌﻲ ﺑﻲ ﺣﺪ ۽ ﺑﻲ اﻧﺖ آﻫﻦ‪.‬‬
‫ﺳﻚ ۽ ﺳﻮر ﺟﻮ ﺟﻨﻢ ﻋﺸﻖ ﻣﻨﺠﮭﺎن ﭤﺌﻲ ﭤﻮ ۽ ﻋﺸﻖ ﺑﻪ ﻻﺣﺪ آﻫﻲ ان ﺟﻮ ﻛﻮ ﮀﻴﮍو ۽‬
‫اﻧﺠﺎم ﻧﻪ آﻫﻲ‪ .‬اﻫﻮ ﭘﻨﻬﻨﺠﻮ اﻧﺖ ﭘﺎڻ ﭤﻮ ﭴﺎﮢﻲ‪.‬‬
‫ــﻮر ﺟـــﻮ‪َ ،‬ﻧـــﻜـــﻮ َﺳـــﻨـــﮅو ِﺳـ َ‬
‫ــﻚ؛‬ ‫َﻧـــﻜـــﻮ َﺳـــﻨـــﮅو ُﺳـ َ‬
‫ــــﺎڻ َﻟـــــﻬـــــﻲ‪.‬‬
‫ــــﻖ‪ُ ،‬ﭘـــــﭵـــــﺎﮢِـــــﻲ ﭘـ َ‬ ‫َﻋـ َ‬
‫ــــﺪ ُد ﻧـــــﺎهِ ﻋِﺸـ َ‬
‫)ﺳﺮ ﺳﻬﮣﻲ‪ ،‬د ‪(9‬‬ ‫ُ‬
‫ﭜﭩﺎﺋﻲ‪ ‬ﺟﻲ ﺳﻮچ ۾ ﻋﺸﻖ اﻫﮍو وﺷﺎل ۽ ﻋﻤﻴﻖ درﻳﺎﻫﻪ آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ﺟﻮ ﻛﻮ اﻧﺖ‬
‫ﻧﺎﻫﻲ‪ .‬ان ﺟﻮ ﻫﺮ وﻫﻜﺮو ﻣﻨﺰل ﺗﻲ رﺳﺎﺋﻲ ﭤﻮ‪ ،‬ﺟﻦ ﺟﻮ ﻋﺸﻖ ﻛﺎﻣﻞ ﻧﻪ ﻫﻮﻧﺪو آﻫﻲ اﻫﻲ‬
‫ﻣﻨﺰل ۽ ﻣﺎڳ ﻻ‪ ‬ﭘﺮﻳﺸﺎن ﻫﻮﻧﺪا آﻫﻦ‪ ،‬ﺳﻨﺪن ﻣﻦ ۾ اڻ ﺗﮡ ۽ وﺳﻮﺳﺎ ﻫﻮﻧﺪا آﻫﻦ‪ .‬ﺟﻴﻜﻲ‬
‫ﻋﺸﻖ ﺟﻲ درد ۾ ﭔﮇل ﻫﻮﻧﺪا آﻫﻦ ﺗﻦ ﺟﻲ ﺳﺪاﺋﻴﻦ ﭘﻨﻬﻨﺠﻲ ﻣﺎڳ ۽ ﮔﮭﺎٽ ﺗﻲ ﻧﻈﺮ رﻫﻨﺪي‬
‫آﻫﻲ‪ ،‬اﻧﻬﻦ ﻻ‪ ‬وﺷﺎل درﻳﺎﻫﻪ ﺑﻪ وک واﻧﮕﺮ ﻫﻮﻧﺪو آﻫﻲ‪.‬‬
‫ُ‬
‫ﻛــﻮڙﻳــﻮن؛‬ ‫ــﻦ‬ ‫ــﭙــﺮ ُﭘ َ‬
‫ﻛ َ‬‫واٽ‪َ ،‬‬‫ِﺟــﺌــﺎن َوﻫــﻲ ﺗِــﺌــﺎن َ‬
‫ــﮁ ِ‬
‫َ‬
‫ﮔـﮭـﺎٽ؛‬ ‫َ‬
‫ﮔـﮭـﻴـﮍ ﻧـﻪ ُﭘ َ‬
‫ـﮁ ِـﻦ‬ ‫ﻚ َ‬
‫ﺳﺎﻫ َﮍ ِﺟـﻲ‪ ،‬ﺳـﻲ‬ ‫ﺟﻦ ﮐﻲ ِﺳ َ‬
‫ـﻴـﻦ ِو َﮐ ِـﮍي‪.‬‬ ‫ِﺸـﻖ ِﺟـﻲ ُا َ‬
‫ﺳـﺎٽ‪ ،‬ﺳـﻲ ُ‬
‫واﻫ ُـﮍ ﭜـﺎﻧــ ِﺌ ِ‬ ‫ﺟﻦ ﮐﻲ ﻋ َ‬
‫)ﺳﺮ ﺳﻬﮣﻲ‪ ،‬د ‪(3‬‬ ‫ُ‬
‫ﻟﻄﻴﻒ ﺟﻲ ﺳﻬﮣﻲ ﺳﺎﻫﮍ ﺳﻮا‪ ‬ﭘﻨﻬﻨﺠﻲ اﻧﺪر ۾ اﻫﻨﺞ ۽ آزار ﭘﺌﻲ ﻣﺤﺴﻮس ﻛﺮي‪،‬‬
‫ﻫﻮ‪ ‬ﺟﮇﻫﻦ ڏم وٽ آﻫﻲ ﺗﻪ ڏک ۾ آﻫﻲ ۽ ﭘﻨﻬﻨﺠﻲ ﺳﭵﮡ ۽ ﺳﻨﮕﮭﺎر وٽ آﻫﻲ ﺗﻪ ﺧﻮش‬
‫آﻫﻲ‪ .‬ﻣﻴﻬﺎر ﺟﻮ دﻳﺪار ﺳﻨﺪس دک ﺟﻲ دوا آﻫﻲ‪ ،‬ﻫﻮ‪ ‬ﺳﻨﺪس ُﻣﮏ ڏﺳﻲ ُﺳﮏ ﻣﺎﮢﻲ ﭤﻲ ۽‬
‫اﺋﻴﻦ ﻫﻦ ﺟﻮ اﻫﻨﺞ ۽ اﮔﮭﺎﺋﻲ دور ﭤﺌﻲ ﭤﻲ‪.‬‬
‫‪32‬‬ ‫ﺷﺎﻫﻪ ﻟﻄﻴﻒ ﺟﻲ ﺷﺎﻋﺮي‪ ‬۾ ﻋﺸﻖ ۽ درد ﺟﻮ ﻻﮘﺎﭘﻮ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬
‫ــــــﮍ ڌاران ُﺳـــــــﻬـــــــ ِﮣـــــــﻲ‪ ،‬آﻫـــــــﻲ ۾ َ‬
‫آزار؛‬ ‫ﺳـ َ‬
‫ــــــﺎﻫـ َ‬
‫ُ‬ ‫َ‬
‫ٽ َﺳـــﻨـــﮕـ َ‬
‫ــﮭـــﺎر؛‬ ‫ــﺤـ َ‬
‫ــﺖ َو ِ‬ ‫ﺻـ َ‬‫ڏ َم ﭘـــﺎﺳـــﻲ ۾ ڏ َﮐـــﻨـــﺪو‪ِ ،‬‬
‫ﺗــــــﻮ ِڏي‪َ ‬ﺳــــــﻨــــــﺪي َﺗـ َ‬
‫ـــــﻦ ِﺟــــــﻲ‪َ ،‬دوا ۾ دِﻳـ َ‬
‫ـــــﺪار؛‬
‫ﻣﻴـﻬـﺎر‪ ،‬ﺗـﻪ ِﺳـﮕـﮭـﻴـﺎﺋِـﻲ َﺳـ ِﮕـﮭـﻲ ﭤــﺌـﻲ‪.‬‬
‫َ‬ ‫ﺟﻲ َﭘﺴﻲ ُﻣﻨﻬﻦ‬
‫)ﺳﻬﮣﻲ اﺑﻴﺎت ﻣﺘﻔﺮﻗﻪ(‬
‫ﺷﺎﻫﻪ ﺟﻮ ُﺳﺮ ﻳﻤﻦ ﻛﻠﻴﺎڻ ﻋﺸﻖ ۽ رﻧﺞ ﺳﺎن رﭼﻴﻞ آﻫﻲ‪ .‬اﻫﻲ ُدﮐﻲ ﻋﺎﺷﻖ‬
‫ﻛﺮﻛﻦ ﭤﺎ‪ ،‬ﺗﻦ ﺟﻲ ﺳﻮر ﺟﻮ ﭘﺘﻮ ﺻﺤﺘﻤﻨﺪ ﻣﺎﮢﻬﻦ ﮐﻲ‬ ‫ﺟﻴﻜﻲ درد ۾ ﻛﻨﺠﮭﻦ ۽ ُ‬
‫ﻛﻮﻧﻬﻲ‪ .‬اﻫﻲ دک ۾ ﻣﺒﺘﻼ ﻋﺎﺷﻖ ﭘﭧ ﺗﻲ ﭘﻴﺎ ﻟﮁﻦ ۽ ﺗﮍﭘﻦ ﭤﺎ‪ ،‬ﮀﻮﺗﻪ ﮐﻴﻦ ﻋﺸﻖ ﺟﻲ ﻟﻮنء‬
‫ﻟﮙﻞ آﻫﻲ‪ .‬ﻫﻮ ﺳﺪا درد ﺟﻲ ﺳﻮري‪ ‬ﺗﻲ ﭨﻨﮕﻴﻞ آﻫﻦ‪ ....‬ﺟﻦ ﻋﺎﺷﻘﻦ ﺟﻲ ﻣﻦ ۾ ﻛﺎﻣﻞ‬
‫ﻋﺸﻖ ﻣﻮﺟﻮد ﻫﻮﻧﺪو آﻫﻲ ﺳﻲ ﺳﭵﻲ رات ﭘﻴﺎ رﻧﺞ ﻣﺎن روﺋﻨﺪا آﻫﻦ‪ .‬ﻋﺸﻖ ﺟﻲ ﻣﺮض ۾‬
‫ﻣﺒﺘﻼ ﻋﺎﺷﻖ ﻛﻨﻬﻦ ﻣﻌﺎﻟﺞ ﺟﻮ ﻋﻼج ﻗﺒﻮل ﻧﻪ ﻛﻨﺪا آﻫﻦ‪ .‬ﻫﻮ ﻃﺒﻴﺐ ﮐﻲ ﭘﻨﻬﻨﺠﻮن‬
‫ﺳﺘﻴﻮن ﭰﻜﻴﻮن ﮐﮇ ﮐﮣﻲ زﻣﻴﻦ ۾ ﭘﻮرڻ ﺟﻮن ﺻﻼﺣﻮن ڏﻳﻨﺪا آﻫﻦ‪ ،‬ﮀﻮﺗﻪ ﮐﻴﻦ ﭘﺮﻳﻦ ﮐﺎن‬
‫ﺳﻮا‪ ‬ﺣﻴﺎﺗﻲ ﺑﻲ رﻧﮓ ﻟﮙﻨﺪي آﻫﻲ‪ .‬اﻫﻲ ﻋﺎﺷﻖ ﺳﺪا ﭘﻨﻬﻨﺠﻲ ﺳﺎﺟﻦ ﮐﻲ ﭘﻴﺎ ﭘﻜﺎرﻳﻨﺪا‬
‫آﻫﻦ‪ ،‬ﺟﻨﻬﻦ ﺟﻲ ﻛﺮي ﺋﻲ ﻫﻮ ﺳﻮر ۾ ﻣﺒﺘﻼ ﻫﻮﻧﺪا آﻫﻦ‪ .‬ﭜﭩﺎﺋﻲ ﺟﻲ ُﺳﺮ ﻳﻤﻦ ﻛﻠﻴﺎڻ ۾‬
‫ﻋﺎﺷﻖ ﭘﻨﻬﻨﺠﻲ ﭘﺮﻳﻦ ﮐﻲ ﭼﻮي ﭤﻮ ﺗﻪ ﺟﻴﻜﮇﻫﻦ ﻣﺎن ﺗﻨﻬﻨﺠﻲ درد ۽ ﻓﺮاق ﺟﻲ ﺳﻮر ﮐﺎن‬
‫ﺗﮍﭘﻲ ﺗﮍﭘﻲ ﻣﺮي وﭸﺎن ﺗﻪ ﻣﻮن ﺗﻲ ﻛﻮ ڏوﻫﻪ ﻧﻪ ڏﺟﺎن‪ ،‬اي ﻣﺤﺒﻮب ﺗﻮن ﭘﻨﻬﻨﺠﻦ ﻫﭥﻦ ﺳﺎن‬
‫دواﺋﻮن ڏﺋﻲ ﻣﻨﻬﻨﺠﻮ ﻋﻼج ﻛﺮ‪.‬‬
‫ﻧــﻜــﻦ َر ُ‬ ‫ــﻮر ﺟــﻲ‪ ،‬ﭤــﺎ ُر َ‬ ‫َ‬
‫ﻧــﺠــﻮري؛‬ ‫ــﮭــﻦ ُﺳــ ِﮅ ﻧــﻪ ُﺳ َ ِ‬ ‫َﺳــﮕ ِ‬
‫ـــــﭧ ۾‪َ ،‬ﻣــــــ ِﭥــــــﻦ ﻣـ ُ‬
‫ـــــﺎﻣــــــﻮري؛‬ ‫ﭘــــــﻴــــــﺎ آﻫــــــﻦ َﭘـ َ‬
‫ِ‬
‫ﭼـــﺌـــﻲ‪َ ،‬ﺳـــﺪا ِﺟـــﻲ ُﺳـــﻮري؛‬ ‫ــﻒ َ‬ ‫ﻟﮙـــﻴـــﻦ َﻟـــﻨـــﺆ‪َ ،‬ﻟـــ ِﻄـــﻴـ ُ‬
‫ـــﺮت ﺟــــﻦ ُﭘــــﻮري‪ ،‬ﺗــــﻦ روﻳــــﻮ ِوﻫــــﺎﻣــــﻲ راﺗــــﮍي‪.‬‬ ‫ﭘِـ ِ‬
‫)ﺳﺮ ﻳﻤﻦ ﻛﻠﻴﺎڻ‪ ،‬د ‪(1‬‬ ‫ُ‬
‫—‬
‫ــﻦ ﻃـــﺒـــﻴـــﺐ ﻧـــﻪ ُﺗـــﻮن‪ُ ،‬ﺳـــ ِﮅ ﻧـــﻪ ﻟـــﻬـــﻴـــﻦ ﺳـ َ‬
‫ــﻮر ﺟـــﻲ؛‬ ‫ُ‬ ‫َﺗـ َ‬
‫َ‬
‫ﺳـــﺎﻧـــ ِﮃ ﭘـــﻨـــﻬـــﻨـــﺠـــﺎ َڊ َﺑـــﮍا‪َ ،‬ﮐـــﮇ ﮐـــﮣـــﻲ ۾ ُﭜـــﻮن؛‬
‫ـــﻦ ري‪.‬‬ ‫َ‬
‫ﻫـــﻮﺗ ِ‬ ‫ﻛـــﺎن ُﮔـــﮭـــﺮﺟــــﻲ ُﻣـــﻮن‪ ،‬ﺣـــﻴــــﺎﺗِـــﻲ‬ ‫َ‬
‫)ﺳﺮ ﻳﻤﻦ ﻛﻠﻴﺎڻ‪ ،‬د ‪(2‬‬ ‫ُ‬
‫واﺋﻲ‬
‫ـﻮر ﺗــﻤــﺎري آﺋـ ُـﻮن ﻣــﺎري!‬ ‫ُ‬ ‫ـﻦ ُﺳـ َ‬ ‫ـﺞ‪ ،‬ﺳـ َ‬
‫ـﺎﺟـ َ‬ ‫َاﭼــﻲ ﺳـ َ َ‬
‫ـﺎر ﻟــﻬــﻴـ ِ‬ ‫ِ‬
‫ڏﻳـــﺞ؛‬
‫ِ‬ ‫َ‬ ‫ُ‬
‫ُﺳـــﻮر ﺗـــﻤـــﺎري ﺟـــﻲ ﻣـــﺮان‪ ،‬ﺗـــﺎن ﻣـــﻮن ڏوه م‬
‫ُ‬ ‫َ‬ ‫ُ‬ ‫َ‬
‫دارون‪ ،‬دوﺳــــﺖ! َ‬ ‫ــــﻦ َﭜــــﺮي َﻫ َ‬
‫ــــﺮﻳــــﺞ‪.‬‬
‫ِ‬ ‫ﻛ‬ ‫ــــﭥــــﮍا‪ُ ،‬‬ ‫َڊ َﺑ ِ‬
‫)ﺳﺮ ﻳﻤﻦ ﻛﻠﻴﺎڻ‪ ،‬د ‪(2‬‬ ‫ُ‬
‫‪33‬‬ ‫ﺷﺎﻫﻪ ﻟﻄﻴﻒ ﺟﻲ ﺷﺎﻋﺮي‪ ‬۾ ﻋﺸﻖ ۽ درد ﺟﻮ ﻻﮘﺎﭘﻮ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﺷﺎﻫﻪ ﻟﻄﻴﻒ ﺟﻲ ﺷﺎﻋﺮي‪ ‬۾ ﻋﺸﻖ ﺟﻮ درد اﻟﮗ اﻟﮗ وﻳﺴﻦ ۽ ورﻧﻦ ۾ ﻇﺎﻫﺮ ﭤﺌﻲ‬
‫ﭤﻮ‪ .‬ﻟﻄﻴﻒ ﺳﺎﺋﻴﻦ ﻋﺸﻖ ﻣﺎن ﺟﻨﻢ وﭠﻨﺪڙ درد ﺟﻮن ﻧﻴﻮن ﻧﻴﻮن ﺻﻮرﺗﻮن َﭘﺴﺎﺋﻲ ﭤﻮ‪ .‬ﭜﭩﺎﺋﻲ‬
‫ﻛﺎن ﻟﮙﻞ آﻫﻲ ۽ ﺟﻦ ﺟﻲ ﻟﮝﻦ ۾ درد َ‬
‫رڪ ﺟﻲ‬ ‫ُ‬ ‫ﻛﮏ ۾ ﻋﺸﻖ ﺟﻮ‬ ‫ﻓﺮﻣﺎﺋﻲ ﭤﻮ ﺗﻪ ﺟﻦ ﺟﻲ ُ‬
‫ﻛﺮﻛﻦ ﭘﻴﺎ‪ .‬ﻣﺤﺒﺖ ﺟﻲ ﻣﻴﺪان ۾ اﻫﺎ ﻻﻟﻦ ﺟﻲ‬ ‫ﻧﻮڪ ﺑﮣﺠﻲ ﭼﭝﻲ ﭤﻮ ﺳﻲ ﻛﻨﺠﮭﻦ ۽ ُ‬
‫ﻟﭿ ﭘﭿ ﻋﺎم ﮘﺎﻟﻬﻪ آﻫﻲ‪ .‬ﻫﻮ ﻏﻢ ﺟﻲ زﺧﻤﻦ ﺗﻲ ﭘﺎڻ ﺋﻲ ﻣﺮﻫﻢ رﮐﻨﺪا آﻫﻦ‪ .‬ﭜﭩﺎﺋﻲ ﭼﻮي ﭤﻮ‬
‫ﺗﻪ ﻋﺸﻖ ﺟﻲ درد ﺟﻲ زﺧﻤﻦ ﺳﺎن ﭼﻮر اﻫﮍن ﻋﺎﺷﻘﻦ وٽ ﺟﻴﻜﺮ ﻛﺎ رات ﮔﮭﺎري اﭼﺠﻲ‪.‬‬
‫ُ َ‬ ‫َ‬ ‫ُ‬
‫ـــﻦ ۾؛‬ ‫ﻟـــﻮه ﻟِﮝ ِ‬ ‫ـــﻦ‪ ،‬ﺟـــﻨِـــﻴـــﻦ‬
‫ﻛـــﺎﻧـــﺎرﻳـــﺎ ﻛـــ ِﮣـــﻜ ِ‬
‫ِ‬
‫ـــﻦ؛‬ ‫َ‬ ‫ُ‬ ‫َ‬ ‫َ‬ ‫َ‬
‫ﻣــــﺤــــﺒــــﺖ ﺟــــﻲ ﻣــــﻴــــﺪان ۾‪ ،‬ﭘــــﻴــــﺎ ﻻل ﻟــــﮁـ ِ‬
‫ـﻜــﻴــﺎ َ‬ ‫َ‬ ‫َ‬
‫ﻛـ ِـﻦ؛‬ ‫ﭘــﺎﮢ ـ ِﻬــﻴــﻦ َﭔـ ِ‬
‫ـﮅن َﭘ ـ ِﭩــﻴ ــُــﻮن‪ ،‬ﭘــﺎﮢ ـ ِﻬــﻴــﻦ ِﭼـ ِ‬
‫راﺗــــــﮍي‪.‬‬
‫ِ‬ ‫ــــــﻦ‪ ،‬رﻫِــــــﻲ َاﭼــــــﺠــــــﻲ‬
‫واڍوڙ َﻳ ِ‬ ‫ِ‬ ‫َوﭨــــــﺎن‬
‫)ﺳﺮ ﻳﻤﻦ ﻛﻠﻴﺎڻ‪ ،‬د ‪(1‬‬ ‫ُ‬

‫ول ﺟﮇﻫﻦ ﻛﻨﻬﻦ‬ ‫ﻛﮏ ﻣﺎن ﭰﭩﻞ ﮔﻮﻧﺪر َ‬ ‫ﺷﺎﻫﻪ ﻟﻄﻴﻒ ﺟﻲ رﺳﺎﻟﻲ ۾ ﻋﺸﻖ ﺟﻲ ُ‬
‫وﺟﻮد ﮐﻲ وﻳﮍﻫﻲ وﭸﻲ ﭤﻲ ﺗﻪ اﻫﻮ وﺟﻮد ﻛﺮب ﺟﻲ ﻋﺠﻴﺐ ﻛﻴﻔﻴﺘﻦ ۾ ﻣﺒﺘﻼ ﭤﻲ وﭸﻲ‬
‫ﭤﻮ‪ .‬ﻟﻄﻴﻒ ﺳﺎﺋﻴﻦ وٽ ﻋﺸﻖ رﻫﻨﻤﺎ ﺟﻲ ﺣﻴﺜﻴﺖ رﮐﻲ ﭤﻮ‪ ،‬ﭘﺮ ﺟﮇﻫﻦ ﻛﻮ ﻓﺮد اﻧﻬﻲ‪ ‬ﻋﺸﻖ‬
‫ﺟﻲ آﮜﺮ ﭘﻜﮍي ﻫﻠﻲ ﭤﻮ ﺗﻪ اﻫﻮ ﮐﻴﺲ درد ﺟﻲ وادﻳﻦ ﺟﻮ ﺳﻴﺮ ﺑﻪ ﻛﺮاﺋﻲ ﭤﻮ‪ ،‬ﮀﻮﺗﻪ ﺷﺎﻫﻪ‬
‫ﻋﺸﻖ ﺟﻲ ﻣﺴﺎﻓﺖ ۾ دک ﺟﻲ وادي‪ ‬ﮐﻲ ﭘﺴﮡ ﺿﺮوري ﺳﻤﺠﮭﻲ ﭤﻮ‪ .‬ﻋﺸﻖ ﺟﻮ ﺳﻔﺮ آﻫﻲ‬
‫ﺋﻲ ڏﮐﻦ ﺟﻮ ﺳﻔﺮ ان ۾ ﻓﺮاق ۽ ﭰﻮڙاﺋﻲ ﺟﺎ زﺧﻢ آﻫﻦ‪ ،‬اﻧﻴﻚ اﻫﻨﺞ ۽ اداﺳﻴﻮن آﻫﻦ‪ ،‬ﭘﺮ‬
‫ﻋﺸﻖ ﺟﻲ ﭜﻮن‪ ‬ﻣﺎن ﭰﭩﻞ اﻫﺎ دک ﺟﻲ ﺑﻲ ﭘﺎڙي ﻛﻨﻬﻦ وﺟﻮد ﮐﻲ وﻳﮍﻫﻲ ﻛﻤﺰور ﻧﻪ ﭤﻲ‬
‫ﻛﺮي ﭘﺮ ﻫﻚ ﺧﻮﺷﻲ ﺟﻮ اﺣﺴﺎس ڏﻳﺎري ﭤﻲ‪ .‬ﺷﺎﻫﻪ ﺟﻲ ﺷﺎﻋﺮي‪ ‬ﻣﺎن ﻋﺸﻖ ۽ درد ﺟﻮ‬
‫ﺗﻼش ﻳﺎر وارو ﺳﻔﺮ‪،‬‬
‫ِ‬ ‫ﻓﻠﺴﻔﻮ ﺳﻤﺠﮭﮣﻮ آﻫﻲ ﺗﻪ ﺳﺴﺌﻲ‪ ‬وارا ﭘﻨﺞ ُﺳﺮ ﭘﮍﻫﺠﻦ‪“ .‬ﺳﺴﺌﻲ ﺟﻮ‬
‫ﺷﻮق ﻣﻨﺰل ۾ ﻛﻨﻬﻦ ﺑﻪ ﺗﻜﻠﻴﻒ ﮐﻲ ﺗﻜﻠﻴﻒ ﻧﻪ ﭤﻲ‬ ‫ﺗﻜﻠﻴﻔﻦ وارو ﺳﻔﺮ آﻫﻲ‪ ،‬ﭘﺮ ﻫﻮ‪ِ ‬‬
‫ﻧﺸﺎن راﻫﻪ ﺳﻤﺠﮭﻲ اﮘﺘﻲ وڌﻧﺪي ﭤﻲ رﻫﻲ‪ .‬اﻫﻮ ﺳﺎرو ﻋﺸﻖ ﺟﻮ‬ ‫ِ‬ ‫ﺳﻤﺠﮭﻲ ۽ ﻫﺮ اذﻳﺖ ﮐﻲ‬
‫ﻛﺮﺷﻤﻮ آﻫﻲ‪(8) ”.‬‬
‫ـــﺞ َم ُ‬
‫ـــﭙــــ ِﺮﻳــــﻦ! ُڏﮐِــــﻲ‪ ‬ڏﻳـ ِ‬ ‫ُ‬
‫ڏاﮔــــﮭــــﻪ؛‬ ‫آ‪ ‬اوراﻫــــﻮن‪ُ ،‬ﺳـ ِ‬
‫آري! ِوﺋـــﻴـــﻦ ﻋ َ‬ ‫ُ‬
‫ِﺸـــﻖ ﺟـــﻮ‪.‬‬ ‫ٽ َﮀـــﮇي ُﻣـــﻮن واﮔـــﮭـــﻪ‪ِ ،‬‬ ‫َو ِ‬
‫)ﺳـــــﺮ آﺑـــــﺮي‪ ،‬د ‪(10‬‬ ‫ُ‬
‫—‬
‫ُ‬
‫ﺳـــــﺎز؛‬ ‫َ‬
‫ﺳـــــﺎرﻧـــــ ِﮕـــــﻲ‬ ‫ﻛ َ‬
‫ـــــﺮ‬ ‫ُر ُﭸـــــﻦ ۾ َرڙ ﭤِـــــﻲ‪َ ،‬‬
‫ِ‬ ‫ِ‬
‫َ‬ ‫ُ‬ ‫َ‬ ‫َ‬ ‫ُ‬ ‫َ‬
‫ا ُِي ﻋِﺸــــﻖ ﺟــــﻮ آواز‪ ،‬ﻣــــﺎڙﮬــــﻮ رﮐـ ِ‬
‫ـــﻦ ﻣــــﻨــــﮅ ﺗــــﻲ‪.‬‬
‫)ﺳـــﺮ ﻣـــﻌـــﺬوري‪ ،‬د ‪(7‬‬ ‫ُ‬

‫‪34‬‬ ‫ﺷﺎﻫﻪ ﻟﻄﻴﻒ ﺟﻲ ﺷﺎﻋﺮي‪ ‬۾ ﻋﺸﻖ ۽ درد ﺟﻮ ﻻﮘﺎﭘﻮ‬

 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫واﺋﻲ‬
‫آڳ َﭔـــﺮي؛‬ ‫َ‬ ‫َ‬ ‫ُ‬ ‫َ‬
‫آري‪ ‬ﺟـــﻲ ﻋِﺸـــﻖ ِﺟـــﻲ‪ ،‬ﻣـــﻮن ﮐـــﻲ اﻧـــﺪ ِر ِ‬ ‫ِ‬
‫َ‬ ‫ُ‬ ‫َ‬ ‫َ‬
‫ﺗـــﻮﮐـــﻲ ﺗـــﻮ‪ ‬ﻧـــﻪ ﮀـــ ِﮇﻳـــﺎن‪ ،‬ﺟـــﻲ وﭸـــﺎن ﭜـــﻮن‪ ‬ﺗـــﺮي؛‬
‫ڌار َڌري‪ .....‬اﻟــــﺦ‬
‫ـــﻨـــﺪﻳــــﺲ ُڌوڙ ۾‪َ ،‬ﻣــــﭥــــﻮ َ‬
‫َ‬ ‫َڌ ُڙ ِو َﺟـــﮭـ‬
‫)ﺳـــﺮ ﺣﺴـــﻴـــﻨـــﻲ‪ ،‬د ‪(4‬‬‫ُ‬
‫ﺳﺴﺌﻲ‪ ‬ﺟﻲ ﻧﻴﻢ ﻛﻼﺳﻴﻜﻲ داﺳﺘﺎن ﻣﺎن ﺟﻨﻢ وﭠﻨﺪڙ اﻫﻮ ﻋﺸﻖ ۽ درد ﺟﻮ ﻗﺼﻮ‬
‫ﺑﻴﺸﻚ ﻛﻬﻨﻮ آﻫﻲ‪ .‬ﺟﻨﻬﻦ ﮐﻲ ﻟﻄﻴﻒ ﺳﺎﺋﻴﻦ ﭘﻨﻬﻨﺠﻲ ﻛﻼم ۾ آﮢﻲ اﻣﺮ ﺑﮣﺎﻳﻮ آﻫﻲ‪.‬‬
‫ﻫﻦ ﻗﺼﻲ ﺟﻲ ﺣﻮاﻟﻲ ﺳﺎن ﻟﻄﻴﻒ ﺟﺎ ﭼﻴﻞ ﺑﻴﺖ ﺳﺴﺌﻲ‪ ‬ﺟﻲ اﻧﻬﻦ ﻛﻴﻔﻴﺘﻦ ﮐﻲ اﺟﺎﮔﺮ‬
‫ﻛﻦ ﭤﺎ‪ ،‬ﺟﻴﻜﻲ ﭘﻨﻬﻮن‪ ‬ﺟﻲ ﻋﺸﻖ ۽ ﻫﺠﺮ ﭘﭵﺎﮢﺎن ﺳﻮرﻣﻲ‪ ‬ﺟﻲ ﻣﻦ ۾ ﭘﻴﺪا ﭤﻴﻦ ﭤﻴﻮن‪.‬‬
‫ﺳﭻ ﺗﻪ اﻫﻲ ﺳﺎرﻳﻮن ﻛﻴﻔﻴﺘﻮن درد ﺟﻲ ﻛﻮﻫﻴﮍي ۾ وﻳﮍﻫﻴﻞ آﻫﻦ‪ .‬ﻛﭥﻲ ﻫﻮ‪ ‬ﭘﺮﻳﻦ‪ ‬ﮐﻲ‬
‫ﺳﮇﻳﻨﺪي وﻳﺠﮭﻮ اﭼﮡ ﺟﻲ اﻟﺘﺠﺎ ﻛﻨﺪي ﭼﻮي ﭤﻲ ﺗﻪ ﻣﻮﻧﮑﻲ ﺟﺪاﺋﻲ ﺟﻮ داغ ﻧﻪ ڏي‪ ،‬ﮀﻮﺗﻪ‬
‫ﺗﻮن ﻣﻨﻬﻨﺠﻲ ﻣﻦ ۾ ﻋﺸﻖ ﺟﻮ ﺷﻴﻨﻬﻦ وﻳﻬﺎري وﻳﻮ آﻫﻴﻦ‪ .‬ﻛﭥﻲ رڃ ۾ ﺳﻨﺪس رڙﻳﻮن‬
‫ﺳﺎرﻧﮕﻲ‪ ‬ﺟﻮ درد ﭜﺮﻳﻮ آواز ﺑﮣﺠﻲ ُﭔﺮن ﭤﻴﻮن‪ ،‬اﺻﻞ ۾ اﻫﻮ ﺳﻮز ﭜﺮﻳﻮ آواز ﻣﭥﺎﻧﺌﺲ ﻋﺸﻖ‬
‫ﺟﻲ ﻋﻨﺎﻳﺖ آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ﮐﻲ ﻋﺎم ﻣﺎﮢﻬﻮ ﻛﻨﻬﻦ ﻋﻮرت ﺟﻮن داﻧﻬﻮن ۽ ﻛﻮﻛﻮن‬
‫ﺳﻤﺠﮭﻦ ﭤﺎ‪ .‬ﺳﺴﺌﻲ ﺟﻲ ﻣﻦ ۾ ﻋﺸﻖ ﺟﻲ آڳ ﭤﻲ ﭔﺮي ﺗﻨﻬﻦ ﻛﺮي‪ ،‬ﻫﻮ‪ ‬ﭘﻨﻬﻞ ﮐﺎن ﺳﻮا‪‬‬
‫ﺟﻴﺌﮡ ﺟﻮ ﺗﺼﻮر ﺑﻪ ﭤﻲ ﻛﺮي‪ .‬ﻫﻮ‪ ‬ﭜﻮن‪ ‬۾ ﭘﻴﻬﻲ وﭸﮡ ﮐﺎن ﭘﻮ‪ ‬ﺑﻪ ﭘﺮﻳﻦ‪ ‬ﮐﻲ وﺳﺎرڻ ﻻ‪‬‬
‫ﺗﻴﺎر ﻧﺎﻫﻲ‪ .‬اﻫﻮ ﻋﺸﻖ ﺟﻮ اﺛﺮ آﻫﻲ ﺟﻨﻬﻦ ﮐﻲ ﻟﻄﻴﻒ ﺳﺎﺋﻴﻦ ﺳﺴﺌﻲ ﺟﻲ ﻛﺮدار ۾ ﻇﺎﻫﺮ‬
‫ﻛﻴﻮ آﻫﻲ‪ ،‬ﭘﺮ ﭜﭩﺎﺋﻲ ﺟﻲ اﻧﻬﻦ ﺋﻲ ﺳﺴﺌﻲ‪ ‬وارن ُﺳﺮن ۾ ﻫﻚ ﺧﻮد اذﻳﺘﻲ‪‬‬
‫)‪ (Masochistic‬وارو اﻧﺪاز ﺑﻪ ﻧﻈﺮ اﭼﻲ ﭤﻮ‪ .‬ﺳﺴﺌﻲ ﺟﻲ ﺳﻔﺮ ﺟﻮ ﻣﻨﻄﻘﻲ اﻧﺠﺎم ﭘﻨﻬﻮن‪ ‬ﺳﺎن‬
‫ﻣﻠﮡ ﻫﻴﻮ ﭘﺮ اﻧﻬﻲ‪ ‬ﻣﺴﺎﻓﺖ دوران ﻫﻦ ﺟﻲ ﻣﻦ ۾ ﭘﻨﻬﻮن‪ ‬ﺳﺎن ﻧﻪ ﻣﻠﮡ ﺟﻲ آس ﺑﻪ ﺟﺎﮘﻲ‬
‫ﭘﻮي ﭤﻲ‪ .‬ﻫﻦ ﮐﻲ ان دﮐﻦ واري راﻫﻪ ۾ اﻫﮍو ﺗﻪ ﻟﻄﻒ اﭼﻲ وﻳﻮ ۽ اﻫﻲ ﺳﻔﺮ ﺟﻮن اذﻳﺘﻮن‬
‫اﻫﮍﻳﻮن ﺗﻪ ﭘﻴﺎرﻳﻮن ﭤﻲ ﻟﮙﻴﻮن ﺟﻮ ﭼﺌﻲ ڏﻧﺎﺋﻴﻦ ﺗﻪ‪:‬‬
‫َ‬
‫ﻫـــﻮت!‬ ‫َ‬
‫ﺷـــﺎل َم ﻣِـــﻼن‬ ‫ڏورﻳـــﺎن‪َ ،‬م َﻟـــﻬـــﺎن!‬
‫ڏورﻳـــﺎن‪ِ ،‬‬
‫ِ‬
‫َ‬ ‫َ‬ ‫ُ‬ ‫َ‬ ‫َ‬ ‫َ‬
‫َﻣــﻦ اﻧــﺪ ِر ﺟــﺎ ﻟــﻮچ‪ ،‬ﻣــﮁ ِ‬
‫ــﮡ ِﻣــﻠــﮡ ﺳــﺎن ﻣــﺎﭠِــﻲ ﭤِــﺌــﻲ‪.‬‬ ‫َ‬ ‫َ‬
‫ُ‬
‫)ﺳـــﺮ ﺣﺴـــﻴـــﻨـــﻲ‪ ،‬د ‪(7‬‬
‫ﻚ ﺟﻲ ﺳﻤﺠﮭﻪ ۾ ﻧﻪ‬‫آﻏﺎ ﺳﻠﻴﻢ ﻟﮑﻴﻮ آﻫﻲ ﺗﻪ “اﻫﺎ ﻋﺸﻖ ﺟﻲ ﻋﺠﻴﺐ ﻛﻴﻔﻴﺖ ۽ ِﺳ َ‬
‫اﻳﻨﺪڙ ﺻﻮرﺗﺤﺎل آﻫﻲ‪ ،‬ﺟﻮ ﺟﻨﻬﻦ ﻣﺤﺒﻮب ﻻ‪ ‬ﺳﺴﺌﻲ ﻟﻮﭼﻲ ﭤﻲ ۽ ﺑﺮن ۽ ﺑﻴﺎﺑﺎﻧﻦ ۾ ﭤﻲ‬
‫ﭜﭩﻜﻲ‪ ،‬ان ﺳﺎﮘﻲ ﻣﺤﺒﻮب ﺳﺎن ﻫﺎﮢﻲ ﻣﻠﮡ ﻧﻪ ﭤﻲ ﭼﺎﻫﻲ‪ .‬ﭘﻨﻬﻮن‪ ‬ﮐﺎن وڌﻳﻚ ﭘﻨﻬﻮن‪ ‬ﺟﻲ‬
‫ﻟﻮچ ﻫﻦ ﮐﻲ ﭘﻴﺎري آﻫﻲ ۽ ﮐﻴﺲ ڊپ آﻫﻲ ﺗﻪ ﺟﻲ ﻫﻮ‪ ‬ﭘﻨﻬﻮن‪ ‬ﺳﺎن ﻣﻠﻲ ﺗﻪ ﺳﻨﺪس ﻟﻮن‪‬‬
‫ﺗﺎس اﺟﮭﺎﻣﻲ وﻳﻨﺪي‪ ،‬ﺟﻴﻜﺎ ﻫﻮ‪ ‬اﺟﮭﺎﺋﮡ ﻧﻪ ﭤﻲ ﮔﮭﺮي‪ .‬ﻣﺤﺒﺖ ۾‬ ‫ﺗﻦ ﺟﻲ َ‬ ‫ﻟﻮن‪ ‬ﺟﻲ ُاڃ ۽ َ‬
‫اﻫﮍي روﻳﻲ ﮐﻲ ﺧﻮد اذﻳﺘﻲ )‪ (Masochistic‬روﻳﻮ ﭼﺌﺒﻮ آﻫﻲ‪ .‬ﺟﻨﻬﻦ ۾ ﻣﺎﮢﻬﻮ ﭘﻨﻬﻨﺠﻮ ﭘﺎڻ‬
‫‪35‬‬ ‫ﺷﺎﻫﻪ ﻟﻄﻴﻒ ﺟﻲ ﺷﺎﻋﺮي‪ ‬۾ ﻋﺸﻖ ۽ درد ﺟﻮ ﻻﮘﺎﭘﻮ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﮐﻲ وﺻﻞ ﺟﻲ ﺧﻮﺷﻴﻦ ﮐﺎن ﻣﺤﺮوم ﻛﺮي‪ ،‬ﻫﺠﺮ ﺟﺎ اﻳﺬا‪ ‬ﺳﻬﻲ ان ﻣﺎن ﻣﺰو ﻣﺎﮢﻴﻨﺪو‬
‫آﻫﻲ‪(9) ”.‬‬
‫ﻟﻄﻴﻒ ﺳﺎﺋﻴﻦ وٽ ﻋﺸﻖ ۾ ان ﺧﻮد اذﻳﺘﻲ واري ﻛﻴﻔﻴﺖ ﮀﺎﻧﺌﻴﻞ ﻧﻈﺮ اﭼﻲ ﭤﻲ‪.‬‬
‫ﺟـــﻴـــﻜـــﻲ ﻓـــﺮاﻗـــﺎن‪ ،‬ﺳـــﻮ وﺻـــﺎﻻن ﻧـــﻪ ﭤـــﺌـــﻲ‪،‬‬
‫اﭼــﻲ اوﻃــﺎﻗــﺎن‪ ،‬ﻣــﻮﻧــﮑــﻲ ﭘــﺮﻳــﻦ‪ ‬ﭘــﺮي ﻛــﻴــﻮ‪.‬‬
‫)ﺳــﺮ ﺣﺴــﻴــﻨــﻲ‪ ،‬د ‪(5‬‬ ‫ُ‬
‫ﻣﻴﺪان ﺟﻨﮓ ﺟﻲ ﺳﺨﺘﻴﻦ ﮐﻲ اﺑ ِﺮ رﺣﻤﺖ ان‬ ‫ِ‬ ‫ﺷﺎﻫﻪ ﺟﻲ ﻛﻴﮇاري ﺟﺎ ﺷﻬﻴﺪ‪،‬‬
‫ﻛﺮي ﭤﺎ ﺳﻤﺠﮭﻦ ﺟﻮ ﺳﻨﺪن ﻣﻦ ۾ ﺑﻪ ﻋﺸﻖ ﺟﻮ ﻣﭻ ﭘﻴﻮ ﭔﺮي‪ ،‬ان ﻋﺸﻖ ﺟﻲ اﻫﭹﺎڻ ﺟﻲ‬
‫ﻳﺰﻳﺪ ﮐﻲ ذري ﺑﺮاﺑﺮ ﺧﺒﺮ ﻧﺎﻫﻲ‪ .‬اﻫﻮ اﻻﻫﻲ ﻋﺸﻖ ﻫﻴﻮ‪ ،‬ﺟﻨﻬﻦ ﻛﺮي اﻣﺎم ﺣﺴﻴﻦ ﻋﻪ ﻳﺰﻳﺪ‬
‫ﻛﺴﻨﺪي ﻗﺮار ﭘﺌﻲ ﻣﺤﺴﻮس‬ ‫ﺟﻲ ﺑﻴﺖ ﮐﺎن اﻧﻜﺎر ﻛﻴﻮ‪ .‬اﻣﺎﻣﻦ ﻋﺸﻖ ﺟﻲ راﻫﻪ ۾ ُ‬
‫ﻛﻴﻮ‪.‬‬
‫ت ِﺟــــﻲ‪ ،‬ﻣِــــﮍوﺋِــــﻲ َﻣــــﻼ ُر؛‬ ‫ــــﮭــــﺎد َ‬
‫َ‬ ‫َﺳــــﺨِــــﺘــــﻲ َﺷ‬
‫َذرو ﻧـــــﺎهِ َﻳـــــ ِﺰﻳـــــﺪﮐـــــﻲ‪ ،‬اِي ﻋ َِﺸـ َ‬
‫ــــﻖ َﺟـــــﻮآﺛـ ُ‬
‫ــــﺎر؛‬
‫ــــﻦ ﺳــــﻴــــﻦ‪.‬‬ ‫ــــﻞ ا َ‬
‫ِﻣــــﺎﻣ ِ‬
‫ﺻ ُ‬ ‫ــــﺮار‪َ ،‬ا ُ‬
‫ــــﮡ ﺟــــﻮ َﻗ ُ‬‫ﻛ َﺴ َ‬ ‫ُ‬
‫)ﺳﺮ ﻛـﻴـﮇارو‪ ،‬د ‪(1‬‬ ‫ُ‬
‫ﻟﻄﻴﻒ ﺳﺎﺋﻴﻦ وٽ ﻏﻢ ۽ ﮔﻮﻧﺪر ﺟﻲ ﻛﺎ ﻣﺎدي ﺷﻜﻞ ﻳﺎ وﺟﻮد ﻧﺎﻫﻲ ﭘﺮ اﻫﻮ ﻫﻚ‬
‫اﻫﮍو اﺣﺴﺎس آﻫﻲ‪ ،‬ﺟﻴﻜﻮ ﻋﺸﻖ ﺟﻲ اﺗﺎﻫﻴﻦ ﺟﺬﺑﻲ ۽ ﻛﻴﻔﻴﺖ ﻣﺎن ﺟﻨﻢ وﭠﻲ ﭤﻮ‪ .‬اﻫﻮ‬
‫ﻋﺸﻖ ﺋﻲ آﻫﻲ ﺟﻴﻜﻮ اﻧﺪر ۾ ﺳﻮر ﺟﺎ ﺳﻮﻳﻦ دڳ ﭠﺎﻫﻲ وﭸﻲ ﭤﻮ‪.‬‬
‫ــﮭــﻴــﻦ َو َﮬــﮣــﻮ؛‬
‫ِ‬ ‫ﭘــﻴـــــﺮ‪ِ ،‬و ِر ُه َﻣ ِ‬
‫ــﻨــﺠ‬ ‫َ‬ ‫ــﭣ ﻧــﻪ‬ ‫ُﮔ َ‬
‫ــﻮﻧــﺪ َر َﮬ َ‬
‫َ‬
‫ﺳــﻴـــــﺮ؛‬ ‫ﻛــﺮي‪ُ ،‬ﺳ َ‬
‫ــﻮر ِن ﻻﻳــﺎ‬ ‫ﻗــﻄــﺎرون َ‬
‫ُ‬ ‫ﻛــﮍهِ ۾‬ ‫ُ‬
‫ـﭵـﮣـﻴـﻦ؟‬ ‫ﮬـﻴـﻜـﻠـﻲ ِر‪َ ‬ﺳ َ‬
‫ِ‬ ‫َ‬
‫ﻛـﻴـــﺮ‪،‬‬ ‫ُﻣﻮن ِﺟ َﺌﻦ ﮔـﮭـﺎري‬
‫)ﺳﺮ رپ‪ ،‬د ‪(1‬‬ ‫ُ‬
‫“ﺟﻴﻜﻮ ﻋﺸﻖ ﺟﻲ ﭼﺎڙﻫﺎﻛﻲ ﺗﻲ ﭼﮍﻫﻴﻮ‪ ،‬اﻧﻬﻲ‪ ‬ﮔﻮﻧﺪر ۽ ﻏﻢ‪ ،‬ورﻫﻪ ۽ وﮀﻮڙي‬
‫ﮐﻲ ﮘﺮ ﻻﺗﻮ‪ .‬ﻫﻲ‪ ‬ﻛﻴﻔﻴﺖ ۽ اﺣﺴﺎس ﻛﺎ ﻣﺎدي ﺷﻲ‪ ‬ﻧﻪ آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ﮐﻲ ﻫﭣ ﻻﺋﻲ‬
‫ﻣﺤﺴﻮس ﻛﺮي ﺳﮕﮭﺠﻲ‪ .‬ﻫﻲ‪ ‬ﺗﻪ ﺟﻲ‪ ‬ﺟﻲ ﺟﮭﻮري ۽ اﻧﺪر ﺟﻲ اﻫﺎ ُاﺳﺎٽ آﻫﻲ‪ ،‬ﺟﻴﻜﺎ‬
‫ﻣﺠﮭﻦ ﺋﻲ ﭘﺌﻲ ﻧﻬﺎﺋﻴﻦ‪ ‬ﺟﻴﺎن ُدﮐﻨﺪي ۽ ڌﮘﻨﺪي آﻫﻲ‪(10) ”.‬‬
‫ﭜﭩﺎﺋﻲ وٽ ﻋﺸ ُﻖ ــ ﮐﺎﻣﮡ‪ ،‬ﭘﭽﮡ‪ ،‬ﭘﭵﺮڻ‪ ،‬ﻟﮁﮡ ۽ ﮘﻮﻟﮡ ﺟﻮ ﻧﺎﻟﻮ آﻫﻲ‪ .‬اﻫﻲ ﺳﭛ‬
‫دک ۽ اذﻳﺖ ﺟﺎ اﺳﺘﻌﺎرا آﻫﻦ‪ .‬ﻟﻄﻴﻒ ﻋﺸﻖ ﮐﻲ اڃ ﺳﮇﻳﻮ آﻫﻲ‪ ،‬ﻋﺸﻖ ﺟﻲ اﻫﺎ اڃ ۽‬
‫اﺳﺎٽ ﻛﮇﻫﻦ ﭘﻮري ﻧﻪ ﭤﻲ ﭤﺌﻲ‪ .‬ان ﭘﻴﺎس ﺟﻲ اﮘﻴﺎن ﺳﻤﻨﮉ ﺑﻪ ﻫﻚ ُﺳﺮڪ ﺑـﺮاﺑـﺮ ﻧـﻪ‬
‫آﻫﻲ‪.‬‬
‫‪36‬‬ ‫ﺷﺎﻫﻪ ﻟﻄﻴﻒ ﺟﻲ ﺷﺎﻋﺮي‪ ‬۾ ﻋﺸﻖ ۽ درد ﺟﻮ ﻻﮘﺎﭘﻮ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ــﭵـــﺮان‪ُ ،‬ﻟـــﮁـــﺎن ۽ ﻟـــﻮﭼـــﺎن؛‬

‫ﮐـــﺎﻣـــﺎن‪َ ،‬ﭘـــﭽـــﺎن‪َ ،‬ﭘـ ُ‬
‫َ‬
‫ــﺆﻧــﺲ ﭘِــ ِﺮﻳــﻦ‪ِ ‬ﺟــﻲ‪ ،‬ﭘِــﻴــﺎن ﻧــﻪ ڍاﭘــﺎن؛‬ ‫ــﻦ ۾ َﺗ‬
‫َﺗ َ‬
‫ﻨﮉ ُﻣﻨﻬﻦ ﻛﺮﻳﺎن‪ ،‬ﺗـﻮ‪ُ ‬ﺳـ ِﺮﻛـﻴـﺎﺋِـﻲ ﻧـﻪ ﭤِــﺌـﻲ‪.‬‬ ‫ﺟﻲ َﺳ ُﻤ َ‬
‫)ﺳــﺮ ﺳــﻬــﮣــﻲ‪ ،‬د ‪(6‬‬ ‫ُ‬
‫ﻫﻚ ﭘﺎﺳﻲ ﻋﺸﻖ اڃ آﻫﻲ ﺗﻪ ﭔﻲ ﭘﺎﺳﻲ آﺗﺶ‪ .‬اﻫﮍي آﺗﺶ ﺟﻨﻬﻦ ﺳﺎن ﺟﺎن ﺟﻼﺋﻲ‬
‫ﮀﮇﮢﻲ آﻫﻲ‪ .‬اﻫﺎ آﺗﺶ ۽ آڳ دک ﺟﻮ اﻫﭹﺎڻ آﻫﻲ‪ .‬ﻟﻄﻴﻒ ﺳﺎﺋﻴﻦ اﻧﺪر ﻣﺎن اﭤﻨﺪڙ ﻧﻴﻨﻬﻦ‬
‫ﺟﻲ دوﻧﻬﻴﻦ ﮐﻲ دﮐﺎﺋﻲ‪ ،‬ﻣﻦ ۾ ﻋﺸﻖ ﺟﻮ ﻣﭻ ﭔﺎري‪ ،‬ﺟﺎن ﺟﻼﺋﻲ آﺗﺶ ﮐﻲ آب ﻛﺮڻ‬
‫ﭼﺎﻫﻲ ﭤﻮ‪.‬‬
‫ﻧﺴــــﻮرو ﺋــــﻲ ﻧــــﻴــــﻨــــﻬــــﻦ ﺟــــﻮ‪ ،‬دل ۾ دود ُدﮐــــﺎ‪،‬‬
‫ﺟـــــﺎن َﺟـــــﻼ‪،‬‬ ‫َ‬
‫ِﺸـــــﻖ ِﺟـــــﻲ‪ ،‬ﭔـــــﺎري‬ ‫آڳ ﻋ‬
‫ِ‬ ‫آﮢـــــﻲ ِ‬
‫ُ‬ ‫َ‬ ‫َ‬ ‫ُ‬ ‫َ‬
‫ِﺟـــﻨـــﺪا! اِﻳـــﺌـــﻦ ﺟﮙـــﺎ‪ِ ،‬ﺟـــﺌـــﻦ آﺗﺸـــﺎن آب ﭤِـــﺌـــﻲ‪.‬‬
‫ُ‬
‫)ﺳــﺮ راﻣــﻜــﻠــﻲ‪ ،‬د ‪(4‬‬
‫اﻫﺎ آﺗﺶ ﺗﮇﻫﻦ ﺋﻲ آب ﭤﺌﻲ ﭤﻲ‪ ،‬ﻳﻌﻨﻲ اﻫﻮ درد ﺗﮇﻫﻦ ﺋﻲ ﺧﻮﺷﻲ‪ ‬۾ ﺗﺒﺪﻳﻞ ﭤﺌﻲ ﭤﻮ‬
‫ﺟﮇﻫﻦ ﻋﺸﻖ ۾ ﺻﺪاﻗﺖ ﭘﻴﺪا ﭤﺌﻲ ﭤﻲ‪.‬‬
‫ﺷﺎﻫﻪ ﻟﻄﻴﻒ ﺟﻮ ﺳﻤﻮرو ﻛﻼم اﻧﻬﻲ‪ ‬ﻋﺸﻖ ۽ درد ﺟﻲ ﺳﺎٿ ۽ ﺳﻨﮕﻢ ﺳﺎن‬
‫ﭜﺮﭘﻮر ﻧﻈﺮ اﭼﻲ ﭤﻮ‪ .‬ﻋﺸﻖ ﺟﻨﻬﻦ ﺟﻲ ﻛﮏ ﻣﺎن ﭘﻴﮍا ﺟﻮ ﺟﻨﻢ ﭤﺌﻲ ﭤﻮ‪ ،‬اﻫﻮ ﻋﺸﻖ درد ﺟﻲ‬
‫ﺳﻤﻮرﻳﻦ ﻟﺬﺗﻦ ﺳﻤﻴﺖ ﭜﭩﺎﺋﻲ ﺟﻲ ﻛﻼم ۾ ﻧﻤﺎﻳﺎن ﻧﻈﺮ اﭼﻲ ﭤﻮ‪ .‬ﻟﻄﻴﻒ ﺳﺎﺋﻴﻦ وٽ ﻋﺸﻖ‪،‬‬
‫ﻛﮇﻫﻦ اڃ آﻫﻲ ﺗﻪ ﻛﮇﻫﻦ‪ ،‬ﮐﺎﻣﮡ‪ ،‬ﭘﭽﮡ ۽ ﭘﭵﺮڻ ﺟﻮ ﻣﺮﺣﻠﻮ‪ ،‬ﻛﮇﻫﻦ ﻫﻮ اڻ ﭤﻚ ﺳﻔﺮ‬
‫ﺟﻲ اﺳﺮار ﮐﻲ ﻋﺸﻖ ﺟﻮ اﺣﺴﺎس ﭴﺎﮢﺎﺋﻲ ﭤﻮ ﺗﻪ ﻛﮇﻫﻦ وري‪ ،‬ﺳﻤﺎﺟﻲ ﭔﻨﮅﮢﻦ ﮐﻲ ﭨﻮڙي‬
‫ﻋﺸﻖ ﺟﻲ آڳ ﭜﮍﻛﺎﺋﻲ ﭤﻮ‪ ،‬ان آڳ ۾ ﻣﭡﻮ ﻣﭡﻮ درد آﻫﻲ‪ .‬ﻫﻦ ﺟﺎ ﻛﺮدار ان دک ۽ درد‬
‫ﻣﺎن ﻣﺰو ﻣﺎﮢﻴﻦ ﭤﺎ‪ ،‬ﺳﻮر ﮐﻲ ﺳﺎﻫﻪ ۾ ﺳﻤﺎﺋﻴﻦ ﭤﺎ‪ ،‬ﻏﻢ ﮐﻲ ﮘﻠﻲ ﺟﻮ ﻫﺎر ﺳﻤﺠﮭﻦ ﭤﺎ‪،‬‬
‫ﺗﻜﻠﻴﻔﻦ ﮐﻲ ﺗﭿ ﭜﺎﻧﺌﻴﻦ ﭤﺎ ۽ ﻋﺸﻖ ﺟﻲ ﻏﻤﻨﺎڪ ﻛﻴﻔﻴﺘﻦ ۾ ﮔﻢ رﻫﻦ ﭤﺎ‪ .‬ﻟﻄﻴﻒ ﺳﺎﺋﻴﻦ‬
‫ﺟﻮ ﻛﻼم ﭘﮍﻫﻨﺪي ﻫﻚ ﻋﺎم ﭘﮍﻫﻨﺪڙ ﺑﻪ اﻧﻴﻚ ﭜﻴﺮا ﭘﺎڻ ﮐﻲ ﻋﺸﻖ ﺟﻲ ﮔﮭﺮي ﺳﻤﻨﮉ ۾‬
‫ﻏﺮق ﭤﻴﻨﺪي درد ﺟﻮ ﻣﺰو ﻣﺎﮢﻲ ﭤﻮ ۽ اﻧﻬﻦ ﻛﺮدارن ﺟﻲ ﻏﻢ ﮐﻲ ﭘﻨﻬﻨﺠﻲ اﻧﺪر ۾ اﺗﺎري ﭤﻮ‪،‬‬
‫ﺟﻦ ﮐﻲ ﻋﺸﻖ ﺟﻲ ﻃﻔﻴﻞ اﻫﻮ ﻏﻢ ﻋﻄﺎ ﭤﻴﻮ‪ .‬ﺣﻘﻴﻘﺖ ۾ ان درد ﺟﻮ اﺻﻞ ﻟﻄﻒ اﻧﻬﻦ ﻋﺎﺷﻘﻦ‬
‫ﮐﺎن ﭘﮁﺠﻲ ﺟﻴﻜﻲ ﻫﺮ اذﻳﺖ ۽ رﻧﺞ ﮐﻲ اﮐﻴﻦ ﺗﻲ رﮐﻲ ﭘﻨﻬﻨﺠﻮ ﺳﻔﺮ ﺟﺎري رﮐﻨﺪا آﻫﻦ‪.‬‬
‫ﺷﺎﻫﻪ ﺳﺎﺋﻴﻦ ﺟﻲ ﻛﻼم ۾ ﻋﺸﻖ ۽ درد اﮢﭩﭧ اﻧﮓ واﻧﮕﺮ آﻫﻦ‪ ،‬ﺟﻨﻬﻦ ﮐﻲ ﻛﮇﻫﻦ ﺑﻪ ﺟﺪا‬
‫ﻧﻪ ﭤﻮ ﻛﺮي ﺳﮕﮭﺠﻲ‪.‬‬
‫ُ‬
‫ﻧﻮٽ‪ :‬ﻫﻦ ﻣﻘﺎﻟﻲ ۾ ڏﻧﻞ ﺑﻴﺘﻦ ﭘﭡﻴﺎن “د” ﺳﺮ ﺟﻲ داﺳﺘﺎن ﺟﻲ ﻧﺸﺎﻧﺪﻫﻲ ﻛﺮي ﭤﻮ‪.‬‬
‫ﻣﻘﺎﻟﻲ ۾ ﺷﺎﻫﻪ ﺟﻲ رﺳﺎﻟﻲ ﺟﻮ ﻫﻲ‪ ‬ﻧﺴﺨﻮ ﻛﺘﺐ آﻧﺪو وﻳﻮ آﻫﻲ‪:‬ﺷﺎﻫﻪ ﺟﻮ رﺳﺎﻟﻮ )ﻣﻮﻟﻒ‪:‬‬
‫ﻏﻼم ﻣﺤﻤﺪ ﺷﺎﻫﻮاﮢﻲ‪ ،‬ﺳﻨﮅﻳﻜﺎ اﻛﻴﮉﻣﻲ‪ ،‬ﭔﻴﻮ ﮀﺎﭘﻮ ‪(2005‬‬
‫‪37‬‬ ‫ﺷﺎﻫﻪ ﻟﻄﻴﻒ ﺟﻲ ﺷﺎﻋﺮي‪ ‬۾ ﻋﺸﻖ ۽ درد ﺟﻮ ﻻﮘﺎﭘﻮ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﺣﻮاﻻ‪:‬‬
‫ﻓﻬﻤﻴﺪه ﺣﺴﻴﻦ ڊاﻛﭩﺮ‪ ،‬اﻳﮉﻳﭩﺮ‪“ :‬ﻛﻼﭼﻲ” ﺗﺤﻘﻴﻘﻲ ﺟﺮﻧﻞ‪ ،‬ﺟﻠﺪ ﭔﻴﻮ‪ ،‬ﺷﻤﺎرو ﭔﻴﻮ ﺳﺎل ‪1999‬ع‬ ‫‪.1‬‬
‫)ﻣﻘﺎﻟﻮ‪“ :‬اي‪ ‬ﺗﺎن آﻫ َﻪ ﻋﺸﻖ ﺟﻲ” ـــ ﻣﺤﻤﺪ ﺣﺴﻴﻦ ﻛﺎﺷﻒ( ﺷﺎﻫﻪ ﻋﺒﺪاﻟﻠﻄﻴﻒ ﭜﭩﺎﺋﻲ ﭼﻴﺌﺮ‪،‬‬
‫ﻛﺮاﭼﻲ ﻳﻮﻧﻴﻮرﺳﭩﻲ‪ ،‬ﻛﺮاﭼﻲ‪ ،‬ص ‪ 66‬۽ ‪67‬‬
‫زﻳﺪي ﺳﺎﺟﺪه‪“ ،‬اﻧﺴﺎﻧﻲ ﺷﺨﺼﻴﺖ ﻛﻲ اﺳﺮار و رﻣﻮز”‪ ،‬ﻗﻮﻣﻲ ﻛﻮﻧﺴﻞ ﺑﺮا‪ ‬ﻓﺮوغِ اردو زﺑﺎن‪ ،‬ﻧﺌﻲ‬ ‫‪.2‬‬
‫دﻫﻠﻲ‪1999 ،‬ع ص ‪423‬‬
‫ﺣﻜﻮﻣﺖ ﺳﻨﮅ‬
‫ِ‬ ‫ﻣﻬﺮاﮢﻲ‪ ،‬ﺷﻴﺮ‪ ،‬ڊاﻛﭩﺮ‪“ ،‬ﺷﺎﻫﻪ ﻟﻄﻴﻒ ﺟﻲ ﺷﺎﻋﺮي‪ ‬۾ ﺟﻤﺎﻟﻴﺎت” ﺛﻘﺎﻓﺖ ﮐﺎﺗﻮ ــ‬ ‫‪.3‬‬
‫‪ ،2013‬ص ‪161‬‬
‫ﺣﻜﻮﻣﺖ‬
‫ِ‬ ‫داﻧﺶ اﺣﺴﺎن ڊاﻛﭩﺮ‪“ ،‬ﺷﺎﻫﻪ ﻟﻄﻴﻒ ﺟﻲ ﺷﺎﻋﺮي‪ ‬ﺟﻮ ﺳﻤﺎﺟﻲ ﻛﺎرج” ﺛﻘﺎﻓﺖ ﮐﺎﺗﻮ‪،‬‬ ‫‪.4‬‬
‫ﺳﻨﮅ‪2016 ،‬ع‪ ،‬ص ‪386‬‬
‫ُ‬
‫ﻛﺎﺷﻒ‪ ،‬ﻣﺤﻤﺪ ﺣﺴﻴﻦ “ﻟﻄﻴﻔﻲ ﻓﻜﺮ ۽ ﺳﺮن ﺟﻲ ﺳﺎﭸﺎﻫﻪ” ﭜﭧ ﺷﺎﻫﻪ ﺛﻘﺎﻓﺘﻲ ﻣﺮﻛﺰ ﺟﻮﻻ‪‬‬ ‫‪.5‬‬
‫‪2005‬ع‪ ،‬ص ‪138‬‬
‫ﺷﺎد ﺑﺸﻴﺮ اﺣﻤﺪ‪ ،‬ڊاﻛﭩﺮ “ﺷﺎﻫﻪ ﻟﻄﻴﻒ ــ ﻫﺮ دور ﺟﻮ ﺷﺎﻋﺮ” ﺳﻨﮅﻳﻜﺎ اﻛﻴﮉﻣﻲ ‪2008‬ع ‪ ،‬ص ‪150‬‬ ‫‪.6‬‬
‫ﺣﻜﻮﻣﺖ‬
‫ِ‬ ‫داﻧﺶ اﺣﺴﺎن ڊاﻛﭩﺮ‪“ ،‬ﺷﺎﻫﻪ ﻟﻄﻴﻒ ﺟﻲ ﺷﺎﻋﺮي‪ ‬ﺟﻮ ﺳﻤﺎﺟﻲ ﻛﺎرج” ﺛﻘﺎﻓﺖ ﮐﺎﺗﻮ‪،‬‬ ‫‪.7‬‬
‫ﺳﻨﮅ‪2016 ،‬ع‪ ،‬ص ‪390‬‬
‫ﺳﺎﮘﻴﻮ ص ‪395‬‬ ‫‪.8‬‬
‫آﻏﺎ ﺳﻴﻠﻢ “ﻻت ﺟﺎ ﻟﻄﻴﻒ ﺟﻲ” ﺳﻨﮅي ادﺑﻲ ﺑﻮرڊ ﭴﺎﻣﺸﻮرو ‪ ،2008‬ص ‪37‬‬ ‫‪.9‬‬
‫ﻛﺎﺷﻒ ﻣﺤﻤﺪ ﺣﺴﻴﻦ “ﻟﻄﻴﻔﻲ ﻓﻜﺮ ۽ ُﺳﺮن ﺟﻲ ﺳﺎﭸﺎﻫﻪ” ﭜﭧ ﺷﺎﻫﻪ ﺛﻘﺎﻓﺘﻲ ﻣﺮﻛﺰ ﺟﻮﻻ‪‬‬ ‫‪.10‬‬
‫‪2005‬ع‪ ،‬ص ‪139‬‬

‫‪38‬‬ ‫ﺷﺎﻫﻪ ﻟﻄﻴﻒ ﺟﻲ ﺷﺎﻋﺮي‪ ‬۾ ﻋﺸﻖ ۽ درد ﺟﻮ ﻻﮘﺎﭘﻮ‬

 [ ] ‫ﺌرو ﮬ‬

‫ﺌض‬ ‫ڊا‬

‫ده دؤر ۾‬
‫۽ ا ﺌد‬ ‫ا‬ ‫۽‬
IMPORTANCE & SCOPE OF PHILOSOPHY AND
MESSAGE OF SACHAL SARMAST IN PRESENT ERA

Abstract
Sachal Sarmast, who for his daring voice and determined will, is
known `Mansur Saani`in Sindh and all over the world. He was not only a
born poet but a born intoxicated soul. After Mansur al hallaj, no one but
Sachal was the only poet in Sindh, who followed the philosophy of
Mansur and expressed `Ana ul haq` in his poetry. Sachal sarmast was
disciple of Miaan Abdul Haq, who was his uncle too, but in poetry, he
has accepted impacts of Shah Latif, Bayazid Bistami, Rumi, Shams
Tabraiz, Fariduddin Attar and Mansur Hallaj. Sachal Sarmast preached
in his Poetry love, Equality, brother hood and denied all kinds of duality,
cast and creed.
Sachal was not only a Sufi sage but a learned scholar and
intellectual. He has addressed and highlighted the social, political and
religious issues of his times in his poetry. He had a huge command over
Sindhi, Arabic, Persian, Urdu, Siraaiki and Hindi Languages. Though he
composed poetry in different Languages but his Sindhi and Siraaiki
poetry is more splendid and attractive enough. His poetry teaches us
lesson of love and humanity. He teaches knowing thyself is to know
Him. He is not any where else but in you and omnipresent, only you have
to feel His presence. Sachals’ message is to search for truth and avoid all
kinds of extremisms. Importance and relevance of Sachal’s Poetry with
this era will be highlighted in the paper.
،‫ ﺟﺎ اﻣﺎم آﻫﻦ‬‫ﺷﺎﻫﻪ ﻟﻄﻴﻒ ۽ ﺳﭽﻞ ﺳﺮﻣﺴﺖ ﻧﻪ ﻓﻘﻂ ﻛﻼﺳﻴﻜﻲ ﺳﻨﮅي ﺷﺎﻋﺮي‬
‫ ۽‬،‫ اﻧﺴﺎﻧﻲ َاﺧﻮت‬،‫ رواداري‬،‫ اﻣﻦ‬،‫ ﻣﺎﮢﻬﭙﻲ‬،‫ﻋﺎﻟﻢ اﻧﺴﺎﻧﻴﺖ ﺟﻲ ﻣﺤﺒﺖ‬
ِ ‫ﭘﺮ ﺳﻨﮅ ۽‬
‫ ﺟﻮ ﻫﺮ‬،‫ اﻫﻮ ﺋﻲ ﺳﺒﺐ آﻫﻲ‬،‫اﺟﺘﻤﺎﻋﻲ ﺣﻖ ﺳﭻ ﺟﻲ ﻗﺪرن ﺟﺎ اﻣﻴﻦ ۽ ﭘﺎﺳﺒﺎن آﻫﻦ‬
‫ ﺑﻨﺎ ﻛﻨﻬﻦ ﻣﺬﻫﺒﻲ ﻣﺖ ﭜﻴﺪ ۽ رﻧﮓ ﻧﺴﻞ ﺟﻲ ﺗﻔﺮﻳﻖ ۽ ﺗﻀﺎد‬،‫ﻣﻜﺘﺒﻪ ﻓﻜﺮ ﺟﻮ ﻣﺎﮢﻬﻮ‬
‫ ﻧﻪ رﮘﻮ ﻫﻴﻨﺌﻴﻦ ﺳﺎن ﻫﻨﮉاﺋﻲ ۽ دل ﺟﻲ‬،‫ ﺟﻲ ﻓﻜﺮ ۽ ﻓﻠﺴﻔﻲ ﮐﻲ‬‫ ﺳﻨﺪس ﺷﺎﻋﺮي‬،‫ﺟﻲ‬
39 ‫ﻣﻮﺟﻮه دور ۾ ﺳﭽﻞ ﺟﻲ ﻓﻜﺮ ۽ ﻓﻠﺴﻔﻲ ﺟﻲ اﻫﻤﻴﺖ ۽ اﻓﺎدﻳﺖ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﺣﻀﻮر ﺳﺎن ﭘﮍﻫﻲ ۽ ﭘﺮوڙي ﭤﻮ‪ ،‬ﭘﺮ اﻧﻬﻦ ﺟﻲ ﭘﻴﻐﺎم ۾ ﺋﻲ ﭘﻨﻬﻨﺠﻲ آدرﺷﻲ ﺟﻴﺎﭘﻲ ﺟﻮ‬
‫ﺟﻴﺌﻴﺪان ﺳﻤﺠﻬﻲ ﭤﻮ‪.‬‬
‫ُ‬
‫ﺳﭽﻞ ﺟﻮ َﻣﺴﻠﻚ ﻣﺤﺒﺖ‪ ،‬آﺟﭙﻮ ﻋﺸﻖ ۽ ﻃﺮﻳﻘﻮ ﺗﺼﻮف ﻫﻮ‪ .‬ﻫﻦ ﻋﻤﺮ ﭜﺮ ﺷـﺎﻋـﺮي‪‬‬
‫ﺟﻲ ﺗﺴﺒﻴﺢ ﺳﻮري‪ ،‬اﻧﺴﺎﻧﻲ ﻣﺤﺒﺖ ۽ ﻋﺸﻖ ﺟﻲ َاذان اﻧﻬﻲ‪ ‬ﻛﺮي ڏﻧﻲ ﻫﺌﻲ‪ ،‬ﮀﻮ ﺗـﻪ ُﻫـﻦ‬
‫ﺷﺮﻳﻌﺖ ۽ ﻃﺮﻳﻘﺖ ﺟﻲ ﺗﻘﻠﻴﺪ ﺑﺪران ﻣﻌﺮﻓﺖ ﮐﻲ اﭘﻨﺎﻳﻮ ۽ ‘اﻧﺎﻟﺤﻖ’ ﺟﻮ آﺟﭙﻮ ﭤﻲ ﭼﺎﻫﻴـﻮ‪.‬‬
‫ُﻫﻦ ﭴﺎﺗﻮ ﭤﻲ‪ ،‬ﺗﻪ ﭘﻮري‪ ‬ﻣﺨﻠﻮق ۾‪ ،‬ﻫﻚ ‘آدم ذات’ ﺋﻲ آﻫـﻲ‪ ،‬ﺟـﻨـﻬـﻦ ۾ ﺳـﭛ ﺻـﻔـﺎت‬
‫ﻧﻮر ﺻﻔﺎت’ ﺟﻮ ﺣﻘﻴﻘﻲ ﻋﻜﺲ ۽ آﺋﻴﻨﻮ آﻫﻲ‪ ،‬ﺟـﻨـﻬـﻦ ﮐـﻲ‬ ‫ﻣﻮﺟﻮد آﻫﻦ ۽ اﻫﺎ ﺋﻲ ذات‪ِ ‘ ،‬‬
‫ُﺳﭹﺎﮢﮡ ۽ ﺳﺎﭸﺎﻫﮡ ﺟﻲ ﺿﺮورت آﻫﻲ‪ ،‬اﻧﻬﻲ‪ ‬ﻛﺮي ﺋﻲ ﭼﻴﺎﺋﻴﻦ ﺗﻪ‪:‬‬
‫ﺻـــــﻮرت ﺳـــــﭛ اﻧﺴـــــﺎن‪َ ،‬اﭤـــــﻲ ﻋﺸـــــﻖ اﺻــــــﻞ‪،‬‬
‫ﻛــــﻞ‪،‬‬ ‫‘ﺧــــﻠــــﻖ آدم اﻻ ﺻــــﻮرﺗــــﮧ’‪ ،‬ﺟــــﺰو ﺟــــﻬــــﮍو ُ‬
‫ـﭻ ‘ﺳــﭽــﺎ’ ﭘــﻴــﻮ ﺳــﻞ‪،‬‬ ‫‘ َاﻻ اﻧﺴــﺎن ِﺳــﺮي و َاﻧــﺎ ِﺳـ ُ‬
‫ـﺮه’‪ ،‬ﺳـ ُ‬
‫ــﻚ َاﭤـــﻲ‪.‬‬ ‫ُﭜـــﻞ ﻧـــﻪ ﭔـــﻲ‪ ‬ﺗـــﻮن ُﭜـ ُ‬
‫ــﻞ‪ ،‬ﻫِـــﺘـــﻲ ُﻫـــﺘـــﻲ ﻫِـ ُ‬

‫ﺗﺼﻮف دل ﺟﻲ دﻧﻴﺎ آﻫﻲ ۽ دل ﺟـﻲ دﻧـﻴـﺎ ﮐـﻲ‪ُ ،‬ﺣﺴـﻦ ۽ ﺣـﻘـﻴـﻘـﺖ ﺟـﻮ ﻫـﻚ‬
‫ﭘﻨﻬﻨﺠﻮﺣﺴﻴﻦ ﺟﻬﺎن ﭤﺌﻲ ﭤﻮ‪ .‬دﻧﻴﺎ ۾ ﺟﻦ ﻣﺎﮢﻬﻦ دل ﺟﻲ راﻫﻪ ورﺗﻲ آﻫﻲ‪ ،‬اﻧﻬﻦ ﮐﻲ دﻧﻴﺎ ﺟﺎ‬
‫َرﻧﺪ ۽ ﭘﻨﮅ راس ﻧﻪ آﻳﺎ آﻫﻦ ۽ ﺟﻦ دﻧﻴﺎ ﺟﻮ دڳ ورﺗﻮ آﻫﻲ‪ ،‬اﻧﻬﻦ ﮐﺎن دل ﺟـﻮ دڳ وﭸـﺎﻳـﻞ‬
‫ﻛﻨﮉا ۽ ﻛﺪورﺗﻮن آﻫﻦ‪ .‬دوﮐﺎ ۽ ﻓﺮﻳﺐ آﻫﻦ‪ ،‬ﭘﺮ دل ﺟـﻲ‬ ‫ﺋﻲ رﻫﻴﻮ آﻫﻲ‪ .‬دﻧﻴﺎ ﺟﻲ دڳ ۾ َ‬
‫دڳ ۾ ﭘﻴﺎر ۽ ﭘﺮﻳﺖ آﻫﻲ‪ .‬ﺧﻮاب ۽ ﺧﻮﺑﺼﻮرﺗﻴﻮن آﻫﻦ ۽ وڏي ﮘﺎﻟﻬﻪ ﺗـﻪ ان ۾ ﻋﺸـﻖ ﺟـﻮ‬
‫آﺟﭙﻮ ۽ آﺟﭙﻲ ﺟﻮ ﻋﺸﻖ ﺑﻪ آﻫﻲ‪ ،‬ﺗﻪ ﻣﻮﻫﻪ ﺟﻲ ﻣﺠﺬوﺑﻲ ۽ ﻣﺠﺬوﺑﻲ‪ ‬ﺟﻮ ﻣﻮﻫﻪ ﺑﻪ‪ .‬ﺗﮇﻫﻦ ﺋـﻲ‬
‫ﺗﻪ ﺳﭽﻞ‪‘ ،‬ﺳﺮﻣﺴﺖ’ ﺑﮣﺠﻲ‪ ،‬ان ﺟﻮ اﻇﻬﺎر ﻫﻦ رﻳﺖ ﻛﺮي ﭤﻮ‪:‬‬
‫ﮔِـــﮭـــﮍن ﺟـــﻲ ﮔـــﮭـــﻴـــﮍا‪ ،‬ﺗـــﺎﻧـــﮕـــﮭـــﻮ ﻋﺸـــﻖ ﺗـــﻦ ﺟـــﻮ‪،‬‬
‫ﺟــﻦ ﮐــﻲ ﻋﺸــﻖ ﻋــﻠــﻴــﻞ ﻛــﻴــﻮ‪ ،‬ﺳــﻲ اﻳــﻨــﺪﻳــﻮن َاوﺗــﮍا‪،‬‬
‫ﺟــﻲ ُﺳــﻮر َ‬
‫ﭼــﮑــﻨــﺪﻳــﻮن ﺳــﺎ‪ ،‬ﻣــﻴــﻬــﺮ ﺳــﻲ ﻣــﺎﮢــﻴــﻨــﺪﻳــﻮن!‬
‫دﻧﻴﺎ ﺟﻲ دڳ ۾ ﻋﻘﻞ ۽ ﻓﻬﻢ ﺳﺎن ﮔﮇ‪ ،‬وﻗﺖ‪ ،‬ﺣﺎﻟﺘﻮن‪ ،‬ﺗﺠﺮﺑﺎ ۽ ﭔﻴـﺎ اﻧـﻴـﻚ ﻣـﺎﮢـﻬـﻮ‬
‫رﻫﺒﺮ ﺑﮣﺠﻲ‪ ،‬دﻧﻴﺎوي َرﻧﺪن ۽ ﭘﻨﮅن ﺳﺎن آﺷﻨﺎﺋﻲ ﭘﻴﺪا ﻛﺮاﺋﻴﻨﺪا آﻫﻦ‪ ،‬ﺟﮇﻫﻦ ﺗﻪ دل ﺟـﻲ‬
‫دڳ ۾ ﻓﻘﻂ ﻋﺸﻖ ﺋﻲ َﭜﺮﺟﮭﻠﻮ ﺑﮣﺠﻲ‪ ،‬ﻣﻦ ﺟﻲ رازن ۽ رﻣﺰن ﮐﺎن واﻗﻒ ﻛﻨﺪو آﻫـﻲ ۽ دل‬
‫ﻛﻨﮉ ۾ آﺑﺎد وﺷﺎل ﻛﺎﺋﻨﺎت ﺟﺎ ﺳﭻ ۽ ﺳﻨﺪرﺗﺎﺋﻮن ﭘﮡ َﭘﺴﺎﺋﻴﻨﺪو آﻫﻲ‪ .‬ﻋﺸﻖ ﺟﻨـﻬـﻦ‬ ‫ﺟﻲ ُ‬
‫ﺟﻮ اﻣﺎم ﺑﮣﺠﻨﺪو آﻫﻲ‪ ،‬دوﺋﻲ ان ﮐﺎن دور ۽ وﺣﺪت ان ﺟﻲ وﻳﺠـﮭـﮍي ﭤـﻲ وﻳـﻨـﺪي آﻫـﻲ‪.‬‬
‫ﻣﺤﺒﺖ ان ﺟﻮ ﻣﺬﻫﺐ‪ ،‬ﺟﺎڳ ان ﺟﻮ ﺟﻴﻮن ۽ ﻧﻨﮉ ان ﺟﻲ ﻋﺒـﺎدت ﺑـﮣـﺠـﻲ وﻳـﻨـﺪي آﻫـﻲ‪.‬‬
‫‘ﺗﻮن’ ۽ ‘ﻣﻮن’ ﺟﺎ ﺳﻤﻮرا وﻳﮁﺎ ﭘﻨﻬﻨﺠﺎ وﺟﻮد وﭸﺎﺋﻲ وﻳﻬﻨﺪا آﻫﻦ‪ .‬ﻃﻤﻊ ۽ ﻃﻠﺐ ﺑﻲ ﻣﻌﻨـﻰ‬
‫ﭤﻲ ﭘﻮﻧﺪي آﻫﻲ‪ .‬ﻣﻮﻫﻪ ﻣﻮﻣﻞ ۽ روح راﮢﻮ ﺑﮣﺠﻲ ﭘﻮﻧﺪا آﻫﻦ‪ ،‬ﭘﻮ‪ ‬ﻧﻪ ﻛﺎﺋﻲ ﻛﺎڪ رﻫﻨـﺪي‬
‫آﻫﻲ‪ ،‬ﻧﻪ ﻛﻮﺋﻲ ﻟﻨﮉاﮢﻮ‪ .‬ﺑﺲ ﻫﺮ رو‪‘ ‬راﮢﻮ ﺋﻲ راﮢﻮ’ ﻫﻮﻧﺪو آﻫﻲ‪.‬‬
‫‪40‬‬ ‫ﻣﻮﺟﻮه دور ۾ ﺳﭽﻞ ﺟﻲ ﻓﻜﺮ ۽ ﻓﻠﺴﻔﻲ ﺟﻲ اﻫﻤﻴﺖ ۽ اﻓﺎدﻳﺖ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻟــﻨــﮕــﮭــﻴــﺎ ُﻟــﻨــﮉاﮢــﻮ‪ ،‬ﻛــﺎڪ ﮀــﮇﻳــﺎﺋــﻮن ﭘــﻮﺋــﺘــﻲ‪،‬‬

‫ﺗـــﺎﺗـــﻲ وﭸـــﻲ َرﺳـــﻴـــﺎ‪ ،‬ﺟـــﺎﺗـــﻲ ﻣـــﻮﻣـــﻞ ﻧـــﻪ راﮢـــﻮ‪،‬‬
‫ــﻦ ﭤـــﺎﮢـــﻮ‪ ،‬ﺟـــﺘـــﻲ ﻣـــﻮن ﺗـــﻮن ﻧـــﺎﻫـــﻪ ﻛـــﺎ!‬ ‫ُاﺗـــﻲ ﭤـ ُ‬
‫ــﻴـ ِ‬
‫ﺳﭽﻞ ﺳﺮﻣﺴﺖ ﺟﻮ ﻧﺎﻟﻮ ﺳﻨﮅي ﺷﺎﻋﺮي‪ ‬ﺟﻲ اﺗﻬﺎس ۾ اﻫﺎ وﻗﻌﺖ رﮐﻲ ﭤﻮ‪ ،‬ﺟﻴـﻜـﺎ‬
‫ﻛﺮﮢﺎ ﭘﻮري ﺳﻨﺴﺎر ﮐﻲ ﭘﻨﻬﻨﺠﻲ‬ ‫وﻗﻌﺖ آﻛﺎش ۾‪ ،‬ﺳﺞ ۽ ﭼﻨﮉ ﮐﻲ آﻫﻲ‪ .‬ﺟﻴﺌﻦ ﺳﺞ ﺟﺎ ِ‬
‫ُﺳﻨﺪرﺗﺎ ۽ َﺳﻬﺎﺋﻲ‪ ‬ﺳﺎن ﻣﻨﻮر ﻛﻨﺪا آﻫﻦ‪ ،‬اﺋﻴﻦ ﺋﻲ ﺳﭽﻞ ﺟـﻲ ‘ﺳـﺮﻣﺴـﺖ ۽ ﺳـﺮﻣـﺪي’‬
‫ﻓﻜﺮ ۽ ﻓﻠﺴﻔﻲ‪ ،‬ﺳﻨﮅي ﺳﻤﺎج ﺧﺎص ﻛﺮي ﺗﺼﻮف ﺟﻲ وﺣﺪت اﻟﻮﺟﻮدي ﻣﺴﻠﻚ ﺳـﺎن‬
‫واﺑﺴﺘﺎ ﻣﺎﮢﻬﻦ ﮐﻲ ﻣﻮﻫﻴﻮ ۽ ﻣﺘﺎﺛﺮ ﻛﻴﻮ آﻫﻲ‪ .‬ﺳﭽﻞ ﺳﻨﮅ ﺟﻮ اﻫﻮ ﻣﺴﺖ ۽ اﻟﺴـﺖ ﺷـﺎﻋـﺮ‬
‫آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ﺟﻲ ﺷﺎﻋﺮي‪ ‬۾ ﻧﻪ رﮘﻮ ِرﻧﺪي ۽ ﻋﺎﺷﻘﺎﻧﻪ ﻣﺴﺘﻲ ﭘﻨﻬﻨﺠـﻲ اوج ۽ ﻋـﺮوج ﺗـﻲ‬
‫آﻫﻲ‪ ،‬ﭘﺮ ﻫﻦ ﺟﻮ آواز ﺳﻤﺎﺟﻲ دﻗﻴﺎﻧﻮﺳﻴﺖ ۽ ﻣﺬﻫﺒﻲ اوچ ﻧﻴﭻ ﺧﻼف ﻫﻚ اﻧﻮﮐﻲ ﺑﻐـﺎوت‬
‫ﺳﺎن ﭜﺮﻳﻞ آﻫﻲ‪ .‬ﺳﭽﻞ ﺟﻲ ﺷﺎﻋﺮي‪ ‬۾ َﻣﺌﻲ ﻣﺘﻲ ﻣﻬﺮاڻ ﺟﻬﮍي َﻣﺴﺘﻲ ۽ ُاﭤـﻞ آﻫـﻲ ۽ ان‬
‫ﭘﻨﻬﻨﺠﻲ اﻇﻬﺎر ۽ اﺣﺴﺎس ﺟﻲ ﺳﺮﻣﺴﺘﻲ‪ ‬ﺳﺎن ﺳﺎري ﺳﻨﮅ ﮐﻲ ﻛﭽﻲ ﺟﻴﺎن ﭔﻮڙﻳﻮ آﻫـﻲ‪.‬‬
‫ﺟﻴﺌﻦ ﻛﭽﻮ ُﭔﮇڻ ﮐﺎن ﭘﻮ‪ ‬ﺳﺮﺳﺒﺰ۽ ﺳﺎﺋﻮ ﭤﻲ ﭘﻮﻧﺪو آﻫﻲ‪ ،‬اﺋﻴﻦ ﺳـﭽـﻞ ﺟـﻲ ﺷـﺎﻋـﺮي ﺑـﻪ‬
‫ﺳﻨﮅ ۽ ﺳﻨﮅي ﻣﺎﮢﻬﻦ ﺟﻲ دﻟﻴﻦ ﮐﻲ ﭘﻨﻬﻨﺠﻲ ﻓﻜﺮ ﺟﻲ اﻣﺮت ﺳﺎن ﺳﻴﺮاب ﻛﺮي‪ ،‬اﻫـﮍو‬
‫ﺳﺮﺳﺒﺰ ۽ ﺳﺎﺋﻮ ﻛﻴﻮ آﻫﻲ‪ ،‬ﺟﻮ اﻧﻬﻦ ﺟﻲ داﺧﻠﻲ ﺳﺮﻣﺴﺘﻲ ۽ ﻓـﻜـﺮي ﺳـﺮﻛﺸـﻲ‪ ‬ﮐـﻲ‬
‫ﻫﺎﮢﻲ وﻗﺖ ۽ ﺣﺎﻟﺘﻦ ﺟﻲ ﻛﺎﺋﻲ ﺧﺰان آﺳﺎﻧﻲ‪ ‬ﺳﺎن ﻟﻬﺴﺎﺋﻲ ۽ ﺳﺎڙي ﻧﻪ ﭤﻲ ﺳﮕﻬﻲ‪.‬‬
‫“ﺳﭽﻞ ﺟﻮ ﭘﻨﻬﻨﺠﻲ دؤر ﺟﻲ ﻣﺎﮢﻬﻦ ﺳﺎن‪ ،‬ﭘﻨﻬﻨﺠﻲ دﻳﺲ ۽ ڌرﺗﻲ‪ ‬ﺳﺎن‪ ،‬زﻧﺪﮔﻲ‪ ‬۽‬
‫اﻧﺴﺎﻧﻴﺖ ﺟﻲ ﻗﺪرن ﺳﺎن ﭘﻴﺎر ﻫﻮ‪ .‬اﻫﮍا ﻗﺪر‪ ،‬ﺟﻴﻜﻲ ﻛﻨﻬﻦ ﻫﻴﮣﻲ ﮐﻲ ڏاڍي ﺟﻲ اﮘـﻴـﺎن‬
‫ﺟﻬﻜﮡ ﻧﻪ ڏﻳﻦ‪ ،‬اﻫﮍا ﻗﺪر‪ ،‬ﺟﻴﻜﻲ ﺑﻴﻤﺎر ۽ َاﮔﻬﻲ ﻣﻌﺎﺷﺮي ﺟﻮ ﻋﻼج ۽ ﻣـﺮﻫـﻢ ﺑـﮣـﺠـﻦ‪،‬‬
‫اﻫﮍا ﻗﺪر‪ ،‬ﺟﻴﻜﻲ اﻧﺴﺎن ﺟﻲ ﺿﻤﻴﺮ ۽ ﺧﻤﻴﺮ ﮐﻲ ﺑﻠﻨﺪي ﻋﻄﺎ ﻛﻦ‪ ،‬اﻫﮍا ﻗـﺪر‪ ،‬ﺟـﻦ ﺟـﻲ‬
‫روﺷﻨﻲ‪ ‬۾ اﻗﺘﺪار‪ ،‬اﺧﺘﻴﺎر ۽ دوﻟﺖ ﺟﻲ ﻻﻟﭻ‪ ،‬اﻧﺴﺎﻧﻦ ﺟﻲ روﺣﺎﻧﻲ ﺗﺮﻗﻲ‪ ‬۾ رﻛـﺎوٽ ﻧـﻪ‬
‫ﺑﮣﺠﻲ‪....‬ﺳﭽﻞ ﺟﻮ ﺗﺼﻮف‪ ،‬ﺑﺮﺻﻐﻴﺮ ﺟﻲ ﻛﻴﺘﺮن ﺻـﻮﻓـﻲ ﺑـﺰرﮔـﻦ واﻧـﮕـﺮ درﭔـﺎرن ۽‬
‫ﺣﻜﻤﺮاﻧﻦ ﺟﻲ ﻣﺤﻔﻠﻦ ﺟﻮ ﺳﻴﻨﮕﺎر ﻧﻪ ﻫﻮ”‪(1) .‬‬
‫ﻫﻦ ﺟﻲ ﺷﺎﻋﺮي ﻫﻚ ﻃﺮف روﺣﺎﻧﻲ رازن ۽ رﻣﺰن ﮐﻲ ﻋﻴﺎن ﻛﺮي ﭤـﻲ‪ ،‬ﺗـﻪ ﭔـﺌـﻲ‬
‫ﻃﺮف اﻫﺎ ﺳﻤﺎﺟﻲ ﻣﺖ ﭜﻴﺪ ۽ ﻣﺬﻫﺒﻲ ﺟﻨﻮﻧﻴﺖ ﺟﻲ ﻧﻔﻲ ﻛﺮي ﭤﻲ‪ ،‬اﻧﻬﻲ‪ ‬ﻛـﺮي ﺳـﭽـﻞ‬
‫ﺟﻮ ﭘﻴﻐﺎم ‘ﭘﻴﻬﻲ ﭘﺎڻ ﭘﺮوڙڻ’ ﺳﺎن ﮔﮇوﮔﮇ ‘ﺟﻴﺌﻮ ۽ ﺟﻴﺌﮡ ڏﻳﻮ’ ﺟﻲ درس ﺗﻲ ﭔـﮅل آﻫـﻲ ‪.‬‬
‫ﺳﭽﻞ ﺳﺮﻣﺴﺖ ﺟﻲ ﺷﺎﻋﺮي دﻣﺎغ ﺟﻲ ﺷﺎﻋﺮي ﻧﻪ‪ ،‬ﭘﺮ دل ۽ ﺟﺬﺑﻦ ﺟﻲ َاﮢـﺠـﮭـﻞ ُاﮀـﻞ ﺟـﻮ‬
‫اﺣﺴﺎﺳﺎﺗﻲ ۽ وﺟﺪاﻧﻲ آواز آﻫﻲ‪ ،‬ان ﻛﺮي ﺳﭽﻞ ﺳﺎﺋﻴﻦ‪ ‬ﺟﻲ ﻛـﻼم ۽ ان ۾ ﻣـﻮﺟـﻮد‬
‫رﻧﺪي رﻣﺰن ۽ رازن ﮐﻲ ﺳﻤﺠﮭﮡ ﻣﺸﻜﻞ آﻫﻲ‪ .‬ان ﮐﻲ ﻓﻘﻂ اﻫﻲ ﻣﺎﮢﻬﻮ ﺋـﻲ ﺳـﻤـﺠـﻬـﻲ ۽‬
‫ﺳﺎﭸﺎﻫﻲ ﺳﮕﮭﻦ ﭤﺎ‪ ،‬ﺟﻦ ﺟﻲ ﻣﻦ ــ ﻣﺤﻞ ﺟﻮن درﻳﻮن ُﮐﻠﻴﻞ ۽ اﻧﺪر آﺋﻴﻨﻲ ﺟـﻴـﺎن ُاﺟـﺮو ۽‬
‫ﺷﻔﺎف آﻫﻲ‪ .‬ﻧﺎم ﻧﻬﺎد ﻋﻘﻞ ﺟﻲ َاﻛﺎﺑﺮن‪ ،‬ﺟﻦ ﺳﭽﻞ ﺟﻲ ﺳﺮﻛﺸﻲ ۽ ﺳـﺮﻣﺴـﺘـﻲ‪ ‬ﮐـﻲ‬
‫ﺻﺮف ﻋﻘﻞ ۽ رواﻳﺘﻲ ﻓﻬﻢ ﺟﻲ ﺑﻨﻴﺎد ﺗﻲ ﭘﺮﮐﮡ ۽ ُﭘﺮﺟﮭﮡ ﺟـﻲ ﻛـﻮﺷـﺶ ﻛـﺌـﻲ آﻫـﻲ‪،‬‬
‫‪41‬‬ ‫ﻣﻮﺟﻮه دور ۾ ﺳﭽﻞ ﺟﻲ ﻓﻜﺮ ۽ ﻓﻠﺴﻔﻲ ﺟﻲ اﻫﻤﻴﺖ ۽ اﻓﺎدﻳﺖ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫اﻧﻬﻦ ﺟﻮن ﺗﺸﺮﻳﺤﻮن ۽ ﺗﺎوﻳﻠﻮن ﺳﭻ ﺗﻪ ﭘﻨﻬﻨﺠﻲ ﻓﻜﺮي وﺟﻮد ۾ ﺋـﻲ ُاﻟـﺠـﮭـﻴـﻞ رﻫـﻴـﻮن‬
‫آﻫﻦ‪ .‬ﺳﭽﻞ ﺗﻪ ُاﻫﺎ ﺻﺪا آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ﮐﻲ ﭘﺎﺋﮡ ۽ ُﭘﺮﺟﮭﮡ ﻻ‪ ‬ﻫﻚ ﺳﺮﻣﺴﺖ ۽ ُﭘﺮ ﻛـﻴـﻒ‬
‫دل درﻛﺎر آﻫﻲ‪ ،‬ﮀﻮ ﺗﻪ ﺳﭽﻞ ﺟﻲ ﺷﺎﻋﺮي ﺧﺎرﺟﻲ ﻟﻘﺎﺋﻦ ﮐﺎن وڌﻳﻚ داﺧﻠﻲ اﺣﺴـﺎس ۽‬
‫ادراڪ ﺟﻲ دﻧﻴﺎ ﺳﺎن ﺗﻌﻠﻖ رﮐﻲ ﭤﻲ‪.‬‬
‫ﻛــــﻴــــﺎڙي‪ ،‬ﺳــــﺠــــﺪو ﺗــــﺎڏي ﻧــــﻪ ﭤــــﺌــــﻲ‪،‬‬
‫ﺟــــﺎڏي ِ‬
‫ﺟــــﺎڏي ُﻣــــﻬــــﺎڙي‪ ،‬ﺳــــﺠــــﺪو ﺗِـ ِ‬
‫ـــﺖ ﺳــــﻬــــﻲ ﭤــــﻴــــﻮ !‪.‬‬
‫ﺗﺼﻮف ۾ وﺣﺪت اﻟﻮﺟﻮدي ﻓﻜﺮ ﺟﻲ ﭘﻴﺮوﻛﺎرن ﺟﺎ ﭔﻪ ﻣﻜﺘﺒﻪ ﻓﻜﺮ آﻫـﻦ‪ ،‬ﺟـﻦ‬
‫ﻣﺎن ﻫﻚ ﮐﻲ ‘ﺟﻤﺎﻟﻲ ﺻﻮﻓﻲ’ ۽ ﭔﻲ ﮐﻲ ‘ﺟﻼﻟﻲ ﺻﻮﻓﻲ’ ﭼﻮن ﭤﺎ‪ .‬اﺑﻮ ﻫﺎﺷﻢ ﻋـﺜـﻤـﺎن ﺑـﻦ‬
‫ﺷﺮﻳﻚ ﻛﻮﻓﻲ )ﺟﻨﻬﻦ ﮐﻲ ﭘﻬﺮﻳﻮن ﭜﻴﺮو ﺻﻮﻓﻲ ﺟﻲ ﻟﻘﺐ ﺳـﺎن ﺳـﮇﻳـﻮ وﻳـﻮ( ﮐـﺎن وﭠـﻲ‬
‫ﺣﻀﺮت ﺳﻔﻴﺎن ﺛﻮري‪ ،‬ﺷﺎﻫﻪ ﻛﺮﻳﻢ‪ ،‬ﺷﺎﻫﻪ ﻋﺒﺪاﻟﻄﻴﻒ ﭜﭩﺎﺋﻲ ۽ ﺳﺎﮘﻲ ﻣﺰاج ۽ ﻃـﺮﻳـﻘـﺖ‬
‫ﺟﻲ ﭔﻴﻦ اﻧﻴﻚ ﺳﻨﺘﻦ ۽ ﺻﻮﻓﻴﻦ ﺗﺎﺋﻴﻦ ﺳﭝﺌﻲ ﺟﻤﺎﻟﻲ ﺻﻮﻓﻲ ﻫﺌﺎ‪ .‬ﻫِﻨـﻦ ﻻ‪ ‬ﺗﺼـﻮف ﺟـﻮ‬
‫ﻣﻄﻠﺐ‪ ،‬رﮘﻮ روزا‪ ،‬ﻧﻤﺎزون ﭘﮍﻫﮡ‪َ ،‬‬
‫ﺣﺞ ۽ زﻛﻮاﺗﻮن ادا ﻛﺮڻ ﻧﻪ ﻫـﻮ‪ ،‬ﭘـﺮ ا� ﺟـﻮ ﻋﺸـﻖ‪،‬‬
‫اﻧﺴﺎﻧﻲ ﭜﻼﺋﻲ‪ ،‬ﻧﻔﺲ ﺟﻲ ﭘﺎﻛﺎﺋﻲ‪ ،‬اﺧﻼق ۽ ﭘﺎڪ داﻣـﻨـﻲ‪ ،‬ﻗـﺪرت ﺟـﻲ ﻛـﺮﺷـﻤـﺎﺗـﻲ‬
‫ﺻﺪاﻗﺘﻦ ۽ ﺟﻠﻮن ﺟﻮ درﺷﻦ ﻛﺮي‪ ،‬ﻓﻄﺮت ﺟﻲ ُﺣﺴﻨﺎﻛﻴﻦ ۽ ﺣﻘﻴﻘـﺘـﻦ ﮐـﻲ َﭘﺴـﻲ‪ ،‬دل‬
‫ﮐﻲ آﻧﻨﺪ ۽ اﻃﻤﻴﻨﺎن ۾ رﮐﮡ ﻫﻮ‪.‬‬
‫’‪“ Sufism is a path of mystical life, which begins with the souls‬‬
‫‪conversion, or turning, towards God. The end of this path human‬‬
‫)‪perfection in union with God”.(2‬‬
‫ﺟﮇﻫﻦ ﺗﻪ ‘ﺟﻼﻟﻲ ﺻﻮﻓﻲ’ ﭘﻨﻬﻨﺠﻲ ﻗﻠﺒﻲ واردات ﮐﻲ ﺟﺬب ۽ ﻣﺴﺘﻲ‪ ‬ﺟﻲ اﻧﺪاز ۾‬
‫اﻇﻬﺎري‪ ،‬ﻗﺎدر ﮐﻲ اﻟﮗ ﻧﻪ‪ ،‬ﭘﺮ ﭘﻨﻬﻨﺠﻲ وﺟﻮد ﺟﻮ ﺣﺼﻮ ۽ ﺣﻘﻴﻘﺖ ﺗﺼﻮر ﻛﻦ ﭤﺎ‪ .‬ﻫﻮ رﮘـﻮ‬
‫ﺷﺮﻳﻌﺖ ۽ ﻃﺮﻳﻘﺖ ﮐﻲ ﺋﻲ ﻧﻪ‪ ،‬ﭘﺮ ﻣﺤﺒﻮب ﺗﺎﺋﻴﻦ َرﺳﮡ ﻻ‪ ‬ﻣﻌﺮﻓﺖ ﮐﻲ اﻫﻢ ذرﻳﻌﻮ ﺳﻤﺠﻬـﻦ‬
‫ﭤﺎ‪ .‬ﻫﻨﻦ ﻻ‪ ‬ﻣﺬﻫﺐ‪ ،‬ﻗﻴﺪ ۽ ﭘﺎﺑﻨﺪي ﻧﻪ‪ ،‬ﭘﺮ ﭘﻴﺎر ۽ ﻣﺤﺒﺖ آﻫﻲ ۽ ﻫـﻮ اﻧـﻬـﻲ‪ ‬ﻣـﺤـﺒـﺖ ﺟـﻲ‬
‫ﻛﻴﻒ ۾ ﻣﮕﻦ ﭤﻲ‪‘ ،‬ﻣﺤﺒﻮب’ ۾ ﺳﺮاﻳﺖ ﻛﺮي‪ ،‬ﻫﻚ ﭤﻲ وﭸﻦ ﭤﺎ‪.‬‬
‫‪“When you make religion Love, without ceasing to be religious, and‬‬
‫‪make love religion, without ceasing to be human and sensuous, in the‬‬
‫)‪good sense of the word, then you have made a form of mysticism”.(3‬‬
‫ﺗﺼﻮف ۾ ﺟﻼﻟﻴﺖ ﺟﻲ رواﻳﺖ اﭨﻜﻞ ﻧﺎﺋﻴـﻦ ﺻـﺪي‪ ‬ڌاري ﺳـﭛ ﮐـﺎن ﭘـﻬـﺮﻳـﺎن‬
‫ﺑﺎﻳﺰﻳﺪ ﺑﺴﻄﺎﻣﻲ وڌي‪ ،‬ﺟﻨﻬﻦ ‘ﺳﺒﺤﺎﻧﻲ ﻣﺎ اﻋﻈﻢ ﺷﺎﻧﻲ’ ﺟﻮ اﻇﻬﺎر ﻛﺮي‪ ،‬ﭘﻨﻬﻨﺠﻲ ﺟـﻼل‬
‫۽ ﺟﻮﻻن ﮐﻲ ﻋﺎم اﮘﻴﺎن ﻋﻴﺎن ﻛﻴﻮ‪ .‬ﺗﻨﻬﻦ ﮐﺎن ﭘﻮ‪ ‬ﺟﻨﻴﺪ ﺑﻐﺪادي‪ ،‬ﻋﺒـﺪاﻟـﺤـﺴـﻦ ﻧـﻮري‪،‬‬
‫ﺷﻤﺲ ﺗﺒﺮﻳﺰي‪ ،‬ﻓﺮﻳﺪاﻟﺪﻳﻦ ﻋﻄﺎر‪ ،‬ﻣﻨﺼﻮر ﺣﻼج‪ ،‬ﺑﻼ ﺷﺎﻫﻪ ۽ ﺳﭽﻞ ﺳﺮﻣﺴﺖ ﺟﻲ زﺑﺎﻧـﻲ‪،‬‬
‫ان ﺳﺮﻣﺪي ۽ ﺳﺮﻣﺴﺘﻲ‪ ‬ﺟﻮن ﺻﺪاﺋﻮن ُﭔﮅڻ ۾ آﻳﻮن‪.‬‬
‫‪42‬‬ ‫ﻣﻮﺟﻮه دور ۾ ﺳﭽﻞ ﺟﻲ ﻓﻜﺮ ۽ ﻓﻠﺴﻔﻲ ﺟﻲ اﻫﻤﻴﺖ ۽ اﻓﺎدﻳﺖ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻋﺸــــﻖ ﭤــــﻲ اﻧﺴــــﺎن آﻳــــﻮ ﺳــــﻴــــﻼﻧــــﻲ ﺳــــﭙــــﺮﻳــــﻦ‪،‬‬

‫ﺻـــــــﻮرت ۾ آدم ﺟـــــــﻲ‪ ،‬آدم دم ﻣـــــــﻬـــــــﻤـــــــﺎن‪،‬‬
‫ﺳـــﭽـــﻮ ﺳـــﻮ ﺳـــﻠـــﻄـــﺎن‪ ،‬ﺳـــﺘـــﮕـــﺮ ﺳـــﭻ ُﺳـــﮣـــﺎﻳـــﻮ‪.‬‬
‫ﺻﻮﻓﻴﻦ وٽ درد ﺟﻲ وڏي وﻗﻌﺖ رﻫﻲ آﻫﻲ‪ .‬ﻫﻮ درد ﺟﻲ راﻫﻦ ۾ ﺋﻲ راﺣﺘﻮن‬
‫ﺗﻼﺷﻴﻨﺪڙ ﻫﻮﻧﺪا آﻫﻦ‪ .‬ﻫﻮ رواﺟﻲ ﻣﺎﮢﻬﻦ واﻧﮕﺮ ڏﮐﻦ ﮐﺎن ڏور ﻧﻪ‪ ،‬ﭘﺮ اﻧﻬﻦ ﺟﻲ ﻗﺮاﺑﺖ‬
‫ک ُﺳﮑﻦ ﺟﻲ ﺳﻮﻧﻬﻦ ﻫﻮﻧﺪا آﻫﻦ ۽ ﻫﻮ ُڏﮐﻦ ﺑﻨﺎ ُﺳﮑﻦ ﮐﻲ َﮀﺴﻮ ۽‬ ‫ﻃﻠﺒﻴﻨﺪا آﻫﻦ‪ .‬ﻫﻨﻦ ﻻ‪ُ ‬ڏ َ‬
‫ﻋﺒﺚ ﺳﻤﺠﮭﻨﺪا آﻫﻦ‪ .‬ﺗﻦ ﮐﻲ ﺗﺴﻴﺎ ڏﺋﻲ ﻣﻦ ﮐﻲ ﺑﺎغ ﺑﻬﺎر رﮐﻨﺪڙ‪ ،‬اﻧﮓ اﮔﮭﺎڙن‪ ،‬ﻣﭩﻲ‪ ‬۾‬
‫ﭜﭝﻮت ۽ ﺳﺪاﺋﻴﻦ ﺳﻔﺮ ۾ رﻫﻨﺪڙ ﻫﻨﻦ ﺳﻴﻼﻧﻦ ﺟﻮ وﻃﻦ ۽ ﺳﻤﻮرو ﺳﻨﺴﺎر ﺳﻨﺪن دل ﺋﻲ‬
‫ﻫﻮﻧﺪي آﻫﻲ‪ .‬ﺻﻮﻓﻲ ﺳﭻ ﺗﻪ ﻫﻦ دﻧﻴﺎ ۾ اﻫﮍي ِﺳﺮ ﭰﺮي ۽ ِﺳﺮﻓﺮوش ﻣﺨﻠﻮق آﻫﻲ‪ ،‬ﺟﻨﻬﻦ‬
‫ﺟﻲ ﻣﻦ ﻣﻮﺟﻲ ﻛﻴﻔﻴﺘﻦ ۽ ﺟﻼﻟﻲ ﺟﻮﻻﻧﻦ ﮐﻲ ﺟﺪﻳﺪ ﺳﺎﺋﻨﺲ ﺑﻪ ﺳﻤﺠﮭﮡ ﮐﺎن ﻗﺎﺻﺮ‬
‫آﻫﻲ‪ .‬ﻗﻄﺮي ﮐﻲ ﻗﻠﺰم ۽ ﻗﻠﺰم ﮐﻲ ﻗﻄﺮي ۾ ﺳﻤﺎﺋﮡ ﺟﻲ ﺣﻘﻴﻘﻲ ُﺣﺴﻨﺎﻛﻲ ۽ ﺳﭽﺎﺋﻲ ﻓﻘﻂ‬
‫ﺳﺮﺟﮣﮭﺎرن ۽ ﺻﻮﻓﻴﻦ وٽ ﺋﻲ ﻣﻠﻲ ﭤﻲ ‪.‬‬
‫ﻫﻴﮇي ُﻫﻮڏي ﻧﻪ ﻧـﻬـﺎر‪ ،‬ﺗـﻨـﻬـﻨـﺠـﻲ وﻳـﮍﻫـﻲ ﻳـﺎر َوﺳـﻲ ﭤـﻮ‪،‬‬
‫ﺳﺎڻ ﺳﺪا آ ﺗﻨﻬﻨﺠﻲ ﺳﭙﺮﻳﻦ‪ ،‬ﻧـﻪ آﻫـﻲ ﻛـﻨـﻬـﻦ ﭔـﻲ ﭘـﺎر‪،‬‬
‫ﭰــﻮﻟــﻬــﻲ ﻟــﻬــﺞ ﭘــﺎڻ ﻣــﺎن‪ ،‬ﮀــﻮ ﭤــﻮ وﭸــﻴــﻦ وﮢــﻜــﺎر‪،‬‬
‫ﺗﺒﺼـﺮون”‪ ،‬وﻳـﺠـﮭـﻮ ﻛـﻴـﻢ وﺳـﺎر‪،‬‬ ‫َ‬ ‫ﻧﻔﺴﻜﻢ َاﻓﻼ‬
‫ُ‬ ‫“ َوﻓﻲ َا‬
‫َﺳـ ُ‬
‫ــﭽـــﻮ ﭘـــﺎڻ ﺳـــﻨـــﭝـــﺎر‪ ،‬ﭘـــﺮﻳـــﻦ‪ ‬ﻧـــﻪ ُﭘـــﮁـــﺞ ﭘـــﻨـــﮅڙا!‬
‫ﺳﭽﻞ ﺻﻮﻓﻴﺎﮢﻲ ﻓﻜﺮ ﺟﻲ ﺣﻮاﻟﻲ ﺳﺎن ﻫﻢ اوﺳﺖ ۽ وﺣﺪت اﻟﻮﺟﻮد ﺟﻮ ﭘﻴﺮوﻛﺎر‬
‫آﻫﻲ ۽ وﺣﺪت اﻟﻮﺟﻮد ان ﺳﭻ ۽ ﺻﺪاﻗﺖ ﺟﻮ ﻧﺎﻟﻮ آﻫﻲ‪ ،‬ﺟﺘﻲ ‘ﻣﻮن ۽ ‘ﺗﻮن’ ﺟﺎ ﺳﺎرا‬
‫ﻨﮅن ۽ ﺳﺮﺣﺪن ﺟﻲ ﻛﺎﺋﻲ وﻗﻌﺖ‬ ‫ﺗﻔﺎوت ﻣِﭩﺠﻲ ‘ﺗﻮن ﺋﻲ ﺗﻮن’ ﭤﻲ وﭸﻦ ﭤﺎ‪ .‬ﺟﺘﻲ َﺳ ِ‬
‫ﻛﻮﻧﻪ ﭤﻲ رﻫﻲ‪ .‬ﺟﺘﻲ ‘ﺳﮇ ۽ ﭘﮍاڏو’ ﭘﺎڻ ۾ ﻣِﻠﻲ ﻫﻚ ﭤﻲ وﭸﻦ ﭤﺎ‪ ،‬ﺟﺘﻲ ‘ﺗﻨﺪ‪ ،‬ﻛﭩﺎرو ۽‬
‫ﻛ ُ‬
‫ﻨﮅ’ ﭨﺌﻲ ﭘﺎڻ ۾ ﭘﺮﭼﻲ ﭘﺮﻳﻦ‪ ‬ﺟﻮ ﭘﺎر ﺑﮣﺠﻲ وﭸﻦ ﭤﺎ‪.‬‬ ‫َ‬

‫ﻣـــــﻮن ۾ آﻫـــــﻴـــــﻦ ﺗـــــﻮن‪ ،‬ﺗـــــﻮ ۾ آﻫـــــﻴـــــﺎن ﻣـــــﺎن‪،‬‬

‫ﺑـــﺠـــﻠـــﻲ ﺑـــﺎدل ﺳـــﺎن‪ ،‬آﻫـــﻲ ﺟـــﻴـــﺌـــﻦ ﺳـــﭙـــﺮﻳـــﻦ !‪.‬‬
‫ﺳﭽﻞ ﺳﺎﺋﻴﻦ‪ ‬ﺟﻮ ﺟﻨﻢ ‪ 1152‬ﻫﻪ‪1739 ،‬ع ﺗﻲ راﮢﻲ ﭘﻮر‪ ،‬ﺿﻠﻌﻲ ﺧﻴﺮﭘﻮر ﻣﻴﺮس ﺟـﻲ‬
‫ﻧﻨﮃڙي‪ ‬وﺳﻨﺪي‪‘ ‬درازا’ ۾ ﻫﻚ ا� ﻟﻮڪ ﻣﻴﺎن ﺻﻼح اﻟﺪﻳﻦ ﺟﻲ ﮔﮭﺮ ۾ﭤﻴﻮ‪ .‬ﺳﭽﻞ اﭸـﺎن‬
‫ﻧﻨﮃڙو ﺋﻲ ﻫﻮ‪ ،‬ﺗﻪ ﺳﻨﺪس واﻟﺪ ﻫﻲ‪ ‬ﺟﮭﺎن ﮀﮇي وﻳﻮ‪ ،‬اﻧـﻬـﻲ‪ ‬ﻛـﺮي ﺳـﻨـﺪس ﺗـﻌـﻠـﻴـﻢ ۽‬
‫ﺗﺮﺑﻴﺖ ﺟﻮ ذﻣﻮ ﭼﺎﭼﻲ ﻣﻴﺎن ﻋﺒﺪاﻟﺤﻖ ﭘﻨﻬﻨﺠﻲ ِﺳﺮ ﺗﻲ ﮐﻨﻴﻮ‪ .‬ﻣﻴﺎن ﻋﺒﺪاﻟﺤﻖ‪ ،‬ﺳﭽﻞ ﺟـﻲ‬
‫ﻧﻪ ﺻﺮف دﻧﻴﺎوي ﺗﻌﻠﻴﻢ ۽ ﺗﺮﺑﻴﺖ ۾ ﭘﻨﻬﻨﺠﻮ ﻛﺮدار ادا ﻛﻴﻮ‪ ،‬ﭘﺮ ُﻫﻦ ﻫِـﻦ ﺟـﻲ روﺣـﺎﻧـﻲ‬
‫ﺣﻮاﻟﻲ ﺳﺎن ﺑﻪ ﭜﺮﭘﻮر رﻫﻨﻤﺎﺋﻲ ۽ رﻫﺒﺮي ﻛﺌﻲ‪ ،‬ﺟﻨﻬﻦ ﻛﺮي ﺳﭽﻞ‪ ،‬ﻧﻪ ﻓـﻘـﻂ ﭘـﻨـﻬـﻨـﺠـﻲ‬
‫‪43‬‬ ‫ﻣﻮﺟﻮه دور ۾ ﺳﭽﻞ ﺟﻲ ﻓﻜﺮ ۽ ﻓﻠﺴﻔﻲ ﺟﻲ اﻫﻤﻴﺖ ۽ اﻓﺎدﻳﺖ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﭼﺎﭼﻲ ۽ ﺳﻬﺮي ﺟﻲ ﺣﻴﺜﻴﺖ ۾ ﺳﻨﺪس ﺳﺪاﺋﻴﻦ ﺗﻌﻈﻴﻢ ﻛﺌﻲ‪ ،‬ﭘﺮ ُﻫﻦ اﺳﺘﺎد ۽ روﺣـﺎﻧـﻲ‬
‫رﻫﺒﺮ ﻃﻮر ﺑﻪ ﻫﻤﻴﺸﻪ ﮐﻴﻦ ﻗﺒﻮل ﻛﺮي اﺣﺘﺮام ﻛﻴﻮ‪.‬‬
‫ﺳﭽﻞ ﺟﻮ َﮀﭡﻲ‪ ‬ﺟﻮ ﻧﺎﻟﻮ ﻋﺒﺪاﻟﻮﻫﺎب ﻫﻮ‪ ،‬ﭘﺮ ﻧﻨﮃﭘﮡ ۾ ﺋﻲ ﺳﭽﻲ ۽ ﺧﻮد دار ﻫﺠﮡ‬
‫ﻛﺮي ﮐﻴﺲ ‘ﺳﭽﻞ ۽ ﺳﭽﻴﮇﻧﻮ’ ﺳﮇﻳﻮ وﻳﻮ‪ .‬اﮘﺘﻲ ﻫﻠﻲ ﺟﮇﻫﻦ ﻋﺸﻖ ﺟﻲ رﻳﭩﻲ رﻧﮓ ۾‬
‫رﺗﻮ ۽ ﭘﻴﺎر ﺟﻲ ﭘﻴﺎﻟﻲ ﻣﺎن ِﭘﻲ‪‘ ،‬ﻣﺴﺘﺆن ﻣﺴﺖ ُﻣﺪام’ ﺑﮣﺠﻲ‪ ،‬ﭘﺮﻳﻦ‪ ‬ﮐﻲ َﭘﺴﻴﺎﺋﻴﻦ‪ ،‬ﺗﮇﻫﻦ‬
‫‘ﺳﭽﻞ’ ﻣﺎن ‘ﺳﺮﻣﺴﺖ’ ﺑﮣﺠﻲ‘اﻧﺎاﻟﺤﻖ’ ﺟﺎ اﺣﺪ ۽ اﺳﺮار اورﻳﺎﺋﻴﻦ‪.‬‬
‫ﺟــﮭــﮍو آﻫــﻴــﻦ‪ ،‬ﺗــﻬــﮍو ﻫــﻮﻧــﺪﻳــﻦ‪ ،‬ﻓــﺎﻧــﻲ ﭤــﻴــﻨــﺪﻳــﻦ ﮀــﺎ؟‬
‫ــﺮ ﺟـــﻲ‪ ،‬ﻛـــﺎﻣـــﻞ ﭘـــﻴـــﮍ‪ ‬ﻛـــﺎ‪،‬‬ ‫ُﺳـــﮅ ﭘـــﻨـــﻬـــﻨـــﺠـــﻲ ِﺳـ َ‬
‫ۡ‬
‫ﮘــﺎﻟــﻬــﻪ ﻧــﻪ ﺳــﻤــﺠــﮭــﺌــﻲ ﺳــﺎ‪ ،‬آوازي اﻧــﺎاﻟــﺤــﻖ ﺟــﻲ!‬
‫ﺳﭽﻞ ﺳﺮﻣﺴﺖ ﺣﺎﻓﻆِ ﻗﺮآن ﺳﺎن ﮔﮇوﮔﮇ‪ ،‬اردو‪ ،‬ﺳـﻨـﮅي‪ ،‬ﺳـﺮاﺋـﻜـﻲ‪ ،‬ﻓـﺎرﺳـﻲ ۽‬
‫ﻋﺮﺑﻲ‪ ‬ﺟﻮ ﺑﻪ وڏو ﭴﺎﮢﻮ ۽ ﻋﺎﻟﻢ ﻫﻮ‪ .‬ﭼﻴﻮ وﭸﻲ ﭤﻮ ﺗﻪ‪ ،‬ﭘﺎڻ ﺳﺘﻦ زﺑـﺎﻧـﻦ ۾ ﺷـﺎﻋـﺮي ﻛـﺌـﻲ‬
‫اﭤﺎﺋﻴﻦ‪ ،‬ﺟﻨﻬﻦ ﻛﺮي ﮐﻴﺲ ‘ﻫﻔﺖ زﺑﺎن’ ﺷﺎﻋﺮ ﺑﻪ ﺳﮇﻳﻮ وﭸﻲ ﭤﻮ‪ ،‬ﭘﺮ اﻫﻮ ﻣﻌﺎﻣـﻠـﻮ ﮔـﮭـﮣـﻲ‬
‫ﻗﺪر ﺳﭽﻞ ﺟﻲ ﭼﻨﺪ ﺷﺎرﺣﻦ ﺟﻲ ذاﺗﻲ ﺟﺬﺑﺎت ۽ ﺑﻲ ﺑﻨﻴﺎد راﻳﻦ ﺗﻲ ﭔـﮅل آﻫـﻲ‪ ،‬ﺟـﻦ ﺗـﻲ‬
‫ﺗﺤﻘﻴﻖ ﺟﻲ ﺳﺨﺖ ﺿﺮورت آﻫﻲ‪ .‬ﺳﭽﻞ ﺟﻲ ﺳﻨﮅي ﺷﺎﻋﺮي‪ ‬۾ ﻛﻴـﻒ ۽ ﻣﺴـﺘـﻲ‪ ،‬ﺑـﻲ‬
‫ﺑﺎﻛﻲ ۽ ُﮐﻠﺌﻲ اﻇﻬﺎر ﺟﻮ ﻋﻨﺼﺮ ﺟﻬﺠﻬﻮ ﻣﻠﻲ ﭤﻮ‪ ،‬اﻧﻬﻲ‪ ‬ﻛﺮي ﺳﻨﺪس ﻛﻼم ۾ ﻧﻐﻤﮕـﻲ‬
‫۽ ﺷﻌﺮﻳﺖ ﺟﻲ ﻧﺮﻣﻠﺘﺎ ۽ ﻧﻔﺎﺳﺖ ﮐﺎن وڌﻳﻚ ﺳﺮﻣﺴﺘﻲ‪ ‬ﺟﻮ ﻛﻴﻒ ۽ ﻗﺮار ﻣﺤﺴﻮس ﭤﺌـﻲ‬
‫ﭤﻮ‪ .‬ﺳﭽﻞ ﺳﻨﮅي ﺷﺎﻋﺮي‪ ‬۾ ﺗﻮڙي ﺟﻮ ﻟﻄﻴﻒ ﺟﻲ ﻣﻮﺿﻮﻋﻦ‪ ،‬ﻓﻨﻲ ۽ ﻓﻜﺮي ُﻧـﺪرﺗـﻦ ﮐـﺎن‬
‫ﻣﺮﻏﻮب ۽ ﻣﺘﺎﺛﺮ آﻫﻲ ۽ ﮔﮭﮣﻲ ﻗﺪر ُﻫﻦ اﻧﻬﻦ ﮐﻲ اﭘﻨﺎﺋﻴﻮ ﺑﻪ آﻫﻲ‪ ،‬ﭘﺮ ان ۾ اﻫـﺎ ﻏـﻨـﺎﺋـﻴـﺖ‪،‬‬
‫ﺟﻤﺎﻟﻴﺎت ۽ ﻧﺮﻣﻠﺘﺎ ﻧﻪ ﻣﻠﻲ‪ ،‬ﺟﻴﻜﺎ ﻟﻄﻴﻒ ﺟﻲ ﻛﻼم ۾ ﻧـﻈـﺮ اﭼـﻲ ﭤـﻲ‪ُ .‬ﻫـﻦ ﻣـﻮﺿـﻮع‬
‫ﻟﻄﻴﻒ وارا اﺧﺘﻴﺎر ﻛﻴﺎ آﻫﻦ‪ ،‬ﭘﺮ اﻧﻬﻦ ۾ ﻣﮅ ُﻫﻦ ﺟﻮ ﭘﻨﻬﻨﺠﻮ آﻫﻲ‪ ،‬ﺗﻨﻬﻨﻜـﺮي ﺳـﻨـﺪس‬
‫ﺷﺎﻋﺮي‪ ‬ﺟﻮ اﺳﻠﻮب‪ ،‬اﻇﻬﺎر‪ ،‬اﺣﺴﺎس ۽ ﻟﻬﺠﻮ اﻧﻔﺮادي ۽ ﺳﭝﻨﻲ ﮐﺎن اﻟﮗ آﻫﻲ‪.‬‬
‫ﺳﭽﻞ ﺳﺮﻣﺴﺖ ﺟﻮ ﻓﺎرﺳﻲ ﻛﻼم ﭘﮡ وﺣﺪت اﻟﻮﺟﻮدي رﻣﺰن ۽ رازن ﺳـﺎن ﭨـﻤـﭩـﺎر‬
‫آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ﺗﻲ روﻣﻲ‪ ،‬ﺣﺎﻓﻆ‪ ،‬ﺳﻌﺪي ۽ اﺑﻦ ﻋﺮﺑﻲ ﺟﻮ ﻧﻤـﺎﻳـﺎن اﺛـﺮ ﻧـﻈـﺮ اﭼـﻲ ﭤـﻮ‪ .‬ﻫـﻦ‬
‫ﻓﺎرﺳﻲ‪ ‬۾ ‘آﺷﻜﺎر’ ۽ ‘ﺧﺪاﺋﻲ’ ﺗﺨﻠﺺ ﻛﻢ آﻧﺪا آﻫـﻦ‪ ،‬ﺟـﮇﻫـﻦ ﺗـﻪ اردو ۾ ﺳـﻨـﮅي‬
‫ﺷﺎﻋﺮي واﻧﮕﺮ ‘ﺳﭽﻞ’ ۽ ‘ﺳﭽﻮ’ ﺗﺨﻠﺺ اﺳﺘﻌﻤﺎل ﻛﻴﺎ اﭤﺎﺋﻴﻦ‪ .‬اردو ۾ ﺳﻨﺪس ﭘﻨـﺠـﺎﻫـﻪ‬
‫ﻏﺰل ﻧﻤﺎ ﻛﺎﻓﻴﻮن ﻣﻠﻦ ﭤﻴﻮن‪ ،‬ﺟﻦ ۾ ﻫﻦ ﭘﻨﻬﻨﺠﻲ ﻗﻠﺒﻲ ۽ ﻓﻜﺮي اﺣﺴـﺎﺳـﻦ ﺟـﻮ اﻇـﻬـﺎر‬
‫اردو‪ ‬ﺟﻲ ﭘﺮاﮢﻲ اﻧﺪاز ﺟﻲ ﻟﮑﺖ‪ ،‬ﺟﻨﻬﻦ ﮐﻲ ‘دﮐﻨﻲ ﻳﺎ رﻳﺨﺘﻪ’ اﻧﺪاز ﭼﺌﺠﻲ ﭤﻮ‪ ،‬۾ ﻛـﻴـﻮ‬
‫آﻫﻲ‪ .‬ﺳﻨﺪس اردو ﺷﺎﻋﺮي‪ ‬ﺑﺎﺑﺖ را‪ ‬ڏﻳﻨﺪي رﺷﻴـﺪ اﺣـﻤـﺪ ﻻﺷـﺎري ﻟـﮑـﻲ ﭤـﻮ‪“ ،‬ﺳـﭽـﻞ‬
‫ﺳﺮﻣﺴﺖ ﺟﻲ اردو ﻛﻼم ۾ اﺧﻼق‪ ،‬ﺗﺼﻮف‪ ،‬ﻗﻠﺒﻲ ۽ ُﺣﺴﻦ و ﻋﺸﻖ ﺟﻲ واردات ﻫﺮ ﻃـﺮح‬
‫ﻋﺸﻖ ﺣﻘﻴﻘﻲ ﺗﻲ ﻣﺒﻨﻲ آﻫﻲ”‪(4) .‬‬ ‫ﺳﺎن ﻣﻮﺟﻮد آﻫﻲ ۽ ﺳﻨﺪن ﻛﻼم ﺟﻮ ﺑﻨﻴﺎد ِ‬
‫ﺳﭽﻞ ﺟﻮ ﺳﺮاﺋﻜﻲ ﻛﻼم ﻟﻬﺠﻲ ﺟﻲ ﻧﺮﻣﻠـﺘـﺎ‪ ،‬ﭔـﻮﻟـﻲ‪ ‬ﺟـﻲ ﻣـﭡـﺎس‪ ،‬اﺳـﻠـﻮب‪،‬‬
‫‪44‬‬ ‫ﻣﻮﺟﻮه دور ۾ ﺳﭽﻞ ﺟﻲ ﻓﻜﺮ ۽ ﻓﻠﺴﻔﻲ ﺟﻲ اﻫﻤﻴﺖ ۽ اﻓﺎدﻳﺖ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫اﺣﺴﺎس ۽ ﺷﻌﺮي ﻧﻐﻤﮕﻲ‪ ‬ﺟﻲ ﻟﺤﺎظ ﮐﺎن ﻧﻬﺎﻳﺖ ﺋﻲ ﺣﺴﻴﻦ ۽ ُﭘﺮاﺛﺮ آﻫﻲ‪ُ .‬ﻫﻦ ﭘﻨﻬـﻨـﺠـﻲ‬
‫ﺳﺮاﺋﻜﻲ ﻛﻼم ۾‪ ،‬ﻧﻪ رﮘﻮ ﺗﺼﻮف ﺟﻲ ﻓﻠﺴﻔﻴﺎﮢﻦ ﻧﻜﺘﻦ ﮐﻲ ﻋﺎم ﻓﻬﻢ اﻧﺪاز ﺳﺎن ﺑـﻴـﺎن‬
‫ﻛﻴﻮ آﻫﻲ‪ ،‬ﭘﺮ ان ۾ ﻣﺼﻮراﮢﻲ ﺷﺎﻋﺮي ۽ ﺷﺎﻋﺮاﮢﻲ‪ ‬ﻣﻨﺼﻮري‪ ‬ﺟـﻮ ﭘـﮡ ﻛـﻤـﺎل ﻛـﻴـﻮ‬
‫آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ﮐﻲ َﭘﺴﻲ ۽ ﭘﮍﻫﻲ ﺳﻨﺪس ﺗﺨﻴﻞ ﺟﻲ ُﻧـﺪرت ۽ ﺟـﻤـﺎﻟـﻴـﺎﺗـﻲ اﺣﺴـﺎس ﺟـﻲ‬
‫ﺗﺎزﮔﻲ‪ ‬ﮐﻲ ﺳﺎراﻫﮡ ﮐﺎن ﺳﻮا‪ ‬رﻫﻲ ﻧﻪ ﭤﻮ ﺳﮕﻬﺠﻲ‪ .‬ﺳﺮاﺋﻜﻲ ﭔﻮﻟﻲ‪ ‬ﺟـﻮ ﻧـﺎﻣـﻮر ﻣـﺤـﻘـﻖ‬
‫ﺻﺪﻳﻖ ﻃﺎﻫﺮ ﺳﭽﻞ ﺟﻲ ﺳﺮاﺋﻜﻲ ﻛﻼم ﺟﻲ ﺧﻮﺑﻴﻦ ۽ ﺧﻮﺑﺼﻮرﺗﻴﻦ ﮐﻲ ﺳﺎراﻫـﻴـﻨـﺪي‪،‬‬
‫رﻗﻢ ﻃﺮاز آﻫﻲ‪“ ،‬ﺳﭽﻞ ﺳﺮﻣﺴﺖ ﺳﺮاﺋﻜﻲ زﺑﺎن ﺟﻲ ﺷﺎﻋﺮي‪ ‬ﺟﻲ آﺳـﻤـﺎن ﺟـﻮ روﺷـﻦ‬
‫ﻣﻴﺪان ﺳﺨﻦ ﺟـﻮ واﺣـﺪ ﺷـﻬـﺴـﻮار آﻫـﻲ‪،‬‬
‫ِ‬ ‫ﺳﺘﺎرو آﻫﻲ‪ ،‬ﺟﻴﻜﻮ ﺳﺮاﺋﻜﻲ ﺷﺎﻋﺮي‪ ‬ﺟﻲ‬
‫ﺟﻨﻬﻦ ﻫﻦ زﺑﺎن ﺟﻲ ﻫﺮ ﺻﻨﻒ ﮐﻲ ﻛﺎﻣﻴﺎﺑﻲ‪ ‬ﺳﺎن ﻧﭝﺎﻳﻮ آﻫﻲ”‪ (5) .‬ﺧﺎص ﻛﺮي ﺳﻨﺪس‬
‫ڏوﻫﻴﮍن ۽ ﻛﺎﻓﻴﻦ ۾ ُﺣﺴﻦ ۽ ﻋﺸﻖ‪ ،‬ﭘﻴﺎر ۽ ﻣﺤﺒﺖ‪ ،‬ﭰﻮڙاﺋﻲ ۽ ﻓﺮاق ﺟﻲ ﺟﻤﺎﻟﻴﺎﺗﻲ اﻇﻬـﺎر‬
‫ﺟﺎ اﺣﺴﺎس ﻣﻮﻫﻴﻨﺪڙ ۽ ﻣﺘﺎﺛﺮ ﻛﻨﺪڙ آﻫﻦ‪.‬‬
‫روز ازل اﺳـﺘـﺎد اﺳـﺎﻧـﻮن‪ ،‬ﻫـﻚ ﺳـﻄـﺮ ﭘـﺮت دي ﭘـﺎڙﻫـﻲ‪،‬‬
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‫ﺳﺎ ﻣﻴﻦ دل دي ﺗﺨﺘـﻲ اﺗـﻲ‪ ،‬ﭼـﺎﻫـﻪ ِوﭼـﻮن ﻟِـﮏ ﭼـﺎڙﻫـﻲ‪،‬‬
‫ﺳﭽﻞ ﻋﺸﻖ ُﭔﮃا ﻧﻪ ﭤﻴﻮي‪ ،‬ﻛﻴﺎ ﺟـﻮ ِﭼـﭩـﻲ ﻫـﻮوي ڏاڙﻫـﻲ‪.‬‬
‫ﺳﭽﻞ ﺳﺮﻣﺴﺖ ﺟﻮ ﺗﺼﻮف ﺟﻲ رﻧﺪي ﻣﺴﻠﻚ ﺳﺎن وڏو ﻣﻮﻫﻪ ﻫـﻮ‪ ،‬اﻧـﻬـﻲ‪ ‬ﻛـﺮي‬
‫ُﻫﻦ ﻓﺮﻳﺪاﻟﺪﻳﻦ ﻋﻄﺎر‪ ،‬ﺷﻤﺲ ﺗﺒﺮﻳﺰي‪ ،‬روﻣﻲ ۽ ﺟﺎﻣﻲ‪ ‬ﺟﻲ ﻓﻜﺮ ۽ ﻓـﻠـﺴـﻔـﻲ ﻣـﺎن ﺧـﻮب‬
‫ُﭘﺮﺟﻬﻴﻮ ۽ ِﭘﺮاﻳﻮ آﻫﻲ‪ .‬ﻫﻮ ﺟﻴﺘﺮو ﻣﺬﻛﻮره ﺷﺎﻋﺮن ﮐﺎن ﻣﺘﺎﺛﺮ آﻫﻲ‪ ،‬اﻳﺘﺮو ﺋﻲ ﭜﭩﺎﺋﻲ ﺟـﻲ‬
‫ﺷﺎﻋﺮي‪ ‬ﺟﻲ ﻛﺠﻬﻪ ﭘﻬﻠﻮﺋﻦ ﮐﺎن ﻣﺮﻏﻮب آﻫﻲ‪ ،‬ﺧﺎص ﻛﺮي ﺳﻨﺪس ﺣـﺐ اﻟـﻮﻃـﻨـﻲ ۽‬
‫ﻓﻄﺮي ﺟﻤﺎﻟﻴﺎت ﺟﻲ ﺳﻠﺴﻠﻲ‪ ‬ﺳﭽﻞ ﺳﻨﺪس ﺗﻤﺎم ﮔﻬﮣﺎ اﺛﺮ ور ﺗﺎ آﻫـﻦ‪ ،‬اﻫـﻮ ﺋـﻲ ﺳـﺒـﺐ‬
‫آﻫﻲ‪ ،‬ﺟﻮ ُﻫﻦ ﺟﻲ ﺷﺎﻋﺮي‪ ‬۾ ِرﻧﺪي‪َ ،‬ﻣﺴﺘﻲ ۽ ﺑﻲ ﺑﺎﻛﻲ ﺑﻪ ﻣﻠﻲ ﭤﻲ‪ ،‬ﺗﻪ ڌرﺗﻲ‪ ‬ﺳﺎن ﻧﻴـﻬـﻦ‬
‫۽ ﻧﺎﺗﻲ ﺟﻮ اﺣﺴﺎس ﺑﻪ ﻧﻈﺮ اﭼﻲ ﭤﻮ‪ .‬ﺳﭽﻞ ﻗﺪرت ﺟﻲ ﺳﺤﺮ ۽ ُﺳـﻨـﺪرﺗـﺎ ﺟـﻮ ﻣـﻌـﺘـﺮف ﺑـﻪ‬
‫آﻫﻲ‪ ،‬ﺗﻪ اﻧﺴﺎﻧﻲ ُﺣﺴﻦ ۽ ﺣﻘﻴﻘﺖ ﺟﻮ ﻣﺸﺘﺎق ﺑﻪ آﻫﻲ‪.‬‬
‫ﭼﺸــﻤــﺎن ﺷــﻮر ﺷــﺮاب ﻣــﺜــﺎﻟــﻲ‪ ،‬ﻏــﻤــﺰي رﻧــﮓ ﮔــﻼﺑــﻲ‪،‬‬
‫ﮔﻬﺘﻦ ﺟﻨﻬﻦ ﻃﺮف ُاﺗﻲ‪ ،‬ﺗﻨﻬﻦ ﻃﺮف ﭤِﻴﻮي ﺑـﻴـﺘـﺎﺑـﻲ‪،‬‬ ‫ﻧﻈﺮ َ‬
‫ﻣﺸــﺘــﺎﻗــﺎن دي دﻟــﻴــﺎن ڏﻫــﻮن‪َ ،‬‬
‫ﻛــﺮدﻳــﺎن ﺷــﻴــﺮ ﺷــﺘــﺎﺑــﻲ‪،‬‬
‫َﺳــﭩــﻦ َﺟــﻬــﭩــﻦ ﺗــﻲ ﭘــﭧ ﮐــﺎون ‘ﭼــﻞ’ ﻋــﻴــﻦ ﻋــﺬاﺑــﻲ‪.‬‬
‫ادﻳﺐ ۽ ﺷﺎﻋﺮ ﭘﻨﻬﻨﺠﻲ ﺳﻤﺎج ﺟﻲ ﻣﺠﻤﻮﻋﻲ ﺟﻴﻮت ﺟﻮ ﺳﮕﻬﺎرو ﻋﻜﺲ‪ ،‬آواز ۽‬
‫زﻧﺪﻫﻪ ﺿﻤﻴﺮ ﭤﻴﻨﺪا آﻫﻦ‪ .‬اﻧﻬﻦ ﺟﻲ وﺳﻴﻊ ﻧﻈﺮي‪ ،‬ﻓﻜﺮي داﻧﺶ‪ ،‬ﺳﻤﺎﺟﻲ ُﺳﺮت‪ ،‬ﻋﻤﻠﻲ‬
‫ﺑﻲ ڊﭘﺎﺋﻲ ۽ ﺳﻨﺪن اﻋﻠﻰ ﺗﺨﻠﻴﻘﻲ ﻛﺎوﺷﻮن ﺋﻲ ﻫﻮﻧﺪﻳﻮن آﻫﻦ‪ ،‬ﺟﻴﻜﻲ زﻧﺪﮔﻲ‪ ‬ﺟﺎ ﻗﺪر‬
‫ﻃﺌﻲ ﻛﻨﺪﻳﻮن آﻫﻦ‪ .‬ﻫﻮ ﻓﻜﺮي ﺟﺮﺋﺖ ۽ ﺟﻮان َﻣﺮدي‪ ‬ﺳﺎن ﻧﻪ رﮘﻮ ﺳﻤﺎج دﺷﻤﻨﻦ‪َ ،‬اﻣﻦ‬
‫۽ َاﺧﻮت ﺟﻲ وﻳﺮﻳﻦ ۽ ﭘﻴﺎر ﺟﻲ ُﻣﻨﻜﺮن ﺳﺎن َﭨﻜﺮ ﮐﺎﺋﻴﻨﺪا آﻫﻦ‪ ،‬ﭘﺮ ﻣﺬﻫﺒﻲ ﻣﻨﺎﻓﺮت‪،‬‬
‫‪45‬‬ ‫ﻣﻮﺟﻮه دور ۾ ﺳﭽﻞ ﺟﻲ ﻓﻜﺮ ۽ ﻓﻠﺴﻔﻲ ﺟﻲ اﻫﻤﻴﺖ ۽ اﻓﺎدﻳﺖ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻓﺮﻗﻲ ﭘﺮﺳﺘﻲ‪ ،‬ﻃﺒﻘﺎﺗﻲ ۽ ﻧﺴﻠﻲ ﻣﺖ ﭜﻴﺪ ﺟﻲ ﻧﺎﺳﻮرن ﺟﻲ ﺟﺮاﺣﻲ ﻛﺮي‪ ،‬ﻣﺎﮢﻬﻦ ﺟﻲ‬
‫دﻟﻴﻦ ۾ ُاﻧﺲ ۽ اﻧﺴﺎﻧﻴﺖ ﺟﻮ ﺷﻌﻮر ۽ اﺣﺴﺎس ﭘﻴﺪا ﻛﺮڻ ﺟﻲ ﻛﻮﺷﺶ ﻛﻨﺪا آﻫﻦ‪ ،‬۽‬
‫ﺳﭽﻞ اﻫﻮ ﻓﺮض ﺑﺨﻮﺑﻲ ﻧﭝﺎﻳﻮ آﻫﻲ‪.‬‬
‫ﺳﭽﻞ ﺳﺮﻣﺴﺖ ﻧﻪ ﻓﻘﻂ دل ﺟﻲ دﻧﻴﺎ ۽ ان ﺟﻲ رازن ۽ رﻋﻨﺎﺋﻴﻦ ﮐﺎن آﺷﻨﺎ ﻫﻮ‪ ،‬ﭘﺮ ﻫﻮ‬
‫ﭘﻨﻬﻨﺠﻲ ڌرﺗﻲ‪ ،‬ان ﺟﻲ ﻣﺎﮢﻬﻦ ﺟﻲ ڏﮐﻦ ۽ ڏاﮐﮍن ﮐﺎن ﭘﮡ واﻗﻒ ۽ ﺑﺎﺧﺒﺮ ﻫﻮ‪ ،‬اﻧﻬﻲ‪‬‬
‫ﻛﺮي ﻫﻮ ﭘﻨﻬﻨﺠﻲ ﺷﺎﻋﺮي‪ ‬۾ ﺗﺼﻮف ﺟﻲ روﺣﺎﻧﻲ رﻣﺰن ۽ ﻣﻨﺰﻟﻦ ﺟﻲ ُاﭘﭩﺎر ﺳﺎن ﮔﮇوﮔﮇ‬
‫ڌرﺗﻲ ۽ ڌرﺗﻲ‪ ‬واﺳﻴﻦ ﺟﻲ ُﺳﮏ‪ُ ،‬ﺳﻜﻮن ۽ ﺳﻼﻣﺘﻲ‪ ‬ﻻ‪ ‬ﭘﮡ دﻋﺎﮔﻮ آﻫﻲ‪.‬‬
‫واﻟـــــﻲ وﺳـــــﺎﺋـــــﻴـــــﺞ! دردﻣـــــﻨـــــﺪي‪ ‬ﺟـــــﻮ دﻳـــــﺲ‪،‬‬
‫ﭘـــــﺮﻳـــــﻦ ﻣـــــﻮن ﭘـــــﺮدﻳـــــﺲ‪ُ ،‬اﭠـــــﻲ اﻳـــــﻨـــــﺪم اوڏڙا!‬
‫ﺳﭽﻞ ﻛﻠﻬﻮڙن ﺟﻲ اﻳﺎم ﻛﺎري‪ ‬۽ ﭨﺎﻟﭙﺮن ﺟﻲ ﺻﺎﺣﺒﻲ‪ ‬واري دؤر ۾ ﭘﻴﺪا ﭤﻴﻮ‪.‬‬
‫ﻫﻦ ﭔﻨﻬﻲ ﺣﻜﻤﺮاﻧﻦ ﺟﻲ دؤرن ﮐﻲ ڏﭠﻮ‪ُ .‬ﻫﻦ ﺳﻨﮅ ﺟﻲ ﺧﻮﺷﺤﺎﻟﻲ‪ ‬ﺟﺎ ﻛﺠﻬﻪ ڏﻳﻨﻬﻦ ﺑﻪ‬
‫ڏﭠﺎ‪ ،‬ﺗﻪ ُان ﺗﻲ آﻳﻞ ڏﮐﻴﻦ ڏﻳﻨﻬﻦ ﺟﻮ ﻣﺸﺎﻫﺪو ﺑﻪ ﻛﻴﻮ‪ .‬ﺣﻜﻤﺮاﻧﻦ ﺟﻲ ﺧﻮد ﻏﺮض‬
‫ﻧﻔﺴﻴﺎت ۽ ﭔﺎﻫﺮﻳﻦ ﺣﻤﻼ آورن ﺟﻲ ﻇﻠﻢ ۽ ﺑﺮﺑﺮﻳﺖ ﮐﻲ ﻫﻦ ﭘﻨﻬﻨﺠﻦ اﮐﻴﻦ ﺳﺎن ڏﭠﻮ‪ .‬ﺳﻨﮅ‬
‫ﺗﻲ ﻧﺎدر ﺷﺎﻫﻪ ﺟﻲ ﭼﮍﻫﺎﺋﻲ وﻗﺖ ﻫﻦ ﺑﺎﻏﻲ ﺷﺎﻋﺮ اک ﮐﻮﻟﻲ ۽ اﻧﮕﺮﻳﺰن ﺟﻲ اﻗﺘﺪار ﮐﺎن ‪15‬‬
‫ﺳﺎل ﭘﻬﺮﻳﺎن ‪ 14‬رﻣﻀﺎن ‪1242‬ﻫﻪ‪1739 ،‬ع ﺗﻲ ﺳﻨﺪس ﻻڏاﮢﻮ ﭤﻴﻮ‪ُ .‬ﻫﻦ ﺟﻨﻬﻦ دؤر ۾ ﺟﻨﻢ‬
‫ورﺗﻮ‪ ،‬اﻫﻮ ﺳﻴﺎﺳﻲ ﺗﻮڙي ﻣﺬﻫﺒﻲ ﺣﻮاﻟﻲ ﺳﺎن اﻧﺘﺸﺎر‪ ،‬اﻓﺮاﺗﻔﺮي ۽ ﻓﻜﺮي ﺗﻀﺎدن ﺟﻮ دؤر‬
‫ﻫﻮ‪ .‬ﻫﻚ ﭘﺎﺳﻲ ڌرﺗﻲ‪ ‬ﻣﭥﺎن ڌارﻳﻦ ﺟﻮن ﻳﻠﻐﺎرون ﻫﻴﻮن‪ ،‬ﻧﺎدر ﺷﺎﻫﻪ ﺳﻨﮅ ﺗﻲ ﻛﺎﻫﻪ‬
‫ﻛﺮي‪ ،‬ان ﮐﻲ ُﻟﭩﻲ‪ ،‬ﭰﺮي ۽ ﻣﺎﮢﻬﻦ ﮐﻲ ﺑﻴﮕﻨﺎﻫﻪ ﻗﺘﻞ ﻛﺮي رﻫﻴﻮ ﻫﻮ‪ ،‬ﺗﻪ ﭔﻲ ﻃﺮف‬
‫ﺣﺎﻛﻢ‪ُ ،‬ﻟﭩﻴﺮن ۽ ﭰﻮرن ﮐﻲ َڏ ُن ڏﺋﻲ‪ ،‬ﭘﻨﻬﻨﺠﻲ ﺟﺎن ﺑﭽﺎﺋﮡ ۾ ﭘﻮرا ﻫﺌﺎ‪ .‬ﻋﺎم ﻣﺎﮢﻬﻮ ﺟﺒﺮ ۽‬
‫َ‬
‫اﺳﺘﺒﺪاد ﺟﻲ ﭔﻦ ُﭘﮍن ۾ ﭘﻴﺴﺠﻲ رﻫﻴﻮ ﻫﻮ‪ .‬ﺳﻴﺎﺳﻲ‪ ،‬ﺳﻤﺎﺟﻲ‪ ،‬ﺛﻘﺎﻓﺘﻲ ۽ ذﻫﻨﻲ ﻃﻮر ﺗﻲ‬
‫ﻣﺎﮢﻬﻮ ﻋﺠﻴﺐ ﭨﻮڙ ﭰﻮڙ ﺟﻮ ﺷﻜﺎر ﻫﺌﺎ‪.‬‬
‫ان ﺣﻮاﻟﻲ ﺳﺎن ڊاﻛﭩﺮ ﻗﺎﺳﻢ ﭔﮕﻬﻴﻮ ﭘﻨﻬﻨﺠﻲ ﻫﻚ ﻣﻘﺎﻟﻲ ۾ ﻟﮑﻲ ﭤﻮ‪“ ،‬ﺳﭽﻞ ﺟﻮ‬
‫ﺳﻤﻮرو دؤر ﺳﻴﺎﺳﻲ ۽ ﺳﻤﺎﺟﻲ ﮀﻜﺘﺎڻ ﺟﻮ دؤر رﻫﻴﻮ‪ .‬ﻛﻠﻬﻮڙا ۽ ﭨﺎﻟﭙﻮر ﺣﺎﻛﻢ ﺑﭽﺎ‪ ‬۽ ﺑﻘﺎ‬
‫ﺟﻲ ﺟﻨﮓ ۾ ﻫﺮ وﻗﺖ ﻣﺼﺮوف رﻫﻴﺎ‪ .‬ڌارﻳﻦ ﺟﻲ ﻛﺎﻫﻦ ۽ ﺳﺎزﺷﻦ ﺟﻮ ڊپ ﻫﺮ وﻗﺖ ﮐﻴﻦ‬
‫رﻫﻴﻮ‪....‬اﻧﻬﻲ‪ ‬ﺋﻲ دور ۾ ﺳﻨﮅ ۾ ﻣﺬﻫﺒﻲ ﺟﻨﻮن ﺑﻪ وڌﻳﻮ ۽ ڌارﻳﻦ ﻃﺮﻓﺎن ﻣﺬﻫﺐ ﮐﻲ ﺳﻴﺎﺳﻲ‬
‫ﻫﭥﻴﺎر ﻃﻮر اﺳﺘﻌﻤﺎل ﻛﻴﻮ وﻳﻮ‪ .‬ﻣﻘﺎﻣﻲ ﻣﺬﻫﺒﻲ ﺟﻨﻮﻧﻴﻦ ﺳﺎن ﻣﻠﻲ ‘ ُﻣﻼازم’ ﺟﻮ ﭘﺮﭼﺎر ﻛﻴﻮ‬
‫وﻳﻮ‪ ،‬ﭘﺮ اﺳﺎن ﺟﻲ ﺷﺎﻋﺮن )۽ ﭔﻴﻦ ﺑﺎﺷﻌﻮر ﻣﺎﮢﻬﻦ( اﻧﻬﻲ‪ ‬ﻣﺬﻫﺒﻲ ﻛﭩﺮﭘﮣﻲ ﺟﻮ ﺷﻜﺎر ﻧﻪ‬
‫ﭤﻴﻨﺪي ﺗﺼﻮف ﺟﻲ واٽ ورﺗﻲ‪ ،‬ﺟﻨﻬﻦ ذرﻳﻌﻲ اﻣﻦ‪ ،‬آﺷﺘﻲ‪ ،‬ﻣﺤﺒﺖ ۽ ﭘﻴﺎر ﺟﻲ دﻋﻮت‬
‫ڏﻳﻨﺪا رﻫﻴﺎ” )‪.(6‬‬
‫اﻧﻬﻦ ﻣﮍﻧﻲ ﺣﺎﻟﺘﻦ‪ ،‬ﺳﭽﻞ ﺟﻲ ﺣﺴﺎس دل ۽ ﺳﺠﺎڳ ذﻫﻦ ﺗﻲ ﭘﮡ ﮔﮭﺮا اﺛﺮ وڌا ۽ ﻫﻮ‬
‫ﻛﻨﺪ ذﻫﻨﻲ‪ ،‬ﻣﺬﻫﺒﻲ ﻛﭩﺮﭘﮣﻲ‪ ،‬ﻃﺒﻘﺎﺗﻲ وﻳﮁﻦ ۽ ﺳﻤﺎﺟﻲ ﻇﻠﻢ ۽ زﻳﺎدﺗﻦ‬ ‫ان ﺳﻤﺎﺟﻲ ُ‬

‫‪46‬‬ ‫ﻣﻮﺟﻮه دور ۾ ﺳﭽﻞ ﺟﻲ ﻓﻜﺮ ۽ ﻓﻠﺴﻔﻲ ﺟﻲ اﻫﻤﻴﺖ ۽ اﻓﺎدﻳﺖ‬

 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﺧﻼف ﭘﻨﻬﻨﺠﻲ ﺷﺎﻋﺮاﮢﻲ اﻇﻬﺎر ﺟﻮ آواز ﺑﻠﻨﺪ ﻛﻴﻮ‪ ،‬ﺟﻴﻜﻮ ﮔﮭﮣﻦ ﻻ‪ ‬اﻧﺘﻬﺎﺋﻲ ڏﮐﻴﻮ ﻫﻮ‬
‫۽ ﮐﻴﻦ ﻧﺎﮔﻮار ﮔﺬرﻳﻮ‪ ،‬ﭘﺮ ﺳﭽﻞ اﻻﻋﻼن ﭼﻴﻮ‪:‬‬
‫ﺳـــﭻ ﭤـــﺎ ﻣـــﺮد ﭼـــﻮن‪ ،‬ﻛـــﻨـــﻬـــﻦ ﮐـــﻲ وﮢـــﻲ ﻧـــﻪ وﮢـــﻲ‪،‬‬
‫ﻛــــﻮڙي‪ ‬دوﺳــــﺘــــﻲ‪ ‬ﺟــــﻮ دم‪ ،‬ﺑــــﮣــــﻲ ﻧــــﻪ ﺑــــﮣــــﻲ!‬
‫ﻧﺘﻴﺠﻲ ۾ ﺳﭽﻞ ﺟﻲ ‘ﺳﭽﺎﺋﻲ ۽ ﺳﺮﻣﺴﺘﻲ‪ ،‬ﺑـﻲ ﺑـﺎﻛـﻲ ۽ ﺑـﻠـﻨـﺪ ﺧـﻴـﺎﻟـﻲ‪ ’‬ﺗـﻲ‬
‫ُﻣﻼﺋﻴﺖ ﻛﻔﺮ ﺟﻮن ﻓﺘﻮاﺋﻮن ﻣﮍﻫﻲ ﮐﻴﺲ ﻣﺎرڻ ۽ ﻗﺘﻞ ﻛﺮڻ ﺟﻮن ﺳﺎزﺷﻮن ﺑﻪ ِﺳﭩﻴﻮن‪ ،‬ﭘـﺮ‬
‫ﻫﻦ ﺑﻬﺎدر ۽ ﻣﻨﺼﻮر ﻣﮍس ﺟﻮ وار ﺑﻪ وﻧﮕﻮ ﻧﻪ ﻛﺮي ﺳﮕﻬﻴﺎ‪ .‬ﺳﭽﻞ‪ ،‬ﺟﻨﻬﻦ ﺳﺮﻣﺴﺘـﻲ‪ ‬ﺟـﻮ‬
‫ﺟﺎم ﭘﻲ‪ ،‬ﺣﻖ ﺟﻲ راﻫﻪ ﺗﻲ ﻧﻜﺘﻮ ﻫﻮ‪ ،‬ان ﺗﻲ ﭘﻮﻳﺎن ﺟﻴﺘﺮا ﺳﻨـﺪس وﻳـﺮي ﻫـﺌـﺎ‪ ،‬ان ﮐـﺎن‬
‫وڌﻳﻚ ﺳﻨﺪس واﻫﺮو ﺑﻪ ﻣﻮﺟﻮد ﻫﺌﺎ‪ ،‬ﺟﻦ ﻫﺮ وک ﺗﻲ ﺳﺎٿ ڏﺋﻲ ﺳﻨﺪس وﻳﺮﻳﻦ ۽ دﺷـﻤـﻨـﻦ‬
‫ﮐﻲ دﻳﻮار ﺳﺎن ﭤﻲ ﻟﮙﺎﻳﻮ‪ .‬وڏي ﮘﺎﻟﻬﻪ ﺗﻪ ﺳﭽﻞ‪ ،‬ﺟﻨﻬﻦ ‘ﺳﭻ’ ﺟﻲ ﭘﭽـﺎر ﭤـﻲ ﻛـﺌـﻲ‪ ،‬اﻫـﻮ‬
‫‘ﺳﭻ’ ﺋﻲ ﺳﻨﺪس وڏو ڏڍ ۽ آﭤﺖ ﻫﻮ‪ .‬ﺳﭽﻞ ﺳـﺮﻣﺴـﺖ ﻣـﺎﮢـﻬـﻦ ﺳـﺎن ﺟـﻴـﻜـﻲ اﻧـﻴـﻚ‬
‫ﻧﺎاﻧﺼﺎﻓﻴﻮن َﭘﺴﻴﻮن‪ .‬ﺳﻴﺎﺳﻲ ۽ ﺳﻤﺎﺟﻲ اﺳﺘـﺤـﺼـﺎل ﮐـﺎن وﭠـﻲ ﻣـﺬﻫـﺐ ﺟـﻲ ﻧـﺎﻟـﻲ ۾‬
‫ﻣﻨﺎﻓﻘﻴﻮن ۽ َﻣﻜﺎرﻳﻮن ڏﭠﻴﻮن‪ ،‬اﻧﻬﻦ ﺣﺎﻟﺘﻦ ﺳﺎن ﺑﻐﺎوت ﻛﺮڻ ﺟﻮ‪ ،‬ﻧﻪ رﮘﻮ ﻫﻦ ۾ ﻫﻤـﭣ ۽‬
‫ﺣﻮﺻﻠﻮ ﭘﻴﺪا ﻛﻴﻮ‪ ،‬ﭘﺮ ﮐﻴﺲ ﺳﭛ ﻻﮘﺎﭘﺎ ﻻﻫﻲ ‘ﻣﻨﺼﻮري راﻫﻪ’ ﺗﻲ ﭘﮡ ﮔﺎﻣﺰن ﻛﻴﻮ‪ .‬اﻫـﺎ‬
‫راﻫﻪ ﺟﻨﻬﻦ ۾ ﻣﻮت‪ ،‬ﻣﺤﺒﻮب ﺟﻲ وﺻﻞ ﺟﻴﺎن ۽ ﺟﻴﺎﭘﻮ‪ ،‬ﻣﺴﻠﺴﻞ ﺟﺎﮐﻮڙ ۽ ﺟﺴﺘﺠﻮ‪ ‬واﻧﮕﺮ‬
‫ﻫﻮﻧﺪو آﻫﻲ‪.‬‬
‫ﻣــﺎر ﻧــﻐــﺎرا اﻧــﺎاﻟــﺤــﻖ دا‪ ،‬ﺳــﻮﻟــﻲ ﺳــﺮ ﭼــﮍﻫــﻴــﺠــﻲ‪،‬‬
‫ِ‬
‫ﺳﻮﺋﻲ ﻛﻢ ﻛـﺮﻳـﺠـﻲ‪ ،‬ﺟـﻨـﻬـﻦ وچ ا� آپ ﺑـﮣـﻴـﺠـﻲ‪.‬‬
‫“ﺗﺼﻮف ﺟﻲ ورق ﮔﺮداﻧﻲ‪ ‬ﮐﺎن ﭘﻮ‪ ‬ﻣﻌﻠﻮم ﭤﺌﻲ ﭤﻮ ﺗﻪ ﻣﻨﺼﻮر ﺟﻲ ﺷﻬﺎدت ﮐﺎن ﭘﻮ‪‬‬
‫اﺳﻼﻣﻲ دﻧﻴﺎ ۾ اﻫﮍو ا� ﺟﻲ ﻋﺸﻖ ﺳﺎن ﺳﺮﺷﺎر‪ ،‬ﺑﻲ ڊﭘﻴﻮ ۽ ﻫﻤﭣ ﭜﺮﻳﻮ ﺻﻮﻓﻲ ﺳﻮا‪ ‬ﺳﭽﻞ‬
‫ﺳﺮﻣﺴﺖ ﺟﻲ ﭘﻴﺪا ﻧﻪ ﭤﻴﻮ آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ﻣﻨﺼﻮر واري ﺟﺬﺑﻲ‪ ،‬ﻣﺪﻫﻮﺷﻲ ۽ ﺑﻲ ﺑﺎﻛﻲ‪ ‬ﺳﺎن‬
‫‘اﻧﺎاﻟﺤﻖ’ ﺟﻮ ﻧﻌﺮو ﻫﻨﻴﻮ ﻫﺠﻲ” )‪.(7‬‬
‫ﺳﭽﻞ ﭘﻨﻬﻨﺠﻲ ﻋﻤﻞ‪ ،‬اﺣﺴﺎس ﺗﻮڙي ﺷﺎﻋﺮي‪ ‬۾‪ ،‬ﻣﻨﺼﻮر َﺣﻼج ﺟﻲ وﺣﺪت‬
‫اﻟﻮﺟﻮدي ﻓﻜﺮ ۽ ﻓﻠﺴﻔﻲ ﮐﺎن ﺗﻤﺎم ﮔﮭﮣﻮ ﻣﺘﺎﺛﺮ آﻫﻲ‪ .‬ﺣﻼج اﻧﺴﺎن ۾ ﺧﺪا ﺟﻲ ﺣﻠﻮل ﺟﻮ‬
‫ﻗﺎﺋﻞ ﻫﻮ ۽ ﺳﭽﻞ ﭘﮡ ﺳﺎﮘﻲ ﺧﻴﺎل ۽ اﺣﺴﺎس ﺟﻮ ﺣﺎﻣﻲ آﻫﻲ‪ ،‬اﻧﻬﻲ‪ ‬ﻛﺮي ﺋﻲ ﭼﻮي ﭤﻮ‪:‬‬
‫آﻫﻴﺎن آ‪ ‬اﺳﺮار‪ ،‬ﭜﻴـﻨـﺮ! ﻣـﻮن ﮐـﻲ ﻛـﻴـﺮ ﭤـﻴـﻮن ﭜـﺎﻧـﻴـﻮ‪،‬‬
‫ﻧــــﻮري ﻧــــﺎري ﻧــــﺎﻫــــﻴــــﺎن‪ ،‬آﻫــــﻴــــﺎن رب ﺟــــﺒــــﺎر‪.‬‬
‫ﺣﺴﻴﻦ ﺑﻦ ﻣﻨﺼﻮر ﺣﻼج اﻳﺮان ﺟﻲ ﻣﺸﻬﻮر ﺷﻬﺮ ﺷﻴﺮاز ﺟﻲ ﻫﻚ ﮘﻮٺ ‘ﻃﻮر’ ۾‬
‫ﻛﭙﻬﻪ ﺗﺎﮢﮡ ﺟﻮ ﻛﻢ ﻛﻨﺪڙ ﻫﻚ ﭘﻮرﻫﻴﺖ ﺟﻲ ﮔﻬﺮ ۾ ‪857‬ع ۾ ﭘﻴﺪا ﭤﻴﻮ‪ .‬ﭘﻲ‪ ‬ﺟﻲ ﭘﻴﺸﻲ‬
‫ﺳﺒﺐ ﮐﻴﺲ ‘ َﺣﻼج’ ﺟﻲ ﻧﺎﻟﻲ ﺳﺎن ُﺳﭹﺎﮢﭗ ﻣﻠﻲ‪ ،‬ﭘﺮ ‘اﻧﺎاﻟﺤﻖ’ ﺟﻮ اﻇﻬﺎر ﻛﺮڻ ﺗﻲ‪،‬‬
‫‪47‬‬ ‫ﻣﻮﺟﻮه دور ۾ ﺳﭽﻞ ﺟﻲ ﻓﻜﺮ ۽ ﻓﻠﺴﻔﻲ ﺟﻲ اﻫﻤﻴﺖ ۽ اﻓﺎدﻳﺖ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻇﺎﻫﺮﺑﻴﻦ ُﻣﻠﻦ ۽ ﻣﻔﺘﻴﻦ ‪309‬ﻫﻪ ۾ ﻫﻦ ﺗﻲ ﻛﻔﺮ ﺟﻮ ﻣﻘﺪﻣﻮ َﻣﮍﻫﻲ ﮐﻴﺲ ﻗﺘﻞ ﻛﺮڻ ﺟﻲ‬
‫ﻓﺘﻮى ڏﻧﻲ ۽ ان ‘ﻣﻮت’ ﺋﻲ ‘زﻧﺪﮔﻲ’ ﺑﮣﺠﻲ‪ ،‬ﺳﺎري دﻧﻴﺎ ۾ ﮐﻴﺲ ﻧﻪ رﮘﻮ ﻣﺸﻬﻮر ﻛﻴﻮ‪ ،‬ﭘﺮ‬
‫زﻧﺪﻫﻪ ۽ َاﻣﺮ ﻛﺮي ﮀﮇﻳﻮ‪ .‬ﻋﺮﺑﻲ‪ ‬۾ ﺣﻼج ﻟﻔﻆ ﺟﻲ ﻣﻌﻨﻰ ‘ﺣﻖ ﺟﻲ راﻫﻪ ﺗﻲ ﻫﻠﻨﺪڙ ﻳﺎ ﺣﻖ‬
‫ﮐﻲ ﺣﺎﺻﻞ ﻛﻨﺪڙ’ آﻫﻲ‪ ،‬ﭔﻴﻦ ﻟﻔﻈﻦ ۾ ﺣﻖ ﮔﻮﺋﻲ ۽ ﺳﭽﺎﺋﻲ‪ ‬ﺳﺒﺐ ﮐﻴﺲ ‘ﺣﻼج’ ﻛﻮﭠﻴﻮ‬
‫وﻳﻮ‪ .‬ﺳﭽﻞ‪ ،‬ﻣﻨﺼﻮر ﺟﻲ ﺳﭽﺎﺋﻲ‪ ،‬ﺑﻲ ﺑﺎﻛﻲ ۽ ﻣﻮت ﺳﺎن ﺛﺎﺑﺖ ﻗﺪﻣﻲ ﺳﺎن ُﻣﻨﻬﻦ ﻣﻘﺎﺑﻞ‬
‫ﭤﻴﮡ واري ﺟﺮﺋﺖ ۽ ﺟﻮاﻧﻤﺮدي‪ ‬ﮐﺎن ﮔﮭﮣﻮ ﻣﺮﻏﻮب آﻫﻲ‪ ،‬اﻫﻮ ﺋﻲ ﺳﺒﺐ آﻫﻲ‪ ،‬ﺟﻮ ﺳﭽﻞ‬
‫ﻛﮁﻲ ﻛﺎﻓﺮ ﭤﻴﮡ ﮐﻲ اوﻟﻴﺖ ۽ اﻫﻤﻴﺖ ڏﻧﻲ آﻫﻲ‪.‬‬ ‫ُﻣﮍي ﻣﺸﺮڪ ﭤﻴﮡ ﺑﺪران ﻫﻤﻴﺸﻪ ُ‬
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‫ﻛــــﮁــــﺎن ﺗــــﺎن ﻛــــﺎﻓــــﺮ‪ُ ،‬ﻣــــﮍان ﺗــــﺎن ُﻣﺸــــﺮڪ‪،‬‬
‫اﻧــﻬــﻲ واﺋــﻲ‪ ‬ور‪ ،‬ﻛــﻮ ﺳــﻤــﺠــﮭــﻲ ﺳــﭽــﻴــﮇﻧــﻮ ﭼــﻮي!‬
‫ﺳﭽﻞ‪ ،‬ﻣﻨﺼﻮر َﺣﻼج ﮐﻲ ﻓﻜﺮي‪ ،‬ﻋﻤﻠﻲ ۽ اﺣﺴﺎﺳﺎﺗﻲ ﻃﺮح ﻧﻪ رﮘﻮ ﭘﻴﺮ و ﻣﺮﺷﺪ‬
‫ﻗﺒﻮل ﻛﺮي ﭤﻮ‪ ،‬ﭘﺮ ﺳﻨﺪس واٽ ﺗﻲ ﻫﻠﻲ ﺳﺮﻫﺎﺋﻲ‪ ‬ﺳﺎن ﺳﺮ ڏﻳﮡ ﮐﻲ ﺳﻨﺖ ۽ ﭘﻨﻬﻨﺠﻲ‬
‫ﺳﻌﺎدت ﺳﻤﺠﻬﻲ ﭤﻮ‪.‬‬
‫ﺟــﻨــﻬــﻦ دل ﭘــﻴــﺘــﺎ ﻋﺸــﻖ دا ﺟــﺎم‪،‬‬
‫ﺳــــﺎ دل ﻣﺴــــﺘــــﻮن ﻣﺴــــﺖ ﻣــــﺪام‪،‬‬
‫ﺳــﻮﻟــﻲ ﺗــﻲ ﻣــﻨــﺼــﻮر ﭼــﮍﻫــﺎﻳــﺌــﻲ‪،‬‬
‫اﻧـــــــــﺎاﻟـــــــــﺤـــــــــﻖ ﻛـــــــــﻼم‪.‬‬
‫ﺻﻮﻓﻲ ازم ﺟﻮ ﺑﻨﻴﺎدي ﻣﻘﺼﺪ‪ ،‬اﻧﺴﺎن ذات ﺳﺎن ﻣﺤﺒﺖ ۽ ان ﺟﻲ ﻓﻼح ۽ ﭜﻼﺋﻲ‬
‫ﺗﺎﻟﻴﻒ‬
‫ِ‬ ‫رﻫﻴﻮ آﻫﻲ‪ .‬ﺳﻨﮅ ۾ وﺣﺪت اﻟﻮﺟﻮدي ﺻﻮﻓﻴﻦ ۽ ﺷﺎﻋﺮن ﭘﻨﻬﻨﺠﻲ درس ﮐﻲ ﻓﻘﻂ ‘‬
‫ﺗﺪرﻳﺲ ذات’ ﺗﺎﺋﻴﻦ ﻛﮇﻫﻦ ﺑﻪ ﻣﺤﺪود ﻧﻪ رﮐﻴﻮ آﻫﻲ‪ ،‬ﭘﺮ اﻧﻬﻦ ﺳﺪاﺋﻴﻦ ﻣﺎﮢﻬﻦ ﺟﻲ‬ ‫ِ‬ ‫ﻗﻠﺐ ۽‬
‫زﻧﺪﮔﻲ‪ ‬ﺟﻲ ﻣﺎﻣﺮن ۽ ﻣﺴﺌﻠﻦ ﺗﻲ ﻏﻮر ۽ ﻓﻜﺮ ﻛﺮڻ ﮐﺎن ﻋﻼوه رﻳﺎﺳﺘﻲ ﺟﺒﺮ ۽‬
‫ﺟﺎﮔﻴﺮداري ﺧﻼف ﻋﻤﻠﻲ ﻃﻮر ﺟﺎﮐﻮڙﻳﻮ ۽ ﺟﮭﻴﮍﻳﻮ ﺑﻪ آﻫﻲ‪.‬‬
‫ﺟــﻮﮘــﻦ اوري ﺟــﻮ‪ ،‬ﺟــﻲ ﻟــﻮﻛــﺎن ﻻل ﻟِــﻜــﻲ وﻳــﺎ‪،‬‬
‫ﻻﻫـــﻮﺗــــﻲ ﻟـــﻨــــﮕـــﮭــــﻲ وﭸــــﻲ‪ ،‬ﺣـــﺮ ﭘـــﻴــــﺎ ۾ ﻫــــﻮ‪،‬‬
‫راﺳـــﺦ روﺑـــﺮو‪ ،‬وﭸـــﻲ ﻧـــﺎﻣـــﻴـــﺎ ﭤـــﻴـــﺎ ﻧـــﺎڦ ﺟـــﻲ!‬
‫ﺳﭽﻞ ﺳﺮﻣﺴﺖ ﺟﻲ ﺷﺎﻋﺮي‪ ،‬ﺟﻴﺌﻦ ﺗﻪ ﻫﻚ ﺳﺮﻣﺴﺖ دل ﺟﻲ ﺳﺮﮔﻮﺷﻲ ۽ ﻫﻚ‬
‫ﺳﺮﻛﺶ روح ﺟﻮ ﺳﮇ ۽ ﭘﮍاڏو آﻫﻲ‪ ،‬اﻧﻬﻲ‪ ‬ﻛﺮي ان ﺟﻲ ﮔﮭﺮاﺋﻲ‪ ‬ﻣﺎن ﻣﻘﺼﺪ ۽ ﻣﻄﻠﺐ‬
‫ﺟﺎ ﮔﻮﻫﺮ ﺣﺎﺻﻞ ﻛﺮڻ ﻻ‪ُ ‬ﺳﭽﻴﺖ ذﻫﻦ ۽ ُﭘﺮدﻳﺪ دل درﻛﺎر آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ﮐﺎن ﺳﻮا‪‘ ‬ﺳﭻ‬
‫۽ ﺳﭽﻞ’ ﮐﻲ ﺳﻤﺠﮭﮡ ﻧﺎﻣﻤﻜﻦ آﻫﻲ‪.‬‬
‫ُﻣــﻨــﻬــﻦ ﻣــﺤــﺮاب ﻣــﺤــﺒــﻮب ﺟــﻮ‪ ،‬ﺟــﺎﻣــﻊ ﺳــﭛ ﺟــﮭــﺎن‪،‬‬
‫ت وﻳـــــــﻮ‪ ،‬ﻋـــــــﻘـــــــﻞ ۽ ﻋـــــــﺮﻓـــــــﺎن‪،‬‬ ‫ُ‬ ‫ُ‬
‫اڏاﻣـــــــﻲ ا ِ‬
‫ﺳــﻤــﻮرو ﺳــﺒــﺤــﺎن‪ ،‬ﻛــﻨــﻬــﻦ ﮐــﻲ وﭸــﻲ ﻧــﻴــﺘــﻴــﺎن!‬
‫‪48‬‬ ‫ﻣﻮﺟﻮه دور ۾ ﺳﭽﻞ ﺟﻲ ﻓﻜﺮ ۽ ﻓﻠﺴﻔﻲ ﺟﻲ اﻫﻤﻴﺖ ۽ اﻓﺎدﻳﺖ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬
‫ﭼﻮن ﭤﺎ ﺗﻪ ﺳﭽﻞ ﮐﻲ ﭜﭧ ڌﮢﻲ ﻧﻨﮃي ﻋﻤﺮ ۾ ڏﺳﻲ ﭼﻴﻮ ﻫﻮ‪‘ ،‬اﺳﺎن ﺟﻴﻜﻮ ُ‬
‫ﻛﻨﻮ‬
‫ﭼﺎڙﻫﻴﻮ آﻫﻲ‪ ،‬ان ﺟﻮ ڍﻛﮡ ﻫﻲ ﻧﻴﻨﮕﺮ ﻻﻫﻴﻨﺪو’‪ .‬ﻻﮐﻴﮣﻲ ﻟﻄﻴﻒ ﺟﻲ اﻫﺎ ﭘﻴﺸﻦ ﮔﻮﺋﻲ‪،‬‬
‫اﮘﺘﻲ ﻫﻠﻲ ﺳﭻ ﺛﺎﺑﺖ ﭤﻲ ۽ ﺳﭽﻞ ﻧﻪ رﮘﻮ ﺗﺼﻮف ﺟﻲ دﻣﻴﻞ دﻳﮗ ﺟﻮ ڍﻛﮡ ﻻﭤﻮ‪ ،‬ﭘﺮ ان ۾‬
‫ﻣﻮﺟﻮد ﺻﻮﻓﻴﺎﮢﻲ رازن ۽ رﻣﺰن ﮐﻲ ﭘﮡ ﻋﺎم ﻣﺎﮢﻬﻦ ﺳﺎن وﻧﮉﻳﻮ ۽ ورﻫﺎﻳﻮ آﻫﻲ‪ .‬ﭜﭩﺎﺋﻲ‪ ‬ﺟﻲ‬
‫ﺷﺎﻋﺮي ۾ ﺳﻤﻨﮉ ﺟﮭﮍي ﮔﮭﺮاﺋﻲ ۽ ﭼﺎﻧﮉوﻛﻲ رات ﺟﮭﮍي ﺳﺎﻧﺖ ۽ ﺳﻨﺪرﺗﺎ آﻫﻲ ۽ ﺳﭽﻞ‬
‫ﺟﻲ ﺷﺎﻋﺮي‪ ‬۾ ﺳﻤﻨﮉ ﺟﮭﮍي ﺳﺮﻛﺸﻲ ۽ ﺧﻴﺎم ﺟﻲ رﺑﺎﻋﻴﻦ ﺟﮭﮍي رﻧﺪي‪ ،‬ﻣﺴﺘﻲ ۽‬
‫ُﺣﺴﻨﺎﻛﻲ آﻫﻲ‪ .‬ﺳﭽﻞ ﺟﻲ ﺷﺎﻋﺮي‪ ‬۾ ﺳﺮﻣﺴﺘﻲ ۽ ﺑﻲ ﺧﻮدي آﻫﻲ ۽ ﭜﭩﺎﺋﻲ‪ ‬ﺟﻲ‬
‫ﺷﺎﻋﺮي‪ ‬۾ ﻓﻜﺮي ﻧﻔﺎﺳﺖ ۽ ﺟﻤﺎﻟﻴﺎﺗﻲ ﻧﺮﻣﻠﺘﺎ ﻣﻠﻲ ﭤﻲ‪.‬‬
‫ﻛــﻜــﺮ ﻣــﻨــﺠــﻬــﻪ ﻛــﭙــﺎر‪ُ ،‬ﺟــﮭــﮍ ﻧــﻴــﮣــﺌــﻮن ﻧــﻪ ﻟــﻬــﻲ‪،‬‬
‫ﺟــﮭــﮍا ﻣــﻨــﻬــﻨــﺠــﺎ ﺳــﭙــﺮﻳــﻦ‪ ،‬ﺗــﻬــﮍا ﻣــﻴــﮕــﻬــﻪ ﻣــﻠــﻬــﺎر‪،‬‬
‫ﮐــﮡ اﮐــﻴــﻮن ﮐــﻞ ﻳــﺎر‪ ،‬ﺗــﻪ وﭸــﻦ ﺳــﻮر ﺳــﻨــﮅا ﻛــﻴــﻮن‪.‬‬
‫ﺳﭽﻞ ﺟﻲ ﺷﺎﻋﺮي‪‘ ،‬ﺧﻮد ۾ ﺧﺪا ۽ ﺧﺪا ۾ ﺧﻮد ﮐﻲ َﭘﺴﮡ’ ﺟﻮ درس ڏﺋﻲ ﭤﻲ‪ ،‬اﻧﻬﻲ‪‬‬
‫ﻛﺮي ﺋﻲ ﻫﻮ ﻫﻤﻴﺸﻪ ﻛﻨﻬﻦ ﭔﻲ ﺗﻲ اﻧﺤﺼﺎر ﻛﺮڻ ﺑﺪران ﭘﻨﻬﻨﺠﻮ ﭘﺎڻ ﺗﻲ ﭜﺎڙي‪،‬‬
‫ﻣﻨﺼﻮر ﺑﮣﺠﻲ‪ ،‬ﻧﻪ ﻓﻘﻂ ﭘﺎڻ ﻣﻨﺰل ﻣﺎﮢﮡ ﺟﻲ ﮘﺎﻟﻬﻪ ﻛﺮي ﭤﻮ‪ ،‬ﭘﺮ ﭔﻴﻦ ﮐﻲ ﭘﮡ ان ﺗﺎﺋﻴﻦ‬
‫َرﺳﺎﺋﮡ ﺟﻮ ﻋﻬﺪ ۽ اﻗﺮار ﻛﺮي ﭤﻮ‪.‬‬
‫ُ‬
‫ﮔــﮭــﻮٽ‪،‬‬ ‫ــﭷ ﻧــﻪ ُﭴ ُ‬
‫ــﻞ‪ ،‬ﺗــﻮن ﻛــﺮ ﭘــﺎڻ ﮐــﻲ‬ ‫ُﭘــﭡــﻲ‪َ ‬ﭴ َ‬
‫ﻣـــﺮد ﻧـــﻪ ﻫـــﻴـــﺌـــﻴـــﻦ ﻣـ ُ‬
‫ــﻮٽ‪ُ ،‬ﭘـــﭡـــﻲ‪ ‬ﻻﺋـــﻲ َﭴـــﭹـــﮍي!‬
‫ﺳﭽﻞ ﺳﺎﺋﻴﻦ‪ ،‬ﻛﻴﺘﺮن ﺋﻲ اﭴﻮﻛﻦ ﻧﺎم ﻧﻬﺎد ‘ﭘﻮﺷﺎﻛﻲ ۽ ﮔﻮﺷﺎﻛﻲ’ ﺻﻮﻓﻴﻦ‬
‫واﻧﮕﺮ ‘ﻟﺒﺎﺳﻲ ۽ ﻟِﺤﺎﻓﻲ’ ﺻﻮﻓﻲ ﻧﻪ ﻫﻮ‪ ،‬ﭘﺮ ان ﺗﺼﻮف ﺟﻮ ﭘﺮﭼﺎرڪ ۽ ﭘﻴﺮوﻛﺎر ﻫﻮ‪،‬‬
‫ﺟﻨﻬﻦ ۾ ‘ﺧﻮدﺷﻨﺎﺳﻲ’ ﺋﻲ ‘ﺧﺪاﺷﻨﺎﺳﻲ’ ﻫﻮﻧﺪي آﻫﻲ‪ .‬ﺟﻨﻬﻦ ۾ ﻇﺎﻫﺮي ﺷﻜﻞ ۽ ﺻﻮرت‬
‫ﺟﻲ ڏﻳﮏ وﻳﮏ ﺟﻲ ﺑﻨﻴﺎد ﺗﻲ‪ ،‬ﻧﻪ ﻛﻮ اﻋﻠﻰ ﻫﻮﻧﺪو آﻫﻲ ۽ ﻧﻪ ﺋﻲ ﻛﻮ ادﻧﻰ‪ .‬ﺟﻨﻬﻦ ۾‬
‫ﺳﮑﮣﻲ زﺑﺎﻧﻲ ﻛﻼﻣﻲ اﻇﻬﺎر ﺳﺎن‪ ،‬ﻧﻪ ﻣﺎﮢﻬﻮ‘ﻣﺴﻠﻤﺎن’ ﺑﮣﺠﻨﺪو آﻫﻲ‪ ،‬ﻧﻪ ﺋﻲ ﻛﻨﻬﻦ اﻧﻜﺎر‬
‫ﺟﻲ اﻇﻬﺎر ﺳﺎن ﻛﻮﺋﻲ‘ﻛﺎﻓﺮ’ ﭤﻴﻨﺪو آﻫﻲ‪‘ ،‬ﻛﺎﻓﺮ ۽ ﻣﻮﻣﻦ’ ﺟﻮ ﺗﻌﻠﻖ ﺗﻪ اﻧﺴﺎن ﺟﻲ‬
‫ﭘﻨﻬﻨﺠﻲ ﻣﻦ ﺟﻲ‪‘ ،‬ﻧﻔﻲ ۽ اﺛﺒﺎت’ ﺟﻲ اﺣﺴﺎس ﺳﺎن ﻫﻮﻧﺪو آﻫﻲ‪ .‬اﻧﺪر ﺟﻮ ﻣ ُ‬
‫ِﻴﺮ ۽ ﻣﻨﺎﻓﻘﻲ‬
‫ﺋﻲ‪ ،‬ﻣﺎﮢﻬﻮ‪ ‬ﮐﻲ ‘ ُﻣﻨﻜﺮ ۽ ُﻣﺸﺮڪ’ ﺑﮣﺎﺋﻴﺪي آﻫﻲ‪ .‬اﻫﻮ اﻧﺪر ﺟﻮ اوﺟﺮ ﺋﻲ ﻫﻮﻧﺪو آﻫﻲ‪،‬‬
‫ﺟﻴﻜﻮ آدﻣﻲ‪ ‬ﮐﻲ ا� ﺳﺎن ﻣﻼﺋﻴﻨﺪو ۽ ان ۾ ﺟﻼﻟﻲ ۽ ﺟﻤﺎﻟﻲ اوﺻﺎف ُاﺟﺎﮔﺮ ﻛﻨﺪي‬
‫آﻫﻲ‪ ،‬ﺗﮇﻫﻦ ﺋﻲ ﺗﻪ ﺳﭽﻞ ﭼﻮي ﭤﻮ‪:‬‬
‫ﻛــﻠــﻤــﻲ ﻣــﻮن ﮐــﻲ ﻛــﻮ ﻧــﻪ ﻛــﻴــﻮ‪ ،‬ﻣــﻮرؤن ﻣﺴــﻠــﻤــﺎن‪،‬‬
‫ﻧــﻜــﻲ اﺣــﻤــﺪ ﻣــﻮﻛــﻠــﻴــﻮ‪ ،‬ﻛــﻮ ﻋــﺮب ﮐــﺎن اﻳــﻤــﺎن‪،‬‬
‫‘ﺳــﭽــﻮ’ ﺳــﻮ ُﺳــﺒــﺤــﺎن‪ ،‬ﭘــﺮ آدﻣــﻴــﻦ ﻟــﻴــﮑــﻲ آدﻣــﻲ‪.‬‬
‫‪49‬‬ ‫ﻣﻮﺟﻮه دور ۾ ﺳﭽﻞ ﺟﻲ ﻓﻜﺮ ۽ ﻓﻠﺴﻔﻲ ﺟﻲ اﻫﻤﻴﺖ ۽ اﻓﺎدﻳﺖ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﺳﭽﻞ ﺳﺮﻣﺴﺖ وٽ ﮐﻮﮐﻠﻲ ڏﻳﮑﺎ‪ ‬۽ ﺧﺎﻟﻲ ﻧﻤﺎ‪ ‬ﺟﻲ ﻛﺎﺋﻲ وﻗﻌﺖ ﻧﻪ آﻫﻲ‪ .‬ﻫﻮ‬
‫ﺻﺪق ۽ اﻳﻤﺎن ﮐﻲ ﺋﻲ ﺳﭛ ﻛﺠﻬﻪ ﺳﻤﺠﻬﻲ ﭤﻮ‪ ،‬اﻧﻬﻲ‪ ‬ﻛﺮي ﺋﻲ اﻧﺪر ﺟﻲ‬ ‫اﻧﺪر ﺟﻲ ِ‬
‫ُاﺟﺮاﺋﻲ ۽ دل ﺟﻲ ﭘﺎﻛﺪاﻣﻨﻲ‪ ‬ﮐﺎن ﺳﻮا‪‘ ‬ﺳﮑﮣﻲ ﻛﻠﻤﻲ ﮔﻮﺋﻲ‪ ’‬ﮐﻲ ‘ﻛﻔﺮ’ ﻣﺘﺮادف‬
‫ﺳﻤﺠﻬﻨﺪي‪ ،‬ﭼﻮي ﭤﻮ‪:‬‬
‫ﻛﻠﻤﻮن ﭘﮍﻫﺎن ﺗﻪ ﻛﺎﻓﺮ ﭤﻴﺎن‪ ،‬ﮔ ِﮭﮍان ﻧـﻪ اﻧـﻬـﻲ‪ ‬ﮔـﮭـﻴـﺮ‪،‬‬
‫ﺟـــﺎڏي راﻫـــﻪ رﺳـــﻮل ﺟـــﻲ‪ ،‬ﺗـــﺎڏي ﭘـــﺎﻳـــﺎن ﻧـــﻪ ﭘـــﻴـــﺮ‪،‬‬
‫ﻣــﻦ ﻣــﺎن ﻛــﮃان ﻧــﻪ ﻣــﻴــﺮ‪ ،‬ﺗــﻪ ﺣﻀــﻮر ﺣــﺎﺻــﻞ ﻧــﻪ ﭤــﺌــﻲ‪.‬‬
‫ﮏ ﻫﻮﻧﺪو ﺗﻪ‪ ،‬اوﺟﺮ ﻧﻈﺮ ﻧﻪ اﻳﻨﺪو‪ ،‬اﺋﻴﻦ ﺋﻲ ﻣﻦ ۾ ‘ﻣﻴﺮ’ ﻫﻮﻧﺪي‪ ،‬ﺗﻪ‬ ‫ﻛ ُ‬ ‫اک ۾ َ‬
‫ﻣﺤﺒﻮﺑﻦ ﺟﻮ ﺣﻀﻮر ﺣﺎﺻﻞ ﭤﻴﮡ ﻣﻤﻜﻦ ﺋﻲ ﻧﻪ آﻫﻲ‪ .‬ﻣﻦ ﻣﺎن ‘ﻣﻴﺮ ۽ ﻏﻴﺮ’ ﻛﮃڻ ﺳﺎن ﺋﻲ‬
‫ﻣﺤﺒﺖ ﺟﻮن ﺳﻤﻮرﻳﻮن ﻣﻨﺰﻟﻮن ﻣﺎﮢﻲ ﺳﮕﻬﺠﻦ ﭤﻴﻮن‪ .‬ﻋﺸﻖ ﺟﻲ ﻧﻤﺎز ﺗﻪ ﺻﺮف ﻟﮍﻛﻦ‬
‫ﺳﺎن وﺿﻮ ﺳﺎري ﺋﻲ ادا ﻛﺮي ﺳﮕﻬﺒﻲ آﻫﻲ‪.‬‬
‫ﺻﻔﺎت ذات ﮐﺎن ﻣﻈﻬ ِﺮ ﻛﺎﺋﻨﺎت ﺟﻲ ﺟﻮڳ ۽ ﺟﺎﭼﻨﺎ ﺟﻮ اﻫﻮ‬ ‫ِ‬ ‫ﺣﻘﻴﻘﺖ ۾ ﺗﺼﻮف‪،‬‬
‫ﺳﻔﺮ آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ۾ دﻣﺎغ ﮐﺎن وڌﻳﻚ دل ﺟﻲ ﻣﺴﺎﻓﺖ ۽ ﻣﺰدوري ﺷﺎﻣﻞ ﻫﻮﻧﺪي آﻫﻲ‪،‬‬
‫ﺟﻨﻬﻦ ۾ ‘ﻣﺤﺒﻮب’ ﮐﻲ ﻣﺎﮢﮡ ﻻ‪ ‬اﮐﻴﻮن ﭘﻴﺮ ﻛﺮي‪ ،‬دوري‪ ‬ﺟﻮ دﺷﺖ ُاﻛﺮﮢﻮ ﭘﻮﻧﺪو آﻫﻲ‪.‬‬
‫ﺟﻨﻬﻦ ۾ رﮘﻮ ﻣﺴﺠﺪ‪ ،‬ﻣﻨﺪر ۽ ﻛﻠﻴﺴﺎ ۾ ﺋﻲ ﺧﺪا ﻧﻪ ﻣﻠﻨﺪو آﻫﻲ‪ ،‬ﭘﺮ ﺗﻦ ﻣﻦ‪ ،‬ﻛﮏ ۽ ﭘﻦ‬
‫۾‪ ،‬اﻧﻬﻲ‪‘ ‬ﭘﺮﻳﻦ‪ ’‬ﺟﻮ ﺟﻠﻮو ۽ ﺟﻤﺎل ﻣﻮﺟﻮد ﻫﻮﻧﺪو آﻫﻲ‪ .‬ﮀﻮ ﺗﻪ ﺧﺪا ﺟﻮ ﮔﻬﺮ دﻳﻮارون ﻧﻪ‪،‬‬
‫ﭘﺮ اﻧﺴﺎن ﺟﻲ دل ﻫﻮﻧﺪي آﻫﻲ‪ ،‬اﻧﻬﻲ‪ ‬ﻛﺮي ﺋﻲ ﺳﭽﻞ ﺳﺎﺋﻴﻦ ﭘﺎڻ ﻓﺮﻣﺎﺋﻲ ﭤﻮ‪:‬‬
‫ﭔﻴﻮ ﻛﻮ ﭴﺎﮢﮡ ﻣﺤﺾ ﮔﻨﺎﻫﻪ‪ ،‬ﻫﺮ ﻛـﻨـﻬـﻦ ﺻـﻮرت آپ ا�‪،‬‬
‫ﻛـــﭥـــﻲ ﮔـــﺪا ﮔـــﺪاﺋـــﻲ واﻻ‪ ،‬ﻛـــﭥـــﻲ ﺷـــﻬـــﻨـــﺸـــﺎﻫـــﻪ‪،‬‬
‫دوﻧــﻬــﺎن ڏﻳــﮏ ﻣــﺘــﺎن ﻛــﻮ ﭜــﻮﻟــﻲ‪ ،‬اوﻟِــﻲ َاﺑــﺮ ﻣــﺎﻫــﻪ‪،‬‬
‫ﺻﻮرت ﻣﻨﺠﻬﻪ ‘ﺳﭽﻮ‪ ’‬ﺟﻲ‪ ،‬ﭔـﻮﻟـﻲ ﭘـﺎڻ ﺋـﻲ ﺑـﻴـﭙـﺮ واﻫـﻪ‪.‬‬
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‫ذات ﺻــﻔـﺎت ﻫِــﻜـﺎﺋــﻲ آﻫـﻲ‪ ،‬ﭜــﻮل ﻧــﻪ وﺟــﻬــﻴــﻦ ﭜــﻮﻟــﻲ‪،‬‬
‫ﺳــﻮﺋــﻲ اﻧــﺪر ﺳــﻮﺋــﻲ ﭔــﺎﻫــﺮ‪ ،‬ﺳــﻮﺋــﻲ ﺗــﻨــﻬــﻨــﺠــﻲ ﭼــﻮﻟــﻲ‪،‬‬
‫ﺗــﻮ ۾‪ ،‬ﻣــﻮن ۾‪ ،‬ﻫــﻦ ۾ ﻫــﺮ ﺟــﺎ‪ ،‬ﺳــﭻ ﺳــﭽــﻞ ﭤــﻮ ﭔــﻮﻟــﻲ‪.‬‬
‫ﺳﭽﻞ ﺳﺎﺋﻴﻦ اﻧﻬﻲ‪ ‬ﺗﺼﻮف ﺟﻲ َرﻧﺪن ۽ ﭘﻨﮅن ﺟﻮ راﻫﻲ ﻫﻮ‪ ،‬ﺟﻨﻬﻦ ۾ ﻣﺬﻫﺒﻲ‬
‫ُﻣﻨﺎﻓﺮت‪ ،‬ﺗﻌﺼﺐ ۽ ﺗﻔﺮﻗﻲ ﺑﺎزي‪ ‬ﺑﺪران ﺑﺮداﺷﺖ‪ ،‬روادري‪َ ،‬اﺧﻮت ۽ ﻣﺤﺒﺖ ﺋﻲ‪ ،‬زﻧﺪﮔﻲ‪‬‬
‫ﺟﻲ اوﻟﻴﻦ ﻋﺒﺎدت ﻫﻮﻧﺪي آﻫﻲ‪ُ .‬ﻫﻦ ﻛﮇﻫﻦ اﺧﺘﻴﺎر ۽ اﻗﺘﺪار ﺟﻲ ﺻﺎﺣﺒﻦ ﺟﻲ َﺳﺮﻫﺎﺋﻲ‬
‫۽ ﺧﻮﺷﻨﻮدي‪ ‬ﻻ‪ ،‬ﭘﻨﻬﻨﺠﻲ ﺳﺮﻣﺴﺘﻲ‪ ‬ﺟﻮ ﺳﻮدو ﻧﻪ ﻛﻴﻮ‪ ،‬ﭘﺮ ﺳﺪاﺋﻴﻦ ﻏﺮﻳﺒﻲ‪ ‬۾ ﮔﺬاري‪،‬‬
‫ﻛﻨﮉڙي‪ ‬ﮐﻲ ﺋﻲ‬ ‫ﺳﺮﻣﺴﺘﻲ‪ ‬ﺟﻲ اﻣﻴﺮي‪ ‬۾ ﻣﺴﺖ ۽ ﻣﮕﻦ رﻫﻴﻮ‪ُ .‬ﻫﻦ ﭘﻨﻬﻨﺠﻲ دل ﺟﻲ ُ‬
‫ﻛﺎﺋﻨﺎت ﺑﮣﺎﺋﻲ‪ ،‬ﻧﻪ رﮘﻮ ﻫﺮ ﺣﺎﻛﻢ ۽ ﺣﻜﻤﺮان ﺟﻲ ﺗﺎج ۽ ﺗﺨﺖ ﮐﻲ ُﭘﭡﻲ ڏﻧﻲ‪ ،‬ﭘﺮ‬
‫‪50‬‬ ‫ﻣﻮﺟﻮه دور ۾ ﺳﭽﻞ ﺟﻲ ﻓﻜﺮ ۽ ﻓﻠﺴﻔﻲ ﺟﻲ اﻫﻤﻴﺖ ۽ اﻓﺎدﻳﺖ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﺻﺎﺣﺐ اﺧﺘﻴﺎر‬
‫ِ‬ ‫ﭘﻨﻬﻨﺠﻲ ﻣﻮروﺛﻲ ﮔﺎدي‪ ‬ﮐﻲ ﺑﻪ ﮀﮇي‪ ،‬دل ﺟﻲ ﮔﺪاﮔﺮي ﻗﺒﻮل ﻛﺌﻲ‪ُ .‬ﻫﻦ‬
‫ﺻﺎﺣﺐ َدﺳﺘﺎر ﻫﻮﻧﺪي ﺑﻪ‪‘ ،‬ﺳﺮﻣﺴﺘﻲ’ ﮐﻲ اوﻟﻴﺖ ۽ اﻫﻤﻴﺖ ڏﻧﻲ‪ .‬اﻫﺎ ﺳﺮﻣﺴﺘﻲ‪،‬‬
‫ِ‬ ‫۽‬
‫ﺟﻴﻜﺎ ﻗﻠﺒﻲ ﻗﺮار ۽ ﭘﺎڻ ﻣﺎن ﺋﻲ ﺳﭛ ﻛﺠﻬﻪ ﭘﺎﺋﮡ ۽ ﺣﺎﺻﻞ ﻛﺮڻ ﺟﻮ ﺣﻘﻴﻘﻲ اﺣﺴﺎس‬
‫ﻋﻄﺎ ﻛﻨﺪي آﻫﻲ‪.‬‬
‫ﻗـــــﻠـــــﺒـــــﻲ ﻧـــــﻪ ﻗـــــﺮار‪ ،‬آﻫـــــﻲ ﻋـــــﺎﺷـــــﻘـــــﻦ ﮐـــــﻲ‪،‬‬
‫روﺣــــﻲ ﻟــــﮏ ُرﻻﻳــــﺎ‪ ،‬ﻧــــﻪ ﻧــــﻔــــﺴــــﻲ ﻧــــﻔــــﻊ دار‪،‬‬
‫ﺳــــﺮي‪َ ‬ﺳــــﻮ وﭸــــﺎﻳــــﺎ‪ ،‬ﺧــــﻔــــﻲ ﻛــــﻴــــﺎ ﺧــــﻮار‪،‬‬
‫اﺑـــﺮ اﺧـــﻔـــﺎ ﻧـــﺎﻫـــﻪ ﻛـــﻮ‪ ،‬ﻃـــﻠـــﺐ ﮐـــﻲ ﺗـــﻜـــﺮار‪،‬‬
‫ري‪ ‬ﭘــﺮوڙڻ ﭘــﺎﻧــﻬــﻨــﺠــﻲ‪ ،‬آﻫــﻲ ﺷــﻴــﻄــﺎﻧــﻲ ﻛــﺎر‪،‬‬
‫‘ﺳــﭽــﻮ’ ﻫــﻲ ﺳــﻨــﺴــﺎر‪ ،‬ﺳــﺎرو ﭘــﺎڻ ﺻــﺤــﻴــﺢ ﻛــﻴــﻮ‪.‬‬
‫ﺳﺮﻣﺴﺘﻲ ۽ “ﻣﺴﺘﻲ‪ ،‬ﻗﻠﻨﺪري ﻣﺴﻠﻚ ﺟﻮ اﻫﭹﺎڻ آﻫﻲ‪ ....‬اﺻﻞ ۾ﺳﺮﻣﺴﺖ‪،‬‬
‫ﻃﺮﻳﻘﺖ ۽ ﻣﻌﺮﻓﺖ ﺟﻲ راﻫﻪ ﺗﻲ ﻫﻠﻨﺪڙ اﻧﻬﻦ ﻃﺎﻟﺒﻦ ﮐﻲ ﭼﻴﻮ وﻳﻨﺪو آﻫﻲ‪ ،‬ﺟﻦ ﺟﻮ ﻇﺎﻫﺮي‬
‫ﻧﻪ‪ ،‬ﭘﺮ ﻗﻠﺒﻲ ﻋﻤﻞ ﺗﻤﺎم ﮔﻬﮣﻮ ﻫﺠﻲ‪ ،‬ﻏﻴﺮ ڏاﻧﻬﻦ ڌﻳﺎن ﻧﻪ ڏﻳﮡ‪ ،‬ﭘﻨﻬﻨﺠﻲ ذاﺗﻲ ﻏﺮﺿﻦ ﮐﻲ‬
‫ﺧﺘﻢ ﻛﺮي‪ ،‬ا� ﺟﻲ رﺿﺎ ﺗﻲ راﺿﻲ رﻫﮡ ۽ ان ۾ ﺳﻜﻮن ﺣﺎﺻﻞ ﻛﺮڻ‪ .‬ﻣﻄﻠﺐ ﺗﻪ‬
‫ﺳﻤﻮري ﺗﻮﺟﻬﻪ ﺟﻮ ﻣﺮﻛﺰ ۽ ﻣﺤﻮر دل ﺟﻲ روﺣﺎﻧﻲ ﺟﺬﺑﻦ ﮐﻲ ﺑﻨﺎﺋﮡ‪ ،‬ﻗﻠﻨﺪري ۽ ﺳﺮﻣﺴﺘﻲ‬
‫ﻣﺴﻠﻚ ﺟﻮن وﺻﻔﻮن آﻫﻦ”)‪ .(8‬ﺑﻴﺸﻚ ﺳﭽﻞ ﻣﮍﻧﻲ ﻗﻠﻨﺪري وﺻﻔﻦ ۽ ﺳﺮﻣﺴﺘﻲ‬
‫ﺻﺪاﻗﺘﻦ ﺳﺎن ﺳﺮﺷﺎر ﻫﻮ‪ ،‬اﻧﻬﻲ‪ ‬ﻛﺮي ﺋﻲ ﺳﻨﺪس ﺷﺎﻋﺮي‪ ‬۾ ﺟﺎﺑﺠﺎ ان ﺟﺎ ﻋﻜﺲ ۽‬
‫ﻧﻘﺶ ِﭼﭩﺎ ﻧﻈﺮ اﭼﻦ ﭤﺎ‪.‬‬
‫ﭨــﻮڙ رواج ۽ رﺳــﻤــﻮن ﺳــﺎرﻳــﻮن‪ ،‬ﻣــﺮد ﭤــﺌــﻴــﻦ ﻣــﺮداﻧــﻮ‪،‬‬
‫ﭘــﺎڻ ﺑــﻴــﮕــﺎﻧــﻮ ﻣــﻮر ﻧــﻪ ﭴــﺎﮢــﻴــﻦ‪ ،‬آﻫــﻴــﻦ ﻳــﺎر ﻳــﮕــﺎﻧــﻮ‪،‬‬
‫وﻫــﻢ ﺳــﭽــﻞ ﻛــﮃ ﭔــﺎﻧــﻬــﭗ وارو‪ ،‬ﺷــﻤــﻠــﻮ َﭔـ ُـﮅ ﺷــﺎﻫــﺎﻧــﻮ‪.‬‬
‫ﺳﭽﻞ ﻧﻪ ﺻﺮف ﻫﺮ ُﻣﻨﺎﻓﻖ ۽ َﻣﻜﺎر ﺳﺎن ُﻣﻬﺎڏو َاﭨﻜﺎﺋﻲ‪ ،‬ﭘﻴﮍﻫﻴﻞ ﭘﻮرﻫﻴﺖ‪ ،‬ﻣﻈﻠﻮم‬
‫۽ ﻣﻔﻠﺲ ﻣﺰدور ﺟﻮ ﺳﺎٿ ڏﻧﻮ‪ ،‬ﭘﺮ ﻫﻮ ﻋﻤﻠﻲ ﻃﺮح ﺑﻲ واﻫﻦ ۽ ﺑﻲ ﭘﻬﭻ‪ ،‬ﻻﭼﺎر ۽ ﺑﻲ وس‬
‫ﻣﺎﮢﻬﻦ ۽ اﻧﻬﻦ ﺟﻲ ﺣﻘﻦ ﺟﻮ ﻃﺮﻓﺪار ﺑﮣﺠﻲ‪ُ ،‬‬
‫ﻛﮁﻲ ‘ﻛﺎﻓﺮ’ ﺑﻪ ﭤﻴﻮ‪ ،‬ﺗﻪ ﻧﻪ ُﻣﮍي ُﻣﺸﺮڪ ﺑﻪ‬
‫ﻧﻪ ﺑﮣﻴﻮ‪.‬‬
‫ﺧﻠﻖ‬
‫ﺳﭽﻞ ﺳﺮﻣﺴﺖ ﺗﻪ اﻧﻬﻲ‪ ‬ﺻﻮﻓﻴﺖ ﺟﻮ ﻗﺎﺋﻞ ﻫﻮ‪ ،‬ﺟﻴﻜﺎ درﭔﺎرﻳﺖ ﮐﺎن دور ۽ ‘ ِ‬
‫ﺧﺪا’ ﺟﻲ ﻗﺮﻳﺐ ﻫﺌﻲ‪ .‬ﺟﻨﻬﻦ ۾ دﻛﺎﻧﺪاري‪ ،‬ﻧﻤﺎ‪ ،‬رﻳﺎﻛﺎري ۽ ﻣﺼﻠﺤﺖ ﭘﺴﻨﺪي ﻧﻪ‬
‫ﻫﺌﻲ‪ ،‬ﭘﺮ ﮐﺮاﺋﻲ‪ ،‬ﺧﺪاﺋﻲ‪ ،‬ﭘﻴﺎر ﺟﻮ ﭘﺮﭼﺎر ۽ اﻧﺴﺎن ﺟﻲ ﺧﻮددار ﺟﻴﺎﭘﻲ ﺟﻲ ُﺳﻨﺪرﺗﺎ ۽‬
‫ﺳﭽﺎﺋﻲ ﺳﻤﺎﻳﻞ ﻫﺌﻲ‪ .‬اﻫﻮ ﺋﻲ ﺳﺒﺐ آﻫﻲ ﺟﻮ‪ ،‬اڄ ﺑﻪ ﺟﮇﻫﻦ اک وﺗﺎﺋﻲ ڏﺳﺒﻮ ﺗﻪ‪ ،‬ﺳﻨﺪس‬
‫آﺳﮡ ﺗﻲ‪ ،‬ڏﻳﮑﺎ‪ ‬ﭘﺴﻨﺪ اﻣﻴﺮن ۽ ﭘﻮڍاﺋﻲ ﭘﻴﺮن ﮐﺎن وڌﻳﻚ‪ ،‬ﻏﺮﻳﺐ ُﻏﺮﺑﺎ‪ ،‬ﭘﻮرﻫﻴﺖ‪ ،‬ﻋﺎﺷﻖ‬
‫ﻣﺤﻮ رﻗﺺ ﻧﻈﺮ اﻳﻨﺪا ۽ ﺳﺎري درازا‬ ‫۽ ُﻋﺸﺎق‪ ،‬دﻧﻴﺎ ﺟﺎ ُدک ۽ درد ِوﺳﺎري ﺳﻨﺪس ﻋﺸﻖ ۾ ِ‬
‫‪51‬‬ ‫ﻣﻮﺟﻮه دور ۾ ﺳﭽﻞ ﺟﻲ ﻓﻜﺮ ۽ ﻓﻠﺴﻔﻲ ﺟﻲ اﻫﻤﻴﺖ ۽ اﻓﺎدﻳﺖ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﺳﺮاﭘﺎ ‘ﻣﻲ رﻗﺼﻢ’ ﻣﺤﺴﻮس ﭤﻴﻨﺪي‪.‬‬

‫ﺳﭽﻞ‪ ،‬دﻧﻴﺎ ۽ دﻧﻴﺎداري ﺟﻮ ﻧﻪ‪ ،‬ﭘﺮ ‘دل’ ۽ ‘دﻟﺪاري‪ ’‬ﺟﻮ داﻋﻲ ۽ ﺣﺎﻣﻲ ﻫﻮ‪ ،‬اﻧﻬﻲ‪‬‬
‫ﺋﻲ ﻛﺮي ُﻫﻦ رواﻳﺘﻲ دﻧﻴﺎداري ﺑﺪران ﻏﻴﺮ رواﻳﺘﻲ دل وارن ﻋﺎﺷﻘﻦ ۽ ُﻋﺸﺎﻗﻦ ﺟﻬﮍﻳﻮن‬
‫ﮘﺎﻟﻬﻴﻮن ﻛﻴﻮن آﻫﻦ‪ ،‬ﺟﻦ ‘ﮘﺎﻟﻬﻴﻦ’ ﮐﻲ ﻓﻘﻂ اﻫﻲ ﺋﻲ َﭘﺮوڙي ۽ ﭘﺎﺋﻲ ﺳﮕﻬﻦ ﭤﺎ‪ ،‬ﺟﻦ وٽ‬
‫ﻋﻘﻴﺪي ۽ ﻋﻘﻞ ﺟﻲ َاﻧﮅاﺋﻲ‪ ‬ﺑﺪران ﻋﺸﻖ ۽ دل ﺟﻲ َﺳﭵﺎﺋﻲ ﺳﻼﻣﺖ ﻫﻮﻧﺪي‪.‬‬
‫ﻛﻮ ﻛﻴﺌﻦ ﭼﻮي‪ ،‬ﻛﻮ ﻛﻴﺌﻦ ﭼﻮي‪ ،‬آ‪ ‬ﺟﻮﺋﻲ آﻫﻴﺎن‪ ،‬ﺳﻮﺋﻲ آﻫﻴﺎن‪،‬‬
‫ﻛﻮ ﻣﻮﻣﻦ ﭼﻮي‪ ،‬ﻛﻮ ﻛﺎﻓـﺮ ﭼـﻮي‪ ،‬ﻛـﻮ ﺟـﺎﻫـﻞ ﻧـﺎﻟـﻮ ﻇـﺎﻫـﺮ ﭼـﻮي‪،‬‬
‫ﻛﻮ ﺳﺎﺣﺮ ﭼﻮي‪ ،‬ﻛﻮ ﺷﺎﻋﺮ ﭼﻮي‪ ،‬آ‪ ‬ﺟﻮﺋﻲ آﻫﻴـﺎن‪ ،‬ﺳـﻮﺋـﻲ آﻫـﻴـﺎن‪.‬‬
‫ﻛﻮ ﻣﻼن ﭼﻮي‪ ،‬ﻛﻮ ﻗﺎﺿﻲ ﭼﻮي‪ ،‬ﻛﻮ ﻣﻔﺘﻲ ﭼﻮي‪ ،‬ﻛﻮ ﻏﺎزي ﭼﻮي‪،‬‬
‫ﻛــﻮ روزي دار ﻧــﻤــﺎزي ﭼــﻮي‪ ،‬آ‪ ‬ﺟــﻮﺋــﻲ آﻫــﻴــﺎن‪ ،‬ﺳــﻮﺋــﻲ آﻫــﻴــﺎن‪.‬‬
‫ﺳﭽﻞ ﺳﺎﺋﻴﻦ‪ ‬ﺟﻲ اﻧﻬﻲ‪ ‬ﺳﺎدي ۽ ُﺳﭽﻴﺖ اﻇﻬﺎر‪‘ ،‬آ‪ ‬ﺟﻮﺋﻲ آﻫﻴﺎن‪ ،‬ﺳﻮﺋﻲ‬
‫آﻫﻴﺎن’ ۾‪ ،‬ﮔﻬﮣﻮ ﻛﺠﻬﻪ ﺳﻤﺎﻳﻞ آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ﺗﻲ ﮔﻬﺮاﺋﻲ‪ ‬ﺳﺎن ﻏﻮر ۽ وﻳﭽﺎر ﻛﺮڻ ﺟﻲ‪،‬‬
‫ﻧﻪ ﺻﺮف ﺳﺨﺖ ﺿﺮورت آﻫﻲ‪ ،‬ﭘﺮ ُان ﺗﻲ ﭘﻮري ﺳﭽﺎﺋﻲ‪ ‬ﺳﺎن ﻋﻤﻞ ﻛﺮڻ ﺟﻲ ﭘﮡ َاﺷﺪ‬
‫ﺿﺮورت آﻫﻲ‪‘ .‬دوﺋﻲ’ ۽ ‘ﭔﻬﺮوﭘﻴﺖ’ ذرﻳﻌﻲ ﻧﻪ ‘دﻳﻦ’ ﺟﻲ ﺣﺎﺻﻼت ﻣﻤﻜﻦ آﻫﻲ‪ ،‬ﻧﻪ ﺋﻲ‬
‫وري ان ﺳﺎن ‘ﺳﭻ ﺟﻲ دﻧﻴﺎ’ ﺣﺎﺻﻞ ﭤﻲ ﺳﮕﻬﻲ ﭤﻲ‪‘ .‬دﻳﻦ ۽ دﻧﻴﺎ’ ﺟﻮ ﺣﻘﻴﻘﻲ ﺣﺼﻮل ﺗﻪ‬
‫ﻫﻚ ﭤﻴﮡ’ ۽ ‘ﺗﻮن ۽ ﻣﺎن’ ﺟﺎ ﺳﭝﺌﻲ ﺳﻨﮅا‬ ‫ﻓﻘﻂ ‘دوﺋﻲ ۽ ﭔﻬﺮوپ’ وﭸﺎﺋﻲ‪‘ ،‬ﻫﻴﻜﮍاﺋﻲ‪ ‬۾ ُ‬
‫۽ ﺳﻴﻤﺎﺋﻮن رﻳﭩﻲ ۽ ﻣﻴﭩﻲ ﮀﮇڻ ۾ آﻫﻲ ۽ ﺳﭽﻞ ﺟﻮ ﭘﻴﻐﺎم ﺑﻪ اﻫﻮ ﺋﻲ آﻫﻲ‪.‬‬
‫ﺣــــﺪﻳــــﻦ وﭸــــﻲ ﻫــــﺮ ﻛــــﻮ‪ ،‬ﻻﺣــــﺪ وﭸــــﻲ ﭘــــﻴــــﺮ‪،‬‬
‫ﺳــﭽــﻮ ﺳــﻮ ﻓــﻘــﻴــﺮ‪ ،‬ﺟــﻮ ﺣــﺪ ﻻﺣــﺪ ﻟــﻨــﮕــﻬــﻲ وﭸــﻲ‪.‬‬
‫ﺳﭽﻞ ﻻ‪ ‬ﻋﺎم ﻃﺮح ﺳﺎن ﭼﻴﻮ وﻳﻨﺪو آﻫﻲ‪ ،‬ﺗﻪ ﻫﻮ ﺑﺎﻏﻲ ۽ ﺟﻼﻟﻲ ﺷﺎﻋﺮ آﻫﻲ‪.‬‬
‫ﺑﻴﺸﻚ ﻫﺮ ﺳﭽﻮ ﺷﺎﻋﺮ ﺑﺎﻏﻲ ۽ ﺟﻼﻟﻲ ﻫﻮﻧﺪو آﻫﻲ‪ .‬ﺳﭽﻞ ﺗﻪ‪‘ ،‬ﺳﭽﻮ’ ۽ ‘ﺳﺮﻣﺴﺖ’ ﺑﻪ‬
‫ﻫﻮ‪ ،‬اﻧﻬﻲ‪ ‬ﻛﺮي ﻫﻦ ﺟﻲ ﺑﻐﺎوت رﺳﻤﻲ ۽ رواﻳﺘﻲ ﻧﻪ ﭘﺮ اﺻﻮﻟﻲ ۽ اﺻﻼﺣﻲ آﻫﻲ‪ .‬ﺳﭽﻞ‬
‫ﻫﺮ اﻧﻬﻲ‪َ ‬اﻧﮅي ۽ اوﻧﮅي‪ ‬رواﻳﺖ ﺟﻮ اﻧﻜﺎري آﻫﻲ‪ ،‬ﺟﻴﻜﺎ اﻧﺴﺎن ﮐﺎن ان ﺟﻲ اﻇﻬﺎر‬
‫ﻋﺰت ﻧﻔﺲ ۽ ﺧﻮدﻣﺨﺘﻴﺎر ﺟﻴﺎﭘﻲ ﺟﻮ ﺣﻖ ﮐﺴﻲ‪ ،‬ﻣﺎﮢﻬﻮ‪ ‬ﻣﭥﺎن ﺟﺒﺮي ﻓِﺮﻗﻦ‪،‬‬ ‫ِ‬ ‫ﺟﻲ آزادي‪،‬‬
‫ڌرﻣﻦ ۽ ﺧﻮدﺳﺎﺧﺘﻪ ﺟﻨﻮﻧﻲ ﻗﺎﻋﺪن ۽ ﻗﺎﻧﻮﻧﻦ ﺟﺎ اﺣﻜﺎم ﻣﺴﻠﻂ ﻛﺮي ﭤﻲ‪ُ .‬ﻫﻦ ﺟﻲ ﺳﻮچ‪،‬‬
‫اﻫﻞ ﻣﻌﺮﻓﺖ واﻧﮕﺮ ﻣﺬﻫﺒﻲ ﺗﻨﮓ ﻧﻈﺮي‪ ‬ﮐﺎن ﻣﭥﺎﻫﻴﻦ ۽ ﺳﻨﺪس دل اﻫﮍي درﻳﺎ‪ ‬واﻧﮕﺮ‬ ‫ﻫﺮ ِ‬
‫آﻫﻲ‪ ،‬ﺟﻴﻜﺎ ‘وﺣﺪت ۽ وﺣﺪاﻧﻴﺖ’ ﺳﺎن ﺳﺮﺷﺎر ۽ ﻛﻨﺎﺗﺎر آﻫﻲ‪ ،‬ﭘﺮ ان ۾ دوﺋﻲ‪ ‬ﺟﻮ‬
‫ُدﻛﻮ ﺑﻪ ﺷﺎﻣﻞ ﻧﻪ آﻫﻲ‪ ،‬ﺗﻨﻬﻨﻜﺮي ﺋﻲ ﺗﻪ ﭘﺎڻ ﭼﻮي ﭤﻮ‪:‬‬
‫ﻧــﺎﻣــﺌــﻦ ُﺳــﻨــﻲ‪ ،‬ﻧــﺎ ﻣــﺌــﻦ ﺷــﻴــﻌــﺎ‪ ،‬ﻧــﺎﻣــﺌــﻦ ڏوﻫــﻪ ﺛــﻮاب‪،‬‬
‫ﻫــﻨــﺪو ﻣــﻮﻣــﻦ ﻫــﻚ ﭤِــﺌــﻮ‪ ،‬ﭜــﻮل ﻧــﻪ ﭔــﻲ ﻛــﻨــﻬــﻦ ُﭜـ ُـﻞ‪،‬‬
‫ــﻞ‪َ ،‬ﻣــﺮ ﻣــﺎرﻳـ َ‬
‫ــﻨـــﺌــﻲ ﻣــﻨـــﺼـــﻮر ﺟـــﺎن‪.‬‬ ‫ــﺞ ُﮔـــﻼﺑـــﻲ ُﮔـ ُ‬
‫ﭤِ ُ‬
‫‪52‬‬ ‫ﻣﻮﺟﻮه دور ۾ ﺳﭽﻞ ﺟﻲ ﻓﻜﺮ ۽ ﻓﻠﺴﻔﻲ ﺟﻲ اﻫﻤﻴﺖ ۽ اﻓﺎدﻳﺖ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﺳﭽﻞ ﺳﺮﻣﺴﺖ ﭘﻨﻬﻨﺠﻲ ﺷﺎﻋﺮي‪ ‬۾‪ ،‬ﻧﻪ رﮘﻮ اﻧﺪر ﻣﺎن ﻛﻴﻨﻲ ۽ ﻛﺪورت ﮐﻲ‬
‫ﻛﮃي‪ ،‬دوﺋﻲ دور ﻛﺮڻ ﺟﻲ ﮘﺎﻟﻬﻪ ﻛﺮي ﭤﻮ‪ ،‬ﭘﺮ ﻣﺬﻫﺐ‪ ،‬ڌرم‪ ،‬ﻧﺴﻞ‪ ،‬ذات ۽ ﭘﺎت ﺟﻲ‬
‫وﻳﮁﻦ ﮐﻲ ِوﺳﺎري‪‘،‬ﻣﺤﺒﺖ ۽ اﻧﺴﺎﻧﻴﺖ’ ﺟﻲ ﻫﻚ ﺋﻲ ڌارا ۾ ﭘﻮﺋﺠﻲ وﭸﮡ ﺟﻲ ﺗﻠﻘﻴﻦ‬
‫ﻛﺮي ﭤﻮ‪:‬‬
‫وﻗــــﺖ اﻫــــﺎ ﭤــــﺌــــﻲ وﻳــــﻞ‪ ،‬دوﺋــــﻲ دور ﻛــــﺮڻ ﺟــــﻲ‪،‬‬
‫ﻛـــﮃ ﻣـــﺬاﻫـــﺐ ﻣـــﻦ ﻣـــﺎن‪ ،‬ﺳـــﺎﺟـــﻬـــﺮ ﺳـــﺎڻ ﺳـــﻮﻳـــﻞ‪،‬‬
‫ﻫــﻨــﺪو ﻣــﻮﻣــﻦ ﺳــﺎن ﻣــﻠــﻲ‪ ،‬ﻣــﺤــﺒــﺖ ﺟــﺎ ﻛــﺮ ﻣــﻴــﻞ‪،‬‬
‫ﻣـــﺘـــﺎن ﭤـــﻴـــﺌـــﻲ َاوﻳـــﻞ‪ ،‬اوﻟـــﻬـــﻪ ﺳـــﺞ ﻧـــﻪ ُاﻟـــﻬـــﻲ‪.‬‬
‫ﺳﭽﻞ ﺳﺮاﭘﺎ ﻣﺤﺒﺖ‪ ،‬ﺳﺮﻣﺴﺘﻲ ۽ اﻧﺎﻟﺤﻖ ﺟﻮ اﺳﺮار آﻫﻲ‪ .‬ﻫﻮ ﻧﻪ رﮘﻮ ﻫﺮ ﻗﺴﻢ ﺟﻲ‬
‫ڌرﻣﻲ ڍوﻧﮓ‪ ،‬ﻣﺬﻫﺒﻲ ُﻣﻨﺎﻓﺮت ۽ ﻣﻨﺎﻓﻘﺖ ﮐﻲ ُﭠﻜﺮاﺋﻲ ۽ رد ﻛﺮي ﭤﻮ‪ ،‬ﭘﺮ ﻣﺬﻫﺐ ﺟﻲ‬
‫ﺧﻮن ﭼﻮﺳﻴﻨﺪڙ ‘روﮘﻴﻦ‬ ‫ﻧﺎﻟﻲ ۾ ﻣﻨﺎﻓﻘﺘﻦ ﺟﻮ ﻛﺎروﺑﺎر ﻛﻨﺪڙ ۽ ﭴﺆرن واﻧﮕﺮ اﻧﺴﺎﻧﻦ ﺟﻮ ُ‬
‫۽ ﭠﻮﮘﻴﻦ’ ﺟﻮ ﭘﮡ ﻣﺨﺎﻟﻒ آﻫﻲ‪ .‬ﻣﺴﺠﺪن‪ ،‬ﻣﻨﺪرن‪ ،‬ﻛﻠﻴﺴﺎﺋﻦ ۽ اﻣﺎم ﺑﺎرﮔﺎﻫﻦ ﮐﻲ‬
‫ﻛﻮس ﮔﻬﺮ ﺑﮣﺎﺋﻲ‪ ،‬ﺑﻲ ﮔﻨﺎﻫﻪ ۽ ﻣﻌﺼﻮم ﻣﺎﮢﻬﻦ ﺟﻮ رت َوﻫﺎﺋﻴﻨﺪڙن ۽ ﭼﻬﺮي ﺗﻲ ﻣﺨﺘﻠﻒ‬
‫ﻣﺎﺳﻚ ﭘﻬﺮي ‘دﻳﻦ ۽ ڌرم’ ﺟﻲ ﭠﻴﻜﻴﺪاري ﻛﻨﺪڙ‪ُ ،‬ﻣﻨﻬﻦ ۾ ‘ ُﻣﻼن’ ۽ اﻧﺪر ۾ ‘اِﺑﻠﻴﺴﻦ’‬
‫ﺟﻲ ﭘﮡ ﺳﺨﺖ ﻟﻔﻈﻦ ۾ ﻧﻨﺪا ﻛﺮي ﭤﻮ‪ .‬ﻫﻮ ان ﻣﺬﻫﺐ ۽ ڌرم ﺟﻮ اﻧﻜﺎري ﻧﻪ آﻫﻲ‪ ،‬ﺟﻴﻜﻮ‬
‫اﻣﻦ ﻋﺎﻟﻢ ۽ ﻣﺤﺒﺖ ﺟﻲ ﭘﻴﻐﺎم ﺗﻲ ﻣﺒﻨﻲ آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ۾ ﻋﺸﻖ‬ ‫ﻣﺴﺎوات‪ ،‬اﻧﺴﺎن دوﺳﺘﻲ‪ِ ،‬‬
‫ﺋﻲ ﻋﺎﺑﺪ ۽ ﻋﺸﻖ ﺋﻲ ﻣﻌﺒﻮد ﻫﻮﻧﺪو آﻫﻲ‪ ،‬ﭘﺮ اﻧﻬﻦ ﻛﺎروﺑﺎري ُﻣﻠﻦ‪ ،‬ﻣﺸﺎﺋﺨﻦ‪ ،‬ﭘﻴﺮن‪،‬‬
‫ﭘﻨﮉﺗﻦ ۽ ﭘﺎدرﻳﻦ ﺟﻲ ‘ﻣﺬﻫﺐ ۽ ﻣﺬﻫﺒﻲ ﻃﺮﻳﻘﺖ’ ﺟﻮ ﻣﻨﺤﺮف ۽ ﻣﺨﺎﻟﻒ آﻫﻲ‪ ،‬ﺟﻦ‬
‫ﻣﺎﮢﻬﻦ ﮐﻲ ُﻣﻨﺠﻬﺎﺋﻲ ۽ ﺣﺮاﺳﺎﺋﻲ ﺳﻨﺪن ﺟﻴﻮن ﮐﻲ ﺟﻴﺌﺮي ﺋﻲ دورخ ﺑﮣﺎﺋﻲ ﮀﮇﻳﻮ آﻫﻲ‪.‬‬
‫ﺗﮇﻫﻦ ﺋﻲ ﺗﻪ ﭘﺎڻ اﻻاﻋﻼن ﭼﻮي ﭤﻮ‪:‬‬
‫ﻣــــﺬﻫــــﺒــــﻦ ﻣــــﻠــــﻚ ۾‪ ،‬ﻣــــﺎﮢــــﻬــــﻮ ُﻣــــﻨــــﺠــــﻬــــﺎﻳــــﺎ‪،‬‬
‫ﺷـــﻴـــﺨـــﻲ‪ ،‬ﭘـــﻴـــﺮي‪ ،‬ﺑـــﺰرﮔـــﻲ‪ ،‬ﺑـــﻴـــﺤـــﺪ ُﭜـــﻼﻳـــﺎ‪،‬‬
‫ﻛــﻦ ﻣــﻨــﺪر َوﺳــﺎﻳــﺎ‪،‬‬ ‫ﻛــﻲ ﻧِــﻮڙي ﻧــﻤــﺎزون ﭘــﮍﻫــﻦ‪ِ ،‬‬
‫اوڏا ﻛـــــﻴـــــﻦ آﻳـــــﺎ‪ ،‬ﻋـــــﻘـــــﻞ وارا ﻋﺸـــــﻖ ﮐـــــﻲ‪.‬‬
‫ﺳﭽﻞ ﺳﺮﻣﺴﺖ ﻃﻠﺐ ۽ ﻃﻤﻊ ﺟﻲ ﭘﻮﻳﺎن ﭘﺎڻ وﭸﺎﺋﮡ وارو ﻧﻪ‪ ،‬ﭘﺮ ﻃﻤﻊ ﮐﻲ ﺗﺮڪ‬
‫ﻛﺮي‪‘ ،‬ﺳﺮﻣﺴﺘﻲ’ ﺟﻲ ﺷﻤﻊ َﺟﻼﺋﮡ وارو ﺷﺎﻋﺮ آﻫﻲ‪ .‬ﻫﻮ اﻧﺪر ۾ ﻛﻴﻨﻲ ۽ ﻛﺪورت‬
‫ﮐﻲ رﮐﻲ ﺟﻴﺌﮡ ﺑﺪران ﻋﺸﻖ ﺟﻲ ‘ﺳﺮﻣﺪي ۽ ﺳﺮﻣﺴﺘﻲ‪ ’‬ﮐﻲ اوﻟﻴﺖ ڏﺋﻲ ۽ ﻫﺮﺣﺎل ۾‬
‫‘آزاد ۽ آﺑﺮو وارو ﺟﻴﺎﭘﻮ ﺟﻴﺌﮡ ۽ ﭔﻴﻦ ﮐﻲ ﺳﺎﮘﻴﻮ ﺣﻖ ڏﻳﮡ’ ﺟﻮ درس ڏﺋﻲ ﭤﻮ‪ .‬ﻫﻮ ﺟﻴﺎﭘﻲ‬
‫ﺟﻲ راﻫﻪ ۾‪ ،‬ﻋﺸﻖ ۽ آدرﺷﻲ اﺣﺴﺎس ﮐﻲ اﻣﺎم ﺑﮣﺎﺋﻲ‪ ،‬ﻣﺎﮢﻬﭙﻲ‪ ،‬اﻧﺴﺎﻧﻲ ﭜﺎﺋﭙﻲ‪ ،‬اﻣﻦ ۽‬
‫آﻧﻨﺪ ﻻ‪ ،‬ﻧﻪ ﻓﻘﻂ ﺟﻬﻴﮍڻ ۽ ﺟﺎﮐﻮڙڻ ﺟﻲ ﺗﻠﻘﻴﻦ ﻛﺮي ﭤﻮ‪ ،‬ﭘﺮ ﻫﺠﻮﻣﻦ ﭘﭡﻴﺎن ﻫﻠﻲ‪،‬‬
‫ﺗﻤﺎﺷﺒﻴﻦ ﺑﻨﺠﮡ ﺑﺪران ﺧﻮد ﮔﮭﻮٽ ﺑﮣﺠﻲ‪ ،‬ﻣﻨﺼﻮري راﻫﻪ اﺧﺘﻴﺎر ﻛﺮڻ ﺟﻲ ﭘﮡ ﻫﺪاﻳﺖ‬
‫‪53‬‬ ‫ﻣﻮﺟﻮه دور ۾ ﺳﭽﻞ ﺟﻲ ﻓﻜﺮ ۽ ﻓﻠﺴﻔﻲ ﺟﻲ اﻫﻤﻴﺖ ۽ اﻓﺎدﻳﺖ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻛﺮي ﭤﻮ‪.‬‬
‫ــﭷ َم ُﭴ ُ‬
‫ــﻞ‪ ،‬ﻣــﻨــﺠــﻬــﻪ ﺗــﻤــﺎﺷــﻲ ﻧــﻪ ﭘــﻮﻳــﻦ‪،‬‬ ‫ُﭘــﭡــﻲ‪َ ‬ﭴ َ‬
‫ﮔــﮭــﻮٽ ﻛــﺮي ﺗــﻮن ﭘــﺎڻ ﮐــﻲ‪ ،‬ﻛــﺮ ﻫــﻨــﮕــﺎﻣــﻮ ُﻫـ ُـﻞ‪،‬‬
‫ــــﻞ ﭔـــــﻲ َم ُﭜـ ُ‬
‫ــــﻞ‪ُ ،‬ﭘـــــﮁـــــﺞ ﺣـــــﺎل َﺣـــــﻼج ﺟـــــﻮ‪.‬‬ ‫ُﭜـ َ‬

‫ﺳﭽﻞ ﺳﺮﻣﺴﺖ ﺟﻲ ﺷﺎﻋﺮي‪ ‬ﺟﻮ ﺳﭵﻮ روح ‘وﺣﺪت اﻟﻮﺟﻮد’ ﺟﻮ ﻓﻜﺮ ۽ ﻓﻠﺴﻔﻮ‬
‫آﻫﻲ‪ .‬وﺣﺪت اﻟﻮﺟﻮد‪ ،‬اﻧﺪر ﻣﺎن دوﺋﻲ‪ ،‬ﻛﺪورت ۽ ﻛﻴﻨﻲ ﮐﻲ ﻛﮃي‪ ،‬ﻫﻴﻜﮍاﺋﻲ‪،‬‬
‫ﻣﺤﺒﺖ‪ ،‬اﻣﻦ‪ُ ،‬اﻧﺲ ۽ اﻧﺴﺎﻧﻴﺖ ﮐﻲ اﭘﻨﺎﺋﮡ ﺟﻮ درس ڏﺋﻲ ﭤﻮ‪ .‬ﺳﭽﻞ ﺳﺎﺋﻴﻦ ﺳﭻ ﺟﻮ ﻫﻮﻛﻮ‬
‫ڏﺋﻲ‪ ،‬اﻧﺎاﻟﺤﻖ ﺟﻮ اﻇﻬﺎر ﻛﺮي‪ ،‬ﺟﻨﻬﻦ ﺳﺮﻣﺴﺘﻲ ۽ ﺳﺮوﻳﭽﻲ‪ ‬ﺳﺎن ﭘﻨﻬﻨﺠﻲ ﺷﺎﻋﺮي‪ ‬۾‬
‫‘ﻣﻨﺼﻮري ﻣﺎم’ ﮐﻲ ﻋﻴﺎن ﻛﻴﻮ آﻫﻲ ۽ ﻋﻤﻠﻲ ﻃﺮح ان ﺟﻲ ﺳﭵﻲ ﻋﻤﺮ ﭘﻴﺮوي ۽‬
‫ﭘﺎﺳﺪاري ﻛﺌﻲ آﻫﻲ‪ ،‬اﺳﺎن ان ﮐﻲ وﺳﺎري وﻳﭡﺎ آﻫﻴﻮن‪ .‬اﻫﺎ ﻣﻨﺼﻮري ﻣﺎم اﻫﺎ آﻫﻲ‪،‬‬
‫ﺟﻨﻬﻦ ﻻ‪ ‬ﺳﭽﻞ ﭼﻮي ﭤﻮ‪:‬‬
‫ﭘـــﺎڻ وﭸـــﺎﺋـــﻲ ﭘـــﺎڻ‪ ،‬ﮘـــﻮﻟـــﻬـــﻲ ﻟـــﻬـــﺞ ﭘـــﺎڻ ﮐـــﻲ‪،‬‬
‫ﭘــﺎڻ ﻣــﻨــﺠــﻬــﺎن ﺋــﻲ ﭘــﺎڻ ﮐــﻲ ﭘــﻮﻧــﺪ‪ ‬ﭴــﺎڻ ُﺳــﭹــﺎڻ‪،‬‬
‫ﻣـــﮑـــﮡ ﮐـــﻴـــﺮ ﻫـــﻴـــﻜـــﮍو‪ ،‬ﺳـــﻮﺋـــﻲ ﮐـــﻴـــﺮ ﺳـــﻨـــﺒـــﺎڻ‪،‬‬
‫اﻫــﻮ اﭤــﺌــﻲ ُاﻫــﭹـــﺎڻ‪ ،‬ﮘــﻬــﻼ! اﻧــﻬـــﻲ‪ ‬ﮘــﺎﻟــﻬــﻪ ﺟـــﻲ‪.‬‬
‫اڄ ﺟﮇﻫﻦ ﻫﺮ ﻃﺮف دﻫﺸﺖ ۽ وﺣﺸﺖ‪ ،‬ﻣﺬﻫﺒﻲ ﺗﻨﮓ ﻧﻈﺮي‪ ،‬ﻧﺴﻠﻲ اوچ ﻧﻴﭻ‪،‬‬
‫ﻓﺮﻗﻲ ﭘﺮﺳﺘﻲ ۽ ﻓﺘﻨﻲ ﺑﺎزي‪ ‬ﺟﻮ آڙاﻫﻪ َﭔﺮي رﻫﻴﻮ آﻫﻲ‪ .‬ﺳﻴﺎﺳﺖ ۽ رﻳﺎﺳﺖ‪ ،‬ﻣﺼﻠﺤﺖ ﺟﻮ‬
‫ﺷﻜﺎر ﺑﮣﺠﻲ‪ ،‬ﻣﺎﮢﻬﻦ ﺟﻲ اﺟﺘﻤﺎﻋﻲ ﻓﻼح‪ ،‬ﭜﻠﻲ ۽ ﺗﺤﻔﻆ ﺑﺪران ﭼﻨﺪ ﻓﺮدن ۽ ﮔﺮوﻫﻦ ﺟﻲ‬
‫ﭼﺎﻛﺮي‪ ‬۾ ﭘﻮري آﻫﻲ‪ .‬ﻣﺎﮢﻬﻮ‪ ،‬ﻣﺎﮢﻬﻮ‪ ‬ﺟﻲ ﺧﻮن ﺟﻮ ﭘﻴﺎﺳﻮ ﭤﻲ ﭘﻴﻮ آﻫﻲ‪ .‬ڌرﻣﻲ‬
‫ﭠﻴﻜﺪارن ﺟﻲ ﻛﺮﺗﻮﻧﻦ ﻛﺮي‪ ،‬ﻣﺬﻫﺒﻦ ﻣﺎن رواداري‪ ،‬روﺷﻦ ﺧﻴﺎﻟﻲ‪ ،‬اﻣﻦ‪ ،‬ﻣﺤﺒﺖ‪،‬‬
‫اﻧﺴﺎن دوﺳﺘﻲ ۽ ﻣﺴﺎوات ﺟﺎ ﻗﺪر ﻣﻮﻛﻼﺋﻲ رﻫﻴﺎ آﻫﻦ‪ .‬درﮔﺎﻫﻮن ۽ ڌرم ﺷﺎﻻﺋﻮن‪،‬‬
‫ﻣﻨﺪر‪ ،‬ﻛﻠﻴﺴﺎﺋﻮن ۽ ﻋﻠﻤﻲ درﺳﮕﺎﻫﻮن‪ ،‬ﺟﻴﻜﻲ اﻧﺴﺎن ﺟﻲ ﺳﮑﻴﺎ‪،‬‬ ‫َ‬ ‫ﻣﺴﺠﺪون ۽‬
‫ﺳﻜﻮن‪ ،‬آﻧﻨﺪ ۽ روﺣﺎﻧﻲ اﻃﻤﻴﻨﺎن ﺟﻮ ﺣﻘﻴﻘﻲ َﻣﺴﻜﻦ رﻫﻴﻮن آﻫﻦ‪ ،‬ﺟﺘﻲ ﻣﺤﺒﺘﻮن‪،‬‬
‫ﻋﺒﺎدﺗﻦ ﺟﻬﮍي اﺣﺴﺎس ﺳﺎن ﺳﺮﺷﺎر ۽ ﻋﺒﺎدﺗﻮن‪ ،‬ﻣﺤﺒﺘﻦ ﺟﻬﮍي آﻧﻨﺪ ﺳﺎن ﭨﻤﭩﺎر‬
‫ﻫﻮﻧﺪﻳﻮن آﻫﻦ‪ُ ،‬اﺗﻲ ﻧﻔﺮت ۽ ﺗﻨﮓ ﻧﻈﺮي‪ ‬ﺟﻲ ﺑﺎﻫﻪ ﭜﮍﻛﺎﺋﻲ‪ ،‬رت ۽ ﺑﺎرود ﺟﻲ ﺑﻮ‪ ‬ﺳﺎن‬
‫ﺳﻤﻮري ﻣﺎﺣﻮل ﮐﻲ دﻫﺸﺖ ۽ وﺣﺸﺖ وارو ﺑﮣﺎﻳﻮ وﻳﻮ آﻫﻲ‪ .‬اﻫﮍﻳﻦ ﺣﺎﻟﺘﻦ ۾ ﺳﭽﻞ‬
‫ﺳﺮﻣﺴﺖ ﺟﻲ ‘ﭘﺎڻ ﺳﭹﺎﮢﮡ‪ ،‬اﻧﺴﺎن دوﺳﺘﻲ‪ ،‬رواداري‪ ،‬ﺣﻖ ﮔﻮﺋﻲ‪ ،‬ﺳﭻ‪ ،‬ﺳﻮﻧﻬﻦ‪ ،‬اﻣﻦ ۽‬
‫ﻣﺤﺒﺖ’ ﺟﻲ ﭘﻴﻐﺎم ﺗﻲ ﻋﻤﻞ ﻛﺮڻ ﺟﻲ اڄ ﺟﻴﺘﺮي ﺿﺮورت آﻫﻲ‪ ،‬ﺷﺎﻳﺪ اڳ ﻛﮇﻫﻦ ﺑﻪ‬
‫ﻧﻪ ﻫﺌﻲ‪.‬‬
‫ﺳﭽﻞ ﺟﻮ اﻧﺴﺎﻧﻲ ﻣﺴﺎوات‪ ،‬ﻣﺤﺒﺖ‪ ،‬رواداري ۽ ﭘﺎڻ ﺳﭹﺎﮢﮡ وارو ﺳﻨﻴﻬﻮ ﺋﻲ آﻫﻲ‪،‬‬
‫ﺻﺪق دل ﺳﺎن اﭘﻨﺎﺋﮡ ﺟﻲ ﺿﺮورت آﻫﻲ‪ .‬اڄ ﺟﻲ‬ ‫ِ‬ ‫ﺟﻨﻬﻦ ﮐﻲ ﻫﻴﻨﺌﻴﻦ ﺳﺎن ﻫﻨﮉاﺋﮡ ۽‬
‫‪54‬‬ ‫ﻣﻮﺟﻮه دور ۾ ﺳﭽﻞ ﺟﻲ ﻓﻜﺮ ۽ ﻓﻠﺴﻔﻲ ﺟﻲ اﻫﻤﻴﺖ ۽ اﻓﺎدﻳﺖ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫دوﺋﻲ ۽ دﻫﺸﺖ‪ ،‬اﻧﺎﺋﻦ ۽ وﺣﺸﺖ‪ ،‬ﺑﻤﻦ ۽ ﺑﺎرود ﺟﻲ دوﻧﻬﻴﻦ‪ ،‬ﻓﺘﻨﻲ ۽ ﻓﺮﻗﻲ ﭘﺮﺳﺘﻲ‪،‬‬
‫ﻣﺬﻫﺒﻲ ﺗﻨﮓ ﻧﻈﺮي‪ ،‬ﺳﻴﺎﺳﻲ ۽ ﺳﻤﺎﺟﻲ ﺑﻲ راﻫﻪ روي ۽ ﻣﺤﺒﺘﻦ ﺟﻲ ﻗﺤﻂ واري دؤر ۾‪،‬‬
‫اﻫﻮﺳﭽﻞ ﺟﻮ ﭘﻴﻐﺎم ﺋﻲ آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ﺗﻲ ﻋﻤﻞ ﻛﺮي‪ ،‬ﻧﻪ رﮘﻮ ﺳﻨﮅ ُﺳﮏ ﺟﻮ ﺳﺎﻫﻪ ﮐﮣﻲ‬
‫ﻋﺎﻟﻢ اﻧﺴﺎﻧﻴﺖ ﺣﻘﻴﻘﻲ آﻧﻨﺪ ۽ روﺣﺎﻧﻲ اﻃﻤﻴﻨﺎن‬
‫ﺳﮕﻬﻲ ﭤﻲ‪ ،‬ﭘﺮ ان ﺋﻲ ﭘﻴﻐﺎم ﮐﻲ اﭘﻨﺎﺋﻲ‪ِ ،‬‬
‫ﺣﺎﺻﻞ ﻛﺮي ﺳﮕﻬﻲ ﭤﻲ‪.‬‬
‫آﺧﺮ ۾ ﺳﭽﻞ ﺳﺎﺋﻴﻦ‪ ‬ﺟﻲ ﺣﻀﻮر ۾‪ ،‬ﻫﻚ ﻧﻈﻢ ﺟﻮ ﻧﺬراﻧﻮ ﭘﻴﺶ ﻛﺠﻲ ﭤﻮ‪،‬‬
‫ﺟﻴﻜﻮ ﺳﻨﺪس ﻓﻜﺮ‪ ،‬ﻓﻠﺴﻔﻲ ۽ ﭘﻴﻐﺎم ﺟﻲ ﻧﻪ رﮘﻮ ﭘﻮري ﻋﻜﺎﺳﻲ ﻛﺮي ﭤﻮ‪ ،‬ﭘﺮ ان ﺗﻲ‬
‫ﻫﻠﻲ ﭘﻨﻬﻨﺠﻲ ﻣﻨﺰل ﺗﻲ َرﺳﮡ ﺟﻮ ﮔﺲ ۽ ڏس ﺑﻪ ڏﻳﺌﻲ ﭤﻮ‪.‬‬

‫ر‬ ‫ر‬
‫ﺳـــــﭽـــــﻞ! ﺗـــــﻨـــــﻬـــــﻨـــــﺠـــــﻮ ﺳـــــﭻ ﺗـــــﻪ اڄ ﭜـــــﻲ‪،‬‬
‫ﺳـــــــــﺎﮘـــــــــﻲ ﺳـــــــــﻮرج واﻧـــــــــﮕـــــــــﺮ آﻫـــــــــﻲ‪.‬‬
‫ﻛـــــﺮﮢـــــﻮ ﭴـــــﮡ‪،‬‬ ‫ﻛـــــﺮﮢـــــﻮ ِ‬ ‫ﺟـــــﻨـــــﻬـــــﻦ ﺟـــــﻮ ِ‬
‫ﺟـــــﻨـــــﻬـــــﻦ ﺟـــــﻮ ﺟـــــﮭـــــﺮﮢـــــﻮ ﺟـــــﮭـــــﺮﮢـــــﻮ ﭴـــــﮡ‪،‬‬
‫“ اﻧـــــــــــﺎاﻟــــــــــــﺤــــــــــــﻖ” اﻗــــــــــــﺮاري آﻫــــــــــــﻲ‪،‬‬
‫رﻗﺼــــــــــــــــﻢ روپ ﻫــــــــــــــــﺰاري آﻫــــــــــــــــﻲ!‬
‫—‬
‫ﺗـــــــﻮ ﺟـــــــﺎ ﻛـــــــﺎﻟـــــــﮭـــــــﻪ درازن ۾ ﻫـــــــﺌـــــــﻲ‪،‬‬
‫دوﻟــــــﮭــــــﻪ ﭼــــــﮣــــــﻨــــــﮓ دﮐــــــﺎﺋــــــﻲ ﻛــــــﺎﺋــــــﻲ‪.‬‬
‫ﺗـــــﺠـــــﻼ ﺗـــــﻨـــــﻬـــــﻦ ﺟـــــﺎ اڄ ﺑـــــﻪ ﺳـــــﺎﮘـــــﻴـــــﺎ‪،‬‬
‫ﺑــــــﻴــــــﺸــــــﻚ ﺳــــــﺎﺋــــــﻴــــــﻦ! ﺑــــــﺮﺣــــــﻖ آﻫــــــﻦ‪.‬‬
‫—‬
‫ﺳـــــﻨـــــﺪ‪ ‬ﺳـــــﻨـــــﻴـــــﻬـــــﻮ ﺳـــــﻤـــــﻨـــــﮉ ﺳـــــﺮاﭘـــــﺎ‪،‬‬
‫ﺳــــﺮﻛــــﺶ ﺟــــﻨــــﻬــــﻦ ﺟــــﻮن ﺳــــﺎرﻳــــﻮن ﻟــــﻬــــﺮون‪،‬‬
‫اڄ ﺑـــــــﻪ ﻛـــــــﻨـــــــﺎرا ﭔـــــــﻮڙن ﭤـــــــﻴـــــــﻮن‪ ،‬ﭘـــــــﺮ‪،‬‬
‫ﺗــــــﮍ ﺗــــــﻲ ﻛــــــﻮﺋــــــﻲ ﺗــــــﺎرون ﻛــــــﻮﻧــــــﻬــــــﻲ!‬
‫—‬
‫ﻣـــــــﺎﻛـــــــﮍ واﻧـــــــﮕـــــــﺮ ﭜـــــــﻴـــــــﻠـــــــﻲ وﺋـــــــﻲ آ‪،‬‬
‫ﻧــــــﻨــــــﮉ ﻧــــــﺪوري ﻣــــــﻠــــــﻚ ﺳــــــﭵــــــﻲ ﮐــــــﻲ‪،‬‬
‫ﻣـــــﺎﮢـــــﻬـــــﻮ ﻣـــــﺎﮢـــــﻬـــــﻮ ﻣـــــﺎس ﺟـــــﻮ ﻃـــــﺎﻟـــــﺐ‪،‬‬
‫ڍوﻧــــــﮃ دﻧــــــﻴــــــﺎ ﺗــــــﻲ ﻣــــــﮑــــــﻴــــــﻦ واﻧــــــﮕــــــﺮ‪،‬‬
‫ﻣــــــــﻴــــــــﮍو آﻫــــــــﻲ‪ ،‬ﺟــــــــﮭــــــــﻴــــــــﮍو آﻫــــــــﻲ!‬
‫‪55‬‬ ‫ﻣﻮﺟﻮه دور ۾ ﺳﭽﻞ ﺟﻲ ﻓﻜﺮ ۽ ﻓﻠﺴﻔﻲ ﺟﻲ اﻫﻤﻴﺖ ۽ اﻓﺎدﻳﺖ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻣـــــــــــﭩـــــــــــﻲ ﻣـــــــــــﻦ ۾ ﻣـــــــــــﻮرت ﻧـــــــــــﻮري‪،‬‬

‫ﻛــــﻮ ﺑــــﻪ ﻧــــﻪ ﭴــــﺎﮢــــﻲ‪ ،‬ﻛــــﻮ ﺑــــﻪ ﻧــــﻪ ُﭘــــﺮﺟــــﮭــــﻲ!‬
‫—‬
‫ﺳـــــﭽـــــﻞ! ﺗـــــﻨـــــﻬـــــﻦ ﺟـــــﻮ ﺳـــــﭻ ﺳـــــﻨـــــﻴـــــﻬـــــﻮ‪،‬‬
‫ﺗــــﻨــــﻬــــﻦ ﻟــــﺌــــﻪ ﭘــــﺮ ﺳــــﺮﻣﺴــــﺘــــﻲ ﮔــــﮭــــﺮﺟــــﻲ!‬
‫ﻫـــــﻜـــــﮍي ﺳـــــﺎﺋـــــﻴـــــﻦ! ﻫﺴـــــﺘـــــﻲ ﮔـــــﮭـــــﺮﺟـــــﻲ‪،‬‬
‫ﻧــــــﻨــــــﮉ ُاﺟــــــﮭــــــﺎﮢــــــﻞ ﻧــــــﻴــــــﮣــــــﻦ ﮐــــــﻲ ﺟــــــﺎ‪،‬‬
‫ﺟـــــﺎڳ ﺟـــــﻲ ﻛـــــﺎﺋــــــﻲ ﺟـــــﻮت ڏﺋـــــﻲ ﻛــــــﺎ!‬
‫ﻣــــــﺎڳ ﺟــــــﻲ ﻛــــــﺎﺋــــــﻲ ﮘــــــﻮت ڏﺋــــــﻲ ﻛــــــﺎ!‬
‫ﻣـــــﺎڳ ﺟـــــﻲ ﻛـــــﺎﺋـــــﻲ ﮘـــــﻮت ڏﺋـــــﻲ ﻛـــــﺎ!) ‪.(9‬‬

‫ﺣﻮاﻻ‪:‬‬
‫اﻳﺎز‪ ،‬ﺷﻴﺦ “آ‪ ‬درازا ﻫﻞ”‪) ،‬ﻣﺮﺗﺐ( ﺗﺎج ﺟﻮﻳﻮ‪ ،‬روﺷﻨﻲ ﭘﺒﻠﻴﻜﻴﺸﻦ‪ ،‬ﻛﻨﮉﻳﺎرو‪2007 ،‬ع‪ ،‬ص‪.11‬‬ ‫‪.1‬‬
‫‪2. Carl.W.Ernest, ”Words of Ecstasy in Sufism“, New york, 1985, P:1.‬‬
‫‪3. J. Vajaya. Tunga, ”The Company of Mystics“, Blue Bird Series, Karachi, 1942, P:161.‬‬
‫ﻻﺷﺎري‪ ،‬رﺷﻴﺪ اﺣﻤﺪ‪) ،‬ﻣﻘﺎﻟﻮ(‪“،‬ﺳﭽﻞ ﺳﺮﻣﺴﺖ ﺟﻲ اردو ﺷﺎﻋﺮي”‪ ،‬ﻣﺎﻫﻮار ﻧﺌﻴﻦ زﻧﺪﮔﻲ‪ ،‬ﺟﻨﻮري‬ ‫‪.4‬‬
‫‪1960‬ع‪ ،‬ص‪.18‬‬
‫ﺻﺪﻳﻖ‪ ،‬ﻃﺎﻫﺮ‪) ،‬ﻣﻘﺎﻟﻮ( “ﺳﭽﻞ ﺳﺮﻣﺴﺖ ﻛﻲ ﺳﺮاﺋﻜﻲ ﺷﺎﻋﺮي”‪ ،‬ﻣﺮﺗﺐ‪ :‬ﺣﻤﻴﺪ آﺧﻮﻧﺪ‪ ،‬ﺳﭽﻞ‬ ‫‪.5‬‬
‫اﻛﻴﮉﻣﻲ‪ ،‬ﺧﻴﺮﭘﻮر ﻣﻴﺮس‪1983 ،‬ع‪ ،‬ص‪.44‬‬
‫ﭔﮕﻬﻴﻮ‪ ،‬ﻗﺎﺳﻢ‪ ،‬ڊاﻛﭩﺮ‪) ،‬ﻣﻘﺎﻟﻮ( “ﺳﭽﻞ ۽ ﺳﻨﮅي ﺳﻤﺎج ﺟﻮ اﭜﻴﺎس”‪“ ،‬ﺳﺮﻣﺴﺖ”‪10/1990 ،‬ع‪ ،‬ﺳﭽﻞ‬ ‫‪.6‬‬
‫ﺳﺮﻣﺴﺖ ﻳﺎدﮔﺎر ﻛﻤﻴﭩﻲ‪ ،‬ﺧﻴﺮﭘﻮر‪ ،‬ص‪.40‬‬
‫ﻗﺎدري‪ ،‬اﻳﺎز‪ ،‬ڊاﻛﭩﺮ‪) ،‬ﻣﻘﺎﻟﻮ(‪“،‬ﻣﻨﺼﻮر ﺣﻼج ۽ ﺳﭽﻞ ﺳﺎﺋﻴﻦ”‪“ ،‬ﺳﺮﻣﺴﺖ”‪10/1990 ،‬ع‪ ،‬ﺳﭽﻞ‬ ‫‪.7‬‬
‫ﺳﺮﻣﺴﺖ ﻳﺎدﮔﺎر ﻛﻤﻴﭩﻲ‪ ،‬ﺧﻴﺮﭘﻮر‪ ،‬ص‪.10‬‬
‫ﻣﻴﻤﮡ‪ ،‬ﻋﺒﺪاﻟﻤﺠﻴﺪ‪ ،‬ڊاﻛﭩﺮ‪) ،‬ﻣﻘﺎﻟﻮ(‪“ ،‬ﺳﭽﻞ ﺳﺮﻣﺴﺖ ﺟﻲ ﺷﺎﻋﺮي‪ ‬۾ ﻣﺴﺘﻲ‪ ‬ﺟﻮ ﻣﻔﻬﻮم”‪،‬‬ ‫‪.8‬‬
‫“ﺳﺮﻣﺴﺖ’ ‪14/1994‬ع‪،‬ﺳﭽﻞ ﻳﺎدﮔﺎر ﻛﻤﻴﭩﻲ‪ ،‬ﺧﻴﺮﭘﻮر‪ ،‬ص‪.26 ،25‬‬
‫ﻟﻄﻴﻒ‪ ،‬ﻓﻴﺎض‪ ،‬ڊاﻛﭩﺮ‪“،‬دل ﺟﻲ ﺧﺎﻧﻪ ﺑﺪوﺷﻲ”‪ ،‬ﭘﻮﭘﭧ ﭘﺒﻠﺸﻨﮓ ﻫﺎﺋﻮس‪ ،‬ﺧﻴﺮﭘﻮر‪2013 ،‬ع‪،‬‬ ‫‪.9‬‬
‫ص‪.65 ،64‬‬

‫‪56‬‬ ‫ﻣﻮﺟﻮه دور ۾ ﺳﭽﻞ ﺟﻲ ﻓﻜﺮ ۽ ﻓﻠﺴﻔﻲ ﺟﻲ اﻫﻤﻴﺖ ۽ اﻓﺎدﻳﺖ‬

 [ ] ‫ﺌرو ﮬ‬

‫ا ﺌف‬ ‫ڊا‬
،‫ ﺳﻨﮅي ﺷﻌﺒﻮ‬،‫اﺳﺘﺎد‬
‫ﮔﻮرﻧﻤﻴﻨﭧ ڊﮔﺮي ﻛﺎﻟﻴﺞ ﻛﻨﮉﻳﺎرو‬

‫ا ن ﺌ‬ ‫ﺌ‬ ‫ي آﺊ‬ - ‫ﺐ‬

‫ﺌري‬ ‫ا ﺌري ﺌ ۽‬
AN ISSUE OF LOGOGRAM AND SYLLABOGRAM
OF ARABIC-SINDHI ALPHABET AND ITS
STANDARD DIALECT.

Abstract
Recently, Pakistan Reading Project had to sign a contract with
Sindhi Language Authority for Alphabetical Sounds. To determine the
accuracy of sounds PRP declared a committee comprising of three
members Dr. Ghulam Ali Allana, Dr. Altaf Jokhio and Mr. Idrees Jatoi.
First meeting was called on 9th September, 2017, and 2nd meeting along
with extended members was called on 20th October 2017. The issue was
highlighted from the released sounds by Sindhi Language authority that
what preferred form should be the logogram of letters; such as:, ،‫ ﺷﻴﻦ‬،‫ﺳﻴﻦ‬
َ ،‫ﺷﻴﻦ‬
‫ ﻋﻴﻦ‬and .‫ ﻏﻴﻦ‬The authority released sounds as ‫ﻋﻴﻦ‬ َ ۡ and ‫ﻏﻴﻦ‬
،‫ ﺳﻴﻦ‬,‫اﻟﻒ‬ َ
Diacritical mark Zabar at the end of the consonant); whereas according
to the Utradi and Wicholo/ Sahiti Dialect the above mentioned
logograms are pronounced as: ‫ﻋﻴﻦ‬ ُ ،‫ﺷﻴﻦ‬
ُ ،‫ﺳﻴﻦ‬ ُ and ‫ﻏﻴﻦ‬
ُ ،‫اﻟﻒ‬ ُ Diacritical mark
Pesh at the end of the consonant . The 2nd meeting was concluded over
the matter resulting Dr. Allana making an opinion that according to last
sound of logogram in Wicholo Dialect may be considered as standard
and preferred. In this paper, a study is brought forward according to the
last sound of logogram.
‫ا ﺌس‬
،‫( ﻫﻮﻧﺪا آﻫﻦ‬Dialect) ‫دﻧﻴﺎ ﺟﻲ ﻣﮍﻧﻲ ﭔﻮﻟﻴﻦ ۾ ﮘﺎﻟﻬﺎﺋﮡ ﺟﻲ ﻧﺴﺒﺖ ﻣﺨﺘﻠﻒ ﻟﻬﺠﺎ‬
‫ ﺟﺎ ﻛﻞ ﭘﻨﺞ ﻟﻬﺠﺎ‬‫ ﺳﻨﮅي ﭔﻮﻟﻲ‬.‫ ﺟﻲ ﺳﻮﻧﻬﻦ ﺳﮇﺑﺎ آﻫﻦ‬‫ﺟﻴﻜﻲ اﺻﻞ ۾ ان ﭔﻮﻟﻲ‬
‫( ۽ وري ان ﺟﻲ‬Accent) ‫( ان ﺟﺎ ُاﭘﻠﻬﺠﺎ‬Variations) ‫ ﺟﺎ ﭰﻴﺮا‬‫ ﺑﺎﻗﻲ ﭔﻮﻟﻲ‬،‫( آﻫﻦ‬Dialects)
.‫( ﺳﮇﺑﺎ آﻫﻦ‬Idiolects) ‫اﻧﺪر ذاﺗﻴﻦ ﻳﺎ ﻣﺎﮢﻬﻦ ﻧﺴﺒﺖ ﭰﻴﺮا وري ذاﺗﻲ ﻟﻬﺠﺎ‬
‫ ﻫﻚ ﻣﻌﻴﺎري‬‫( ﺟﻲ ﺑﻘﺎ ﻻ‬Phonemes) ‫ ﺟﻲ ﻧﻔﺎﺳﺖ ۽ ﻟﻔﻈﻦ ۾ آوازن‬‫ﺳﻨﮅي ﭔﻮﻟﻲ‬
57 ‫ﺳﻨﮅي آﺋﻴﻮﻳﭩﺎ ﺟﻲ اﮐﺮن ﺟﺎ ُاﭼﺎري ﻧﺎﻻ ۽ ﻣﻌﻴﺎري ﻟﻬﺠﻮ‬- ‫ﻋﺮﺑﻲ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻟﻬﺠﻮ )‪ (Standard Dialect‬ﻣﻘﺮر ﭤﻴﻞ آﻫﻲ‪ .‬ﻛﺎﻛﻲ ﭜﻴﺮوﻣﻞ‪ ،‬ڊاﻛﭩﺮ ﻧﺒﻲ ﺑﺨﺶ ﺑﻠﻮچ‪،‬‬
‫ڊاﻛﭩﺮ ﻣﺮﻟﻴﮅر ﺟﻴﭩﻠﻲ‪ ،‬ڊاﻛﭩﺮ ﺣﺎﻣﺪ ﻋﻠﻲ ﺧﺎﻧﺎﺋﻲ‪ ،‬ﭘﺮوﻓﻴﺴﺮ ﻋﻠﻲ ﻧﻮاز ﺟﺘﻮﺋﻲ وﻏﻴﺮه‬
‫ﺟﻲ ﻟﮑﮣﻴﻦ ۾ ‘ﺳﺎﻫﺘﻲ ﭘﺮﮘﮣﻲ’ ﺟﻲ ﭔﻮﻟﻲ ‘وﭼﻮﻟﻮ’ ﻳﺎ ‘ﻣﻌﻴﺎري ﻟﻬﺠﻮ’ ﻗﺮار ڏﻧﻞ آﻫﻲ‪.‬‬
‫ﻇﺎﻫﺮ آﻫﻲ ﺗﻪ اﻫﮍي ﮘﺎﻟﻬﻪ ﺗﺎرﻳﺨﻲ‪ ،‬ﻋﻠﻤﻲ ۽ ادﺑﻲ اﭜﻴﺎس ﺑﻌﺪ ﻛﺌﻲ وﻳﻨﺪي آﻫﻲ‪.‬‬
‫ﺣﻘﻴﻘﺖ ۾ ﺗﺎرﻳﺨﻲ‪ ،‬ﻋﻠﻤﻲ ۽ ادﺑﻲ ﻟﺤﺎظ ﮐﺎن ‘ﺳﺎﻫﺘﻲ ﭘﺮﮘﮣﻮ’ ﺳﻨـﮅي ﭔـﻮﻟـﻲ‪ ‬ﺟـﻮ‬
‫وﭼﻮﻟﻮ ۽ ﻣﻌﻴﺎري ﻟﻬﺠﻮ ﺗﺼﻮر ﻛﻴﻮ وﻳﻮ آﻫﻲ‪ .‬ﻫﻦ ۾ ﻛﻨﻬﻦ ﮐﻲ ﮔﮭـﭧ ﻳـﺎ وڌ َ‬
‫ﭼـﻮڻ ﺟـﻮ‬
‫ﻛﻮ ﺗﺼﻮر ﺋﻲ ﻛﻮﻧﻬﻲ؛ ﭘﺮ ﻛﺎﻓﻲ ﻋﺎﻟﻤﻦ ۽ ادﻳﺒﻦ ﺗﻲ ڏﮐﻴﻮ ﭤﻮ ﮔﺬري‪.‬‬
‫ﻣﺴﻠﻢ آﻫﻲ ﺗﻪ ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬ﺟﺎ ﺳﭛ ﻟﻬﺠﺎ اﺳﺎن ﻻ‪ ‬ﻣﺤﺘﺮم آﻫﻦ‪ ،‬ﻟﻴﻜﻦ‬ ‫اﻫﺎ ﮘﺎﻟﻬﻪ ّ‬
‫ﺟﮇﻫﻦ ‘ﻣﻌﻴﺎري ﻟﻬﺠﻲ’ ﺟﻲ ﮘﺎﻟﻬﻪ اﭼﻲ ﭤﻲ ﺗﻪ ان وﻗﺖ ﻏﻴﺮ ﺟﺎﻧﺒﺪاري‪ ‬ﺟﻮ ﻣﻈﺎﻫﺮو ﻛﺮڻ‬
‫اﻧﺘﻬﺎﺋﻲ ﺿﺮوري آﻫﻲ؛ اﻫﻮ اﺳﺎن ﺟﻲ ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬ﺟﻲ ﻧﻔﺎﺳﺖ ﺟﻮ ﻣﻌﺎﻣﻠﻮ آﻫﻲ‪.‬‬
‫ﺳﻤﺎﺟﻲ ﻟﺴﺎﻧﻴﺎت ﭘﭩﺎﻧﺪر ﺗﺤﻘﻴﻖ ﻣﺎن ﺣﻴﺪرآﺑﺎد ﻳﺎ آﺳﭙﺎس ﺟﻲ ﭔﻮﻟﻲ‪ ‬۾ آﺧﺮي‬
‫ﮀﻮﭨﻲ ُﺳﺮ )‪ (last Short Vowel‬ﺟﻲ ﺑﻲ ﺣﺴﻲ ﻧﻮٽ ﻛﺌﻲ وﺋﻲ آﻫﻲ‪ .‬آﺧﺮي ُﺳﺮ ﺟﻲ‬
‫ﺣﻮاﻟﻲ ﺳﺎن ڊاﻛﭩﺮ ﻗﺎﺳﻢ ﭔﮕﻬﻴﻲ ﺟﻲ ﺷﻤﺎرﻳﺎﺗﻲ ﺗﺤﻘﻴﻖ اﻫﻢ آﻫﻲ‪ ،‬ﺟﻨـﮨـﻦ ۾ ﺻﺎﺣﺐ‬
‫ً‬
‫ﻧﺘﻴﺠﺔ ﭴﺎﮢﺎﺋﻲ ﭤﻮ ﺗﻪ‪“ :‬ﭔﻴﻮ‬ ‫ﻛﺮڻ ۽ ُﻫﺠﮡ ﺟﻲ ﺣﻮاﻟﻲ ﺳﺎن‬ ‫ﻣﻮﺻﻮف آﺧﺮي ُﺳﺮ ﺟﻲ ِ‬
‫ﻟﺴﺎﻧﻴﺎﺗﻲ ﭰﺮﮢﻮ ﺟﻴﻜﻮ رﻛﺎرڊ ﻛﻴﻞ ﮔﻔﺘﮕﻮ‪ ‬ﺟﻮ ﺗﺠﺰﻳﻮ ﻛﺮڻ وﻗﺖ ﺛﺎﺑﺖ ﭤﻴﻮ‪ ،‬اﻫﻮ ﻫﻮ‬
‫ﻚ۽ ُ‬
‫وات وﻏﻴﺮه‬ ‫ﮏ‪َ ،‬ﻣ ُﺲ‪َ ،‬ﻧ ُ‬
‫ﻟﻔﻆ ﺟﻲ آﺧﺮ ۾ اﻳﻨﺪڙ ﻧﻨﮃو ﺳﺮ‪ ،‬ﺧﺎص ﻃﺮح اﺳﻤﻦ‪ِ :‬ﺳ َﺮ‪َ ،‬ﻣ ِ‬
‫۾‪ .‬ﻫﻲ‪ ‬ﭰﺮﮢﻮ ﭔﻦ ﭰﻴﺮن ﺟﻲ ﺻﻮرت ۾ ﺳﺎﻣﻬﻮن آﻳﻮ ﻫﻚ ﻟﻔﻆ ﺟﻲ آﺧﺮ ۾ ﻧﻨﮃي ُﺳﺮ ﺟﻲ‬
‫ﻣﻮﺟﻮدﮔﻲ ﭔﻴﻮ ﻏﻴﺮ ﻣﻮﺟﻮدﮔﻲ‪(1) ”.‬‬
‫ُ‬
‫ڊاﻛﭩﺮ ﻗﺎﺳﻢ ﭔﮕﮭﻴﻲ ﺻﺎﺣﺐ واري ﺗﺤﻘﻴﻖ ‘ﭔﻮﻟﻲ‪ ‬۾ ﭰﻴﺮ ﮔﮭﻴﺮ‪ /‬ﺗﺒﺪﻳﻠﻲ‪ ‬ﺟﻲ‬
‫اﭜﻴﺎس ﻻ‪ ‬ﻟﺴﺎﻧﻴﺎﺗﻲ ﭰﺮﮢﻦ ﺟﻲ ﭼﻮﻧﮉ’ ان ﺣﻮاﻟﻲ ﺳﺎن ﻗﺎﺑﻞ ذﻛﺮ آﻫﻲ؛ ﺟﻨـﮨـﻦ ۾ ﭴﺎﮢﺎﻳﻮ‬
‫ﺳﺮ ﻛﻴﺮاﺋﮡ ﻳﺎ ﻧﻪ اﭼﺎرڻ واري ﻋﺎدت ﻻﺳﻲ‪ ‬۾ اﻳﺘﺮي ﻋﺎم ﻧﻪ آﻫﻲ ﺟﻴﺘﺮي‬ ‫اﭤﺲ ﺗﻪ “ َ‬
‫ﻛﮁﻲ ﻳﺎ ﻻڙي‪ ‬۾‪ ،‬ﺟﻦ ۾ آﺧﺮي ﻳﺎ ﻟﻔﻆ ﺟﻲ ﭘﮁﺎڙي‪ ‬واري ﺳﺮ ﮐﻲ ﻛﻴﺮاﺋﮡ ﺟﻲ ﻣﻀﺒﻮط‬
‫رواﻳﺖ‪ /‬رﺳﻢ )‪ (Trend‬آﻫﻲ‪(2) ”.‬‬
‫ڊاﻛﭩﺮ ﭔﮕﮭﺌﻲ ﺻﺎﺣﺐ ﭘﻨـﮨـﻨﺠﻲ ﺗﺤﻘﻴﻖ ﻻ‪ ‬ﺟﻴﻜﺎ ﺣﺪ ﻣﻘﺮر ﻛﺌﻲ ﻫﺌﻲ‪ ،‬ﺳﺎ‬
‫ﻫﺎﻻ ﭘﺮاﮢﺎ ﮐﺎن ﺣﻴﺪرآﺑﺎد آﻫﻲ‪ .‬اﺳﻤﻦ ﺟﻲ آﺧﺮ ۾ ﮀﻮﭨﻦ ُﺳﺮن ﺟﻲ ﻛﻴﺮاﺋﮡ ۽ ﻧﻪ‬
‫ﻛﻴﺮاﺋﮡ ۾ اﻫﺎ ﮘﺎﻟﻬﻪ ﺳﺎﻣﻬﻮن اﭼﻲ ﭤﻲ ﺗﻪ ڊاﻛﭩﺮ ُﭔﮕﮭﻴﻮ ﺻﺎﺣﺐ اڻ‪ -‬ﺳﮅي‪ ‬ﻃﺮح اﻫﺎ‬
‫ﮘﺎﻟﻬﻪ ﺗﺴﻠﻴﻢ ﭤﻮ ﻛﺮي ﺗﻪ‪ :‬ﺣﻴﺪرآﺑﺎدي ﻟـﻫـﺠﻲ ۾ آﺧﺮي ُﺳﺮ واري ﺑﻲ‪ -‬ﺣﺴﻲ ﻧﻮٽ ﻛﺌﻲ‬
‫وﺋﻲ آﻫﻲ‪.‬‬
‫ان اﻳﺘﺮي ﭤﻠﻬﻪ ﭔﮅڻ ﺑﻌﺪ ﺟﮇﻫﻦ ﺳﻨﮅي ﻟﺌﻨﮕﻮﻳﺞ اﭤﺎرﭨﻲ‪ ‬ﺟﻲ ﺗﻴﺎر ﻛﻴﻞ ﺳﻨﮅي‬
‫آﺋﻴﻮﻳﭩﺎ ﺟﺎ آڊﻳﻮ ﭔﮅﺟﻦ ﭤﺎ‪ ،‬ﺟﻴﻜﻲ ﭘﻮري‪ ‬ﺳﻨﮅ ﻻ‪ ‬ﺧﺎص ﻃﻮر ۽ دﻧﻴﺎ وارن ﻻ‪ ‬ﻋﻤﻮﻣﻲ‬
‫ﻃﻮر ﺗﻴﺎر ﻛﻴﺎ وﻳﺎ آﻫﻦ‪ ،‬ﺗﻪ ان ﺟﻲ آﺧﺮي ﮀﻮﭨﻲ ُﺳﺮ )‪ (Last short vowel‬۾ ﭰﻴﺮﮔﮭﻴﺮ‬
‫)‪ (Variation‬ﻧﻮٽ ﻛﺌﻲ وﺋﻲ آﻫﻲ‪ .‬آﺋﻴﻮﻳﭩﺎ ﺟﻲ اﮐﺮي ﻧﺎﻟﻦ )‪ (Logograms‬ﺗﻲ ﺋﻲ ﻧﻈﺮ‬
‫‪58‬‬ ‫ﻋﺮﺑﻲ ‪-‬ﺳﻨﮅي آﺋﻴﻮﻳﭩﺎ ﺟﻲ اﮐﺮن ﺟﺎ ُاﭼﺎري ﻧﺎﻻ ۽ ﻣﻌﻴﺎري ﻟﻬﺠﻮ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ڌرﺟﻲ ﺗﻪ اﻫﺎ ﭰﻴﺮﮔﮭﻴﺮ ﻫﻴﭡﻴﻦ رﻳﺖ ﺳﺎﻣﻬﻮن اﭼﻲ ﭤﻲ‪:‬‬

‫ۡ‬
‫دال )آﺧﺮي ﮀﻮﭨﻮ‬‫ﺟﻴﻢ )آﺧﺮي ﮀﻮﭨﻮ ُﺳﺮ ﭘﻴﺶ(‪ِ ،‬‬ ‫اﻟﻒ )آﺧﺮي وﻳﻨﺠﻦ ﺳﺎﻛﻦ(‪ُ ،‬‬
‫ﺳﻴﻦ )آﺧﺮي ﮀﻮﭨﻮ ُﺳﺮ زﺑﺮ(‪َ ،‬‬ ‫ۡ‬
‫ﺷﻴﻦ )آﺧﺮي ﮀﻮﭨﻮ‬ ‫ذال )آﺧﺮي وﻳﻨﺠﻦ ﺳﺎﻛﻦ(‪َ ،‬‬ ‫ُﺳﺮ زﻳﺮ(‪،‬‬
‫ﺿﻮاد )آﺧﺮي ﮀﻮﭨﻮ ُﺳﺮ ﭘﻴﺶ(‪ ،‬ﻃﻮﺋﻲ )ﻫﻦ ﺟﻲ‬ ‫ُ‬ ‫ُﺳﺮ زﺑﺮ(‪ ،‬ﺻﻮا ِد )آﺧﺮي ﮀﻮﭨﻮ ُﺳﺮ زﻳﺮ(‪،‬‬
‫ﻋﻴﻦ )آﺧﺮي ﮀﻮﭨﻮ ُﺳﺮ‬
‫آﺧﺮ ۾ ﮀﻮﭨﻮ ﺳﺮ ﻧﺎﻫﻲ(‪ ،‬ﻇﻮﺋﻲ )ﻫﻦ ﺟﻲ آﺧﺮ ۾ ﮀﻮﭨﻮ ﺳﺮ ﻧﺎﻫﻲ(‪َ ،‬‬
‫ﻛﺎف )آﺧﺮي ﮀﻮﭨﻮ ُﺳﺮ‬ ‫ُ‬ ‫ﻗﺎف )آﺧﺮي ﮀﻮﭨﻮ ُﺳﺮ ﭘﻴﺶ(‪،‬‬ ‫ﻏﻴﻦ )آﺧﺮي ﮀﻮﭨﻮ ُﺳﺮ زﺑﺮ(‪ُ ،‬‬ ‫زﺑﺮ(‪َ ،‬‬
‫ﻣﻴﻢ )آﺧﺮي ﮀﻮﭨﻮ ُﺳﺮ‬‫ﻻم )آﺧﺮي ﮀﻮﭨﻮ ُﺳﺮ ﭘﻴﺶ(‪ُ ،‬‬ ‫ﮔﺎف )آﺧﺮي ﮀﻮﭨﻮ ُﺳﺮ ﭘﻴﺶ(‪ُ ،‬‬ ‫ﭘﻴﺶ(‪ُ ،‬‬
‫ﻧﻮن )آﺧﺮي ﮀﻮﭨﻮ ُﺳﺮ ﭘﻴﺶ(‪ ،‬واؤ‪ /‬وا‪) ‬آﺧﺮي ﮀﻮﭨﻮ ُﺳﺮ ﭘﻴﺶ(‪ ،‬ﻫﻤﺰو )ﻫﻦ ﺟﻲ‬ ‫ﭘﻴﺶ(‪ُ ،‬‬
‫آﺧﺮ ۾ ﮀﻮﭨﻮ ﺳﺮ ﻧﺎﻫﻲ( )‪(3‬‬
‫ﻣﭥﻴﻦ اﮐﺮي ﻟﻔﻈﻦ )‪ (Logograms‬۾ آﺧﺮي ُﺳﺮن ﺟﻲ ﺣﻮاﻟﻲ ﺳﺎن ﻫﻴﭡﻴﺎن ﻧﻜﺘﺎ‬
‫ﻧﻮٽ ﻛﺮي ﺳﮕﮭﺠﻦ ﭤﺎ‪:‬‬
‫ُ‬
‫‪) 3 .1‬ﭨﻲ( اﮐﺮي ﻟﻔﻆ )ﻃﻮﺋﻲ‪ ،‬ﻇﻮﺋﻲ ۽ ﻫﻤﺰو( اﻫﮍا آﻫﻦ ﺟﻦ ﺟﻲ آﺧﺮ ۾ ﮀﻮﭨﻮ ﺳﺮ ﻧﻪ ﭤﻮ‬
‫اﭼﻲ‪.‬‬
‫‪) 2 .2‬ﭔﻦ( اﮐﺮي ﻟﻔﻈﻦ )اﻟﻒ ۽ ذال( ﮐﻲ ﺳﺎﻛﻦ )‪ (Vowelless‬رﮐﻴﻮ وﻳﻮ آﻫﻲ‪.‬‬
‫)ﻧﻮ( اﮐﺮي ﻟﻔﻈﻦ )ﺟﻴﻢ‪ ،‬ﺿﻮاد‪ ،‬ﻗﺎف‪ ،‬ﻛﺎف‪ ،‬ﮔﺎف‪ ،‬ﻻم‪ ،‬ﻣﻴﻢ‪ ،‬ﻧﻮن ۽ واؤ( ﺟﻲ‬ ‫‪َ 9 .3‬‬
‫آﺧﺮ ۾ ﮀﻮﭨﻮ ُﺳﺮ ﭘﻴﺶ ﻛﻢ آﻧﺪو وﻳﻮ آﻫﻲ‪.‬‬
‫‪) 2 .4‬ﭔﻪ( اﮐﺮي ﻟﻔﻈﻦ )دال ۽ ﺻﻮاد( ﺟﻲ آﺧﺮ ۾ ﮀﻮﭨﻮ ُﺳﺮ زﻳﺮ ﻛﻢ آﻧﺪي وﺋﻲ آﻫﻲ‪.‬‬
‫‪) 4 .5‬ﭼﺎر( اﮐﺮي ﻟﻔﻈﻦ )ﺳﻴﻦ‪ ،‬ﺷﻴﻦ‪ ،‬ﻋﻴﻦ ۽ ﻏﻴﻦ( ﺟﻲ آﺧﺮ ۾ ﮀﻮﭨﻮ ُﺳﺮ زﺑﺮ ﻛﻢ‬
‫آﻧﺪي وﺋﻲ آﻫﻲ‪.‬‬
‫ﻫﻲ ﻣﻌﺎﻣﻠﻮ ﺻﺮف ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬ﺟﻲ ﻫﻚ ﻟﻬﺠﻲ )‪ (Dialect‬ﺟﻮ ﻧﺎﻫﻲ ﺟﻮ ﺟﻴﻜﻲ‬
‫ﺳﻤﺠﻬﻪ ۾ اﭼﻲ اﻫﻮ ﺋﻲ درﺳﺖ آﻫﻲ ۽ اﻫﻮ ﺋﻲ اﮘﺘﻲ ﻛﺮﮢﻮ آﻫﻲ‪ .‬ﻫﺘﻲ ﺳﭝﻨﻲ ﻟﻬﺠﻦ ﺟﻮ‬
‫ﻣﻌﺎﻣﻠﻮ آﻫﻲ ان ﻛﺎرڻ ‘ﻣﻌﻴﺎري ﻟﻬﺠﻲ’ )‪ (Standard Dialect‬ﮐﻲ ﺋﻲ اﻫﻤﻴﺖ ڏﻧﻲ وﻳﻨﺪي‬
‫آﻫﻲ‪ .‬ان ﻣﻌﺎﻣﻠﻲ ۾ وري ﺑﻪ اﻫﺎ ﮘﺎﻟﻬﻪ ﺳﺎﻣﻬﻮن ﭤﻲ اﭼﻲ ﺗﻪ ﻣﻌﻴﺎري ﻟﻬﺠﻮ ﻛﻬﮍو آﻫﻲ‪،‬‬
‫‘ﺣﻴﺪرآﺑﺎد ۽ ان ﺟﻲ آﺳﭙﺎس’ ﻳﺎ ‘ﺳﺎﻫﺘﻲ’؟‬
‫ﺳﺎﻫﺘﻲ ﭘﺮﮘﮣﻲ ﺟﻲ ﺗﺎرﻳﺨﻲ‪ ،‬ﻋﻠﻤﻲ ۽ ادﺑﻲ ﺣﻴﺜﻴﺖ ﺑﺎﺑﺖ ڏﺳﻮ وﻓﺎﻗﻲ اردو‬
‫ﻳﻮﻧﻴﻮرﺳﭩﻲ ﭘﺎران ﮀﭙﻴﻞ ‘ﻛﺎروﻧﺠﻬﺮ ﺗﺤﻘﻴﻘﻲ ﺟﺮﻧﻞ’ ۾ ‘ ﺗﺎرﻳﺨﻲ ﻟﺤﺎظ ﮐﺎن وﭼﻮﻟﻲ‬
‫ﻟـﮨـﺠﻲ ﺟﻲ ﺣﻘﻴﻘﺖ’ )‪(4‬‬
‫واﺿﺢ ﻫﺠﮡ ﮔﮭﺮﺟﻲ ﺗﻪ ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬ﺟﻮ ﻣﻌﻴﺎري ﻳﺎ وﭼﻮﻟﻮ ﻟﻬﺠﻮ ‘ﺳﺎﻫﺘﻲ ﭘﺮﮘﮣﻮ’‬
‫ﻛ ُﺮ ﮐﻨﻴﻮ ﺑﻴﭡﻮ آﻫﻲ‪.‬‬ ‫آﻫﻲ‪ ،‬ﻫﻲ ﻣﻌﺎﻣﻠﻮ اﻫﮍو آﻫﻲ ﺟﻴﻜﻮ ﻛﭥﻲ ﻧﻪ ﻛﭥﻲ ﭘﻨﻬﻨﺠﻮ َ‬
‫ﺟﮇﻫﻦ ان ﻣﻌﺎﻣﻠﻲ ۾ اﺳﺎن ﻏﻴﺮ ﺟﺎﻧﺒﺪار ﻧﻪ ﭤﺎ رﻫﻮن ﺗﻪ ﭔﻮﻟﻲ‪ ‬ﺟﺎ ﺑﻨﻴﺎدي ﻣﻌﺎﻣﻼ ﺿﺮور‬
‫اﺳﺎن ﻻ‪ ‬ﻣﻮﻧﺠﻬﺎري ﺟﻮ ﺳﺒﺐ ﺑﮣﺠﻦ ﭤﺎ‪.‬‬

‫‪59‬‬ ‫ﻋﺮﺑﻲ ‪-‬ﺳﻨﮅي آﺋﻴﻮﻳﭩﺎ ﺟﻲ اﮐﺮن ﺟﺎ ُاﭼﺎري ﻧﺎﻻ ۽ ﻣﻌﻴﺎري ﻟﻬﺠﻮ‬

 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﺐ ﺌن‬ ‫ﺋ‬
‫ﻛﻨﻬﻦ ﺑﻪ ﭔﻮﻟﻲ‪ ‬۾ ﭘﮍﻫﺎﺋﺠﻨﺪڙ آﺋﻴﻮﻳﭩﺎ )‪ (Alphabet‬ﺗﻤﺎم اﻫﻢ ﻟﻴﮑﻲ وﻳﻨﺪي آﻫﻲ‪.‬‬
‫آﺋﻴﻮﻳﭩﺎ ﻣﺎن ﻣﺮاد ‘اﮐﺮن ﺟﻲ ﺗﺮﺗﻴﺐ’ ﻫﻮﻧﺪي آﻫﻲ‪ .‬اﻫﮍي ﺗﺮﺗﻴﺐ ﻣﺨﺘﻠﻒ رﺳﻢ اﻟﺨﻄﻦ‬
‫۾ ﻣﺨﺘﻠﻒ رﻫﻲ آﻫﻲ‪ .‬ﻛﻨﻬﻦ ۾ ﻣﺨﺮﺟﻮار ﺗﺮﺗﻴﺐ رﮐﻴﻞ آﻫﻲ ﺗﻪ ﻛﻨﻬﻦ ۾ وري ﺷﻜﻞ‬
‫۽ ﭨﭕﻜﻦ وار رﮐﻴﻞ آﻫﻲ‪ .‬ﻛﻲ ﺗﻪ وري ﺑﻨﻬﻪ ﭘﺮاﮢﻲ ‘اﺑﺠﺪ’ واﻧﮕﺮ ﺑﻴﻬﺎرﻳﻞ آﻫﻦ‪ .‬ﺳﻨﮅي‬
‫آﺋﻴﻮﻳﭩﺎ ﺟﻮن ﺑﻪ ﭼﻨﺪ ﺗﺮﺗﻴﺒﻮن رﻫﻴﻮن آﻫﻦ‪ .‬اﻫﮍي ﺗﺮﺗﻴﺐ ۾ اﮐﺮ ﺟﺎ ﭘﮡ ﻧﺎﻻ ﻫﻮﻧﺪا آﻫﻦ‬
‫ﺟﻴﻜﻲ ﭔﻦ ﻗﺴﻤﻦ ﺟﺎ ﭤﻴﻦ ﭤﺎ‪ ،‬ﻫﻜﮍا‪ :‬ﻟﻔﻈﻲ اﭼﺎر وارا )‪ ،(Logogram‬ﭔﻴﺎ‪ :‬ﭘﺪ ﺟﻲ اﭼﺎر‬
‫وارا )‪ .(Syllabogram‬ﭘﺎﻛﺴﺘﺎن رﻳﮉﻧﮓ ﭘﺮاﺟﻴﻜﭧ ﭘﺎران ﺳﻨﮅي ﻟﺌﻨﮕﻮﻳﺞ اﭤﺎرﭨﻲ‪ ‬ﺟﺎ‬
‫ﺗﻴﺎر ﻛﻴﻞ آﺋﻴﻮﻳﭩﺎ ﺟﻲ آڊﻳﻮ رﻛﺎرڊن ﺟﻮ ﻣﻌﺎﻫﺪو ﻛﺮﮢﻮ ﻫﻮ‪ .‬ان ﺟﻲ ﺻﺤﺖ ﺟﺎﭼﮡ ﻻ‪‬‬
‫ﺳﻴﭙﭩﻤﺒﺮ ‪2016 ،09‬ع ﺗﻲ ﭨﻦ ﻣﺎﮢﻬﻦ ﺟﻲ ﻛﺎﻣﻴﭩﻲ ﻣﻘﺮر ﻛﺮي ﻫﻚ ﮔﮇﺟﺎﮢﻲ ﻛﻮﭠﺎﺋﻲ‬
‫وﺋﻲ‪ .‬ﺳﻨﮅي ﻟﺌﻨﮕﻮﻳﺞ اﭤﺎرﭨﻲ‪ ‬ﺟﻲ ﺗﻴﺎر ﻛﻴﻞ رﻛﺎرڊن ۾ ‘ا‪ ،‬د‪ ،‬ذ‪ ،‬س‪ ،‬ش‪ ،‬ص‪ ،‬ع‪ ،‬غ’‬
‫ﻋﻴﻦ ۽ َ‬
‫ﺷﻴﻦ‪ ،‬ﺻﻮادِ‪َ ،‬‬ ‫َ‬ ‫ۡ‬
‫ذال‪َ ،‬‬ ‫َ ۡ‬
‫ﻏﻴﻦ’‬ ‫ﺳﻴﻦ‪،‬‬ ‫دال‪،‬‬
‫اﮐﺮن ﺟﺎ ﻟﻔﻈﻲ اﭼﺎر )‪‘ (Logogram‬اﻟِﻒ‪ِ ،‬‬
‫ﻣﻮﺟﻮد ﻫﻴﺎ‪ .‬ان ۾ ﺧﺎص ﻣﻮﻧﺠﻬﺎرو اﻫﻮ رﻫﻴﻮ ﺗﻪ‪‘ :‬ا‪ ،‬د‪ ،‬ذ‪ ،‬س‪ ،‬ش‪ ،‬ص‪ ،‬ع‪ ،‬غ’ اﮐﺮن ﺟﺎ‬
‫ذال‪ُ ،‬‬
‫ﺳﻴﻦ‪،‬‬ ‫ﻟﻔﻈﻲ اﭼﺎر )‪ (Logogram‬ﺳﻨﮅ ﺟﻲ اﺗﺮادي ۽ ﺳﺎﻫﺘﻲ ﭘﺮﮘﮣﻲ ۾ ‘ َا َﻟ ُﻒ‪ُ ،‬‬
‫دال‪ُ ،‬‬
‫ﻏﻴﻦ’ ﭤﺎ اﭼﺎرﺟﻦ‪ .‬اﻫﮍي ﺣﺎﻟﺖ ۾ ﻣﻌﻴﺎري ﻟﻬﺠﻲ ﻣﻮﺟﺐ ﭴﺎﮢﺎﻳﻞ‬ ‫ﻋﻴﻦ ۽ ُ‬ ‫ُ‬
‫ﺻﻮاد‪ُ ،‬‬ ‫ُ‬
‫ﺷﻴﻦ‪،‬‬
‫اﮐﺮن ﺟﺎ ﻟﻔﻈﻲ اﭼﺎر ﻛﻬﮍا ﻫﺠﮡ ﮔﮭﺮﺟﻦ!‬

‫ال‬ ‫ﺌ‬ ‫ﺋ‬

‫ﻣﺴﺌﻠﻲ ﺟﺎ ﻫﻴﭡﻴﺎن ﭨﻲ ﺳﻮال اﻫﻢ آﻫﻦ‪ ،‬ﺟﻦ ﮐﻲ ﺳﺎﻣﻬﻮن رﮐﻲ ﻣﺴﺌﻠﻲ ﺟﻮ اﭜﻴﺎس‬
‫ﻛﺠﻲ ﭤﻮ‪:‬‬
‫‪ ‬ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬ﺟﻮ ﻣﻌﻴﺎري ﻟﻬﺠﻮ ﻛﻬﮍو آﻫﻲ؟‬
‫‪ ‬ﮀﺎ ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬۾ ﮘﺎﻟﻬﺎﺋﺠﻨﺪڙ ﻟﻔﻈﻦ ﺟﻮ آﺧﺮي وﻳﻨﺠﻦ ﺳﺎﻛﻦ رﻫﻲ ﭤﻮ؟‬
‫ُ‬
‫ﺟﻴﻢ’‪‘ ،‬ﮔﺎف’‬‫‪ ‬اﭤﺎرﭨﻲ‪ ‬ﺟﻲ ﺗﻴﺎر ﻛﻴﻞ ﺳﻨﮅي آﺋﻴﻮﻳﭩﺎ رﻛﺎرڊن ۾ ﺟﮇﻫﻦ ‘ ُ‬
‫وﻏﻴﺮه ﺟﻮ آﺧﺮي وﻳﻨﺠﻦ ‘ﭘﻴﺶ’ ﺳﺎن اﭼﺎرﺟﻲ ﭤﻮ ﺗﻪ ‘ﺳﻴﻦ’‪‘ ،‬ﺷﻴﻦ’‪‘ ،‬ﻋﻴﻦ’ ۽‬
‫‘ﻏﻴﻦ’ ﺟﻲ آﺧﺮي وﻳﻨﺠﻦ ﺗﻲ ﺗﺮﺟﻴﺤﻲ ﻃﻮر ‘ﭘﻴﺶ’ ڏﺟﻲ ﻳﺎ ‘زﺑﺮ’؟‬
‫‪ ‬ﮀﺎ ‘د‪ ،‬ص’ ﺟﻲ ﻟﻔﻈﻲ اﭼﺎرن ﺟﻮ آﺧﺮي ُﺳﺮ ‘ﭘﻴﺶ’ ﺳﺎن رﮐﺠﻲ ﻳﺎ ‘زﻳﺮ’ ڏﻳﮡ‬
‫ﮔﮭﺮﺟﻲ؟‬
‫ﻋﻴﻦ’ ﻳﺎ ‘ ُ‬
‫ﺳﻴﻦ ۽‬ ‫َ‬ ‫‪ ‬ﮀﺎ اﮐﺮ ‘س ﻳﺎ ع’ ﺟﻲ ﻟﻔﻈﻲ اﭼﺎر )‪َ ‘ (Logogram‬‬
‫ﺳﻴﻦ ۽‬
‫ﻋﻴﻦ’ ﻣﺎن ﻛﻨﻬﻦ ﺑﻪ ﻫﻚ ﮐﻲ درﺳﺖ ۽ ﭔﺌﻲ ﮐﻲ ﻏﻠﻂ ﻗﺮار ڏﺋﻲ ﺳﮕﻬﺠﻲ ﭤﻮ؟‬‫ُ‬

‫ا ﺌس‬
‫ﻫﻦ اﭜﻴﺎس ۾ ﭔﻪ ﻣﻌﺎﻣﻼ ﺳﺎﻣﻬﻮن اﭼﻦ ﭤﺎ‪ ،‬ﺟﻴﻜﻲ ﻫﻜﭕﺌﻲ ﺳﺎن ﺋﻲ ﺳﻠﻬﺎڙﻳﻞ‬
‫‪60‬‬ ‫ﻋﺮﺑﻲ ‪-‬ﺳﻨﮅي آﺋﻴﻮﻳﭩﺎ ﺟﻲ اﮐﺮن ﺟﺎ ُاﭼﺎري ﻧﺎﻻ ۽ ﻣﻌﻴﺎري ﻟﻬﺠﻮ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫آﻫﻦ؛ ﻫﻚ‪ :‬وﭼﻮﻟﻲ ﻟﻬﺠﻲ ﺟﻲ ﺣﻘﻴﻘﺖ؛ ﭔﻴﻮ‪ :‬اﮐﺮن ﺟﻮ اﭼﺎري ﻟﻔﻆ )‪ .(Logogram‬اﻫﻲ‬
‫اﻫﮍا ﻋﻠﻤﻲ ﻣﻌﺎﻣﻼ آﻫﻦ‪ ،‬ﺟﻴﺴﺘﺎﺋﻴﻦ اﻧﻬﻦ ﮐﻲ اڻ‪ -‬ڌرﻳﻮ ﭤﻲ ﻧﻪ ﭤﻮ ﺟﺎﭼﻴﻮ وﭸﻲ ﺗﻪ‬
‫ﺗﻴﺴﺘﺎﺋﻴﻦ ﻛﻨﻬﻦ درﺳﺖ رﺳﺘﻲ ﺗﻲ اﭼﮡ ﻣﻤﻜﻦ ﻛﻮﻧﻬﻲ‪ .‬ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬ﺟﺎ ﻛﺎﻓﻲ‬
‫ﻣﻌﺎﻣﻼ اڻ‪ -‬ڌرﺋﻲ )‪ (Impartial‬ﻧﻪ رﻫﮡ ﺳﺒﺐ ﻛﭥﻲ ﻧﻪ ﻛﭥﻲ ﺳﺎﻣﻬﻮن ﺿﺮور اﭼﻦ ﭤﺎ؛ ﭘﻮ‪‬‬
‫اﻫﻲ اﮘﺘﻲ ﻫﻠﻲ اڻ‪ -‬ﮀﻬﻴﻞ رﻫﺠﻲ ﭤﺎ وﭸﻦ ۽ ﻛﺎﻓﻲ ﻛﻤﻦ ﺗﻲ ﻛﻢ ﻛﺮڻ ﺟﺎ ﻣﻴﺪان‬
‫ﺧﺎﻟﻲ رﻫﺠﻴﻮ وﭸﻦ‪ .‬اﻫﮍي ﻣﻌﺎﻣﻠﻲ ﮐﻲ ﺟﺎﭼﮡ ﻻ‪ ‬ﻫﻴﭡﻴﻦ ﻧﻜﺘﻦ ﺗﻲ ﺗﺮﺗﻴﺐ ﺳﺎن ﻛﻢ‬
‫ﻛﺠﻲ ﭤﻮ‪:‬‬
‫‪ .1‬وﭼﻮﻟﻲ ﻟﻬﺠﻲ ﺟﻲ ﺣﻘﻴﻘﺖ‬
‫ُ‬
‫‪ .2‬ﺳﻨﮅي ﻟﻔﻆ ﺟﻮ آﺧﺮي ﮀﻮﭨﻮ ﺳﺮ‬
‫‪ .3‬ﺳﻨﮅي آﺋﻴﻮﻳﭩﺎ ﺟﻲ اﮐﺮي ﻧﺎﻟﻦ )‪ (Logograms‬ﺟﺎ آﺧﺮي ُﺳﺮ‬

‫‪ .1‬و‬
‫ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬ﺟﺎ ﻣﻮﺟﻮده ﺻﻮرت ۾ ﭘﻨﺞ ﻟﻬﺠﺎ )‪ :(Dialect‬اﺗﺮادي‪ ،‬وﭼﻮﻟﻮ‪ ،‬ﻻڙي‪ ،‬ﻻﺳﻲ‬
‫۽ ﻛﮁﻲ آﻫﻦ‪ ،‬ﺟﻨﻬﻦ ﺟﻲ اﻧﺪر ﭔﻴﺎ ُاﭘﻠﻬﺠﺎ )‪ (Accent‬ﻻڙﻛﺎﮢﻮي‪ ،‬ﺷﻜﺎرﭘﻮري‪ ،‬ﺧﻴﺮﭘﻮري‪،‬‬
‫ﺣﻴﺪرآﺑﺎدي‪ ،‬ﻛﻮﻫﺴﺘﺎﻧﻲ‪ ،‬ﭤﺮي وﻏﻴﺮه اﭼﻲ وﭸﻦ ﭤﺎ‪ .‬ﺗﺎرﻳﺨﻲ اﻋﺘﺒﺎر ﮐﺎن اﻫﺎ ﮘﺎﻟﻬﻪ ﻣﺴﻠّﻢ‬
‫آﻫﻲ ﺗﻪ ‘وﭼﻮﻟﻮ’ ﻟﻬﺠﻮ ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬ﺟﻮ ﻣﻌﻴﺎري ﻟﻬﺠﻮ )‪ (Standard Dialect‬آﻫﻲ‪.‬‬
‫وﭼﻮﻟﻲ ﻟﻬﺠﻲ ﺗﻲ اﺧﺘﻼف رﻫﻴﺎ آﻫﻦ‪ ،‬ﺑﻠﻚ اﺧﺘﻼف ﭘﻴﺪا ﻛﻴﺎ وﻳﺎ آﻫﻦ‪ .‬ﻛﻦ‬
‫ﻋﺎﻟﻤﻦ‪ /‬ادﻳﺒﻦ ﺟﻲ ﻧﻈﺮ ۾ وﭼﻮﻟﻮ ‘ﺳﺎﻫﺘﻲ ﭘﺮﮘﮣﻮ’ آﻫﻲ ﺗﻪ ﻛﻦ وري ‘ﺣﻴﺪرآﺑﺎدي ﺷﻬﺮي‬
‫اﭘﻠﻬﺠﻲ’ ﮐﻲ وﭼﻮﻟﻮ ﭼﺌﻲ ﻟﻴﻚ ﻛﮃي ﮀﮇي آﻫﻲ‪ .‬اﻳﺘﺮو ﺿﺮور آﻫﻲ ﺗﻪ ﺣﻴﺪرآﺑﺎد ﺟﻲ‬
‫ﺷﻬﺮي ﭔﻮﻟﻲ‪ ‬ﮐﻲ وﭼﻮﻟﻲ ۾ ﻫﺠﮡ ﺗﻲ ﭼﻨﺪ ﻋﺎﻟﻤﻦ ﮐﻲ اﺧﺘﻼف رﻫﻴﻮ آﻫﻲ؛ ﺟﮇﻫﻦ ﺗﻪ‬
‫‘ﺳﺎﻫﺘﻲ ﭘﺮﮘﮣﻲ’ ﺟﻲ وﭼﻮﻟﻲ ﻫﺠﮡ ﺗﻲ ﻛﻨﻬﻦ ﮐﻲ ﺑﻪ اﺧﺘﻼف ﻧﺎﻫﻲ؛ اﻟﺒﺖ ﺳﻨﮅ ﺟﻲ‬
‫ﻫﻚ ‘ﺗﺨﻠﻴﻘﻲ ادب’ ﺟﻲ ﻋﺎﻟﻢ‪ ،‬ﻟﺴﺎﻧﻴﺎت ۾ ﭘﻨﻬﻨﺠﻮ ﻧﺎﻟﻮ ﮘﮣﺎﺋﮡ ﻻ‪ ‬ﻛﺠﻬﻪ ﻛﻢ ﻛﺮي‬
‫اﻫﺎ ﮘﺎﻟﻬﻪ ﭴﺎﮢﺎﺋﻲ آﻫﻲ ﺗﻪ ‘ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬ﺟﻮ اﺗﺮادي ﻟﻬﺠﻮ ﻣﻮري ﮐﺎن ﭠﻞ ﺗﺎﺋﻴﻦ آﻫﻲ’‪.‬‬
‫ﺣﺎﻻﻧﻚ‪ ،‬ﺳﺎﻫﺘﻲ ﭘﺮﮘﮣﻲ ﺟﻲ ﺷﺮوﻋﺎت ﺋﻲ ﻣﻮري ﮐﺎن ﭤﻴﻨﺪي‪ ،‬ﺟﻨﻬﻦ ۾ ﭘﻮرو ﺿﻠﻌﻮ‬
‫ﻧﻮﺷﻬﺮوﻓﻴﺮوز اﭼﻲ وﭸﻲ ﭤﻮ‪.‬‬
‫ﺟﻴﻜﻲ ﻋﺎﻟﻢ ﺗﺎرﻳﺨﻲ اﻋﺘﺒﺎر ﮐﺎن ﺳﺎﻫﺘﻲ ﭘﺮﮘﮣﻲ ﮐﻲ وﭼﻮﻟﻲ ۾ ﺷﺎﻣﻞ ﻛﻦ ﭤﺎ‬
‫ﺗﻦ ۾ ﻛﺎﻛﻮ ﭜﻴﺮوﻣﻞ‪ ،‬ڊاﻛﭩﺮ ﻧﺒﻲ ﺑﺨﺶ ﺑﻠﻮچ‪ ،‬ﭘﺮوﻓﻴﺴﺮ ﻋﻠﻲ ﻧﻮاز ﺟﺘﻮﺋﻲ‪ ،‬ﻣﺴﭩﺮ‬
‫ﮐﻴﻤﭽﻨﺪ ﻫﻴﺮاﮢﻲ‪ ،‬ﺣﻜﻴﻢ ﻓﺘﺢ ﻣﺤﻤﺪ ﺳﻴﻮﻫﺎﮢﻲ‪ ، ،‬ڊاﻛﭩﺮ ﻣﺮﻟﻴﮅر ﺟﻴﭩﻠﻲ‪ ،‬ڊاﻛﭩﺮ‬
‫ﺣﺎﻣﺪ ﻋﻠﻲ ﺧﺎﻧﺎﺋﻲ‪ ،‬ڊاﻛﭩﺮ ﻋﻄﺎ ﻣﺤﻤﺪ ﺣﺎﻣﻲ‪ ،‬ڊاﻛﭩﺮ اﻟﻬﺪاد ﭔﻮﻫﻴﻮ‪ ،‬ڊاﻛﭩﺮ‬
‫ﻋﺒﺪاﻟﺠﺒﺎر ﺟﻮﮢﻴﺠﻮ‪ ،‬ڊاﻛﭩﺮ ﺣﻴﺪر ﺳﻨﮅي‪ ،‬ﻣﺤﺘﺮم ﻧﺼﻴﺮ اﻋﺠﺎز‪ ،‬ﻣﻘﺼﻮد ﮔﻞ وﻏﻴﺮه‬
‫ﺷﺎﻣﻞ آﻫﻦ‪(5) .‬‬

‫‪61‬‬ ‫ﻋﺮﺑﻲ ‪-‬ﺳﻨﮅي آﺋﻴﻮﻳﭩﺎ ﺟﻲ اﮐﺮن ﺟﺎ ُاﭼﺎري ﻧﺎﻻ ۽ ﻣﻌﻴﺎري ﻟﻬﺠﻮ‬

 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫آ ي‬ ‫ي‬ ‫‪.2‬‬
‫ﻣﺴﻠﻢ آﻫﻲ ﺗﻪ ﻫﺮ ﻟﻔﻆ ﺟﻮ آﺧﺮي وﻳﻨﺠﻦ )‪(Consonant‬‬ ‫ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬۾ اﻫﺎ ﮘﺎﻟﻬﻪ ُ ّ‬
‫ﻣﺘﺤﺮڪ رﻫﻲ ﭤﻮ‪ .‬ان ﺟﻮ اﻫﻢ ﺳﺒﺐ اﻫﻮ آﻫﻲ ﺗﻪ ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬ﺟﺎ ﻣﺆﻧﺚ‪ -‬ﻣﺬﻛﺮ‪ ،‬واﺣﺪ‪-‬‬
‫ﺟﻤﻊ‪ ،‬اﺳﻢ ﺟﻲ ﻓﺎﻋﻠﻲ ﻣﻔﻌﻮﻟﻲ ﺣﺎﻟﺖ‪ ،‬ﺣﺮف اﺿﺎﻓﺖ ۽ ﺣﺮف ﺟﺮ ﺟﻮ ﻣﺪار ﻟﻔﻆ ﺟﻲ‬
‫آﺧﺮي ﮀﻮﭨﻲ ُﺳﺮ ﺗﻲ ﻣﻨﺤﺼﺮ آﻫﻲ‪ .‬ان ﻛﺎرڻ ﺳﻨﮅي ﻟﻔﻈﻦ ﺟﻲ آﺧﺮي ُﺳﺮ واري ﺑﻲ‪-‬‬
‫ﺣﺴﻲ ﻣﻌﻴﺎري ﭔﻮﻟﻲ‪ ‬۾ ﻗﺎﺑﻞ ﻗﺒﻮل ﻧﺎﻫﻲ‪.‬‬
‫ﻋﻠﻤﻲ ﺣﻮاﻟﻲ ﺳﺎن اﻫﺎ ﮘﺎﻟﻬﻪ ﺑﻪ ﺳﺎﻣﻬﻮن آﺋﻲ آﻫﻲ ﺗﻪ ﺟﮇﻫﻦ آﺧﺮي ﮀﻮﭨﻮ ُﺳﺮ ﻣﭩﺠﻲ‬
‫ﻣﺎﻗﺒﻞ آﺧﺮ وﻳﻨﺠﻦ )‪ (Second last consonant‬ﺗﻲ ﺑﻴﻬﻲ ﭤﻮ ﺗﻪ ان ﺻﻮرت ۾ ‘م‪ ،‬س ۽ ن’‬
‫ﺳﺎﻛﻦ رﻫﻦ ﭤﺎ؛ ﻟﻴﻜﻦ اﻫﺎ ﮘﺎﻟﻬﻪ واﺿﺢ رﻫﻲ ﺗﻪ اﻫﮍي ﮀﻮﭨﻲ ُﺳﺮ ﺟﻮ ﻣﺎﻗﺒﻞ آﺧﺮ وﻳﻨﺠﻦ‬
‫)‪ (Second last consonant‬ﺗﻲ اﺣﺘﻴﺎط ﻛﻴﻮ وﻳﻨﺪو آﻫﻲ‪ .‬آﺧﺮي وﻳﻨﺠﻦ ﺳﺎﻛﻦ ﻫﺠﮡ‬
‫ﺟﻲ ﺗﺼﻮر ﻻ‪ ‬ڏﺳﻮ ‘ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬ﺟﻲ ﻟﻔﻈﻦ ۾ آﺧﺮي ۽ آﺧﺮي‪ ‬ﮐﺎن اڳ وﻳﻨﺠﻦ ﺟﻲ ُﺳﺮ‬
‫۽ آﺧﺮي وﻳﻨﺠﻦ ﺟﻲ ﺳﺎﻛﻦ ﻫﺌﮡ ﺟﻮ ﺗﺼﻮر’ )‪(6‬‬
‫ﭴﺎﮢﺎﻳﻞ ﻟﺌﻨﮕﻮﻳﺞ اﭤﺎرﭨﻲ‪ ‬ﭘﺎران ﺟﺎري ﻛﻴﻞ آﺋﻴﻮﻳﭩﺎ ﺟﻲ آڊﻳﻮ ۾ ﭔﮅاﻳﻞ اﮐﺮي‬
‫وﻳﻨﺠﻦ ﺳﺎﻛﻦ‪ ،‬زﻳﺮ‪ ،‬زﺑﺮ ۽ ﭘﻴﺶ ﺳﺎن ڏﻧﺎ وﻳﺎ آﻫﻦ‪ .‬ﺟﻨﻬﻦ‬ ‫َ‬ ‫ﻧﺎﻟﻦ )‪ (Logograms‬ﺟﺎ آﺧﺮي‬
‫ﻣﺎن آﺧﺮي ﮀﻮﭨﻲ ُﺳﺮ )‪ (Last Short Vowel‬ﺟﻲ ﺑﻲ‪ -‬ﺣﺴﻲ ﻧﻮٽ ﻛﺮي ﺳﮕﮭﺠﻲ ﭤﻲ‪.‬‬
‫ﺣﻴﺪرآﺑﺎد ﺟﻲ ﺷﻬﺮي ﭔﻮﻟﻲ ۽ ان ﺟﻲ آﺳﭙﺎس ﻛﻮ اﻟﮗ ﺳﺎن ﻟﻬﺠﻮ ﻛﻮﻧﻬﻲ‪ ،‬اﺗﺎن‬
‫ﺟﻲ اﺻﻞ ﻣﻘﺎﻣﻲ ﻣﺎﮢﻬﻦ ﺟﻲ ﭔﻮﻟﻲ ﻻڙي ﻟﻬﺠﻲ ۾ ﺷﻤﺎر ﭤﺌﻲ ﭤﻲ‪ .‬ﻣﻮﺟﻮده ﺻﻮرت ۾ ﭘﻮري‬
‫ﺳﻨﮅ ﺟﺎ ﻣﺎﮢﻬﻮ اﺗﻲ رﻫﻦ ﭤﺎ‪ ،‬ان ﻛﺎرڻ ﭼﻨﺪ ﻣﺎﮢﻬﻦ ﮐﻲ ڏﺳﻲ ﻛﺮي ﺣﻴﺪرآﺑﺎد ﺟﻲ ﺷﻬﺮي‬
‫ﭔﻮﻟﻲ‪ ‬ﮐﻲ وﭼﻮﻟﻲ ۾ ﺷﻤﺎر ﻛﻮﻧﻪ ﻛﺒﻮ‪ .‬ﺳﺎﻫﺘﻲ ﭘﺮﮘﮣﻮ اﺻﻮﻟﻲ ﻃﻮر ﺗﻲ وﭼﻮﻟﻮ ﺳﮇﻳﻮ وﻳﻮ‬
‫آﻫﻲ ۽ ﻛﻨﻬﻦ ﺑﻪ ﻋﺎﻟﻢ ﮐﻲ ان ﺗﻲ اﻋﺘﺮاض ﻧﻪ رﻫﻴﻮ آﻫﻲ‪ .‬ان ﻛﺎرڻ آﺋﻴﻮﻳﭩﺎ ﺟﻬﮍن‬
‫ﺑﻨﻴﺎدي ﻣﻌﺎﻣﻠﻦ ۾ وﭼﻮﻟﻲ ﭔﻮﻟﻲ‪ ‬ﮐﻲ ﺗﺮﺟﻴﺢ‪ /‬ڏﻳﮣﻲ ﭘﻮﻧﺪي‪.‬‬
‫ڊاﻛﭩﺮ ﻗﺎﺳﻢ ﭔﮕﮭﻴﻲ ﺟﻲ ﺳﻤﺎﺟﻲ ﻟﺴﺎﻧﻴﺎت ﻫﻴﭟ ﺳﺎﺋﻨﺴﻲ ﺗﺤﻘﻴﻖ ﭘﭩﺎﻧﺪر ﻫﺎﻻ‬
‫ﮐﺎن ﺣﻴﺪرآﺑﺎد وارن ﺟﻲ آﺧﺮي ﮀﻮﭨﻲ ُﺳﺮ ۾ ﭰﻴﺮو آﻫﻲ‪ .‬ان ﻣﺎن اڻ ﺳﮅي‪ ‬ﻃﺮح اﻫﺎ ﮘﺎﻟﻬﻪ‬
‫ﺳﺎﻣﻬﻮن اﭼﻲ ﭤﻲ ﺗﻪ ﺣﻴﺪرآﺑﺎد ۽ ان ﺟﻲ آﺳﭙﺎس واري ﭔﻮﻟﻲ‪ ‬۾ آﺧﺮي ﮀﻮﭨﻲ ُﺳﺮ ﺟﻮ‬
‫اﺣﺘﻴﺎط ﻧﻪ ﭤﻮ رﻫﻲ‪.‬‬

‫ا ي ﺌ )‪ (Logograms‬ﺌ آ ي ُ‬ ‫ﺌ‬ ‫ي آﺊ‬ ‫‪.3‬‬

‫اﻫﻢ ﮘﺎﻟﻬﻪ ﻧﻮٽ ﻛﺮڻ ﺟﻲ آﻫﻲ ﺗﻪ ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬ﺟﻲ ﻟﻬﺠﻦ ۾ ﺟﻴﻜﻲ ﺑﻪ آواز ﻳﺎ‬
‫ﻟﻔﻆ ﮘﺎﻟﻬﺎﻳﺎ وﭸﻦ ﭤﺎ‪ ،‬ﺗﻦ ﮐﻲ ﭔﺌﻲ ﻛﻨﻬﻦ ﺑﻪ ﻟﻬﺠﻲ ﺳﺎن ﭜﻴﭩﻲ ﻏﻠﻂ ﻳﺎ درﺳﺖ ﻗﺮار ڏﻳﮡ‬
‫ﻛﻨﻬﻦ ﺑﻪ ﺻﻮرت ۾ درﺳﺖ ﻋﻤﻞ ﻧﺎﻫﻲ‪ .‬اﻫﮍا ﻣﻌﺎﻣﻼ ﻳﺎ آوازن ﺟﺎ ﺗﻀﺎد ﻟﻬﺠﻦ ۾ ﻫﺠﮡ ان‬
‫ﺟﻲ ﺳﻮﻧﻬﻦ ﻟﻴﮑﻲ وﻳﻨﺪي آﻫﻲ‪ ،‬ان ﻛﺎرڻ ﻛﻨﻬﻦ ﺑﻪ ﻟﻬﺠﻲ )‪ (Dialect‬ﻳﺎ اﭘﻠﻬﺠﻲ‬
‫)‪ (Accent‬ﺟﻲ ﮘﺎﻟﻬﺎﺋﺠﻨﺪڙ ﭔﻮﻟﻲ‪ ‬ﺗﻲ اﻋﺘﺮاض ﻏﻴﺮ ﻋﻠﻤﻲ ﻋﻤﻞ آﻫﻲ‪ .‬اﻟﺒﺖ‪ ،‬ﺟﮇﻫﻦ‬
‫‪62‬‬ ‫ﻋﺮﺑﻲ ‪-‬ﺳﻨﮅي آﺋﻴﻮﻳﭩﺎ ﺟﻲ اﮐﺮن ﺟﺎ ُاﭼﺎري ﻧﺎﻻ ۽ ﻣﻌﻴﺎري ﻟﻬﺠﻮ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﺻﻮرﺗﺨﻄﻲ‪ ‬ﺟﻮ ﻣﻌﺎﻣﻠﻮ ﺳﺎﻣﻬﻮن اﭼﻲ ﭤﻮ ﻳﺎ ﭘﻮري ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬ﺗﻲ ﻛﻲ ﺗﻌﻠﻴﻤﻲ اﺳﻢ‬
‫ﻻﮘﻮ ﻛﺮﮢﺎ ﭘﻮﻧﺪا آﻫﻦ ﺗﻪ ان ﺣﺎﻟﺖ ۾ ﺗﺮﺟﻴﺤﻲ ﺑﻨﻴﺎدن ﺗﻲ ‘ﻣﻌﻴﺎري ﻟﻬﺠﻲ’ ﮐﻲ ﻧﻈﺮ ۾‬
‫رﮐﻴﻮ وﻳﻨﺪو آﻫﻲ‪ .‬آﺋﻴﻮﻳﭩﺎ ۾ اﮐﺮن ﺟﻲ ﻧﺎﻟﻦ ﻻ‪ ‬ﺗﺮﺟﻴﺤﻲ ﻟﻔﻆ ﺟﻲ ﻫِﺠﻲ ﻳﺎ ﺻﻮرﺗﺨﻄﻲ‬
‫ﻣﺘﻌ ّﻴﻦ ﻛﺮڻ ﻳﺎ اﭜﻴﺎس ﺟﻲ ﻧﺘﻴﺠﻲ اﺧﺬ ﻛﺮڻ ﻻ‪ ‬ان ﻣﻌﺎﻣﻠﻲ ﺳﺎن ﻻﮘﺎﭘﻴﻞ اﺻﻄﻼﺣﻦ‬
‫)‪ (Terms‬۽ وﭼﻮﻟﻲ ۾ اﺳﺘﻌﻤﺎل ﭤﻴﻨﺪڙ اﭼﺎري ﻟﻔﻈﻦ ﻻ‪ ‬اﺻﻮﻟﻲ اﭜﻴﺎس ﻛﺠﻲ ﭤﻮ‪.‬‬

‫ﺌﺊﮙ رواج‬ ‫‪ ‬آواز ﺐ ﺌد آﺊ ﺌ ﺌ ا‬

‫اﮐﺮن ﺟﻲ آوازن ﮐﻲ ﭘﮍﻫﺎﺋﮡ ﺟﺎ ﻣﺨﺘﻠﻒ آﺋﻴﻮﻳﭩﺎﺋﻦ ﺟﺎ ﻣﺨﺘﻠﻒ ڍﻧﮓ آﻫﻦ‪ ،‬ﻛﻦ‬
‫۾ ﺳﭛ اﮐﺮ ﻫﻚ ﺋﻲ ُﺳﺮ )‪ (Vowel‬ﺳﺎن ﭘﮍﻫﺎﺋﮡ ﺟﻮ ﺗﺼﻮر آﻫﻲ‪ ،‬ﻛﻦ ۾ ُﺳﺮن )ﭘﺪ ﺟﻲ‬
‫ﺻﻮرت ۾( ۽ ﻟﻔﻈﻲ اﭼﺎرن ﭔﻨﻬﻲ ﺟﻮ ﺗﺼﻮر ﻣﻮﺟﻮد آﻫﻲ؛ ﻟﻴﻜﻦ ﭔﻨﻬﻲ ڍﻧﮕﻦ ۾ ڌﻳﺎن‬
‫ﮔﻬﮣﻲ ﻗﺪر‪ ،‬اﮘﺌﻴﻦ آواز ﺗﻲ رﮐﻴﻮ وﻳﻨﺪو آﻫﻲ‪ .‬اﻧﮕﺮﻳﺰي‪ ‬۾ ﻫﻦ اﻧﺪاز ﻻ‪ Acrophony ‬ﺟﻮ‬
‫اﺻﻄﻼح ﻛﻢ اﻳﻨﺪو آﻫﻲ‪ ،‬ﺟﻨـﮬـﻦ ﺟﻲ ﻣﺮاد ﻛﻨـﮬن ﻟﻔﻆ ﺟﻲ ﺷﺮوع ﺟﻮ آواز وﭠﻲ ﺑﺎﻗﻲ‬
‫ﺣﺼﻮ ﺣﺬف ﻛﻴﻮ وﻳﻨﺪو آﻫﻲ‪(7) .‬‬
‫‪Definition of ACROPHONY‬‬
‫‪1 : The application in the evolution of an alphabet of a pictorial‬‬
‫‪symbol or hieroglyph for the name of an object to the initial sound alone‬‬
‫‪of that name‬‬
‫‪2: The naming of a letter by a word whose initial sound is the same‬‬
‫)‪as that which the letter represents. (8‬‬
‫‪Definition of acrophony in English‬‬
‫‪The use of a graphic symbol originally representing a word (or the object to‬‬
‫)‪which it refers) to denote the initial syllable or sound of that word. (9‬‬

‫ا ﺌرن ﺌ ڍ ‪:‬‬ ‫ﺌﺊ‬ ‫‪ ‬آﺊ‬

‫ﺳﻨﮅي‪ ‬۾‪ :‬اﻟﻒ‪ ،‬ﺑﻲ‪ ،‬ﭔﻲ‪ ،‬ﭜﻲ‪ ،‬ﺗﻲ‪ ،‬ﭤﻲ…‬
‫ﻋﺮﺑﻲ‪ ‬۾‪ :‬اﻟﻒ‪ ،‬ﺑﺎ‪ ،‬ﺗﺎ‪ ،‬ﺛﺎ‪ ،‬ﺟﻴﻢ‪ ،‬ﺣﺎ‪ ،‬ﺧﺎ…‬
‫اردو‪ ‬۾‪ :‬اﻟﻒ‪ ،‬ﺑﻲ‪ ،‬ﭘﻲ‪ ،‬ﺗﻲ‪ ،‬ﭨﻲ‪ ،‬ﺛﻲ…‬
‫َ‬
‫گ‪َ ،‬ﮔﻬﻪ‪ ،‬ڱ…‬‫ک‪َ ،‬‬‫ڪ‪َ ،‬‬ ‫دﻳﻮﻧﺎﮔﺮي‪ ‬۾‪َ :‬‬
‫آﺋﻴﻮﻳﭩﺎ ﺟﻲ اﭼﺎرن ۾ ﭔﻪ ڍﻧﮓ ﻫﻮﻧﺪا آﻫﻦ‪ ،‬ﻫﻚ‪ :‬ﭘﺪ ﺟﻲ ﺻﻮرت ۾‪ ،‬ﭔﻴﻮ‪ :‬ﻟﻔﻆ ﺟﻲ‬
‫ﺻﻮرت ۾؛ ان ﺑﺎﺑﺖ ﻫﻴﭡﻴﻦ رﻳﺖ ﭴﺎﮢﺎﻳﻞ آﻫﻲ‪:‬‬
‫ﻟﻔﻈﻲ ﺻﻮرت ۾ اﭼﺎر ﻻ‪ Logogram ‬ﻛﻢ آﻧﺪو وﻳﻨﺪو آﻫﻲ‪ ،‬ﺟﮇﻫﻦ ﺗﻪ ﭘﺪ ﺟﻲ‬
‫ﺻﻮرت ۾ اﭼﺎرڻ ﮐﻲ ‪ Syllabogram‬ﻛﻮﭠﻴﻮ وﭸﻲ ﭤﻮ‪.‬‬

‫‪63‬‬ ‫ﻋﺮﺑﻲ ‪-‬ﺳﻨﮅي آﺋﻴﻮﻳﭩﺎ ﺟﻲ اﮐﺮن ﺟﺎ ُاﭼﺎري ﻧﺎﻻ ۽ ﻣﻌﻴﺎري ﻟﻬﺠﻮ‬

 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬
‫‪Definition of LOGOGRAM‬‬
‫‪a letter, symbol, or sign used to represent an entire word the ampersand‬‬
‫)‪and dollar sign are logograms. (10‬‬
‫‪Definition of logogram in English‬‬
‫‪A sign or character representing a word or phrase, such as those used in‬‬
‫)‪shorthand and some ancient writing systems. (11‬‬
‫ﭘﺪ )‪ (Syllable‬ﺟﻲ ﺻﻮرت ۾ اﭼﺎرڻ ﮐﻲ ‪ Syllabogram‬ﭴﺎﮢﺎﻳﻮ وﻳﻮ آﻫﻲ‪.‬‬
‫‪Definition of syllabogram:‬‬
‫)‪a written symbol representing a single syllable. (12‬‬
‫ﻣﭥﻴﻦ وﺻﻔﻦ ﻣﺎن اﻫﻮ ﻣﻌﻠﻮم ﭤﻴﻮ ﺗﻪ آﺋﻴﻮﻳﭩﺎ ﺟﻲ اﮐﺮن ﭘﮍﻫﺎﺋﮡ ۾ ‘ﭘﺪ ﺟﻲ ﺻﻮرت ۽‬
‫ﻟﻔﻈﻲ اﭼﺎر’ ﭔﻨﻬﻲ ﺟﻮ ﺑﻪ ﻣﻴﻼپ رﻫﻲ ﭤﻮ‪.‬‬

‫رت ۾ ا ن ﺌ آواز )‪(Syllabogram‬‬ ‫‪ (Vowel) ُ ‬ﺌن‬

‫ﻛﻲ آﺋﻴﻮﻳﭩﺎﺋﻮن ﭘﺪن )‪ (Syllable‬ﺟﻲ ﺻﻮرت ۾ ﺗﺮﺗﻴﺐ ڏﻧﻞ آﻫﻦ‪ ،‬ﺟﻴﻜﻲ‬
‫ﻫﺮ ﭔﻮﻟﻲ‪ ‬۾ ﭘﻨـﮬـﻨﺠﻮ ﻧﺮاﻟﻮ ﻣﺰاج رﮐﻦ ﭤﻴﻮن؛ ﺟﻴﺌﻦ‪:‬‬
‫َ َ َ َ َ‬
‫ج‪ ،‬ج‪َ ،‬ﻫﻪ‪ ،‬ڃ وﻏﻴﺮه‪.‬‬
‫َ‬ ‫ڱ‪َ ،‬چ‪َ ،‬ڇ‪َ ،‬‬ ‫‪ ‬د ﺌ ي‪ :‬ڪ‪ ،‬ک‪ ،‬گ‪ ،‬ﮔﻬﻪ‪،‬‬
‫َ‬
‫دﻳﻮﻧﺎﮔﺮي آﺋﻴﻮﻳﭩﺎ ﺟﺎ ﻣﮍﺋﻲ اﮐﺮ‪ ،‬ﭘﺪ ﺟﻲ ﺑﻨﻴﺎد ﺗﻲ ﮀﻮﭨﻲ ﺳﺮ ‪/‬ا‪ /‬ﺳﺎن ﭘﮍﻫﺎﻳﺎ وﻳﻨﺪا آﻫﻦ‪.‬‬
‫ﺐ ‪ :‬ﺑﺎ‪ ،‬ﺗﺎ‪ ،‬ﺛﺎ‪ ،‬ﺣﺎ‪ ،‬ﺧﺎ‪ ،‬را‪ ،‬زا‪ ،‬ﻓﺎ‪ ،‬ﻫﺎ‪ ،‬ﻳﺎ؛‬ ‫‪‬‬
‫ُ‬
‫ﻋﺮﺑﻲ آﺋﻴﻮﻳﭩﺎ ﺟﺎ ‪ 10‬اﮐﺮ‪ ،‬ﭘﺪ ﺟﻲ ﺑﻨﻴﺎد ﺗﻲ ڊﮔﮭﻲ ﺳﺮ )آ( ﺳﺎن ﭘﮍﻫﺎﻳﺎ وﻳﻨﺪا آﻫﻦ‪.‬‬
‫ي‪ :‬ﺑﻲ‪ ،‬ﭔﻲ‪ ،‬ﭜﻲ‪ ،‬ﺗﻲ ﭨﻲ‪ ،‬ﺛﻲ‪ ،‬ﭘﻲ‪ ،‬ﺟﻲ‪ ،‬ﭴﻲ‪ ،‬ﺟﻬﻲ وﻏﻴﺮه؛‬ ‫‪‬‬
‫ﺳﻨﮅي آﺋﻴﻮﻳﭩﺎ ﺟﺎ ‪ 32‬اﮐﺮ‪ ،‬ﭘﺪ ﺟﻲ ﺑﻨﻴﺎد ﺗﻲ وﭼﭥﺮي ڊﮔﮭﻲ ُﺳﺮ )اي( ﺳﺎن ﭘﮍﻫﺎﻳﺎ‬
‫وﻳﻨﺪا آﻫﻦ‪.‬‬
‫‪ ‬اردو‪ :‬ﺑﻲ‪ ،‬ﭘﻲ‪ ،‬ﺗﻲ‪ ،‬ﺛﻲ‪ ،‬ﺣﻲ‪ ،‬ﺧﻲ وﻏﻴﺮه؛‬
‫اردو آﺋﻴﻮﻳﭩﺎ ﺟﺎ ‪ 14‬اﮐﺮ ﭘﮡ‪ ،‬ﭘﺪ ﺟﻲ ﺑﻨﻴﺎد ﺗﻲ ﺳﻨﮅي‪ ‬واﻧﮕﺮ وﭼﭥﺮي ڊﮔﮭﻲ ُﺳﺮ )اي‪،‬‬
‫ﻳﻌﻨﻲ ي ﻣﺠـﻫـﻮل( ﺳﺎن ﭘﮍﻫﺎﻳﺎ وﻳﻨﺪا آﻫﻦ‪.‬‬
‫ي‪ :‬اي‪ ،‬ﺑِﻲ‪ِ ،‬ﺳﻲ‪ ،‬ڊِي‪ ،‬اِي‪ِ ،‬ﺟﻲ‪ ،‬آ‪ ‬وﻏﻴﺮه‪.‬‬ ‫‪ ‬ا‬
‫اﻧﮕﺮﻳﺰي آﺋﻴﻮﻳﭩﺎ ﺟﺎ اﮐﺮ‪ ،‬ﭘﺪ ﺟﻲ ﺑﻨﻴﺎد ﺗﻲ ﻣﺨﺘﻠﻒ ُﺳﺮن {اي )‪ ،(3‬اِي )‪ ،(7‬او )‪،(1‬‬
‫ُاو )‪ ،(1‬آ‪ }(2) ‬ﺳﺎن ﭘﮍﻫﺎﻳﺎ وﻳﻨﺪا آﻫﻦ‪.‬‬
‫ﭘﺪن ﺟﻲ ﺻﻮرت ۾ اﮐﺮن ﺟﺎ اﭼﺎر ﭘﮍﻫﺎﺋﮡ وارو رواج ﻣﮍﻧﻲ آﺋﻴﻮﻳﭩﺎﺋﻦ ۾ ڏﭠﻮ وﻳﻮ‬
‫آﻫﻲ‪ ،‬اﻟﺒﺘﻪ دﻳﻮﻧﺎﮔﺮي آﺋﻴﻮﻳﭩﺎ ﺟﻮ ڍﻧﮓ ﭔﻴﻦ آﺋﻴﻮﻳﭩﺎﺋﻦ ﮐﺎن ﻧﺮاﻟﻮ ان ﺧﻴﺎل ﮐﺎن ﺑﻪ آﻫﻲ‬
‫ﺟﻮ ان ۾ ﺳﺎﮘﺌﻲ وزن ۽ ُﺳﺮ ﺳﺎن اﮐﺮن ﺟﺎ اﭼﺎر ﭘﮍﻫﺎﻳﺎ ﭤﺎ وﭸﻦ؛ ﺟﮇﻫﻦ ﺗﻪ ﭔﻴﻦ آﺋﻴﻮﻳﭩﺎﺋﻦ‬
‫)ﻋﺮﺑﻲ‪ ،‬ﺳﻨﮅي‪ ،‬اردو ۽ اﻧﮕﺮﻳﺰي‪ (‬۾ آوازن ﺳﺎن ﮔﮇ اﭼﺎري ﻟﻔﻆ ﺑﻪ اﭼﻲ ﭤﺎ وﭸﻦ‪(13) .‬‬

‫‪64‬‬ ‫ﻋﺮﺑﻲ ‪-‬ﺳﻨﮅي آﺋﻴﻮﻳﭩﺎ ﺟﻲ اﮐﺮن ﺟﺎ ُاﭼﺎري ﻧﺎﻻ ۽ ﻣﻌﻴﺎري ﻟﻬﺠﻮ‬

 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫رت ۾ ا ن ﺌ ا ﺌر )‪(Logogram‬‬ ‫‪‬‬

‫ﻛﻦ آﺋﻴﻮﻳﭩﺎﺋﻦ ۾ ﻛﻲ اﮐﺮ ﻟﻔﻈﻲ ﺻﻮرت ۾ ﭘﮍﻫﺎﻳﺎ وﻳﻨﺪا آﻫﻦ‪ ،‬اﻧﮕﺮﻳﺰي‬
‫اﺻﻄﻼح ‘ﻟﻮﮔﻮﮔﺮاﻓﻲ‪ ’‬۾ اﮐﺮن ﺟﻮن ﺗﺼﻮﻳﺮي ﺷﻜﻠﻴﻮن ﺑﻪ ﺷﺎﻣﻞ ﻛﻴﻮن وﻳﻨﺪﻳﻮن‬
‫آﻫﻦ‪ ،‬ان ﺻﻮرت ۾ ﻋﺮﺑﻲ اﮐﺮن ﺟﻲ ﻟﻔﻈﻲ اﭼﺎرن ﺟﻮن ﻣﻌﻨﺎﺋﻮن ﺑﻪ آﻫﻦ‪ ،‬ﺟﻴﺌﻦ‪ :‬ﺟﻴﻢ‬
‫)ﻣﺴﺖ اٺ(‪ ،‬دال )ﭤﻠﻬﻲ ﻋﻮرت(‪ ،‬ذال )ﻛﻜﮍ ﺟﻮ ﻣﻮڙ(‪ ،‬ﺳﻴﻦ )ﭤﻠﻬﻮ‪ -‬ﮐﻨﮕﻬﻪ ۾ ورﺗﻞ‬
‫ﻣﺎﮢﻬﻮ(‪ ،‬ﺷﻴﻦ )ڊوڙﻧﺪڙ ﻣﺎﮢﻬﻮ(‪ ،‬ﻧﻮن )ﻣﮁﻲ‪ ،‬ﻣﺲ ﻛﭙﮍي‪ ،‬وڻ ﺟﻮ ﭤﮍ( وﻏﻴﺮه‪ (14) .‬ﻫﻴﭟ‬
‫ﻣﺨﺘﺼﺮ آﺋﻴﻮﻳﭩﺎﺋﻦ ﺟﻲ اﮐﺮن ﺟﺎ ﻟﻔﻈﻲ اﭼﺎر ﺧﻴﺎل ﺧﺎﻃﺮ ڏﺟﻦ ﭤﺎ‪:‬‬
‫ﺐ ‪ :‬اﻟﻒ‪ ،‬ﺟﻴﻢ‪ ،‬دال‪ ،‬ذال‪ ،‬ﺳﻴﻦ‪ ،‬ﺷﻴﻦ‪ ،‬ﺻﻮاد‪ ،‬ﺿﻮاد‪ ،‬ﻃﻮﺋﻲ‪ ،‬ﻇﻮﺋﻲ‪ ،‬ﻋﻴﻦ‪ ،‬ﻏﻴﻦ‪،‬‬ ‫‪‬‬
‫ﻗﺎف‪ ،‬ﻛﺎف‪ ،‬ﻻم‪ ،‬ﻣﻴﻢ‪ ،‬ﻧﻮن‪ ،‬واؤ‪.‬‬
‫ﻋﺮﺑﻲ آﺋﻴﻮﻳﭩﺎ ۾ ‪ 18‬اﮐﺮن ﺟﺎ اﭼﺎر ﻟﻔﻆ ﺟﻲ ﺻﻮرت ۾ ﭘﮍﻫﺎﻳﺎ وﻳﻨﺪا آﻫﻦ‪.‬‬
‫ي‪ :‬اﻟﻒ‪ ،‬ﺟﻴﻢ‪ ،‬دال‪ ،‬ذال‪ ،‬ﺳﻴﻦ‪ ،‬ﺷﻴﻦ‪ ،‬ﺻﻮاد‪ ،‬ﺿﻮاد‪ ،‬ﻃﻮﺋﻲ‪ ،‬ﻇﻮﺋﻲ‪ ،‬ﻋﻴﻦ‪،‬‬ ‫‪‬‬
‫ﻏﻴﻦ‪ ،‬ﻗﺎف‪ ،‬ﻛﺎف‪ ،‬ﮔﺎف‪ ،‬ﻻم‪ ،‬ﻣﻴﻢ‪ ،‬ﻧﻮن‪ ،‬واو ۽ ﻫﻤﺰو‪.‬‬
‫ﺳﻨﮅي آﺋﻴﻮﻳﭩﺎ ۾ ‪ 20‬اﮐﺮن ﺟﺎ اﭼﺎر ﻟﻔﻆ ﺟﻲ ﺻﻮرت ۾ ﭘﮍﻫﺎﻳﺎ وﻳﻨﺪا آﻫﻦ ‪.‬‬
‫‪ ‬اردو‪ :‬اﻟﻒ‪ ،‬ﺟﻴﻢ‪ ،‬دال‪ ،‬ذال‪ ،‬ﺳﻴﻦ‪ ،‬ﺷﻴﻦ‪ ،‬ﺻﻮاد‪ ،‬ﺿﻮاد‪ ،‬ﻃﻮﺋﻲ‪ ،‬ﻇﻮﺋﻲ‪ ،‬ﻋﻴﻦ‪ ،‬ﻏﻴﻦ‪،‬‬
‫ﻗﺎف‪ ،‬ﻛﺎف‪ ،‬ﮔﺎف‪ ،‬ﻻم‪ ،‬ﻣﻴﻢ‪ ،‬ﻧﻮن‪ ،‬واؤ ۽ ﻫﻤﺰه‪.‬‬
‫اردو آﺋﻴﻮﻳﭩﺎ ۾‪ ،‬ﺳﻨﮅي‪ ‬واﻧﮕﺮ ﺳﺎﮘﻴﺎ ‪ 20‬اﮐﺮن ﺟﺎ اﭼﺎر ﻟﻔﻆ ﺟﻲ ﺻﻮرت ۾ ﭘﮍﻫﺎﻳﺎ‬
‫وﻳﻨﺪا آﻫﻦ‪.‬‬
‫ي‪ :‬اﻳﻒ‪ ،‬اﻳﭿ‪ ،‬آ‪ ،‬اﻳﻞ‪ ،‬اﻳﻢ‪ ،‬اﻳﻦ‪ ،‬ﻗﻴﻮ‪ ،‬آر‪ ،‬اﻳﺲ‪ ،‬ڊﺑﻠﻴﻮ‪ ،‬اﻳﻜﺲ‪ ،‬زﻳﮉ‪.‬‬ ‫‪ ‬ا‬
‫اﻧﮕﺮﻳﺰي آﺋﻴﻮﻳﭩﺎ ۾ ‪ 12‬اﮐﺮن ﺟﺎ اﭼﺎر ﭘﮍﻫﺎﻳﺎ وﻳﻨﺪا آﻫﻦ‪(15) .‬‬
‫ﺗﺎزو ﻳﻮ‪.‬اﻳﺲ‪.‬اﻳﮉ ﭘﺎران ﻫﻠﻨﺪڙ ‘ﭘﺎﻛﺴﺘﺎن رﻳﮉﻧﮓ ﭘﺮاﺟﻴﻜﭧ’ ﺟﻲ ﭨﻴﻢ اﺻﻮﻟﻲ‬
‫ﻃﻮر درﺳﺖ رخ وﭠﮡ ﺧﺎﻃﺮ‪ ،‬ﺳﻨﮅي ﻟﺌﻨﮕﻮﻳﺞ اﭤﺎرﭨﻲ‪ ‬ﭘﺎران ﺗﻴﺎر ﻛﻴﻞ ‘ﺳﻨﮅي اﻟﻔﺎﺑﻴﭧ‬
‫۽ ان ﺟﺎ آواز’ وﭠﮡ ﻛﺎرڻ ﻫﻚ ﻣﻌﺎﻫﺪو ﻛﺮڻ ﮔﮭﺮﻳﻮ‪ .‬اﻫﮍا آواز ﭘﻲ‪.‬آر‪.‬ﭘﻲ وارن ﮐﻲ‬
‫ﺳﻨﮅ ﺟﻲ اﺳﻜﻮﻟﻦ ۾ اﮘﺘﻲ ﻛﺮﮢﺎ ﻫﻴﺎ‪ .‬آوازن ﺟﻲ ﺻﺤﺖ ﮐﻲ ﭼﻜﺎﺳﮡ ﻻ‪ ‬ﻫﻚ‬
‫ﻛﺎﻣﻴﭩﻲ ﺗﺮﺗﻴﺐ ڏﻧﺎﺋﻮن‪ ،‬ﺟﻨﻬﻦ ۾ ڊاﻛﭩﺮ ﻏﻼم ﻋﻠﻲ اﻻﻧﺎ‪ ،‬ادرﻳﺲ ﺟﺘﻮﺋﻲ ۽ ﻣﻮن ﻓﻘﻴﺮ‬
‫ﮐﻲ ﺷﺎﻣﻞ ﻛﻴﻮ وﻳﻮ‪ .‬اﻫﮍن آوازن ﺟﻲ ﻟﻨﻚ ﻫﻨﻦ اﮘﻮاٽ ﻣﻮﻛﻠﻲ ڏﻧﻲ‪ ،‬ﺟﻨﻬﻦ ﺟﻮ‬
‫اﭜﻴﺎس ﻛﻴﻮ وﻳﻮ‪ .‬ﻣﻮن ﺟﻴﻜﻲ اﻫﻢ ﭨﻴﻜﻨﻴﻜﻞ اﻋﺘﺮاض وارﻳﺎ ﺳﻲ ﻫﻦ رﻳﺖ ﻫﻴﺎ‪:‬‬
‫ﻣﭥﻴﻦ اﮐﺮي ﻟﻔﻈﻦ )‪ (Logograms‬۾ آﺧﺮي ُﺳﺮن ﺟﻲ ﺣﻮاﻟﻲ ﺳﺎن ﻫﻴﭡﻴﺎن ﻧﻜﺘﺎ‬
‫ﻧﻮٽ ﻛﻴﺎ وﻳﺎ‪:‬‬
‫‪) 2 ‬ﭔﻦ( اﮐﺮي ﻟﻔﻈﻦ )اﻟﻒ ۽ ذال( ﮐﻲ ﺳﺎﻛﻦ )‪ (Vowelless‬رﮐﻴﻮ وﻳﻮ آﻫﻲ‪ ،‬ﺟﮇﻫﻦ ﺗﻪ‬
‫اﻧﻬﻦ اﮐﺮي ﻟﻔﻈﻦ ﺟﺎ آﺧﺮي ﮀﻮﭨﺎ ُﺳﺮ ﭘﻴﺶ ﺳﺎن ﭤﻴﮡ ﮔﮭﺮﺟﻦ‪.‬‬
‫)ﻧﻮ( اﮐﺮي ﻟﻔﻈﻦ )ﺟﻴﻢ‪ ،‬ﺿﻮاد‪ ،‬ﻗﺎف‪ ،‬ﻛﺎف‪ ،‬ﮔﺎف‪ ،‬ﻻم‪ ،‬ﻣﻴﻢ‪ ،‬ﻧﻮن ۽ واؤ( ﺟﻲ‬ ‫‪َ 9 ‬‬
‫‪65‬‬ ‫ﻋﺮﺑﻲ ‪-‬ﺳﻨﮅي آﺋﻴﻮﻳﭩﺎ ﺟﻲ اﮐﺮن ﺟﺎ ُاﭼﺎري ﻧﺎﻻ ۽ ﻣﻌﻴﺎري ﻟﻬﺠﻮ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫آﺧﺮ ۾ ﮀﻮﭨﻮ ُﺳﺮ ﭘﻴﺶ ﻛﻢ آﻧﺪو وﻳﻮ آﻫﻲ‪.‬‬

‫‪) 2 ‬ﭔﻪ( اﮐﺮي ﻟﻔﻈﻦ )دال ۽ ﺻﻮاد( ﺟﻲ آﺧﺮ ۾ ﮀﻮﭨﻮ ُﺳﺮ زﻳﺮ ﻛﻢ آﻧﺪي وﺋﻲ آﻫﻲ‪،‬‬
‫ﺟﮇﻫﻦ ﺗﻪ اﻧﻬﻦ ﺟﺎ آﺧﺮي ﮀﻮﭨﺎ ُﺳﺮ ﭘﻴﺶ ﺳﺎن ﭤﻴﮡ ﮐﭙﻦ‪.‬‬
‫‪) 4 ‬ﭼﺎر( اﮐﺮي ﻟﻔﻈﻦ )ﺳﻴﻦ‪ ،‬ﺷﻴﻦ‪ ،‬ﻋﻴﻦ ۽ ﻏﻴﻦ( ﺟﻲ آﺧﺮ ۾ ﮀﻮﭨﻮ ُﺳﺮ زﺑﺮ ﻛﻢ آﻧﺪي‬
‫وﺋﻲ آﻫﻲ‪ ،‬ﺟﮇﻫﻦ ﺗﻪ ان ﺟﺎ آﺧﺮي ُﺳﺮ ﺑﻪ ﭘﻴﺶ ﺳﺎن ﭤﻴﮡ ﮔﮭﺮﺟﻦ‪.‬‬
‫‪ ‬ﻋﺮﺑﻲ آواز ﺑﻴﺸﻚ اﺳﺎن ﻛﮃڻ ﮐﺎن ﻗﺎﺻﺮ آﻫﻴﻮن‪ ،‬ﭘﺮ ﺗﻨﻬﻦ ﻫﻮﻧﺪي ﺑﻪ ﺟﮇﻫﻦ اﻫﻲ‬
‫ﺳﻨﮅ ﺟﻲ ﻣﺨﺘﻠﻒ اﺳﻜﻮﻟﻦ ۾ وﭸﻦ ﭤﺎ‪ ،‬ان ﺻﻮرت ۾ ﻛﻲ ﻗﺪر ﻓﺮق رﮐﮡ ﺟﻲ‬
‫ﻛﻮﺷﺶ ﻛﺌﻲ وﭸﻲ‪) .‬ﺗﻪ ﺟﻴﺌﻦ س‪ ،‬ص ۽ ث وﻏﻴﺮه ﺟﻬﮍن ۾ ﭤﻮرا ﻓﺮق رﻫﻦ‪ ،‬ﻳﻌﻨﻲ‬
‫‘س’ ﺟﻲ آواز ۾ ﺟﻴﺌﻦ ﺳﻴﭩﻲ وﭴﻲ ﭤﻲ ﺳﺎ ﭔﻴﻦ آوازن ۾ ﻧﻪ رﻫﻲ(‬
‫ﺳﻴﭙﭩﻤﺒﺮ ‪2016 ،09‬ع ﺗﻲ ﭘﻬﺮﻳﻦ ﮔﮇﺟﺎﮢﻲ‪ ‬۾ ﭼﻨﺪ ﻧﻜﺘﻦ ﺗﻲ وﻳﭽﺎر وﻧﮉﻳﺎ وﻳﺎ‪.‬‬
‫ڊاﻛﭩﺮ اﻻﻧﺎ ان ﮔﮇﺟﺎﮢﻲ‪ ‬ﺟﻮ ﻣﮏ ﻣﺎﮢﻬﻮ ﻫﻴﻮ‪ ،‬ﺗﻨﻬﻦ ﭘﮡ ﻋﺮﺑﻲ آوازن ﺟﻲ ﻧﺴﺒﺖ ﻛﺠﻬﻪ‬
‫وﺿﺎﺣﺘﻮن ﻛﻴﻮن‪ .‬ﭘﻲ‪.‬آر‪.‬ﭘﻲ ﭘﺎران واﺟﺪ ﻋﻠﻲ اﻧﺘﻈﺎم ﺳﻨﭝﺎﻟﻲ رﻫﻴﻮ ﻫﻮ‪.‬‬
‫ﭔﻲ ﮔﮇﺟﺎﮢﻲ آﻛﭩﻮﺑﺮ ‪2016 ،20‬ع ﺗﻲ ﭤﻲ ﮔﺬري‪ ،‬ﺟﻨﻬﻦ ۾ ڊاﻛﭩﺮ اﻻﻧﺎ‪ ،‬ادرﻳﺲ‬
‫ﺟﺘﻮﺋﻲ‪ ،‬ﭘﺮوﻓﻴﺴﺮ ﺳﻴﺪ اﻛﺒﺮ ﺷﺎه ﻧﻤﺎﺋﻲ‪ ،‬اﺳﺴﭩﻨﭧ ﭘﺮوﻓﻴﺴﺮ دﻟﺸﺎد ڏﻳﭥﻮ‪ ،‬اﻣﺮ ﻓﻴﺎض‬
‫ﭔﺮڙو ۽ ﭘﻲ‪.‬آر‪.‬ﭘﻲ ﺟﺎ ﻣﻨﭩﻮرس ﺑﻪ ﻫﻴﺎ‪ .‬ﻫﻦ ﮔﮇﺟﺎﮢﻲ‪ ‬۾ ﭘﮡ ﺳﺎﮘﺌﻲ ﻣﻌﺎﻣﻠﻲ ﺗﻲ وﻳﭽﺎر‬
‫ﻏﻴﻦ’ ﺟﻲ ﺣﻮاﻟﻲ ﺳﺎن ڊاﻛﭩﺮ اﻻﻧﺎ‪ ،‬ﭘﺮوﻓﻴﺴﺮ ﺳﻴﺪ‬ ‫ﻋﻴﻦ ۽ َ‬‫ﺷﻴﻦ‪َ ،‬‬‫َ‬ ‫وﻧﮉﻳﺎ وﻳﺎ‪َ ‘ .‬‬
‫ﺳﻴﻦ‪،‬‬
‫اﻛﺒﺮ ﻧﻤﺎﺋﻲ‪ ‬ﮐﺎن ﭘﮁﻴﻮ ﺗﻪ “ﺷﺎه ﺻﺎﺣﺐ‪ ،‬اوﻫﺎن اﻫﻲ ﻟﻔﻈﻲ اﭼﺎر ﻛﻴﺌﻦ ﭘﮍﻫﻴﺎ آﻫﻦ؟”‬
‫ﻧﻤﺎﺋﻲ ﺻﺎﺣﺐ وراﮢﻴﻮ‪“ :‬ﺳﺎﺋﻴﻦ‪ ،‬اﺳﺎن ﭘﮡ اﺋﻴﻦ ﺋﻲ آﺧﺮي زﺑﺮ ﺳﺎن ﭘﮍﻫﻴﺎ آﻫﻦ‪ ”.‬اﻻﻧﺎ‬
‫ﺻﺎﺣﺐ ﭔﻴﻦ ﮐﺎن ﺑﻪ ﻣﻌﻠﻮم ﻛﻴﻮ‪ .‬ان ﺑﻌﺪ ڊاﻛﭩﺮ اﻻﻧﺎ ﭼﻴﻮ ﺗﻪ‪:‬‬
‫“ڊاﻛﭩﺮ ﺟﻮﮐﻴﻮ ﺳﺎﻫﺘﻲ‪ ‬ﺟﻮ ﻣﺎﮢﻬﻮ آﻫﻲ‪ ،‬ﺳﻮ ﺋﻲ ﭔﻮﻟﻲ‪ ‬ﺟﻮ ﻣﻌﻴﺎري ﻟﻬﺠﻮ آﻫﻲ‪ ،‬ان‬
‫ﻛﺎرڻ ڊاﻛﭩﺮ ﺟﻮﮐﻴﻲ ﺟﻲ را‪ ‬ﮐﻲ درﺳﺖ ﻗﺮار ڏﻳﮡ ﮐﭙﻲ‪”.‬‬
‫ﻣﻮن ﮐﻲ ان ﮘﺎﻟﻬﻪ ﺟﻲ ﺣﻴﺮت ﺿﺮور ﭤﻲ ﺗﻪ ﻫﻲ ﺣﻴﺪرآﺑﺎدي ﺷﻬﺮي ﭔﻮﻟﻲ‪ ‬وارا ﻳﺎ‬
‫ﻻڙي ﻟﻬﺠﻲ وارا ﭘﻨﻬﻨﺠﺎ ﻣﻌﻴﺎري ﭔﻮﻟﻲ‪ ‬ﺟﺎ داﺋﺮا ﭠﺎﻫﻴﻮن‪ ،‬ان ﮘﺎﻟﻬﻪ ﮐﺎن ون‪ ‬وﻳﻨﺪا آﻫﻦ ﺗﻪ‬
‫ﺳﺎﻫﺘﻲ ﭘﺮﮘﮣﻮ ﻛﻮ ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬ﺟﻮ ﻣﻌﻴﺎري ﻟﻬﺠﻮ آﻫﻲ‪ .‬ﻛﺎﻓﻲ ﭔﻮﻟﻲ‪ ‬ﺟﻲ ﻣﻌﺎﻣﻠﻦ ۾‬
‫ﺟﮇﻫﻦ ﻣﻌﻴﺎري ﻟﻬﺠﻲ ﻧﺴﺒﺖ‪ ،‬ﺳﺎﻫﺘﻲ ﭘﺮﮘﮣﻲ ﺟﻲ ﮘﺎﻟﻬﻪ ﻛﻨﺪا آﻫﻴﻮن ﺗﻪ ان ﮐﻲ ﻻڙي ﻳﺎ‬
‫ﺣﻴﺪرآﺑﺎد ﺟﺎ ﺷﻬﺮي ﻋﺎﻟﻢ ﻳﺎ ادﻳﺐ ﻣﺨﺘﻠﻒ ادﺑﻲ اﻧﺪازن ۽ ﺑﻲ ﺗﻜﻦ ﻋﻠﻤﻲ دﻟﻴﻠﻦ ﺳﺎن رد‬
‫ﻛﻨﺪا رﻫﻴﺎ آﻫﻦ‪ .‬ﺑﻬﺮﺣﺎل‪ ،‬ﺗﺎرﻳﺨﻲ ﺣﻮاﻟﻦ ۽ ﻟﺴﺎﻧﻴﺎت ﺟﻲ ﻧﻈﺮ ﺳﺎن اﻫﮍي ﺣﻘﻴﻘﺖ ﮐﻲ‬
‫ﻣﭹﮡ ﺗﻲ ڊاﻛﭩﺮ اﻻﻧﺎ ﺟﻲ وڏ ﺟﮕﺮي ﻇﺎﻫﺮ ﭤﻲ‪.‬‬
‫ان ﺑﻌﺪ ﭘﻲ‪.‬آر‪.‬ﭘﻲ ان ﻧﺘﻴﺠﻲ ﺗﻲ ﭘﻬﺘﻲ ﺗﻪ ﻟﺌﻨﮕﻮﻳﺞ اﭤﺎرﭨﻲ‪ ‬ﺟﺎ ﺗﻴﺎر ﻛﻴﻞ آڊﻳﻮ‬
‫ﺳﺎﺋﻮﻧﮉ‪ ،‬ﻧﺌﻴﻦ ِﺳﺮي ﺳﺎن رﻛﺎرڊ ﻛﺮاﻳﺎ وﭸﻦ‪ .‬ﭼﻨﺪ دوﺳﺘﻦ ﮐﺎن اﻫﮍا آواز رﻛﺎرڊ‬
‫ﻛﺮاﻳﺎ وﻳﺎ ﭘﺮ اﻧﻬﻦ ۾ ﻛﻮ دم ﻧﻈﺮ ﻧﻪ آﻳﻮ‪ .‬ﻣﻮن ان ﻻ‪ ‬اﻣﺮ ﻓﻴﺎض ﭔﺮڙي ۽ ڌرﺗﻲ ﺟﻮﻳﻲ ﮐﻲ‬
‫وﻫﺎرﻳﻮ ﺗﻪ اوﻫﺎن اﻫﮍا آواز اﭼﺎرﻳﻮ‪ ،‬ﺟﻴﻜﻲ ﺑﻬﺘﺮ ﻟﮙﺎ‪ .‬ﺑﻌﺪ ۾ ﭔﻨﻬﻲ آوازن )ﻣﺮداﮢﻲ ۽‬
‫‪66‬‬ ‫ﻋﺮﺑﻲ ‪-‬ﺳﻨﮅي آﺋﻴﻮﻳﭩﺎ ﺟﻲ اﮐﺮن ﺟﺎ ُاﭼﺎري ﻧﺎﻻ ۽ ﻣﻌﻴﺎري ﻟﻬﺠﻮ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﺌن(‬ ‫آواز ) ر زﺐ‬ ‫ڙ‬ ‫آواز ﺌن ﺐ‬ ‫ا ﺌري ‪/‬‬ ‫ا‬

‫َا‬ ‫ک‬ ‫ا ِ‬
‫َ‬ ‫َا َﻟ ُﻒ‬ ‫ا‬
‫َ‬
‫ب‬ ‫ڪ‬ ‫َﺑ َﺪ َ‬ ‫ﺑﻲ‬ ‫ب‬
‫ٻ‬ ‫َ‬ ‫ﻜ ِﺮي‬ ‫َﭔ ِ‬ ‫ﭔﻲ‬ ‫ٻ‬
‫ڀ‬ ‫َ‬ ‫ﺮت‬‫َﭜ ُ‬ ‫ﭜﻲ‬ ‫ڀ‬
‫ت‬ ‫َ‬ ‫َﺗﻼ‪‬‬ ‫ﺗﻲ‬ ‫ت‬
‫ٿ‬ ‫َ‬ ‫َﭤ ُ‬
‫ﻨﭛ‬ ‫ﭤﻲ‬ ‫ٿ‬
‫ٽ‬ ‫َ‬ ‫َﭨﻤﺎﭨﻮ‬ ‫ﭨﻲ‬ ‫ٽ‬
‫ٺ‬ ‫َ‬ ‫َﭠﭙﻮ‬ ‫ﭠﻲ‬ ‫ٺ‬
‫ث‬ ‫َ‬ ‫َﺛ ُ‬
‫ﻮاب‬ ‫ﺛﻲ‬ ‫ث‬
‫پ‬‫َ‬ ‫ﮗ‬ ‫َﭘ َ‬ ‫ﭘﻲ‬ ‫پ‬
‫َج‬ ‫َﺟـﻫ ُ‬
‫ـﺎز‬ ‫ﻴﻢ‬‫ِﺟ ُ‬ ‫ج‬
‫َڄ‬ ‫َﭴ َ‬
‫ﭷ‬ ‫ﭴﻲ‬ ‫ڄ‬
‫ﺟﻬﻪ‬ ‫َ‬ ‫ﺟﮭﻨﮉو‬ ‫َ‬ ‫ﺟﻬﻲ‬ ‫ﺟﻬﻪ‬
‫َڃ‬ ‫ﭷ‬‫ُﻣ َ‬ ‫ﭸﻲ‬ ‫ڃ‬
‫َچ‬ ‫َﭼﻤﭽﻮ‬ ‫ﭼﻲ‬ ‫چ‬
‫َڇ‬ ‫َﮀ ِﭩﻲ‬ ‫ﮀﻲ‬ ‫ڇ‬
‫َح‬ ‫ﺠ ُﻢ‬ ‫َﺣ َ‬ ‫ﺣﻲ‬ ‫ح‬
‫َخ‬ ‫ﭽ ُﺮ‬ ‫َﺧ َ‬ ‫ﺧﻲ‬ ‫خ‬
‫َد‬ ‫َد ُر‬ ‫ُ‬
‫دال‬ ‫د‬
‫َڌ‬ ‫َڌ ُڻ‬ ‫ڌي‬ ‫ڌ‬
‫َڏ‬ ‫َڏ ُ‬
‫ﻧﺪ‬ ‫ڏي‬ ‫ڏ‬
‫َڊ‬ ‫ڊﻳﻞ‬‫َ‬ ‫ڊي‬ ‫ڊ‬
‫َڍ‬ ‫َڍﮘﻮ‬ ‫ڍي‬ ‫ڍ‬
‫َذ‬ ‫َذﺧِﻴﺮو‬ ‫ذال‬‫ُ‬ ‫ذ‬
‫َر‬ ‫َرﺳﻮ‬ ‫ري‬ ‫ر‬
‫َڙ‬ ‫ﭘﺎڙ‬ ‫َ‬ ‫ڙي‬ ‫ڙ‬
‫َز‬ ‫ﻧﺠ َ‬
‫ﻴﺮ‬ ‫َز ِ‬ ‫زي‬ ‫ز‬
‫س‬ ‫َ‬ ‫َﺳـﻫـﻮ‬ ‫ِﺳ ُ‬
‫ﻴﻦ‬ ‫س‬
‫َش‬ ‫ﺮﺑ ُﺖ‬ ‫َﺷ َ‬ ‫ِﺷ ُ‬
‫ﻴﻦ‬ ‫ش‬
‫ص‬ ‫َ‬ ‫ﻨﺪ َ‬
‫وق‬ ‫ﺻ ُ‬ ‫َ‬ ‫ﺻ ُ‬
‫ﻮاد‬ ‫ُ‬ ‫ص‬
‫ض‬ ‫َ‬ ‫ﺿﻌ ُ‬
‫ِﻴﻒ‬ ‫َ‬ ‫ﺿ ُ‬
‫ﻮاد‬ ‫ُ‬ ‫ض‬
‫‪67‬‬ ‫ﻋﺮﺑﻲ ‪-‬ﺳﻨﮅي آﺋﻴﻮﻳﭩﺎ ﺟﻲ اﮐﺮن ﺟﺎ ُاﭼﺎري ﻧﺎﻻ ۽ ﻣﻌﻴﺎري ﻟﻬﺠﻮ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﺌن(‬ ‫آواز ) ر زﺐ‬ ‫ڙ‬ ‫آواز ﺌن ﺐ‬ ‫ا ﺌري ‪/‬‬ ‫ا‬

‫َط‬ ‫ﻃﻮﻃﻮ‬ ‫ُﻃﺌﻲ‬ ‫ط‬
‫َظ‬ ‫ﻇﺎﻟِ ُﻢ‬ ‫ُﻇﺌﻲ‬ ‫ظ‬
‫َع‬ ‫ﻚ‬‫ﻴﻨ َ‬ ‫َﻋ َ‬ ‫َﻋ ُ‬
‫ﻴﻦ‬ ‫ع‬
‫غ‬ ‫َ‬ ‫ﻏﺎﻟِﻴﭽﻮ‬ ‫َﻏ ُ‬
‫ﻴﻦ‬ ‫غ‬
‫َف‬ ‫ﺼ ُﻞ‬ ‫َﻓ ُ‬ ‫ﻓﻲ‬ ‫ف‬
‫َڦ‬ ‫َﭰ ِﮣﻲ‬ ‫ﭰﻲ‬ ‫ڦ‬
‫َق‬ ‫َﻗ َﻠ ُﻢ‬ ‫ﻗﺎف‬ ‫ُ‬ ‫ق‬
‫ڪ‬ ‫َ‬ ‫ﻛ َﭙـﻫَـﻪ‬ ‫َ‬ ‫ُ‬
‫ﻛﺎف‬ ‫ڪ‬
‫ک‬ ‫َ‬ ‫ﭧ‬ ‫َﮐ َ‬ ‫ﮐﻲ‬ ‫ک‬
‫گ‬ ‫َ‬ ‫ﺠ َﺮ‬ ‫َﮔ َ‬ ‫ﮔﺎف‬ ‫ُ‬ ‫گ‬
‫ڳ‬ ‫َ‬ ‫َﮘ ُﺌﻮن‬ ‫ﮘﻲ‬ ‫ڳ‬
‫َ‬
‫ﮔﮫ‬ ‫ﮔﮭ ُﺮ‬‫َ‬ ‫ﮔﮭﻲ‬ ‫ﮔﻬﻪ‬
‫َ‬ ‫َ‬
‫ڱ‬ ‫ِﺳﮛ‬ ‫ﮜﻲ‬ ‫ڱ‬
‫َل‬ ‫َﻟ َﻐ ُﮍ‬ ‫ﻻم‬ ‫ُ‬ ‫ل‬
‫َم‬ ‫َﻣ ِﮁﻲ‬ ‫ِﻴﻢ‬ ‫ﻣ ُ‬ ‫م‬
‫َن‬ ‫ﭣ‬ ‫َﻧ َ‬ ‫ﻮن‬ ‫ُﻧ ُ‬ ‫ن‬
‫َ‬
‫َڻ‬ ‫واﮜ ُﮡ‬ ‫ﮢﻲ‬ ‫ڻ‬
‫َو‬ ‫َو ُڻ‬ ‫واؤ‬ ‫و‬
‫ﻫ َﻪ‬ ‫َﻫ ِﺮﮢِﻲ‬ ‫ﻫﻲ‬ ‫ﻫﻪ‬
‫‪‬‬ ‫‪‬‬ ‫َﻫﻤﺰو‬ ‫ء‬
‫ي‬ ‫َ‬ ‫َﻳﻜﺘﺎرو‬ ‫ﻳﻲ‬ ‫ي‬

‫ﻫﻦ آڊﻳﻮ اﻟﻔﺎﺑﻴﭧ ﭠﺎﻫﮡ ۾ ﻫﻴﭡﻴﻦ ﻣﻌﻴﺎرن ﺗﻲ ڌﻳﺎن ڌرﻳﻮ وﻳﻮ‪:‬‬

‫‪ .1‬ﻫﺮ وﻳﻨﺠﻦ آواز )‪ (Consonant‬ﮐﻲ ﻛﮃڻ ﻻ‪ ‬زﺑﺮ ﺟﻮ اﺳﺘﻌﻤﺎل ﻛﻴﻮ وﻳﻮ؛ ﮀﻮ ﺗﻪ‬
‫ﻛﻮﺑﻪ وﻳﻨﺠﻦ آواز ﺑﻐﻴﺮ ُﺳﺮ آواز )‪ (Vowel‬ﺟﻲ ﻛﮃي ﻧﻪ ﭤﻮ ﺳﮕﮭﺠﻲ‪ ،‬ﻳﻌﻨﻲ ﭔﺌﻲ‬
‫ﻛﻦ ﺗﺎﺋﻴﻦ ﻟﺮزش )‪ (Vibration‬ﻧﻪ ﭤﻮ ﻛﺮي ﺳﮕﻬﻲ‪ .‬ان ﻛﺎرڻ زﺑﺮ ﺳﺎن آواز‬ ‫ﺟﻲ َ‬
‫اﭼﺎرڻ ﮐﻲ ﻗﺪرﺗﻲ آواز ﻛﻮﭠﻴﻮ وﻳﻮ آﻫﻲ؛‬
‫‪ .2‬ﮔﮭﺮﺑﻞ آواز ﺳﺎن ﺷﺮوع ﭤﻴﻨﺪڙ ﻟﻔﻆ ﻛﻮﺷﺶ ﻛﺮي زﺑﺮ وارا ﮘﻮﻟﻬﻴﺎ وﭸﻦ‪ ،‬ﺟﻴﺌﻦ‪:‬‬
‫ﺖ ﺟﻲ ﺑﺪران ‘ َﭜ ُ‬
‫ﺮت’ ﻣﻨﺎﺳﺐ ﭴﺎﺗﻮ وﻳﻮ‪.‬‬ ‫‘ﭜِ ِ‬
‫‪ .3‬اﻫﮍن ﻟﻔﻈﻦ ﺟﻲ ﭼﻮﻧﮉ ﻛﺌﻲ وﭸﻲ ﺟﻦ ﺟﺎ ﺗﺼﻮﻳﺮي ﻋﻜﺲ )‪ (Illustrations‬ﻋﺎم ﭔﺎر‬
‫ﻻ‪ ‬ﺳﻤﺠﻬﻪ ﺟﻮﮘﺎ ﻫﺠﻦ‪.‬‬
‫‪68‬‬ ‫ﻋﺮﺑﻲ ‪-‬ﺳﻨﮅي آﺋﻴﻮﻳﭩﺎ ﺟﻲ اﮐﺮن ﺟﺎ ُاﭼﺎري ﻧﺎﻻ ۽ ﻣﻌﻴﺎري ﻟﻬﺠﻮ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫اﻫﮍا آواز ﺗﻴﺎر ﻛﺮڻ ﺑﻌﺪ ﺳﻨﮅي ﻟﺌﻨﮕﻮﻳﺞ اﭤﺎرﭨﻲ‪ ‬ﮐﺎن ﺑﺎﺿﺎﺑﻄﻪ ﭘﺎس ﻛﺮاﺋﮡ‬
‫ﻛﺎڻ ﭨﻴﻦ ﮔﮇﺟﺎﮢﻲ ﺟﻨﻮري ‪2017 ،27‬ع ﺗﻲ ﭤﻲ ﮔﺬري‪ ،‬ﺟﻨﻬﻦ ۾ اﭤﺎرﭨﻲ‪ ‬ﺟﻲ ﭼﻴﺌﺮﻣﻴﻦ ۽‬
‫ﮔﮇﺟﺎﮢﻲ‪ ‬ﺟﻲ ﭔﻴﻦ ﻣﻴﻤﺒﺮن اﮘﻴﺎن ﺟﻮڙﻳﻞ آواز ۽ ﺑﻴﻬﻨﺪڙ ﻟﻔﻆ ﭘﮡ ﭔﮅاﻳﺎ وﻳﺎ‪ ،‬ﺟﻴﻜﻲ‬
‫ﺳﭝﻨﻲ ﭘﺴﻨﺪ ﻛﻴﺎ‪.‬‬

‫‪:‬‬
‫‪ .1‬آﺋﻴﻮﻳﭩﺎ ﺟﻲ اﮐﺮن ﺟﺎ ﻧﺎﻻ ﭤﻴﻨﺪا آﻫﻦ‪ ،‬ﺟﻴﻜﻲ ﻋﻤﻮﻣﺎً اﮐﺮ ﺟﻲ ﭘﻬﺮﻳﻦ آواز ﺳﺎن‬
‫ﺳﻠﻬﺎڙﻳﻞ ﻫﻮﻧﺪا آﻫﻦ‪ .‬ﻫﻦ اﻧﺪاز ﻻ‪ Acrophony ‬اﺻﻄﻼح ﻛﻢ آﻧﺪو وﻳﻨﺪو آﻫﻲ‪.‬‬
‫‪ .2‬اﻧﻬﻦ اﮐﺮ ﺟﺎ ﻧﺎﻻ ﭔﻦ ﻗﺴﻤﻦ ﺟﺎ ﭤﻴﻨﺪا آﻫﻦ‪ ،‬ﻫﻜﮍا‪ :‬ﻟﻔﻈﻲ اﭼﺎر ﺳﺎن اﭼﺎرﺟﻨﺪڙ‬
‫ﺟﻴﻢ‪ُ ،‬‬
‫دال وﻏﻴﺮه؛ ﭔﻴﺎ‪ :‬ﭘﺪ ﺳﺎن اﭼﺎرﺟﻨﺪڙ )‪(Syllabogram‬‬ ‫اﻟﻒ‪ُ ،‬‬‫)‪ (logogram‬ﺟﻴﺌﻦ‪ُ :‬‬
‫ﺟﻴﺌﻦ‪ :‬ﺑﻲ‪ ،‬ﭔﻲ‪ ،‬ﭴﻲ‪ ،‬ڌي‪ ،‬ڏي‪ ،‬ﻓﻲ وﻏﻴﺮه‪.‬‬
‫‪ .3‬ﺳﻨﮅي آﺋﻴﻮﻳﭩﺎ ۾ ﻫﻤﺰي ﺳﻮڌو ‪ Logogram‬ﺟﻮ ﺗﻌﺪاد ‪ 20‬آﻫﻲ‪ ،‬ﺟﮇﻫﻦ ﺗﻪ‬
‫‪ Syllabogram‬ﺟﻮ ﺗﻌﺪاد ‪ 32‬ﺑﻴﻬﻲ ﭤﻮ‪) .‬ﻳﺎد رﻫﻲ ﺗﻪ ﺻﻮرﺗﺨﻄﻲ‪ ‬ﻧﺴﺒﺖ ‘ﻫﻤﺰو’‪،‬‬
‫‘اﻟﻒ’ ﺟﻮ ﻫﻚ روپ آﻫﻲ‪ ،‬ﺟﻴﻜﻮ ﺻﺮف وﻳﻨﺠﻦ )‪ (Consonant‬ﻃﻮر ﻛﻢ اﻳﻨﺪو‬
‫آﻫﻲ‪ ،‬ﺟﮇﻫﻦ ﺗﻪ اﻟﻒ ۾ اﻫﺎ ﻟﭽﻚ آﻫﻲ ﺟﻮ وﻳﻨﺠﻦ )‪ (Consonant‬ﺗﻮﮢﻲ ُﺳﺮ )‪(Vowel‬‬
‫ﻃﻮر ﻛﻢ اﭼﻲ ﭤﻮ‪(.‬‬
‫ُ‬ ‫ُ‬
‫ﺟﻴﻢ’‪‘ ،‬ﮔﺎف’ ﻳﺎ ‘ﻛﺎف’ اﭼﺎرﺟﻲ ﭤﻮ ﺗﻪ ‘ﺳﻴﻦ’ ﻳﺎ ‘ﻋﻴﻦ’ وﻏﻴﺮه‬ ‫‪ .4‬ﺟﻨﻬﻦ ﺻﻮرت ۾ ‘ ُ‬
‫ﺟﻮ اﭼﺎر ﺑﻪ آﺧﺮي ﭘﻴﺶ ﺳﺎن ﭤﻴﮡ ﮔﮭﺮﺟﻲ‪.‬‬
‫‪‘ .5‬س‪ ،‬ش‪ ،‬ﻋﻴﻦ ۽ ﻏﻴﻦ’ ‪ logograms‬۾ اﻫﻮ ﻣﻌﺎﻣﻠﻮ ﺳﺎﻣﻬﻮن آﻳﻮ ﺗﻪ ‘ َ‬
‫ﺳﻴﻦ’ زﺑﺮ ﺳﺎن‬
‫ﺳﻴﻦ’ ﭘﻴﺶ ﺳﺎن؟ ان ﺣﺎﻟﺖ ۾ ﻛﺎﻣﻴﭩﻲ‪ ‬اﻫﻮ ﺗﺴﻠﻴﻢ ﻛﻴﻮ ﺗﻪ‪ ،‬ﺟﻴﺌﻦ‬ ‫اﭼﺎرﺟﻲ ﻳﺎ ‘ ُ‬
‫ﺗﻪ ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬ﺟﻮ ﻣﻌﻴﺎري ﻟﻬﺠﻮ ‘ﺳﺎﻫﺘﻲ‪ ’‬وارو آﻫﻲ‪ ،‬ان ﺻﻮرت ۾ ﺳﺎﻫﺘﻲ‪ ‬۾‬
‫اﭼﺎرﺟﻨﺪڙ ‪ logograms‬آﺧﺮي ﭘﻴﺶ ﺳﺎن ﺑﻴﻬﺎرڻ ﮔﮭﺮﺟﻦ‪.‬‬

‫ﺣﻮاﻻ‪ /‬ذرﻳﻌﺎ‪:‬‬
‫‪ .1‬ﭔﮕﮭﻴﻮ‪ ،‬ﻗﺎﺳﻢ‪ ،‬ڊاﻛﭩﺮ‪ .‬ﺳﻨﮅي ﭔﻮﻟﻲ‪ ،‬ﻟﺴﺎﻧﻴﺎت ﮐﺎن ﺳﻤﺎﺟﻲ ﻟﺴﺎﻧﻴﺎت ﺗﺎﺋﻴﻦ‪ .‬ﻛﺮاﭼﻲ‪ :‬ﺳﻨﮅﻳﻜﺎ‬
‫اﻛﻴﮉﻣﻲ‪ .‬ﮀﺎﭘﻮ ﭘﻬﺮﻳﻮن‪1998 .‬ع‪ .‬ص‪79 :‬‬
‫‪ .2‬ﭔﮕﮭﻴﻮ‪ ،‬ﻗﺎﺳﻢ‪ ،‬ڊاﻛﭩﺮ‪ .‬ﺣﻮاﻟﻮ ﺳﺎﮘﻴﻮ‪ .‬ص‪81 :‬‬
‫‪3.‬‬ ‫‪http://learn.sindhila.edu.pk/alphabets/ipl .Seen on July 06, 2017‬‬
‫‪ .4‬ﺟﻮﮐﻴﻮ‪ ،‬اﻟﻄﺎف ﺣﺴﻴﻦ‪ .‬ﺗﺎرﻳﺨﻲ ﻟﺤﺎظ ﮐﺎن وﭼﻮﻟﻲ ﻟﻬﺠﻲ ﺟﻲ ﺣﻘﻴﻘﺖ‪ ،‬ﻛﺎروﻧﺠﻬﺮ ﺗﺤﻘﻴﻘﻲ‬
‫ﺟﺮﻧﻞ‪ .‬ﻛﺮاﭼﻲ‪ :‬وﻓﺎﻗﻲ اردو ﻳﻮﻧﻴﻮرﺳﭩﻲ‪ .‬ﺷﻤﺎرو‪ ،8 :‬ﺳﺎل‪ :‬ﺟﻮن ‪ .2013‬ص‪38 -26 :‬‬
‫‪ .5‬ﺟﻮﮐﻴﻮ‪ ،‬اﻟﻄﺎف ﺣﺴﻴﻦ‪ .‬ﺣﻮاﻟﻮ ﺳﺎﮘﻴﻮ‪ .‬ص‪36 :‬‬
‫‪69‬‬ ‫ﻋﺮﺑﻲ ‪-‬ﺳﻨﮅي آﺋﻴﻮﻳﭩﺎ ﺟﻲ اﮐﺮن ﺟﺎ ُاﭼﺎري ﻧﺎﻻ ۽ ﻣﻌﻴﺎري ﻟﻬﺠﻮ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬
‫‪ .6‬ﺟﻮﮐﻴﻮ‪ ،‬اﻟﻄﺎف ﺣﺴﻴﻦ‪‘ .‬ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬ﺟﻲ ﻟﻔﻈﻦ ۾ آﺧﺮي ۽ آﺧﺮي‪ ‬ﮐﺎن اڳ وﻳﻨﺠﻦ ﺟﻲ ُﺳﺮ ۽‬
‫آﺧﺮي وﻳﻨﺠﻦ ﺟﻲ ﺳﺎﻛﻦ ﻫﺌﮡ ﺟﻮ ﺗﺼﻮر’‪ ،‬ﺳﻨﮅي ﭔﻮﻟﻲ‪ ،‬ﺗﺤﻘﻴﻘﻲ ﺟﺮﻧﻞ‪ .‬ﺣﻴﺪرآﺑﺎد‪ :‬ﺳﻨﮅي‬
‫ﻟﺌﻨﮕﻮﻳﺞ اﭤﺎرﭨﻲ‪ .‬ﺟﻠﺪ‪ ،4 :‬ﺷﻤﺎرو‪ .2 :‬ﺳﺎل‪ :‬اﭘﺮﻳﻞ‪ -‬ﺟﻮﻻ‪ .2011 ‬ص‪95 -42 :‬‬
‫رہ‬ ‫۔ا مآ د‪:‬‬ ‫‪:‬‬ ‫ت(‬ ‫۔اردور ا )ا ب‬ ‫‪ ،‬ا ۔ر ا اورز ن‬ ‫‪.7‬‬
‫ز ن۔ ل‪1989:‬۔ص‪382:‬‬
‫‪8. https://www.merriam-webster.com/dictionary/acrophony ,seen on July 06, 2017‬‬
‫‪9. https://en.oxforddictionaries.com/definition/acrophony.Seen on July 06, 2017‬‬
‫‪10. https://www.merriam-webster.com/dictionary/logogram .Seen on July 06, 2017‬‬
‫‪11. https://en.oxforddictionaries.com/definition/logogram ,seen on July 6, 2017‬‬
‫‪12. https://www.collinsdictionary.com/dictionary/english/syllabogram ,seen on July 6, 2017‬‬
‫‪ .13‬ﺟﻮﮐﻴﻮ‪ ،‬اﻟﻄﺎف‪ ،‬ڊاﻛﭩﺮ‪ .‬ﻋﺮﺑﻲ‪ -‬ﺳﻨﮅي آﺋﻴﻮﻳﭩﺎ ﺟﻮ اﭜﻴﺎس‪ .‬ﺣﻴﺪرآﺑﺎد‪ :‬ﺳﻨﮅي ﻟﺌﻨﮕﻮﻳﺞ اﭤﺎرﭨﻲ‪.‬‬
‫ﺳﺎل‪ .2016 :‬ص‪27 :‬‬
‫‪ .14‬ﻣﺮزا‪ ،‬ﻗﻠﻴﭻ ﺑﻴﮓ‪ .‬ﺳﻨﮅي وﻳﺎﻛﺮڻ‪ .‬ﭴﺎﻣﺸﻮرو‪ :‬ﺳﻨﮅي ادﺑﻲ ﺑﻮرڊ‪ .‬ﺳﺎل‪ .2006 :‬ص‪75 :‬‬
‫‪ .15‬ﺟﻮﮐﻴﻮ‪ ،‬اﻟﻄﺎف‪ ،‬ڊاﻛﭩﺮ‪ .‬ﺣﻮاﻟﻮ ﻣﭥﻴﻮن ﺳﺎﮘﻴﻮ‪ .‬ص‪28 :‬‬

‫‪70‬‬ ‫ﻋﺮﺑﻲ ‪-‬ﺳﻨﮅي آﺋﻴﻮﻳﭩﺎ ﺟﻲ اﮐﺮن ﺟﺎ ُاﭼﺎري ﻧﺎﻻ ۽ ﻣﻌﻴﺎري ﻟﻬﺠﻮ‬

 [ ] ‫ﺌرو ﮬ‬

‫را‬ ‫ﺌ‬ ‫ڊا‬

‫۽ اڄ‬ ‫ﺌ‬ : ‫و ن ڊرا‬ ‫ي‬

SINDHI TELEVISION DRAMA
YESTERDAY AND TODAY

Abstract
Television Drama is the youngest branch of Sindhi drama. Pakistan
Television started Sindhi programs from January 22 1970. First Sindhi
Drama “Zeenat” was telecast on January 29, 1970.
There was a time, when Sindhi dramas were jam-packed with
number of talented producers, directors, writers as well as actors. Many
talented entities opened their eyes here. Sindhi dramas proved to have an
intense effect on the viewers from the very beginning. But now gradually
this impact is drifting off. Few dramas of PTV also achieved an awards
on world level.
After 2002, private satellite channels like KTN and Sindh TV
emerged, now more than 10 private Sindhi TV channels are on-air in
Pakistan. These channels are presenting sub standard dramas like, Pathar
Dunya and Dunya Dardan Ji. The usual and all-inclusive theme of these
dramas is tight-fisted and based on feudalism, sub-standard comedy,
vulgarity, terrorism, and immoral dialogues.
According to some writers such spectacular exhibition of feudalist
lifestyle is actually creating antagonism and severe fissures between
social classes. Whereby, entirely obliterating chances of inspiring
positive changes. The prime focus should be on themes that the general
viewership can relate to. Nowadays, merely 10% dramas of these private
channels are promoting Sindhi culture, while others are representing
Sindhi people as orthodox. Past, Present and future of Sindhi T.V drama
will be discussed in this article.
‫ ڊراﻣﻮ ﻟﻄﻴﻒ ﻓﻦ‬.‫ڊراﻣﻮ اﻧﺴﺎﻧﻲ ﻓﻄﺮت ﺟﻮ ﮔﻬﮣﻲ ﺣﺪ ﺗﺎﺋﻴﻦ ﺗﺮﺟﻤﺎن ﭘﮡ رﻫﻴﻮ آﻫﻲ‬
‫( ﺟﻲ اﻧﺘﻬﺎﺋﻲ اﻫﻢ ﺻﻨﻒ ﻟﻴﮑﻴﻮ وﭸﻲ‬Performing Art) ‫۽ ﺧﺎص ﻃﻮر ﺗﻲ ﻣﻈﺎﻫﺮاﺗﻲ ﻓﻦ‬
‫ ﭔﺎروﺗﮡ رﻳﮉﻳﻲ ﺗﻲ ﮔﺬارﻳﻮ ﺗﻪ ﺟﻮاﻧﻲ وري ﭨﻲ‬،‫ ڊراﻣﻲ ﺟﻴﻜﮇﻫﻦ ﭤﻴﭩﺮ ۾ ﺟﻨﻢ ورﺗﻮ‬.‫ﭤﻮ‬
‫ ﻣﻮﺟﻮده دؤر ۾ اﺳﭩﻴﺞ ۽ رﻳﮉﻳﻲ ﺟﻲ ﭜﻴﭧ ۾ ﭨﻲ وي ڊراﻣﻮ وڌﻳﻚ ﺳﮕﻬﺎرو‬.‫ ﺗﻲ ﻣﺎﮢﻲ‬‫وي‬
‫ ﭨﻲ وي ڊراﻣﻮ‬.‫ ﺟﻨﻬﻦ ﺟﻮ اﺛﺮ راﺑﻄﻲ ﺟﻲ ﭔﻴﻦ ﺳﻤﻮرن وﺳﻴﻠﻦ ﮐﺎن ﺗﻴﺰ آﻫﻲ‬.‫ﭤﻲ اﭜﺮﻳﻮ آﻫﻲ‬
71 ‫ ﻛﺎﻟﻬﻪ ۽ اڄ‬:‫ﺳﻨﮅي ﭨﻴﻠﻲ وﻳﺰن ڊراﻣﻮ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻓﻘﻂ وﻧﺪر ﻧﺎﻫﻲ‪ ،‬ﭘﺮ ان ﮐﻲ ﺷﻌﻮري ﺟﺎﮘﺮﺗﺎ ﺟﻲ ڏس ۾ ﺑﻪ اﺳﺘﻌﻤﺎل ﻛﻴﻮ وﻳﻮ آﻫﻲ‪.‬‬
‫ﺳﻨﮅي ڊراﻣﻲ ﺟﻲ ﺗﺎرﻳﺦ ﺟﻮڙڻ وﻗﺖ ﻣﺤﻘﻘﻦ ﮔﻬﮣﻲ ﭜﺎﮜﻲ ﻧﺜﺮي اﺳﻠﻮب ۾ ﻟﮑﻴﻞ‬
‫ﻧﺎﭨﻜﻦ ﺟﻮ وﭼﻮر ڏﻧﻮ آﻫﻲ ﭘﺮ ﻧﻈﻤﺎﮢﻲ اﻧﺪاز ۾ ﻟﮑﻴﻞ ﻣﻨﻈﻮم ﻧﺎﭨﻜﻦ ﺗﻲ ﻛﻮ ﺧﺎص ڌﻳﺎن‬
‫ﻧﻪ ڏﻧﻮ آﻫﻲ‪ .‬ﺟﻨﻬﻦ ﺟﻲ ﻛﺮي ﺷﺎﻫﻪ ﺳﺎﺋﻴﻦ‪ ‬ﺟﻲ ﺷﺎﻋﺮي‪ ‬۾ ﻣﻮﺟﻮد ﻧﺎﭨﻜﻦ ﺗﻲ ﺗﻤﺎم‬
‫ﮔﻬﭧ ﺗﺤﻘﻴﻖ ﭤﻲ آﻫﻲ‪ .‬ان ﺟﻮ ﻫﻚ ﺧﺎص ﺳﺒﺐ اﻫﻮ ﺑﻪ آﻫﻲ ﺗﻪ ﺳﻨﮅي ﻣﺴﻠﻢ ﺳﻤﺎج ۾‬
‫ﺗﻤﺎم ﮔﻬﮣﻲ دﻳﺮ ﮐﺎﻧﭙﻮ‪ ‬ﻧﺎﭨﻚ ﮐﻲ ﻗﺒﻮل ﻛﻴﻮ وﻳﻮ‪ .‬ﭔﻴﻮ ﺗﻪ اﺳﺎن وٽ ﺷﺎﻫﻪ ﺳﺎﺋﻴﻦ‪ ‬ﺗﻲ‬
‫ﺟﻴﻜﺎ ﭘﻴﺮ ﻣﺮﺷﺪ واري ﮀﺎپ ﻟﮙﻞ آﻫﻲ‪ ،‬ان ﺑﻪ ﺗﺤﻘﻴﻖ ۾ رﻧﮉڪ وڌي آﻫﻲ‪ .‬ﺷﺎﻫﻪ‬
‫ﻋﺒﺪاﻟﻠﻄﻴﻒ ﭜﭩﺎﺋﻲ‪ ‬ﺟﻲ ﺷﺎﻋﺮي‪ ‬ﺟﻮ ﻣﻄﺎﻟﻌﻮ ﻛﺠﻲ ﭤﻮ ﺗﻪ ان ۾ اﻫﻲ ﺳﻤﻮرﻳﻮن ﺧﻮﺑﻴﻮن ۽‬
‫ﻋﻨﺼﺮ ﻧﻈﺮ اﭼﻦ ﭤﺎ‪ ،‬ﺟﻴﻜﻲ ارﺳﻄﻮ‪ ‬اﻟﻤﻴﻲ )ڊراﻣﻲ( ﻻ‪ ‬ﻻزﻣﻲ ﻗﺮار ڏﻧﺎ آﻫﻦ‪ .‬ﺷﺎﻫﻪ ﺟﻲ‬
‫ﺗﻤﺜﻴﻠﻲ ﺷﺎﻋﺮي‪ ‬۾ ﺟﮇﻫﻦ ﺷﺎﻫﻪ ﺟﻲ ﺳﻮرﻣﻴﻦ ۽ ﺳﻮرﻣﻦ‪ ،‬ﺳﺴﺌﻲ ﭘﻨﻬﻮن‪ ،‬ﺳﻬﮣﻲ ﻣﻴﻬﺎر‪،‬‬
‫ﻟﻴﻼ ﭼﻨﻴﺴﺮ‪ ،‬ﻣﻮﻣﻞ راﮢﻲ‪ ،‬ﻋﻤﺮ ﻣﺎرﺋﻲ‪ ،‬ﻧﻮري ﭴﺎم ﺗﻤﺎﭼﻲ‪ ،‬ﺳﻮرٺ را‪ ‬ڏﻳﺎچ‪ ،‬ﻣﻮرڙي ُ‬
‫)ﺳﺮ‬
‫)ﺳﺮ ﻛﻴﮇاري( ﺗﻲ ﻏﻮر ﻛﺠﻲ ﭤﻮ ﺗﻪ اﻧﻬﻦ ۾ ارﺳﻄﻮ‪ ‬وارا ﻗﺪﻳﻢ‬ ‫ﮔﻬﺎﺗﻮ( ۽ اﻣﺎم ﺣﺴﻴﻦ ُ‬
‫ﺳﻨﮕﻴﺖ ڊراﻣﻲ ﺟﺎ ﻣﮍﺋﻲ ﻋﻨﺼﺮ ﻣﻠﻦ ﭤﺎ‪ .‬ﺟﻴﻜﻲ ﻫﻦ )‪ (Poetics‬۾ ﭔﮅاﻳﺎ آﻫﻦ‪.‬‬
‫ﺷﺎﻫﻪ ﺟﻲ ﺷﺎﻋﺮي‪ ‬۾ ﻧﻪ رﮘﻮ ﻗﺪﻳﻢ ﭘﺮ ﺟﺪﻳﺪ ڊراﻣﻲ ﺟﺎ ﺑﻪ ﺳﻤﻮرا ﻋﻨﺼﺮ ﻣﻠﻦ ﭤﺎ‪.‬‬
‫ﺷﺎﻫﻪ ﺟﻲ ﺗﻤﺜﻴﻠﻲ ﺷﺎﻋﺮي‪ ‬۾ “ﭘﻼٽ‪ ،‬ﻣﺮﻛﺰي ﺧﻴﺎل‪ ،‬ﺷﺮوﻋﺎت‪ ،‬ﻛﺮدار ۽ ﺳﻴﺮت‬
‫ﻧﮕﺎري‪ ،‬ﻣﻜﺎﻟﻤﺎ‪ ،‬ﺗﺴﻠﺴﻞ ۽ ﻛﺸﻤﻜﺶ‪ ،‬ﭨﻜﺮا‪ ‬۽ اﻧﺠﺎم” ﺟﻮ ﺑﻪ ﭘﻮرو ﭘﻮرو ﺧﻴﺎل‬
‫رﮐﻴﻞ ﻧﻈﺮ اﭼﻲ ﭤﻮ‪ .‬ﺷﺎﻫﻪ ﺟﻲ ﺷﺎﻋﺮي‪ ‬ﺟﻲ ﻣﻄﺎﻟﻌﻲ ﻣﺎن ﻣﻌﻠﻮم ﭤﺌﻲ ﭤﻮ ﺗﻪ ﺷﺎﻫﻪ اﻫﻲ‬
‫ڊراﻣﺎﺋﻲ اﻫﭹﺎڻ‪ ،‬اﺻﻮل ۽ ﻋﻨﺼﺮ ﻛﭥﺎن اوڌارا ﻧﻪ ورﺗﺎ آﻫﻦ‪.‬‬
‫ﻫﻮﻧﺌﻦ ﺗﻪ ﺳﻨﮅي‪ ‬۾ ﻣﻨﻈﻮم ڊراﻣﻲ ﺟﻮ ﺑﺎﻧﻲ ﻣﺮزا ﻗﻠﻴﭻ ﺑﻴﮓ ﮐﻲ ﺳﮇﻳﻮ وﭸﻲ ﭤﻮ ﭘﺮ‬
‫ﺟﻴﻜﮇﻫﻦ ﺷﺎﻫﻪ ﺟﻲ ﺷﺎﻋﺮي‪ ‬۾ ﻣﻨﻈﻮم ڊراﻣﻲ ﺟﻲ ﺳﻤﻮرن اﺻﻮﻟﻦ‪ ،‬ﺧﻮﺑﻴﻦ ۽ ﻋﻨﺼﺮن‬
‫ﮐﻲ ﺳﺎﻣﻬﻮن رﮐﻴﻮ وﭸﻲ ﺗﻪ ﻧﺘﻴﺠﻮ ﻛﺠﻬﻪ ﭔﻴﻮ ﻫﻮﻧﺪو‪ .‬ﭘﺮ اﻓﺴﻮس ﺗﻪ ﺳﻨﮅ ۾ ان ﺣﻮاﻟﻲ ﺳﺎن‬
‫ﺗﺤﻘﻴﻖ ۽ ﺗﻨﻘﻴﺪ ﺑﻨﻬﻪ ﮔﻬﭧ ﭤﻲ آﻫﻲ‪ .‬ﺗﻨﻬﻦ ﻛﺮي اﺳﺎن ﮐﻲ ﺳﻨﮅي ﻧﺎﭨﻚ ﺟﻲ ﺑﮡ ﺑﮣﻴﺎد‬
‫وارو ﺑﺤﺚ اﻣﺎم ﺑﺨﺶ ﺧﺎدم ۽ ﻣﺮزا ﻗﻠﻴﭻ ﺑﻴﮓ ﮐﺎن اﮘﺘﻲ وڌاﺋﮡ ﮔﻬﺮﺟﻲ ۽ ﺷﺎﻫﻪ ﺳﺎﺋﻴﻦ‬
‫ﺟﻲ ﺷﺎﻋﺮي‪ ‬۾ﻧﺎﭨﻚ واري ﻣﻮﺿﻮع ﺗﻲ ﺟﺪﻳﺪ اﻧﺪاز ۾ ﺗﺤﻘﻴﻖ ﭤﻴﮡ ﮔﻬﺮﺟﻲ‪.‬‬
‫ﺷﺎﮬﻬﻪ ﻋﺒﺪاﻟﻠﻄﻴﻒ ﭜﭩﺎﺋﻲ‪ ‬ﺟﻲ ﺷﺎﻋﺮي‪ ‬۾ ﻧﺎﭨﻚ ﺟﻲ ﭘﻬﺮﻳﻮن ﭜﻴﺮو ﻧﺸﺎﻧﺪﻫﻲ‬
‫ڊاﻛﭩﺮ ﻫﻮﺗﭽﻨﺪﮔﺮﺑﺨﺸﺎﮢﻲ‪ ‬ﻛﺌﻲ ﻫﺌﻲ‪ .‬ﻫﻦ ﺷﻴﻜﺴﭙﻴﺌﺮ ﺟﻲ ﻧﺎﭨﻜﻦ ﺟﻲ ﺣﻮاﻟﻲ ﺳﺎن‬
‫ﺷﺎﻫﻪ ﺟﻲ ﺳﻮرﻣﻴﻦ ۽ ﺳﻮرﻣﻦ ﺟﻲ ﻛﺮدار ﻧﮕﺎري‪ ‬ﮐﻲ ﻧﺎﭨﻜﻲ ﻛﻮﭠﻴﻮ آﻫﻲ‪ .‬ﻫﻮ ﻟﮑﻲ ﭤﻮ ﺗﻪ؛‬
‫“ﺷﺎﻫﻪ ﺟﻮ ﻧﻤﻮﻧﻮ ﺑﻪ اﻧﮕﺮﻳﺰي ﺷﺎﻋﺮ ﺷﻴﻜﺴﭙﻴﺌﺮ واﻧﮕﻲ ﻧﺎﭨﻚ ﺟﻬﮍو آﻫﻲ‪ .‬ﻫﻲ ﻫﻚ ﻧﺌﻮن‬
‫ﻧﻤﻮﻧﻮ آﻫﻲ‪ ،‬ﺟﻮ ﺳﻨﮅ ﺟﻲ ﻛﻨﻬﻦ ﭔﺌﻲ ﺷﺎﻋﺮ اﺳﺘﻌﻤﺎل ۾ ﻧﻪ آﻧﺪو آﻫﻲ‪ .‬اﻧﻬﻲ‪ ‬ﺷﻌﺮ ۾ ﺷﺎﻫﻪ‬
‫ﺟﻲ ﺷﻌﻮر ﺟﻮن ُ‬
‫ﻛﻞ ﺧﻮﺑﻴﻮن ﻧﻜﺮي ﻧﺮوار ﭤﻴﻦ ﭤﻴﻮن”‪(1) .‬‬
‫ڊاﻛﭩﺮﮔﺮﺑﺨﺸﺎﮢﻲ ﺷﺎﻫﻪ ﺳﺎﺋﻴﻦ ﺟﻲ ﺷﺎﻋﺮي‪ ‬۾ ﻧﺎﭨﻚ ﺟﻲ ﺑﻨﻴﺎدي ﻋﻨﺼﺮن‬
‫ﻋﻼﻣﺖ ﻧﮕﺎري‪ ،‬ﻣﻨﻈﺮ ﻛﺸﻲ‪ ،‬ﮔﻔﺘﮕﻮ‪ ،‬ﺳﻴﺮت ﻧﮕﺎري‪ ،‬ﺧﻴﺎل ۽ ﻋﺒﺎرت ﺟﻮ ﺑﻪ ﺗﻔﺼﻴﻠﻲ‬
‫‪72‬‬ ‫ﺳﻨﮅي ﭨﻴﻠﻲ وﻳﺰن ڊراﻣﻮ‪ :‬ﻛﺎﻟﻬﻪ ۽ اڄ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ذﻛﺮ ﻛﻴﻮ آﻫﻲ‪ .‬ﺳﻨﮅ ﺟﻲ ﭜﻴﭧ ۾ ﻫﻨﺪﺳﺘﺎن ۾ ﺷﺎﻫﻪ ﺳﺎﺋﻴﻦ‪ ‬ﺟﻲ ﺷﺎﻋﺮي‪ ‬ﺟﻲ ﻧﺎﭨﻜﻲ‬
‫ﭘﻬﻠﻮ‪ ‬ﺗﻲ ﺳﭡﻲ ﺗﺤﻘﻴﻖ ﭤﻲ آﻫﻲ‪ ،‬ﭘﺮ اﻫﺎ اﭸﺎ اﮢﭙﻮري آﻫﻲ‪ .‬ڊاﻛﭩﺮ ﭴﻴﭡﻲ ﻻﻟﻮاﮢﻲ‪ ‬ﻛﭿ‬
‫۾ ﭔﻨﻲ‪ ‬ﺟﻲ ﻟﻮڪ ﮔﻴﺘﻦ ﺗﻲ ﭘﻲ اﻳﭿ‪ -‬ڊي ﻛﺌﻲ آﻫﻲ‪ .‬ﻫﻮ ﻫﻚ ﻫﻨﮅ ﻟﮑﻲ ﭤﻮ ﺗﻪ “ﮔﻬﮣﻦ ﺋﻲ‬
‫ﻋﺎﻟﻤﻦ ﺳﺘﻦ ﺋﻲ ﺳﻮرﻣﻴﻦ ﺟﻲ ﺳﻴﺮت ﻧﮕﺎري‪ ‬ﺟﻲ ﺑﻪ اوک ڊوک ﻛﺌﻲ آﻫﻲ‪ .‬ﺷﺎﻫﻪ ﺟﻲ‬
‫ﺷﻌﺮ ۾ﺣﻘﻴﻘﺖ ۽ ﻃﻠﺴﻢ ﺟﻮ ﺟﻴﻜﻮ ﺟﻮڙ آﻫﻲ‪ُ ،‬اﻫﻮ ڏﺳﻨﺪڙن ﺟﻲ دﻟﭽﺴﭙﻲ ﺷﺮوع ﮐﺎن‬
‫آﺧﺮ ﺗﺎﺋﻴﻦ ﻗﺎﺋﻢ رﮐﻲ ﭤﻮ‪ .‬ﻛﭿ ۾ ﺷﺎﻫﻪ ﺟﻲ ﻣﺮﻳﺪ ﻓﻘﻴﺮ ﺗﻤﺮ ﻧﺎﭨﻚ ﻃﺮز ۾ ﺷﺎﻫﻪ ﺟﺎ ﺷﻌﺮ‬
‫ُاﭼﺎرﻳﻨﺪو ﻫﻮ‪ ،‬ﺟﻮ اﮘﺘﻲ ﻫﻠﻲ ﺷﺎﻫﻪ ﺟﻲ ﺑﻴﺖ‪ ،‬ﻧﺎﭨﻜﻲ اﻧﺪاز ۾ ُاﭼﺎرڻ ﭔﻨﻲ ﻛﭿ ۾ ﭘﺮﻣﭙﺮا‬
‫)رواﻳﺖ( ﺑﮣﺠﻲ وﺋﻲ”‪(2) .‬‬
‫ﺟﻴﺴﺘﺎﺋﻴﻦ ﺟﺪﻳﺪ اﺻﻮﻟﻦ ﺗﻲ ﭔﮅل ڊراﻣﻲ ﻟﮑﮡ ﺟﻮ ﺗﻌﻠﻖ آﻫﻲ ﺗﻪ اﻫﻮ اﺳﭩﻴﺞ ڊراﻣﻮ‬
‫ﻫﺠﻲ ﻳﺎ رﻳﮉﻳﻮ ۽ ﭨﻲ وي ڊراﻣﻮ ‪ ،‬ﻓﻘﻂ اﻫﻮ ادﻳﺐ ﺋﻲ ﻟﮑﻲ ﺳﮕﻬﻲ ﭤﻮ‪ .‬ﺟﻴﻜﻮ ڊراﻣﻲ ﺟﻲ ﻓﻦ‬
‫۽ اﺻﻮﻟﻦ ﮐﺎن واﻗﻒ ﻫﻮﻧﺪو‪ “ .‬ﭨﻴﻠﻲ وﻳﺰن ڊراﻣﻮ ﻧﻪ رﮘﻮ ﺗﺨﻠﻴﻘﻲ ادب آﻫﻲ‪ ،‬ﭘﺮ ﺳﺎﮘﺌﻲ‬
‫وﻗﺖ ﻫﻚ ﻛﺎوش آﻫﻲ‪ .‬اﻧﻬﻲ‪ ‬ﻟﺤﺎظ ﮐﺎن ادب ﺟﻲ ﻣﻴﺪان ۾ ﭨﻴﻠﻲ وﻳﺰن ڊراﻣﺎ ﻫﻚ‬
‫اﻫﻢ ﺻﻨﻒ آﻫﻲ‪ ،‬ﮀﺎﻛﺎڻ ﺗﻪ ﻫﻦ ﺻﻨﻒ ﻻ‪ ،‬ﻟﮑﻨﺪڙ ۾ اﺳﭩﻴﺞ ڊراﻣﺎ‪ ،‬ﻧﺎول ۽ اﻓﺴﺎﻧﺎ‬
‫ﻧﮕﺎري‪ ‬ﺟﻲ ﺗﺨﻠﻴﻘﻲ ﺧﻮﺑﻴﻦ ﺳﺎن ﮔﮇوﮔﮇ‪ ،‬ﻓﻠﻢ ۽ ﭨﻴﻠﻴﻮﻳﺰن ﺟﻲ ﻛﺌﻤﻴﺮاﺋﻦ ۽ ﭔﺌﻲ ﻓﻨﻲ‬
‫ﺳﺎزو ﺳﺎﻣﺎن ﺟﻲ ﻣﻨﺎﺳﺐ ﻣﻌﻠﻮﻣﺎت ﺿﺮوري آﻫﻲ”‪(3) .‬‬
‫اوﻟﻬﻪ ﺟﻲ ﻣﻠﻜﻦ ۾ اﭸﺎ ﺗﺎﺋﻴﻦ ﭨﻴﻠﻲ وﻳﺰن ڊراﻣﻮ ادﺑﻲ ﺗﺨﻠﻴﻖ ﻃﻮر ان ﻛﺮي‬
‫ﺗﺴﻠﻴﻢ ﻧﻪ ﻛﻴﻮ وﻳﻮ آﻫﻲ‪ .‬ان ﺟﻮ ﺳﺒﺐ اﻫﻮ آﻫﻲ ﺗﻪ ُاﺗﻲ ﭨﻴﻠﻲ وﻳﺰن ڊراﻣﻮ ﻋﺎم رواﺟﻲ ﻳﺎ‬
‫ﺳﻄﺤﻲ ﻟﻴﮑﻚ )‪(Hack writer‬ﻟﮑﻦ ﭤﺎ‪ .‬ﺳﻄﺤﻲ ﻟﻴﮑﻚ )‪ (Hack writer‬ﻣﺎن ﻣﺮاد اﻫﻲ‬
‫ﻟﻴﮑﻚ آﻫﻦ‪ ،‬ﺟﻴﻜﻲ ﭘﻴﺴﻦ ﺗﻲ ﮔﻬﭧ ﻣﻌﻴﺎر وارو ﻣﻮاد ﻟﮑﻦ‪ .‬ﺳﻄﺤﻲ ﻟﮑﺖ ‪(Hack‬‬
‫)‪ writing‬ﻫﺮ ﻗﺴﻢ ﺟﻲ ﭤﻲ ﺳﮕﻬﻲ ﭤﻲ‪ Hack writer .‬ﻣﻌﻴﺎر ﺑﺪران ﻣﻘﺪار ﮐﻲ ﺗﺮﺟﻴﺢ ڏﻳﻦ‬
‫ﭤﺎ‪ .‬اﻧﻬﻦ ﺟﻲ آڏو اﺻﻞ ﻣﻘﺼﺪ ﻛﻮ ﺗﺨﻠﻴﻘﻲ ﻛﻢ ﻧﻪ ﭘﺮ ﭘﻴﺴﺎ ﻛﻤﺎﺋﮡ ﻫﻮﻧﺪو آﻫﻲ‪Hack .‬‬
‫‪writing‬ﺟﻮ ﻟﻔﻆ ﭘﻬﺮﻳﻮن ﭜﻴﺮو ارڙﻫﻴﻦ ﺻﺪي‪ ‬۾ اﺳﺘﻌﻤﺎل ﭤﻴﻮ‪Hack .‬ﻟﻔﻆ ‪Hackney‬ﻣﺎن‬
‫ورﺗﻞ آﻫﻲ‪Hackney .‬ﺑﺮﻃﺎﻧﻴﻪ ۾ ﮔﻬﻮڙي ﺟﻮ ﻫﻚ ﻗﺴﻢ آﻫﻲ‪ ،‬ﺟﻴﻜﻮ ﻧﻪ رﮘﻮ ﺳﻮاري‪ ‬ﭘﺮ‬
‫ﺑﺎر ڍوﺋﮡ ﻻ‪ ‬ﺗﻤﺎم ﮔﻬﮣﻮ ﻛﺎراﺋﺘﻮ آﻫﻲ‪Hackney .‬ﮔﻬﻮڙو ﺳﻮاري‪ ‬ﻻ‪ ‬اﻧﺘﻬﺎﺋﻲ ﺳﻮﻟﻮ آﻫﻲ‪،‬‬
‫ﺟﻨﻬﻦ ﺟﻲ ﻛﺮي ُان ﺗﻲ ﻛﻴﺮ ﺑﻪ ﺳﻮاري ﻛﺮي ﺳﮕﻬﻲ ﭤﻮ‪Hack writer .‬ﺑﻪ ﮔﻮﺳﮍو‬
‫ﻟﻴﮑﻚ ‪Ghost writer‬واﻧﮕﺮ ﭔﺌﻲ ﻧﺎﻟﻲ ﺳﺎن ﺑﻪ ﻟﮑﻨﺪو آﻫﻲ‪ .‬ﺳﻨﮅي ﭨﻲ وي ڊراﻣﻮ ان‬
‫ﺣﻮاﻟﻲ ﺳﺎن ﭜﺎﮘﻦ ﭜﺮﻳﻮ آﻫﻲ ﺗﻪ ان ﮐﻲ ﭘﻨﻬﻨﺠﻲ دؤر ﺟﺎ وڏا ﻛﻬﺎﮢﻴﻜﺎر ﻣﻠﻴﺎ‪ ،‬ﭘﺮ اﻫﻮ‬
‫ﻣﺎﺿﻲ‪ ‬ﺟﻮ ﻗﺼﻮ آﻫﻲ‪ .‬ﻫﺎﮢﻲ ﺻﻮرﺗﺤﺎل ﻣﻜﻤﻞ ﻃﻮر ﺗﺒﺪﻳﻞ ﭤﻲ ﭼﻜﻲ آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ﺟﻮ‬
‫ﻣﺨﺘﺼﺮ ﺟﺎﺋﺰو ﻫﻴﭟ ڏﺟﻲ ﭤﻮ‪.‬‬

‫ﺌ ‪:‬‬ ‫و ن ڊرا‬ ‫ي‬

‫ﭘﺎﻛﺴﺘﺎن ﭨﻴﻠﻲ وﻳﺰن ﻛﺮاﭼﻲ ﻣﺮﻛﺰ ﺟﻮ اﻓﺘﺘﺎح ﻧﻮﻣﺒﺮ ‪1967‬ع ﺗﻲ ﻛﻴﻮ وﻳﻮ‪.‬‬
‫‪73‬‬ ‫ﺳﻨﮅي ﭨﻴﻠﻲ وﻳﺰن ڊراﻣﻮ‪ :‬ﻛﺎﻟﻬﻪ ۽ اڄ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﺷﺮوع ۾ ﻋﻼﺋﻘﺎﺋﻲ ﭔﻮﻟﻴﻦ ﺟﺎ ﭘﺮوﮔﺮام ﻧﻪ ڏﻳﮑﺎرﻳﺎ وﻳﻨﺪا ﻫﺌﺎ‪ .‬ﺳﻨﮅي‪ ‬۾ ﭘﻬﺮﻳﻮن ﭨﻲ وي‬
‫ﭘﺮوﮔﺮام‘رس رﻫﺎڻ ’ ‪ 22‬ﺟﻨﻮري ‪1970‬ع ﺗﻲ ﭘﺮوڊﻳﻮﺳﺮ ﻋﺒﺪاﻟﻜﺮﻳﻢ ﺑﻠﻮچ ﭘﻴﺶ ﻛﻴﻮ‪.‬‬
‫ﺑﻠﻮچ ﺻﺎﺣﺐ ﺋﻲ ﭘﺎﻛﺴﺘﺎن ﭨﻴﻠﻲ وﻳﺰن ﺗﻲ ﺳﻨﮅي ﻧﺸﺮﻳﺎت ﺟﻮ ﺑﺎﻧﻲ آﻫﻲ‪.‬‬
‫ﭘﺎﻛﺴﺘﺎن ﭨﻴﻠﻲ وﻳﺰن ﺟﻲ اﻧﺘﻈﺎﻣﻴﺎ ﺟﮇﻫﻦ ﺳﻨﮅي‪ ‬۾ ڊراﻣﺎ ﭘﻴﺶ ﻛﺮڻ ﺟﻮ‬
‫ﻓﻴﺼﻠﻮ ﻛﻴﻮ ﺗﻪ ﺳﺎﮘﻴﻮ اردو ڊراﻣﻦ وارو ﻣﺴﺌﻠﻮ ﭘﻴﺪا ﭤﻴﻮ ﺗﻪ اﻫﻲ ڊراﻣﺎ ﻟﮑﻨﺪو ﻛﻴﺮ؟ ﭘﺮ‬
‫ﺟﻴﺌﻦ ﺗﻪ ﻋﺒﺪاﻟﻜﺮﻳﻢ ﺑﻠﻮچ ﭘﻬﺮﻳﺎن رﻳﮉﻳﻲ ﺗﻲ ﺻﺪاﻛﺎر ۽ ﭘﺮوڊﻳﻮﺳﺮ ﺟﻲ ﺣﻴﺜﻴﺖ ﺳﺎن‬
‫ﻛﻢ ﻛﺮي ﭼﻜﻮ ﻫﻮ‪ ،‬ﺗﻨﻬﻦ ﻛﺮي ﻫﻦ ﮐﻲ رﻳﮉﻳﻮ ڊراﻣﻲ ﺟﻲ ﮔﺮاﻣﺮ ﺟﻲ ﭴﺎڻ ﻫﺌﻲ‪.‬‬
‫ﺟﻨﻬﻦ اﻫﺎ ﭴﺎڻ ﺗﻨﻬﻦ دؤر ﺟﻲ ادﻳﺒﻦ ۽ ﻛﻬﺎﮢﻴﻜﺎرن ﮐﻲ ڏﻧﻲ‪ .‬ﭘﺎﻛﺴﺘﺎن ﭨﻴﻠﻲ وﻳﺰن‬
‫ﺟﻲ ﭘﻬﺮﺋﻴﻦ ﺳﻨﮅي ڊراﻣﻲ ﻻ‪ ‬ﻣﺮزا ﻗﻠﻴﭻ ﺑﻴﮓ ﺟﻲ ﻧﺎول ‘زﻳﻨﺖ’ ﮐﻲ ﺷﻤﺸﻴﺮ اﻟﺤﻴﺪري‪‬‬
‫ڊراﻣﻲ ﺟﻮ روپ ڏﻧﻮ‪ ،‬ﺟﻴﻜﻮ ﭨﻦ ﻗﺴﻄﻦ ﺗﻲ ﭔﮅل ﻫﻮ‪ .‬ان ڊراﻣﻲ ﺟﻮ ﻫﺪاﻳﺘﻜﺎر ۽‬
‫ﭘﻴﺸﻜﺎر ﺑﻪ ﻋﺒﺪاﻟﻜﺮﻳﻢ ﺑﻠﻮچ ﻫﻮ‪ ‘ .‬زﻳﻨﺖ’ ڊراﻣﻲ ﺟﻲ ﭘﻬﺮﻳﻦ ﻗﺴﻂ ‪ 29‬ﺟﻨﻮري ‪1970‬ع‬
‫ﺗﻲ ﭘﻴﺶ ﻛﺌﻲ وﺋﻲ‪ .‬ﺟﮇﻫﻦ ﺗﻪ ﭔﻲ ﻗﺴﻂ ‪ 5‬ﻓﻴﺒﺮوري ‪1970‬ع ‪ ،‬ﭨﻴﻦ ۽ آﺧﺮي ﻗﺴﻂ ‪12‬‬
‫ﻓﻴﺒﺮوري ‪1970‬ع ﺗﻲ ﭘﻴﺶ ﻛﺌﻲ وﺋﻲ‪ .‬ﻫﺮ ﻗﺴﻂ ‪ 25‬ﻣﻨﭩﻦ ﺗﻲ َﭔﮅل ﻫﺌﻲ‪.‬‬
‫ﺗﻨﻬﻦ دؤر ۾ ﭘﻲ ﭨﻲ وي‪ ‬ﺟﻲ ﺳﻨﮅي ﺷﻌﺒﻲ ۾ اﭸﺎ اﺳﻜﺮﭘﭧ اﻳﮉﻳﭩﺮ ﻣﻘﺮر ﻧﻪ ﭤﻴﻮ‬
‫ﻫﻮ‪ ،‬اﻫﻮ ﻛﻢ ﺳﻨﮅي ﭨﻴﻠﻲ وﻳﺰن ڊراﻣﻦ ﺟﻲ ﺑﺎﻧﻲ ﻧﺎﭨﻚ ﻧﻮﻳﺲ ﻣﺤﺘﺮم ﺷﻤﺸﻴﺮ‬
‫اﻟﺤﻴﺪري‪ ‬اﻋﺰازي ﻃﻮر ﺳﺮاﻧﺠﺎم ڏﻧﻮ‪ .‬ﻫﻦ اﻫﻮ ﻛﻢ ﮀﻬﻦ ﻣﻬﻴﻨﻦ ﺗﺎﺋﻴﻦ ﻛﻴﻮ‪ .‬ﺳﻨﮅي‪ ‬۾‬
‫ﭘﻬﺮﻳﻮن ڊراﻣﻮ ﺑﻴﺤﺪ ﭘﺴﻨﺪ ﻛﻴﻮ وﻳﻮ‪ .‬ﺟﻨﻬﻦ ﻛﺮي ﭔﺌﻲ ڊراﻣﻲ ﺟﻲ ﺗﻴﺎري ﺷﺮوع ﻛﺌﻲ‬
‫وﺋﻲ‪ .‬ان ﻻ‪ ‬ﭘﺮوڊﻳﻮﺳﺮ ﻋﺒﺪاﻟﻜﺮﻳﻢ ﺑﻠﻮچ‪ ،‬ﻋﻠﻲ ﺑﺎﺑﺎ ﺟﻲ ﻛﻬﺎﮢﻲ‘ﻫﻲ ﺟﻴﻮن ﻫﻲ ﺳﭙﻨﺎ’‬
‫ﺟﻲ ﭼﻮﻧﮉ ﻛﺌﻲ‪ .‬ﺟﻨﻬﻦ ﮐﻲ ڊراﻣﻲ ﺟﻮ روپ ﺑﻪ ﭘﺎڻ ﻋﻠﻲ ﺑﺎﺑﺎ ڏﻧﻮ‪ .‬ﻫﻲ ڊراﻣﻮ ‪ ،16‬اﭘﺮﻳﻞ‬
‫‪1970‬ع ﺗﻲ ﭘﻴﺶ ﻛﻴﻮ وﻳﻮ‪ .‬اﻫﮍي‪ ‬رﻳﺖ ﭘﻲ ﭨﻲ وي‪ ‬ﺟﻲ ﺳﻨﮅي ڊراﻣﻦ واري ﺷﻌﺒﻲ ﮐﻲ‬
‫ﺷﻤﺸﻴﺮ اﻟﺤﻴﺪري‪ ‬۽ ﻋﻠﻲ ﺑﺎﺑﺎ ﺟﻲ ﺻﻮرت ۾ ﭨﻲ وي ﻧﺎﭨﻚ ﻟﮑﮡ ﺟﻲ ﭴﺎڻ رﮐﻨﺪڙ ﭔﻪ‬
‫ﻟﻴﮑﻚ ﻣﻠﻲ وﻳﺎ‪ .‬ﭘﻲ ﭨﻲ وي ﺗﺎن ﭘﻴﺶ ﻛﻴﻞ ﭘﻬﺮﻳﻮن ڊراﻣﻮ ‘زﻳﻨﺖ’ ﻧﺎول ﺗﺎن ورﺗﻞ ﻫﻴﻮ‪،‬‬
‫ﺟﮇﻫﻦ ﺗﻪ ﭔﻴﻮ ڊراﻣﻮ ‘ﻫﻲ ﺟﻴﻮن ﻫﻲ ﺳﭙﻨﺎ’ ﻋﻠﻲ ﺑﺎﺑﺎ ﺟﻲ ﻛﻬﺎﮢﻲ‪ ‬ﺟﻮ ڊراﻣﺎﺋﻲ روپ ﻫﻮ‪.‬‬
‫ان ﮐﺎﻧﭙﻮ‪ ‬آﻏﺎ ﺳﻠﻴﻢ ﺟﻮ ﻟﮑﻴﻞ ڊراﻣﻮ “ﺧﻮاب ﺟﻮ ﺳﻮرج”‪ ،‬اﻣﺮ ﺟﻠﻴﻞ ﺟﻮ “اوﻧﺪﻫﻪ ۽‬
‫روﺷﻨﻲ” ﭘﻴﺶ ﻛﻴﻮ وﻳﻮ‪ .‬اﻣﺮﺟﻠﻴﻞ ۽ آﻏﺎ ﺳﻠﻴﻢ ﭨﻴﻠﻲ وﻳﺰن ﮐﺎن اڳ رﻳﮉﻳﻮ ﻻ‪ ‬ڊراﻣﺎ ﻟﮑﻲ‬
‫ﺗﻮڙي ﭘﻴﺶ ﺑﻪ ﻛﺮي ﭼﻜﺎ ﻫﺌﺎ‪ .‬ﻣﻤﺘﺎز ﻣﺮزا ﺑﻪ رﻳﮉﻳﻮ ﺣﻴﺪرآﺑﺎد ﻻ‪ ‬ﺗﻨﻬﻦ دؤر ۾ ڊراﻣﺎ‬
‫ﻟﮑﻨﺪو ﻫﻮ‪ .‬ﻫﻦ ﭘﻲ ﭨﻲ وي‪ ‬ﻻ‪ ‬ﭘﻬﺮﻳﻮن ڊراﻣﻮ ‘رﻳﺖ’ ﻟﮑﻴﻮ‪ .‬ﺟﻴﻜﻮ ‪ ،14‬ﺟﻮﻻ‪1970 ‬ع ﺗﻲ‬
‫ﻋﺒﺪاﻟﻜﺮﻳﻢ ﺑﻠﻮچ ﭘﻴﺶ ﻛﻴﻮ‪ .‬ﻣﻤﺘﺎز ﻣﺮزا ﮐﺎﻧﭙﻮ‪ ‬ﻣﺮاد ﻋﻠﻲ ﻣﺮزا ﺑﻪ ﭨﻲ وي ﻧﺎﭨﻚ‬
‫ﻧﻮﻳﺴﻲ‪ ‬ﻃﺮف آﻳﻮ ۽ ﻫﻦ ﺟﻮ ﻟﮑﻴﻞ ﻧﺎﭨﻚ ‘اداس ﭘﺎﮀﺎ’ ‪ ،18‬آﮔﺴﭧ ‪1970‬ع ﺗﻲ ﺑﻠﻮچ‬
‫ﺻﺎﺣﺐ ﭘﻴﺶ ﻛﻴﻮ‪.‬‬
‫ﻋﺒﺪاﻟﻜﺮﻳﻢ ﺑﻠﻮچ ﺟﻲ ذاﺗﻲ دﻟﭽﺴﭙﻲ‪ ‬ﺳﺒﺐ ﻏﻼم ﻧﺒﻲ ﻣﻐﻞ‪ ،‬ﺟﻤﺎل اﺑﮍي‪،‬‬
‫ﻣﺎﻫﺘﺎب ﻣﺤﺒﻮب‪ ،‬ﺛﻤﻴﺮه زرﻳﻦ‪ ،‬ﻧﺴﻴﻢ ﮐﺮل ۽ ﻧﺠﻢ ﻋﺒﺎﺳﻲ‪ ‬ﺟﻬﮍن ﻛﻬﺎﮢﻴﻜﺎرن ﺟﻲ‬
‫‪74‬‬ ‫ﺳﻨﮅي ﭨﻴﻠﻲ وﻳﺰن ڊراﻣﻮ‪ :‬ﻛﺎﻟﻬﻪ ۽ اڄ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻛﻬﺎﮢﻴﻦ ﮐﻲ ڊراﻣﺎﺋﻲ روپ ۾ ﭘﻴﺶ ﻛﻴﻮ وﻳﻮ‪ .‬ﺟﻨﻬﻦ ﺳﺒﺐ ﺳﻨﮅي ﻧﺎﭨﻚ ﺟﻲ ﭘﻴﮍﻫﻪ‬
‫ﭘﺨﺘﻲ ﭤﻲ ﺑﻴﭡﻲ‪ .‬اﮘﺘﻲ ﻫﻠﻲ ﻋﺒﺪاﻟﻘﺎدر ﺟﻮﮢﻴﺠﻲ‪ ،‬ﻋﻠﻲ ﻣﺤﻤﺪ ﻣﺠﺮوح‪ ،‬ﻗﺎﺿﻲ ﺧﺎدم‪،‬‬
‫ﺷﺎﻫﺪ ﻛﺎﻇﻤﻲ‪ ،‬ﻗﻤﺮ ﺷﻬﺒﺎز‪ ،‬ﻣﻨﻴﺮ ﭼﺎﻧﮉﻳﻲ‪ ،‬ﻓﻴﺾ ﭔﮕﻬﻴﻲ‪ ،‬ﺷﻮﻛﺖ ﺣﺴﻴﻦ ﺷﻮري‪،‬‬
‫ﻣﺎﮢﻚ‪ ،‬اﻳﺎز ﻋﺎﻟﻢ اﺑﮍي‪ ،‬ﻃﺎرق ﻋﺎﻟﻢ اﺑﮍو‪ ،‬ﻧﻮر ﮔﻬﻠﻮ‪ ،‬ﻛﻴﻬﺮ ﺷﻮﻛﺖ‪ ،‬رﺷﻴﺪ ﺻﺎﺑﺮ‪،‬‬
‫ﻣﻠﻚ آﮔﺎﮢﻲ‪ ،‬آﻏﺎ رﻓﻴﻖ‪ ،‬ﺷﻴﺦ ﻋﺒﺪاﻟﺮاز راز‪ ،‬رﺿﻴﻪ ﮐﻮﮐﺮ‪ ،‬ﻧﻮراﻟﻬﺪيٰ ﺷﺎﻫﻪ‪ ،‬ﻣﺤﻤﻮد ﻣﻐﻞ‪،‬‬
‫اﻣﺪاد ﺣﺴﻴﻨﻲ‪ ،‬ﻋﺜﻤﺎن ﻣﻴﻤﮡ‪ ،‬ﻓﻴﺮوز اﻟﺪﻳﻦ اﺣﺴﺎس‪ ،‬رزاق ﻣﻬﺮ‪ ،‬اﻧﻮر ﺳﻮﻟﻨﮕﻲ‪ ،‬روﺷﻦ‬
‫ﺗﻨﻴﻲ‪ ،‬زﻳﺐ ﺳﻨﮅي‪ ،‬ﻓﺎروق ﺳﻮﻟﻨﮕﻲ‪ ،‬ﻋﻨﺎﻳﺖ ﻣﻴﻤﮡ‪ ،‬ﺳﻴﺪ ﻳﺎر ﻣﺤﻤﺪ ﺷﺎﻫﻪ‪ ،‬ﻣﺎﻛﻦ ﺷﺎﻫﻪ‬
‫رﺿﻮي‪ ،‬ﺑﺎدل ﺟﻤﺎﻟﻲ‪ ،‬ﻋﺰﻳﺰ ﻛﻨﮕﺮاﮢﻲ‪ ،‬رﺣﻤﺖ ا� ﻣﺎﭸﻮﭠﻲ‪ ،‬ﺣﻔﻴﻆ ﻛﻨﭝﺮ‪ ،‬ﺷﺒﻨﻢ ﮔﻞ‪،‬‬
‫ﻋﻠﻲ راز ﺷﺮ ۽ ﭔﻴﻦ ﭘﻲ ﭨﻲ وي‪ ‬ﻻ‪ ‬ﺷﺎﻫﻜﺎر ﺳﻨﮅي ڊراﻣﺎ ﺗﺨﻠﻴﻖ ﻛﻴﺎ‪.‬‬
‫ﺳﻨﮅي ﻧﺎﭨﻚ ﻧﻮﻳﺴﻦ ﺳﻨﮅي ﺳﻤﺎج ۾ ﻣﻮﺟﻮد ﺳﻤﻮرﻳﻦ ﺧﺮاﺑﻴﻦ ﺟﻬﮍوڪ‪:‬‬
‫زﻣﻴﻨﺪاري ﻇﻠﻢ‪ ،‬ڏﻳﺘﻲ ﻟﻴﺘﻲ‪ ،‬ﻏﺮﺑﺖ‪ ،‬ﻃﺒﻘﺎﺗﻲ ورڇ‪ ،‬ﺗﻌﻠﻴﻢ ﺟﻲ ﮐﻮٽ‪ ،‬ﺑﺮادرﻳﻦ ﺟﻲ وچ ۾‬
‫ﺟﻬﻴﮍا‪ ،‬ﭘﻴﺎر ﻣﺤﺒﺖ‪ ،‬دوﻟﺖ ﺟﻮ اﻧﮅ‪ ،‬رﺷﻮت ﺟﻬﮍي ﺳﻤﺎﺟﻲ ﺑﺮاﺋﻲ ۽ ﭔﻴﻦ ﮐﻮڙ ﻣﺴﺌﻠﻦ ﮐﻲ‬
‫واﺋﮑﻮ ﻛﺮڻ ﻻ‪ ‬ﻗﻠﻢ ﮐﻨﻴﻮ‪ .‬ﺗﻨﻬﻦ دؤر ۾ ﺳﻨﮅي ڊراﻣﻦ ﺟﻲ ﻣﻘﺒﻮﻟﻴﺖ ﺟﻮ اﻧﺪازو ان ﮘﺎﻟﻬﻪ‬
‫ﻣﺎن ﻟﮙﺎﺋﻲ ﺳﮕﻬﺠﻲ ﭤﻮ ﺗﻪ ﻣﺎﮢﻬﻮ ﭘﻨﻬﻨﺠﻮ ﻛﻢ ﻛﺎر ﻻﻫﻲ‪ ،‬ﮔﻬﺮن‪ ،‬ﻫﻮﭨﻠﻦ‪ ،‬اوﻃﺎﻗﻦ ۽‬
‫اوڙي ﭘﺎڙي ۾ ﭨﻲ وي‪ ‬آڏو وﻳﻬﻲ ﻣﻘﺮر وﻗﺖ ﺗﻲ ڊراﻣﻲ ﺟﻮ اﻧﺘﻈﺎر ﻛﻨﺪا ﻫﺌﺎ‪ 25 .‬ﻣﻨﭩﻦ ﺟﻲ‬
‫ڊراﻣﻲ دوران ڏﺳﻨﺪڙ ﻣﻜﻤﻞ ﺧﺎﻣﻮﺷﻲ‪ ‬ﺳﺎن ڊراﻣﻮ ڏﺳﻲ ان ﺟﻲ ﻫﻚ ﻫﻚ ﻣﻨﻈﺮ ۽‬
‫ﻣﻜﺎﻟﻤﻲ ﻣﺎن وﻧﺪرﺑﺎ ﻫﺌﺎ‪.‬‬
‫ﺟﻴﻜﮇﻫﻦ ﻓﻨﻲ ﻟﺤﺎظ ﮐﺎن ﭘﻲ ﭨﻲ وي‪ ‬ﺟﻲ ﺳﻨﮅي ڊراﻣﻦ ﺟﻮ ﺟﺎﺋﺰو ورﺗﻮ وﭸﻲ‬
‫ﺗﻪ اﻫﻲ ﺷﺮوع ﮐﺎن وﭠﻲ داﺧﻠﻲ ﻋﻨﺼﺮن ﺟﻬﮍوڪ ﻛﻬﺎﮢﻲ‪ ،‬ﻛﺮدار ﻧﮕﺎري‪ ،‬ﻣﻜﺎﻟﻤﻦ‪،‬‬
‫ﻣﻨﻈﺮ ﻧﮕﺎري ۽ ﺧﺎرﺟﻲ ﻋﻨﺼﺮن اداﻛﺎري‪ ،‬ﻫﺪاﻳﺘﻜﺎري‪ ،‬ﻋﻜﺎﺳﻲ‪ ،‬ﺻﻮﺗﻲ اﺛﺮن‪،‬‬
‫ﭘﺮدي ﭘﻮﻳﺎن ﻣﻮﺳﻴﻘﻲ‪ ،‬ﻛﺌﻤﻴﺮاﺋﻦ ﺟﻮ اﺳﺘﻌﻤﺎل‪ ،‬ﭔﺎﻫﺮﻳﻦ ﻋﻜﺴﺒﻨﺪي‪ ،‬اﻳﮉﻳﭩﻨﮓ‪،‬‬
‫ﺻﺪاﺑﻨﺪي وﻏﻴﺮه ﺟﻲ ﺣﻮاﻟﻲ ﺳﺎن ﻣﻜﻤﻞ رﻫﻴﺎ آﻫﻦ‪ .‬اﻧﻬﻦ ۾ ﻛﭥﻲ ﺑﻪ ﻓﻨﻲ ﮐﻮٽ ﻧﻈﺮ ﻧﻪ‬
‫اﻳﻨﺪي ﻫﺌﻲ‪ .‬ﭘﻲ ﭨﻲ وي‪ ‬ﺗﻲ ﭘﺮوڊﻳﻮﺳﺮ ﭤﻴﮡ ﻻ‪ ‬ﮔﻬﭧ ۾ ﮔﻬﭧ ﺗﻌﻠﻴﻤﻲ ﻟﻴﺎﻗﺖ ﻣﺎﺳﭩﺮس‬
‫ﻫﻮﻧﺪي ﻫﺌﻲ‪ .‬ﭘﻲ ﭨﻲ وي‪ ‬ﺗﻲ اﺳﺴﭩﻨﭧ ﭘﺮوڊﻳﻮﺳﺮ ﻃﻮر ﭜﺮﺗﻲ ﭤﻴﮡ ﮐﺎﻧﭙﻮ‪ ‬اﻧﻬﻦ ﮐﻲ ﭘﻲ ﭨﻲ‬
‫وي اﻛﻴﮉﻣﻲ اﺳﻠﻢ آﺑﺎد ﻣﻮﻛﻠﻴﻮ وﻳﻨﺪو ﻫﻮ‪ ،‬ﺟﻨﻬﻦ ﮐﺎﻧﭙﻮ‪ ‬اﻫﻲ ﻛﻨﻬﻦ ﺳﻴﻨﻴﺌﺮ‬
‫ﭘﺮوڊﻳﻮﺳﺮ ﺳﺎن ﻣﺪدﮔﺎر ﻃﻮر ﻛﻢ ﻛﻨﺪا ﻫﺌﺎ‪.‬ﮔﻬﮣﻲ ﭜﺎﮜﻲ ﭘﺮوڊﻳﻮﺳﺮن ﮐﻲ ﭘﺮڏﻳﻬﻪ ﺳﮑﻴﺎ‬
‫ﻻ‪ ‬ﺑﻪ ﻣﻮﻛﻠﻴﻮ وﻳﻨﺪو ﻫﻮ‪.‬‬
‫ﭨﻴﻠﻲ وﻳﺰن ﻧﺎﭨﻚ ﮔﮇﻳﻞ ﻛﻮﺷﺶ ﺟﻲ ﻧﺘﻴﺠﻲ ۾ ﺟﻨﻢ وﭠﻲ ﭤﻮ‪ .‬ﺟﻨﻬﻦ ۾ ﺑﻨﻴﺎدي‬
‫ﻛﻢ ﺗﻪ ﻧﺎﭨﻚ ﻧﻮﻳﺲ ﻛﺮي ﭤﻮ ﭘﺮ ﻛﺎﻏﺬن ﺗﻲ ﻟﮑﻴﻞ ﻛﺮدارن ﮐﻲ زﻧﺪه ﻛﺮڻ وارو‬
‫ﭘﺮوڊﻳﻮﺳﺮ ﻫﻮﻧﺪو آﻫﻲ‪ .‬ﺟﻴﻜﻮ اداﻛﺎرن ﺟﻲ ﻣﺪد ﺳﺎن ﻧﺎﭨﻚ ﻧﻮﻳﺴﻦ ﺟﻲ ﺧﻴﺎﻟﻦ ﮐﻲ‬
‫ﭘﺮدي ﺗﻲ ﺣﻘﻴﻘﻲ اﻧﺪاز ۾ ﺳﺎﻣﻬﻮن آﮢﻲ ﭤﻮ‪ .‬ﭘﺎﻛﺴﺘﺎن ۾ ﺟﮇﻫﻦ ﭨﻴﻠﻲ وﻳﺰن ﺷﺮوع ﭤﻲ ﺗﻪ‬
‫ان دؤر ۾ ﻣﻠﻚ ۾ﻛﻮ ﺑﻪ ﺳﻴﮑﺎرﻳﻞ ﭘﺮوڊﻳﻮﺳﺮ ﻣﻮﺟﻮد ﻧﻪ ﻫﻮ‪ ،‬ﺟﻨﻬﻦ ﺳﺒﺐ رﻳﮉﻳﻮ ﭘﺮوڊﻳﺴﺮن‬
‫‪75‬‬ ‫ﺳﻨﮅي ﭨﻴﻠﻲ وﻳﺰن ڊراﻣﻮ‪ :‬ﻛﺎﻟﻬﻪ ۽ اڄ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﺟﻮن ﺧﺪﻣﺘﻮن ﺣﺎﺻﻞ ﻛﻴﻮن وﻳﻮن‪.‬‬

‫ﭘﻲ ﭨﻲ وي‪ ‬ﺟﻲ ﺳﻨﮅي ڊراﻣﻦ ۾ ﺳﻨﮅي ﭔﻮﻟﻲ‪ ،‬ﺛﻘﺎﻓﺖ‪ ،‬رﻳﺘﻦ رﺳﻤﻦ ۽ ﺳﻤﺎﺟﻲ‬
‫ﺣﺎﻟﺘﻦ ﺟﻮ ﭘﻮرو ﭘﻮرو ﺧﻴﺎل رﮐﻴﻮ وﻳﻨﺪو ﻫﻮ‪ .‬ﻫﻚ ﺗﻪ ﺗﻨﻬﻦ دؤر ۾ ﻧﺎﭨﻚ ﻟﮑﮡ وارا ﻛﻲ ﻋﺎم‬
‫رواﺟﻲ ﻟﻴﮑﻚ ﻧﻪ ﭘﺮ ﭼﻮﭨﻲ‪ ‬ﺟﺎ ﻛﻬﺎﮢﻴﻜﺎر ﻫﺌﺎ‪ .‬ﺟﮇﻫﻦ ﺗﻪ اﻧﻬﻦ ﺟﻲ ﻟﮑﻴﻞ ﻧﺎﭨﻜﻦ ﺟﻲ‬
‫ﻧﻈﺮداري ﻛﺮڻ وارن ۾ ﻋﺒﺪاﻟﻜﺮﻳﻢ ﺑﻠﻮچ‪ ،‬ﺷﻤﺸﻴﺮ اﻟﺤﻴﺪري‪ ،‬ﻏﻼم ﺣﻴﺪر ﺻﺪﻳﻘﻲ‪،‬‬
‫ﻣﻤﺘﺎز ﻣﺮزا ﺟﻬﮍا ﭴﺎﮢﻮ ﻫﺌﺎ‪ .‬ﺑﻠﻮچ ﺻﺎﺣﺐ ﻧﻪ رﮘﻮ ﮔﻬﮣﺎ ﻧﺎﭨﻚ ﻧﻮﻳﺲ ﻣﺘﻌﺎرف ﻛﺮاﻳﺎ ﭘﺮ‬
‫ﮔﻬﮣﻲ ۾ ﮔﻬﮣﺎ ﺳﻨﮅي ﭘﺮوڊﻳﻮﺳﺮ ﺑﻪ ﺗﻴﺎر ﻛﻴﺎ‪ .‬ﺟﻦ ﮐﻲ ﺳﻨﮅي ﭔﻮﻟﻲ ۽ ﻛﻠﭽﺮ ﺟﻲ ﺗﺤﻔﻆ‬
‫ﺟﻲ ُﺳﺘﻲ ﺗﮇﻫﻦ ﺑﻠﻮچ ﺻﺎﺣﺐ ﺋﻲ ﭘﻴﺎري ﮀﮇي ﻫﺌﻲ ﺟﻨﻬﻦ ﺟﻲ ﻛﺮي ﻧﺎﭨﻚ ﻧﻮﻳﺲ‬
‫ﺗﻮڙي ﭘﺮوڊﻳﻮﺳﺮ ﭔﻮﻟﻲ‪ ،‬ﺳﻤﺎﺟﻲ ﺣﺎﻟﺘﻦ‪ ،‬ﺳﻨﮅي ﺛﻘﺎﻓﺖ‪ ،‬ﻛﺮدار ﻧﮕﺎري‪ ،‬اﺧﻼﻗﻴﺎت‪،‬‬
‫ﻋﻮاﻣﻲ ﭘﺴﻨﺪ ۽ ﻣﻘﺼﺪﻳﺖ ﺟﻬﮍﻳﻦ ﺑﻨﻴﺎدي ﮘﺎﻟﻬﻴﻦ ﺟﻮ ﺧﺎص ﺧﻴﺎل رﮐﻨﺪا ﻫﺌﺎ‪.‬‬
‫و ن ڊرا اڄ‬
‫‪2002‬ع ﺗﺎﺋﻴﻦ ﻣﺠﻤﻮﻋﻲ ﻃﻮر ﺗﻲ ﺳﭵﻲ ﭘﺎﻛﺴﺘﺎن ۾ ﻓﻘﻂ ﻫﻚ ﭨﻲ وي ﭼﺌﻨﻞ‬
‫ﭘﺎﻛﺴﺘﺎن ﭨﻴﻠﻲ وﻳﺰن ﭼﺌﻨﻞ ڏﭠﻮ وﻳﻨﺪو ﻫﻮ‪ .‬ﮀﻮﺗﻪ ﻋﺎم ﻣﺎﮢﻬﻦ ﮐﻲ ڊش اﻳﻨﭩﻴﻨﺎ ﺟﻬﮍي‬
‫ﺳﻬﻮﻟﺖ ﮔﻬﭧ ﻫﺌﻲ‪ .‬ﺟﻨﺮل ﭘﺮوﻳﺰ ﻣﺸﺮف ﺟﻲ دؤر ۾ ﻣﻴﮉﻳﺎ ﮐﻲ ﻣﻜﻤﻞ ﻃﻮر آزاد ﻛﺮڻ‬
‫واري ﺧﻴﺎل ﮐﺎﻧﭙﻮ‪ ‬ﺧﺎﻧﮕﻲ ﺷﻌﺒﻲ ﮐﻲ ﺑﻪ ﻣﻴﮉﻳﺎ ﺟﻲ ﺻﻨﻌﺖ ۾ ﺳﻴﮍﭘﻜﺎري‪ ‬ﺟﻮ ﻣﻮﻗﻌﻮ‬
‫ﻣﻠﻴﻮ‪ .‬ﺟﻨﻬﻦ ﭤﻮري ﺋﻲ وﻗﺖ ۾ ﭘﺎﻛﺴﺘﺎن ۾ ﻣﻴﺪﻳﺎ ﺟﻲ ﺷﻜﻞ ﺋﻲ ﻣﭩﺎﺋﻲ ﮀﮇي‪.‬‬
‫اڄ ﺟﮇﻫﻦ اﺳﺎن ﭘﻨﻬﻨﺠﻲ ﭼﻮڌاري ﻧﻬﺎرﻳﻮن ﭤﺎ ﺗﻪ ﻫﺮ ﭘﺎﺳﻲ اﺳﺎن ﮐﻲ اﻧﭩﺮﻧﻴﭧ ۽‬
‫ﻣﻮﺑﺎﺋﻞ ﻓﻮن ﺟﻮ اﺳﺘﻌﻤﺎل ﻧﻈﺮ اﭼﻲ ﭤﻮ‪ .‬اﻧﭩﺮﻧﻴﭧ ﺟﻬﮍي ﺷﺎﻧﺪار اﻳﺠﺎد دﻧﻴﺎ ﮐﻲ ﻫﻚ‬
‫ﻧﻨﮃڙي ﮘﻮﭠﮍي ۾ ﺗﺒﺪﻳﻞ ﻛﺮي ﮀﮇﻳﻮ آﻫﻲ‪ .‬ﭘﺮ ﭨﻴﻦ دﻧﻴﺎ ﺟﻲ ﻣﻠﻜﻦ ۾ اڄ ﺑﻪ ان ﺟﻮ‬
‫ﻫﺎﻛﺎري اﺳﺘﻌﻤﺎل ﺳﭛ ﮐﺎن وڏو ﺳﻮال آﻫﻲ‪ .‬اﻫﮍي‪ ‬رﻳﺖ ﭨﻴﻠﻲ وﻳﺰن وﺳﻴﻠﻲ درﺳﺖ ۽‬
‫ﻏﻠﻂ ﻣﻌﻠﻮﻣﺎت ۽ وﻧﺪر ﺟﻲ ﻓﺮاﻫﻤﻲ وارو ﻣﻮﺿﻮع ﺑﻪ ڊﮔﻬﻲ ﻋﺮﺻﻲ ﮐﺎن ﺑﺤﺚ ﻫﻴﭟ آﻫﻲ‪.‬‬
‫ﺳﮅرﻳﻞ ﻣﻠﻜﻦ ﺗﻪ ﭨﻴﻠﻲ وﻳﺰن ﺟﻲ اﻳﺠﺎد ﺳﺎن ﮔﮇ ﺋﻲ ان ﺟﻲ ﻫﺎﻛﺎري ۽ ﻧﺎﻛﺎري ﭘﺎﺳﻦ‬
‫ﺗﻲ ﺗﺤﻘﻴﻖ ﻛﺌﻲ ﻫﺌﻲ‪ ،‬ﭘﺮ ﭘﻮﺋﺘﻲ ﭘﻴﻞ ﻣﻠﻜﻦ ۾ ان ﻃﺮف ﮔﻬﮣﻮ ڌﻳﺎن ﻧﻪ ڏﻧﻮ وﻳﻮ آﻫﻲ‪.‬‬
‫اوﻟﻬﻪ ﺟﻲ ﻣﺤﻘﻘﻦ ﺟﻮ ان ﺳﻠﺴﻠﻲ ۾ ﭼﮝﻮ ﻣﻮﭼﺎرو ﻛﻢ ﻧﻈﺮ اﭼﻲ ﭤﻮ‪ .‬ﭘﺮ ﺑﺪﻗﺴﻤﺘﻲ‪ ‬ﺳﺎن‬
‫ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬۾ ﭨﻴﻠﻲ وﻳﺰن ﺟﻲ ﭘﺮوﮔﺮاﻣﻦ ﻳﺎ ڊراﻣﻦ ﺟﻲ ﺛﻘﺎﻓﺘﻲ ۽ ﺳﻤﺎﺟﻲ اﺛﺮن ﺑﺎﺑﺖ‬
‫ﺗﺤﻘﻴﻘﻲ ﻛﻢ ﻧﻪ ﻫﺌﮡ ﺑﺮاﺑﺮ آﻫﻲ‪.‬‬
‫ﺟﮇﻫﻦ اﺳﺎن ﺻﻮﺑﺎﺋﻲ ﭔﻮﻟﻴﻦ )ﺟﻦ ﮐﻲ ﻋﻼﺋﻘﺎﺋﻲ ﭼﻴﻮ وﭸﻲ ﭤﻮ( ﺟﻲ ﮘﺎﻟﻬﻪ‬
‫ﻛﻨﺪاﺳﻴﻦ ﺗﻪ ﻣﻠﻜﻲ ﺳﻄﺢ ﺗﻲ اڄ ﺑﻪ ﺳﻨﮅي ﭨﻲ وي ﭼﺌﻨﻞ ﺳﭛ ﮐﺎن وڌﻳﻚ ڏﭠﺎ وﭸﻦ ﭤﺎ‪.‬‬
‫ﮔﻴﻠﭗ ﺳﺮوي ﻣﻮﺟﺐ ‪ 8‬ﺳﻨﮅي‪ ،‬ﭘﻨﺠﺎﺑﻲ‪ ،‬ﺳﺮاﺋﻴﻜﻲ ۽ ﭘﺸﺘﻮ ﭼﺌﻨﻠﻦ ﻣﺎن ﺳﻨﮅي ﭨﻲ وي‬
‫ﭼﺌﻨﻞ ﺳﭛ ﮐﺎن وڌﻳﻚ ﻣﻘﺒﻮل آﻫﻦ‪ .‬وڏي اﻋﺰاز ﺟﻲ ﮘﺎﻟﻬﻪ اﻫﺎ آﻫﻲ ﺗﻪ ﺻﻮﺑﺎﺋﻲ ﭔﻮﻟﻴﻦ ﺟﻲ‬
‫ﭼﺌﻨﻠﻦ ﺟﻲ ڏﺳﻨﺪڙن ﻣﺎن ‪ 82‬ﺳﻴﻜﮍو ﻣﺎﮢﻬﻮ ﺳﻨﮅي ﭨﻲ وي ﭼﺌﻨﻞ ڏﺳﻦ ﭤﺎ‪ .‬ﺟﮇﻫﻦ ﺗﻪ ﺑﺎﻗﻲ‬
‫ﭔﻮﻟﻴﻦ ﺟﻲ ڏﺳﻨﺪڙن ﺟﻮ اﻧﮓ ﻓﻘﻂ ‪ 18‬ﺳﻴﻜﮍو آﻫﻲ‪ .‬ان ﻟﺤﺎط ﮐﺎن ﺻﻮﺑﺎﺋﻲ ﭔﻮﻟﻴﻦ ۾‬
‫‪76‬‬ ‫ﺳﻨﮅي ﭨﻴﻠﻲ وﻳﺰن ڊراﻣﻮ‪ :‬ﻛﺎﻟﻬﻪ ۽ اڄ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻣﻠﻜﻲ ﺳﻄﺢ ﺗﻲ ﺳﭛ ﮐﺎن وڌﻳﻚ ڏﭠﻮ وﻳﻨﺪڙ ﭼﺌﻨﻞ ﻛﻲ ﭨﻲ اﻳﻦ آﻫﻲ ﺟﻨﻬﻦ ﺟﻲ‬
‫ڏﺳﻨﺪڙن ﺟﻮ اﻧﮓ ‪ 47‬ﺳﻴﻜﮍو آﻫﻲ‪.‬‬

‫ﭘﺎﻛﺴﺘﺎن ۾ ﻋﻼﺋﻘﺎﺋﻲ )ﺻﻮﺑﺎﺋﻲ( ﭔﻮﻟﻴﻦ ﺟﻲ ﭨﻲ وي ﭼﺌﻨﻠﻦ ﺟﻲ درﺟﻲ ﺑﻨﺪي‬

‫)ذرﻳﻌﻮ‪ :‬ﮔﻴﻠﭗ ﭘﺎﻛﺴﺘﺎن ﻣﻴﮉﻳﺎ ﺳﺎﺋﺒﺮ ﻟﻴﭩﺮ‪(4)(2012‬‬

‫ﭘﺎﻛﺴﺘﺎن ۾ ﺗﺎزي آدﻣﺸﻤﺎري‪ ‬ﮐﺎن اڳ ‪1998‬ع ۾ ﭤﻲ ﻫﺌﻲ‪ ،‬ان ﻣﻮﺟﺐ‬
‫ﭘﺎﻛﺴﺘﺎن ۾ ﺳﭛ ﮐﺎن وڌﻳﻚ )‪ 44.15‬ﺳﻴﻜﮍو( ﭘﻨﺠﺎﺑﻲ ﭔﻮﻟﻲ ﮘﺎﻟﻬﺎﺋﻲ وﭸﻲ ﭤﻲ‪ .‬ﺟﮇﻫﻦ‬
‫ﺗﻪ ﻣﻠﻜﻲ ﺳﻄﺢ ﺗﻲ ﺳﻨﮅي ﮘﺎﻟﻬﺎﺋﻴﻨﺪڙن ﺟﻮ ﺗﻌﺪاد ‪ 14.1‬ﺳﻴﻜﮍو آﻫﻲ‪ .‬ﭘﺮ ﺟﻴﻜﮇﻫﻦ‬
‫اﺳﺎن اﻫﻲ اﻧﮓ اﮐﺮ ﻣﺨﺘﻠﻒ ﺻﻮﺑﺎﺋﻲ ﭔﻮﻟﻴﻦ ﺟﻲ ﻣﻘﻮﻟﻴﺖ ﺟﺎﭼﮡ ﻻ‪ ‬ﻛﺘﺐ آﮢﻴﻮن ﭤﺎ ﺗﻪ‬
‫اﺗﻲ ﻫﻚ ﻓﺨﺮ ﻣﺤﺴﻮس ﭤﺌﻲ ﭤﻮ ﺗﻪ ﭘﺎﻛﺴﺘﺎن اﻧﺪر ﺳﭝﻨﻲ ﺻﻮﺑﻦ ۾ ﺳﭛ ﮐﺎن وڌﻳﻚ )‪80‬‬
‫ﺳﻴﻜﮍو( ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬ﺟﺎ ﭼﺌﻨﻞ ڏﭠﺎ وﭸﻦ ﭤﺎ‪ .‬ﺟﮇﻫﻦ ﺗﻪ ﺑﺎﻗﻲ ﺳﻤﻮرﻳﻦ ﭔﻮﻟﻴﻦ ﺟﺎ ﭼﺌﻨﻞ‬
‫ڏﺳﻨﺪڙن ﺟﻮ اﻧﮓ ﻓﻘﻂ ‪ 20‬ﺳﻴﻜﮍو آﻫﻲ‪ .‬ﭘﺮ ﺳﻮال اﻫﻮ ﭤﻮ ﭘﻴﺪا ﭤﺌﻲ ﺗﻪ ﮀﺎ اﻫﻲ ﺳﻨﮅي ﭨﻲ‬
‫وي ﭼﺌﻨﻞ ﺳﻨﮅي ﭔﻮﻟﻲ ۽ ﺛﻘﺎﻓﺖ ﺟﻲ ﺗﺤﻔﻆ ۽ ﻋﺎم ﻣﺎﮢﻬﻦ ﺟﻲ اﻫﻨﺠﻦ ﮐﻲ ﭘﮅرو ﻛﺮڻ‬
‫ﺟﻲ ﺳﻠﺴﻠﻲ ۾ ﻛﻮ ﻛﺮدرا ادا ﻛﺮي رﻫﻴﺎ آﻫﻦ ﻳﺎ ﻧﻪ؟ ﺗﻪ ﺟﻮاب “ ﻧﻪ” ۾ اﭼﻲ ﭤﻮ‪.‬‬
‫اﺳﺎن وٽ ﻋﺎم ﻃﻮر اﻫﻮ ﺋﻲ ﺳﻤﺠﻬﻴﻮ وﻳﻮ آﻫﻲ ﺗﻪ ﺳﻨﮅي ڊراﻣﻦ ۾ ﻛﺮدارن ﮐﻲ‬
‫اﺟﺮڪ‪ ،‬ﭨﻮﭘﻲ‪ ،‬ﭘﭩﻜﻮ‪ ،‬ﭜﺮت ﭜﺮﻳﻞ رﺋﻮ ۽ ﭼﻮﻟﻮ ﭘﻬﺮاﺋﮡ ﺳﺎن ﺳﻨﮅ ﺟﻲ ﺛﻘﺎﻓﺖ ﺟﻲ‬
‫ﻋﻜﺎﺳﻲ ۽ ﺧﺪﻣﺖ ﭤﻲ وﭸﻲ ﭤﻲ‪ .‬ﻳﺎ وري ﻛﻨﻬﻦ ڌاڙﻳﻞ ﮐﻲ ﻛﻼﺷﻨﻜﻮف ڏﺋﻲ‪ ،‬ان ﮐﻲ‬
‫ﻛﻨﻬﻦ وڏﻳﺮي ﺟﻲ ﭼﻮڻ ﺗﻲ ﻣﻈﻠﻮم ﻋﻮرت ﮐﻲ ﻛﺎري ﻗﺮار ڏﺋﻲ ﻗﺘﻞ ﻛﺮڻ ﮐﻲ ﺳﻨﮅ ﺟﻲ‬
‫ﺣﻘﻴﻘﻲ ﺛﻘﺎﻓﺖ ﺳﮇﻳﻮ وﭸﻲ ﭤﻮ‪.‬‬
‫ﺟﻴﻜﮇﻫﻦ اﺳﺎن ﻣﻮﺟﻮد ﺳﻴﭩﻼﺋﻴﭧ ﺳﻨﮅي ﭨﻲ وي ﭼﺌﻨﻠﻦ ﺗﺎن ﭨﻴﻠﻴﻜﺎﺳﭧ‬
‫ﻛﮅﻳﻦ رﻳﺘﻦ ۽‬ ‫ﭤﻴﻨﺪڙ ڊراﻣﻦ ﺗﻲ ﻏﻮر ﻛﻨﺪاﺳﻴﻦ ﺗﻪ اﻧﻬﻦ ۾ ﺳﻨﮅي ﺳﻤﺎج ﻻ‪ ‬ﻧﺎﺳﻮر ﺑﮣﻴﻞ ُ‬
‫رﺳﻤﻦ ﮐﻲ ﺳﻨﮅ ﺟﻲ ﺛﻘﺎﻓﺖ ﻗﺮار ڏﻳﮡ ﻻ‪ ‬وﺳﺎن ﻧﻪ ﮔﻬﭩﺎﻳﻮ آﻫﻲ‪ .‬ﺟﻨﻬﻦ ﺟﻮ اﺟﺘﻤﺎﻋﻲ ﻃﻮر‬
‫ﺗﻲ ﺳﻨﮅي ﻗﻮم ﮐﻲ ﺗﻤﺎم ﮔﻬﮣﻮ ﻧﻘﺼﺎن رﺳﻴﻮ آﻫﻲ‪ .‬ﮀﺎ واﻗﻌﻲ ﺳﻨﮅ ﺟﻲ ﺗﺼﻮﻳﺮ اﻳﺘﺮي‬
‫ﺧﺮاب آﻫﻲ‪ ،‬ﺟﻴﻜﺎ اڄ اﺳﺎن ﺧﺎﻧﮕﻲ ﭨﻴﻠﻲ وﻳﺰن ﭼﺌﻨﻠﻦ ﺟﻲ ڊراﻣﻦ ۾ ڏﺳﺌﻮن ﭤﺎ‪ .‬ﺳﻨﮅ‬
‫‪77‬‬ ‫ﺳﻨﮅي ﭨﻴﻠﻲ وﻳﺰن ڊراﻣﻮ‪ :‬ﻛﺎﻟﻬﻪ ۽ اڄ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫اﻧﺪر ﻳﺎ ﺳﻨﮅ ﮐﺎن ﭔﺎﻫﺮ ﻛﻨﻬﻦ ﻓﻮرم ﺗﻲ ﺟﻴﻜﮇﻫﻦ ﻛﻨﻬﻦ ﻏﻴﺮ ﺳﻨﮅي‪ ‬ﺳﺎن ﮘﺎﻟﻬﺎﺋﺠﻲ‬
‫ﭤﻮ ﺗﻪ ﮔﻬﮣﻮ ﻛﺮي ﻫﻮ اﻫﻮ ﺳﻮال ﺿﺮور ﻛﻨﺪو ﺗﻪ “ﺳﻨﮅ ﺟﺎ ﻣﺎﮢﻬﻮ ﺗﻪ ڏاڍا ﺧﻄﺮﻧﺎڪ آﻫﻦ؟”‬
‫ﺟﮇﻫﻦ ﮐﺎﻧﺌﺲ ﭘﮁﺒﻮ ﺗﻪ ﺳﻨﮅﻳﻦ ﺑﺎﺑﺖ ﻫﻦ اﻫﺎ را‪ ‬ﻛﻴﺌﻦ ﺟﻮڙي‪ ،‬ﺗﻪ ﺟﻮاب ۾ ﻫﻮ ﭼﻮﻧﺪو‬
‫آﻫﻲ ﺗﻪ ﺳﻨﮅي ﭨﻲ وي ڊراﻣﺎ ڏﺳﻲ اﺋﻴﻦ ﺋﻲ ﻣﺤﺴﻮس ﭤﻴﻨﺪو آﻫﻲ‪.‬‬
‫ﺳﻨﮅ ﺟﻲ ﻏﻠﻂ رﻳﺘﻦ رﺳﻤﻦ ﮐﻲ ﺛﻘﺎﻓﺖ ﺟﻮ ﻧﺎﻟﻮ ڏﺋﻲ ﺣﻘﻴﻘﺖ ۾ﺳﻨﮅ ﮐﻲ ﺑﺪﻧﺎم‬
‫ﻛﺮڻ ﺟﻲ ﺷﺮوﻋﺎت ﺿﻴﺎ‪ ‬اﻟﺤﻖ ﺟﻲ دور ۾ ﭤﻲ‪ ،‬ﺟﻴﻜﺎ اڄ ﺑﻪ ﻛﻨﻬﻦ ﻧﻪ ﻛﻨﻬﻦ‬
‫ﺻﻮرت ۾ ﺟﺎري آﻫﻲ‪.‬ﭘﺮ ﺟﻴﻜﮇﻫﻦ ﻣﻌﺎﺷﺮي ۾ ﻛﻲ ﺧﺮاﺑﻴﻮن آﻫﻦ ﺑﻪ ﺗﻪ ﮀﺎ ان ﮐﻲ‬
‫ﺧﺘﻢ ﻛﺮڻ ﺟﻮ ﻃﺮﻳﻘﻮ ﺑﺲ اﻫﻮ ﺋﻲ آﻫﻲ‪ ،‬ﺟﻴﻜﻮ اڄ ﻛﻠﻬﻪ اﺳﺎن ﭨﻴﻠﻲ وﻳﺰن ڊراﻣﻦ ۾‬
‫ڏﺳﺌﻮن ﭤﺎ‪.‬‬
‫ﺑﻨﻴﺎدي ﻃﻮر ﺗﻲ ﭔﻴﻦ ﺳﻤﺎﺟﻦ واﻧﮕﺮ ﺳﻨﮅي ﺳﻤﺎج ۾ ﺑﻪ ﺗﻤﺎم ﮔﻬﮣﻴﻮن اوﮢﺎﻳﻮن آﻫﻦ‪.‬‬
‫ﺟﻦ ﺟﻲ ﻧﺸﺎﻧﺪﻫﻲ ﺿﺮور ﭤﻴﮡ ﮔﻬﺮﺟﻲ‪ ،‬ﭘﺮ اﺻﻞ اﺧﺘﻼف ﻃﺮﻳﻘﻲ ﻛﺎر ﺗﻲ آﻫﻲ‪.‬‬
‫ﺟﻴﻜﻲ ﻛﺠﻬﻪ ﻫﺎﮢﻮﻛﻦ ﭨﻲ وي ڊراﻣﻦ ۾ ڏﻳﮑﺎرﻳﻮ وﭸﻲ ﭤﻮ‪ ،‬ان ﮐﻲ ڏﻳﮑﺎرڻ ﺟﺎ ﭔﻴﺎ ﺑﻪ‬
‫ﮔﻬﮣﺎﺋﻲ ﻃﺮﻳﻘﺎ آﻫﻦ ﺟﻨﻬﻦ ﺳﺎن ﺳﻨﮅ اﻧﺪر ﺗﻮڙي ﺳﻨﮅ ﮐﺎن ﭔﺎﻫﺮ ﺳﻨﮅ ﺟﻲ ﺗﺼﻮر ﮐﻲ ﺑﻬﺘﺮ‬
‫ﺑﮣﺎﺋﻲ ﺳﮕﻬﺠﻲ ﭤﻮ‪.‬‬
‫ﻫﻦ وﻗﺖ ڊراﻣﻲ ﮐﻲ ﻓﻘﻂ وﻧﺪر ﻻ‪ ‬ﻛﺘﺐ آﻧﺪو وﭸﻲ ﭤﻮ‪ ،‬ﺟﮇﻫﻦ ﺗﻪ ان ﺟﻮ ﺑﻨﻴﺎدي‬
‫ﻛﻢ ڏﺳﻨﺪڙن ﺟﻲ ذﻫﻨﻲ ۽ روﺣﺎﻧﻲ ﺗﺮﺑﻴﺖ ﻛﺮي ﮐﻴﻦ ﻛﺎراﺋﺘﻮ ﺷﻬﺮي ﺑﮣﺎﺋﮡ آﻫﻲ‪.‬‬
‫ﺟﮇﻫﻦ ﮐﺎن ڊراﻣﻮ ﭘﻨﻬﻨﺠﻲ اﺻﻞ ﻣﻘﺼﺪ ﮐﺎن ﻫﭩﻲ وﻳﻮ آﻫﻲ‪ ،‬ﺗﮇﻫﻦ ﮐﺎن ان ﺟﻲ ﺟﺎ‪‬‬
‫ﻛﻠﭽﺮ ﺟﻲ ﻧﺎﻟﻲ ﺗﻲ ﭠﻴﻨﮓ ﭨﭙﺎ ڏﻳﮡ وارن ورﺗﻲ آﻫﻲ‪ .‬ﺟﻴﻜﻲ ﻛﻠﭽﺮ ﺟﻲ ﻧﺎﻟﻲ ﮐﻲ‬
‫ﭘﻨﻬﻨﺠﻲ ذﻫﻨﻲ ۽ ﺟﺴﻤﺎﻧﻲ ﻋﻴﺎﺷﻲ‪ ‬ﻻ‪ ‬اﺳﺘﻌﻤﺎل ﻛﺮي رﻫﻴﺎ آﻫﻦ‪.‬‬
‫ﺳﻨﮅي ﭼﺌﻨﻠﻦ ﺗﻲ ڌاڙﻳﻠﻦ ﺟﻲ ﻣﻮﺿﻮع ﺗﻲ ﺟﻴﻜﻲ ڊراﻣﺎ ڏﻳﮑﺎرﻳﺎ وﭸﻦ ﭤﺎ‪،‬‬
‫اﻧﻬﻦ ﺟﻮ اﻧﺪاز ﻓﻠﻤﻲ آﻫﻲ‪ .‬ﺟﻨﻬﻦ ﻣﺎن ﻣﺤﺴﻮس ﻛﺮي ﺳﮕﻬﺠﻲ ﭤﻮ ﺗﻪ اﻫﮍي ﻗﺴﻢ ﺟﻮن‬
‫ﻛﻬﺎﮢﻴﻮن ﺳﺮﺟﻴﻨﺪڙ ﻳﺎ ﺗﻪ ادارن ﺟﻲ ﭘﺎﻟﻴﺴﻲ‪ ‬ﺟﺎ ﭘﺎﺑﻨﺪ آﻫﻦ ﻳﺎ وري اﻧﻬﻦ ﺟﻲ ﺗﺮﺑﻴﺖ‬
‫ﭨﻴﻠﻲ ﻓﻠﻤﻦ وﺳﻴﻠﻲ ﭤﻴﻞ آﻫﻲ‪ .‬ﻛﻮ ﺑﻪ ﻓﻦ ﺑﻴﻜﺎر ﻳﺎ ﺧﺴﻴﺲ ﻧﻪ ﻫﻮﻧﺪو آﻫﻲ ﭘﺮ اﺻﻞ ﮘﺎﻟﻬﻪ‬
‫ان ﻓﻦ ذرﻳﻌﻲ ڏﻧﻞ ﭘﻴﻐﺎم ﻫﻮﻧﺪو آﻫﻲ‪ .‬ﺟﻴﻜﮇﻫﻦ ﻛﻮ ﺗﺨﻠﻴﻘﻜﺎر ﭼﺎﻫﻲ ﺗﻪ ﻛﻨﻬﻦ‬
‫ﻧﻨﮃي دﺳﺘﺎوﻳﺰي ﻳﺎ ﭨﻴﻠﻲ ﻓﻠﻢ وﺳﻴﻠﻲ ﺑﻪ ﻫﻮ ﺳﻤﺎﺟﻲ ﺑﺮاﻳﻦ ﺟﻲ ﺳﮅاري ﻻ‪ ‬ﺟﻮﮘﻮ‬
‫ﺑﻨﺪوﺑﺴﺖ ﻛﺮي ﺳﮕﻬﻲ ﭤﻮ‪ .‬ﭘﺮ ان ﻻ‪ ‬ﺑﻨﻴﺎدي ﮘﺎﻟﻬﻪ ڏاﻫﭗ ۽ ﮔﻬﺮﺑﻞ ﺳﮑﻴﺎ آﻫﻲ‪ .‬ڊراﻣﻦ‬
‫وﺳﻴﻠﻲ ﺳﻨﮅي ﺳﻤﺎج ۾ ﻣﻮﺟﻮد ﺳﻤﻮرﻳﻦ ﺑﮁﺮاﻳﻦ ﮐﻲ واﺋﮑﻮ ﻛﺮڻ ﮔﻬﺮﺟﻲ‪ .‬ﭘﺮ ﻫﺮ ڊراﻣﻲ‬
‫۾ ڌاڙﻳﻠﻦ ﮐﻲ ﻛﻠﻬﻲ ﺗﻲ ﺑﻨﺪوق ڏﺋﻲ‪ ،‬ﺳﻨﮅ ﺟﻲ ﻣﺎﮢﻬﻦ ﺟﻲ ﻏﻴﺮ ﺣﻘﻴﻘﻲ ﺗﺼﻮﻳﺮ ﮐﺎن‬
‫ﭘﺎﺳﻮ ﻛﺮڻ ﮔﻬﺮﺟﻲ‪ .‬اﺳﺎن وٽ ﻫﺮ ﺧﺮاﺑﻲ‪ ‬ﮐﻲ ﻛﻠﭽﺮ ﺟﻮ ﻧﺎﻟﻮ ڏﻧﻮ وﭸﻲ ﭤﻮ‪ .‬ﻣﺜﺎل ﻃﻮر‬
‫“ڌاڙﻳﻞ ﻛﻠﭽﺮ”‪“ ،‬ﻛﺎﭘﻲ ﻛﻠﭽﺮ” وﻏﻴﺮه‪ .‬ﻛﻠﭽﺮ ﺟﻲ ان ﺟﺪﻳﺪ ﺗﻌﺎرف ۾ ﺳﻨﮅي‬
‫اﺧﺒﺎرون ۽ ﭨﻲ وي ﭼﺌﻨﻞ ڏوﻫﺎري آﻫﻦ‪ .‬اﺳﺎن ﮐﻲ ﻫﻚ ﮘﺎﻟﻬﻪ ﺳﻤﺠﻬﮡ ﮔﻬﺮﺟﻲ ﺗﻪ ﻛﺎ ﺑﻪ‬
‫ﺳﻤﺎﺟﻲ ﺧﺮاﺑﻲ ان ﻗﻮم ﺟﻮ ﻛﻠﭽﺮ ﭤﻲ ﻧﻪ ﭤﻲ ﺳﮕﻬﻲ‪ .‬ﻫﺎﮢﻲ ﺳﻨﮅي ﭨﻲ وي ﭼﺌﻨﻠﻦ ﺟﻲ‬
‫‪78‬‬ ‫ﺳﻨﮅي ﭨﻴﻠﻲ وﻳﺰن ڊراﻣﻮ‪ :‬ﻛﺎﻟﻬﻪ ۽ اڄ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻣﺎﻟﻜﻦ ﭘﺎران اﺳﺎن ﮐﻲ اﻫﺎ ﮘﺎﻟﻬﻪ ﺳﺨﺘﻲ‪ ‬ﺳﺎن ﻗﺒﻮل ﻛﺮاﺋﮡ ﺟﻲ ﻛﻮﺷﺶ ﻛﺌﻲ ﭘﺌﻲ‬
‫وﭸﻲ ﭤﻲ ﺗﻪ اﺳﺎن ﺟﺎ ڏﺳﻨﺪڙ ﻓﻘﻂ ﮔﻠﻴﻤﺮ‪ ،‬ڌاڙﻳﻞ‪ ،‬ﻋﻮرت ﮐﻲ وﻳﮍﻫﺎڪ ۽ ﺑﻲ وﻓﺎ ﻛﺮي‬
‫ڏﻳﮑﺎرڻ وارا ڊراﻣﺎ ڏﺳﮡ ﭘﺴﻨﺪ ﻛﻦ ﭤﺎ‪ ،‬ﺟﻴﻜﺎ ﮘﺎﻟﻬﻪ ﺳﺮاﺳﺮ ﻏﻠﻂ آﻫﻲ‪ .‬ڏﺳﻨﺪڙن ﺟﻮ‬
‫ذوق وڌاﺋﮡ ﺑﻨﻴﺎدي ﻃﻮر ﻧﺎﭨﻚ ﻧﻮﻳﺲ ﺟﻲ ذﻣﻴﻮاري آﻫﻲ‪ ،‬ﺳﭡﻮ ﻧﺎﭨﻚ ﻧﻮﻳﺲ ﺟﻨﻬﻦ ﭘﺎﺳﻲ‬
‫ڏﺳﻨﺪڙ ﮐﻲ وﭠﻲ وﻳﻨﺪو‪ ،‬ﻫﻮ ان ﭘﺎﺳﻲ وﻳﻨﺪو‪ .‬اﺳﺎن وٽ ﺳﭡﻲ ذوق وارا ڊراﻣﺎ ﺋﻲ ﻧﻪ ﭠﻬﻨﺪا ﺗﻪ‬
‫ڏﺳﻨﺪڙ وٽ ﭘﺴﻨﺪ ۽ ﻧﺎﭘﺴﻨﺪ ﺟﻮ ﻛﻮ ﺋﻲ ذرﻳﻌﻮ ﻧﺎﻫﻲ ﺗﻪ ﭘﻮ‪ ‬ﻫﻮ ﻛﻴﮇاﻧﻬﻦ وﭸﻲ‪.‬‬
‫ﻫﻚ ﺳﺮوي ﻣﻮﺟﺐ ‪ 39‬ﺳﻴﻜﮍو ﻣﺎﮢﻬﻦ ﺟﻲ را‪ ‬آﻫﻲ ﺗﻪ اﻧﻬﻦ ﮐﻲ اﺻﻼﺣﻲ ۽‬
‫ﺳﻤﺎﺟﻲ ڊراﻣﺎ ﭘﺴﻨﺪ آﻫﻦ‪ .‬ﺟﮇﻫﻦ ﺗﻪ ‪ 25‬ﺳﻴﻜﮍوﻃﻨﺰﻳﻪ ۽ ﻣﺰاﺣﻴﻪ‪ 20 ،‬ﺳﻴﻜﮍو ﻣﺎﮢﻬﻮ‬
‫ﭨﺮﻳﺠﮉي‪ 13 ،‬ﺳﻴﻜﮍو روﻣﺎﻧﻮي ڊراﻣﺎ ڏﺳﮡ ﭘﺴﻨﺪ ﻛﻦ ﭤﺎ‪ .‬ﺟﮇﻫﻦ ﺗﻪ ﻓﻘﻂ ﭨﻲ ﺳﻴﻜﮍو‬
‫ﻣﺎﮢﻬﻦ ڌاڙﻳﻠﻦ ﺟﻲ ﻣﻮﺿﻮع ﺗﻲ ﭠﻬﻨﺪڙ ڊراﻣﺎ ﭘﺴﻨﺪ ﻛﻴﺎ‪.‬‬

‫ﺳﻨﮅ ﺟﺎ ﻣﺎﮢﻬﻮ ﻛﻬﮍي ﻗﺴﻢ ﺟﺎ ڊراﻣﺎ ڏﺳﮡ ﭘﺴﻨﺪ ﻛﻦ ﭤﺎ‬

‫‪5‬‬
‫)ذرﻳﻌﻮ‪ :‬ﺳﻨﮅي ﭨﻴﻠﻲ وﻳﺰن ڊراﻣﻲ ﺟﻮ ﺗﺎرﻳﺨﻲ‪ ،‬ﺛﻘﺎﻓﺘﻲ ۽ ﺳﻤﺎﺟﻲ اﭜﻴﺎس‪ -‬ﺣﻮاﻟﻮ ﻧﻤﺒﺮ‪(05 :‬‬
‫ﻣﭥﻴﺎن ﻧﺘﻴﺠﺎ ﻇﺎﻫﺮ ﻛﻦ ﭤﺎ ﺗﻪ ﺳﻨﮅ ﺟﺎ ﻣﺎﮢﻬﻮ اﻣﻦ ﭘﺴﻨﺪ آﻫﻦ‪ ،‬اﻧﻬﻦ ﮐﻲ ﻫﺮ ﭜﺮو‬
‫ڏوﻫﺎري ﺳﻮچ رﮐﻨﺪڙ ﺳﮇي ﺑﺪﻧﺎم ﻛﻴﻮ ﭘﻴﻮ وﭸﻲ‪.‬‬
‫ﻣﻌﻨﻲ ۽ ﻣﻔﻬﻮم ﺟﻲ ﭘﺲ ﻣﻨﻈﺮ ۾ ﺳﻨﮅي ڊراﻣﻦ ﺟﻮ ﺟﺎﺋﺰو‬ ‫ٰ‬ ‫‪ Hack writer‬ﺟﻲ‬
‫ورﺗﻮ وﭸﻲ ﺗﻪ ﻣﻮﺟﻮده دؤر ۾ ﺧﺎﻧﮕﻲ ﺳﻨﮅي ﭼﺌﻨﻠﻦ ﺗﺎن ﭘﻴﺶ ﭤﻴﻨﺪڙ ڊراﻣﺎ ﮔﻬﮣﻲ ﭜﺎﮜﻲ‬
‫ﺳﻄﺤﻲ ﻟﮑﺖ ‪Hack writing‬آﻫﻦ‪ .‬اﻧﻬﻦ ڊراﻣﻦ ﺟﻲ ﭜﻴﭧ ﭘﻲ ﭨﻲ وي‪ ‬ﺟﻲ ڊراﻣﻦ ﺳﺎن ان‬
‫ﻛﺮي ﻧﻪ ﭤﻲ ﻛﺮي ﺳﮕﻬﺠﻲ‪ ،‬ﺟﻮ ﭘﻲ ﭨﻲ وي‪ ‬ﺟﺎ ڊراﻣﺎ ﻣﻌﻴﺎري آﻫﻦ‪ .‬اﻧﻬﻦ ﮐﻲ ﻫﺮ ﻟﺤﺎظ‬
‫اﻋﻠﻲ درﺟﻲ ﺟﺎ ڊراﻣﺎ ﺳﮇي ﺳﮕﻬﺠﻲ ﭤﻮ‪ .‬ﺧﺎﻧﮕﻲ ﭼﺌﻨﻠﻦ ﻻ‪ ‬ڊراﻣﺎ ﻟﮑﻨﺪڙن ﮐﺎن‬ ‫ٰ‬ ‫ﮐﺎن‬
‫ﻛﻨﻬﻦ ﺑﻪ ﻗﺴﻢ ﺟﺎ ڊراﻣﺎ ﻟﮑﺮاﺋﻲ ﺳﮕﻬﺠﻦ ﭤﺎ‪ .‬ﺧﺎﻧﮕﻲ ﭼﺌﻨﻠﻦ ﻻ‪ ‬ﻟﮑﻨﺪڙ اﻛﺜﺮ ڊراﻣﻲ‬
‫ﻧﮕﺎرن ﺟﺎ ﻧﺎﻻ ﻧﻪ اڳ ۾ ﭔﮅا وﻳﺎ‪ ،‬ﻧﻪ وري اﻧﻬﻦ ﮐﻲ ادﺑﻲ دﻧﻴﺎ ۾ ﻛﺎ ﺣﻴﺜﻴﺖ ﺣﺎﺻﻞ آﻫﻲ‪.‬‬
‫اﻧﻬﻦ وٽ ﻛﻮ ﺧﻴﺎل‪ ،‬اﺳﻠﻮب‪ ،‬ﻣﻘﺼﺪ ۽ ﻣﻌﻴﺎر ﻧﺎﻫﻲ‪ .‬اﻫﮍن ڊراﻣﻲ ﻧﮕﺎرن ﺳﻨﮅي ﺛﻘﺎﻓﺖ‬
‫۽ ﺳﻤﺎﺟﻲ ﻗﺪرن ﮐﻲ ﺳﺨﺖ ﻫﺎﭸﻮ رﺳﺎﻳﻮ آﻫﻲ‪.‬‬
‫‪79‬‬ ‫ﺳﻨﮅي ﭨﻴﻠﻲ وﻳﺰن ڊراﻣﻮ‪ :‬ﻛﺎﻟﻬﻪ ۽ اڄ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ڻ‬ ‫ﺑ‬ ‫ﺌﮡ‬ ‫ي ﺌﮡ‬ ‫ﺌل ۽‬ ‫ا‬ ‫ﺌرن‬ ‫ي ڊرا ۾‬

‫‪:‬‬ ‫ا‬
‫ﭘﺎﻛﺴﺘﺎن اﻟﻴﻜﭩﺮاﻧﻚ ﻣﻴﮉﻳﺎ رﻳﮕﻴﻮﻟﻴﭩﺮي اﭤﺎرﭨﻲ )ﭘﻴﻤﺮا( ﺟﻲ اﻫﺎ ذﻣﻴﻮاري‬
‫آﻫﻲ ﺗﻪ اﻫﺎ ﭨﻲ وي ﭼﺌﻨﻠﻦ ﺗﻲ ﻫﻠﻨﺪڙ ﭘﺮوﮔﺮاﻣﻦ ﺟﻲ ﻣﺎﻧﻴﭩﺮﻧﮓ ﻛﺮي‪ .‬اﻧﻬﻦ ۾‬
‫ﺟﻴﻜﮇﻫﻦ ﻛﻮ اﻋﺘﺮاض ﺟﻮﮘﻮ ﻣﻨﻈﺮ ﻳﺎ ﻣﻜﺎﻟﻤﻮ ﻧﺸﺮ ﭤﺌﻲ ﭤﻮ ﺗﻪ ان ﺟﻲ ﺧﻼف ﭘﺎﮢﻤﺮادو‬
‫ﻛﺎررواﺋﻲ ﻛﺮي‪ .‬ﭘﻴﻤﺮا ﺟﻲ “ﻛﺎﺋﻮﻧﺴﻞ آف ﻛﻤﭙﻠﻴﻨﭧ” ۾ ﻛﻮ ﺑﻪ ﺷﻬﺮي ﭘﻨﻬﻨﺠﻲ‬
‫ﺷﻜﺎﻳﺖ داﺧﻞ ﻛﺮاﺋﻲ ﺳﮕﻬﻲ ﭤﻮ‪ ،‬ﺟﻨﻬﻦ ﺗﻲ ﭘﻴﻤﺮا ﻛﺎررواﺋﻲ ﻛﻨﺪي آﻫﻲ‪ .‬ﮔﺬرﻳﻞ‬
‫ﻛﻴﺘﺮن ﺋﻲ ﺳﺎﻟﻦ ﮐﺎن ﺳﻨﮅي ﺳﻴﭩﻼﺋﻴﭧ ﭨﻲ وي ﭼﺌﻨﻠﻦ ﺗﻲ ﺟﻴﻜﻲ ڊراﻣﺎ ڏﻳﮑﺎرﻳﺎ وﭸﻦ‬
‫ﭤﺎ‪ ،‬اﻧﻬﻦ ﺟﻲ ﻣﻨﻈﺮن‪ ،‬ﻣﻜﺎﻟﻤﻦ‪ ،‬ﻟﺒﺎس ۽ ﭔﻮﻟﻲ‪ ‬ﺗﻲ ڏﺳﻨﺪڙن ﮐﻲ ﺗﻤﺎم ﮔﻬﮣﻴﻮن‬
‫ﺷﻜﺎﻳﺘﻮن آﻫﻦ‪ ،‬ﺟﻨﻬﻦ ﺟﻮ اﻇﻬﺎر ﻫﻮ ﭘﻴﻤﺮا وٽ ﻛﻨﺪا رﻫﻨﺪا آﻫﻦ‪ ،‬اﻧﻬﻦ ﺷﻜﺎﻳﺘﻦ ﺟﻮ‬
‫وﭼﻮر ﭘﻴﻤﺮا ﺟﻲ وﻳﺐ ﺳﺎﺋﻴﭧ ‪ /http://www.pemra.gov.pk/complaints‬ﺗﻲ ڏﺳﻲ‬
‫ﺳﮕﻬﺠﻲ ﭤﻮ‪ .‬ﭘﻴﻤﺮا وٽ ڏﺳﻨﺪڙن ﺟﻲ ﺷﻜﺎﻳﺘﻦ ﺟﻮ ﺳﭵﻮ وﭼﻮر ﻫﺘﻲ ﺗﻪ ﻧﻪ ﭤﻮ ڏﺋﻲ‬
‫ﺳﮕﻬﺠﻲ ﭘﺮ ﺻﺮف ﺳﻴﭙﭩﻤﺒﺮ‪ ،‬آﻛﭩﻮﺑﺮ ۽ ﻧﻮﻣﺒﺮ ‪2017‬ع ﺟﻲ ﭨﻦ ﻣﻬﻴﻨﻦ ۾ ﭘﻴﻤﺮا ﮐﻲ ﭔﻦ‬
‫درﺟﻨﻦ ﮐﺎن وڌﻳﻚ ﺷﻜﺎﻳﺘﻮن وﺻﻮل ﭤﻴﻮن‪ ،‬ﺟﻨﻬﻦ ۾ ﺳﻴﭙﭩﻤﺒﺮ ‪ 2017‬دوران ﻛﻲ ﭨﻲ‬
‫اﻳﻦ ﭼﺌﻨﻞ ﺧﻼف ‪ 11‬ﺷﻜﺎﻳﺘﻮن داﺧﻞ ﭤﻴﻮن‪ .‬اﻧﻬﻦ ﺷﻜﺎﻳﺘﻦ ۾ ڏﺳﻨﺪڙن ﻛﻲ ﭨﻲ اﻳﻦ‬
‫ﺟﻲ ڊراﻣﻦ ﺗﻲ ﺳﺨﺖ ﺗﻨﻘﻴﺪ ﻛﺌﻲ آﻫﻲ‪ .‬ﻫﺘﻲ اﻧﻬﻦ ﺳﻤﻮرﻳﻦ ﺷﻜﺎﻳﺘﻦ ﺟﻮ ﺗﻔﺼﻴﻞ ڏﻳﮡ‬
‫ﻣﻤﻜﻦ ﻧﺎﻫﻲ‪ ،‬ﭘﺮ ﺷﻜﺎﻳﺖ ﻧﻤﺒﺮ ‪ 92341‬۾ ﺷﻜﺎﻳﺖ ﻛﻨﺪڙ ﻟﮑﻲ ﭤﻮ ﺗﻪ؛ “ﺳﻨﮅي‬
‫ﭼﺌﻨﻠﻦ ﺗﻲ ﻣﺎر ڌاڙ‪ ،‬ﻧﺎﻣﻨﺎﺳﺐ ڌاڙﻳﻞ ﻛﻠﭽﺮ‪ ،‬ڏﻳﮑﺎرﻳﻮ وﭸﻲ ﭤﻮ‪ ،‬ﺟﻨﻬﻦ ﺟﻮ ﻧﻮﺟﻮاﻧﻦ ﺟﻲ‬
‫ذﻫﻨﻦ ﺗﻲ ﻧﺎﻛﺎري اﺛﺮ ﭘﻮي ﭤﻮ‪ .‬اﻫﮍي ﻗﺴﻢ ﺟﻲ ڊراﻣﻦ ﺗﻲ ﭘﺎﺑﻨﺪي ﻣﮍﻫﻲ وﭸﻲ‪ .‬ﺳﭵﻲ‬
‫دﻧﻴﺎ ﭘﺎﻛﺴﺘﺎن ﺟﻲ ﺛﻘﺎﻓﺖ ڏﺳﻲ رﻫﻲ آﻫﻲ ﺗﻪ اﻫﻲ دﻫﺸﺘﮕﺮد آﻫﻦ‪ .‬ڊراﻣﻦ ۾ دﻫﺸﺘﮕﺮد‪،‬‬
‫ڌاڙﻳﻞ‪ ،‬ﻣﺎر ڌاڙ‪ ،‬راﺋﻔﻠﻮن‪ ،‬ﺑﻨﺪوﻗﻮن ﻧﻪ ڏﻳﮑﺎرﻳﻮن وﭸﻦ‪ .‬ان ﺳﺎن اﻫﻮ ﺗﺎﺛﺮ اﭜﺮي ﭤﻮ ﺗﻪ‬
‫ﭘﺎﻛﺴﺘﺎن ﺟﺎ ﻣﺎﮢﻬﻮ ڌاڙﻳﻞ آﻫﻦ”‪.‬‬
‫اﻫﺎ ﺗﻪ ﺻﺮف ﻫﻚ ﺷﻜﺎﻳﺖ آﻫﻲ‪ ،‬ﭘﺮ ان ﺳﺎن ﮔﮇ اﻫﮍﻳﻮن ﻻﺗﻌﺪاد ﺷﻜﺎﻳﺘﻮن‬
‫ﻧﻪ ﻓﻘﻂ ﻛﻲ ﭨﻲ اﻳﻦ‪ ،‬ﭘﺮ ﺳﻨﮅ ﭨﻲ وي‪ ،‬آواز ﭨﻲ وي‪ ،‬ﻣﻬﺮاڻ ﭨﻲ وي ۽ ڌرﺗﻲ ﭨﻲ وي‪ ‬ﺟﻲ‬
‫ﺧﻼف داﺧﻞ ﭤﻴﻞ آﻫﻦ‪ .‬ﺟﻦ ۾ ڏﺳﻨﺪڙن اﻫﮍا ڊراﻣﺎ ﻓﻮري ﻃﻮر ﺑﻨﺪ ﻛﺮڻ ﺟﻮ ﻣﻄﺎﻟﺒﻮ ﻛﻴﻮ‬
‫آﻫﻲ‪ .‬اﻧﻬﻦ ﺷﻜﺎﻳﺘﻦ ﺟﻮ ﭘﻴﻤﺮا ‪ 30‬ﻧﻮﻣﺒﺮ ‪ 2017‬ﺗﻲ ﻧﻮﭨﻴﺲ ورﺗﻮ‪ .‬ﭘﻴﻤﺮا ﭘﺎران ﺟﺎري‬
‫ﻛﻴﻞ اﻳﮉواﺋﻴﺲ ۾ ﺳﻤﻮرن ﺳﻨﮅي ﭨﻲ وي ﭼﺌﻨﻠﻦ ﮐﻲ ﻣﺨﺎﻃﺐ ﭤﻴﻨﺪي ﭼﻴﻮ وﻳﻮ آﻫﻲ ﺗﻪ‬
‫“ﭘﺎﻛﺴﺘﺎن اﻟﻴﻜﭩﺮاﻧﻚ ﻣﻴﮉﻳﺎ رﻳﮕﻴﻮﻟﻴﭩﺮي اﭤﺎرﭨﻲ )ﭘﻴﻤﺮا( ﻫﻚ اﻳﮉواﺋﻴﺲ ﺟﻲ‬
‫ذرﻳﻌﻲ ﺳﻨﮅي ﭨﻲ وي ﭼﺌﻨﻞ اﻟﻴﻜﭩﺮاﻧﻚ ﻣﻴﮉﻳﺎ ﺟﻲ اﺧﻼﻗﻲ ﺿﺎﺑﻄﻲ ‪ 2015‬ﺟﻲ‬
‫ﭜﭹﻜﮍي ﮐﺎن ﭘﺎﺳﻮ ﻛﻦ‪ .‬ڊراﻣﻦ ۽ ﭔﻴﻦ ﭘﺮوﮔﺮاﻣﻦ ﺟﻲ ﻣﻮﺿﻮﻋﻦ ۽ ﻣﻮاد ﺟﻲ ﭼﻮﻧﮉ ۾‬
‫ﺑﻬﺘﺮي آﮢﮡ ﺟﻲ ﻫﺪاﻳﺖ ﻛﺌﻲ آﻫﻲ‪ .‬اﻳﮉواﺋﻴﺲ ۾ رﻳﮕﻴﻮﻟﻴﭩﺮ ﺳﻨﮅي ﭨﻲ وي ﻻﺋﺴﻨﺲ‬
‫ﻫﻮﻟﮉرز ﮐﻲ ﺳﻨﮅﻳﻦ ﮐﻲ ﺗﺸﺪد ﻛﻨﺪڙ ۽ اﻧﺘﻬﺎ ﭘﺴﻨﺪ ﻗﻮم ﻃﻮر ڏﻳﮑﺎرڻ‪ ،‬ﺗﺸﺪد ۽ ﻫﭥﻴﺎرن‬
‫‪80‬‬ ‫ﺳﻨﮅي ﭨﻴﻠﻲ وﻳﺰن ڊراﻣﻮ‪ :‬ﻛﺎﻟﻬﻪ ۽ اڄ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﺟﻲ اﺳﺘﻌﻤﺎل ﺗﻲ ﻣﺸﺘﻤﻞ ﻣﻮﺿﻮﻋﻦ ﮐﻲ ﻫﭥﻲ وﭠﺮاﺋﮡ ﮐﺎن ﺧﺒﺮدار ﻛﻨﺪي واﺿﺢ ﻛﻴﻮ‬
‫آﻫﻲ ﺗﻪ اﻫﮍي ﻗﺴﻢ ﺟﻲ ڊراﻣﻦ ﻳﺎ ﭘﺮوﮔﺮاﻣﻦ ﮐﻲ ﻧﺸﺮ ﻛﺮڻ‪ ،‬اﻟﻴﻜﭩﺮاﻧﻚ ﻣﻴﮉﻳﺎ ﺟﻲ‬
‫ﻛﻮڊ آف ﻛﻨﮉﻛﭧ ‪ 2015‬ﺟﻲ ﻣﻜﻤﻞ ﭜﭹﻜﮍي ﺟﻲ ذﻣﺮي ۾ اﭼﻲ ﭤﻮ‪ .‬ﻣﺎﮢﻬﻦ ﺟﻲ‬
‫وڏي ﺗﻌﺪاد اﻫﮍي ﻗﺴﻢ ﺟﺎ ڊراﻣﺎ ڏﻳﮑﺎرڻ ﺗﻲ ﺳﺨﺖ ﮘﮣﺘﻲ ﻇﺎﻫﺮ ﻛﺌﻲ آﻫﻲ ۽ رﻳﮕﻴﻮ‬
‫ﻟﻴﭩﺮ ﮐﻲ ﺷﻜﺎﻳﺖ ﻛﺌﻲ آﻫﻲ ﺗﻪ ان ﻋﻤﻞ ﺟﻲ ذرﻳﻌﻲ ﺳﻨﮅي ﭨﻲ وي ﭼﺌﻨﻞ ﻫﻚ اﻣﻦ‬
‫ﭘﺴﻨﺪ ﻗﻮم ﺟﻲ اﻣﻴﺞ ﮐﻲ داﻏﺪار ﻛﺮڻ ﺟﻲ ﻛﻮﺷﺶ ﻛﺮي رﻫﻴﺎ آﻫﻦ‪ .‬ﭘﻴﻤﺮا ﺳﻨﮅي ﭨﻲ‬
‫وي ﭼﺌﻨﻠﺰ ﮐﻲ ﻫﺪاﻳﺖ ﻛﺌﻲ آﻫﻲ ﺗﻪ اﻟﻴﻜﭩﺮاﻧﻚ ﻣﻴﮉﻳﺎ ﻛﻮڊ آف ﻛﻨﮉﻛﭧ ‪2015‬‬
‫ﺗﺤﺖ ڏﺳﻨﺪڙن ﺟﻲ ﮘﮣﺘﻲ‪ ،‬ﻣﻌﺎﺷﺮي ﺟﻲ ﺳﻤﺎﺟﻲ ۽ ﺛﻘﺎﻓﺘﻲ ﻗﺪرن ﮐﻲ ﻧﻈﺮ ۾ رﮐﻨﺪي‬
‫ﭘﻨﻬﻨﺠﻦ ﭘﺮوﮔﺮاﻣﻦ ۽ ڊراﻣﻦ ﺟﻲ ﻣﻮﺿﻮﻋﻦ ﺗﻲ ﻧﻈﺮ ﺛﺎﻧﻲ ﻛﻦ ۽ ﻣﻮﺿﻮع ﺟﻲ ﭼﻮﻧﮉ ۽‬
‫ﻣﻮاد ۾ ﺑﻬﺘﺮي آﮢﮡ ﻻ‪ ‬اﻟﻴﻜﭩﺮاﻧﻚ ﻣﻴﮉﻳﺎ ﻛﻮڊ آف ﻛﻨﮉﻛﭧ ‪ 2015‬ﺟﻲ ﺷﻖ ‪ 7‬ﺗﺤﺖ‬
‫اداري اﻧﺪر ﻧﮕﺮان ﻛﻤﻴﭩﻴﻮن ﻗﺎﺋﻢ ﻛﺮي اﻧﻬﻦ ﺟﻮ ﺗﻔﺼﻴﻞ ‪ 15‬ڏﻳﻨﻬﻦ اﻧﺪر رﻳﮕﻴﻮﻟﻴﭩﺮ‬
‫ﮐﻲ ﻣﻬﻴﺎ ﻛﻦ”‪.‬‬
‫ﻫﺎﮢﻲ ڏﺳﮣﻮ اﻫﻮ آﻫﻲ ﺗﻪ ﭨﻲ وي ﭼﺌﻨﻠﻦ ﺟﺎ ﻣﺎﻟﻚ ﭘﻴﻤﺮا ﺟﻲ ان ﺻﻼح ﺗﻲ‬
‫ﻛﻴﺘﺮو ﻋﻤﻞ ﻛﻦ ﭤﺎ‪ .‬ﺟﻴﻜﮇﻫﻦ اﻫﻲ ﻋﻤﻞ ﻧﻪ ﭤﺎ ﻛﻦ ﺗﻪ ڏﺳﻨﺪڙن ﮐﻲ ﭔﻴﻬﺮ ﭘﻴﻤﺮا آڏو‬
‫داﻧﻬﮡ ۽ ﻫﺪاﻳﺘﻦ ﺗﻲ ﻋﻤﻞ ﻧﻪ ﭤﻴﮡ ﺟﻲ ﺷﻜﺎﻳﺖ ﻛﺮڻ ﺟﻮ ﻣﻜﻤﻞ اﺧﺘﻴﺎر آﻫﻲ‪.‬‬

‫ﺌ‪.‬‬ ‫ﺐ‬ ‫ر‬ ‫ﺌ‬ ‫و‬ ‫ڙ‬ ‫ﺋ ﺐ‬

‫ﭘﺎﻛﺴﺘﺎن ﭨﻴﻠﻲ وﻳﺰن ﺷﺮوع ﮐﺎن وﭠﻲ ﺳﻨﮅي ﭔﻮﻟﻲ‪ ،‬ﻛﻠﭽﺮ ۽ ﺳﻤﺎﺟﻲ ﺳـﮅاري ﻻ‪‬‬ ‫‪.1‬‬
‫ﺟﻴﻜﺎ ﺣﻜﻤﺖ ﻋﻤﻠﻲ ﺟﻮڙي ﻫﺌﻲ‪ ،‬ان ﺗﻲ ﻋﻤﻞ اڄ ﺑﻪ ﺟﺎري آﻫﻲ‪ .‬ﺟـﻨـﻬـﻦ ﺟـﺎ اڄ‬
‫ﺗﺎﺋﻴﻦ ﻫﺎﻛﺎري ﻧﺘﻴﺠﺎ ﻣﻠﻲ رﻫﻴﺎ آﻫﻦ‪ .‬ﭔﻴﻦ ﭼﺌﻨﻠﻦ ﮐﻲ ﺑﻪ ان ﻣﺎن ﺳﮑﮡ ﮔﻬﺮﺟﻲ‪.‬‬
‫ﺳﻨﮅ ﺟﻲ ﻋﺎﻟﻤﻦ‪ ،‬ادﻳﺒﻦ‪ ،‬ﭔﻮﻟﻲ‪ ‬ﺟﻲ ﻣﺎﻫﺮن‪ ،‬ﺳﮕﻬﮍن‪ ،‬ﮘﺎﺋﮣﻦ ﭘﺎﻛﺴﺘﺎن ﭨﻴﻠﻲ وﻳـﺰن‬ ‫‪.2‬‬
‫ﺳﺎن ﺟﻨﻬﻦ ﻟﮙﺎ‪ ‬ﺟﻮ ﻣﻈﺎﻫﺮو ﻛﻴﻮ ﻫﻮ‪ ،‬ﺧﺎﻧﮕﻲ ﭼﺌﻨﻠﻦ ﺗﻲ اﻫﻮ ﻟﮙﺎ‪ ‬ﻧﻈﺮ ﻧﻪ ﭘﻴﻮ اﭼﻲ‪.‬‬
‫ﺧﺎﻧﮕﻲ ﭼﺌﻨﻠﻦ وٽ ڊراﻣﻦ ﺟﻲ ﺗﻴﺎري‪ ‬ﺟﻲ ڏس ۾ ﻛﺎﺑﻪ ﺣﻜﻤﺖ ﻋﻤﻠﻲ ﻧﻈﺮ ﻧـﻪ ﭤـﻲ‬ ‫‪.3‬‬
‫اﭼﻲ‪ ،‬ﺟﻨﻬﻦ ﺟﻲ ﻛﺮي ﻛﻮ ﺳﭡﻮ ﻧﺎﭨﻚ ﻧﻮﻳﺲ ﺧﺎﻧﮕﻲ ﭼﺌﻨﻠﻦ ﻻ‪ ‬ﻧﺎﭨﻚ ﻟـﮑـﮡ ﻻ‪‬‬
‫راﺿﻲ ﻧﺎﻫﻲ‪ .‬ﺟﻴﻜﮇﻫﻦ ﻛﻮ ﻟﮑﻲ ﺑﻪ ﭤﻮ ﺗﻪ ﻣﻨﺎﺳﺐ اﺟﻮرو ﻧﻪ ﻣﻠﮡ ﺳﺒﺐ ﻫﻮ ان ﭼﺌﻨﻞ‬
‫ﺗﻲ ﻟﮑﮡ ﺟﻮ ﺳﻠﺴﻠﻮ ﺑﺮﻗﺮار رﮐﻲ ﻧﻪ ﭤﻮ ﺳﮕﻬﻲ‪.‬‬
‫اﺳﺎن ﺟﻲ ﻣﻠﻚ ۾ ﻓﻦ ﺟﻲ ﺳﮑﻴﺎ ﺧﺎص ﻃﻮر ﺗﻲ ﭨﻴﻠﻲ وﻳﺰن ڊراﻣﺎ ﭘـﺮوڊﻛﺸـﻦ ﺟـﻲ‬ ‫‪.4‬‬
‫ﺣﻮاﻟﻲ ﺳﺎن ﻛﻮ ﺳﮑﻴﺎ ﮔﻬﺮ ﻣﻮﺟﻮد ﻧﺎﻫﻲ‪ .‬اڳ اﻫﻮ ﻛﻢ ﭘﺎﻛﺴﺘﺎن ﭨﻴﻠﻲ وﻳـﺰن ﺟـﺎ‬
‫ﺳﮑﻴﻞ ﭘﺮوڊﻳﻮﺳﺮ ﻛﻨﺪا ﻫﺌﺎ‪ ،‬ﭘﺮ ﻫﺎﮢﻲ ُاﺗﻲ ﺑﻪ ﭘﻴﺸﻪ ور ۽ ﺗﺠﺮﺑﻴﻜﺎر ﭘـﺮوڊﻳـﻮﺳـﺮ ﻧـﻪ‬
‫رﻫﻴﺎ آﻫﻦ‪.‬‬
‫ُ‬
‫ﺧﺎﻧﮕﻲ ﭼﺌﻨﻠﻦ ﺟﻲ ﮐﻨﭝﻲ‪ ‬واﻧﮕﺮ واڌ ﺳﺒﺐ ﻣﻌﻴﺎري ﻛﻢ ﻧﻪ ﭤﻮ ﭤـﺌـﻲ‪ .‬ﺟـﻨـﻬـﻦ ﺟـﻲ‬ ‫‪.5‬‬
‫ﻛﺮي ﭨﻴﻠﻲ وﻳﺰن ڊراﻣﻮ ﺗﻤﺎم ﮔﻬﮣﻮ ﻣﺘﺎﺛﺮ ﭤﻴﻮ آﻫﻲ‪.‬‬
‫‪81‬‬ ‫ﺳﻨﮅي ﭨﻴﻠﻲ وﻳﺰن ڊراﻣﻮ‪ :‬ﻛﺎﻟﻬﻪ ۽ اڄ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﺳﻨﮅي ﭨﻴﻠﻲ وﻳﺰن ﭼﺌﻨﻠﻦ ﺗﻲ ﺑﺎﻗﺎﻋﺪي ﻛﻮ ﺑﻪ اﺳﻜﺮﭘﭧ ﺟﻮ ﺷﻌﺒﻮ ﻧﺎﻫـﻲ‪ ،‬ﺟـﻨـﻬـﻦ‬ ‫‪.6‬‬
‫ﺟﻲ ﻛﺮي ﻧﻪ ﺗﻪ ﺳﭡﻴﻦ ﻛﻬﺎﮢﻴﻦ ﺗﻲ ﭔﮅل ڊراﻣﺎ ﭘﻴﺶ ﭤﻴﻦ ﭤﺎ ۽ ﻧﻪ وري ﺳﻨـﮅي ﭔـﻮﻟـﻲ‪‬‬
‫ﺟﻮ ﻛﻮ ﺧﻴﺎل رﮐﻴﻮ وﭸﻲ ﭤﻮ‪.‬‬
‫ُ‬
‫ﺷﻬﺮي ﻣﺎﺣﻮل ۾ رﻫﻨﺪڙ ﻧﻮان ﻓﻨﻜﺎر ﺳﻨﮅي ﭔﻮﻟﻲ درﺳﺖ ﻃﺮﻳﻘﻲ ﺳﺎن ﻧـﻪ ﭤـﺎ اﭼـﺎري‬ ‫‪.7‬‬
‫ﺳﮕﻬﻦ‪ ،‬ﺟﻨﻬﻦ ﻛﺮي ﭔﻮﻟﻲ ڏﻳﻨﻬﻮن ڏﻳﻨﻬﻦ ﺑﮕﮍﺟﻨﺪي ﭘﺌﻲ وﭸﻲ‪.‬‬
‫ﺳﻨﮅ ﺟﻲ ﻣﺎﮢﻬﻦ ﺟﻮ وڏو ﺗﻌﺪاد ﺳﻨﮅي ﭨﻴﻠﻲ وﻳﺰن ﭼﺌﻨﻞ ڏﺳﻲ ﭤـﻮ‪ ،‬ﺟـﻨـﻬـﻦ ۾ ﻣـﮑـﻴـﻪ‬ ‫‪.8‬‬
‫ﭼﺌﻨﻞ ﻛﻲ ﭨﻲ اﻳﻦ ۽ ﺳﻨﮅ ﭨﻲ وي آﻫﻦ‪ .‬ﺗﻨﻬﻦ ﻛﺮي ﺳﻨﮅي ﭔﻮﻟﻲ ۽ ﺛـﻘـﺎﻓـﺖ ﺟـﻲ‬
‫ﺗﺤﻔﻆ ﺟﻲ ﺳﭛ ﮐﺎن وڏي ذﻣﻴﻮاري ﺑﻪ اﻧﻬﻦ ﭔﻨﻬﻲ ﭼﺌﻨﻠﻦ ﺗﻲ ﻻﮘﻮ ﭤﺌﻲ ﭤﻲ‪.‬‬
‫ﺳﻨﮅي ﭨﻲ وي ﭼﺌﻨﻠﻦ ﺳﻨﮅي ﻣﺎﮢﻬﻦ ﺟﻲ ﺳﭹﺎﮢـﭗ ﺋـﻲ ڌاڙﻳـﻞ ﭠـﺎﻫـﻲ ﮀـﮇي آﻫـﻲ‪،‬‬ ‫‪.9‬‬
‫ﺟﻴﻜﺎ ﻧﻪ رﮘﻮ ﺣﻘﻴﻘﺖ ﺟﻲ اﺑﺘﮍ ﭘﺮ اﺧﻼﻗﻴﺎت ﺟﻲ ﺑﻪ ﺧﻼف آﻫﻲ‪.‬‬
‫ﺧﺎﻧﮕﻲ ﺳﻨﮅي ﭨﻲ وي ﭼﺌﻨﻠﻦ ﺟﺎ ڊراﻣﺎ ﺳﻤﺎﺟﻲ ﺳﮅاري ﺟﻲ ﺳﻠﺴﻠﻲ ۾ ﻛﻮ ﻛـﺮدار ادا‬ ‫‪.10‬‬
‫ﻛﺮڻ ﺑﺪران ﺳﻤﺎﺟﻲ ﺑﮕﺎڙ ﺳﺎن ﮔﮇو ﮔﮇ ﺛﻘﺎﻓﺘﻲ ﺑﮕﺎڙ ﺟﻮ ﺳﺒﺐ ﭘﮡ ﺑﮣﺠﻲ رﻫﻴﺎ آﻫﻦ‪.‬‬

‫ون‪:‬‬ ‫ﮭ۽ ﺌ‬ ‫ﺐ يﮭ‪،‬‬ ‫وي ڊرا‬ ‫ي‬

‫ﺧﺎﻧﮕﻲ ﭼﺌﻨﻠﻦ ﮐﻲ ﭘﺎﻛﺴﺘﺎن ﭨﻴﻠﻲ وﻳﺰن ﺟﻲ ﺳﮑﻴﻞ ﻧﺎﭨﻚ ﻧﻮﻳﺴﻦ ۽ ﺳﻴﻨﻴﺌﺮ‬ ‫‪.1‬‬
‫اداﻛﺎرن ﺟﻮن ﺧﺪﻣﺘﻮن ﺣﺎﺻﻞ ﻛﺮي ﭘﻨﻬﻨﺠﻦ ڊراﻣﻦ ﺟﻮ ﻣﻌﻴﺎر ﺑﻬﺘﺮ ﺑﮣﺎﺋﮡ ﮔﻬﺮﺟﻲ‪.‬‬
‫ﺳﻨﮅ ﺣﻜﻮﻣﺖ ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬۽ ﺛﻘﺎﻓﺖ ﺟﻲ ﺑﮕﺎڙ ﮐﻲ ﻗﻮﻣﻲ ڏوﻫﻪ ﻗﺮار ڏﺋﻲ‪ ،‬ﺟﻴﺌﻦ‬ ‫‪.2‬‬
‫ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬۽ ﺛﻘﺎﻓﺖ ﮐﻲ ﺑﮕﮍڻ ﮐﺎن ﺑﭽﺎﺋﻲ ﺳﮕﻬﺠﻲ‪ .‬ان ﺳﻠﺴﻠﻲ ۾ ﺳﻨﮅ‬
‫اﺳﻤﻴﺒﻠﻲ‪ ‬ﻣﺎن ﻗﺎﻧﻮن ﺟﻮڙاﺋﻲ ﺳﮕﻬﺠﻲ ﭤﻮ‪ .‬ﻓﻠﻤﻦ ۽ اﺳﭩﻴﺞ ڊراﻣﻦ ﺟﻲ ﻻ‪ ‬اﻫﮍو‬
‫ﻗﺎﻧﻮن اڳ ﺋﻲ ﻣﻮﺟﻮد آﻫﻲ‪.‬‬
‫ﺳﻨﮅي اﺧﺒﺎرن ﺟﻲ ﭔﻮﻟﻲ‪ ‬ﺟﻲ ﻣﺎﻧﻴﭩﺮﻧﮓ واﻧﮕﺮ ﺳﻨﮅي ﻟﺌﻨﮕﻮﻳﺞ اﭤﺎرﭨﻲ ﺧﺎﻧﮕﻲ ﭨﻲ‬ ‫‪.3‬‬
‫وي ﺗﻮڙي اﻳﻒ اﻳﻢ ﭼﺌﻨﻠﻦ ﺗﻲ ﻛﺘﺐ اﻳﻨﺪڙ ﭔﻮﻟﻲ‪ ‬ﺟﻲ ﻣﺎﻧﻴﭩﺮﻧﮓ ﻛﺮي‪،‬‬
‫واﺳﻄﻴﺪار ﭼﺌﻨﻠﻦ ﮐﻲ ﻣﺎﻫﻮار ﻣﺎﻧﻴﭩﺮﻧﮓ رﭘﻮرٽ ﻣﻮﻛﻠﻲ ڏﺋﻲ‪.‬‬
‫ﺳﻨﮅ ﺟﺎ ﻋﺎﻟﻢ‪ ،‬ادﻳﺐ‪ ،‬ﻣﺎﻫﺮ‪ ،‬ﺳﺎﭸﺎﻫﻪ وﻧﺪ ۽ ﺳﻮل ﺳﻮﺳﺎﺋﭩﻲ ﺧﺎﻧﮕﻲ ﺳﻨﮅي ﭨﻲ وي‬ ‫‪.4‬‬
‫ﭼﺌﻨﻠﻦ ﺗﻲ ﭔﻮﻟﻲ‪ ‬ﺟﻲ ﻣﺎﻧﻴﭩﺮﻧﮓ ﻛﺮي ۽ ﻏﻠﻄﻴﻦ ﺟﻲ ﻧﺸﺎﻧﺪﻫﻲ ﻛﺮڻ ﻻ‪ ‬ﭨﻲ وي‬
‫ﭼﺌﻨﻠﻦ ڏاﻧﻬﻦ ﺧﻂ ﻟﮑﻦ‪.‬‬
‫ارڙﻫﻴﻦ ﺗﺮﻣﻴﻢ ﮐﺎﻧﭙﻮ‪ ‬ﺳﮅ ﺳﻤﺎ‪ ‬ﮐﺎﺗﻮ ﺑﻪ ﺻﻮﺑﻦ ﮐﻲ ﻣﻠﮡ ﮔﻬﺮﺟﻲ‪ ،‬ﭘﺮ وﻓﺎﻗﻲ ﺳﺮﻛﺎر‬ ‫‪.5‬‬
‫ان ﺗﻲ زوري‪ ‬ﻗﺒﻀﻮ ﻛﻴﻮ وﻳﭡﻲ آﻫﻲ‪ .‬ﺳﻨﮅ ﺳﺮﻛﺎر اﻫﻮ ﻣﻌﺎﻣﻠﻮ ﮔﮇﻳﻞ ﻣﻔﺎدن واري‪‬‬
‫ﻛﺎﺋﻮﻧﺴﻞ ۾ اﭤﺎري‪.‬‬
‫ُ‬
‫ﺳﻨﮅ ﺟﻮ ﺳﮅ ﺳﻤﺎ‪ ‬ﮐﺎﺗﻮ ﭘﻴﻤﺮا ﺟﻲ ﻃﺮز ﺗﻲ ﭨﻲ وي ﭼﺌﻨﻠﻦ ﻻ‪ ‬اﺧﻼﻗﻲ ﺿﺎﺑﻄﻮ ﺟﻮڙي‪،‬‬ ‫‪.6‬‬
‫ﺟﻨﻬﻦ ۾ ﻣﮑﻴﻪ ﮘﺎﻟﻬﻪ ﭨﻲ وي ﭼﺌﻨﻠﻦ ﺗﺎن اﺧﻼﻗﻴﺎت ﺟﻮ درس ڏﻳﮡ‪ ،‬ﻏﻴﺮ اﺧﻼﻗﻲ‬
‫ﭘﺮوﮔﺮام ﻧﻪ ڏﻳﮑﺎرڻ‪ ،‬ﻛﻮ ﻣﺨﺼﻮص ﻟﺒﺎس اوڍاﺋﻲ ﻛﻨﻬﻦ ﻗﻮم ﺟﻲ ﺗﻮﻫﻴﻦ ﻧﻪ‬
‫‪82‬‬ ‫ﺳﻨﮅي ﭨﻴﻠﻲ وﻳﺰن ڊراﻣﻮ‪ :‬ﻛﺎﻟﻬﻪ ۽ اڄ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻛﺮڻ‪ ،‬ڌاڙﻳﻠﻦ ﮐﻲ ﻫﻴﺮو ﻛﺮي ﭘﻴﺶ ﻧﻪ ﻛﺮڻ‪ ،‬ﭨﻲ وي‪ ‬وﺳﻴﻠﻲ ﻓﺤﺎﺷﻲ ﻧﻪ ﭰﻬﻼﺋﮡ‪،‬‬
‫ﭔﻮﻟﻲ‪ ‬ﺗﻮڙي ﺛﻘﺎﻓﺖ ﺟﻮ ﺗﺤﻔﻆ ﻛﺮڻ وﻏﻴﺮه ﺷﺎﻣﻞ ﻫﺌﮡ ﮔﻬﺮﺟﻲ‪.‬‬
‫ﺳﻨﮅ ﺟﺎ ﺳﺎﭸﺎﻫﻪ وﻧﺪ ﺳﻨﮅي ﭨﻲ وي ﭼﺌﻨﻠﻦ ﺗﻲ زور ﭜﺮﻳﻦ ﺗﻪ ُاﻫﻲ ڌاڙﻳﻠﻦ ﮐﻲ ﻫﻴﺮو‬ ‫‪.7‬‬
‫ﻛﺮي ڏﻳﮑﺎرڻ ﺑﻨﺪ ﻛﻦ‪.‬‬
‫ڏوﻫﻦ ۽ ڌاڙﻳﻠﻦ ﺟﻲ ﻣﻮﺿﻮع ﺗﻲ ﭠﻬﻨﺪڙ ڊراﻣﺎ ۽ ﭔﻴﺎ ﭘﺮوﮔﺮام ﭘﺮاﺋﻴﻢ ﭨﺎﺋﻴﻢ ۾ ﻧﺸﺮ ﻧﻪ‬ ‫‪.8‬‬
‫ﻛﻴﺎ وﭸﻦ‪ .‬ﺟﻴﺌﻦ ﭔﺎر اﻫﮍا ڊراﻣﺎ ﻧﻪ ڏﺳﻦ‪.‬‬
‫اﺷﺘﻬﺎري ادارن ﺟﻲ زور ﺗﻲ ڌاڙﻳﻠﻦ ﺟﻲ ﻣﻮﺿﻮع ﺗﻲ ﭠﻬﻨﺪڙن ڊراﻣﻦ ﮐﺎن ﭘﺎﺳﻮ ﻛﻴﻮ‬ ‫‪.9‬‬
‫وﭸﻲ‪.‬‬
‫ﭘﺎﻛﺴﺘﺎن ﭨﻴﻠﻲ وﻳﺰن ﮐﻲ ﺳﻤﻮرن ﻳﺎدﮔﺎر ﭘﺮاﮢﻦ ﺳﻨﮅي ڊراﻣﻦ ﺟﻲ ﭔﻴﻬﺮ رﻛﺎرڊﻧﮓ‬ ‫‪.10‬‬
‫ﺟﻮ ﺑﻨﺪوﺑﺴﺖ ﻛﺮڻ ﮔﻬﺮﺟﻲ‪ ،‬ﺟﻦ ﺟﺎ اﺳﻜﺮﭘﭧ ﭘﻲ ﭨﻲ وي‪ ‬ﺟﻲ ﻻﺋﺒﺮﻳﺮي‪ ‬۾‬
‫ﻣﺤﻔﻮظ ﭘﻴﻞ آﻫﻦ‪.‬‬

‫ﺣﻮاﻻ‪:‬‬
‫ﮔﺮﺑﺨﺸﺎﮢﻲ‪ ،‬ﮬﻮﺗﭽﻨﺪ ﻣﻮﻟﭽﻨﺪ‪ ،‬ڊاﻛﭩﺮ‪ ،‬ﺷﺎﻫﻪ ﺟﻮ رﺳﺎﻟﻮ ‪ ،‬ﺛﻘﺎﻓﺖ ﮐﺎﺗﻮ ﺣﻜﻮﻣﺖ ﺳﻨﮅ‪ :2012 ،‬ص‪61 .‬‬ ‫‪.1‬‬
‫ﻻﻟﻮاﮢﻲ‪ ،‬ﭴﻴﭡﻮ‪ ،‬ڊاﻛﭩﺮ‪ ،‬ﺳﻨﮅي ﻧﺎﭨﻚ ﭘﺮﻣﭙﺮا‪ ،‬اﺳﭩﻴﺞ ﭘﺒﻠﻴﻜﻴﺸﻦ ﻛﭕﻴﺮ ﻧﮕﺮ اﺣﻤﺪ آﺑﺎد‪.‬‬ ‫‪.2‬‬
‫‪2012‬ع‪ :‬ص‪7_8 .‬‬
‫ﺑﻠﻮچ‪ ،‬ﻋﺒﺪاﻟﻜﺮﻳﻢ‪ ،‬ﭨﻴﻠﻲ وﻳﺰن ڊراﻣﺎ ﻧﮕﺎري)ﻣﻀﻤﻮن( ‪،‬آﺧﺮي رات )ﻟﻴﮑﻚ ﻣﻤﺘﺎز ﻣﺮزا(‪ ،‬زﻳﺐ‬ ‫‪.3‬‬
‫ادﺑﻲ ﻣﺮﻛﺰ ﺣﻴﺪرآﺑﺎد‪1979 ،‬ع‪ ،‬ص‪249 .‬‬
‫ﮔﻴﻠﭗ ﭘﺎﻛﺴﺘﺎن ﻣﻴﮉﻳﺎ ﺳﺎﺋﺒﺮ ﻟﻴﭩﺮ‪.2012‬‬ ‫‪.4‬‬
‫راﭴﭙﺮ‪ ،‬ﻣﺤﻤﺪ‪ ،‬ﻗﺎﺳﻢ ڊاﻛﭩﺮ ‪ ،‬ﺳﻨﮅي ﭨﻴﻠﻲ وﻳﺰن ڊراﻣﻲ ﺟﻮ ﺗﺎرﻳﺨﻲ‪ ،‬ﺛﻘﺎﻓﺘﻲ ۽ ﺳﻤﺎﺟﻲ اﭜﻴﺎس‬ ‫‪.5‬‬
‫)ﭘﻲ اﻳﭿ‪ -‬ڊي ﻣﻘﺎﻟﻮ‪ ،‬ﺳﻨﮅي ﺷﻌﺒﻮ‪ ،‬ﻛﺮاﭼﻲ ﻳﻮﻧﻴﻮرﺳﭩﻲ‪ - (2014‬ص‪451 .‬‬

‫‪83‬‬ ‫ﺳﻨﮅي ﭨﻴﻠﻲ وﻳﺰن ڊراﻣﻮ‪ :‬ﻛﺎﻟﻬﻪ ۽ اڄ‬

 [ ] ‫ﺌرو ﮬ‬

‫و‬ ‫ﺌﺐ ه ﺌ‬ ‫ڊا‬

‫ي ا ﺌس‬ ‫ﺌ يﮭ‬ ‫ڌَر‬ ُ

A CRITICAL REVIEW OF POETRY OF
MURLI DHAR
Abstract
Dr. Murli Dhar is one of the modern Sindhi poets and literary
personalities. His poetry as well as prose are different in subject from
other writers, which seem as an evidence of new trends in Sindhi
literature. By profession, Dr. Murli is a professor of surgery in Urology.
Thus he highlights health issues of ailing humans with his pen. He
specially focuses on poverty lack of awareness about health facilities and
other social issues.
Dr. Murli is a trendsetter in his social life too. He believes that old-
customs and rituals Specially Dowry etc. which create a hindrance to the
progress of any society must be stopped, and everyone should start
prohibiting them starting from their own homes. He did so and set an
example of himself when, on the eve of his marriage, he refused to
accept dowry from his in-laws (who were also a renowned literary family
of Mr. Wali Ram Walabh). His spouse, Dr. Pushpa Walabh is also a
renowned poetess and she is of the same opinion too. They put the same
demands of dowry refusal in-front of the in-laws of their son.
In this paper I have focused upon Murli Dhar's literary contribution,
specially on poetry, and also touched upon his contribution to the
society.
‫ ادﻳﺒﻦ ۽ ﺷﺎﻋﺮن ﺟﻲ وچ ۾ ﻣﺮﻟﻲ ڌر ﺟﻮ ﻧﺎﻟﻮ ﻧﺜﺮ ﺗﻮڙي‬،‫ ﺟﻲ ﻟﻴﮑﻜﻦ‬‫ﻫِﻦ ﭨﻬﻲ‬
‫ ﻣﺮﻟﻲ ڌر‬.‫ ۾ ﺳﻨﺪس ﻣﻨﻔﺮد ﻣﻮﺿﻮﻋﻦ ﺟﻲ ﻛﺮي ﻫﻚ ﺟﺪا ﺣﻴﺜﻴﺖ رﮐﻲ ﭤﻮ‬ ‫ﺷﺎﻋﺮي‬
‫ ان ﻛﺮي ﺳﻨﺪس ﻟﮑﮣﻴﻦ ۾ ﻣﺴﻴﺤﺎﺋﻲ‬.‫ﭘﻴﺸﻲ ﺟﻲ ﻟﺤﺎظ ﮐﺎن ﻫﻚ ڊاﻛﭩﺮ آﻫﻲ‬
‫ ڌر ﺳﺎن ﻻﮘﺎﭘﻴﻞ رﻫﮡ ﻛﺮي ﺳﻨﺪس ﻗﻠﻢ ۾‬‫ ۾ ﮐﺎﭔﻲ‬‫ ﻣﺎﺿﻲ‬.‫ﺟﻬﻠﻜﻨﺪي ﻧﻈﺮ اﭼﻲ ﭤﻲ‬
‫ ﻣﺬﻫﺒﻲ اﻧﺘﻬﺎﭘﺴﻨﺪي‬،‫ ﺟﻮ ﻫﻮ ﺗﻤﺎم ﻣﺨﺘﺼﺮ ﻟﻔﻈﻦ ۾ دﻫﺸﺘﮕﺮدي‬،‫ﻫﻚ اﻫﮍو ﺟﻨﻮن آﻫﻲ‬
‫۽ ﻃﺒﻘﺎﺗﻲ ﻓﺮق ﺧﻼف ﭜﺮﭘﻮر ﻣﺰاﺣﻤﺖ ﺑﻪ ﻛﺮي ﭤﻮ ﺗﻪ وري ﺳﻤﺎﺟﻲ ﺟﺎﮘﺮﺗﺎ ۽ ﺑﻬﺘﺮ ﮐﺎن‬
‫ ﻻﭼﺎر ۽ ﺑﻴﻤﺎر ﻣﺎﮢﻬﻦ‬،‫ ﻣﻔﻠﺲ‬.‫ اﺗﺴﺎﻫﻲ ﺑﻪ ﭤﻮ‬‫ﺑﻬﺘﺮ ڏاﻧﻬﻦ وک وڌاﺋﮡ ۽ ﺟﺪوﺟﻬﺪ ﻛﺮڻ ﻻ‬
‫ ﻏﻴﺮ اﻧﺴﺎﻧﻲ ۽‬.‫ﺟﻲ ﻣﺴﺌﻠﻦ ﺗﻲ ﺳﻨﺪس ﻗﻠﻢ ﮘﻮڙﻫﺎ ﺑﻪ ﮘﺎڙي ﭤﻮ ﺗﻪ ﮐﻴﻦ دﻻﺳﺎ ﺑﻪ ڏﺋﻲ ﭤﻮ‬
84 ‫ ﺟﻮ ﺗﻨﻘﻴﺪي اﭜﻴﺎس‬‫ﻣﺮﻟﻲ ڌر ﺟﻲ ﺷﺎﻋﺮي‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﺳﻔﺎڪ روﻳﻦ ﺗﻲ ﺳﻨﺪس ﻗﻠﻢ ﺟﻲ ﭼﻬﻨﺐ ﺗﻠﻮارن ﺳﺎن ﻣﻬﺎڏا ﭤﻲ اﭨﻜﺎﺋﻲ‪.‬‬

‫ﺳﻨﮅ ﺟﻮ ﻛﻮﺑﻪ اﻫﮍو ادﺑﻲ ﺗﻮڙي ﻏﻴﺮ ادﺑﻲ ﻣﺎﮢﻬﻮ ڊاﻛﭩﺮ ﻣﺮﻟﻲ‪ ‬ﮐﺎن اڻ واﻗﻒ ﻧﻪ‬
‫)ﮔﺮدن( ﺟﻲ ﻛﻨﻬﻦ اﻫﻨﺞ ﺳﺎن ﭘﻴﻮ ﻫﺠﻲ‪ .‬ﺳﻮل اﺳﭙﺘﺎل‬ ‫ﻫﻮﻧﺪو ﺟﻨﻬﻦ ﺟﻮ واﺳﻄﻮ ﺑﻜﻴﻦ ُ‬
‫ﻛﺮاﭼﻲ‪ ‬ﺟﻲ وڏي ﻣﮏ دروزاي ﺟﻲ ﮐﺎﭔﻲ ﻫﭣ ﮐﺎن ﺳﭛ ﮐﺎن ﭘﻬﺮﻳﻦ ﺑﻠﮉﻧﮓ ‪ 14‬ﻧﻤﺒﺮ‬
‫اوﭘﻲ ڊي‪ ‬۾ ﻫﺰارﻳﻦ ﻣﺮﻳﻀﻦ ﺟﻲ اﮐﻴﻦ ۾ ان وﻗﺖ روﺷﻨﻲ ﭜﺮﺟﻲ وﻳﻨﺪي آﻫﻲ‪ ،‬ﺟﮇﻫﻦ ﻫﻮ‬
‫ﻣﺨﺘﻠﻒ ﺑﻴﻤﺎرن ﺟﻲ ﺳﻮاﻟﻦ ﺟﺎ ﺟﻮاب ڏﻳﻨﺪڙ ۽ ﻫﺮ ﻣﺮﻳﺾ ﮐﻲ ڏاڍي ﭘﻴﺎر ۽ ﻣﺎن ﭜﺮﺋﻲ‬
‫اﻧﺪاز ۾ ﺳﻨﺪن ﻣﺴﺌﻠﻦ ﺑﺎﺑﺖ ﺳﻤﺠﻬﺎﮢﻴﻦ ڏﻳﻨﺪڙ ڊاﻛﭩﺮ ﻣﺮﻟﻲ ڌر ﮐﻲ ﺳﺎﻣﻬﻮن اﻳﻨﺪي‬
‫ڏﺳﻨﺪا آﻫﻦ‪ .‬ﺳﺎﮘﻲ‪ ‬ﻃﺮح ڊاﻛﭩﺮ ﻣﺮﻟﻲ ڌر ﭘﮡ ﺳﻮل اﺳﭙﺘﺎل ﺟﻲ ﻫﻚ ﮔﻴﭧ واري اوﭘﻲ‬
‫ڊي‪ ،‬ﭔﺌﻲ دروازي ﺗﻲ اﻳﻤﺮﺟﻨﺴﻲ‪ ‬۾ اﺳﺘﭙﺎل ﮐﺎن ﭔﺎﻫﺮ ﭠﻬﻴﻞ ‪ SIUT‬ﺑﻼڪ ۾ ڏﻳﻨﻬﻦ ۾‬
‫ﻛﻴﺘﺮاﺋﻲ ﭜﻴﺮا ﭼﻜﺮ ڏﻳﻨﺪي ﻛﮇﻫﻦ ﺑﻪ ﻛﻨﻬﻦ ﻣﺮﻳﺾ ﺗﻮڙي ﺳﻨﺪس ﺗﻴﻤﺎردارن ﮐﻲ‬
‫ﻣﺎﻳﻮس‪/‬ﻧﺎاﻣﻴﺪ ﻧﻪ ﻛﻴﻮ ﻫﻮﻧﺪو‪ ،‬ﺑﻠﻜﻪ ڏاڍي ﻣﺨﻠﺺ اﻧﺪاز ۾ ﺳﻨﺪن ﻣﺴﺌﻼ ﭔﮅﻧﺪو ﭴﮡ ﺗﻪ‬
‫اﻫﻲ ﺳﻨﺪس ﺋﻲ ﺧﺎﻧﺪان ﺟﺎ ﻛﻲ ﻓﺮد ﻫﺠﻦ ۽ ﻛﻨﻬﻦ ﮐﻲ ﺑﻪ اﻫﻮ ﻣﺤﺴﻮس ﻧﻪ ﭤﻴﮡ ڏﻳﻨﺪو‬
‫ﺗﻪ ﻫﻮﭘﺎڻ ﻛﻴﺘﺮو ﭤﻜﻴﻞ ﻳﺎ ﺗﻜﻠﻴﻒ ۾ آﻫﻲ‪ .‬ﺟﮇﻫﻦ ﺗﻪ ﺳﺎﮘﺌﻲ ﺋﻲ اداري ۾ ﻛﻢ‬
‫ﻛﻨﺪڙ ﻛﻴﺘﺮاﺋﻲ ڊاﻛﭩﺮ ۽ ﭔﺌﻲ ﻋﻤﻠﻲ وارا ﻣﺎﮢﻬﻦ ﮐﻲ ﮀﮍﭔﻴﻨﺪي ۽ ‪ Misguide‬ﻛﻨﺪي ﺑﻪ‬
‫ﻧﻈﺮ اﻳﻨﺪا ﭘﺮ ﻣﺮﻟﻲ ڌر ﺟﻲ اﻫﺎ ﻓﻄﺮت ﺳﻨﺪس اﻧﺪر واري ان اﻧﺴﺎن ﺟﻲ آﻫﻲ‪ ،‬ﺟﻴﻜﻮ‬
‫ﭘﻨﻬﻨﺠﻲ دﻳﺲ ﺟﻲ ﻣﺎﮢﻬﻦ ﺟﻲ ﻫﺮ ﺗﻜﻠﻴﻒ ﮐﻲ ﭘﻨﻬﻨﺠﻮ ﺳﻮر ﺳﻤﺠﻬﻲ ﻫﺮ وﻗﺖ ُﺟﻬﺮﻧﺪو‬
‫رﻫﻲ ﭤﻮ‪ .‬ان ﺟﻮ ﺳﺒﺐ ﺳﻨﺪس ﻣﻮﺟﻮدﻫﻪ ﭘﻴﺸﻮ ﻧﻪ ﭘﺮ ﭔﺎﻟﺠﺘﻲ‪ ‬ﮐﺎن وﭠﻲ اﻫﻮ ﺗﺮﺑﻴﺘﻲ ﻣﺎﺣﻮل‬
‫آﻫﻲ ﺟﻴﻜﻮ ﻫﻦ ﭘﻨﻬﻨﺠﻲ ﮔﻬﺮ ۾ ڏﭠﻮ ۽ ﺟﻨﻬﻦ ۾ ﻫﻦ ﺟﻲ اﻫﺎ ﻫﮇ ڏوﮐﺎﺋﭗ واري ﻓﻄﺮت‬
‫ﭘﺮوان ﭼﮍﻫﻲ‪ .‬ﻣﺮﻟﻲ ڌر ﺟﻮ ڏاڏو وﺷﻨﺪاس ﮀﺎﭔﮍﻳﺎ ۽ ﺳﻨﺪس واﻟﺪ راﻣﭽﻨﺪ ﮀﺎﭔﮍﻳﺎ ﺳﻤﺎﺟﻲ‬
‫ﻛﺎرﻛﻦ ﻫﺌﺎ‪ .‬ﺳﻨﺪن ﺗﻨﻈﻴﻢ ﻫﻴﻮﻣﻦ وﻳﻠﻔﻴﺌﺮ اﻳﺴﻮﺳﻴﺌﻴﺸﻦ ﺗﺤﺖ ﻫﻚ ﻫﻨﺮي ﺷﺎﻻ‬
‫ﻫﻠﻨﺪڙ ﻫﺌﻲ‪ ،‬ﺟﻨﻬﻦ ۾ ﻧﻴﺎﮢﻴﻦ ﮐﻲ ﻣﻔﺖ ﻫﻨﺮي ﺳﮑﻴﺎ ڏﻧﻲ وﻳﻨﺪي ﻫﺌﻲ‪ .‬ﻫﻚ ﻛﻠﻴﻨﻚ‬
‫ﺟﻨﻬﻦ ۾ ﻣﺎﮢﻬﻦ ﺟﻮ ﻣﻔﺖ ﻋﻼج ﭤﻴﻨﺪو ﻫﻮ ۽ ان ﮐﺎن ﺳﻮا‪ ‬ﻫﻮ ﺑﻴﻮاﻫﻪ ﻋﻮرﺗﻦ ﮐﻲ ﮔﻬﺮن ۾‬
‫ﭘﺎﭘﮍن وﻏﻴﺮه ﺟﻮ ﺳﺎﻣﺎن ڏﻳﻨﺪا ﻫﺌﺎ‪ ،‬ﺟﻨﻬﻦ ﻣﺎن اﻫﻲ ﮔﻬﺮ ۾ وﻳﻬﻲ روزﮔﺎر ﻛﻤﺎﺋﻴﻨﺪﻳﻮن‬
‫ﻫﻴﻮن‪ .‬ان ﮐﺎﻧﺴﻮا‪ ‬ﺳﻨﺪن ﺗﻨﻈﻴﻢ ﭘﺎران ﻣﺨﺘﻠﻒ ﺳﻤﺎﺟﻲ ﺑﺮاﻳﻦ ﺟﻬﮍوڪ ڏاج ڏﻳﮡ واري‬
‫رﺳﻢ وﻏﻴﺮﻫﻪ ﺧﻼف ﺟﺪوﺟﻬﺪ ﭘﮡ ﺷﺎﻣﻞ ﻫﺌﻲ‪ .‬اِﻫﻮ ﻫﻮ ﻣﺮﻟﻲ ڌر ﺟﻲ ﻧﻨﮃڻ ﺟﻮ ﻣﺎﺣﻮل‬
‫ﺟﻨﻬﻦ ۾ ﺳﻨﺪس ﺷﻌﻮري ﺗﺮﺑﻴﺖ ﭤﻲ‪ .‬ان ﻣﺘﻌﻠﻖ ﻫﻮ ﭘﻨﻬﻨﺠﻲ ﻛﺘﺎب “اﮐﮍﻳﻮن ڏﻳﻼ ﻣﻦ‬
‫ﮔﻬﺎﻳﻞ ۾ ﻟﮑﻲ ﭤﻮ ﺗﻪ؛ “ﻣﻨﻬﻨﺠﻮ ڏاڏو ان ﺳﻠﺴﻠﻲ ۾ ﻣﻀﻤﻮن ﻣﻮن ﮐﺎن ﻟﮑﺮاﺋﻴﻨﺪو ﻫﻮ‪ .‬ان‬
‫ﻃﺮح ﻣﺎن ﻟﮑﮡ ﭘﮍﻫﮡ ڏاﻧﻬﻦ راﻏﺐ ﭤﻴﺲ ۽ ﺳﻤﺎﺟﻲ ﻛﻤﻦ ﺟﻲ ﺳﮑﻴﺎ ﻣﻠﻲ ۽ ﻏﺮﻳﺒﻦ ﺳﺎن‬
‫ﻫﻤﺪردي‪ ‬ﺟﻮ ﺳﺒﻖ ﺳﮑﻴﻢ‪ .‬ان زﻣﺎﻧﻲ ۾ ڏاج واري رﺳﻢ ﺧﻼف ﺗﻘﺮﻳﺮون ﻛﻨﺪو ﻫﻴﺲ ۽‬
‫ان ﺧﻼف ﻣﻀﻤﻮن ﺑﻪ ﻟﮑﻨﺪو ﻫﻴﺲ‪) ”.‬ص‪ (19 :‬ﺳﻨﺪن ڏاج ﺧﻼف اﻫﺎ ﻣﻬﻢ رﮘﻮ ﻋﻮاﻣﻲ‬
‫ﺷﻌﻮر ﭰﻬﻼﺋﮡ ﺗﺎﺋﻴﻦ ﻣﺤﺪود ﻧﻪ رﻫﻲ‪ .‬ﺑﻠﻜﻪ ﻣﺮﻟﻲ ڌر ﭘﻨﻬﻨﺠﻲ ﻋﻤﻠﻲ زﻧﺪﮔﻲ‪ ‬۾ ﺑﻪ ان رﺳﻢ‬
‫ﮐﻲ ﻧﻨﺪﻳﻨﺪي ڊاﻛﭩﺮ ﭘﺸﭙﺎ وﻟﭛ ﺳﺎن ﺷﺎدي‪ ‬ﻣﻬﻞ ﭘﻨﻬﻨﺠﻲ ﺳﻬﺮي ۽ ﺳﻨﮅ ﺟﻲ ﺑﺮک‬
‫‪85‬‬ ‫ﻣﺮﻟﻲ ڌر ﺟﻲ ﺷﺎﻋﺮي‪ ‬ﺟﻮ ﺗﻨﻘﻴﺪي اﭜﻴﺎس‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻟﻴﮑﻚ وﻟﻴﺮام وﻟﭛ ﺟﻲ آڏو ﺻﺮف ﻫﻚ ﺷﺮط رﮐﻴﻮ ﺗﻪ ﻫﻮ ڊاﻛﭩﺮ ﭘﺸﭙﺎ ﮐﻲ ﻛﻮﺑﻪ ڏاج‬
‫ﻧﻪ ڏﻳﻨﺪا‪ ”.‬۽ ﭘﻮ‪ ‬اﺋﻴﻦ ﺋﻲ ﭤﻴﻮ‪ .‬ڊاﻛﭩﺮ ﻣﺮﻟﻲ ﻫﻚ اﻧﺘﻬﺎﺋﻲ ﺳﺎدﮔﻲ‪ ‬واري زﻧﺪﮔﻲ‬
‫ﮔﺬارﻳﻨﺪڙ آﻫﻲ‪ .‬ڊاﻛﭩﺮ ﭘﺸﭙﺎ ﺳﺎن ﻧﺌﻴﻦ زﻧﺪﮔﻲ ﺷﺮوع ﻛﺮڻ وﻗﺖ ﮐﻴﻦ ﮐﻮڙ ڏﮐﻴﺎﺋﻴﻮن‬
‫ﭘﮡ آڏو آﻳﻮن‪ .‬ﺟﻴﻜﻲ ڏاج ﻣﻠﮡ ﺟﻲ ﺻﻮرت ۾ ﭘﻴﺪا ﺋﻲ ﻧﻪ ﭘﻴﻮن ﭤﻲ ﺳﮕﻬﻦ ﭘﺮ ﻫﻨﻦ ﭔﻨﻬﻲ‬
‫ﮀﺎﻧﻮ ۾ ﺑﺮداﺷﺖ ﻛﻴﻮ‪ .‬ﻛﻴﺘﺮن ﺋﻲ‬ ‫ﮔﮇﺟﻲ اﻧﻬﻦ ﻣﺸﻜﻼﺗﻦ ﮐﻲ ﭘﻴﺎر ۽ ﻣﺤﺒﺖ ﺟﻲ َ‬
‫ﺳﺎﻟﻦ ﺗﺎﺋﻴﻦ ﺑﻨﺎ ﺳﻬﻮﻟﻴﺘﻦ واري ﮔﻬﺮ ۾ رﻫﻴﺎ ﭘﺮ ﻋﻤﻠﻲ ﻃﻮر ﺛﺎﺑﺖ ﻛﻴﺎﺋﻮن ﺗﻪ ﻛﮅﻳﻦ‬
‫رﺳﻤﻦ ﺟﻲ ﻧﻨﺪا ﺗﻜﻠﻴﻔﻦ ﭜﺮﻳﻞ زﻧﺪﮔﻲ ﮔﺬارڻ ﮐﺎن وڌﻳﻚ اﺗﻢ آﻫﻲ‪ .‬رﮘﻮ اﻳﺘﺮوﺋﻲ ﻧﻪ‬
‫ﺑﻠﻜﻪ ﺗﺎزو ﭘﻨﻬﻨﺠﻲ ﭘﭧ ﺟﻲ ﺷﺎدي‪ ‬ﻻ‪ ‬ﺑﻪ ﺳﻨﺪس ﺳﺎﻫﺮن آڏو ﺳﻨﺪن ﺳﺎﮘﻴﻮ ﻋﻤﻞ رﻫﻴﻮ ﺗﻪ‬
‫ﮐﻴﻦ ڏاج ﺟﻲ ﺻﻮرت ۾ ﻛﺠﻬﻪ ﺑﻪ ﻧﻪ ﮔﻬﺮﺟﻲ‪ .‬ﭘﻨﻬﻨﺠﻲ ان ﻋﻤﻞ ﺳﺎن ﻫﻚ ﭘﺎﺳﻲ ﻫﻮ‬
‫ﺳﺮﻧﺪي‪ ‬وارن ﮐﻲ اﻫﮍﻳﻦ رواﻳﺘﻦ ﮐﻲ ﺧﺘﻢ ﻛﺮڻ ﻻ‪ ‬اﺗﺴﺎﻫﻴﻦ ﭤﺎ ﺗﻪ ﭔﺌﻲ ﭘﺎﺳﻲ ﺳﻨﺪن‬
‫ﻣﻘﺼﺪ اﻫﮍا ﻣﺜﺎل ﻗﺎﺋﻢ ﻛﺮي ﻏﺮﻳﺐ ﺧﺎﻧﺪاﻧﻦ ﺟﻲ ﮀﻮﻛﺮﻳﻦ ﺟﻲ رﺷﺘﻦ ﻻ‪ ‬راﻫﻪ ﻫﻤﻮار‬
‫ﻛﺮڻ آﻫﻲ‪ ،‬ﺟﻦ ﺟﻮن ﻣﭩﻴﻮن ﮔﻬﺮﺑﻞ ڏاج ﻧﻪ ﻫﺠﮡ ﺳﺒﺐ ﻳﺎ ﺗﻪ ﭤﻴﻦ ﺋﻲ ﻧﻪ ﭤﻴﻮن ۽ ﺟﻲ ﭤﻴﻦ‬
‫ﭤﻴﻮن ﺗﻪ ُﭨﭩﻲ وﭸﻦ ﭤﻴﻮن‪ .‬وري ﺟﻴﻜﮇﻫﻦ ﺑﺮﻗﺮار رﻫﻦ ﺑﻪ ﭤﻴﻮن ﺗﻪ ﻧﻴﺎﮢﻴﻮن ڏاج ﺟﻲ ﺳﺎﻣﺎن‬
‫ﭘﻮري ﻧﻪ ﻫﺠﮡ ﺟﺎ ﻃﻌﻨﺎ ﺳﭵﻲ زﻧﺪﮔﻲ ﺑﺮداﺷﺖ ﻛﻨﺪﻳﻮن رﻫﻦ ﭤﻴﻮن‪ .‬ﻛﭥﻲ ﺗﻪ وري‬
‫ﻣﺨﺘﻠﻒ ﺑﻬﺎﻧﻦ ﺳﺎن ﻣﻮرﮘﻮ ﺳﻨﺪن زﻧﺪﮔﻴﻮن ﺋﻲ ﺧﺘﻢ ﻛﻴﻮن وﭸﻦ ﭤﻴﻮن‪ .‬ﭼﻠﻬﻲ ﭰﺎﭨﮡ ﺑﺎﻫﻪ‬
‫ﻟﮙﮡ ﻳﺎ ﮀﺖ ﺗﺎن ﻛﺮڻ وﻏﻴﺮﻫﻪ ﺟﻬﮍن ﻛﻴﺘﺮن ﺋﻲ واﻗﻌﻦ ﺟﻲ ﭘﺴﻤﻨﻈﺮ ۾ وڏو ﺳﺒﺐ ڏاج‬
‫ﺋﻲ ﻫﻮﻧﺪو آﻫﻲ‪.‬‬
‫ﻣﺮﻟﻲ ڌر ﺟﻮ اﻫﻮ ﻳﻘﻴﻦ آﻫﻲ ﺗﻪ ﺟﻴﻜﮇﻫﻦ ﺳﻤﺎج ﮐﻲ ﺳﺠﺎڳ ﻛﺮﮢﻮ آﻫﻲ ۽ ﮐﻴﻦ‬
‫ﻛﺎ ﺑﻬﺘﺮي‪ ‬ﺟﻲ روﺷﻨﻲ ڏﻳﮑﺎرﮢﻲ آﻫﻲ ﺗﻪ ﭘﻨﻬﻨﺠﻲ ﭘﺎڻ ﮐﻲ ﻣﺸﻌﻞ ﺑﮣﺠﮣﻮ ﭘﻮﻧﺪو‪ .‬ﺗﮇﻫﻦ‬
‫ﺗﻪ ﭼﻮي ﭤﻮ ﺗﻪ‪:‬‬
‫ﺌن‬ ‫ا و‬
‫ﻛﺎ اﻫﮍي ﺟﻨﮓ ﺟﻮﭨﻴﺎن‪،‬‬
‫ﻛﻮ اﻫﮍو ﺳﺎز ﺳﻮرﻳﺎن‪،‬‬
‫ﻛﺎ اﻫﮍي ﻣﺸﻌﻞ ﭤﻴﺎن‪،‬‬
‫ﻛﺮي روﺷﻦ ﺟﮗ وﭸﺎن‪.‬‬
‫)اﮐﮍﻳﻮن ڏﻳﻼﻣﻦ ﮔﻬﺎﻳﻞ‪-‬ص‪(76:‬‬
‫اﻫﮍي‪ ‬ﻃﺮح ﻫﻮ ﭘﻨﻬﻨﺠﻲ دﻳﺲ ﺟﻲ ﻣﺎﮢﻬﻦ ﺟﺎ ﺳﻮر ﺳﻠﻲ ﭘﻨﻬﻨﺠﻲ وس ۽ وت آﻫﺮ‬
‫ﺳﻨﺪن ڏﮐﻦ ﮔﻬﭩﺎﺋﮡ ﺟﻲ ﻛﻮﺷﺶ ﻛﻨﺪو رﻫﻲ ﭤﻮ‪ .‬ﺳﻨﺪن ﺳﻮر ﭔﻲ‪ ‬دﻧﻴﺎ ﮐﻲ ﺑﻪ ﭔﮅاﺋﻲ ﭤﻮ ﺗﻪ‬
‫ﺟﻴﺌﻦ ﻣﺎﮢﻬﻮ ﭘﺎڻ وﻫﻴﮣﺎ ﭤﻲ ﭘﻨﻬﻨﺠﻲ وس ۽ وت آﻫﺮ ﻣﺴﺌﻠﻦ ﮐﻲ ﭘﺎڻ ﺑﻪ ﻣﻨﻬﻦ ڏﻳﻦ ﺗﻪ وس‬
‫وارن ﺗﺎﺋﻴﻦ ﺑﻪ ﺳﻨﺪن آواز ﭘﻬﭽﻲ ﺳﮕﻬﻲ‪ .‬ان ﻻ‪ ‬ﻫﻮ “ﭨﻴﻦ دﻧﻴﺎ ﺟﺎ ﺳﻮر” ﻟﮑﻲ ﭤﻮ‪ .‬ﺳﻨﺪس‬
‫اﻫﻮ ﻛﺘﺎب ﻣﺨﺘﻠﻒ اﺧﺒﺎرن ﺟﻬﮍوڪ‪ :‬ﻋﻮاﻣﻲ آواز‪ ،‬ﻛﺎوش وﻏﻴﺮه ۾ ﺻﺤﺖ ﺑﺎﺑﺖ‬
‫ﺷﺎﻳﻊ ﭤﻴﻞ ﻣﻀﻤﻮﻧﻦ ﺟﻮ ﻣﺠﻤﻮﻋﻮ آﻫﻲ‪ .‬ﻛﺘﺎب ﺟﻲ ﻧﺎﻟﻲ واري ﻣﻀﻤﻮن “ﭨﻴﻦ دﻧﻴﺎ ﺟﺎ‬
‫‪86‬‬ ‫ﻣﺮﻟﻲ ڌر ﺟﻲ ﺷﺎﻋﺮي‪ ‬ﺟﻮ ﺗﻨﻘﻴﺪي اﭜﻴﺎس‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﺳﻮر” ﺗﻲ اي ﭘﻲ اﻳﻦ اﻳﺲ )‪ (APNS‬ﮐﻴﺲ اﻳﻮارڊ ڏﻳﮡ ﺟﻮ اﻋﻼن ﻛﻴﻮ آﻫﻲ‪ ،‬ﺟﻴﻜﻮ‬
‫ڊاﻛﭩﺮ ﺻﺎﺣﺐ ﮐﻲ ‪15‬ﻫﻴﻦ ﺟﻮن ‪2018‬ع ﺗﻲ ڏﻧﻮ وﻳﻨﺪو‪ .‬ﻣﺮﻟﻲ ڌر ﺟﻲ ان ﻛﺘﺎب ۾‬
‫ﻣﺎﮢﻬﻦ ﺟﻲ ﻣﻌﺎﺷﻲ ۽ ﺳﻤﺎﺟﻲ ﻣﺴﺌﻠﻦ ﺳﺎن ﮔﮇوﮔﮇ رﻳﺎﺳﺖ ﭘﺎران ﻋﻮام ﻻ‪ ‬ﻣﻠﻨﺪڙ ﺳﻬﻮﻟﺘﻦ‬
‫ﺟﻲ اﮢﺎٺ ﺟﻮ ذﻛﺮ ﺑﻪ آﻫﻲ ﺗﻪ اﻧﻬﻦ ﺳﻤﻮرن ﻣﺴﺌﻠﻦ ﺟﻲ ﻛﺮي ﻣﺎﮢﻬﻮ ﺟﻦ ﺑﻴﻤﺎرﻳﻦ ﺟﺎ‬
‫ﻋﺬاب ﭜﻮﮘﻴﻦ ﭤﺎ‪ ،‬اﻧﻬﻦ ﺑﻴﻤﺎرﻳﻦ ﻣﺘﻌﻠﻖ ﺻﻼﺣﻮن ۽ ﻣﺸﻮرا ﭘﮡ ﺷﺎﻣﻞ آﻫﻦ‪ .‬ﻣﺮﻟﻲ ڌر ﺟﻲ‬
‫ﻣﺴﺌﻠﻦ ۾‪ ،‬ﻫﻚ ﭘﺎﺳﻲ ﻏﺮﺑﺖ وﮔﻬﻲ ﻣﻬﺎﻧﮕﻦ ﻋﻼﺟﻦ ﺗﺎﺋﻴﻦ ﭘﻬﭻ ﻧﻪ ﻫﺌﮡ ﻛﺮي اﻧﺴﺎﻧﻲ‬
‫زﻧﺪﮔﻲ‪ ‬ﺟﻮ ﺑﻲ وﻗﻌﺖ ﺑﮣﺠﻲ وﭸﮡ ﺗﻪ ﭔﺌﻲ ﭘﺎﺳﻲ ﻣﺎﮢﻬﻦ ۾ ﺻﺤﺖ ﺑﺎﺑﺖ ﺷﻌﻮر ﺟﻲ ﻓﻘﺪان‬
‫ﮔﻬ َﺮﺟﻲ ﻫﻚ ﭜﺎﺗﻲ‪ ‬ﮐﺎن وﭠﻲ ﺳﭵﻲ ﺧﺎﻧﺪان ﺗﺎﺋﻴﻦ ﺑﻴﻤﺎرﻳﻦ ۾ وﻛﻮڙﻳﻞ ﻫﺠﮡ‬ ‫ﺳﺒﺐ َ‬
‫ﺟﻬﮍن ﻣﺴﺌﻠﻦ ڏاﻧﻬﻦ ڌﻳﺎن ﮀﻜﺎﺋﮡ آﻫﻲ‪ .‬ان ﺳﺎن ﮔﮇوﮔﮇ ﻫﻮ ﺳﻤﺎﺟﻲ ﻣﺴﺌﻠﻦ ﺟﺎ ﺟﺪﻳﺪ‬
‫۽ ﻋﻤﻠﻲ ﻛﺎرﮔﺮ ﺣﻞ ﭘﮡ ﭔﮅاﺋﻲ ﭤﻮ‪ .‬ﺟﻴﺌﻦ اﺣﺘﺠﺎج ﺟﻮ آﺳﺎن ﺗﺮﻳﻦ ﻃﺮﻳﻘﻮ ﻫﮍﺗﺎل ﮐﻲ‬
‫ﺳﻤﺠﻬﻴﻮ وﭸﻲ ﭤﻮ‪ .‬وڏﻳﻦ وڏﻳﻦ ﺳﻴﺎﺳﻲ ﭘﺎرﭨﻴﻦ ﮐﺎن وﭠﻲ ﻧﻨﮃن ﻧﻨﮃن ﮔﺮوﭘﻦ ﺗﺎﺋﻴﻦ ﻧﻨﮃي‬
‫ﺗﻮڙي وڏي ﻣﺴﺌﻠﻲ ﺗﻲ ﺷﻬﺮ ﺑﻨﺪ ﻛﺮاﺋﮡ ﻫﮍﺗﺎل ﺟﻮ ﺑﺪﺗﺮﻳﻦ ﻣﺜﺎل آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ﺳﺎن ﻧﻪ رﮘﻮ‬
‫ﻋﻮام ﭘﺮﻳﺸﺎن ﭤﺌﻲ ﭤﻮ ﺑﻠﻜﻪ ﻣﻠﻜﻲ ﻣﻌﻴﺸﺖ ﮐﻲ ﺑﻪ وڏو ﻫﺎﭸﻮ رﺳﻲ ﭤﻮ‪ .‬ﻣﺮﻟﻲ ڌر اﺣﺘﺠﺎج‬
‫ﻻ‪ ‬ﭔﻴﻦ ﮐﻲ ﭘﺮﻳﺸﺎن ﻛﺮڻ واري ان ﻋﻤﻞ ﺟﻲ ﻧﻨﺪا ﻛﺮي ﭤﻮ‪“ .‬ﻫﮍﺗﺎل ﮐﺎن ﺑﮏ ﻫﮍﺗﺎل‬
‫وڌﻳﻚ ﺑﻬﺘﺮ آﻫﻲ ﮀﻮ ﺗﻪ “ﺑﮏ ﻫﮍﺗﺎل” ﺳﺎن ﭘﺎڻ ﮐﻲ ﺗﻜﻠﻴﻒ ﭘﻬﭽﻲ ﭤﻲ ﭘﺮ ﻣﺮﻳﺾ ﻣﺘﺎﺛﺮ‬
‫ﻛﻮﻧﻪ ﭤﺎ ﭤﻴﻦ‪ .‬اﻫﮍي‪ ‬ﻃﺮح ﺟﻴﻜﮇﻫﻦ اﺳﺘﺎد ﺻﺎﺣﺒﺎن ﭘﮍﻫﺎﺋﻲ‪ ‬ﺟﻲ ﻫﮍﺗﺎل ﮀﮇي ﺑﮏ‬
‫ﻫﮍﺗﺎل ﻛﻨﺪا ﺗﻪ ﺷﺎﮔﺮدن ﺟﻲ ﭘﮍﻫﺎﺋﻲ‪ ‬ﺟﻮ ﻧﻘﺼﺎن ﻧﻪ ﭤﻴﻨﺪو‪ ... ...‬ﺳﻨﮅ ﻳﺎ ﻛﻨﻬﻦ ﺑﻪ‬
‫ﺻﻮﺑﻲ ﻻ‪ ‬ﺗﻌﻠﻴﻢ ﺗﺮﻗﻲ‪ ‬ﻻ‪ ‬اﺋﻴﻦ آﻫﻲ ﺟﻴﺌﻦ ﺟﻴﺎﭘﻲ ﻻ‪ ‬آﻛﺴﻴﺠﻦ‪) ”...‬ﭨﻴﻦ دﻧﻴﺎ ﺟﺎ‬
‫ﺳﻮر‪ .‬ص‪(182:‬‬
‫اﻫﮍي‪ ‬ﻃﺮح ﻫﻮ ﺳﻤﺎج ﺟﻲ ﺳﭵﺎڻ ﻃﺒﻘﻲ ﺟﻮن ﺑﻪ اﮐﻴﻮن ﮐﻮﻟﻲ ﭤﻮ ۽ ﻛﻨﻬﻦ ﺑﻪ‬
‫ﻣﻠﻚ ﺟﻲ ﺗﺮﻗﻲ‪ ‬۾ ﺳﻤﺎﺟﻲ ﭜﻼﺋﻲ‪ ‬وارن ﻛﻤﻦ ﺟﻲ اﻫﻤﻴﺖ ﺟﻮ اﺣﺴﺎس ﭘﮡ ڏﻳﺎري ﭤﻮ‪،‬‬
‫ﻣﻔﻠﺲ ﻣﺎﮢﻬﻦ ﮐﻲ ڊاﻛﭩﺮن ﺟﻲ ﮘﺮﻳﻦ ﻓﻴﻦ ﭜﺮڻ ﺟﻲ ﺳﮕﻬﻪ ﻧﻪ ﺳﺎرڻ ﺗﻲ ڊاﻛﭩﺮن ﮐﻲ‬
‫ﺳﻨﺪن اﺻﻠﻲ ﻣﺴﻴﺤﺎﺋﻲ ﻛﻢ ﺟﻲ اﻫﻤﻴﺖ ﺟﻮ اﺣﺴﺎس ﭘﮡ ڏﻳﺎري ﭤﻮ‪ .‬ﭘﺮاﺋﻴﻮﻳﭧ‬
‫ﻛﻠﻴﻨﻜﻦ ﺟﻮ رﺟﺤﺎن اﻳﺘﺮو وڌي وﻳﻮ آﻫﻲ‪ ،‬ﻟﻴﺒﺎرﭨﻴﻮن‪ ،‬اﻳﻜﺴﺮي‪ ،‬اﻟﭩﺮاﺳﺌﻮﻧﮉ وﻏﻴﺮه‬
‫ﭴﮡ ﺗﻪ ﻛﻤﺮﺷﻞ ﻣﺎرﻛﻴﭧ ﭠﻬﻲ وﻳﺎ آﻫﻦ‪ .‬ڊاﻛﭩﺮن ﭘﺎران ﮘﺮﻳﻮن ﮘﺮﻳﻮن ﻓﻴﻮن وﭠﮡ‪،‬‬
‫ﭘﺮاﺋﻴﻮﻳﭧ ﻛﻠﻴﻨﻜﺲ ﻫﻼﺋﮡ ﻻ‪ ‬ﺳﺮﻛﺎري ڊﻳﻮﭨﻲ ﺻﺤﻴﺢ ﻧﻪ ﻛﺮڻ ﻳﺎ ﻣﻨﭥﻠﻴﻮن ﭜﺮي‬
‫ڊﻳﻮﭨﻴﻦ ﺗﺎن ﻏﺎﺋﺐ ﭤﻴﮡ‪ ،‬ﻣﺮﻳﻀﻦ ﮐﻲ ﭘﺮاﺋﻴﻮﻳﭧ ﻛﻠﻴﻨﻜﻦ ﺗﻲ اﭼﮡ ﻻ‪ ‬زور ﭜﺮڻ‪،‬‬
‫ﻛﻤﺎﺋﻲ‪ ‬ﺧﺎﻃﺮ ﻏﻴﺮ ﺿﺮوري دواﺋﻮن ڏﻳﮡ ۽ ﻫﺮو ﭜﺮو ﺳﻴﻮن ﻫﮣﮡ وارا ﻋﻤﻞ ﻛﻨﻬﻦ ﺑﻪ‬
‫ڊاﻛﭩﺮ ﺟﻲ )‪ (Ethics‬اﺧﻼﻗﻴﺎت ﮐﻲ ﻣﺘﺎﺛﺮ ﻛﻦ ﭤﺎ‪ .‬ان ﺳﻠﺴﻠﻲ ۾ ﻣﺮﻟﻲ ڌر ﻟﮑﻲ ﭤﻮ ﺗﻪ‪:‬‬
‫“ڊاﻛﭩﺮي‪ ‬ﺟﻲ ﭘﮍﻫﺎﺋﻲ ﺷﺮوع ﻛﺮڻ ﮐﺎن اڳ ڊاﻛﭩﺮ ﻫﻚ ﻗﺴﻢ ﮐﮣﻨﺪا آﻫﻦ‪ ،‬ﺟﻨﻬﻦ‬
‫ﮐﻲ “ﻫﻴﭙﻮﻛﺮﻳﭩﻚ اوٿ” ﭼﺌﺒﻮ آﻫﻲ‪ .‬ان ۾ اﻫﻮ ﺑﻪ ﻟﮑﻴﻞ ﻫﻮﻧﺪو آﻫﻲ ﺗﻪ ڊاﻛﭩﺮ ﭤﻲ‬
‫ﻣﺮﻳﻀﻦ ۽ ﭘﻨﻬﻨﺠﻲ ﭘﻴﺸﻲ ﺳﺎن ﺳﭽﺎ ﻫﻮﻧﺪاﺳﻴﻦ‪ .‬ان ﻗﺴﻢ ﺟﻮ ﮀﺎ ﭤﻴﻮ‪ ،‬ڊاﻛﭩﺮي‪ ‬ﺟﻬﮍي‬
‫‪87‬‬ ‫ﻣﺮﻟﻲ ڌر ﺟﻲ ﺷﺎﻋﺮي‪ ‬ﺟﻮ ﺗﻨﻘﻴﺪي اﭜﻴﺎس‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻧﻮﺑﻞ ﭘﻴﺸﻲ ﮐﻲ ﺑﻪ اﺳﻴﻦ ﻛﭙﮍي ۽ ﭘﻨﺴﺎر ﺟﻲ دﻛﺎن واﻧﮕﺮ ﻫﻼﺋﮡ ﻟﮙﺎ آﻫﻴﻮن‪) ”.‬ﭨﻴﻦ‬
‫دﻧﻴﺎ ﺟﺎ ﺳﻮر‪-‬ص‪(43 :‬‬
‫واﺿﺢ رﻫﻲ ﺗﻪ ‪ Hippocratic oath‬ﻗﺪﻳﻢ ﻳﻮﻧﺎﻧﻲ ﭔﻮﻟﻲ‪ ‬۾ ﭨﻴﻦ ﮐﺎن ﭘﻨﺠﻴﻦ ﺻﺪي‬
‫ﻗﺒﻞ ﻣﺴﻴﺢ ۾ ﻟﮑﻴﻮ وﻳﻮ ﻫﻮ‪ .‬ان ﻗﺴﻢ ﻧﺎﻣﻲ ﺗﻲ اﻫﻮ ﻧﺎﻟﻮ ﻗﺪﻳﻢ ﻳﻮﻧﺎن ﺟﻲ ﻋﻈﻴﻢ ﻃﺒﻲ ﻣﺎﻫﺮ‬
‫)ﻓﺰﻳﺸﻦ( ﻫﻴﭙﻮﻛﺮﻳﭩﺲ ﺟﻲ ﻧﺎﻟﻲ ﭘﻮﻳﺎن آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ﮐﻲ ﻣﻐﺮﺑﻲ دﻧﻴﺎ ﺟﻲ ﻛﻴﺘﺮن ﺋﻲ‬
‫ﻣﻠﻜﻦ ۾ ﻃﺐ ﺟﻮ اﺑﻮ ﭘﮡ ﻣﭹﻴﻮ وﻳﻨﺪو آﻫﻲ‪.‬‬
‫ﻣﺮﻟﻲ ڌر ﺟﻮ ﭔﻴﻮ ﻛﺘﺎب ﺻﺤﺖ ﺳﭝﻨﻲ ﻻ‪ ‬ﭘﮡ ﺻﺤﺖ ﺟﻲ ﻣﺨﺘﻠﻒ ﻣﺴﺌﻠﻦ ﺑﺎﺑﺖ‬
‫ﭴﺎڻ ڏﻳﮡ واري ﻣﻮﺿﻮع ﺗﻲ ﻟﮑﻴﻞ آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ۾ ‪ 30‬ﻣﻀﻤﻮن ﺷﺎﻣﻞ آﻫﻦ‪ .‬ﺟﻦ ۾ ﮔﺮدي‬
‫ﺟﻲ ﭘﻴﻮﻧﺪﻛﺎري‪ ،‬ﺗﺒﺪﻳﻠﻲ‪ ،‬ﮔﺮدي ﺟﻲ ﺳﻮر‪ ،‬ﻋﻼج ﺟﻲ ﻣﺨﺘﻠﻒ ﻃﺮﻳﻘﻦ‪ ،‬ﭘﻴﺸﺎب ﺟﻲ‬
‫ﻣﺨﺘﻠﻒ ﺑﻴﻤﺎرﻳﻦ‪ ،‬ﻋﻮرﺗﻦ ﺗﻮڙي‪ ،‬ﻣﺮدن ۾ ﺳﻨﮃﭘﮣﻲ ﺟﺎ ﺳﺒﺐ ۽ ﻋﻼج ﺟﺎ ﻣﺨﺘﻠﻒ ﻃﺮﻳﻘﺎ‪،‬‬
‫ڊﻳﻨﮕﻲ‪ ،‬ﻣﻠﻴﺮﻳﺎ‪ ،‬ﻫﻴﭙﺎﭨﺎﺋﻴﭩﺲ‪ ،‬اﻳﮉز‪ ،‬۽ ﻛﻴﻨﺴﺮ وﻏﻴﺮه ﺟﻬﮍﻳﻦ ﻣﻮذي ﺑﻴﻤﺎرﻳﻦ ﺟﻲ‬
‫ﻣﺴﺌﻠﻦ ﺟﻲ ﻧﺸﺎﻧﺪﻫﻲ ۽ اﻧﻬﻦ ﺟﺎ آﺳﺎن ﺣﻞ ۽ ﺗﺠﻮﻳﺰون‪ ،‬ﺗﻤﺎڪ ﺟﻲ اﺳﺘﻌﻤﺎل ﺟﺎ‬
‫ﻧﻘﺼﺎن ۽ ان ﮐﺎن ﭘﺮي رﻫﮡ ﻻ‪ ‬ﺗﺠﻮﻳﺰون‪ ،‬ﺣﻤﻞ دوران ﭘﻴﭽﻴﺪﮔﻴﻦ ﻛﺮي وڌﻧﺪڙ ﻣﻮت‬
‫ﺟﻲ ﺷﺮح ﺑﺎﺑﺖ اﻧﮓ اﮐﺮ ۽ ان ﮐﺎن ﺑﭽﺎ‪ ‬ﻻ‪ ‬ﺗﺠﻮﻳﺰ وارا ﻣﻮﺿﻮع ﺷﺎﻣﻞ آﻫﻦ‪ .‬اﻫﮍي‪ ‬ﻃﺮح‬
‫ﭼﺌﻲ ﺳﮕﻬﺠﻲ ﭤﻮ ﺗﻪ ﻣﺮﻟﻲ ڌر ﺟﺎ ﻣﻀﻤﻮن اﻧﺴﺎﻧﻲ ﺻﺤﺖ ﺗﻮڙي ﺳﻤﺎﺟﻲ ﺻﺤﺖ ﻻ‪‬‬
‫رﻫﺒﺮي‪ ‬وارا آﻫﻦ‪ .‬ﺻﺤﺖ ﺟﻮ ﺷﻌﺒﻮ ﻫﻮﻧﺌﻦ ﺗﻪ ﻋﺎم ﻣﺎﮢﻬﻦ ﺟﻲ ﺳﻤﺠﻬﻪ ﮐﺎن ﭔﺎﻫﺮ آﻫﻲ‪ ،‬ﭘﺮ‬
‫ڊاﻛﭩﺮ ﻣﺮﻟﻲ ڌر ﺟﻲ ﻋﺎم ﻓﻬﻢ ﭔﻮﻟﻲ‪ ،‬اﺳﻠﻮب‪ ،‬ﻟﻔﻈﻦ ﺟﻲ ﭼﻮﻧﮉ‪ ،‬۽ ﻧﺜﺮاﮢﻴﻦ ﺧﻮﺑﻴﻦ ﺳﺎن‬
‫ﭜﺮﻳﻞ ﻣﻀﻤﻮن ﻫﻚ ﻋﺎم ﻣﺎﮢﻬﻮ‪ ‬ﮐﻲ ﺻﺤﺖ ﺟﺎ ﭘﻴﭽﻴﺪا ۽ ﺑﻈﺎﻫﺮ ﻣﺸﻜﻞ ﺳﻤﺠﻬﺎوﻳﻨﺪڙ‬
‫اﺻﻮل ﺳﻤﺠﻬﺎﺋﮡ ﻻ‪ ‬ڏاڍا ﻛﺎرﮔﺮ آﻫﻦ‪ .‬ان ﮐﺎﻧﺴﻮا‪‬ﺻﺤﺖ ﺟﻲ ﺳﻤﺎﺟﻲ ﻣﺴﺌﻠﻦ ﺗﻲ آواز‬
‫اﭤﺎرڻ ﺟﻮ ﻫﻚ ﺟﻮﮘﻮ ﻗﺪم ﭘﮡ آﻫﻦ‪ .‬ﺿﺮورت ان ﮘﺎﻟﻬﻪ ﺟﻲ آﻫﻲ ﺗﻪ اﻧﻬﻦ ﻣﻮﺿﻮﻋﻦ ﺟﻲ‬
‫اﻫﻤﻴﺖ ۽ اﻓﺎدﻳﺖ ﺳﻤﺠﻬﻨﺪي وڌ ﮐﺎن وڌ ﭘﮍﻫﻴﻮ وﭸﻲ‪.‬‬
‫ﻧﺜﺮ ﮐﺎﻧﺴﻮا‪ ‬ﻣﺮﻟﻲ ڌر ﺟﻲ ﺷﺎﻋﺮي‪ ‬۾ ﭘﮡ اﻧﺴﺎﻧﻲ ﺻﺤﺖ ۽ ﺳﻤﺎﺟﻲ ﺻﺤﺖ وارا‬
‫ﻣﻮﺿﻮع ﺳﻤﺎﻳﻞ آﻫﻦ‪ .‬ﺟﻴﺌﻦ اڳ ۾ ﺑﻴﺎن ﻛﺮي آﻳﺎ آﻫﻴﻮن ﺗﻪ روﺷﻦ ﺧﻴﺎﻟﻲ ۽ ﺳﻤﺎﺟﻲ‬
‫ﭜﻼﺋﻲ‪ ‬وارا ﻗﺪر ﻣﺮﻟﻲ ڌر ﭘﻨﻬﻨﺠﻲ ﭔﺎﻟﺠﺘﻲ‪ ‬ﮐﺎن ﺳﮑﻴﺎ ۽ اﻫﺎ ﻣﺜﺒﺖ ﺳﻮچ ﺳﻨﺪس ﻋﻤﻠﻲ‬
‫زﻧﺪﮔﻲ‪ ‬۾ ﺑﻪ ﭘﮅري آﻫﻲ‪ .‬ﻛﻨﻬﻦ ﮐﺎن ﮐﺴﻲ‪ /‬ﭰﺮي ﭘﻨﻬﻨﺠﻲ ﮔﻬﺮج‪ /‬ﺿﺮورت ﭘﻮري ﻛﺮڻ‬
‫ﺑﺪران ﭘﻨﻬﻨﺠﻲ ﺧﻮاﻫﺶ اﮢﭙﻮري اڌوري ﮀﮇي ﭔﻴﻦ ﺟﻲ ﮔﻬﺮﺟﻦ ﺟﻮ ﭘﻮراﺋﻮ ﻛﺮڻ ۽‬
‫ﻣﺴﻜﻴﻨﻦ ﺟﻲ ﻫﮇڏوﮐﻲ ﺑﻨﺠﮡ ۾ ﺳﻨﺪس ﻳﻘﻴﻦ آﻫﻲ‪ .‬اﻫﻮ ﻳﻘﻴﻦ ﻛﻨﻬﻦ ﺑﻪ ﻣﺎﮢﻬﻮ ﺟﻲ اﻧﺪر‬
‫۾ اﺟﺘﻤﺎﻋﻲ ﺳﻮچ ﭘﻴﺪا ﻛﺮي ﭤﻮ ۽ اﻫﺎ اﺟﺘﻤﺎﻋﻲ ﺳﻮچ روﺷﻦ ﺧﻴﺎﻟﻲ‪ ‬ﺟﻮ ﺑﻨﻴﺎد آﻫﻲ‪.‬‬
‫ان اﺟﺘﻤﺎﻋﻲ ﺳﻮچ ﺟﻲ آڌار ﺗﻲ ﺋﻲ ﻛﻮ ﻣﺎﮢﻬﻮ ﭔﻴﻦ ﺟﻲ ﺗﻜﻠﻴﻔﻦ ۽ ﮔﻬﺮﺟﻦ ﺟﻲ‬
‫اﺣﺴﺎس ﮐﻲ ﺳﻤﺠﻬﻲ ﺳﮕﻬﻲ ﭤﻮ‪ ،‬ﭼﻮﻧﺪا آﻫﻦ اﻫﻮﺋﻲ ﻣﺎﮢﻬﻮ ﭔﻴﻦ ﺟﻲ ﺗﻜﻠﻴﻔﻦ ﮐﻲ‬
‫ﭘﻨﻬﻨﺠﻮ ﺳﻤﺠﻬﻲ ﺳﮕﻬﻨﺪو آﻫﻲ‪ ،‬ﺟﻴﻜﻮ ﭘﺎڻ اﻧﻬﻦ ﻣﺎن ﮔﺬرﻳﻮ ﻫﺠﻲ ﭘﺮ ﻣﺮﻟﻲ ڌر ﺗﻪ ﻫﻚ‬
‫ﺳﮑﺌﻲ ﺳﺘﺎﺑﻲ ﻣﺎﺣﻮل ۾ ارﺑﻴﻠﻮ ﭤﻲ ﭘﻠﻴﻮ آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ﮐﻲ ﻧﻪ ﮘﭝﻲ ﺟﻲ ﮘﮣﺘﻲ ﻧﻪ ﻟﺒﺎس ﺟﻮ‬
‫‪88‬‬ ‫ﻣﺮﻟﻲ ڌر ﺟﻲ ﺷﺎﻋﺮي‪ ‬ﺟﻮ ﺗﻨﻘﻴﺪي اﭜﻴﺎس‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻓﻜﺮ‪ .‬اﻫﮍي‪ ‬ﺣﺎﻟﺖ ۾ اﻫﺎ اﺟﺘﻤﺎﻋﻲ ﺳﻮچ ﺋﻲ ﻛﻨﻬﻦ ﻣﺎﮢﻬﻮ‪ ‬ﮐﻲ ﭜﻼﺋﻲ‪ ‬واري ﻛﻢ‬
‫ڏاﻧﻬﻦ ﻣﺎﺋﻞ ﻛﺮي ﺳﮕﻬﻲ ﭤﻲ‪ .‬اﻫﻮﺋﻲ ﺳﺒﺐ آﻫﻲ ﺟﻮ ﻣﺮﻟﻲ ڌر ڊاﻛﭩﺮي‪ ‬واري‬
‫ﻫﻴﭙﻮﻛﺮﻳﭩﻚ اوٿ ﺗﻲ ﻋﻤﻞ ﻛﻨﺪي ﻫﻚ اﻫﮍي اداري ﺳﺎن ﻻﮘﺎﭘﻴﻞ آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ﺟﻮ‬
‫ﻣﻘﺼﺪ ﺻﺮف ڏﮐﻮﻳﻞ اﻧﺴﺎﻧﻴﺖ ﺟﻲ ﺧﺪﻣﺖ ﻛﺮڻ آﻫﻲ‪ .‬ﺳﻨﺪس روح ُ‬
‫ﻫﺮان ﻧﺌﻴﻦ ﻣﺮﻳﺾ‬
‫ﺟﻲ ﻧﺌﻴﻦ ﻛﻬﺎﮢﻲ‪ ‬ﺗﻲ ﺗﮍﭘﻲ اﭤﻲ ﭤﻮ ﺟﻴﻜﻮ ﺳﻤﺎج ﺟﻮ ﻛﻮ ﻣﻈﻠﻮم ﻛﺮدار آﻫﻲ‪ .‬ﭼﺎﻫﻲ‬
‫اﻫﻮ ﺑﮑﻴﻮ ﻣﻔﻠﺲ ﻣﺎﮢﻬﻮ ﻫﺠﻲ‪ ،‬ﻛﺎ ﻣﻌﺼﻮم ﻧﻴﺎﮢﻲ‪ ،‬ﻳﺎ ﻛﻮ ﭘﻮڙﻫﻮ ﻻوارث ﭘﻴﺮﺳﻦ‪،‬‬
‫ﭘﻨﻬﻨﺠﻦ ﺟﻮ ﭰﭩﻲ ﻛﻴﻞ ) ‪Dis-own‬ﭤﻴﻞ( ﭘﺮاﮢﻲ ﻣﺮض ۾ وﻛﻮڙﻳﻞ اﭔﻮﺟﻬﻪ ﻣﺎﮢﻬﻮ ُﻫﺠﻲ‪.‬‬

‫؟‬ ‫ﺌ‬ ‫ا‬

‫اﮔﻬﺎڙا ﭔﺎر‬ ‫ﭘﻴﺎر‪ ،‬ﻣﺤﺒﺖ‪ ،‬ﺳﻮﻧﻬﻦ‬
‫آﻫﻦ‬ ‫ﻋﻴﺶ‪ ،‬آرام‪ ،‬آﺳﺎﺋﺸﻮن‬
‫ﺳﭛ ﺣﻘﻴﻘﺘﻮن‬ ‫آﻫﻦ‬
‫ﺗﻨﻬﻨﺠﻲ ﺧﻮﺑﺼﻮرﺗﻲ ۽ وﻓﺎ‬ ‫ﺳﭛ ﻧﻌﻤﺘﻮن‬
‫ُﺣﺴﻦ ۽ ﭼﺎﻫﺖ‬ ‫ﻣﺴﻜﻴﻨﻲ‪ ،‬ﻏﺮﻳﺒﻲ‪ ،‬ﻧﺎداري‬
‫آﻫﻦ ُﭘﺮﻛﺸﺶ‬ ‫ﺑﮏ‪ ،‬ﺑﺪﺣﺎﻟﻲ‪ ،‬ﺑﻴﺮوزﮔﺎري‬
‫ﭘﺮ‬ ‫آﻫﻦ‬
‫ﻣﻨﻬﻨﺠﺎ دﻟﺒﺮ ﺳﺎﺋﻴﻦ‬ ‫ﺳﭛ ﻣﺼﻴﺒﺘﻮن‬
‫ﻫﮇاوان ﭘﭹﺮا‬ ‫ﻫﮇاوان ﭘﭹﺮا‬
‫ﺗﻦ اﮔﻬﺎڙا ﭔﺎر‬ ‫ﺑﻲ ﻋﻼج ﺑﻴﻤﺎر‬
‫ﻧِﭕﻞ ﻣﺎﺋﺮون‬ ‫اﮔﻬﺎڙا ﭔﺎر‬
‫۽‬ ‫آﻫﻦ‬
‫ﺑِﻨﺎ ﻋِﻼج ﺑﻴﻤﺎر‬ ‫ﺳﭛ ﻣﺼﻴﺒﺘﻮن‬
‫اِﻧﻬﻦ ﺟﻮ ﮀﺎ ﻛﺠﻲ؟‬ ‫ﻫﮇاوان ﭘﭹﺮا‬
‫ﺑﻲ ﻋﻼج ﺑﻴﻤﺎر‬
‫)اﮐﮍﻳﻮن ڏﻳﻼﻣﻦ ﮔﻬﺎﻳﻞ ص‪(46:‬‬
‫ﺷﺎﻋﺮ‪ ،‬ﻣﻮﺳﻴﻘﺎر‪ ،‬ﻣﺼﻮر‪ ،‬ڊاﻛﭩﺮ اﻧﺠﻴﺌﺮ‪ ،‬اﺳﺘﺎد ۽ ﻋﺎﻟﻢ ﻣﻄﻠﺐ ﺗﻪ زﻧﺪﮔﻲ‪ ‬ﺟﻲ ﻫﺮ‬
‫ﺷﻌﺒﻲ ﺳﺎن ﻻﮘﺎﭘﻴﻞ ﻣﺎﮢﻬﻦ ۾ ﻋﻮاﻣﻲ ﭜﻼﺋﻲ‪ ‬واري ﺳﻮچ رﮐﻨﺪڙ ﺷﺎﻣﻞ آﻫﻦ‪ .‬ﭘﺮ ﻋﺎم ﻣﺎﮢﻬﻦ‬
‫ﺗﻮڙي ﻫﻦ ﺳﺎﮘﺌﻲ ﺋﻲ ﺳﻤﺎج ﻣﺎن ﻛﻲ ﻛﺮﭜﺎﺋﻴﻨﺪڙ ﻛﺮدار اﻫﮍا ﺑﻪ اﭜﺮن ﭤﺎ‪ ،‬ﺟﻦ ﺟﻲ‬
‫ذﻛﺮ ﺗﻲ ﺷﺎﻋﺮ ﺗﻮڙي ادﻳﺐ ﺟﻮ ﻗﻠﻢ رﻛﺠﻲ وﭸﻲ ﭤﻮ‪ ،‬ﻣﺼﻮر ﮐﺎن ﺑﺮش وﺳﺮي وﭸﻲ ﭤﻮ‪،‬‬
‫ڊاﻛﭩﺮ ﮔﻨﮓ ﭤﻲ وﭸﻲ ﭤﻮ ۽ اﻫﮍي‪ ‬ﻃﺮح ﻫﺮذي ﺷﻌﻮر ﻣﺎﮢﻬﻮ‪ ‬ﺟﻮ ذﻫﻦ ﺳﻮﭼﮡ وﺳﺎري‬
‫وﻳﻬﻲ ﭤﻮ‪ .‬اﻫﻮ ﻣﻌﺎﺷﺮي ﺟﻮ ﻧﺎﺳﻮر آﻫﻲ ﺟﻨﺴﻲ ﻫﻮس ﭘﺮﺳﺘﻲ‪ .‬اﻫﻮ ﻣﺮض ﺳﻤﺎج ۾ ﻫﻚ‬
‫‪89‬‬ ‫ﻣﺮﻟﻲ ڌر ﺟﻲ ﺷﺎﻋﺮي‪ ‬ﺟﻮ ﺗﻨﻘﻴﺪي اﭜﻴﺎس‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫روڳ واﻧﮕﺮ آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ﺟﻮ ﻋﻼج ﻛﻨﻬﻦ ﺑﻪ ﻣﺴﻴﺤﺎ وٽ ﻳﺎ اﺳﭙﺘﺎل ۾ ﻧﺎﻫﻲ اﻫﻮ ﻣﺮض‬
‫ﭘﺎﻟﻴﻨﺪڙ ﭔﻦ ﭨﻨﮕﻦ ﺗﻲ ﻫﻠﻨﺪڙ وﺣﺸﻲ ﺟﺎﻧﻮر آﻫﻦ‪ ،‬ﺟﻦ ﮐﻲ ﻣﺎﮢﻬﻮ ﻳﺎ اﻧﺴﺎن ﭼﻮڻ ﻣﺎﮢﻬﭙﻲ ۽‬
‫اﻧﺴﺎﻧﻴﺖ ﺟﻲ ﺗﻮﻫﻴﻦ آﻫﻲ‪ .‬ﺳﻨﺪن ﻛﮅن ﻛﺮﺗﻮﺗﻦ ﺗﻲ ﻫﻮن‪ ‬ﺋﻲ دﻧﻴﺎ ﮐﻴﻦ ﻧﻨﺪي ﭤﻲ ﭘﺮ‬
‫ﺟﮇﻫﻦ ﺳﻨﺪن ﺷﻜﺎر ﻣﻌﺼﻮم اﺑﻬﻢ ﻧﻴﺎﮢﻴﻮن ﺑﮣﺠﻦ ﭤﻴﻮن‪ ،‬ﺗﮇﻫﻦ ﻛﺎﺋﻨﺎت ﺑﻪ ﻟﺮزي وﭸﻲ‬
‫ﭤﻲ‪ .‬ﻣﺮﻟﻲ ڌر ﻫﻚ اﻫﮍي دردﻧﺎڪ واﻗﻌﻲ ﮐﻲ ﺗﻤﺎم ﻣﺨﺘﺼﺮ ﭘﺮ ﻫﻴﺎﻧﻮ ﺟﻬﻮرﻳﻨﺪڙ اﻧﺪاز ۾‬
‫ﺑﻴﺎن ﻛﻴﻮ آﻫﻲ‪ .‬ﭔﺎرڙﻳﻦ ﺳﺎن ﻟﭵﺎﻟﭧ وارا واﻗﻌﺎ اﻛﺜﺮ ُﭔﮅڻ ۾ اﻳﻨﺪا آﻫﻦ‪ .‬ﺟﻨﻬﻦ واﻗﻌﻲ‬
‫ﺟﻲ ﭘﺲ ﻣﻨﻈﺮ ۾ ُﻣﺮﻟﻲ ڌر ﺟﻲ ﺷﺎﻋﺮي ﻫﻴﭟ ﭘﻴﺶ ﻛﺠﻲ ﭤﻲ‪ُ ،‬اﻫﻮ اﻳﺘﺮو ﺗﻪ دردﻧﺎڪ ﻫﻮ‬
‫اﻫﻞ ﻗﻠﻢ وٽ ﻟﻔﻆ ﻧﻪ ﻫﻮﻧﺪا‪ .‬ﺑﺲ رﮘﻮ ﻫﻚ ﮔﻨﮓ‬ ‫ُ‬
‫ﺟﻮ ان ﺟﻲ ﺑﻴﺎن ﻻ‪ ‬ﻛﻨﻬﻦ ﺑﻪ اﻧﺴﺎن ۽ ِ‬
‫ﭤﻲ وﻳﻞ زﺑﺎن ۽ ذﻫﻦ ﺗﻲ اِﻫﻲ ُﺳﻮال ُاﭜﺮن ﭤﺎ ﺗﻪ ﮀﺎ اِﻧﺴﺎن اﻳﺘﺮو رذﻳﻞ ﺑﻪ ﭤﻲ ﺳﮕﻬﻲ ﭤﻮ؟ ﮀﺎ‬
‫ﺷﻴﻄﺎﻧﻴﺖ ﺟﻲ ﭔﻲ ﻛﺎ وﺻﻒ ﻫﻮﻧﺪي؟ ۽ اﻫﻮ ﺗﻪ اﻫﻲ ﻫﻚ ﺑﻪ ﻧﻪ‪ ،‬ﭔﻪ ﺑﻪ ﻧﻪ ُﭘﻮرا ﭼﺎر ﻣﺎﮢﻬﻮ‬
‫ﭘﻨﻬﻨﺠﻴﻦ ﻧﻴﺎﮢﻴﻦ ﺳﺎن اﮐﻴﻮن ﻣﻼﺋﻲ ﻛﻴﺌﻦ ﮘﺎﻟﻬﺎﺋﻴﻨﺪا ُﻫﻮﻧﺪا ﻳﺎ اﻧﻬﻦ ﻧﻴﺎﮢﻲ‪ ‬ﮐﻲ ڌي‪‬‬
‫ﺟﻬﮍي ﭔﺎﺟﻬﺎري ُروپ ۾ ﻛﮇﻫﻦ ﻧﻪ ڏﭠﻮ ﻫﻮﻧﺪو؟‬
‫ﺌ‬
‫ﻣﻌﺼﻮم‬ ‫ﭼﺎﻫﺖ‬ ‫ﻣﻨﺰل‬
‫ﻧﻨﮃڙي‬ ‫ﭘﻴﺎر‬ ‫ﻣﺤﺒﺖ‬
‫ﻧﺎزڪ‬ ‫۽‬ ‫ﺗﻮن‬
‫۽ ُﻫﻮﭼﺎر‬ ‫ﺗﻮن‬ ‫۽ ﻣﺎن‬

‫ﺣﺎﻛﻢ‬ ‫ﻗﺘﻞ‬ ‫واﺳﻴﻨﮓ‬

‫ﭔﻮڙا‬ ‫ﭼﻮرﻳﻮن‬ ‫رﻫﺰن‬
‫ُﮔﻮﻧﮕﺎ‬ ‫ڌاڙا‬ ‫ﻗﻮرو‬
‫۽ ﻻﭼﺎر‬ ‫۽‬ ‫۽ ُﻫﻮ‪‬‬
‫ﺧﻮدﻛﺸﻲ‬ ‫ﺧﻮﺑﺼﻮرﺗﻲ‬
‫)اﮐﮍﻳﻮن ڏﻳﻼ ﻣﻦ ﮔﻬﺎﻳﻞ‪-‬ض‪(71-70 :‬‬
‫آزادي اﻧﺴﺎن ﺟﻮ ﺑﻨﻴﺎدي ﺣﻖ آﻫﻲ‪ ،‬ﮐﺎﺋﮡ ﭘﻴﺌﮡ ۽ ﭘﺎﺋﮡ اوڍڻ ﮐﺎن وﭠﻲ زﻧﺪﮔﻲ‬
‫ﮔﺬارڻ ﺟﻮ اﻧﺪاز ﭼﻮﻧﮉڻ ﺟﻲ آزادي‪ ،‬ﻣﻌﺎﺷﺮي ۾ ﺑﻨﺎروڪ ﭨﻮڪ ﺟﻲ ﻫﻠﮡ ﮔﻬﻤﮡ ﺟﻲ‬
‫آزادي‪ ،‬ﭘﻨﻬﻨﺠﻲ را‪ ‬ﺟﻲ اﻇﻬﺎر ﻛﺮڻ ﺟﻲ آزادي وﻏﻴﺮه وﻏﻴﺮه‪ .‬اﻫﻲ ﺳﭛ آزادﻳﻮن ﻫﻚ‬
‫ﻋﺎم اﻧﺴﺎن ﺟﻲ ﺑﻨﻴﺎدي ﮔﻬﺮﺟﻦ ۾ ﺷﺎﻣﻞ ﭤﻴﻦ ﭤﻴﻮن‪ .‬ﺟﻴﺘﻮﮢﻴﻚ اڄ ﺟﻮ اﻧﺴﺎن اﻫﻲ ﺳﭛ‬
‫آزادﻳﻮن ﻣﻠﮡ ﺟﻲ ﺑﺎوﺟﻮد ﻛﻦ ﻣﺸﻜﻼﺗﻦ ۾ ﭘﮡ ﻗﻴﺪ آﻫﻲ‪ .‬ﮐﺎﺋﮡ ﭘﻴﺌﮡ ﭘﺎﺋﮡ اوڍڻ ﻻ‪ ‬ﻫﻮ‬
‫آزاد ﺗﻪ آﻫﻲ‪ ،‬ﭘﺮ اﻫﻲ وﺳﻴﻼ ﻛﭥﺎن آﮢﻲ ﺟﻮ ان آزادي‪ ‬ﺟﻮ ﺳﺮور ﻣﺤﺴﻮس ﻛﺮي‬
‫ﺳﮕﻬﻲ؟ ﻣﻌﺎﺷﺮي ۾ اﭤﮡ وﻳﻬﮡ ﺟﻲ آزادي‪ ‬آﻫﻲ ﭘﺮ ﻫﻚ ﻏﺮﻳﺐ ﻣﺎﮢﻬﻮ ﻣﭩﻦ ﻣﺎﺋﭩﻦ ﺳﺎن‬
‫‪90‬‬ ‫ﻣﺮﻟﻲ ڌر ﺟﻲ ﺷﺎﻋﺮي‪ ‬ﺟﻮ ﺗﻨﻘﻴﺪي اﭜﻴﺎس‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻣﻠﮡ ﺟﻲ ﺧﻮاﻫﺶ ﻛﺮڻ ﮐﺎن اڳ ۾ ﺳﻔﺮي ﺧﺮچ ﻻ‪ ‬ﭜﺎڙي ﻛﺮاﺋﻲ ﺟﻮ ﺣﺴﺎب ﻛﺮي‪،‬‬
‫ﺟﮇﻫﻦ ﻛﺎﭤﻮ ﻛﺮي ﭤﻮ ﺗﻪ ﻣﻌﺎﺷﻲ ﻣﺴﺌﻠﻦ ﺟﻲ ﭴﺎر ۾ ﭜﻴﮣﻴﻦ ﭜﺎﺋﺮن ﻣﭩﻦ ﻣﺎﺋﭩﻦ ﺟﻲ‬
‫ﻣﺤﺒﺖ ﺑﻪ وﺳﺮي وﭸﻴﺲ ﭤﻲ‪ ،‬ﺷﺨﺼﻲ ﻃﻮر ﺗﻲ آزاد اﻧﺴﺎن ﻣﻌﺎﺷﻲ ﻣﺴﺌﻠﻦ ۽ ﺳﻤﺎﺟﻲ‬
‫ﻣﺸﻜﻼﺗﻦ ۾ ﻗﻴﺪ آﻫﻲ‪ ،‬ﺟﻴﻜﻲ ﮐﻴﺲ ذﻫﻨﻲ ﻃﻮر وﻳﮙﺎﮢﻮ ۽ ﻧﺴﺘﻮ ﻛﺮڻ ﻻ‪ ‬ﻛﺎﻓﻲ‬
‫آﻫﻦ‪ .‬اﻫﮍي وﻗﺖ ۽ اﻧﻬﻦ ﺣﺎﻟﺘﻦ ۾ اﻧﺴﺎن رﮘﻮ ﭘﻨﻬﻨﺠﻲ ﺣﻮﺻﻠﻲ ﺟﻲ ﭔﻞ ﺗﻲ ﺋﻲ ﻫﻠﻲ‬
‫ﺳﮕﻬﻲ ﭤﻮ‪ .‬ﻣﻌﺎﺷﻲ ﻣﺴﺌﻠﻦ ﮐﻲ ﭘﻨﻬﻨﺠﻲ ﻣﺤﻨﺖ‪ ،‬ﻣﺴﻠﺴﻞ ﺟﺎﮐﻮڙ ۽ اﻋﺘﻤﺎد ﺳﺎن ﺋﻲ ﻣﻨﻬﻦ‬
‫ڏﺋﻲ ﺳﮕﻬﻲ ﭤﻮ‪ .‬ﭔﻴﻦ ﺟﻲ ُﺳﮑﻦ‪ ،‬ﺳﻬﻮﻟﺘﻦ ﮐﻲ ڏﺳﻲ ﻫﻴﺎن‪ ‬ﻫﺎرڻ ﺑﺪران ﭘﻨﻬﻨﺠﻲ ﺳﺎدي‬
‫ﺳﻮدي زﻧﺪﮔﻲ‪ ‬ﮐﻲ ﺧﻮداﻋﺘﻤﺎدي‪ ‬ﺳﺎن ﮔﺬاري ﺳﻜﻮن ﺳﺎن رﻫﻲ ﺳﮕﻬﻲ ﭤﻮ‪ .‬اﻫﻮﺋﻲ ﻓﻜﺮ‬
‫آﻫﻲ ﺟﻴﻜﻮ ﻣﺮﻟﻲ ڌر ﺟﻲ ﻫﻦ ﻧﻈﻢ ﻣﺎن ﻇﺎﻫﺮ ﭤﺌﻲ ﭤﻮ ﺗﻪ ﻣﺸﻜﻼﺗﻦ ۾ ﭘﺎڻ ﮐﻲ ﻗﻴﺪ‬
‫ﺳﻤﺠﻬﮡ ﺑﺪران ﭘﻨﻬﻨﺠﻲ ذﻫﻨﻲ وﺳﻴﻊ اﻟﻨﻈﺮي‪ ‬ﺳﺎن اﮘﺘﻲ وڌو‪ ،‬ﻣﺴﺌﻠﻦ ﺟﻮ ﺷﻜﺎر ﺑﮣﺠﻲ‬
‫وﭸﮡ ﺑﺪران ﻣﺴﺌﻠﻦ ﮐﻲ ﻣﻨﻬﻦ ڏﻳﮡ ﺟﻮ ﺣﻮﺻﻠﻮ ڌارﻳﻮ ۽ ﭘﻨﻬﻨﺠﻲ ﺷﻌﻮري ﻗﻮت ﮐﻲ‬
‫اﺳﺘﻌﻤﺎل ﻛﺮي ﭘﻨﻬﻨﺠﻲ ﺣﻘﻦ ﺟﻲ آﮔﺎﻫﻲ رﮐﻮ ﺗﻪ اوﻫﻴﻦ آزاد آﻫﻴﻮ‪ .‬ﻫﻲ‪ ‬ﻧﺌﻮن دور آﻫﻲ‬
‫ﭘﺮاﮢﻴﻦ ﻓﺮﺳﻮدﻫﻪ ﻃﺮﻳﻘﻦ ۾ ﻣﺎﮢﻬﻮ رﮘﻮ ﺣﺎﻛﻤﻦ ﺟﻮ ﻏﻼم ﻧﻪ ﻫﻮ ﭘﺮ ﻫﺎري‪ ‬ﻣﺰدور ۽ ﻛﺎرﻧﺪي‬
‫ﺟﻲ ﺣﻴﺜﻴﺖ ۾ ﺑﻪ ﻏﻼم ﺳﻤﺠﻬﻴﻮ وﻳﻨﺪو ﻫﻮ ﻳﻌﻨﻲ اﻧﺴﺎن اﻧﺴﺎن وٽ ﻗﻴﺪ ﻫﻮ‪ .‬ان ﺟﻲ ﭜﻴﭧ ۾‬
‫اڄ ﺟﻮ ﻫﺎري ۽ ﻣﺰدور ﭘﻨﻬﻨﺠﺎ ﺣﻖ ﭼﮝﻲ‪ ‬ﻃﺮح ﺳﻤﺠﻬﻲ ﺑﻪ ﭤﻮ ﺗﻪ اﻧﻬﻦ ﺟﻲ ﺣﺎﺻﻼت ﺟﻮ‬
‫ﺷﻌﻮر ﺑﻪ رﮐﻲ ﭤﻮ‪ .‬ﻧﺌﻴﻦ دور ﺟﻲ اﻧﺴﺎن وٽ اﻧﺴﺎن ﺟﻮ ﻏﻼم ﭤﻲ رﻫﮡ وارو ﺗﺼﻮر ﮔﻬﭧ ﭤﻲ‬
‫رﻫﻴﻮ آﻫﻲ ۽ ﺟﻴﻜﻮ اﻧﺴﺎن ان ﺷﻌﻮر ﺟﻮ ﻣﺎﻟﻚ آﻫﻲ اﻫﻮﺋﻲ ﺣﻘﻴﻘﺖ ۾ آزاد آﻫﻲ‪.‬‬
‫آزاد ا ﺌن‬
‫ﺳﺮﻣﺎﺋﻴﺪار ﺟﻲ ﻛﺎرﺧﺎﻧﻲ ﺗﻲ‬ ‫ﮐﻮﭘﺎ ﭼﺎڙﻫﻲ‬
‫ڏﻳﻨﻬﻦ رات ﻛﻢ ﻛﻨﺪڙ‬ ‫ﮐﻮﻫﻪ ﺟﻲ ﮔِﺮد ﭰﺮﻧﺪڙ‬
‫ﻣﺰدور ﻧﺎﻫﻴﺎن‬ ‫ڏاﻧﺪ ﻧﺎﻫﻴﺎن‬
‫ﻣﺎن ُدﻧﻴﺎ ﮐﺎن‬ ‫ﺟﻬﺎزن ﺟﺎ ﭼﭙﻮ ﻫﻼﺋﻴﻨﺪڙ‬
‫وﻳﺮاڳ ورﺗﻞ‬ ‫ﻏﻼم ﻧﺎﻫﻴﺎن‬
‫ﻣﺎن ﭘﻨﻬﻨﺠﻲ ﻣﺴﺌﻠﻦ‬ ‫ﺷﺎدي ﭘﺮﮢﺎﻳﻞ‬
‫۽ ﺣﻘﻦ ﮐﺎن ﺑﺎﺧﺒﺮ‬ ‫ﻛﻨﻮار ﻧﺎﻫﻴﺎن‬
‫آزاد اﻧﺴﺎن آﻫﻴﺎن‬ ‫وڏﻳﺮي ﺟﻲ زﻣﻴﻦ ﺗﻲ‬
‫ﺧﺎﻧﺪان ﺳﻮڌو ﺧﺮﻳﺪﻳﻞ‬
‫ﻫﺎري ﻧﺎﻫﻴﺎن‬
‫)اﮐﮍﻳﻮن ڏﻳﻼ ﻣﻦ ﮔﻬﺎﻳﻞ‪-‬ض‪(75 :‬‬
‫ﺳﻨﮅ ﺻﺪﻳﻦ ﮐﺎن وﭠﻲ ڏاڍ ۽ ﻫﻜﺎ‪ ‬ﺟﻮ ﺷﻜﺎر رﻫﻲ آﻫﻲ‪ ،‬ﺧﻠﻴﻔﻲ ﻧﺒﻲ ﺑﺨﺶ ﺟﻲ‬
‫ﻛﻴﮇاري ﮐﺎن وﭠﻲ ﺳﻨﮅ ﺟﻲ ﺗﻘﺮﻳﺒﺎً ﻫﺮ ﺷﺎﻋﺮ ﺟﻲ ﻛﻼم ۾ ﻣﺰاﺣﻤﺖ وارو ﻋﻨﺼﺮ ﺷﺎﻣﻞ‬
‫آﻫﻲ‪ .‬ﻛﻮ دور ﻫﻮ ﺟﮇﻫﻦ وڏي ﮐﺎن وڏو اﮢﻮﻧﺪڙ واﻗﻌﻮ ﭤﻴﻨﺪو ﻫﻮ ﭘﺮ ﻛﻦ ﭔﺎﭔﺮ ﺑﻪ ﻧﻪ ﭘﻮﻧﺪي‬
‫‪91‬‬ ‫ﻣﺮﻟﻲ ڌر ﺟﻲ ﺷﺎﻋﺮي‪ ‬ﺟﻮ ﺗﻨﻘﻴﺪي اﭜﻴﺎس‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻫﺌﻲ ﻳﺎ ﻣﻴﮉﻳﺎ وﺳﻴﻠﻲ ﺻﺤﻴﺢ اﻧﺪاز ۾ ﻣﺎﮢﻬﻦ ﺗﺎﺋﻴﻦ ان ﺟﻮن ﺣﻘﻴﻘﺘﻮن ﻧﻪ ﭘﻬﭽﻲ‬
‫ﺳﮕﻬﻨﺪﻳﻮن ﻫﻴﻮن‪ .‬ﭘﺮ ﻫﻲ‪ ‬ﺳﻮﺷﻞ ﻣﻴﮉﻳﺎ ﺟﻮ دور آﻫﻲ ۽ ﺧﺎص ﻃﻮر ﺗﻲ ﻧﻮﺟﻮان ﻃﺒﻘﻮ دﻧﻴﺎ‬
‫ﺳﺎن ﮘﺎﻧﮃاﭘﻮ رﮐﻨﺪڙ آﻫﻲ ۽ دﻧﻴﺎ ﺟﻲ ﻛﻨﮉ ﻛﮍڇ ۾ ﭤﻴﻨﺪڙ ﺗﺒﺪﻳﻠﻲ‪ ‬ﺟﻲ ﺧﺒﺮ ﭼﻨﺪ ﻣﻨﭩﻦ‬
‫۾ ﭰﻬﻠﺠﻲ وﭸﻲ ﭤﻲ‪ .‬ﺳﻨﮅ ﺟﻮ ﻧﻮﺟﻮان ان ﭴﺎڻ ﮐﺎن ﺑﻪ آﮔﺎﻫﻪ آﻫﻲ ﺗﻪ دﻧﻴﺎ ﺟﻲ رد ﻋﻤﻞ ﮐﺎن‬
‫ﺑﻪ واﻗﻒ آﻫﻲ‪ ،‬اﻫﮍي ﮐﻠﻴﻞ ﻣﺎﺣﻮل ۾ ﻫﻮ ﭘﻨﻬﻨﺠﻲ‪ ‬را‪ ‬ﺟﻮ اﻇﻬﺎر ﺑﻪ ﻛﺮي ﭤﻮ ۽ ﮐﻠﻴﻞ‬
‫ﻣﺰاﺣﻤﺖ ﺑﻪ ﻛﺮي ﭤﻮ‪ .‬ﻣﺬﻫﺒﻲ اﻧﺘﻬﺎﭘﺴﻨﺪي‪ ‬ﺟﻲ آڙ ۾ ﻳﻮﻧﻴﻮرﺳﭩﻴﻦ ﺟﻲ ﺷﺎﮔﺮدن ﺟﻮ ﻗﺘﻞ‬
‫ﻫﺠﻲ ﻳﺎ ﻛﻨﻬﻦ ﮘﻮٺ ۾ ﻛﻨﻬﻦ ﻏﺮﻳﺐ ﺳﺎن زﻳﺎدﺗﻲ ﭤﻴﻨﺪي ﻫﺠﻲ‪ .‬ﺳﻮﺷﻞ ﻣﻴﮉﻳﺎ وﺳﻴﻠﻲ‬
‫ﻧﻪ رﮘﻮ ﻣﺰاﺣﻤﺖ ﭤﺌﻲ ﭤﻲ ﺑﻠﻜﻪ ان ﺟﻲ اﺛﺮ ﻛﺮي ﻛﻴﺘﺮاﺋﻲ ﻣﺴﺌﻼ ﺣﻞ ﺑﻪ ﭤﻲ وﭸﻦ ﭤﺎ‪.‬‬
‫‪18‬ﻫﻴﻦ آﻛﭩﻮﺑﺮ ﻛﺎر ﺳﺎز وارو ﺳﺎﻧﺤﻮ‪ ،‬ﺑﻠﺪﻳﻪ ﻛﺮاﭼﻲ‪ ‬وارو ﺳﺎﻧﺤﻮ‪ 12 ،‬رﺑﻴﻊ اﻻول‬
‫وارو اﻳﻢ اي ﺟﻨﺎح روڊ ﺗﻲ ﭤﻴﻨﺪڙ دﻫﺸﺘﮕﺮدي‪ ‬وارو ﺳﺎﻧﺤﻮ‪ ،‬ﮐﺎري در ۽ ﺑﻮﻟﭩﻦ ﻣﺎرﻛﻴﭧ‬
‫ﻛﺮاﭼﻲ‪ ‬وﻳﺠﻬﻮ ﭤﻴﻞ دﻫﺸﺘﮕﺮدي‪ ‬وارو واﻗﻌﻮ ﺟﻨﻬﻦ ۾ ﻏﺰاﻻ ﺑﺘﻮل ﺻﺪﻳﻘﻲ‪ ‬ﺟﻲ ﺷﻬﺎدت‬
‫ﭤﻲ‪ .‬اﻫﻲ ۽ اﻫﮍا ﻛﻴﺘﺮاﺋﻲ ﭔﻴﺎ ﮐﻠﻴﻞ دﻫﺸﺘﮕﺮدي‪ ‬وارا واﻗﻌﺎ آﻫﻦ‪ ،‬ﺟﻦ ﺗﻲ اﭴﻮﻛﻮ‬
‫ﻧﻮﺟﻮان ﺷﺎﻋﺮ ﻗﻠﻢ ﮐﮣﮡ ﭘﻨﻬﻨﺠﻮ ﻓﺮض ﺳﻤﺠﻬﻲ ﭤﻮ‪ .‬ﻫﻮ ﻗﻠﻢ ﺟﻲ ﻃﺎﻗﺖ ﺳﺎن ان وﺣﺸﺖ‬
‫ﺧﻼف ﻣﺰاﺣﻤﺖ ﺟﻮ اﻋﻼن ﻛﺮي اﻧﺴﺎﻧﻴﺖ ﺟﻲ دﺷﻤﻨﻦ ﮐﻲ ﻟﻠﻜﺎري ﺑﻪ ﭤﻮ ﺗﻪ ﭘﻨﻬﻨﺠﻲ‪‬‬
‫ﭘﻜﺎر ﺳﺎن ﺳﻨﺪن ﺳﺘﻞ ﺿﻤﻴﺮ ﮐﻲ ﺟﺎﮘﺎﺋﮡ ﺟﻲ ﻛﻮﺷﺶ ﭘﮡ ﻛﺮي ﭤﻮ‪.‬‬
‫ﻣﺮﻟﻲ ڌر ﻫﻚ ﻣﺴﻴﺤﺎ آﻫﻲ‪ .‬ﻣﺰاﺣﻤﺖ ۽ ﻣﺴﻴﺤﺎﺋﻲ ﭔﻪ ُﺟﺪا ُﺟﺪا ﺗﺼﻮر آﻫﻦ ﭘﺮ‬
‫ﺳﻤﺎج ۾ ﭤﻴﻨﺪڙ ڏاڍ ۽ ﻧﺎاﻧﺼﺎﻓﻲ‪ ‬ﺗﻲ ﻛﻮ ﺑﻪ ﺑﺎﺷﻌﻮر اﻧﺴﺎن ﻣﺰاﺣﻤﺖ ﮐﺎن ﭘﺎڻ ﮐﻲ‬
‫روﻛﻲ ﻧﻪ ﭤﻮ ﺳﮕﻬﻲ ﮀﺎﻛﺎڻ ﺗﻪ ُاﻫﻮ ﺷﻌﻮر ﺋﻲ آﻫﻲ‪ ،‬ﺟﻴﻜﻮ ﻏﻠﻂ ﮐﻲ ﺻﺤﻴﺢ ﭼﻮڻ ﮐﺎن‬
‫روﻛﻲ ﭤﻮ؛ ﻏﻠﻂ ﮐﻲ ﻏﻠﻂ ﭼﻮڻ ﺟﻲ ﺳﮕﻬﻪ ڏﺋﻲ ﭤﻮ ۽ ﻏﻠﻄﻲ‪ ‬ﺟﻲ َورﺟﺎ‪ ‬ﺗﻲ ﻣﺰاﺣﻤﺖ‬
‫ﻛﺮي ﭤﻮ‪ .‬ﻣﺮﻟﻲ ڌر ﺟﻮ ﻫﻚ ﻧﻈﻢ ڏﺟﻲ ﭤﻮ ﺟﻴﻜﻮ ُﻫﻦ ‪18‬ﻫﻴﻦ آﻛﭩﻮﺑﺮ ‪2007‬ع ﺗﻲ ﭘﻴﺶ‬
‫آﻳﻞ ﻛﺎر ﺳﺎز واري ﺳﺎﻧﺤﻲ ﺟﻲ ﭘﺲ ﻣﻨﻈﺮ ۾ ﻟﮑﻴﻮ آﻫﻲ؛‬
‫ﺐ ﺐﺌرود‬
‫ﻣﺎ‪ ‬رڙي ﭤﻲ‪ ،‬ﭘﺎر ﻛﮃي ﭤﻲ‬ ‫ﺑﻢ ﺑﺎرود ﺟﻮن اﮐﻴﻮن ﻧﺎﻫﻦ‬
‫ﻧﻴﻨﮕﺮ ﭘﻨﻬﻨﺠﻲ ﻻ‪ ‬ﮘﺮي ﭤﻲ‬ ‫ﻫﻲ ﺟﻴﻜﻮ ﺗﻮن رت ڏﺳﻴﻦ ﭤﻮ‬
‫ﭼﺌﻲ ﺳﮕﻬﻴﻦ ﭤﻮ ڏوﻫﻪ اﻣﮍ ﺟﻮ ﻛﻬﮍو آﻫﻲ؟‬ ‫ﻛﻨﻬﻦ ﻣﻌﺼﻮم ﺟﻮ ﻫﭣ ڏﺳﻴﻦ ﭤﻮ‬
‫ﻣﺬﻫﺐ ﻧﺎﻟﻲ ﭘﺎپ ﻛﺮﻳﻦ ﭤﻮ‬ ‫ﭼﺌﻲ ﺳﮕﻬﻴﻦ ﭤﻮ ﻛﻨﻬﻦ ﺟﻮ آﻫﻲ؟‬
‫ﻛﻴﺲ ﻛﺮﻳﻦ ﭤﻮ‬ ‫ﺑﻲ ڏوﻫﻴﻦ ﺳﺎن ِ‬ ‫ُاڀ ڏارﻳﻨﺪڙ داﻧﻬﻦ ُﭔﮅﻳﻦ ﭤﻮ‬
‫ﭼﺌﻲ ﺳﮕﻬﻴﻦ ﭤﻮ اِﻫﻮ ﻣﺬﻫﺐ ﻛﻬﮍو آﻫﻲ؟‬ ‫ﭼﺌﻲ ﺳﮕﻬﻴﻦ ﭤﻮ ﻛﻨﻬﻦ ﺟﻲ آﻫﻲ؟‬
‫ﺑﻢ ﺑﺎرودن ﮐﻲ اﮐﻴﻮن ﻧﺎﻫﻦ‬ ‫ﭼﭽﺮﻳﻞ ﭼﻬﺮا‪َ ،‬وڍﻳﻞ َﭨﻨﮕﻮن‬
‫ﺑﺎرودن ﺟﻮ دﻳﻦ ﻧﻪ ﻛﻮﺋﻲ‬ ‫َڌڙ ﺟﺴﻢ ﮐﺎن ڌار ڏﺳﻴﻦ ﭤﻮ‬
‫۽ ﻧﻪ آﻫﻲ ﻣﺬﻫﺐ ﻛﻮﺋﻲ!‬ ‫ﭼﺌﻲ ﺳﮕﻬﻴﻦ ﭤﻮ ﻛﻨﻬﻦ ﺟﻮ آﻫﻲ؟‬
‫)اڻ ﮀﭙﻴﻞ ڊاﺋﺮي‪ ‬ﺗﺎن ورﺗﻞ(‬
‫‪92‬‬ ‫ﻣﺮﻟﻲ ڌر ﺟﻲ ﺷﺎﻋﺮي‪ ‬ﺟﻮ ﺗﻨﻘﻴﺪي اﭜﻴﺎس‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫دﻫﺸﺘﮕﺮي‪ ‬ﺟﺎ اﻫﻲ واﻗﻌﺎ روز ﻣﺮﻫﻪ ﺟﻮ ﻣﻌﻤﻮل ﺑﮣﺠﻲ وﻳﺎ آﻫﻦ‪ .‬ﻋﺎم ﻃﻮر ﺗﻲ ﺗﻪ‬
‫ﻣﺎﮢﻬﻮ اﺧﺒﺎر ﻳﺎ ﭨﻴﻠﻴﻮﻳﺰن ﺗﻲ ﺧﺒﺮ ُﺑﮅي وري ﭘﻨﻬﻨﺠﻲ وﻫﻨﻮار ۾ ﻣﺼﺮوف ﭤﻲ وﭸﻦ ﭤﺎ ﭘﺮ‬
‫اﻧﻬﻦ اﺳﭙﺘﺎﻟﻦ ۾ ڊاﻛﭩﺮن ۽ ﭔﻴﻦ ﻛﻢ ﻛﻨﺪڙ ﻋﻤﻠﻲ ﺟﻲ ذﻫﻨﻲ ﻛﻴﻔﻴﺖ ﻛﻬﮍي ﭤﺌﻲ‬
‫ﭤﻲ‪ ،‬ﺟﻴﻜﻲ روزاﻧﻲ ﺷﻴﮉﻳﻮل ۾ ‪ Gunshot‬ﺗﻮڙي ﭔﻮرﻳﻦ ۾ ﺑﻨﺪ ۽ ﻫﺮ ﻃﺮح ﺟﻲ اڌ ﺟﻴﺌﺮن ۽‬
‫زﻧﺪﮔﻲ وﭸﺎﺋﻴﻨﺪڙ ﻣﻌﺼﻮم ﺟﺎﻧﻴﻦ ﺟﻲ ﭼﻜﺎس ﻛﻨﺪا رﻫﻦ ﭤﺎ؟ اِﻫﻲ ﺑﻪ ﺗﻪ اِﻧﺴﺎن آﻫﻦ‪.‬‬
‫اِﻧﻬﻦ روﺋﻨﺪڙ‪ ،‬ﺟﻬﭵﻨﺪڙ ﭼﻬﺮن ﮐﻲ ڏﺳﻲ ﮀﺎ ﺳﻨﺪن اﻧﺪر ُاڌﻣﺎ ﻧﻪ ﮐﺎﺋﻴﻨﺪو ﻫﻮﻧﺪو؟ ﺑﻠﻜﻞ‬
‫اﻧﻬﻦ ﮐﻲ اﺣﺴﺎس ﭤﻴﻨﺪو ﻫﻮﻧﺪو‪ .‬ان اﺣﺴﺎس ﺟﻲ ﻫﻚ ﺟﻬﻠﻚ ُﻣﺮﻟﻲ ڌر ﺟﻲ ﻫﻦ ﻧﻈﻢ ۾‬
‫ﻧﻈﺮ اﭼﻲ ﭤﻲ‪.‬‬

‫ﻗﻬﺮي ﺷﺎم ﺟﻲ ﻳﺎد ڏﻳﺎري رﻫﻴﺎ ﻫﺌﺎ‬ ‫واﺋﮍا‪ ،‬ڊﻧﻞ ﻣﺎﮢﻬﻮ‬

‫ﺟﻨﻬﻦ ﺷﺎم ﻣﺎﮢﻬﻦ ﺟﺎ ُﻣﮍﻫﻪ‬ ‫وڌواﺋﻦ ﺟﻲ َورﻻپ ﺟﻬﮍﻳﻮن‬
‫ُﻣﻨﮃﻳﻮن‪ ،‬ﭔﺎﻧﻬﻮن ۽ َڌڙ‬ ‫داﻧﻬﻮن ﻛﻨﺪڙ‬
‫رﺳﺘﻲ ﺗﻲ اﺋﻴﻦ ِوﮐﺮﻳﻞ ُﻫﺌﺎ‬ ‫ﮘﺎڙﻫﻴﻦ ﺑﺘﻴﻦ وارﻳﻮن‬
‫ﭴﮡ ﻛﻮ ﻣﻮت ﺟﻮ راﻛﺎس‬ ‫اﻳﻤﺒﻮﻟﻨﺲ ﮔﺎڏﻳﻮن‬
‫ﭘﻨﻬﻨﺠﻲ ﺑﺪﻧﻤﺎ ﺻﻮرت ﮐﮣﻲ‬ ‫ﻫﻴﻨﺌﮍو ڏارڻ ۾ ﻣﺼﺮوف‬
‫ﺟﻴﺌﺮي ﺟﺎﮘﻨﺪي وﺳﺘﻲ‪ ‬ﮐﻲ‬ ‫واﺋﮍا‪ ،‬ڊﻧﻞ ﻣﺎﮢﻬﻮ‬
‫اوﻧﺪاﻫﻲ‪ ‬ڏاﻧﻬﻦ ِڌﻛﻲ‬ ‫ﭘﻨﻬﻨﺠﻲ ﺟﮕﺮ ُﭨﻜﺮن‬
‫َﭨﻬﻜﮍا ﻟﮙﺎﺋﻴﻨﺪو ﻫﺠﻲ‬ ‫ﺟﻲ ﮘﻮﻻ ۾‬
‫اﻧﺴﺎﻧﻴﺖ ﮐﻲ ﺷﺮﻣﺎﺋﻴﻨﺪو ﻫﺠﻲ‬ ‫ُﻣﺮدي ﮔﻬﺮ ﺟﺎ ﭼﻜﺮ ﻟﮙﺎﺋﻴﻨﺪي‬
‫)اڻ ﮀﭙﻴﻞ ڊاﺋﺮي‪ ‬ﺗﺎن ورﺗﻞ(‬
‫ﻣﻄﺎﻟﻌﻲ ﺳﺎن ﭼﺎﻫﻪ رﮐﻨﺪڙن ﺟﻴﻜﮇﻫﻦ ‪ 80‬واري ڏﻫﺎﻛﻲ وارا ﻣﻴﮕﺰﻳﻦ ﭘﮍﻫﻴﺎ‬
‫ﻫﻮﻧﺪا ﺧﺎص ﻃﻮر ﺗﻲ ڊاﻛﭩﺮن ﺗﻌﻠﻴﻢ ﺣﺎﺻﻞ ﻛﺮڻ دور وارن ﭘﮍﻫﻴﺎ ﻫﻮﻧﺪا‪ .‬اﻫﮍن‬
‫ﺷﺎﮔﺮدن ﮐﻲ ڏﻳﺎري ﻣﻴﮕﺰﻳﻦ ﺿﺮور ﻳﺎد ﻫﻮﻧﺪو‪ .‬اﻫﻮ ﻣﻴﮕﺰﻳﻦ ‪1983‬ع ڌاري ﻣﺮﻟﻲ ڌر‬
‫ﭘﻨﻬﻨﺠﻦ ﺳﺎﭤﻴﻦ ﺳﺎن ﮔﮇﺟﻲ ﺷﺮوع ﻛﻴﻮ‪ ،‬ﺟﻨﻬﻦ ۾ ﺧﺎص ﻃﻮر ﺗﻲ راﻣﺎﺋﮡ‪ ،‬راﻣﭽﻨﺪر ۽‬
‫ڏﻳﺎري‪ ‬ﺟﻲ ذﻛﺮ ﺳﺎن ﮔﮇ ﭔﻴﺎ ﻣﻀﻤﻮن‪ ،‬ﺷﺎﻋﺮي ۽ ﻛﻬﺎﮢﻴﻮن وﻏﻴﺮه ﺑﻪ ﺷﺎﻣﻞ ﻫﻮﻧﺪﻳﻮن‬
‫ﻫﻴﻮن‪ .‬ﻣﺮﻟﻲ ڌر ان ﻣﻴﮕﺰﻳﻦ ﺟﻮ ﻫﻚ ﮀﺎﭘﻮ ﺳﻮﺷﻞ ﻣﻴﮉﻳﺎ ﺗﻲ ﭘﮡ وﻧﮉﻳﻮ )‪ Share‬ﻛﻴﻮ(‬
‫آﻫﻲ‪ .‬ان آﮘﺎﭨﻲ ﻣﻴﮕﺰﻳﻦ ﮐﻲ ﻣﺮﻟﻲ ڌر ﺟﻲ ﻓﻴﺲ ﺑﻚ ﺗﻲ ڏﺳﻲ‪/‬ﭘﮍﻫﻲ ﺳﮕﻬﺠﻲ ﭤﻮ‪ ،‬ﻣﻮن‬
‫ﺟﮇﻫﻦ اﻫﻮ ﻣﻴﮕﺰﻳﻦ ڏﭠﻮ ﺗﻪ ان ۾ ان وﻗﺖ ﺟﻲ ﻛﻴﺘﺮن ﺋﻲ ﻣﺴﻠﻤﺎن ﻧﻮﺟﻮان ﺷﺎﻋﺮن ً‬
‫ﻣﺜﻼ‬
‫ﻣﻠﻚ ﻧﺪﻳﻢ‪ ،‬ڊاﻛﭩﺮ اﺳﻠﻢ ﺳﻨﺪﻳﻠﻲ‪ ،‬ڊاﻛﭩﺮ ذواﻟﻔﻘﺎر ﺳﻴﺎل وﻏﻴﺮه ﺟﻲ ﺷﺎﻋﺮي ﺷﺎﻣﻞ‬
‫ﻫﺌﻲ ۽ ﺧﺎص ﻃﻮر ﺗﻲ ﻣﻠﻚ ﻧﺪﻳﻢ ﺟﻲ ﺷﺎﻋﺮي ڏﻳﺎري‪ ‬ﻣﺘﻌﻠﻖ ﻫﺌﻲ‪ .‬ان ﻣﺎن ﺛﺎﺑﺖ ﭤﺌﻲ ﭤﻮ‬
‫ﺗﻪ ﺳﻨﮅ ﺟﻮ ﻧﻮﺟﻮان ﺷﺎﻋﺮ ﻛﺎﻟﻬﻪ ﺑﻪ ۽ اڄ ﺑﻪ ﻣﺬﻫﺒﻲ رواداري‪ ‬ﺟﻮ اﻣﻴﻦ ﻫﻮ‪ /‬آﻫﻲ ﺑﻠﻜﻪ‬
‫ﺟﻴﺌﻦ ﺗﻪ ﺳﻨﮅ ﺻﻮﻓﻴﻦ ﺟﻲ ﺳﺮزﻣﻴﻦ رﻫﻲ آﻫﻲ ان ﻛﺮي ان ﺟﻲ ﻣﭩﻲ‪ ‬ﻣﺎن ﺟﻨﻢ وﭠﻨﺪڙ‬
‫‪93‬‬ ‫ﻣﺮﻟﻲ ڌر ﺟﻲ ﺷﺎﻋﺮي‪ ‬ﺟﻮ ﺗﻨﻘﻴﺪي اﭜﻴﺎس‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻫﺮ ﺑﺎﺷﻌﻮر ﻣﺎﮢﻬﻮ ﻣﺬﻫﺒﻲ اﻧﺘﻬﺎﭘﺴﻨﺪي ۽ ﻣﺬﻫﺒﻲ ﻣﺖ ﭜﻴﺪ‪/‬ﻓﺮق ﺟﻲ ﻧﻨﺪا ﻛﺮي ﭤﻮ‪.‬‬
‫ﺗﺎزو ڏﻳﺎري‪ ‬ﺟﻲ ﻣﻮﻗﻌﻲ ﺗﻲ ﻣﺮﻟﻲ ڌر ان ﻣﻴﮕﺰﻳﻦ ﻣﺎن ﭼﻮﻧﮉﻳﻞ ﻣﻀﻤﻮﻧﻦ ۽ ﻛﺠﻬﻪ‬
‫ﭔﻴﻦ ﻣﻀﻤﻮﻧﻦ ﺟﻲ واڌاري ﺳﺎن ﻫﻚ ﻛﺘﺎب “ڏﻳﺎري” ﺗﺮﺗﻴﺐ ڏﻧﻮ آﻫﻲ‪ ،‬ﺟﻴﻜﻮ ﻫﻚ‬
‫ﭘﺎﺳﻲ آﮘﺎﭨﻲ ﻣﻴﮕﺰﻳﻦ ﺟﻲ ﻳﺎد ﺗﺎزي ﻛﺮاﺋﻲ ﭤﻮ ﺗﻪ ﭔﺌﻲ ﭘﺎﺳﻲ ُان ﻣﻮﺿﻮع ﺗﻲ ﻣﻌﻠﻮﻣﺎت ﺑﻪ‬
‫ﻣﻬﻴﺎ ﻛﺮي ﭤﻮ‪ .‬ﻫﻮﻟﻲ ۽ ڏﻳﺎري ﻫﻨﺪو ڌرم ﺟﻲ ﺧﻮﺷﻲ‪ ‬ﺟﺎ ڏڻ آﻫﻦ‪ .‬ﭘﺮ ﺟﮇﻫﻦ ﭼﺌﻨﻲ‬
‫ﭘﺎﺳﻦ ﮐﺎن دﻫﺸﺖ ﭰﻬﻠﻴﻞ ﻫﺠﻲ ﺗﻪ ﻋﻴﺪ ﻫﺠﻲ‪ ،‬ﻫﻮﻟﻲ ﻫﺠﻲ ﻳﺎ ڏﻳﺎري ﻋﻮام اﻧﻬﻦ ﺗﻬﻮارن‬
‫ﺟﻲ اﺻﻞ ﺧﻮﺷﻲ‪ ‬ﺟﻮ ﺳﺮور ﺣﺎﺻﻞ ﻛﺮي ﻧﻪ ﭤﻮ ﺳﮕﻬﻲ‪.‬‬
‫اﺳﺎن ﭘﻨﻬﻨﺠﻲ ﻧﻨﮃﭘﮡ ۾ اﻫﻲ ﺗﻬﻮار ﺟﻨﻬﻦ ﺟﻮش ۽ ﺟﺬﺑﻲ ﺳﺎن ﻣﻠﻬﺎﻳﺎ ۽ ﺟﻬﮍي‪‬‬
‫ﻃﺮح ﺑﻨﺎ ﻛﻨﻬﻦ ڊپ ڊا‪ ،‬ﮘﮣﺘﻲ‪ ‬ﻓﻜﺮ ﺟﻲ ﻋﻴﺪن ۽ ﺗﻬﻮارن ﺟﻮن ﺗﻴﺎرﻳﻮن ﭤﻴﻨﺪﻳﻮن‬
‫ﻫﻴﻮن‪ ،‬اﻫﻮ ﺟﻮش ۽ ﺑﻴﮉﭘﺎﺋﻲ‪ ‬وارو اﺣﺴﺎس ﻫﻴﻨﺌﺮ ﻧﻪ ﭤﻮ ﻣﻠﻲ! ﺟﺪﻳﺪ دور ۾ ﺟﻴﺘﺮو اﻧﺴﺎن‬
‫ﻣﻴﮉﻳﺎﺋﻲ ﮘﺎﻧﮃاﭘﻲ ﺳﺎن ﺟﮍي وﻳﻮ آﻫﻲ اوﺗﺮو رواﻳﺘﻲ ﺗﻬﻮارن ﺟﻮ ﺟﻮش ۽ ﺟﺬﺑﻮ ﺟﻬﻜﻮ‬
‫ﭤﻴﻨﺪو ﭘﻴﻮ وﭸﻲ‪ .‬وڏا ﺗﻪ وڏا آﻫﻦ ﭘﺮ ﭔﺎرن ۾ ﺑﻪ دﻫﺸﺖ‪ ،‬وﻳﮙﺎﮢﭗ ۽ ﺧﻮف ﭜﺮﺟﻲ وﻳﻮ آﻫﻲ‪.‬‬
‫ﻫﻮﻟﻲ‪ ‬ﺟﻮ ڏڻ ﮔﻴﺘﻦ‪ ،‬رﻧﮕﻦ ۽ ﺧﻮﺷﻴﻦ ﺟﻮ ﻫﻮﻧﺪو آﻫﻲ‪ .‬ﻫِﻦ ﺷﺎﻋﺮ ﮐﻲ ﺳﻤﺎج ۾ اڻ‬
‫ُﮐﭩﻨﺪڙ ﻣﺴﺌﻠﻦ‪ُ ،‬ﺑﮏ‪ ،‬ﺑﻴﺮوزﮔﺎري‪ ،‬ﺑﻴﻤﺎري‪ ،‬ﻧﻴﻨﮕﺮﻳﻦ ﺟﻲ ﻟﭵﺎ ُﻟﭧ ۽ ﭔﻴﻦ واﻗﻌﻦ ﮐﻲ‬
‫ڏﺳﻲ اِﻫﻮ ﺧﻮﺷﻲ‪ ‬۽ َرﻧﮕﻦ ﺟﻮ ڏڻ ﭰِﻜﻮ ﻣﺤﺴﻮس ﭤﺌﻲ ﭤﻮ‪.‬‬
‫ي‬
‫ﻛﺎرو ﻛﺎري‪ ،‬زﻣﻴﻨﺪاري‬ ‫ﻛﻬﮍي ﻛﺠﻲ ﻫﻮﻟﻲ‬
‫ﺑﻴﮕﺎر ﻛﻴﻤﭙﻮن ﭠﻴﻜﻴﺪاري‬ ‫ﻛﻬﮍي ڏﻳﺎري‬
‫ﭔﺎرﻳﻦ ﭔﭽﻴﻦ ﻫﺎري ﻧﺎري‬ ‫ُﻟﭩﺠﻦ ﭤﻴﻮن ﻫﺮ روز ﻟ ُﭵﻮن‬
‫َ‬
‫وڏﻳﺮو ﻗﻴﺪ ﻛﺮاﺋﻲ‬ ‫۽ ﺑﻲ وس آﻧﺎري‬
‫ﺳﻴﺘﺎ ﻗﻴﺪ ﻛﺮاﺋﻲ‬ ‫ﻫﺮﮢﺎﻛﺶ ﺟﻮ راڄ آ‬
‫ﻛﻬﮍي ﻛﺠﻲ ﻫﻮﻟﻲ‬ ‫ﻛﺮﻻﺋﻲ‬‫ﭘﺮﺟﺎ ﭤﻲ ُ‬
‫ﻛﻬﮍي ﻛﺠﻲ ﻫﻮﻟﻲ‬ ‫روز ڊﻫﻦ ﭤﻴﻮن ﺷﻴﻮا َﻣﻨﮉﻟﻴﻮن‬
‫ﻋﻀﻮا وﻛﮣﻲ ﻗﺮض ﭤﻮ ﻻﻫﻲ‬ ‫راﺟﺎ ﺣﻜﻢ ﻫﻼﺋﻲ‬
‫ﻛﮍﻣﻲ ﭘﻨﻬﻨﺠﻲ ﻋﻤﺮ ِوﭸﺎﺋﻲ‬ ‫ُ‬ ‫ﻛﻬﮍي ﻛﺠﻲ ﻫﻮﻟﻲ‬
‫ﭘﻮ‪ ‬ﺑﻪ ﭘﻴﭧ ﭘﭩﻲ‪ ‬ﭤﻮ ﻻﺋﻲ‬ ‫ُﺑﮏ‪ ،‬ﺑﻴﺮوزﮔﺎري ۽ ﺑﻴﻤﺎري‬
‫روﭨﻲ ُﭨﻜﺮ ﻻ‪ ‬واﺟﻬﺎﺋﻲ‬ ‫آﭘﮕﻬﺎت ﻛﺮاﺋﻲ‬
‫ﻛﻬﮍي ﻛﺠﻲ ﻫﻮﻟﻲ‬ ‫راوڻ روز ﻫﮣﻲ راﺗﺎﻫﺎ‬
‫ﻛﻬﮍي ڏﻳﺎري‬
‫)اﮐﮍﻳﻮن ڏﻳﻼ ﻣﻦ ﮔﻬﺎﻳﻞ‪-‬ص‪(69 :‬‬
‫ﻗﺮﺑﺎﻧﻲ‪ ‬ﺟﻮ ﺟﺬﺑﻮ ﻛﻨﻬﻦ ﺑﻪ اﻧﺴﺎن ﺟﻲ ﻫﻚ ﻻزوال ﻓﻄﺮي ﺧﻮﺑﻲ آﻫﻲ‪ .‬ﭘﺮ ان ﺟﻮ‬
‫ﻣﺜﺒﺖ ﺗﺎﺛﻴﺮ ﺻﺮف ﺗﮇﻫﻦ ﻛﺎرﮔﺮ آﻫﻲ ﺟﮇﻫﻦ اﻫﺎ ﻛﻨﻬﻦ ﻋﻈﻴﻢ ﻣﻘﺼﺪ ﻻ‪ ‬ڏﻧﻲ وﭸﻲ ۽‬
‫‪94‬‬ ‫ﻣﺮﻟﻲ ڌر ﺟﻲ ﺷﺎﻋﺮي‪ ‬ﺟﻮ ﺗﻨﻘﻴﺪي اﭜﻴﺎس‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ان ﻗﺮﺑﺎﻧﻲ‪ ‬ﻣﺎن ﭔﻴﻦ ﮐﻲ ﻛﻮ ﺳﺒﻖ ﻳﺎﻻڀ ﺣﺎﺻﻞ ﭤﺌﻲ‪ .‬ﻣﺨﺘﻠﻒ ﻣﺬﻫﺒﻦ ۾ ﻗﺮﺑﺎﻧﻲ‪ ‬ﺟﻮن‬
‫ﻣﺨﺘﻠﻒ ﺻﻮرﺗﻮن ﻫﻮﻧﺪﻳﻮن آﻫﻦ‪ .‬ﺟﻴﺌﻦ ﻣﺴﻠﻤﺎﻧﻦ ۾ ﺻﺪﻗﻮ ۽ ﻫﻨﺪن ۾ َﭔﻠﻲ وﻏﻴﺮﻫﻪ‪.‬‬
‫ﻣﺴﻠﻤﺎﻧﻦ ۾ ﺗﻪ ﺻﺪﻗﻮ رﮘﻮ ﺟﺎﻧﻮرن ﺧﺎص ﻃﻮر ﺗﻲ ﭔﻜﺮن‪ ،‬ﻛﻜﮍن وﻏﻴﺮه ﺟﻮ ﻳﺎ‬
‫اﺳﺘﻌﻤﺎل ۾ اﻳﻨﺪڙ ﺷﻴﻦ‪ ،‬ﮐﺎڌي ﭘﻴﺘﻲ ﺟﻲ وﮐﺮن وﻏﻴﺮﻫﻪ ﺟﻮ ﭤﺌﻲ ﭤﻮ ﭘﺮ ﻫﻨﺪو ﻣﺬﻫﺐ ﺗﻮڙي‬
‫ﭔﻴﻦ ﻣﺬﻫﺒﻦ ۾ ﻣﺎﺿﻲ‪ ‬۾ اﻧﺴﺎﻧﻦ ﮐﻲ ﺑﻪ َﭔﻠﻲ‪ ‬ﭼﺎڙﻫﻴﻮ وﻳﻨﺪو ﻫﻮ‪ .‬وﻗﺖ ﮔﺬرڻ ﺳﺎن ﺗﻮڙي ﺟﻮ‬
‫اﻧﻬﻦ رواﺟﻦ ﮐﻲ ُﭔﻨﺠﻮ اﭼﻲ وﻳﻮ آﻫﻲ‪ .‬ﭘﺮ اڄ ﺑﻪ ﻛﭥﻲ ﻛﭥﻲ اﻫﮍا واﻗﻌﺎ ﭤﻴﻨﺪي ﻧﻈﺮ اﭼﻦ‬
‫ﭤﺎ‪ ،‬ﺟﮇﻫﻦ ﺗﻪ ﻛﺎري ﭔﻜﺮ ﺟﻮ ﻛﺎري ﻛﻜﮍ ﺟﻮ ﺻﺪﻗﻮ ﭘﻨﻬﻨﺠﻲ‪ ‬ﺟﺎن ﺗﺎن ﮔﻬﻮري‪،‬‬
‫ﮐﺎڌي ۽ ﻛﭙﮍي وﻏﻴﺮه ﺟﻮ ﺻﺪﻗﻮ اڄ ﺑﻪ اﺳﺎن ﺟﻲ ﺳﻤﺎج ۾ ﻋﺎم آﻫﻦ‪ .‬ﭔﻴﻮ ﺗﻪ ﭠﻬﻴﻮ ﭘﺮ ﻛﻦ‬
‫ﻏﻴﺮ ﺳﺮﻛﺎري ﺗﻨﻈﻴﻤﻦ ﭘﮡ ﻣﺎﮢﻬﻦ ﺟﻲ ان ﻋﻘﻴﺪي ﻣﺎن ﻓﺎﺋﺪو ﺣﺎﺻﻞ ﻛﺮي ﺳﻤﺎﺟﻲ‬
‫ﻛﻢ ﻛﺮڻ ﺷﺮوع ﻛﻴﺎ آﻫﻦ‪ .‬ﺷﻬﺮن ۾ﻣﺨﺘﻠﻒ ﻗﻴﻤﺘﻦ ﺗﻲ ﺻﺪﻗﻲ ﺟﻲ ﭔﻜﺮ ﺟﺎ رﻳﭧ‬
‫ﭔﮅاﺋﻴﻨﺪڙ ﺑﻮرڊ ﻟﮙﻞ ﻣﻠﻦ ﭤﺎ‪ ،‬ﺟﻦ ذرﻳﻌﻲ ﻣﺨﺘﻠﻒ ﺗﻨﻈﻴﻤﻮن ﻣﺎﮢﻬﻦ ﮐﺎن ﺻﺪﻗﻲ ﻻ‪ ‬ﭘﺌﺴﺎ‬
‫وﭠﻲ اﺳﭙﺘﺎﻟﻦ ﺟﻲ ﻣﺮﻳﻀﻦ‪ ،‬راﻫﻪ وﻳﻨﺪڙ ﻣﺴﺎﻓﺮن‪ ،‬ﻏﺮﻳﺐ ﻣﺎﮢﻬﻦ ۽ ﮔﺪاﮔﺮن ﮐﻲ ان ﻣﺎن‬
‫ﮐﺎڌو ﮐﺎراﺋﮡ ﮐﺎﻧﺴﻮا‪ ‬ﭔﻴﺎ ﺧﻴﺮ ﺟﺎ ﻛﻢ ﺑﻪ ﻛﻦ ﭤﻴﻮن‪ .‬ﻣﺎﮢﻬﻦ ﮐﻲ ﮐﺎڌو ﮐﺎراﺋﮡ ۽ ﺧﻴﺮ ﺟﺎ‬
‫ﻛﻢ ﺗﻪ ﻫﻮﻧﺌﻦ ﺑﻪ ﺻﺪﻳﻦ ﮐﺎن وﭠﻲ ُﺳﮑﻴﺎ ﺳﺘﺎﺑﺎ ﻣﺎﮢﻬﻮ ﻛﻨﺪا ﻫﺌﺎ ۽ ﻫﺎﮢﻲ ﺑﻪ ﻛﻦ ﭤﺎ‪ ،‬ﭘﺮ‬
‫ﻫﻦ ﻃﺮﻳﻘﻲ ﺳﺎن ﻋﺎم ﻣﺎﮢﻬﻦ ۾ ﺻﺪﻗﻲ ذرﻳﻌﻲ ﺧﻴﺮات ﻛﺮڻ واري‪ ‬ﺳﻮچ ﮐﻲ ﻫﭥﻲ ﻣﻠﻲ‬
‫ﭤﻲ‪ .‬ان ﻋﻤﻞ ﺗﻲ ﻣﺮﻟﻲ ڌر ﺟﻮ ﻫﻲ ﻧﻈﻢ ﻛﺠﻬﻪ ﻣﻨﻔﺮد آﻫﻲ‪.‬‬
‫ﻫﻮ ﻫﻨﺪو ڌرم ۾ ﻣﺬﻫﺒﻲ اﻧﺘﻬﺎﭘﺴﻨﺪي‪ ‬وارﻳﻦ ﻣﮍﻧﻲ رﺳﻤﻦ ﮐﻲ ﻧﻨﺪي ﭤﻮ‪ .‬ﻛﺎري‬
‫ﭔﻜﺮ ﺟﻮ ﺻﺪﻗﻮ ﻣﺴﻠﻤﺎﻧﻦ ۾ ۽ ﻫﻨﺪن ۾ َﭔﻠﻴﺪان ﺟﻲ ﺻﻮرت ۾ ﻫﻚ اﻫﮍو ﻋﻤﻞ آﻫﻲ‪،‬‬
‫ﺟﻨﻬﻦ ﺳﺎن اﻧﺴﺎﻧﻲ ﺻﺤﺖ ﺟﻮ‪ ،‬ﺧﻮﺷﺤﺎﻟﻲ‪ ‬ﺟﻮ ﻳﺎ ﻛﻨﻬﻦ ﻣﺸﻜﻞ ﭨﺮڻ ﺟﻮ ﻛﻮ ﺑﻪ‬
‫واﺳﻄﻮ ﻧﺎﻫﻲ‪ ،‬ﭘﻮ‪ ‬ﺑﻪ اِﻫﻮ ﺳﻤﺎج ۾ ﮔﻬﮣﻮ ﻋﺎم آﻫﻲ‪ .‬ﻣﺮﻟﻲ ڌر اِن ﻻ‪ ‬ﭼﻮي ﭤﻮ‪:‬‬
‫ان‬
‫ﭘﻮري دﻧﻴﺎ‬ ‫ﻛﺎري ﭔﻜﺮ‬
‫ﺟﺎ روﮘﻲ‬ ‫ﺟﻲ َﭔﻠﻲ‪ ‬ﺳﺎن‬
‫ﭼﺎڪ ﭤﻲ‬ ‫ﺟﻴﻜﮇﻫﻦ‬
‫ﭘﻮن ﻫﺎ‬ ‫ﻛﻨﻬﻦ ﺑﻴﻤﺎر ﺟﺎ‬
‫اﻫﻮ ﻛﻬﮍي ﭔﻮﭤﻲ‪‬‬ ‫ﻛﺸﭧ ﻛﭩﺠﻦ ﭤﺎ‬
‫ﺟﻮ آﻫﻲ ﻓﺮﻣﺎن‬ ‫ﺗﻪ ﭘﻮ‪‬‬
‫ﺗﻪ ﻫﻚ ﺳﺎﻫﻪ وﭠﮡ ﺳﺎن‬ ‫ﻫﺮ روز‬
‫َﭔﻠﻲ‪ ‬ﻛﺮڻ ﺳﺎن‬ ‫ﻫﺰارﻳﻦ ﺟﺎﻧﻮرن‬
‫ﭔﻴﻮ ﺳﺎﻫﻪ ﺑﭽﻨﺪو‬ ‫ﺟﻲ ذﺑﺢ ﭤﻴﮡ ﺳﺎن‬
‫ﻛﺸﭧ ﻛﭩﺠﻨﺪو‬ ‫ُﻫﻮﻧﺪ‬
‫)اﮐﮍﻳﻮن ڏﻳﻼ ﻣﻦ ﮔﻬﺎﻳﻞ‪-‬ص‪(48 :‬‬
‫‪95‬‬ ‫ﻣﺮﻟﻲ ڌر ﺟﻲ ﺷﺎﻋﺮي‪ ‬ﺟﻮ ﺗﻨﻘﻴﺪي اﭜﻴﺎس‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻣﺮﻟﻲ ڌر ﺟﻮ ﻻﮘﺎﭘﻮ ﮐﺎﭔﻲ‪ ‬ڌر ﺳﺎن رﻫﻴﻮ آﻫﻲ‪ .‬ﮐﺎﭔﻲ‪ ‬ڌر ﺟﻲ وڏي ﭘﺎرﭨﻲ‬
‫ﻛﻤﻴﻮﻧﺴﭧ ﭘﺎرﭨﻲ ﻫﺌﻲ‪ .‬ان ﭘﻠﻴﭧ ﻓﺎرم ۾ ﮀﺎ ﺻﺤﻴﺢ ﻫﻮ ﮀﺎ ﻏﻠﻂ ﻫﻮ ان ڊﻳﮕﻬﻪ ۾ وﭸﮡ‬
‫ﺑﺪران ﻫﻚ ﺣﻘﻴﻘﺖ ﭘﮅري ﭘﭧ آﻫﻲ ﺗﻪ اﻫﻲ ﺳﭽﺎ ﻧﻈﺮﻳﺎﺗﻲ ﻣﺎﮢﻬﻮ ﺟﻴﻜﻲ ان ﭘﻠﻴﭧ ﻓﺎرم‬
‫ﺗﻲ ان ﻧﻈﺮﺋﻲ ﺟﻲ اﺻﻞ روح ﮐﻲ ﺳﻤﺠﻬﻨﺪڙ ﻫﺌﺎ‪ ،‬ﺳﻲ اڄ ﺑﻪ ان ﭘﺎرﭨﻲ‪ ‬ﺟﻲ ﺟﻬﻨﮉي ﻳﺎ‬
‫ﺗﻨﻈﻴﻤﻲ ڍاﻧﭽﻲ ﺟﺎ ﻣﺤﺘﺎج ﻧﻪ آﻫﻦ‪ .‬ﻫﻮ ﻛﻤﻴﻮﻧﺰم ﺟﻲ ﻓﻜﺮ ﮐﻲ اڄ ﺑﻪ ﺳﻤﺠﻬﻦ ﭤﺎ ۽‬
‫اﻧﺴﺎﻧﻴﺖ ﺟﻲ ﺧﺪﻣﺖ واري ﺟﺬﺑﻲ ﺳﺎن اڄ ﺑﻪ ﺑﻲ ﻟﻮث ﭤﻲ ﭘﻨﻬﻨﺠﻲ ﭘﻨﻬﻨﺠﻲ ﺣﺼﻲ ﺟﻮ‬
‫ﭼﮝﻮ ﻛﻢ ﻛﻦ ﭤﺎ‪ .‬ﺷﻬﻴﺪ ﻧﺬﻳﺮ ﻋﺒﺎﺳﻲ ﺑﻪ ان ﺳﻔﺮ ﺟﻮ ﭘﺎﻧﮅﻳﺌﮍو ﻫﻮ‪ .‬ﺟﻴﻜﻮ ﭘﻨﻬﻨﺠﻲ‬
‫ﻧﻈﺮﺋﻲ ﺗﻲ اڏول ﺑﮣﺠﻲ ﺑﻴﭡﻮ رﻫﻴﻮ‪ .‬آﺧﺮي وﻗﺖ ﺗﺎﺋﻴﻦ ﭘﻨﻬﻨﺠﻲ اﺻﻮل ﺟﻮ ﺳﻮدو ﻧﻪ‬
‫ﻛﻴﺎﺋﻴﻦ‪ .‬ﺳﻨﺪس ﺳﺎﭤﻲ اڄ ﺑﻪ ﺳﻨﺪس ﻣﺸﻌﻞ ﮐﻲ وﺳﺎﻣﮡ ﻧﻪ ﭤﺎ ڏﻳﻦ‪ .‬ﻣﺮﻟﻲ ڌر ﺷﻬﻴﺪ ﻧﺬﻳﺮ‬
‫ﻋﺒﺎﺳﻲ‪ ‬ﮐﻲ ﻫﻦ رﻳﺖ ﭜﻴﭩﺎ ﭘﻴﺶ ﻛﺮي ﭤﻮ؛‬
‫و !‬ ‫ا‬
‫ﻫﻤﺎﻟﻴﺎ ﺟﻴﺎن‪.‬‬ ‫ﻫﻮ وڙﻫﻨﺪو رﻫﻴﻮ‬
‫ﻫﻦ ﺟﺎ ﺧﻮاب‬ ‫آرڏو اﻧﺴﺎن‬
‫ﭘﻮﺗﺮ ﻫﻴﺎ‬ ‫ﻣﺎت ﻧﻪ ﻣﭹﻴﺎﺋﻴﻦ‪،‬‬
‫ڌرﺗﻲ‪ ‬ﻣﺎ‪ ‬ﺟﻴﺎن‪.‬‬ ‫ُﻫﻦ ﺟﺎ آدرش‬
‫ﻫﻮ وڙﻫﻨﺪو رﻫﻴﻮ‬ ‫ُاوﻧﭽﺎ ﻫﺌﺎ‬
‫ﻣﺎت ﻧﻪ ﻣﭹﻴﺎﺋﻴﻦ‬ ‫ﺟﻴﺒﻞ ﺟﻴﺎن‪.‬‬
‫ﺟﻮڌو اﻧﺴﺎن‬ ‫ﻫﻦ ﺟﻲ ﺳﻮچ‬
‫وڙﻫﻨﺪي وڙﻫﻨﺪي‬ ‫ُﺳﻨﺪر ﻫﺌﻲ‬
‫ﺷﻬﻴﺪ ﭤﻲ وﻳﻮ‬ ‫روﺷﻦ ﺻﺒﺢ ﺟﻴﺎن‪.‬‬
‫اﻣﺮ ﭤﻲ وﻳﻮ‬ ‫ﻫﻦ ﺟﻮ ﺣﻮﺻﻠﻮ‬
‫ﺑﻠﻨﺪ ﻫﻴﻮ‬
‫)اﮐﮍﻳﻮن ڏﻳﻼﻣﻦ ﮔﻬﺎﻳﻞ‪-‬ص‪(64‬‬
‫ﻛﻮ وﻗﺖ ﻫﻮ ﺟﻮ ﻫﻮ دﻧﻴﺎ ۾ ﻣﺰورن ﺟﻲ ﻛﻢ ﻻ‪ ‬وﻗﺖ ﻳﺎ ُاﺟﻮري ﺟﻮ ﻣﻨﺎﺳﺐ ﺗﻌﻴﻦ ﻧﻪ‬
‫ﻫﻮ ۽ ﻣﺰدورن ﮐﺎن ﻏﻼﻣﻦ واﻧﮕﺮ ﻛﻢ ورﺗﻮ وﻳﻨﺪو ﻫﻮ‪ .‬ﭘﻬﺮﻳﻦ ﻣﺌﻲ ‪1876‬ع ﺗﻲ ﺷﻜﺎﮔﻮ‬
‫ﺟﻲ ﻣﺰدورن ﭘﻮرﻫﻴﺘﻦ ﺳﺎن ﭤﻴﻨﺪڙ ڏاڍ ۽ ﺟﺒﺮي اﺿﺎﻓﻲ ﻛﻢ ﺧﻼف اﺣﺘﺠﺎج ﻛﻴﻮ‪ .‬ان‬
‫اﺣﺘﺠﺎج دوران ‪ 6‬ﻣﺰدورن ﮐﻲ ﭤﮇي ﺗﻲ ﻗﺘﻞ ﻛﻴﻮ وﻳﻮ‪ .‬ان ﺟﻲ ﻧﺘﻴﺠﻲ ۾ ﺳﻤﻮري‪ ‬دﻧﻴﺎ ﺟﺎ‬
‫ﻣﺰدور اﺣﺘﺠﺎج ۾ ﺷﺎﻣﻞ ﭤﻲ وﻳﺎ ۽ ﻫﻚ وڏي اﺣﺘﺠﺎﺟﻲ ﺗﺤﺮﻳﻚ ُاﭜﺮي‪ ،‬اِن ﺗﺤﺮﻳﻚ ﺑﻴﻦ‬
‫اﻻﻗﻮاﻣﻲ ﻃﻮر ﺗﻲ ﻣﺰدورن ﻻ‪ ‬ﻗﺎﻧﻮﻧﻦ ﺟﻮڙاﺋﮡ ﺗﻲ َدﻧﮓ ﻛﻴﻮ‪ .‬اِن ﻃﺮح ﺳﻤﻮري‪ ‬دﻧﻴﺎ ۾‬
‫‪ International Labour Reforms‬آﻳﺎ ۽ ُاﻧﻬﻦ ﻻ‪ ‬ﺑﻴﻦ اﻻﻗﻮاﻣﻲ ﻗﺎﻧﻮن )‪(International Laws‬‬
‫ُﺟﮍﻳﺎ‪ ،‬ﺟﻦ ﺗﺤﺖ ﻣﺰدورن ﺟﻲ ﻛﻢ ﺟﻮ ُﻣﺪو روزاﻧﻮ ‪ 8‬ﻛﻼڪ ﻃﺌﻪ ﭤﻴﻮ ۽ اﺿﺎﻓﻲ وﻗﺖ ۽‬
‫ﻛﻢ ﻻ‪ ‬اﺿﺎﻓﻲ ُاﺟﺮت ﺟﻮ ﻗﺎﻧﻮن ﺟﻨﻬﻦ ﮐﻲ اوور ﭨﺎﺋﻴﻢ ﭼﻴﻮ وﭸﻲ ﭤﻮ ﺳﻮ ﻣﻘﺮر ﭤﻴﻮ‪.‬‬
‫‪96‬‬ ‫ﻣﺮﻟﻲ ڌر ﺟﻲ ﺷﺎﻋﺮي‪ ‬ﺟﻮ ﺗﻨﻘﻴﺪي اﭜﻴﺎس‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﭘﻬﺮﻳﻦ ﻣﺌﻲ ﺗﻲ ﺳﻤﻮري‪ ‬دﻧﻴﺎ ۾ ﻣﺰدورن ﺟﻮ ﻋﺎﻟﻤﻲ ڏﻳﻨﻬﻦ ﻣﻠﻬﺎﺋﻲ ﺷﻜﺎﮔﻮ ﺟﻲ‬
‫ﺷﻬﻴﺪن ﺳﺎن ﻋﻘﻴﺪت ﺟﻮ اﻇﻬﺎر ﻛﻨﺪي ﺳﻨﺪن ﻗﺮﺑﺎﻧﻲ‪ ‬ﮐﻲ ﻳﺎد ﻛﻴﻮ وﻳﻨﺪو آﻫﻲ‪ .‬ﻣﺮﻟﻲ‬
‫ڌر ﻣﺰدورن‪/‬ﭘﻮرﻫﻴﺘﻦ ﻻ‪ ‬ﻋﻘﻴﺪت ﺟﻮ اﻇﻬﺎر ﻫﻦ رﻳﺖ ﻛﺮي ﭤﻮ؛‬
‫ﺋ‬
‫ﺑﻴﻤﺎر‪ ،‬ﻻﭼﺎر‪ ،‬ﺑﻴﻮس ﭔﺎر‬ ‫ﻏﺮﺑﺖ ﺟﻲ ﻟﻜﻴﺮ‬
‫ُاﻧﻬﻦ ﺟﻲ ﺻﺤﺖ وراﺋﮡ‬ ‫ﭨﭙﻲ ﭘﺎر ﭘﻮڻ‬
‫ﺟﻲ ُاﻛﻴﺮ‬ ‫ﺟﻲ ﺧﻮاﻫﺶ‬
‫ﺟﻲ آﺷﺎ‬ ‫روﭨﻲ ﮘﭝﻮ ﮐﺎﺋﻲ‬
‫ﻧﺎﺑﺮاﺑﺮي‪ ‬واري ﺳﻤﺎج ﺟﻲ ﺧﺎﺗﻤﻲ‬ ‫ﭘﻴﭧ ﺟﻮ دوزخ ﭜﺮڻ‬
‫ﺟﻲ ُاڻ ُﺗﮡ‬ ‫ﺟﻲ ﺗﻤﻨﺎ‬
‫اِﻫﻮ ﺳﭛ ﻛﺠﻬﻪ ﺣﺎﺻﻞ ﻛﺮڻ ﺟﻲ ﺟﺪوﺟﻬﺪ‬ ‫ُاﮔﻬﺎري ﭠﭡﺮاﻳﻞ ﺗﻦ ﺟﻲ‬
‫ﭘﻬﺮﻳﻦ ﻣﺌﻲ ﭘﻬﺮﻳﻦ ﻣﺌﻲ‬ ‫اوﮔﻬﮍ ڍﻛﮡ‬
‫)اﮐﮍﻳﻮن ڏﻳﻼ ﻣﻦ ﮔﻬﺎﻳﻞ‪-‬ص‪(72:‬‬
‫ﻣﺰودر‪ ،‬ﻫﺎري ۽ ﭘﻮرﻫﻴﺖ ﻫﻚ ﺋﻲ ﻃﺒﻘﻲ وارا ﻣﺤﻨﺖ ﻛﺶ ﻫﻮﻧﺪا آﻫﻦ‪ .‬ﻣﺰدورن‬
‫ﻻ‪ ‬ﺗﻪ ﺑﻴﻦ اﻻﻗﻮاﻣﻲ ﻗﺎﻧﻮن ُﺟﮍﻳﺎ ﮀﺎﻛﺎڻ ﺟﻮ ﺳﻤﻮري‪ُ ‬دﻧﻴﺎ ۾ ﻛﺎرﺧﺎﻧﻦ ۽ ﺳﺮﻣﺎﺋﻴﺪاري‪‬‬
‫ﺟﻮ ﺳﺴﭩﻢ ﻣﻮﺟﻮد آﻫﻲ ﭘﺮ ﻛﻴﺘﺮاﺋﻲ ﻣﻠﻚ اﻫﮍا ﺑﻪ آﻫﻦ‪ ،‬ﺟﺘﻲ زراﻋﺖ ﻧﻪ ﭤﻲ ﭤﺌﻲ‪ .‬ﻫﺎري‪‬‬
‫ﮐﻲ ﺣﻖ ڏﻳﻨﺪڙ رﻳﺎﺳﺖ ﺟﻮ ﺋﻲ ﻗﺎﻧﻮن ﻫﺠﻲ ﭤﻮ‪ .‬اﺳﺎن ﺟﻲ ﺳﻤﺎج ۾ رﻳﺎﺳﺖ ﺟﻲ‬
‫ﺣﻜﻤﺮاﻧﻲ‪ ‬ﺗﺎﺋﻴﻦ وڏﻳﺮي‪ ،‬زﻣﻴﻨﺪار ﺟﻲ ﭘﻬﭻ آﻫﻲ‪ .‬اِن ﻛﺮي ﻫﺎري ﺑﻲ ﭘﻬﭻ ۽ زﻣﻴﻨﺪار‬
‫ﺟﻲ رﺣﻢ ﻛﺮم ﺗﻲ ﻫﻮﻧﺪو آﻫﻲ‪ .‬ﺳﻨﮅ ۾ ﻫﺎري‪ ‬ﺟﻲ ﺣﻘﻦ ﻻ‪ ‬ﺑﻪ ﺗﺤﺮﻳﻜﻮن ﻫﻠﻴﻮن ﭘﺮ ﻫﺮ‬
‫ﺗﺤﺮﻳﻚ ﺻﺪﻳﻦ ﺗﺎﺋﻴﻦ ﻗﺎﺋﻢ ﻧﻪ ﻫﻮﻧﺪي آﻫﻲ‪ .‬ﺗﻮڙي ﺟﻮ اﻧﻬﻦ ﺗﺤﺮﻳﻜﻦ ﺟﻲ اﺛﺮن ﻛﺮي‬
‫ﻫﺎري ﻛﻨﻬﻦ ﺣﺪ ﺗﺎﺋﻴﻦ ُﺳﺠﺎڳ ﺑﻪ ﭤﻴﻮ آﻫﻲ ﭘﺮ ان ﺟﻲ ﺑﺎوﺟﻮد ُﻫﻮ زﻣﻴﻨﺪار ﺟﻲ ڏاڍ ﮐﺎن‬
‫ﺑﭽﻴﻞ ﻧﻪ ﭤﻮ رﻫﻲ‪ .‬ﻫﺎري‪ ‬ﺟﻲ ُﺳﺠﺎﮘﻲ‪ ‬ﺟﻲ ﺧﻮاﻫﺶ ﻫﺮ دردﻣﻨﺪ ۽ ﺳﺎﭸﻬﻪ وﻧﺪ اِﻧﺴﺎن‬
‫ﻛﺮي ﭤﻮ ﺟﻦ ۾ ﺷﺎﻋﺮ ﺑﻪ ﺷﺎﻣﻞ آﻫﻦ‪ .‬ﻫﻴﭟ ُﻣﺮﻟﻲ َڌر ﺟﻲ ﻫﺎري‪ ‬ﺟﻲ ُﺳﺠﺎﮘﻲ‪ ‬ﺟﻲ ُاﻣﻴﺪ‬
‫ﭘﻴﺶ ﻛﺠﻲ ﭤﻲ‪.‬‬
‫و ﺌري ﺌڳ‬
‫ُ‬
‫ﻛﮇﻫﻦ ﺑﺪﻟﺒﻲ دﻧﻴﺎ ﺟﻲ ﭼﺎل‬ ‫ﻛﮇﻫﻦ ﭤﻴﻨﺪو ﻫﺎري ُﺳﺠﺎڳ‬
‫ﻛﮇﻫﻦ ﻫﺎري ُﺳﮏ ﺳﺎن ﺳﻤﻬﻨﺪو‬ ‫ﻛﮇﻫﻦ ﻣِﭩﻨﺪو زﻣﻴﻨﺪاري راڄ‬
‫ﻛﮇﻫﻦ ﭘﻮرو ﭘﻴﭧ ﭜﺮﻳﻨﺪو‬ ‫ﻛﮇﻫﻦ ﭤﻴﻨﺪو ﻫﺖ ﺳﻮﺟﻬﺎرو‬
‫ﻛﮇﻫﻦ ﭤﻴﻨﺪو ﻣﻈﻠﻮﻣﻦ ﺟﻮ راڄ‬ ‫ﻛﮇﻫﻦ ﻣِﭩﺠﻨﺪو ُ‬
‫ﮔﻬﻮر اﻧﮅارو‬
‫ﻛﮇﻫﻦ ﭤﻴﻨﺪو ﻫﺎري ﺳﺠﺎڳ‬ ‫ﻛﮇﻫﻦ ﻏﺮﻳﺐ ﭤﻴﻨﺪو ﺧﻮﺷﺤﺎل‬
‫)اﮐﮍﻳﻮن ڏﻳﻼ ﻣﻦ ﮔﻬﺎﻳﻞ‪-‬ص‪(23:‬‬
‫‪97‬‬ ‫ﻣﺮﻟﻲ ڌر ﺟﻲ ﺷﺎﻋﺮي‪ ‬ﺟﻮ ﺗﻨﻘﻴﺪي اﭜﻴﺎس‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﺷﺎﻋﺮن ﺟﻲ ﺳﺮﺗﺎج ﺷﺎﻫﻪ ﻋﺒﺪاﻟﻠﻄﻴﻒ ﭜﭩﺎﺋﻲ‪ ‬ﭘﻨﻬﻨﺠﻲ ﻛﻼم ۾ ﻋﻮرﺗﻦ ﮐﻲ‬

‫ﺳﻮرﻣﻴﻦ ﺟﻲ ﺻﻮرت ۾ ﭘﻨﻬﻨﺠﻲ ﺳﻤﺎج ۽ ﻗﻮم ﺟﻲ ﻋﻼﻣﺖ ﺑﮣﺎﻳﻮ آﻫﻲ‪ .‬ﺟﻬﮍي‪ ‬رﻳﺖ‬
‫ﻋﻮرت ان دور ۾ ﻣﻈﻠﻮم ۽ ﻣﺤﻜﻮم ﻃﺒﻘﻮ ﻫﺌﻲ‪ ،‬ﺳﺎﮘﻲ‪ ‬ﻃﺮح ﺳﻨﮅ ﺟﻮ ﻋﻮام ﺑﻪ ﺳﻴﺎﺳﻲ ۽‬
‫ﺳﻤﺎﺟﻲ ﻟﺤﺎظ ﮐﺎن ﻣﻈﻠﻮم ۽ ﻣﺤﻜﻮم ﻫﻮ‪ .‬ﭘﺮ ﻫﻦ ڌرﺗﻲ‪ ‬ﺟﻲ ﻋﻮام ۾ اﻫﻲ ﺳﭛ ﻗﺪر )‬
‫‪ (Values‬۽ ﺧﻮﺑﻴﻮن ان وﻗﺖ ﺑﻪ ﻣﻮﺟﻮد رﻫﻴﻮن ۽ اڄ ﺑﻪ آﻫﻦ ﺟﻦ ﮐﻲ ﺷﺎﻫﻪ ﺳﻮرﻣﻴﻦ ﺟﻲ‬
‫ﺻﻮرت ۾ ﻇﺎﻫﺮ ﻛﻴﻮ آﻫﻲ ﻳﻌﻨﻲ ﺣﺐ اﻟﻮﻃﻨﻲ‪ ،‬ﺛﺎﺑﺖ ﻗﺪﻣﻲ‪ ،‬ﺟﺪوﺟﻬﺪ‪ ،‬ﺣﻮﺻﻠﻮ‪ ،‬ﻋﺰم‪،‬‬
‫داﻧﺸﻤﻨﺪي وﻏﻴﺮه‪ .‬ﺷﺎﻫﻪ ﺟﻲ ان رواﻳﺖ ﮐﻲ ﺳﻨﮅ ﺟﻲ ﭔﻴﻦ ﺳﻤﻮرن ﺷﺎﻋﺮن ﺑﻪ ﻗﺎﺋﻢ رﮐﻴﻮ‬
‫آﻫﻲ ۽ ﻋﻼﻣﺘﻲ ﺗﻮڙي ﺣﻘﻴﻘﻲ اﻧﺪاز ۾ ﻋﻮرت ﺟﻲ ﻋﻈﻤﺖ ﮐﻲ ﺿﺮور ﺑﻴﺎن ﻛﻴﻮ آﻫﻲ‪.‬‬
‫ﻣﺮﻟﻲ ڌر ﺳﻨﮅ ﺟﻲ ﻋﻮرت ﮐﻲ ﭘﻨﻬﻨﺠﻲ ﻧﻨﮃﭘﮡ وارن ﺳﻤﺎﺟﻲ ﻛﻤﻦ دوران ﻋﻤﻠﻲ ﻃﻮر‬
‫ﺳﮕﻬﮍ ۽ ﺳﻴﺒﺘﻲ ﻋﻮرت واري ﻛﺮدار ۾ ڏﭠﻮ‪ .‬ﺳﻨﺪس ﻧﻈﺮ ۾ ﻋﻮرت ﺳﺎﭸﻬﻪ وﻧﺪ ﺑﻪ آﻫﻲ ﺗﻪ‬
‫ﺑﻬﺎدر‪ ،‬ﺟﻔﺎﻛﺶ‪ ،‬ارڏي ۽ اڏول ﺑﻪ آﻫﻲ‪ .‬ﭜﻞ ﻫﻮ‪ ‬ڌرﺗﻲ‪ ‬ﺟﻲ ﻛﻬﮍي ﺑﻪ ﭨﻜﺮي ﺳﺎن‬
‫واﺳﻄﻮ رﮐﻨﺪڙ ﻫﺠﻲ‪.‬‬
‫رت ۽‬
‫ﻣﻮﺗﻴﺎ ﭼﻮڌري‬ ‫ﭼﻮﻧﺪا آﻫﻦ‬
‫ﻟﻴﻼ ﺧﺎﻟﺪ‬ ‫ﺗﻪ ﻋﻮرت ﺟﻮ ﻋﻘﻞ‬
‫ﺟﻤﻴﻼ ُﺑﻮﭘﺎﺷﺎ‬ ‫ﭘﻴﺮ ﺟﻲ ُﮐﮍي‪ ‬۾‬
‫زوﻳﺎ اﻧﺎﻃﻮﻟﻴﺎ‬ ‫ﻫﻮﻧﺪو آﻫﻲ‬
‫ﻧِﮕﻮﺋﻦ ﭤﻲ ﭼﺎﺋﻮ‬ ‫ﺗﻪ ﭘﻮ‪ ‬ﮀﺎ‬
‫اِﻫﻲ ﺳﭛ‬ ‫ﻣﺎﺋﻲ ﺑﺨﺘﺎور‬
‫ﻋﻮرﺗﻮن ﻧﺎﻫﻦ؟‬
‫)اﮐﮍﻳﻮن ڏﻳﻼ ﻣﻦ ﮔﻬﺎﻳﻞ‪-‬ص‪(26 :‬‬
‫ﻋﻮرت اﻧﻬﻦ ﻣﮍﻧﻲ ﺧﺎﺻﻴﺘﻦ ﺟﻲ ﺑﺎوﺟﻮد ﺳﻤﺎﺟﻲ ﻣﺴﺌﻠﻦ ﮐﻲ ﭜﻮﮘﻲ ﭤﻲ‪ .‬ﺳﻨﮅ ﺟﻲ‬
‫ﻋﻮرت ﺻﺤﺖ ﺟﻲ ﻣﻌﺎﻣﻠﻲ ۾ اﻧﺘﻬﺎﺋﻲ ﺣﺪ ﺗﺎﺋﻴﻦ ﻧﻈﺮ اﻧﺪاز ﭤﻴﻞ آﻫﻲ‪ .‬ﭤﺮ ۾ ﭔﺎرڙن ﺟﻲ‬
‫ﻣﻮت ﺟﻲ وڌﻧﺪڙ اﻧﮕﻦ اﮐﺮن ﺟﻲ ﭘﻮﻳﺎن ﻫﻚ ﺣﻘﻴﻘﺖ اﻫﺎ ﺑﻪ آﻫﻲ ﺗﻪ اﺗﺎن ﺟﻮن ﻣﺎﺋﺮون‬
‫اﻳﺘﺮﻳﻮن ﺻﺤﺘﻤﻨﺪ آﻫﻦ ﺋﻲ ﻧﻪ‪ ،‬ﺟﻮ ﻫﻮ ﺻﺤﺘﻤﻨﺪ ﭔﺎرن ﮐﻲ ﺟﻨﻢ ڏﺋﻲ ﺳﮕﻬﻦ‪ .‬ﺧﻮراڪ‬
‫ﺟﻲ ﮐﻮٽ ﺟﻮ ﺷﻜﺎر ﭔﺎر رﮘﻮ ﭘﻴﺪا ﭤﻴﮡ ﮐﺎﻧﭙﻮ‪ ‬ﻧﻪ ﭤﻮ ﭤﺌﻲ ﺑﻠﻜﻪ ﻣﺎ‪ ‬ﺟﻲ ﭘﻴﭧ اﻧﺪرﺋﻲ‬
‫ﮐﻴﺲ ﻏﺬا ﻧﻪ ﭤﻲ ﻣﻠﻲ‪ ،‬ﮀﻮ ﺗﻪ ﺣﻘﻴﻘﺖ ۾ ﻣﺎ‪ ‬ﺧﻮراڪ ﺟﻲ ﮐﻮٽ ﺟﻮ ﺷﻜﺎر آﻫﻲ‪ .‬ﺧﺎص‬
‫ﻃﻮر ﺗﻲ اﻫﻲ ﮀﻮﻛﺮﻳﻮن ﺟﻴﻜﻲ ﺗﻤﺎم ﻛﭽﮍي‪ ‬وﻫﻲ‪ ‬۾ ﭘﺮﮢﺎﻳﻮن وﭸﻦ ﭤﻴﻮن ۽ ﻛﻨﻬﻦ‬
‫ڍور ڍﮘﻲ واﻧﮕﺮ ﻳﺎ ﭔﺎرن ﭴﮣﮡ ﺟﻮن ﻣﺸﻴﻨﻮن ﺳﻤﺠﻬﻴﻮن وﭸﻦ ﭤﻴﻮن‪ .‬ﻫﻚ ڊاﻛﭩﺮ ﺟﮇﻫﻦ‬
‫اﻫﮍﻳﻦ ﻋﻮرﺗﻦ ﮐﻲ ﭘﻨﻬﻨﺠﻲ اﮐﻴﻦ ﺳﺎن ﻣﻮت ﺟﻮ ﮐﺎڄ ﭤﻴﻨﺪي ڏﺳﻲ ﭤﻮ ﺗﻪ ﺳﻨﺪس اﺣﺴﺎس‬
‫ﻛﻬﮍا ﻫﻮﻧﺪا؟ ان ﺟﻲ ﻫﻚ ﺟﻬﻠﻚ ﻣﺮﻟﻲ ڌر ﺟﻲ ﻫﻦ ﻧﻈﻢ ۾ ڏﺳﻲ ﺳﮕﻬﺠﻲ ﭤﻲ؛‬

‫‪98‬‬ ‫ﻣﺮﻟﻲ ڌر ﺟﻲ ﺷﺎﻋﺮي‪ ‬ﺟﻮ ﺗﻨﻘﻴﺪي اﭜﻴﺎس‬

 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﺌ ﺌر‬ ‫۽‬ ‫ڏ‬ ‫ﺌ‬ ‫ر‬

‫ُﭘﭧ ﭴﺎﺋﻮ ﻣﺮي وﻳﻮ‬ ‫ﮔﺮدي ﺟﻲ ﻣﺮﻳﺾ‬
‫دﺳﺘﻦ ِوﮔﻬﻲ ﭤﺮ ﺟﻲ ﺻﺤﺮا ۾‬ ‫ﭔﺎر ﭴﮣﻴﻨﺪي‬
‫َﮀﻜﮍو اڄ ﻧﻪ اِﻳﻨﺪو‬ ‫آﺳﻦ ۽ ُاﻣﻴﺪن‬
‫ُ‬
‫ﭔﺎر اﺳﭙﺘﺎل ﻧﻪ ﭘﻬﭽﻲ ﺳﮕﻬﻴﻮ‬ ‫ﺟﻲ درﻳﺎﻫﻪ ۾ ﻏﻮﻃﺎ ﮐﺎﺋﻴﻨﺪي‬
‫ﭤﺮ ﭴﺎﺋﻲ ﻣﺼﻴﺒﺘﻦ ﻣﺎري‬ ‫ُﮔﺮدا ِوﭸﺎﺋﻲ وﻳﺌﻲ‬
‫َاﭜﺎﮘﻲ ﭤﻲ رﻫﺠﻲ وﺋﻲ‬ ‫ُﮔﺮدو ﺑﺪﻟﺠﻲ وﻳﻮ‬
‫ﻋﻮرﺗﻦ ﺟﻮ ﻋﺎﻟﻤﻲ ڏﻳﻨﻬﻦ‬ ‫آﺳﻮن ۽ ُاﻣﻴﺪون‬
‫۽ ﺻﺤﺖ ﺳﻤﺎﭼﺎر‬ ‫اﮢﭙﻮرﻳﻮن ﺋﻲ رﻫﻴﻮن‬
‫)اﮐﮍﻳﻮن ڏﻳﻼ ﻣﻦ ﮔﻬﺎﻳﻞ‪-‬ص‪(89 :‬‬
‫ﻫﻚ ﭘﺎﺳﻲ ﭔﺎر ﭘﻴﺪا ﻛﺮڻ ﻋﻮرﺗﻦ ﻻ‪ ‬ﻣﺴﺌﻠﻮ آﻫﻲ ﺗﻪ ﭔﺌﻲ ﭘﺎﺳﻲ ﭔﺎر ﭘﻴﺪا ﻧﻪ ﻛﺮڻ‬
‫وري ﭘﻨﻬﻨﺠﻲ‪ ‬ﺟﺎ‪ ‬ﺗﻲ ﻫﻚ وڏو ﻣﺴﺌﻠﻮ ﭘﮡ آﻫﻲ‪ .‬اﻫﮍي‪ ‬ﻋﻮرت ﮐﻲ ﺳﻤﺎج ۾ ﻣﺨﺘﻠﻒ‬
‫ﻧﺎﻟﻦ ﺳﺎن ﭘﻜﺎرﻳﻮ وﻳﻨﺪو آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ۾ ري اوﻻدڻ‪ ،‬اﭜﺎﮘﻲ ۽ ﺳﻨﮃ وﻏﻴﺮه‪ .‬ﺗﻮڙي ﺟﻮ‬
‫ﻣﻴﮉﻳﻜﻞ ﺳﺎﺋﻨﺲ اﻫﻮ واﺿﺢ ﻛﺮي ﮀﮇﻳﻮ آﻫﻲ ﺗﻪ اﻫﺎ ﺧﺎﻣﻲ رﮘﻮ ﻋﻮرت ۾ ﻧﻪ ﭘﺮ ﮔﻬﮣﻲ‬
‫ﻗﺪر ﻣﺮد ۾ ﻫﻮﻧﺪي آﻫﻲ ﭘﺮ ان ﺟﻲ ﺑﺎوﺟﻮد ﭘﮍﻫﻴﻞ ﮘﮍﻫﻴﻞ ۽ ﺳﻠﺠﻬﻴﻞ ﺧﺎﻧﺪاﻧﻦ ۾ ﺑﻪ‬
‫ﻋﻮرﺗﻮن اوﻻد ﻧﻪ ﻫﺠﮡ ﺗﻲ ﻃﻌﻨﺎ ﭔﮅڻ ﮐﺎن ﺑﭽﻲ ﻧﻪ ﺳﮕﻬﻨﺪﻳﻮن آﻫﻦ‪ .‬ﻣﺮﻟﻲ ڌر ان ﻣﻌﺎﻣﻠﻲ‬
‫ﺗﻲ ﭘﻨﻬﻨﺠﻲ ﻟﮑﮣﻴﻦ وﺳﻴﻠﻲ آﮔﺎﻫﻲ ڏﻧﻲ آﻫﻲ ۽ واﺿﺢ ﻛﺮي ﭔﮅاﻳﻮ آﻫﻲ ﺗﻪ ﺳﻨﮃ رﮘﻮ‬
‫ﻋﻮرت ﻧﻪ ﭤﻴﻨﺪي آﻫﻲ ﺑﻠﻜﻪ ﻣﺮد ﺑﻪ ﺳﻨﮃ ﭤﻴﻨﺪا آﻫﻦ‪ُ .‬ﻫﻦ ان ﺳﻠﺴﻠﻲ ۾ ﻣﺮدن ﻻ‪ ‬ﻣﺨﺘﺼﺮ‬
‫ﭘﺮ ﺟﺎﻣﻊ ﻣﻌﻠﻮﻣﺎت اﺣﻄﻴﺎﻃﻲ ﺗﺪﺑﻴﺮون‪ ،‬ﺻﻼﺣﻮن ۽ ﻣﺸﻮرا ﭘﮡ ڏﻧﺎ آﻫﻦ‪ ،‬ﺳﻨﺪس ﻫﻲ‪‬‬
‫ﻣﺨﺘﺼﺮ ﻧﻈﻢ ﺑﻪ ان ﺋﻲ ﺳﻠﺴﻠﻲ ﺟﻲ ﻫﻚ ﻛﮍي ﺳﻤﺠﻬﻲ ﺳﮕﻬﺠﻲ ﭤﻮ‪:‬‬
‫َ‬
‫ﺻﻼح ڏﻧﻢ‪:‬‬ ‫اﮐﻴﻦ ۾ ﭘﺎﮢﻲ‬
‫زال ۽ ﻣﮍس ﭔﺌﻲ ﻛﺮاﻳﻮ!‬ ‫ﭼﻬﺮي ﺗﻲ ُاﭔﺎﮢﻜﺎﺋﻲ‬
‫وراﮢﻴﺎﺋﻴﻦ‪ :‬ﻣﮍس ﺗﻴﺎر ﻛﻮﻧﻬﻲ!‬ ‫ُاداس ﻣﻦ‬
‫ﺳﻮﭼﻴﻢ!‬ ‫ﻫﻮ‪ ‬ﺑﻲ اوﻻد ﺟﻮ ﻫﺌﻲ‬
‫ﮀﺎ؟‬ ‫ﭘﮁﻴﻢ‪ :‬ﭼﻜﺎس ﻛﺮاﻳﺌﮧ؟‬
‫ﻣﺮد َﺳﻨﮃ ﻧﺎﻫﻦ ﭤﻴﻨﺪا؟‬ ‫ﺟﻮاب ڏﻧﺎﺋﻴﻦ‪ :‬ﻫﺎ!‬
‫)اﮐﮍﻳﻮن ڏﻳﻼ ﻣﻦ ﮔﻬﺎﻳﻞ‪-‬ص‪(87 :‬‬
‫ﻣﭥﻴﻦ ﻣﺜﺎﻟﻦ ﮐﺎن ﻋﻼوه ﻣﺮﻟﻲ ڌر ﺟﻲ ﺷﺎﻋﺮي‪ ‬ﺗﻮڙي ﻧﺜﺮ ۾ ڏﮐﻮﻳﻞ ۽ ﺳﮇ ﻛﻨﺪڙ‬
‫اﭔﻮﺟﻬﻪ ۽ ﺟﺴﻤﺎﻧﻲ ﻃﻮر ﺑﻴﻤﺎر ﻃﺒﻘﻲ ﺟﺎ ﻣﺴﺌﻼ ۽ ﻣﻮﺿﻮع ﻣﺨﺘﺼﺮ ُﭘﺮ اﻧﺘﻬﺎﺋﻲ ﭘﺮ اﺛﺮ اﻧﺪاز‬
‫۾ ﺑﻴﺎن ﻛﻴﻞ آﻫﻦ‪ .‬ﺳﺮﻛﺎري اﺳﭙﺘﺎﻟﻦ ﺟﺎ ﺣﺎل ﻛﻨﻬﻦ ﮐﺎن ﮘﺠﻬﺎ ﻧﺎﻫﻦ‪ .‬ﻛﻴﺌﻦ‬
‫ﺳﻬﻮﻟﺘﻦ ﺟﻲ اﮢﺎٺ ۽ ﻣﻴﮉﻳﻜﻞ ﺗﻮڙي ﭘﻴﺮا ﻣﻴﮉﻳﻜﻞ ﻋﻤﻠﻲ ﭘﺎران ﮀﮍﭔﻦ ۽ اﮢﻮﻧﺪڙ روﻳﻦ‬
‫‪99‬‬ ‫ﻣﺮﻟﻲ ڌر ﺟﻲ ﺷﺎﻋﺮي‪ ‬ﺟﻮ ﺗﻨﻘﻴﺪي اﭜﻴﺎس‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﮐﻲ ﻣﺎﮢﻬﻮ ﺑﺮداﺷﺖ ﻛﺮڻ ﻻ‪ ‬ﻣﺠﺒﻮر ﻫﻮﻧﺪا آﻫﻦ‪ .‬ﻛﻴﺌﻦ ڏوراﻧﻬﻦ ﮘﻮﭠﻦ ﮐﺎن ﻋﻼج ﻻ‪‬‬
‫اﻳﻨﺪڙ ﻣﺎﮢﻬﻮ روڊ‪ .‬ﺗﻲ ﭔﺎرﻳﻦ ﭔﭽﻴﻦ رﻟﻴﻮن وﮀﺎﺋﻲ وﻳﭡﺎ ﻫﻮﻧﺪا آﻫﻦ ۽ ﻛﻴﺌﻦ ﻋﻮرﺗﻦ ﻻ‪‬‬
‫ﻛﻨﮉن ﭘﺎﺳﻦ ۾ ﻟﻜﺎﺋﻴﻨﺪا ﻧﻈﺮاﻳﻨﺪا‬ ‫ﭼﺎدر ۽ ﭼﺎر دﻳﻮاري‪ ‬وارا ﺗﺼﻮر ﭘﻨﻬﻨﺠﻮ ﻣﻨﻬﻦ ُ‬
‫آﻫﻦ؟ ﻛﻴﺌﻦ ﭘﺌﺴﺎ ﭰﺮاﻳﻞ ﺗﻴﻤﺎردار اﻧﺘﻬﺎﺋﻲ ﺳﺴﺘﻲ‪ ‬دوا ﻻ‪ ‬ﻓﺎرﻣﺎﺳﺴﭧ ﮐﻲ ﻣﻨﭥﻮن اﻳﻼز‬
‫ﻛﻨﺪي ۽ ﺳﺮﻛﺎري اﺳﭙﺘﺎﻟﻦ ﻣﺎن ﻣﻔﺖ ۾ ﻣﻠﻨﺪڙ دواﺋﻦ واري ڊﮔﻬﻲ‪ ‬ﻗﻄﺎر ۾ اڌ اڌ ڏﻳﻨﻬﻦ‬
‫ﺑﻴﻬﻲ ﮔﺬارڻ ﮐﺎﻧﭙﻮ‪ ‬ﺑﻨﺎ دوا ﺟﻲ ﻧﺎاﻣﻴﺪي‪ ‬۽ ﻧﺮاﺳﺎﺋﻲ‪ ‬واري‪ ‬ﻛﻴﻔﻴﺖ ۾ ﭘﻨﻬﻨﺠﻦ ﭘﻴﺎرن‬
‫ﮐﻲ ﺗﮍﭘﻨﺪو ڏﺳﮡ ﻻ‪ ‬ﻻﭼﺎر ﻣﺠﺒﻮر ﻫﻮﻧﺪا آﻫﻦ؟ ﻛﻴﺌﻦ ﻫﻚ ﺳﭵﺎڻ ﻟﻴﮑﻚ ارﺷﺎد‬
‫ﮔﻼﺑﺎﮢﻲ اﺳﭙﺘﺎل ﺟﻲ ﭘﺮوﭨﻮﻛﻮل ﻣﻄﺎﺑﻖ ﻧﻨﮃڙن ﭔﺎرن ﺟﻲ اﺳﭙﺘﺎل ۾ اﭼﮡ ﺗﻲ ﭘﺎﺑﻨﺪي‪ ‬ﮐﻲ‬
‫ﻣﺎن ڏﻳﻨﺪي ﭘﻨﻬﻨﺠﻲ ﻧﻨﮃڙي ﭔﺎر ﮐﻲ اﮐﺌﻴﻦ ڏﺳﮡ ﺑﻨﺎ ﻫﻦ دﻧﻴﺎ ﻣﺎن ﻣﻮﻛﻼﺋﻲ وﭸﻲ ﭤﻮ؟‬
‫اﻫﻲ ۽ ﭔﻴﺎ ﻛﻴﺘﺮاﺋﻲ اﻫﮍا ﮀﺮﻛﺎﺋﻴﻨﺪڙ ﻣﻮﺿﻮع آﻫﻦ ﺟﻴﻜﻲ ﻣﺮﻟﻲ ڌر ﺟﻲ ﻗﻠﻢ ﻣﺎن‬
‫دواﺋﻦ ﺟﻲ ﻧﺴﺨﻲ وارن ﻧﻨﮃڙن ﭘﻨﻦ ﺗﻲ دواﺋﻦ ﺟﻲ ﻣﺨﺘﺼﺮ ﻧﺎﻟﻦ واﻧﮕﺮ ﻣﺨﺘﺼﺮ ﻟﻔﻈﻦ ۾‬
‫اﻛﺮﻳﻞ آﻫﻦ ﺟﻴﻜﻲ ﺳﻨﺪس اﻧﺴﺎن دوﺳﺖ‪ ،‬ﻫﮇ ڏوﮐﻲ ۽ ﻫﻚ ﺣﺴﺎس ﺷﺎﻋﺮ واري‪‬‬
‫ﺷﺨﺼﻴﺖ ﮐﻲ ﻇﺎﻫﺮ ﻛﻦ ﭤﺎ‪.‬‬

‫ﺣﻮاﻻ‪:‬‬
‫ﻣﺮﻟﻲ ڌر‪ ،‬اﮐﮍﻳﻮن ڏﻳﻼ ﻣﻦ ﮔﻬﺎﻳﻞ‪ -‬ﻣﺎرﺋﻲ ﭘﺒﻠﻴﻜﻴﺸﻦ ﻛﺮاﭼﻲ‪2010 -‬ع‬ ‫‪.1‬‬
‫ڊاﻛﭩﺮ ﻣﺮﻟﻲ ڌر ﺳﺎن ﻣﺨﺘﻠﻒ وﻗﺘﻦ ﺗﻲ ﭤﻴﻞ ﮘﺎﻟﻬﻪ ﭔﻮﻟﻬﻪ‬ ‫‪.2‬‬
‫ﻟﻴﮑﻜﺎ ۽ ﻛﻤﻴﻮﻧﺴﭧ ﻟﻴﮉر ﺣﻤﻴﺪه ﮔﻬﺎﻧﮕﻬﺮو ﺳﺎن ﮘﺎﻟﻬﻪ ﭔﻮﻟﻬﻪ‬ ‫‪.3‬‬
‫ڊاﻛﭩﺮ ﻛﻤﺎل ﭴﺎﻣﮍي ﺳﺎن ﮘﺎﻟﻬﻪ ﭔﻮﻟﻬﻪ‬ ‫‪.4‬‬
‫ﻣﺮﻟﻲ ڌر‪ ،‬ﭨﻴﻦ دﻧﻴﺎ ﺟﺎ ﺳﻮر‪ -‬ﭘﻴﻜﺎڪ ﭘﺒﻠﺸﺮس‪ ،‬آﮔﺴﭧ ‪2016‬ع‬ ‫‪.5‬‬
‫ﻣﺮﻟﻲ ڌر )ﻣﺮﺗﺐ(‪“،‬ڏﻳﺎري” ‪ ،‬ﻣﻬﻴﻦ ﺟﻮ دڙو ﭘﺒﻠﺸﻨﮓ اﻳﺠﻨﺴﻲ ﻻڙﻛﺎﮢﻮ‪2017 -‬ع‬ ‫‪.6‬‬
‫ڊاﻛﭩﺮ ﻣﺮﻟﻲ ڌر ﺟﻮ ‪Facebook‬‬ ‫‪.7‬‬
‫ﺻﺤﺖ ﺳﭝﻨﻲ ﻻ‪ ‬آن ﻻﺋﻴﻦ‪.‬‬ ‫‪.8‬‬
‫وﻳﺐ ﺳﺎﺋﻴﭧ ‪www.britinica.com‬‬ ‫‪.9‬‬

‫‪100‬‬ ‫ﻣﺮﻟﻲ ڌر ﺟﻲ ﺷﺎﻋﺮي‪ ‬ﺟﻮ ﺗﻨﻘﻴﺪي اﭜﻴﺎس‬

 [ ] ‫ﺌرو ﮬ‬

‫ڙو‬ ‫رﺌ‬
،‫ ﺳﻨﮅي ﺷﻌﺒﻮ‬،‫ڊي اﺳﻜﺎﻟﺮ‬-‫ﭘﻲ اﻳﭿ‬
.‫وﻓﺎﻗﻲ اردو ﻳﻮﻧﻴﻮرﺳﭩﻲ‬

، ‫ادﺐ‬ ‫ا رام‬ ‫ﺌ‬

‫ﺌﺊ و‬ ‫ي‬ ‫۽‬ ‫ﺌ‬
AN ANALYSIS OF LITERARY, JOURNALISTIC
AND LEXICOGRAPHICAL WORKS OF
PERMANAND MEWA RAM

Abstract
Permanand Mewa Ram (1866-1938) was a very famous author,
editor, compiler and lexicographer of Sindhi language. He also translated
many articles and books from English and Italian languages into Sindhi
language such as Imitation of Christ, The Bible, Lady of Lourdes and
Hero Gulo. Although he did not get any higher educational degree from
any college or university, yet he educated himself and gained a lot of
knowledge of English language and grammar. He studied several books
concerning different aspects of religions and society. He worked as a
very nice teacher some schools and finally engaged himself as an editor
of a fortnightly bi-lingual in English-Sindhi magazine Jot, in 1990,
which he had joined as co-editor of Sindhi section, few years back in
1896. He remained Editor of the magazine till his death in November
1938. He wrote and translated a large number of essays in Sindhi
language. Because of his writing and editing skills, Jot became very
popular in Sindhi society. He compiled two books of selected essays
from Jot named Dil Bahar (in four parts) and Gul Phul (in two parts). He
wrote and translated almost 20 books in Sindhi language including two
dictionaries: The Sindhi-English Dictionary, published in 1910, and A
New English-Sindhi Dictionary, published in 1933. Both dictionaries are
significant lexicographical works of Permanand Mewa Ram. In both of
these dictionaries, he introduced best synonyms of Sindhi language
collected from grass roots of society through firsthand interaction, and made
valuable contribution to the vocabulary of Sindhi language by
101 ‫ ﺻﺤﺎﻓﺘﻲ ۽ ﻟﻐﻮي ﺧﺪﻣﺘﻦ ﺟﻮ ﺟﺎﺋﺰو‬،‫ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮارام ﺟﻲ ادﺑﻲ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫‪introducing new words, phrases and idioms as compared to earlier‬‬

‫‪dictionaries of the same type.‬‬
‫‪In this article, I have put forth an outline of Mr. Mewa Ram’s‬‬
‫‪works in the literary, journalistic and lexicographical fields.‬‬
‫وﻳﻬﻴﻦ ﺻﺪي‪ ‬ﺟﻲ ﺷﺮوﻋﺎت ۾ ﺟﻦ ادﻳﺒﻦ‪ ،‬ﺳﻨﮅي ادب ﺳﺎن ﮔﮇ‪ ،‬ﻟﻐﺖ ﻧﻮﻳﺴﻲ‪‬‬
‫ﺟﻲ ﮐﻴﺘﺮ ۾ ﻧﻤﺎﻳﺎن ۽ اﻫﻢ ﻛﻢ ﻛﻴﻮ‪ ،‬ﺗﻦ ۾ ﻣﺮزا ﻗﻠﻴﭻ ﺑﻴﮓ‪ ،‬ﭜﻴﺮوﻣﻞ ﻣﮭﺮﭼﻨﺪ آڏواﮢﻲ‪‬‬
‫۽ ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا رام ﺟﻮ ﻧﺎﻟﻮ ﻧﻤﺎﻳﺎن آﻫﻲ‪ .‬ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا رام اﻧﻴﻚ ﻣﻮﺿﻮﻋﻦ ﺗﻲ ﻋﺎم ﻓﻬﻢ‬
‫ﭔﻮﻟﻲ‪ ‬۾ ﻣﻀﻤﻮن ﻟﮑﻲ‪ ،‬ﻧﻪ ﺻﺮف ﻣﻀﻤﻮن ﻧﻮﻳﺴﻲ‪ ‬۾ وڏو ﻧﺎﻟﻮ ﭘﻴﺪا ﻛﻴﻮ‪ ،‬ﭘﺮ ﭘﻨﺪرﻫﻨﻮار‬
‫ﻧﺎﻧﻮ ﺳﻤﻴﺖ ‘ﺟﻮت’ ﮐﻲ ﺑﻪ ﻣﺸﻬﻮر ﻛﻴﻮ‪،‬‬ ‫‘ﺟﻮت’ ۾ اﻳﮉﻳﭩﺮ ﻃﻮر ﻛﻢ ﻛﺮي‪ ،‬ﭘﻨﻬﻨﺠﻲ َ‬
‫ﺟﻨﻬﻦ ۾ ﺋﻲ ﮔﻬﮣﻲ ﭜﺎﮜﻲ ﺳﻨﺪس ﻣﻀﻤﻮن ﮀﭙﺠﻨﺪا ﻫﺌﺎ‪ .‬ﺟﮇﻫﻦ ﺗﻪ‪ ،‬ﺳﻨﮅي‪-‬اﻧﮕﺮﻳﺰي ۽‬
‫اﻧﮕﺮﻳﺰي‪-‬ﺳﻨﮅي ﻟﻐﺘﻮن ﺟﻮڙڻ ۾ ﺗﻪ ﻫﻦ اﻳﮇي ﺗﻪ ﻛﻤﺎل ﻣﻬﺎرت ﺳﺎن ﻛﻢ ﻛﻴﻮ‪ ،‬ﺟﻮ‬
‫اﻫﻲ ﭔﺌﻲ ﻟﻐﺘﻮن ﻣﻮﺟﻮده َدور ﺟﻮن ﭘﮡ ﮔﻬﮣﻲ‪ ‬ﺣﺪ ﺗﺎﺋﻴﻦ ﺑﻨﻴﺎدي ﮔﻬﺮج ﭘﻮرﻳﻮن ﻛﻦ ﭤﻴﻮن‪،‬‬
‫“ﺧﺎص ﻛﺮي ﭔﻨﻬﻲ ﻟﻐﺘﻦ ۾ آﻧﺪل ﻟﻔﻈﻲ ذﺧﻴﺮو ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬ﺟﻲ رﭼﻴﻞ ﻫﺠﮡ ﺟﻲ وڏي‬
‫ﺛﺎﺑﺘﻲ ڏﻳﻨﺪڙ آﻫﻲ‪ .‬اﻧﻬﻦ ُاﺗﻢ ﺧﺪﻣﺘﻦ ﺟﻲ ﻛﺮي‪ ،‬ﮐﻴﺲ ﻟﻄﻴﻒ ﺳﺎﺋﻴﻦ‪ ‬ﺟﻲ ﺷﺎرح‬
‫ﭘﺮوﻓﻴﺴﺮ ﻛﻠﻴﺎڻ آڏواﮢﻲ‪ ‬ﺳﻨﮅي ﺳﺎﻫﺘﻴﻪ ﺟﻲ ﺳﺮﻣﻮڙ ﺷﺨﺼﻴﺖ ﺳﮇﻳﻮ آﻫﻲ”)‪.(1‬‬
‫ﺳﻨﮅ ﺟﻲ ادﺑﻲ ﺗﺎرﻳﺨﻦ ۽ ﺗﺬﻛﺮن ۾‪ ،‬ﻛﻮڙﻳﻤﻞ ﭼﻨﺪﻧﻤﻞ ﮐﻠﻨﺎﮢﻲ‪ ،‬ﻣﺮزا ﻗﻠﻴﭻ‬
‫ﺑﻴﮓ ۽ ڏﻳﺎرام ﮔﺪوﻣﻞ ﺳﺎن ﮔﮇ ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا رام ﮐﻲ ﺳﻨﮅي ﻧﺜﺮ ﺟﻲ ﭘﻴﻞ ﭘﺎون‪ ،‬ﭼﺌﻦ‬
‫ﭰﻴﭥﻦ ﻳﺎ ﭼﺌﻦ ﭤﻨﭝﻦ ۾ ﻣﭹﻴﻮ وﻳﻮ آﻫﻲ‪ ،‬ﺟﻦ‪ ،‬ﺧﺎص ﻛﺮي‪1857 ،‬ع ﮐﺎن ‪1907‬ع ﺗﺎﺋﻴﻦ‬
‫ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬۾ ﻧﺜﺮ ۽ ﻧﺎﭨﻚ ﺟﻮ ﭘﻮري‪ ‬ﻃﺮح ﺑﻨﻴﺎد وڌو”)‪ .(2‬اﻧﻬﻦ ﭼﺌﻨﻲ ﻣﻬﺎن ﺷﺨﺼﻴﺘﻦ‬
‫ﺟﻲ ﻟﮑﻴﺘﻦ ﺟﻲ ﭔﻮﻟﻲ ﭘﻨﻬﻨﺠﻲ ﭘﻨﻬﻨﺠﻲ اﻧﺪاز ۽ ﻟﺐ و ﻟﻬﺠﻲ واري ﻫﺌﻲ‪ ،‬ﺟﻴﻜﺎ ﭴﮡ ﺗﻪ‬
‫ﺳﻨﮅ ﺟﻲ ﭼﺌﻦ ڏﺳﺎﺋﻦ ۾ ﭘﮑﮍﻳﻞ ﻫﺌﻲ‪ .‬ﭘﺮوﻓﻴﺴﺮ ﻣﻨﮕﻬﺎرام ﻣﻠﻜﺎﮢﻲ‪ ‬ﻣﻮﺟﺐ‪“ ،‬ﭘﺮﻣﺎﻧﻨﺪ‬
‫ﺻﺎﺣﺐ‪ ،‬ﺳﻨﮅي ﻧﺜﺮ ﺟﻲ اﻧﻬﻦ ﭼﺌﻦ ﭤﻨﭝﻦ ﻣﺎن ﻫﻜﮍو ﺋﻲ ﻟﻴﮑﻚ ﻫﻮ ﺟﻨﻬﻦ ﻛﮇﻫﻦ ﺑﻪ‬
‫ڏﮐﻴﻮ ﻳﺎ ﮔﭥﻞ ﻳﺎ ﮔﻬﺮﮔﻬﻠﻮ اﮐﺮ ﻛﺘﺐ ﻛﻮ ﻧﻪ آﻧﺪو‪ ،‬۽ ﺳﺪاﺋﻴﻦ ُاﻫﻲ ﺳﺮل ﻓﺎرﺳﻲ ۽ ﻫﻨﺪي‬
‫ﻛﻦ َرس ﭘﻴﺪا ﻛﻦ ۽ ﺳﻨﮅي َﮔﻠﻦ ۾ ﭰﺎﺳﻲ ﻧﻪ‬ ‫ﻟﻔﻆ ڏﻳﻬﻲ ﺳﻨﮅي‪ ‬ﺳﺎن ﻣﻼﺋﻴﻨﺪو ﻫﻮ ﺟﻲ َ‬
‫ﻧﻜﻲ ﻣﺤﺎورن ﺟﻮن ﻏﻴﺮ‪-‬ﺳﻨﮅي ﺻﻮرﺗﻮن ورﺗﺎﺋﻴﻨﺪو ﻫﻮ”)‪ .(3‬ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا رام‬ ‫ﭘﻮن‪ ،‬۽ ِ‬
‫ﺟﻲ ﺳﭹﺎﮢﭗ ﺟﺎ ﻣﺸﻬﻮر ﺣﻮاﻻ ﭘﻨﺪرﻫﻨﻮار ‘ﺟﻮت’ ۾‪ ،‬ورﻫﻴﻦ ﺟﺎ ورﻫﻴﻪ‪ ،‬اﻳﮉﻳﭩﺮ ﻃﻮر‬
‫ذﻣﻴﻮارﻳﻮن ﻧﭝﺎﺋﮡ‪ ،‬ان ۾ وﮢﻨﺪڙ ﭔﻮﻟﻲ‪ ‬۾ ﻣﺨﺘﻠﻒ ﻣﻮﺿﻮﻋﻦ ﺗﻲ ﻣﻀﻤﻮن ﻟﮑﮡ ۽ ‘ﺳﻨﮅي‪-‬‬
‫اﻧﮕﺮﻳﺰي ﻟﻐﺖ’ ﺳﺎن ﮔﮇ ‘اﻧﮕﺮﻳﺰي‪-‬ﺳﻨﮅي ﻟﻐﺖ’ ﺟﻮڙڻ آﻫﻲ‪ .‬ﭘﺮوﻓﻴﺴﺮ ﻋﺒﺪاﻟﺴﺘﺎر‬
‫ﺑﻠﻮچ ان ﺣﻮاﻟﻲ ﺳﺎن ﻟﮑﻲ ﭤﻮ‪“ ،‬ﺳﻨﮅي ادب ۾ ﺳﻨﺪن ﻧﺎﻟﻮ ﻧﻪ رﮘﻮ اﺧﺒﺎر ﻧﻮﻳﺴﻲ‪ ‬ﺟﻲ ﺣﻮاﻟﻲ‬
‫ﺳﺎن [اﻫﻢ آﻫﻲ] ﭘﺮ ﻟﻐﺖ ﻧﻮﻳﺴﻲ‪ ‬ﺟﻲ ﺳﻠﺴﻠﻲ ۾ ﺑﻪ ﺳﻨﺪن ﺧﺪﻣﺘﻮن ﻳﺎدﮔﺎر ۽ ﻣﺜﺎﻟﻲ‬
‫ﺣﻴﺜﻴﺖ رﮐﻦ ﭤﻴﻮن”)‪ .(4‬ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا رام ‘ﺟﻮت’ ۾ ادارﺗﻲ ذﻣﻴﻮارﻳﻮن ﻧﭝﺎﺋﮡ ﺳﻤﻴﺖ‬
‫ﻛﺎراﺋﺘﺎ ﻣﻀﻤﻮن ﭘﮡ ﻟﮑﻴﺎ‪ ،‬ﺟﻦ ۾ ﻫﻦ ﺟﻲ ُﭘﺮ اﺛﺮ ﭔﻮﻟﻲ‪ ‬ﮐﻲ ﺧﺎص ﻃﻮر ﺗﻲ ﭘﺴﻨﺪ ﻛﻴﻮ‬
‫‪102‬‬ ‫ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮارام ﺟﻲ ادﺑﻲ‪ ،‬ﺻﺤﺎﻓﺘﻲ ۽ ﻟﻐﻮي ﺧﺪﻣﺘﻦ ﺟﻮ ﺟﺎﺋﺰو‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫وﻳﻨﺪو ﻫﻮ‪ .‬ﻫﻦ ﻣﻀﻤﻮﻧﻦ ﺟﻲ ﺟﻤﻠﻦ ۽ اﻧﻬﻦ ۾ ﻛﺘﺐ آﻧﺪل ﻟﻔﻈﻦ ﺟﻲ ﺑﻴﻬﻚ ﺗﻲ ﺧﺎص‬
‫ڌﻳﺎن ڏﻳﻨﺪو ﻫﻮ‪ ،‬ﮀﺎﻛﺎڻ ﺗﻪ اﻧﻬﻦ ۾ ﭠﻬﻜﻨﺪڙ ﻣﺤﺎورا‪ ،‬اﺻﻄﻼح ۽ ﭼﻮﮢﻴﻮن ﭘﮡ ﻛﺘﺐ‬
‫آﮢﻴﻨﺪو ﻫﻮ‪ ،‬ﮀﺎﻛﺎڻ ﺗﻪ ﻫﻮ ﭔﻮﻟﻲ‪ ‬ﺟﻲ ﻧﺰاﻛﺘﻦ ۽ ﺣﺴﻨﺎﻛﻴﻦ ﮐﻲ ﺻﺤﻴﺢ ﻃﺮح‬
‫ﺳﻤﺠﻬﻨﺪو ﻫﻮ‪ .‬ﺳﻨﺪس ﻣﺸﻬﻮر ۽ ﭘﻴﺎرن ﺷﺎﮔﺮدن ۾ ﺷﺎﻫﻪ ﺟﻮ ﭘﻬﺮﻳﻮن ﻧﺎﻣﻮر ﺷﺎرح ۽ ﻣﺤﻘﻖ‬
‫ﻫﻮﺗﭽﻨﺪ ﻣﻮﻟﭽﻨﺪ ﮔﺮﺑﺨﺸﺎﮢﻲ ﭘﮡ ﺷﺎﻣﻞ ﻫﻮ‪.‬‬

‫ا ال‪:‬‬ ‫ﮭ‬ ‫ز‬

‫ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا رام ﺟﻨﻮري ‪1866‬ع ۾‪ ،‬ﺣﻴﺪرآﺑﺎد ﺷﻬﺮ ۾‪ ،‬ﭘﻴﺪا ﭤﻴﻮ)‪ .(5‬ڊاﻛﭩﺮ ﻣﻴﻤﮡ‬
‫ﻋﺒﺪاﻟﻐﻔﻮر ﺳﻨﮅي‪ ‬ﺳﻨﺪس ﭴﻤﮡ ﺟﻲ ﺗﺎرﻳﺦ ‪ُ -13‬ﺟﻮن ‪1866‬ع)‪ (6‬۽ ڊاﻛﭩﺮ ﻏﻼم ﻋﻠﻲ‬
‫اﻻﻧﺎ ﺳﻦ ‪1856‬ع)‪ (7‬ﻟﮑﻲ آﻫﻲ‪ .‬اﻧﻬﻦ ﻣﺎن ﻣﺴﺘﻨﺪ ﺗﺎرﻳﺦ ﺟﻨﻮري ‪1866‬ع ﺋﻲ آﻫﻲ‪ ،‬ﺟﻴﻜﺎ‬
‫ﭘﻮﻳﻦ ﭔﻨﻬﻲ ﮐﺎن آﮘﺎﭨﻲ ۽ ﭘﺮﻣﺎﻧﻨﺪ ﺟﻲ ﺳﺎﭤﻲ‪ ‬اﻧﻴﻤﺎﻧﻨﺪا ﺟﻲ ﻟﮑﻴﻞ آﻫﻲ‪ .‬ﭘﺮﻣﺎﻧﻨﺪ ﺟﻲ‬
‫ﭘﻲ‪ ‬ﺟﻮ ﻧﺎﻟﻮ ﻣﻴﻮا رام ﻫﻮ‪ .‬راﻣﭽﻨﺪاﮢﻲ ﺳﻨﺪس ﻧﮏ ﻫﺌﻲ‪ ،‬ﺟﮇﻫﻦ ﺗﻪ ﮐﺘﺮي ﺑﺮادري‪ ‬ﺳﺎن‬
‫ﺳﻨﺪس ﺗﻌﻠﻖ ﻫﻮ‪“ .‬ﻫﻲ ﺻﺎﺣﺐ ﺧﺎﻧﺪاﻧﻲ ﻋﺎﻣﻞ آﻛﻬﻪ ﻣﺎن ﻫﻮ‪ .‬ﻫﻦ ﺟﺎ وڏا ﺣﻴﺪرآﺑﺎد ﺟﻲ‬
‫ﻣﻴﺮن وٽ ﻛﺎروﺑﺎر ﻫﻼﺋﻴﻨﺪا ﻫﺌﺎ”)‪ .(8‬ﺳﻨﺪس وڏا ﺳﮏ ڌرم ﮐﻲ ﻣﭹﻴﻨﺪڙ ﻫﺌﺎ‪ .‬ﭘﺮﻣﺎﻧﻨﺪ‬
‫‪ 12‬ورﻫﻴﻦ ﺟﻮ ﻫﻮ‪ ،‬ﺗﻪ ‪1878‬ع ۾ ﺳﻨﺪس ﭘﻲ‪ ‬ﻣﻴﻮا رام ﺟﻲ وﻓﺎت ﭤﻲ‪ .‬ﭘﺮﻣﺎﻧﻨﺪ ﻣﺨﺘﻠﻒ‬
‫اﺳﻜﻮﻟﻦ ۾ ﭘﮍﻫﮡ ﮐﺎن ﭘﻮ‪1881 ،‬ع ۾‪ ،‬ﭘﻨﺠﻮن درﺟﻮ ﭘﺎس ﻛﻴﻮ‪ ،‬ﺟﻨﻬﻦ ﮐﺎن ﭘﻮ‪ ‬ﭼﺮچ‬
‫ﻣﺸﻨﺮي اﺳﻜﻮل ﺣﻴﺪرآﺑﺎد ﻣﺎن ﺳﻴﻜﻨﮉري ﺗﻌﻠﻴﻢ ﺣﺎﺻﻞ ﻛﻴﺎﺋﻴﻦ‪ ،‬ﭘﺮ ﺣﺎﻟﺘﻦ ﺟﻲ‬
‫ﻣﺠﺒﻮري‪ ‬ﺳﺒﺐ وڌﻳﻚ ﺗﻌﻠﻴﻢ ِﭘﺮاﺋﻲ ﻧﻪ ﺳﮕﻬﻴﻮ‪ .‬ﺳﻨﺪس ﺗﻌﻠﻴﻤﻲ ﺳﻠﺴﻠﻮ ﻛﮇﻫﻦ‬
‫ﺟﺎري‪ ،‬ﺗﻪ ﻛﮇﻫﻦ ﭨﭩﻞ رﻫﻴﻮ‪1881 .‬ع ۾ ﺋﻲ ﻫﻦ ﭘﺒﻠﻚ ﺳﺮوس اﻣﺘﺤﺎن ﭘﺎس ﻛﻴﻮ‪.‬‬
‫‪1882‬ع ۾ ﻫﻦ ﭔﻴﻬﺮ ﮀﻬﻴﻦ درﺟﻲ اﻧﮕﺮﻳﺰي‪ ‬۾ داﺧﻼ ورﺗﻲ‪ ،‬ﭘﺮ اﻫﺎ ﺗﻌﻠﻴﻢ ﺑﻪ اﮘﺘﻲ وڌاﺋﻲ ﻧﻪ‬
‫ﺳﮕﻬﻴﻮ‪ .‬ﮐﻴﺲ ﻣﺎرچ ‪1884‬ع ۾‪ ،‬ﻣﺎڙي ﭘﻮر ﺳﺎﻟﭧ ورﻛﺲ ۾ ﻧﻮﻛﺮي ﻣﻠﻲ‪ ،‬ﺟﻨﻬﻦ ﺑﻌﺪ ﻫﻮ‬
‫ﻛﺠﻬﻪ ﻣﻬﻴﻨﺎ ﺳﮑﺮ ۾ ﭘﮡ ﻣﻘﺮر رﻫﻴﻮ‪ .‬ﭔﻴﻬﺮ ﻣﺎڙي ﭘﻮر ﻣﻮﭨﮡ ﮐﺎن ﭘﻮ‪ ،‬ﮐﻴﺲ ﻣﺌﻲ ‪1886‬ع ۾‬
‫ڏﻳﭙﻠﻲ ﺟﻲ ﻋﻼﺋﻘﻲ ﺳﺎرڻ ۾ ﺑﺪﻟﻲ ﻛﻴﻮ وﻳﻮ‪1887 .‬ع ۾ ﻫﻮ اﻫﺎ ﻧﻮﻛﺮي ﮀﮇي‪ ،‬ﻫﻚ‬
‫ﺧﺎﻧﮕﻲ اﺳﻜﻮل ۾ اﺳﺘﺎد ﻣﻘﺮر ﭤﻴﻮ ۽ ‪1888‬ع ۾ ﺣﻴﺪرآﺑﺎد ۾ اﻧﮕﺮﻳﺰي اﺳﻜﻮل ‘ﻳﻮﻧﻴﻦ‬
‫اﻛﻴﮉﻣﻲ‪ ’‬۾‪ ،‬ﭘﻬﺮﻳﺎن ﻣﺎﺳﺘﺮ ۽ ﭘﻮ‪ ‬ﻫﻴﮉﻣﺎﺳﺘﺮ ﭤﻴﻮ‪ ،‬ﺟﻨﻬﻦ ﺟﻲ ﭘﺎﻳﻮ وﺟﻬﻨﺪڙن ﻣﺎن ﻫﻚ‬
‫ﻫﻮ‪ .‬اﻫﺎ اﻛﻴﮉﻣﻲ‪ ،‬ﭘﻮ‪‘ ،‬ﻧﻮﻟﺮا‪ ‬اﻛﻴﮉﻣﻲ‪ ’‬ﺟﻲ ﻧﺎﻟﻲ ﺳﺎن ﻣﺸﻬﻮر ﭤِﻲ‪ .‬ﻃﺒﻴﻌﺘﺎً ﭘﺮﻣﺎﻧﻨﺪ‬
‫ﻣﻴﻮا رام ﻣﻠﻨﺴﺎر ۽ ﺑﻲ ﻏﺮض اﻧﺴﺎن ﻫﻮ‪ .‬اﻫﻮ ﺋﻲ روﻳﻮ ﻫﻮ ﺟﻮ ﻫﻚ اﺳﺘﺎد ﻃﻮر ﻫﻮ‪،‬‬
‫ﺟﻨﻬﻨﻜﺮي ﮐﻴﺲ ﮔﻬﮣﻲ ﻣﻘﺒﻮﻟﻴﺖ ﺣﺎﺻﻞ ﭤﻲ‪ .‬ﺳﺘﺖ ﺋﻲ ﻫﻦ ﮐﻲ ﺣﻴﺪرآﺑﺎد ﺟﻲ ﺿﻠﻌﻲ‬
‫ﻛﻮرٽ ۾ ﺑﻪ ﻣﻼزﻣﺖ ﻣﻠﻲ‪ ،‬ﺟﻴﻜﺎ ﻫﻦ ‪1894‬ع ۾ ﮀﮇي ڏﻧﻲ‪ .‬ﭘﺮﻣﺎﻧﻨﺪ ﮐﻲ ﭔﻮﻟﻴﻮن ﺳﮑﮡ‬
‫ﺟﻮ ﺑﻪ ﺷﻮق ﻫﻮ ﺟﻨﻬﻨﻜﺮي ﻫﻮ اﻧﮕﺮﻳﺰي‪ ‬ﺳﺎن ﮔﮇ ﻻﻃﻴﻨﻲ ۽ ﮔﺮﻣﮑﻲ ﺑﻪ ﺳﮑﻴﻮ‪ .‬ﻫﻚ ﭜﻴﺮو‬
‫ﭔﻴﻬﺮ‪1894 ،‬ع ﮐﺎن وﭠﻲ ‪1897‬ع ﺗﺎﺋﻴﻦ‪ ،‬ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا رام اﺳﺘﺎد ﻃﻮر ﺳﻴﻨﭧ ﭘﻴﭩﺮﻛﺲ‬
‫اﺳﻜﻮل ﻛﺮاﭼﻲ‪ ‬۾ ﺗﺪرﻳﺴﻲ ﺧﺪﻣﺘﻮن ﻧﭝﺎﻳﻮن‪ .‬ان ﮐﺎن ﭘﻮ‪ ‬ﻫﻮ ﻧﺌﻴﻦ ﻗﺎﺋﻢ ﭤﻴﻞ ڌرﻣﻲ‬
‫‪103‬‬ ‫ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮارام ﺟﻲ ادﺑﻲ‪ ،‬ﺻﺤﺎﻓﺘﻲ ۽ ﻟﻐﻮي ﺧﺪﻣﺘﻦ ﺟﻮ ﺟﺎﺋﺰو‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻋﻴﺴﺎﺋﻲ اﺳﻜﻮل ۾ ﭘﮍﻫﺎﺋﮡ ۽ ﭘﺎدري‪ ‬ﻃﻮر ﻛﻢ ﻛﺮڻ ﻟﮙﻮ‪ .‬ﻫﻮ ﻫﻨﺪن ۽ ﺳﮑﻦ ﺟﻲ ﻏﻠﻂ‬
‫وﻫﻨﻮارن ﮐﺎن ﺑﺪ دل ﭤﻲ‪ ،‬ﻋﻴﺴﺎﺋﻴﺖ ﮐﺎن ﻣﺘﺎﺛﺮ ﭤﻴﻮ‪ ،‬ﺟﻨﻬﻦ ﻛﺮي ِﺳﮏ ڌرم ﮀﮇي‪ ،‬اﺑﺘﺪا‬
‫۾‪ 27 ،‬ﻓﻴﺒﺮوري ‪1891‬ع ﺗﻲ‪ ،‬ﺟﺮﻣﻦ ﭘﺎدري ﺳﺌﻠﻴﻨﺠﺮ ﻫﭥﺎن ﻛﺌﭥﻮﻟﻚ ﻋﻴﺴﺎﺋﻲ ﻣﺬﻫﺐ‬
‫اﺧﺘﻴﺎر ﻛﻴﺎﺋﻴﻦ‪ ،‬ﺟﮇﻫﻦ ﺗﻪ ﺑﺎﺿﺎﺑﻄﻲ ﻃﻮر ‪ 7‬اﭘﺮﻳﻞ ‪1892‬ع ﺗﻲ‪ ،‬ﻛﺮاﭼﻲ‪ ‬۾‪ ،‬اي‪ .‬ﺑﺮوڊر‬
‫)‪ (A. Bruder‬ﺟﻲ ﻫﭣ ﺗﻲ‪ ،‬ﻋﻴﺴﺎﺋﻲ ﻣﺬﻫﺐ ﻣﻜﻤﻞ ﻃﻮر اﺧﺘﻴﺎر ﻛﻴﺎﺋﻴﻦ‪ .‬ﺳﻨﺪس‬
‫زﻧﺪﮔﻲ‪ ‬ﺟﻮ ُﻣﮏ ﻣﻘﺼﺪ ﻋﻴﺴﺎﺋﻴﺖ ﺟﻲ ﭘﺮﭼﺎر ﺑﮣﺠﻲ ﭼﻜﻮ ﻫﻮ‪ ،‬ﺟﻴﻜﻮ ﻫﻦ ﺧﺎص ﻃﻮر‬
‫‘ﺟﻮت’ وﺳﻴﻠﻲ ﭘﻨﻬﻨﺠﻦ ﻣﻀﻤﻮﻧﻦ ذرﻳﻌﻲ ﺣﺎﺻﻞ ﻛﻴﻮ‪ .‬ﺟﮇﻫﻦ ﺗﻪ “ﻛﺮﺳﭽﻦ رﻳﮉﻧﮓ‬
‫روم” ﭘﮡ ان ﻣﻘﺼﺪ ﻻ‪ ‬ﻗﺎﺋﻢ ﻛﻴﻮ‪ .‬ﺳﻨﺪس ﺣﻴﺎﺗﻲ‪ ‬ﺟﻮ وڏو ﻋﺮﺻﻮ ﺣﻴﺪرآﺑﺎد ۾ ﺋﻲ‬
‫ﮔﺬرﻳﻮ‪ .‬ﺳﻨﮅ ﺟﻲ ﻫﻦ ﻧﺎﻣﻮر ادﻳﺐ ۽ ﻟﻐﺖ ﻧﻮﻳﺲ ﺟﻲ وﻓﺎت‪ 72 ،‬ﺳﺎﻟﻦ ﺟﻲ ﭴﻤﺎر ۾‪،‬‬
‫ﺳﻨﺪس ﺳﺎﭤﻲ‪ ‬۽ ﺳﻮاﻧﺢ ﻧﮕﺎر اﻧﻴﻤﺎﻧﻨﺪا ﻣﻮﺟﺐ‪ 29 ،‬ﻧﻮﻣﺒﺮ ‪1938‬ع ﺗﻲ‪ ،‬اﮜﺎري ڏﻳﻨﻬﻦ‪،‬‬
‫ﺻﺒﺢ ﺟﻮ ﻧﺎﺋﻴﻦ وﮘﻲ ﮐﺎن ﭘﻮ‪ ‬۽ ڏﻫﻴﻦ وﮘﻲ ﮐﺎن اڳ‪ ،‬ﭤﻲ)‪ .(9‬ڊاﻛﭩﺮ ﻣﻴﻤﮡ ﻋﺒﺪاﻟﻐﻔﻮر‬
‫ﺳﻨﮅي‪ ‬اﻫﺎ ﺗﺎرﻳﺦ ‪-14‬ﻣﺎرچ ‪1938‬ع ﻟﮑﻲ آﻫﻲ)‪ ،(10‬ﺟﺎ ﺻﺤﻴﺢ ﻧﺎﻫﻲ‪ .‬ﺳﻨﺪس ﺗﺪﻓﻴﻦ‬
‫ﺣﻴﺪرآﺑﺎد ۾‪ ،‬ﻣﻮﺟﻮده ﻗﺎﺳﻢ ﭼﻮڪ وٽ ﻗﺎﺋﻢ‪ ،‬ﻋﺴﻜﺮي ﭘﻴﭩﺮول ﭘﻤﭗ ﭘﭡﻴﺎن‪ ،‬ﻣﺴﻴﺤﻲ‬
‫ﻗﺒﺮﺳﺘﺎن ۾ ﻛﺌﻲ وﺋﻲ‪ .‬ﻓﻴﺒﺮوري ‪2017‬ع ۾‪ ،‬ﺳﻨﺪس ﻗﺒﺮ ﺟﻲ ﮘﻮﻻ اﻧﻌﺎم ﺷﻴﺦ‪ ،‬ﻧﻔﻴﺲ‬
‫اﺣﻤﺪ ﻧﺎﺷﺎد ۽ ﻧﺼﻴﺮ ﻣﺮزا‪ ،‬ﻗﺒﺮﺳﺘﺎن ﺟﻲ ﻣﺠﺎور دﻳﺪار ﻋﻠﻲ ﺟﺘﻮﺋﻲ ﺟﻲ ﻧﺸﺎﻧﺪﻫﻲ‪ ‬ﺗﻲ‬
‫ﭘﻜﻲ ﭘﺨﺘﻲ ﻗﺒﺮ‬ ‫ﻛﺌﻲ‪ ،‬ﺟﻨﻬﻦ ﺗﻲ‪‘ ،‬ﺳﻨﮅ اﻧﮉوﻣﻴﻨﭧ ﻓﻨﮉ ﭨﺮﺳﭧ’ ﭘﺎران ﺳﻬﮣﻲ ۽ ِ‬
‫ﺟﻮڙاﺋﻲ وﺋﻲ آﻫﻲ‪.‬‬

‫“‪:‬‬ ‫” ت“ ۽ ”‬
‫‪1896‬ع ۾‪‘ ،‬ﺟﻮت’ ﺟﻲ وﮢﻨﺪڙ ﻧﺎﻟﻲ ﺳﺎن‪ ،‬ﭔﻦ ﭔﻮﻟﻴﻦ‪ ،‬ﺳﻨﮅي ۽ اﻧﮕﺮﻳﺰي ۾‪،‬‬
‫ﭘﻨﺪرﻫﻨﻮار رﺳﺎﻟﻮ ﺣﻴﺪرآﺑﺎد ﻣﺎن ﺟﺎري ﻛﻴﻮ وﻳﻮ‪ ،‬ﺗﻪ ﺟﻴﺌﻦ ﻛﺌﭥﻮﻟﻚ ﻋﻴﺴﺎﺋﻲ ﻓﺮﻗﻲ‬
‫ﭘﺮﭼﺎر ﺳﻮڌو ﺳﻤﺎﺟﻲ‪ ،‬اﺧﻼﻗﻲ ۽ ﺗﻌﻠﻴﻤﻲ ﻣﻮﺿﻮﻋﻦ ﺗﻲ ﻣﻀﻤﻮن ﮀﭙﻲ‪ ،‬ﺳﻤﺎج ۾‬ ‫َ‬ ‫ﺟﻲ‬
‫ﺳﺠﺎﮘﻲ ﭘﻴﺪا ﻛﺌﻲ وﭸﻲ‪ .‬ان رﺳﺎﻟﻲ ﺟﻲ ﺳﻨﮅي ﺣﺼﻲ ﺳﻨﭝﺎﻟﮡ ﺟﻲ ذﻣﻴﻮاري ﭘﺮﻣﺎﻧﻨﺪ‬
‫ﻣﻴﻮا رام ۽ اﻧﻴﻤﺎﻧﻨﺪا )رﻳﻮاﭼﻨﺪ ﮔﻴﺎﻧﭽﻨﺪ ﻣﺎﮐﻴﺠﺎﮢﻲ‪ (‬ﺗﻲ رﮐﻲ وﺋﻲ‪ ،‬ﺟﮇﻫﻦ ﺗﻪ اﻧﮕﺮﻳﺰي‬
‫ﭜﺎﮜﻲ ﺟﻮ ﻛﻢ ﺳﻮاﻣﻲ ُاﭘﺎڌﻳﻪ )ﺑﺎﺑﻮ ﭼﺮن ﺑﺌﻨﺮﺟﻲ( ۽ ﮐﻴﻤﭽﻨﺪ ﺳﻨﭝﺎﻟﻴﻨﺪا ﻫﺌﺎ‪ .‬ﺳﺘﺖ ﺋﻲ‪،‬‬
‫‪1900‬ع ۾ ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا رام ﮐﻲ ‘ﺟﻮت’ ﺟﻮ اﻳﮉﻳﭩﺮ ﻣﻘﺮر ﻛﻴﻮ وﻳﻮ‪ .‬ﻫﻦ اﻛﻴﻠﻲ ﺳﺮ اﻫﺎ‬
‫اﻫﻢ ﺻﺤﺎﻓﺘﻲ ذﻣﻴﻮاري ﭘﻨﻬﻨﺠﻲ‪ ‬وﻓﺎت ﺗﺎﺋﻴﻦ ﻧﭝﺎﺋﻲ‪ .‬ﻧﺎﻣﻮر ﻣﺤﻘﻖ ﭜﻴﺮوﻣﻞ ﻣﻬﺮﭼﻨﺪ‬
‫آڏواﮢﻲ ﻟﮑﻲ ﭤﻮ‪“ ،‬ﻣﺴﭩﺮ ﭘﺮﻣﺎﻧﻨﺪ‪‘ ،‬ﺟﻮت’ ﺟﻲ ﺳﻠﺴﻠﻲ ﺳﻨﮅي ﺳﺎﻫﺖ ﮐﻲ زور وﭠﺎﺋﮡ ﺟﻲ‬
‫ﺟﺎ ﻛﻮﺷﺶ ﻛﺌﻲ ﺳﺎ ﻛﮇﻫﻦ وﺳﺮڻ ﺟﻲ ﻧﻪ آﻫﻲ‪ .‬ﺳﻨﺪس ﻟﻴﮏ اﻫﮍا آﻫﻦ ﺟﻬﮍا‬
‫اﺋﮉﻳﺴﻦ ﺻﺎﺣﺐ ﺟﺎ ﻣﻀﻤﻮن‪ ،‬ﺟﻨﻬﻨﻜﺮي ﮐﻴﺲ ‘ﺳﻨﮅ ﺟﻮ اﺋﮉﻳﺴﻦ’ ﺳﮇي ﺳﮕﻬﺠﻲ ﭤﻮ”)‪.(11‬‬
‫ﻟﻴﮏ‪ ،‬ﻣﭥﻲ ﭴﺎﮢﺎﻳﻞ ﻣﻮﺿﻮﻋﻦ ﺗﻲ‪ ،‬ﭘﺮﻣﺎﻧﻨﺪ ﺗﻮڙي ﭔﻴﻦ ﻟﻴﮑﻜﻦ ﻟﮑﻴﺎ‬ ‫‘ﺟﻮت’ ۾ ﺟﻴﻜﻲ َ‬
‫ﺳﻲ ﺑﻴﺤﺪ ﻣﻌﻴﺎري ﻫﺌﺎ‪ .‬ان اﻋﻠﻰ ﻣﻌﻴﺎر ۽ ﻣﻀﻤﻮﻧﻦ ﺟﻲ ﻣﻘﺒﻮﻟﻴﺖ ﺳﺒﺐ ﺋﻲ‪ ،‬ﻫﻦ ‘ﺟﻮت’‬
‫‪104‬‬ ‫ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮارام ﺟﻲ ادﺑﻲ‪ ،‬ﺻﺤﺎﻓﺘﻲ ۽ ﻟﻐﻮي ﺧﺪﻣﺘﻦ ﺟﻮ ﺟﺎﺋﺰو‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫۾ ﮀﭙﻴﻞ ﭼﻮﻧﮉ ﻟﻴﮑﻦ ِﺟﻲ ﭘﻬﺮﻳﻦ ﺳﻬﻴﮍ “دل ﺑﻬﺎر” ﺟﻲ ﻧﺎﻟﻲ ﺳﺎن‪ ،‬ﭼﺌﻦ ﭜﺎﮜﻦ ۾‪1904 ،‬ع ۾‬
‫۽ ﭔِﻲ ﺳﻬﻴﮍ “ﮔﻞ ﭰﻞ” ﺟﻲ ﻧﺎﻟﻲ ﺳﺎن‪ ،‬ﭔﻦ ﭜﺎﮜﻦ ۾‪1925 ،‬ع ۽ ‪1936‬ع ۾ ﮀﭙﻲ‪ .‬اﻫﻲ ﭔﺌﻲ‬
‫ﺳﻬﻴﮍون ﭘﮡ ﭘﮍﻫﻨﺪڙن ﻃﺮﻓﺎن ﺗﻤﺎم ﮔﻬﮣﻴﻮن ﭘﺴﻨﺪ ﻛﻴﻮن وﻳﻮن‪ .‬ﺗﻨﻬﻦ ﮐﺎن ﺳﻮا‪“ ،‬ﮔﻞ‬
‫ﭰﻞ” ﮐﻲ ﺑﻤﺒﺌﻲ ﺳﺮﻛﺎر ﻣﺌﭩﺮڪ ﺟﻲ اﻣﺘﺤﺎﻧﻦ ﻻ‪ ‬ﻗﺒﻮل ﻛﻴﻮ ۽ ﺳﻨﮅ ﺟﻲ ورﻧﻴﻜﻴﻮﻟﺮ‬
‫ﭨﻴﻜﺴﭧ ﺑﻚ ﻛﺎﻣﻴﭩﻲ‪ ‬اﺳﻜﻮﻟﻦ ۾ ﭘﺎڙﻫﮡ ﻻ‪ ‬ﻣﻨﻈﻮر ﻛﻴﻮ‪ .‬ان ﻛﺘﺎب ﺟﻲ ﭘﻬﺮﻳﻦ‬
‫ﭜﺎﮜﻲ ﮀﭙﺠﮡ ﮐﺎن ﭘﻮ‪ ،‬ان ﺟﻲ ﻣﻮاد ۽ ﭔﻮﻟﻲ‪ ‬ﺑﺎﺑﺖ‪ ،‬ﻧﺎﻣﻮر ادﻳﺐ ﻟﻌﻠﭽﻨﺪ اﻣﺮ ڏﻧﻴﻤﻞ “ﮔﻞ‬
‫ﭰﻞ” ﺗﻲ ﺗﺒﺼﺮو ﻛﻨﺪي ﻟﮑﻴﻮ‪“ ،‬ﭘﮍﻫﻨﺪڙ ﻫﻦ ﻛﺘﺎب ﺟﺎ ﭘﺮت اﭤﻼﺋﻴﻨﺪو ﺗﻪ ﻣﻨﺠﻬﺎﺋﻨﺲ ﻫﺮ‬
‫ﻫﻚ وٽ ﺟﻮ ﺳﻮاد وﭠﻲ ﺳﮕﻬﻨﺪو‪ ...‬ﻣﺴﭩﺮ ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا رام ﻋﺒﺎرت ﺟﻲ ﺑﺎري ۾ اﭨﻜﻞ‬
‫ﺳﭩﻜﻞ ﻣﺎن ﭴﺎﮢﻲ ﺋﻲ ﻛﻮ ﻧﻪ‪ .‬اﻧﻬﻲ‪ ‬ڏس ۾ ﻣﺮچ ﻣﺼﺎﻟﺤﻲ ُﭔﺮﻛﮡ ﮐﺎن ﭘﺎڻ ﺳﺪاﺋﻴﻦ دور‬
‫رﻫﻴﻮ آﻫﻲ‪ .‬ﺳﭝﺎوي ﺟﻴﺌﻦ اﭼﻴﺲ ﺗﻴﺌﻦ ﻟﮑﻨﺪو وﭸﻲ‪ .‬ﻧﻜﺎ ﮐﻴﺲ اﻫﺎ اون رﻫﻲ ﭤﻲ ﺗﻪ‬
‫ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬ﮐﻲ ‘ﺷﺪ’ ﻛﺮﻳﺎن ﻳﺎ ان ﮐﻲ دﻳﻦ ﺟﻲ ﮔﻬﻮڙي ﺗﻲ ﭼﺎڙﻫﻲ ﻣﺴﻠﻤﺎن ﺑﻨﺎﻳﺎن!‬
‫ﺳﻨﺪس وﻳﭽﺎرن ﺳﺎن اﮘﻠﻮ ﻛﭥﻲ ﻛﭥﻲ ﮐﮣﻲ ﺳﺎﮢﺲ ﻣﺨﺎﻟﻔﺖ رﮐﻲ ﺑﻪ‪ ،‬ﭘﺮ ﻋﺒﺎرت ﺳﻨﺪس‬
‫اﻫﮍي ﺳﻠﻴﺲ ۽ ﭘﻜﻲ آﻫﻲ‪ ،‬ﺟﻮ ﺧﻮد وروڌي ﺑﻪ ﺳﻨﺪس اﻧﺼﺎف ﻣﭹﻴﻨﺪا آﻫﻦ”)‪“ .(12‬ﮔﻞ‬
‫ﭰﻞ” ۾ اﻛﺜﺮﻳﺖ ﺗﺨﻠﻴﻘﻲ ﻣﻀﻤﻮﻧﻦ ﺟﻲ آﻫﻲ‪ ،‬ﭘﺮ ﻛﻲ ﺗﺮﺟﻤﻮ ﻛﻴﻞ ﻣﻀﻤﻮن ﭘﮡ ان ۾‬
‫ﺷﺎﻣﻞ ﻛﻴﻞ آﻫﻦ ﺟﻦ ﻣﺎن اﺻﻞ ﻟﮑﮣﻲ‪ ‬ﺟﻮ ﺳﻮاد اﻳﻨﺪي ﻣﺤﺴﻮس ﭤﺌﻲ ﭤﻮ‪ .‬ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا‬
‫رام ﺟﻲ وﻓﺎت ﮐﺎن ﭘﻮ‪‘ ‬ﺟﻮت’ ﺟﻮ اﻳﮉﻳﭩﺮ ﻓﺎدر اﻳﻦ‪.‬اﻳﻒ‪ .‬ﻛﻮﭨﻮاﮢﻲ‪ ‬ﮐﻲ ﻣﻘﺮر ﻛﻴﻮ‬
‫وﻳﻮ‪ ،‬ﺟﻨﻬﻦ ﭘﮡ ﺳﺎﮘﻲ‪ ‬رﻳﺖ ‘ﺟﻮت’ ﮐﻲ ﺑﺮﻗﺮار رﮐﻴﻮ ۽ ‪1946‬ع ۾‪‘ ،‬ﺟﻮت’ ﮐﻲ ‪ 50‬ورﻫﻴﻪ‬
‫ﭘﻮرا ﭤﻴﮡ ﺗﻲ‪ ،‬ان ﺟﻮ ‘ﺳﻮﻧﻮ ُﺟﺒﻠﻲ ﭘﺮﭼﻮ’ ﮀﭙﻴﻮ‪ ،‬ﺟﻨﻬﻦ ۾ ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا رام ﮐﻲ ﺑﻬﺘﺮﻳﻦ‬
‫ﺧﺮاج ﭘﻴﺶ ﻛﻴﻮ ۽ ﺳﻨﺪس ادﺑﻲ ﺧﻮﺑﻴﻦ ﮐﻲ ﺳﺎراﻫﻴﻮ وﻳﻮ‪.‬‬

‫‪:‬‬ ‫ن‬
‫ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا رام ﮐﻲ ﻣﻀﻤﻮن ﻧﻮﻳﺴﻲ‪ ‬۾ ﺧﺎص ﻣﻬﺎرت ﺣﺎﺻﻞ ﻫﺌﻲ‪ .‬اﻫﻲ‬
‫ﻣﻀﻤﻮن ﺧﺎص ﻛﺮي ﻫﻦ ‘ﺟﻮت’ ﻻ‪ ‬ﻟﮑﻴﺎ‪‘ .‬ﺟﻮت’ ۽ ﭔﻴﻦ رﺳﺎﻟﻦ ۾ ﺳﻨﺪس ﺟﻴﻜﻲ‬
‫ﻣﻀﻤﻮن ﻟﮑﻴﺎ‪ ،‬ﺳﻲ ﭘﮍﻫﻨﺪڙن ﺟﻮ ڌﻳﺎن ﮀﻜﺎﺋﮡ ۾ ﭼﮝﻲ‪ ‬ﭘﺮ ﻛﺎﻣﻴﺎب وﻳﺎ‪ .‬ﺳﻨﺪس‬
‫ﻣﻀﻤﻮﻧﻦ ﺟﺎ ﻣﻮﺿﻮع ﮔﻬﮡ رﺧﺎ ۽ ﮔﻬﮡ ﻣﻮﺿﻮﻋﻲ ﻫﺌﺎ‪ ،‬ﺟﻴﻜﻲ ﻣﺠﻤﻮﻋﻲ ﻃﻮر ﺳﻤﺎج ﮐﻲ‬
‫ﺑﻬﺘﺮي‪ ‬ڏاﻧﻬﻦ وﭠﻲ وﻳﻨﺪڙ ﻫﺌﺎ‪ .‬ان ﻛﺮي ﺋﻲ‪ ،‬ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا رام ﺟﻲ ﻣﻀﻤﻮﻧﻦ ﺑﺎﺑﺖ‬
‫ﭘﺮوﻓﻴﺴﺮ ﻣﻨﮕﻬﺎرام ﻣﻠﻜﺎﮢﻲ ﻟﮑﻲ ﭤﻮ‪“ ،‬ﺳﻨﺪس ﻣﻀﻤﻮن اﻛﺜﺮ ﻛﺮي ڌرﻣﻲ‪ ،‬اﺧﻼﻗﻲ‪،‬‬
‫ﺗﻌﻠﻴﻤﻲ‪ ،‬ﺳﺎﺋﻨﺴﻲ‪ ،‬ﺗﺎرﻳﺨﻲ ۽ ﺳﻤﺎﺟﻲ ﻣﻮﺿﻮﻋﻦ ﺗﻲ ﻟﮑﻴﻞ ﻫﻮﻧﺪا ﻫﺌﺎ‪ .‬ﺗﻨﻬﻦ ﮐﺎن ﺳﻮا‪‬‬
‫اﻋﻠﻰ ﺷﺨﺼﻴﺘﻦ ۽ ﻋﻮرﺗﻦ ﺟﻮن ﻣﺨﺘﺼﺮ ﺟﻴﻮﻧﻴﻮن ﺑﻪ ﻟﮑﻨﺪو ﻫﻮ ۽ ﺳﻴﺮ ﺳﻔﺮ ﺟﺎ دﻟﭽﺴﭗ‬
‫ﺑﻴﺎن ﭘﮡ ﻛﻨﺪو ﻫﻮ‪ ،‬ﺟﻦ ﮐﻲ ﺳﻴﻼﻧِﻲ ﻟﻴﮑﻦ )‪ِ (Travel Essays‬ﺟﻲ ﻧﺌﻴﻦ ﺷﺎخ ﺳﻤﺠﻬﮡ‬
‫ﮐﭙﻲ‪ .‬ﻣﺰﻳﺪار ﭨﻮﭨﻜﻦ ۽ ﭘﺮوﻟﻴﻦ ﻣﻌﺮﻓﺖ‪ ،‬ﺳﻨﮅي ادب ۾ ﺟﺎ ﻣﺬاق ﺟﻲ ﮐﻮٽ ﻫﺌﻲ ﺳﺎ ﺑﻪ‬
‫ﭘﻮري ﻛﻴﺎﺋﻴﻦ‪ ،‬ﺟﻦ ﮐﻲ ﻣﺬاﻗﻲ ﻣﻀﻤﻮن )‪ (Humorous Essays‬ﭼﻮﻧﺪا آﻫﻦ”)‪ .(13‬ﻫﻦ ﺗﻤﺎم‬
‫‪105‬‬ ‫ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮارام ﺟﻲ ادﺑﻲ‪ ،‬ﺻﺤﺎﻓﺘﻲ ۽ ﻟﻐﻮي ﺧﺪﻣﺘﻦ ﺟﻮ ﺟﺎﺋﺰو‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﮔﻬﮣﺎ ﻣﻀﻤﻮن ﻟﮑﻴﺎ‪ ،‬ﺟﻦ ۾ ﻫﻲ ﻣﻀﻤﻮن ﺑﻪ ﺷﺎﻣﻞ آﻫﻦ‪‘ :‬ﺳﭗ’‪‘ ،‬ﺑﺮﻫﻤﮡ آﺑﺎد’‪‘ ،‬ﺳﺮ‬
‫ﭼﺎرﻟﺲ ﻧﻴﭙﺌﺮ’‪‘ ،‬ﻧﺌﻮن ﺳﺎل’‪‘ ،‬راڳ’‪‘ ،‬ﻣﺎﻛﻮڙﻳﻮن’‪‘ ،‬ﺳﺮ ﭨﺎﻣﺲ ﻣﻮر’‪‘ ،‬ﭘﻠﻴﮓ’‪‘ ،‬ﻣﺎن ﺑﻪ‬
‫ﻛﻲ آﻫﻴﺎن’‪‘ ،‬اﮘﻮﮢﻮ ۽ ﻫﺎﮢﻮﻛﻮ ﺳﻤﻮ’‪‘ ،‬ﮘﺎﺋﻴﻨﺪڙ ﺟﺒﻞ’‪ ،‬ﻛﺎﻫﻮ‪ ‬ﺟﻮ دڙو’‪‘ ،‬ﺳﭽﻲ‬
‫ﭘﺮﻳﻢ ﺟﻮ ﻟﮁﮡ’‪‘ ،‬ﻣﻨﺸﻲ آوﺗﺮا‪ ‬ﺻﺎﺣﺐ را‪‘ ،’‬ﺳﺮﺷﭩﻲ‪ ‬ﺟﻮ ﭘﺴﺘﻚ’‪‘ ،‬رﻳﻞ ﮐﺎن اڳ‬
‫ﻣﺴﺎﻓﺮي’‪‘ ،‬ﻣﺮزا ﺟﻲ ُروﻳﺎ’ )اﺋﮉﻳﺴﻦ ﺟﻲ ‪ Vision of Mirza‬ﺗﺎن(‪‘ ،‬ﺟﻬﻨﮓ ﺟﻮ ﺷﺌﻞ‬
‫ﺷﻜﺎر’‪‘ ،‬ﺳﺎرﻧﮓ ﺳﺎوڻ ﻻﻳﺎ’‪‘ ،‬ﺳﻨﮅي ﻋﺒﺎرت’‪‘ ،‬ﺷﻜﺎر ﺗﻪ ﻛﺮي ﻣﻴﺮ ﻋﻠﻲ ﻣﺮاد’‪،‬‬
‫‘ﺗﺼﻮﻳﺮ ﺟﻮ ﭔﻴﻮ ﭘﺎﺳﻮ ﺑﻪ ُاﭤﻼﺋﻲ ڏﺳﺠﻲ’‪‘ ،‬ﻣﻴﺎﮢﻲ ﺟﻲ ﺟﻨﮓ’‪‘ ،‬وﻛﺎس واد )‪(Evolution‬‬
‫ﺳﭽﻮ آﻫﻲ ﮀﺎ؟’‪‘ ،‬اﻟﻮڙ’‪ ،‬وﻏﻴﺮه‪.‬‬

‫ﺌ‪:‬‬
‫ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا رام ﺗﺮﺟﻤﻦ ﺗﻲ ﮔﻬﮣﻮ ڌﻳﺎن ڏﻧﻮ‪ .‬ان ﻟﺤﺎظ ﮐﺎن ﻫﻦ ﺟﻮن ﺗﺮﺟﻤﻲ ﺟﻲ‬
‫ﺷﻌﺒﻲ ۾ ﭘﮡ ﻧﻤﺎﻳﺎن ﺧﺪﻣﺘﻮن آﻫﻦ‪ .‬ﺳﻨﺪس ﻛﻴﻞ ﺗﺮﺟﻤﺎ ﮔﻬﮣﻲ ﭜﺎﮜﻲ‪ ،‬ﻣﺬﻫﺒﻲ‪ ،‬اﺧﻼﻗﻲ‬
‫۽ ﺳﻤﺎﺟﻲ ﻣﻮﺿﻮﻋﻦ ﺗﻲ آﻫﻦ‪ .‬ﻫﻦ ﺟﻲ ﺗﺮﺟﻤﻦ ۾ ﻣﻀﻤﻮﻧﻦ ۽ آﮐﺎﮢﻴﻦ ﺳﻤﻴﺖ ﺳﻮاﻧﺤﻲ‬
‫اﻛﻴﻤﭙﺲ‬
‫ِ‬ ‫ﻛﺘﺎب ﭘﮡ ﺷﺎﻣﻞ آﻫﻦ‪ .‬ﻫﻦ ﺟﻮ‪1923 ،‬ع ۾‪ ،‬ﻻﻃﻴﻨﻲ ﭔﻮﻟﻲ‪ ‬۾ ﻟﮑﻴﻞ ﭨﺎﻣﺲ آر‪.‬‬
‫)‪ (Akempis‬ﺟﻲ ﻋﻴﺴﺎﺋﻲ اﺧﻼﻗﻲ ﻣﻘﺎﻟﻲ “‪ ”Imitation of Christ‬ﺟﻮ ﺗﺮﺟﻤﻮ‪ ،‬ﻛﺘﺎﺑﻲ‬
‫ﺻﻮرت ۾‪“ ،‬ﻛﺮﺳﺖ ﺟﻲ ﭘﻴﺮوي” ﺟﻲ ﻧﺎﻟﻲ ﺳﺎن ﮀﭙﻴﻮ‪ ،‬ﺗﻪ اﻫﻮ ﺳﻬﮣﻲ‪ ‬۽ ُﺗﺰ ﭔﻮﻟﻲ‪ ‬ﻛﺎرڻ‬
‫ڏاڍو ﭘﺴﻨﺪ ﻛﻴﻮ وﻳﻮ‪ .‬ﻫﻦ ﻛﺘﺎب ﮐﻲ ﻟﻌﻞ ﺳﻨﮕﻬﻪ اﺟﻮاﮢﻲ‪ ‬ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬ﺟﻲ اڌ ڊزن‬
‫ﺑﻬﺘﺮﻳﻦ ﻧﺜﺮ ﺟﻲ ﻛﺘﺎﺑﻦ ۾ ﺷﺎﻣﻞ ﻛﻨﺪي ﻟﮑﻴﻮ آﻫﻲ‪“ ،‬ڏﻳﺎرام ﮔﺪوﻣﻞ ﮐﻲ ﮀﮇي‪ ،‬ﭔﺌﻲ‬
‫ﻛﻨﻬﻦ ﺑﻪ ﺳﻨﮅي ﻟﻴﮑﻚ اﻫﮍو ﺳﻮﻟﻮ ۽ ﺳﻬﮣﻮ ﻧﺜﺮ ﻧﻪ ﻟﮑﻴﻮ آﻫﻲ‪ ،‬ﺟﻬﮍو ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا رام‬
‫ﺟﻲ ﻣﭥﻲ ذﻛﺮ ﻛﻴﻞ ﺗﺮﺟﻤﻲ ۾ آﻫﻲ”)‪ .(14‬اِن ﻛﺘﺎب ﺟﻲ ﻣﻮاد ﺑﺎﺑﺖ‪ ،‬ﻧﺎﻣﻮر ﻣﺤﻘﻖ ۽‬
‫ﭔﻮﻟﻲ‪ ‬ﺟﻮ ﻣﺎﻫﺮ ڊاﻛﭩﺮ ﻏﻼم ﻋﻠﻲ اﻻﻧﺎ‪ ،‬ﻟﮑﻲ ﭤﻮ‪“ ،‬ﻫﻦ ﻛﺘﺎب ۾ ﻛﺌﭥﻮﻟﻚ ﻣﺬﻫﺐ ﺗﻲ‬
‫روﺷﻨﻲ وڌي اﭤﺲ‪ ...‬ﻫﻦ ﻛﺘﺎب ۾ روﺣﺎﻧﻲ ﺗﺴﻠﻲ‪ ‬ﻻ‪ ‬ﻓﺎﺋﺪﻳﻤﻨﺪ ﻧﺼﻴﺤﺘﻮن ڏﻧﻞ آﻫﻦ‪...‬‬
‫ﻛﺮﺳﺖ ﺟﻲ ﭘﻴﺮوي‪ ‬۾ ﺑﻴﺎن ﻛﻴﻞ آﻫﻲ ﺗﻪ ﻫﻚ اﻧﺴﺎن ﮐﻲ دﻧﻴﺎ ۾ ﻛﻬﮍي ﻧﻤﻮﻧﻲ‬
‫زﻧﺪﮔﻲ ﮔﺬارڻ ﮔﻬﺮﺟﻲ‪ .‬ﭘﻴﻐﻤﺒﺮ ﺟﻲ ﭘﻮري ﺗﻌﻠﻴﻢ ﻫﻦ ﻛﺘﺎب ۾ ڏﻧﻞ آﻫﻲ‪ .‬ﭘﺎڻ ﮐﻲ ﮔﻬﭧ‬
‫ﭴﺎﮢﮡ‪ ،‬ﭔﻴﻦ ﮐﻲ ﭼﮝﻮ ۽ ﻻﺋﻖ ﻛﺮي ﻟﻴﮑﮡ ۽ ﭘﮁﺘﺎ‪ ‬ﻛﺮڻ ﺳﺎن ﺳﭽﻲ ﭜﮙﺘﻲ ﺟﺎﮘﻲ ﭤﻲ‪.‬‬
‫دور اﻧﺪﻳﺸﻲ‪ ‬ﺳﺎن ﻛﻢ ﻛﺮڻ‪ ،‬ﻫﭟ ﮐﺎن ﭘﺮي ﭜﭵﮡ‪ ،‬۽ ﭔﻴﻮن اﻫﮍﻳﻮن ﮘﺎﻟﻬﻴﻮن ﻫﻦ‬
‫ﻛﺘﺎب ۾ آﻧﺪل آﻫﻦ”)‪ .(15‬ﺳﻨﺪس ﭔﻴﻮ ﺗﺮﺟﻤﻮ ﻛﻴﻞ ﻛﺘﺎب “ﻫﻴﺮو ﮔﻠﻮ” ﻧﺎﻟﻲ ﺳﺎن‪،‬‬
‫‪1936‬ع ۾ ﮀﭙﻴﻮ‪ ،‬ﺟﻴﻜﻮ ﻫﻚ اﻧﮕﺮﻳﺰ ﻟﻴﮑﻚ ‘ﻛﺌﻦ ﺳﻤﭣ’ ﺟﻮ ﻟﮑﻴﻞ ﻫﻮ‪ .‬اﻫﻮ ﻛﺘﺎب‬
‫ﻫﻚ ﻧﺼﻴﺤﺖ آﻣﻮز ﻛﻬﺎﮢﻲ‪ ‬ﺗﻲ ﭔﮅل آﻫﻲ ﺟﻨﻬﻦ ﺟﻲ ﻛﺮدارن ﺟﺎ ﻧﺎﻻ ﻫﻦ ﭘﻨﻬﻨﺠﻲ‬
‫ﻣﺎﺣﻮل ﻣﻮﺟﺐ رﮐﻴﺎ‪ .‬ان ﻛﺘﺎب ۾ ﻧﻴﻜﻲ‪ ‬۽ ﺑﺪي‪ ‬ﺟﻲ ﺧﻮﺑﻴﻦ ۽ ﺧﺎﻣﻴﻦ ﮐﻲ ِﭼﭩﻮ ﻛﻴﻮ‬
‫وﻳﻮ ﻫﻮ‪ .‬ﺳﻨﺪس ﭨﻴﻮن ﺗﺮﺟﻤﻮ ﻛﻴﻞ ﻛﺘﺎب “ﻗﺮآن ﺟﻮ ﺑﻨﻴﺎد” آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ﮐﻲ ﻣﺴﻠﻤﺎﻧﻦ‬
‫رام اﻫﻮ ﻛﺘﺎب‬ ‫ﺳﺨﺖ ﻧﺎﭘﺴﻨﺪ ﻛﻴﻮ ۽ ﻣﻨﺠﻬﻦ رﻧﺞ ﺟﻮ ﺑﺎﻋﺚ ﺑﮣﻴﻮ‪ .‬ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا َ‬
‫‪106‬‬ ‫ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮارام ﺟﻲ ادﺑﻲ‪ ،‬ﺻﺤﺎﻓﺘﻲ ۽ ﻟﻐﻮي ﺧﺪﻣﺘﻦ ﺟﻮ ﺟﺎﺋﺰو‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻣﺘﻨﺎزﻋﻪ ﻣﻮﺿﻮع ﻫﺠﮡ ﺳﺒﺐ ‘ﻫﻚ ﺣﻴﺪرآﺑﺎدي’ ﺟﻲ ﻣﺨﻔﻲ ﻧﺎﻟﻲ ﺳﺎن ﮀﭙﺮاﻳﻮ‪ .‬ﺳﻨﺪس‬
‫ﭔﻴﻦ ﺗﺮﺟﻤﻲ ﻛﻴﻞ ﻛﺘﺎﺑﻦ ۾ “ﻟﻮرڊ ﺟﻲ ﻧﺎري” ﺑﻪ ﺷﺎﻣﻞ آﻫﻲ‪ .‬اﻫﻮ ﭘﮡ ﻣﻌﻠﻮم ﭤﺌﻲ ﭤﻮ ﺗﻪ‬
‫ُﻫﻦ اﻧﺠﻴﻞ ﺟﻮ ﺳﻨﮅي ﺗﺮﺟﻤﻮ ﭘﮡ ﻛﻴﻮ ﻫﻮ )‪.(16‬‬

‫ﺌب‪:‬‬
‫ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا رام ﺟﻲ ﻛﺘﺎﺑﻦ ﺟﺎ ﻣﻮﺿﻮع اﻧﺴﺎﻧﺬات ﺟﻲ ﻣﺬﻫﺒﻲ ۽ اﺧﻼﻗﻲ‬
‫ﭼﮝﺎﺋﻲ‪ ‬۽ ﭜﻼﺋﻲ‪ ‬ﺟﻲ ﺑﻨﻴﺎدن ﺗﻲ ﺑﻴﭡﻞ آﻫﻦ‪ ،‬اﻟﺒﺖ ﺳﻨﺪس ﻟﻐﺘﻮن‪ ،‬ﺧﺼﻮﺻﺎً‪ ،‬ﺳﻨﮅي‬
‫ﭔﻮﻟﻲ‪ ‬ﺳﺎن ﻣﺤﺒﺖ ﺟﻮ اﮢﻤﻴﻮ اﻇﻬﺎر آﻫﻦ‪ ،‬ﺟﻦ ﺗﻲ ﻫﻦ ﺗﻤﺎم ﮔﻬﮣﻮ وﻗﺖ ﺑﻪ ﺳﻴﮍاﻳﻮ ۽ ﻣﺤﻨﺖ‬
‫ﺑﻪ ﺗﻤﺎم ﮔﻬﮣﻲ ﻛﺌﻲ‪ .‬ﺳﻨﺪس ﮀﭙﻴﻞ ﻛﺘﺎﺑﻦ ﺟﻲ ﻓﻬﺮﺳﺖ ﻫﻦ رﻳﺖ آﻫﻲ‪:‬‬
‫‪ .1‬دل ﺑﻬﺎر )‪ 4‬ﭜﺎﮜﺎ‪ ،‬ﭔﺎرن ﻻ‪ ‬ﻧﺼﻴﺤﺖ ﭜﺮﻳﻮن آﮐﺎﮢﻴﻮن‪1904 ،‬ع(‬
‫‪ .2‬ﺳﻨﮅي‪-‬اﻧﮕﺮﻳﺰي ڊﻛﺸﻨﺮي )‪1910‬ع(‬
‫‪ .3‬ﻳﻮﺳﻒ ﻣﺼﺮي )‪1915‬ع(‬
‫‪ .4‬ﻛﺮﺳﺖ ﺟﻲ ﭘﻴﺮوي )“‪ ”Imitation of Christ‬ﺟﻮ ﺗﺮﺟﻤﻮ‪1923 ،‬ع(‬
‫‪ .5‬ﮔﻞ ﭰﻞ )‪ 60‬ﻣﻀﻤﻮﻧﻦ ﺗﻲ ﻣﺸﺘﻤﻞ ﭘﻬﺮﻳﻮن ﭜﺎﮜﻮ‪1925 ،‬ع(‬
‫‪ .6‬ﻫﻴﺮي ﺟﻲ ُﻣﻨﮉي ـــ ﺧﻄﻦ ۾ )‪1934‬ع(‬
‫‪ .7‬ﮔﻞ ﭰﻞ )‪ 73‬ﻣﻀﻤﻮﻧﻦ ﺗﻲ ﻣﺸﺘﻤﻞ ﭔﻴﻮ ﭜﺎﮜﻮ‪1936 ،‬ع(‬
‫)‘ﮔﻞ ﭰﻞ’ ﺟﺎ ﭔﺌﻲ ﭜﺎﮜﺎ ﮔﮇ‪1956 ،‬ع ۾‪ ،‬ﺳﻨﮅي ادﺑﻲ ﺑﻮرڊ ﺣﻴﺪرآﺑﺎد ﭘﺎران ﮀﭙﻴﺎ‪(.‬‬
‫‪ .8‬اﭘﺎﺋﮣﻬﺎر ﺟﻲ ﻫﺴﺘﻲ‬
‫‪ .9‬ﻫﻴﺮو ﮔﻠﻮ )اﺧﻼﻗﻲ ﻧﺎول(‬
‫‪ .10‬ﺳﻨﺪﺑﺎد ﺳﻴﻼﻧﻲ )ﺑﻨﻴﺎدي ﻃﻮر ﻫﻚ ﻧﺎول‪ ،‬ﺟﻴﻜﻮ ﻣﺸﻬﻮر ﻟﻴﮑﻚ ڊﺑﻠﻴﻮ‪.‬ﭨِﻲ‪ .‬اﺳﭩﻴﮉ‬
‫ﺟﻲ ﭔﺎرن ﻻ‪ ‬ﻟﮑﻴﻞ ﻛﺘﺎب ﺟﻲ ﺧﺎﻛﻲ ﺗﻲ آڌارﻳﻞ آﻫﻲ(‬
‫‪ .11‬ڌرم ﻣﻮرﺗﻲ‬
‫‪ .12‬آﺗﻤﻚ اﻣﺮت‬
‫‪ .13‬ﻟﮁﮡ وڌﻳﻚ ﻛﻴﻦ ﻟﮅو‬
‫ﻧﺎري )‪) (Lady of Lourdes‬ﻛﻬﺎﮢﻴﻮن(‬ ‫‪ .14‬ﻟﻮرڊ ﺟﻲ ِ‬
‫‪ .15‬ﻗﺮآن ﺟﻮ ﺑﻨﻴﺎد )ﻗﻠﻤﻲ ﻧﺎﻟﻲ ‘ﻫﻚ ﺣﻴﺪرآﺑﺎدي’ ﺳﺎن ﮀﭙﻴﻞ(‬
‫‪ .16‬اﺳﻜﺎﺋﻮٽ ﺟﻤﺒﻮري‬
‫ُ‬
‫‪ .17‬ﺷﺎﻫﻪ ﺟﻲ رﺳﺎﻟﻲ ﻣﺎن ﺳﺮ ﻛﺎﭘﺎﺋﺘﻲ )ﻟﻔﻈﻦ ﺟﻲ ﺳﻤﺠﻬﺎﮢﻴﻦ ﺳﺎن‪ ،‬اﻳﮉٽ ﻛﻴﻞ(‬
‫‪ .18‬ﺳﻨﮅ ﺟﺎ ﻣﻴﺮ )اڌارام ﭤﮅاﮢﻲ‪ ‬ﺳﺎن ﮔﮇ‪1938 ،‬ع(‬
‫‪ .19‬ﻣﻴﺮن ﺟﻲ ﺻﺎﺣﺒﻲ ﻣﻮﭨﻲ اﭼﻲ ﮀﺎ؟ )ﺣﻜﻴﻢ ﻓﺘﺢ ﻣﺤﻤﺪ ﺳﻴﻮﻫﺎﮢﻲ‪ ‬ﺟﻲ ﻟﮑﻴﻞ‬
‫ﻛﺘﺎب “ﻣﻴﺮن ﺟﻲ ﺻﺎﺣﺒﻲ” ﺗﻲ ﻟﮑﻴﻞ ﺗﻨﻘﻴﺪي‪-‬ﺟﻮاﺑﻲ ﭼﻮﭘﮍي(‬

‫‪107‬‬ ‫ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮارام ﺟﻲ ادﺑﻲ‪ ،‬ﺻﺤﺎﻓﺘﻲ ۽ ﻟﻐﻮي ﺧﺪﻣﺘﻦ ﺟﻮ ﺟﺎﺋﺰو‬

 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ن‪:‬‬
‫ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا رام‪ ،‬ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬ﺟﻲ ﺿﺮورت ﮐﻲ ِڏﺳﻨﺪي ۽ دوﺳﺘﻦ ﺟﻲ اﺻﺮار‬
‫َ‬
‫ﻫﻚ “ﺳﻨﮅي‪-‬اﻧﮕﺮﻳﺰي‬ ‫ﺗﻲ‪ ،‬ﭔﻦ ﺟﺎﻣﻊ ﻟﻐﺘﻦ ﺟﻮڙڻ ﺟﻮ ﻛﻢ ﺷﺮوع ﻛﻴﻮ‪ ،‬ﺟﻦ ۾‬
‫َ‬
‫ڊﻛﺸﻨﺮي” ۽ ﭔِﻲ “‪“) ”A new English-Sindhi Dictionary‬ا ﻧﻴﻮ اﻧﮕﻠﺶ‪-‬ﺳﻨﮅي‬
‫ڊﻛﺸﻨﺮي”( ﺷﺎﻣﻞ آﻫﻦ‪ .‬ﭔﻨﻬﻲ ﻟﻐﺘﻦ ﮐﻲ ﮀﭙﺮاﺋﮡ ﺟﻲ ذﻣﻴﻮاري “ﺳﻨﮅ ﺟﻮﻳﻨﺌﻞ‬
‫ﻛﻮآﭘﺮﻳﭩﻮ ﺳﻮﺳﺎﺋﭩﻲ‪ ”‬ﮐﻨﺌﻲ‪ ،‬ﭘﺮ ﭘﻮ‪ ‬ان اداري اﻫﺎ ذﻣﻴﻮاري ﺻﺮف ﭘﻬﺮﻳﻦ‪ ‬ﻟﻐﺖ ﺗﻲ‬
‫ِ‬
‫ُﭘﻮري ﻛﺌﻲ‪ .‬ﺳﻨﺪس رﭤﺎ ۾‪ ،‬ﭘﻬﺮﻳﺎﺋﻴﻦ ﻣﮑﻴﻪ ﻟﻔﻈﻦ ﺟﻲ داﺧﻼ ﺳﺎن ‘اﻧﮕﺮﻳﺰي‪-‬ﺳﻨﮅي‬
‫ﻟﻐﺖ’ ۽ ﭘﻮ‪‘ ‬ﺟﺎﻣﻊ ﺳﻨﮅي‪-‬اﻧﮕﺮﻳﺰي ﻟﻐﺖ’ ﺟﻮڙڻ ﺷﺎﻣﻞ ﻫﻴﻮن‪.‬‬
‫ﭘﺮﻣﺎﻧﻨﺪ ﭔﻨﻬﻲ ﻟﻐﺘﻦ ﺗﻲ ﻛﻢ ﺟﻲ ﺷﺮوﻋﺎت ڊﺳﻤﺒﺮ ‪1904‬ع ۾ ﻛﺌﻲ‪ ،‬ﭘﺮ اوﻟﻴﺖ‬
‫ﺗﻲ “اﻧﮕﺮﻳﺰي‪-‬ﺳﻨﮅي ڊﻛﺸﻨﺮي” رﮐﻲ‪ .‬ﻟﮙﺎﺗﺎر ﭼﺌﻦ ﺳﺎﻟﻦ ﺗﺎﺋﻴﻦ ﻛﻢ ﭤﻴﮡ ﺑﻌﺪ‪،‬‬
‫“اﻧﮕﺮﻳﺰي‪-‬ﺳﻨﮅي ڊﻛﺸﻨﺮي” ﮀﭙﺎﺋﮡ ﺟﻲ ﺳﺎٽ )‪ (process‬ﻻ‪ ‬ﺗﻴﺎر ﭤﻲ وﺋﻲ‪ ،‬ﭘﺮ ﭘﻮ‪‬‬
‫ﮀﭙﺎﺋﻲ‪ ‬ﺟﻲ ﻣﺴﺌﻠﻦ‪ ،‬ﺧﺎص ﻛﺮي ﺧﺎص ﻟﻴﭩﺮ ﭨﺎﺋﻴﭗ ﺟﻲ ﻣﻮﺟﻮد ﻧﻪ ﻫﺠﮡ ﺟﻲ ﻛﺮي ان‬
‫ﺟﻲ ﮀﭙﺎﺋﻲ‪ ‬۾ رﻛﺎوٽ ﭘﻴﺪا ﭤﻲ ﭘﺌﻲ‪ .‬ﭔﺌﻲ ﻃﺮف ﺳﻨﮅي‪-‬اﻧﮕﺮﻳﺰي ﻟﻐﺖ ﺟﻲ ُﮔﻬﺮ وڌڻ‬
‫ﻟﮙﻲ ﻫﺌﻲ‪ .‬ان ﻛﺮي ﭘﻬﺮﻳﺎﺋﻴﻦ “ﺳﻨﮅي‪-‬اﻧﮕﺮﻳﺰي ڊﻛﺸﻨﺮي‪ ”‬ﺟﻲ ﮀﭙﺮاﺋﮡ ﺟﻮ ﻓﻴﺼﻠﻮ‬
‫ﻛﻴﻮ وﻳﻮ ۽ ان ﺟﻲ ﻛﻢ ﮐﻲ ُاﻛﻼﺋﮡ ﺗﻲ زور ڏﻧﻮ وﻳﻮ‪“ .‬ﺳﻨﮅي‪-‬اﻧﮕﺮﻳﺰي ڊﻛﺸﻨﺮي‪”‬‬
‫ﺟﻲ ﺳﻬﻴﮍ ﺗﻲ ﻛﻢ ﭘﮡ ﻫﻮري ﻫﻮري ﺟﺎري رﻫﻴﻮ ﻫﻮ‪ .‬ان ﻓﻴﺼﻠﻲ ﺑﺎﺑﺖ‪ ،‬ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا رام‬
‫“ﺳﻨﮅي‪-‬اﻧﮕﺮﻳﺰي ڊﻛﺸﻨﺮي” ﺟﻲ ‘ﭘﻴﺶ ﻟﻔﻆ’ ۾ ﻟﮑﻲ ﭤﻮ‪:‬‬
‫‪“Under the circumstances, it was decided to issue meanwhile a‬‬
‫‪reliable Sindhi-English Dictionary of somewhat moderate dimensions,‬‬
‫‪but yet faithful in its way”(17).‬‬
‫ﻳﻌﻨﻲ “اﻧﻬﻦ ﺣﺎﻟﺘﻦ ۾‪ ،‬اﻫﻮ ﻓﻴﺼﻠﻮ ﻛﻴﻮ وﻳﻮ ﺗﻪ ﻓﻲ اﻟﺤﺎل ﻛﺎ ﭜﺮوﺳﻲ ﺟﻮﮘﻲ‬
‫ﺳﻨﮅي‪-‬اﻧﮕﺮﻳﺰي ﻟﻐﺖ ﭘﮅري ﻛﻴﻮن ﺟﻴﻜﺎ ﻧﻪ ﺻﺮف ﻣﻌﺘﺪل رﺧﻦ ﺗﻲ آڌارﻳﻞ ﻫﺠﻲ‪ ،‬ﭘﺮ‬
‫ﭘﻨﻬﻨﺠﻲ ﻃﻮر ﺗﻲ ﺳﻬﻮﻟﺖ ﭜﺮي ﻫﺠﻲ‪”.‬‬
‫ُ‬
‫“ﺳﻨﮅي‪-‬اﻧﮕﺮﻳﺰي ﻟﻐﺖ” ﺟﻲ ﮔﻬﺮ ﺑﺎﺑﺖ‪ ،‬ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا َ‬
‫رام ﭘﻮ‪ ‬ﮀﭙﻴﻞ “اﻧﮕﻠﺶ‪-‬‬
‫ﺳﻨﮅي ڊﻛﺸﻨﺮي” ﺟﻲ ﻣﻬﺎڳ ۾ ﺑﻪ‪ ،‬ﺧﻴﺎﻟﻦ ﺟﻮ اﻇﻬﺎر ﻛﻴﻮ آﻫﻲ‪:‬‬
‫‪“While we were trying to arrange for special Sindhi types with the‬‬
‫‪view to incorporation of a maximum of matter in a minimum of space,‬‬
‫‪there arose an urgent demand on the part of the public for a decent,‬‬
‫‪reliable but not necessarily very large S.E. Dictionary [Sindhi-English‬‬
‫‪Dictionary] to be moderately priced”(18).‬‬
‫ﻳﻌﻨﻲ‪“ ،‬اﭸﺎ اﺳﺎن ﺧﺎص ﺳﻨﮅي [اﮐ ِﺮي] ﭨﺎﺋﻴﭗ ﺟﻲ ﺑﻨﺪوﺑﺴﺖ ﺟﻲ ﻛﻮﺷﺶ‬
‫ﻛﺮي رﻫﻴﺎ ﻫﻴﺎﺳﻴﻦ ﺗﻪ ﺟﻴﺌﻦ ﮔﻬﭧ ۾ ﮔﻬﭧ ﺟﮙﻬﻪ ﻣﻨﺠﻬﻪ ﮔﻬﮣﻮ ﻣﻮاد آﮢﻲ ﺳﮕﻬﻮن‪ ،‬ﺗﻪ‬
‫واري اﻫﮍي ﺳﻨﮅي‪-‬اﻧﮕﺮﻳﺰي ﻟﻐﺖ ﺟﻲ َﺗﻜﮍي ُﮔﻬﺮ‬‫ﻋﻮاﻣﻲ ﺣﻠﻘﻦ ﭘﺎران ﻣﻨﺎﺳﺐ ﻗﻴﻤﺖ ِ‬
‫‪108‬‬ ‫ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮارام ﺟﻲ ادﺑﻲ‪ ،‬ﺻﺤﺎﻓﺘﻲ ۽ ﻟﻐﻮي ﺧﺪﻣﺘﻦ ﺟﻮ ﺟﺎﺋﺰو‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﭤﻴﮡ ﻟﮙﻲ ﺟﻴﻜﺎ ﻻزﻣﻲ ﻧﻪ ﻫﻮ ﺗﻪ ﺗﻤﺎم وڏي ﻫﺠﻲ‪ ،‬ﭘﺮ ﻣﻌﻴﺎري ۽ ﭜﺮوﺳﻲ ﺟﻮﮘﻲ ﻫﺠﻲ‪”.‬‬
‫ﻣﺎن ڏﻳﻨﺪي‪“ ،‬ﺳﻨﮅي‪-‬اﻧﮕﺮﻳﺰي ڊﻛﺸﻨﺮي‪ ”‬ﺟﻮ ﻛﻢ‬ ‫ان رﻳﺖ‪ ،‬ﻋﻮاﻣﻲ ُﮔﻬﺮ ﮐﻲ ُ‬
‫ﺗﻜﮍو ُاﻛﻼﺋﻲ‪1910 ،‬ع ۾‪ ،‬ان ﮐﻲ ﭘﮅرو ﻛﻴﻮ وﻳﻮ‪ ،‬ﺟﻨﻬﻦ ﺟﻲ ﻗﻴﻤﺖ ‪ 5‬رﭘﻴﺎ رﮐﻲ وﺋﻲ‪.‬‬
‫ان ﻟﻐﺖ ﭘﻬﺮﻳﻦ ڏﻳﻨﻬﻦ ﮐﺎن ﺋﻲ ﻣﻘﺒﻮﻟﻴﺖ ﻣﺎﮢﻲ ورﺗﻲ‪ ،‬ﺟﻨﻬﻦ ﺟﻲ ﺧﺎص ﺳﺒﺒﻦ ۾‪ ،‬ان ﻟﻐﺖ‬
‫۾ ﺷﺎﻣﻞ ﻟﻔﻈﻦ ﺟﻲ ذﺧﻴﺮو ﻫﻮ ﺟﻴﻜﻮ وڏي‪ ‬ﻣﺤﻨﺖ ﺳﺎن َ‬
‫ﻛﭡﻲ ﻛﻴﻮ وﻳﻮ ﻫﻮ‪ .‬ﭔﻴﻮ ﺗﻪ‪،‬‬
‫ﺳﻨﮅي ﻟﻔﻈﻦ ﮐﻲ زﺑﺮن‪ ،‬زﻳﺮن‪ ،‬ﭘﻴﺸﻦ ۽ ﺟﺬﻣﻦ ﺳﺎن ﻟﮑﻴﻮ وﻳﻮ ﻫﻮ‪ ،‬ﺗﻪ ﺟﻴﺌﻦ اﭼﺎرن ۾‬
‫ﻣﻮﻧﺠﻬﺎرا ﻧﻪ رﻫﻦ‪ .‬ﭘﻨﻬﻨﺠﻲ‪ ‬ان ﻣﺤﻨﺖ ﺑﺎﺑﺖ‪ ،‬ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا رام‪“ ،‬ﺳﻨﮅي‪-‬اﻧﮕﺮﻳﺰي‬
‫ڊﻛﺸﻨﺮي‪ ”‬ﺟﻲ ﭘﻴﺶ ﻟﻔﻆ ۾‪ ،‬ﻟﮑﻲ ﭤﻮ‪:‬‬
‫‪“In carrying out my double work, I have consulted a large number‬‬
‫‪of reference books of all sorts, both general and technical, and in making‬‬
‫‪reference, personally or by letter, to all sorts and conditions of persons,‬‬
‫‪high and low, European and Indian. Besides scholars, litterateurs,‬‬
‫‪lawyers, doctors (including veterinary), Pundits, Akhunds, officials of‬‬
‫‪the Revenue, Judicial, Engineering, Forests and other departments,‬‬
‫‪sportsmen, merchants, Zamindars, I have largely consulted them in the‬‬
‫‪humbler walks of life, such as goldsmiths, blacksmiths, tailors,‬‬
‫‪carpenters, grocers, musicians, boatmen, fishermen, horse-dealers,‬‬
‫‪peasants, and others”(19).‬‬
‫ﻳﻌﻨﻲ‪“ ،‬ﻣﻮن ﻫِﻦ ﭔﭩﻲ ﻗﻠﻤﻲ ﭘﻮرﻫﻴﻲ ﺟﻲ ﺗﻜﻤﻴﻞ ﻻ‪ ‬وڏي ﺗﻌﺪاد ۾ ﻫﺮ ﻗﺴﻢ ﺟﺎ‬
‫ﺣﻮاﻻﺟﺎﺗﻲ‪ ،‬ﺟﻨﺮل ﺗﻮڙي ﻓﻨﻲ ﻛﺘﺎب ﭘﮍﻫﻴﺎ‪ ،‬۽ ﺷﺨﺼﻲ ﺗﻮڙي ﻟﻔﻈﻲ ﺣﻮاﻻ ڏﻳﻨﺪي‪،‬‬
‫ﺳﻨﺪن ﺳﭝﻨﻲ ﻋﺎم ۽ ﺧﺎص ﭘﻬﻠﻮﺋﻦ ﺟﺎ ﺑﻪ ﺣﻮاﻻ ڏﻧﺎ‪ ،‬ﺟﻦ ۾ ﻳﻮرﭘﻲ ﺗﻮڙي ﻫﻨﺪﺳﺘﺎﻧﻲ ﭔﺌﻲ‬
‫ﺷﺎﻣﻞ آﻫﻦ‪ُ .‬ان ﮐﺎن ﻋﻼوه ﻋﺎﻟﻤﻦ‪ ،‬ادﻳﺒﻦ‪ ،‬ڊاﻛﭩﺮن )ﺑﺸﻤﻮل ﺟﺎﻧﻮرن ﺟﻲ ڊاﻛﭩﺮن(‪،‬‬
‫ﭘﻨﮉﺗﻦ‪ ،‬آﺧﻮﻧﺪن‪ ،‬روﻳﻨﻴﻮ اﻧﺠﻨﻴﺌﺮڱ‪ ،‬ﭔﻴﻠﻲ ﮐﺎﺗﻲ ۽ ﭔﻴﻦ ﮐﺎﺗﻦ ﺟﻲ ﻋﻤﻠﺪارن‪،‬‬
‫راﻧﺪﻳﮕﺮن‪ُ ،‬دﻛﺎﻧﺪارن‪ ،‬زﻣﻴﻨﺪارن ﺳﻤﻴﺖ‪ ،‬ﻣﺎن ﺟﺠﻬﻲ ﺗﻌﺪاد ۾ ﺳﻮﻧﺎرن‪ ،‬ﻟﻮﻫﺮن‪،‬‬
‫درزﻳﻦ‪ ،‬واڍن‪ ،‬ﻫﺎرﻳﻦ‪ ،‬ﭘﻨﺴﺎرﻳﻦ‪ ،‬ﺳﺎزﻧﺪن‪ ،‬ﻣﺎﻧﺠﻬﻴﻦ‪ ،‬ﻣﻴﺮﺑﺤﺮن‪ ،‬ﮔﻬﻮڙن ﺟﻲ واﭘﺎرﻳﻦ ۽‬
‫ﭔﻴﻦ ﺳﺎن ﻣﻠﻴﺲ ۽ اﻧﻬﻦ ﺳﺎن ﻣﺸﺎورت ﻛﺌﻲ‪”.‬‬
‫ﻫﻲ‪ ‬ﻛﻮ ﺳﻬﻨﺠﻮ ﻛﻢ ﻧﻪ ﻫﻮ‪ .‬ﻟﺴﺎﻧﻴﺎت ﺟﻮ ﻫﺮ ﻫﻚ ﭴﺎﮢﻮ ﺗﻮڙي ﻟﻐﺖ ﻧﻮﻳﺲ‬
‫ﭼﮝﻲ‪ ‬ﭘﺮ ﭴﺎﮢﻲ ﭤﻮ‪ ،‬ﺗﻪ ﻟﻐﺖ ﺟﻮڙڻ؛ ﻛﺎ َاڪ ﺟﻲ ﻣﺎﮐﻲ ﻻﻫﮡ ﻧﺎﻫﻲ‪ .‬ان ﻻ‪ ‬ﻣﺴﺘﻘﻞ‬
‫ﻣﺰاﺟﻲ‪ ‬۽ وڏي ﻏﻮر ﻓﻜﺮ ﺳﺎن ﻛﻢ ﻛﺮﮢﻮ ﭘﻮﻧﺪو آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ۾ ﻟﻔﻈﻦ ﺟﻲ ﻣﻌﻨﺎﺋﻦ ﮐﻲ‬
‫ﮔﻬﮣﻮ ﺋﻲ ﭘﺮﮐﮣﻮ ۽ ﭜﻴﭩﮣﻮ ﭘﻮﻧﺪو آﻫﻲ‪ .‬ﭘﺮﻣﺎﻧﻨﺪ ﭘﺎران ﻣﺤﺒﺖ ۽ ﻣﻜﻤﻞ واﺑﺴﺘﮕﻲ‪ ‬ﺳﺎن‬
‫ﻛﻴﻞ ﻟﻔﻈﻦ ﮐﻲ ﻣﻴﮍڻ ﺟﻲ ُڏﮐﻲ ۽ ﻣﺤﻨﺖ ﻃﻠﺐ ﺳﺮﮔﺮﻣﻲ رﮘﻮ ﻛﻤﻴﻦ ﻛﺎﺳﺒﻦ ﺗﺎﺋﻴﻦ‬
‫ﻣﺤﺪود ﻧﻪ ﻫﺌﻲ‪ُ “ .‬ﻫﻮ ﭘﺎڻ ﭔﻨﻴﻦ‪ ،‬ڍﻧﮃن ۽ ﺳﻨﮅ ﺟﻲ دور دراز ﭜﺎﮜﻦ ۾ وﻳﻨﺪو ﻫﻮ‪ ،‬ڌار ڌار ڌﻧﮅن‬
‫۽ روزﮔﺎر ۾ رڌل ﻣﺎﮢﻬﻦ ﺳﺎن ﮘﺎﻟﻬﻪ ﭔﻮل ﻛﻨﺪو ﻫﻮ ﻳﺎ اﻧﻬﻦ ﺑﻴﻤﺎرن ﺳﺎن وﭸﻲ ﺣﺎل اﺣﻮاﻟﻲ‬
‫ﭤﻴﻨﺪو ﻫﻮ‪ ،‬ﺟﻲ ﺣﻴﺪرآﺑﺎد ﺟﻲ ﺳﻮل اﺳﭙﺘﺎل ۾ ﻋﻼج ﻛﺮاﺋﮡ اﻳﻨﺪا ﻫﺌﺎ‪ .‬ان رﻳﺖ ﻫﻦ اﻫﻲ‬
‫‪109‬‬ ‫ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮارام ﺟﻲ ادﺑﻲ‪ ،‬ﺻﺤﺎﻓﺘﻲ ۽ ﻟﻐﻮي ﺧﺪﻣﺘﻦ ﺟﻮ ﺟﺎﺋﺰو‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﺳﭛ ﻟﻔﻆ ﮔﮇ ﻛﻴﺎ‪ ،‬ﺟﻴﻜﻲ ﻫﻦ ﮐﺎن اڳ ﻧﻜﺘﻞ ﻟﻐﺘﻦ ۾ ﺑﻪ ﻛﻴﻦ ﻫﺌﺎ‪ .‬ﻣﻨﮁﺮ ڍﻧﮃ ﺟﻲ‬
‫ﻫﻚ ﺑﻴﻤﺎر ﻣﻬﺎﮢﻲ ﻫﻦ ﮐﻲ اﻧﻬﻦ ﻣﮁﻴﻦ [۽] آﺑﻲ ﭘﮑﻴﻦ ﺟﺎ ﻧﺎﻻ ﭔﮅاﻳﺎ‪ ،‬ﺟﻦ ﮐﺎن ﻫﻴﻞ ﺗﺎﺋﻴﻦ‬
‫ﭘﮍﻫﻴﻞ ﮘﮍﻫﻴﻞ ﺳﻨﮅي ﺑﻪ اڻ واﻗﻒ ﻫﺌﺎ”)‪.(20‬‬
‫ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا رام ﻫِﻦ “ﺳﻨﮅي‪-‬اﻧﮕﺮﻳﺰي ڊﻛﺸﻨﺮي‪ ”‬ﺟﻲ ﺗﻴﺎري‪ ‬۾‪ ،‬ﭘﺎدري ﺟﺎرج‬
‫ﺷﺮٽ ِﺟﻲ “ﺳﻨﮅي‪-‬اﻧﮕﻠﺶ ڊﻛﺸﻨﺮي‪) ”‬ﮀﭙﻴﻞ ‪1879‬ع( ﺗﺎن ﭘﮡ ﭜﺮﭘﻮر اﺳﺘﻔﺎدو ﺣﺎﺻﻞ‬
‫ﻛﻴﻮ ۽ ﺳﺎﮘﻲ ﻧﺎﻟﻲ واري ﭘﻨﻬﻨﺠﻲ‪ ‬ﻟﻐﺖ ۾‪ ،‬ﺿﺮورت ﻣﻮﺟﺐ‪ ،‬اﻧﻬﻦ ﮐﻲ ُﺳﻮڌي ﺳﻨﻮاري‬
‫ﭘﻴﺶ ﻛﻴﻮ‪ .‬اﻫﮍو اﻇﻬﺎر ُﻫﻦ ﭘﻨﻬﻨﺠﻴﻦ ﭔﻨﻬﻲ ﻟﻐﺘﻦ ﺟﻲ ﭘﻴﺶ ﻟﻔﻈﻦ ۾ ﭘﮡ ﻛﻴﻮ آﻫﻲ‪ُ .‬ﻫﻮ‬
‫“ﺳﻨﮅي‪-‬اﻧﮕﻠﺶ ڊﻛﺸﻨﺮي‪ ”‬ﺟﻲ ‘ﭘﻴﺶ ﻟﻔﻆ’ ۾ ﻟﮑﻲ ﭤﻮ؛‬
‫‪“Shirt’s definitions have also been revised and shortened and‬‬
‫‪special efforts have been made to secure from professional men single‬‬
‫‪words in place of long explanations”(21).‬‬
‫ﻳﻌﻨﻲ “ﺷﺮٽ ﺟﻲ وﺻﻔﻦ ﺗﻲ ﻧﻈﺮﺛﺎﻧﻲ ﻛﺌﻲ وﺋﻲ آﻫﻲ ۽ اﻧﻬﻦ ﮐﻲ ﻣﺨﺘﺼﺮ ﺑﮣﺎﻳﻮ‬
‫وﻳﻮ آﻫﻲ ۽ ﺧﺎص اﭘﺎ‪ ‬وﭠﻨﺪي ﻣﺎﻫﺮن ﺳﺎن ﺻﻼح ﻛﺮي ڊﮔﻬﻴﻦ ﺗﺸﺮﻳﺤﻦ ﺑﺪران َﮀﮍا ﻟﻔﻆ‬
‫ڏﻧﺎ وﻳﺎ آﻫﻦ‪”.‬‬
‫ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮارام “ﺳﻨﮅي‪-‬اﻧﮕﺮﻳﺰي ڊﻛﺸﻨﺮي‪ ”‬ﺟﻲ ﺗﻴﺎري‪ ‬۾‪ ،‬ﺷﺮٽ ﺟﻲ ﻟﻐﺖ‬
‫ﮐﺎن ﺳﻮا‪ ،‬ﺟﻦ ﭔﻴﻦ ﻛﺘﺎﺑﻦ ۽ ﭔﺌﻲ ﻣﻮاد ﻣﺎن اﺳﺘﻔﺎدو ﺣﺎﺻﻞ ﻛﻴﻮ‪ ،‬ﺗﻦ ۾‪“ :‬ﺷﺎﻫﻪ ﺟﻮ‬
‫رﺳﺎﻟﻮ؛ دﻳﻮان ﻟﻴﻼ رام ﺟﻮ ‘ﺷﺎﻫﻪ ﻟﻄﻴﻒ’؛ ﭜﻴﺮوﻣﻞ ﻣﻬﺮﭼﻨﺪ ﮐﺎن ﻣﻠﻴﻞ ‘ﻣﺴﻮدو’؛ ﻧﺼﺎﺑﻲ‬
‫ﻛﺘﺎﺑﻦ ﻣﺎن ﺳﺎﺋﻨﺴﻲ ۽ ﭨﻴﻜﻨﻴﻜﻲ اﺻﻄﻼح؛ ﻋﻮرﺗﻦ ۽ ﻫﺎرﻳﻦ ﮐﺎن ﺳﻬﻴﮍﻳﻞ ﻟﻔﻈﻦ‬
‫ﺟﻮن ذاﺗﻲ ﻓﻬﺮﺳﺘﻮن؛ ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬۽ ادب ۾ ﻣﺮوج ﺳﻨﺴﻜﺮت‪ ،‬ﻓﺎرﺳﻲ‪ ،‬ﻋﺮﺑﻲ ۽ اردو‬
‫ﻟﻔﻈﻦ ﺟﻮ ذﺧﻴﺮو؛ ﻫﻨﺪﺳﺘﺎﻧﻲ‪-‬اﻧﮕﺮﻳﺰي ﻟﻐﺘﻮن؛ وﻳﺒﺴﭩﺮس اﻧﭩﺮﻧﻴﺸﻨﻞ ڊﻛﺸﻨﺮي آف‬
‫اﻧﮕﻠﺶ ﻟﻴﻨﮕﻮﻳﺞ؛ ﺑﺎﻏﺒﺎﻧﻲ‪ ‬ﺑﺎﺑﺖ ﻣﺮزا ﻗﻠﻴﭻ ﺑﻴﮓ ﺟﻮ ﻛﺘﺎب؛ ﻓﺮﻫﻨﮓ ﺟﻌﻔﺮي؛ َﻣ ِﺮي‬
‫ﺟﺎ ﭔﻪ ﻛﺘﺎب‪ :‬ورﭨﻴﺒﺮﻳﭧ زوﻻﺟﻲ آف ﺳﻨﮅ ۽ ﭘﻼﻧﭩﺲ اﻳﻨﮉ ڊرﮔﺲ آف ﺳﻨﮅ؛ ﺳﻨﮅ‬
‫ﮔﺰﻳﭩﺌﺮ؛ ڊﻣﺎﻛﺲ ﻣﭩﻴﺮﺋﺎ ﻣﻴﮉﻳﻜﺎ؛ اي ڊﻛﺸﻨﺮي آف ﻛﻤﺮﺷﻞ ﭨﺮﻣﺲ؛ ﮔﻬﻨﺸﺎﻣﺪاس‬
‫ﭘﺮﺷﻦ ڊﻛﺸﻨﺮي؛ ﺷﺮٽ )‪(Rev. Shirt‬‬ ‫راﻣﮣﺪاس ﺟﻮ ‘ ُﺑﻚ آف ﺳﻨﮅي اڊﻳﻤﺲ’؛ ڊاﻛﭩﺮس َ‬
‫ﺟﻲ ‘اﻧﮕﺮﻳﺰي‪-‬ﺳﻨﮅي ﻟﻐﺖ’ ﺟﻮ ﻣﺴﻮدو؛ ۽ ﺷﺮٽ ﺟﻲ ﻟﻐﺖ ۾ ﺷﺎﻣﻞ ﭤﻴﮡ ﮐﺎن رﻫﺠﻲ وﻳﻞ‬
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‫ﺗﻔﺼﻴﻞ ﻫﻦ ﻟﻐﺖ‬ ‫دﻳﻮان ﻛﻮڙﻳﻤﻞ ﺟﻮ ﺳﻬﻴﮍﻳﻞ ﻟﻔﻈﻦ ﺟﻮ ذﺧﻴﺮو” ﺷﺎﻣﻞ آﻫﻦ‪ .‬ﻳﻘﻴﻨﺎً اﻫﻮ‬
‫ﺗﻲ ﭤﻴﻞ ﻣﺤﻨﺖ ﮐﻲ ﮔﻬﮣﻮ ﺋﻲ ﭘﮅرو ﻛﺮي ﭤﻮ‪ .‬ان ﺑﺎوﺟﻮد‪ ،‬ان ﻟﻐﺖ ﺗﻲ‪ ،‬ﻧﺎﻣﻮر ﭔﻮﻟﻲ ﭴﺎﮢﻚ‬
‫ڊاﻛﭩﺮ ﻣﺮﻟﻴﮅر ﺟﻴﭩﻠﻲ ﺗﻨﻘﻴﺪ ﻛﻨﺪي ﻟﮑﻲ ﭤﻮ‪“ ،‬ﺟﻴﺘﻮﮢﻴﻚ ﻫﻦ ﺟﻮ ﺳﭩﺎ‪ ‬اڄ ﻛﻠﻬﻪ ﺟﻲ‬
‫وﮔﻴﺎﻧﻚ )ﺳﺎﺋﻨﺴﻲ( ڍﻧﮓ ﺟﻮ ﻧﺎﻫﻲ‪ ،‬ﺗﻨﻬﻦ ﻫﻮﻧﺪي ﺑﻪ اڄ ﺗﺎﺋﻴﻦ اِﻫﺎ ﻟﻐﺖ ﺳﻨﺪ ﻃﻮر‬
‫اﺳﺘﻌﻤﺎل ﻛﺌﻲ وﭸﻲ ﭤﻲ”)‪ .(22‬ڊاﻛﭩﺮ ﺟﻴﭩﻠﻲ ﺟﻲ ان ﺗﻨﻘﻴﺪ ۾ ﺗﻌﺮﻳﻒ ﺑﻪ ﺷﺎﻣﻞ آﻫﻲ‪ ،‬ﺗﻪ‬
‫ﺳﻨﮅي‪-‬اﻧﮕﺮﻳﺰي ﻟﻐﺘﻦ ﺟﻲ ﺗﺎرﻳﺦ ۾‪ ،‬ان ﻟﻐﺖ ﺟﻲ ﺣﻴﺜﻴﺖ ﻫﻚ ﺳﻨﺪ ﻃﻮر آﻫﻲ‪ .‬اﻫﺎ ﺳﻨﺪ‬
‫اﭸﺎ وڌﻳﻚ اﻫﻢ ﺑﮣﺠﻲ ﭘﻮي ﻫﺎ ﺟﻴﻜﮇﻫﻦ “ﺳﻨﮅي‪-‬اﻧﮕﺮﻳﺰي ڊﻛﺸﻨﺮي‪ ”‬۾ اﻫﻮ ﻟﻔﻈﻲ‬
‫ذﺧﻴﺮو ﺑﻪ ﺷﺎﻣﻞ ﭤﺌﻲ ﻫﺎ ﺟﻴﻜﻮ ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا رام‪1910 ،‬ع ۾ ﻟﻐﺖ ﺟﻲ ﮀﭙﺠﮡ ﮐﺎن ﭘﻮ‪‬‬
‫‪110‬‬ ‫ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮارام ﺟﻲ ادﺑﻲ‪ ،‬ﺻﺤﺎﻓﺘﻲ ۽ ﻟﻐﻮي ﺧﺪﻣﺘﻦ ﺟﻮ ﺟﺎﺋﺰو‬
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‫ﻣﻴﮍﻳﻨﺪو رﻫﻴﻮ ﻫﻮ‪ ،‬ﺟﻴﻜﻮ ﺳﻨﺪس وﻓﺎت ﮐﺎن ﭘﻮ‪ ‬ﺿﺎﻳﻊ ﭤﻲ وﻳﻮ‪.‬‬
‫ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا رام ﺟﻲ ﻣﺮﺗﺐ ﻛﻴﻞ ﭔﻲ اﻫﻢ ﻟﻐﺖ “ ‪A New English-Sindhi‬‬
‫‪) ”Dictionary‬ﻧﺌﻴﻦ اﻧﮕﺮﻳﺰي‪-‬ﺳﻨﮅي ﻟﻐﺖ(‪ ،‬ﭘﻬﺮﻳﻮن ﭜﻴﺮو ‪1933‬ع ۾ ﮀﭙﺠﻲ ﭘﮅري ﭤﻲ‪،‬‬
‫ﺟﻨﻬﻦ ﺟﻲ ﻗﻴﻤﺖ ﭘﮡ ‪ 5‬رﭘﻴﺎ رﮐﻲ وﺋﻲ‪ .‬ان ﻟﻐﺖ ﺟﻲ ﮀﭙﺠﻲ ﭘﮅري ﭤﻴﮡ ۾‪1910 ،‬ع ۾ “ﺳﻨﮅي‬
‫‪-‬اﻧﮕﺮﻳﺰي ڊﻛﺸﻨﺮي” ﮀﭙﺠﮡ ﮐﺎن ﭘﻮ‪ ،‬ﻧﻨﮃي ﮐﻨﮉ ﺟﻲ ﺳﻴﺎﺳﻲ ﺣﺎﻟﺘﻦ ۽ ﭔﻴﻦ ﻣﺴﺌﻠﻦ ﺟﻲ‬
‫ﻛﺮي‪ ،‬وڏي وﭤﻲ ﭘﺌﺠﻲ وﺋﻲ‪ .‬ان ﻟﻐﺖ ﻻ‪ ‬ﻟﻔﻈﻦ‪ ،‬ﻓﻘﺮن‪ ،‬ورﺟﻴﺴﻦ ۽ ﺳﻤﺠﻬﺎﮢﻴﻦ‪ ،‬ﻣﺨﻔﻔﻦ‬
‫رام‪“ ،‬وﻳﺒﺴﭩﺮس اﻧﭩﺮﻧﻴﺸﻨﻞ ڊﻛﺸﻨﺮي‪ ”‬ﺗﻲ رﮐﻴﻮ‪ ،‬ﺟﮇﻫﻦ‬ ‫وﻏﻴﺮه ﺟﻮ ﺑﻨﻴﺎد‪ ،‬ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا َ‬
‫ﺗﻪ “ﻛﻨﺴﺎﺋﺰ اوﻛﺴﻔﺮڊ ڊﻛﺸﻨﺮي‪ ”‬ﮐﻲ ﭘﮡ ﻧﻈﺮ ﻫﻴﭟ رﮐﻴﻮ‪ُ .‬ﻫﻦ‪ ،‬ﻫِﻦ ﻟﻐﺖ ﺟﻲ ﻟﻔﻈﻦ ﻻ‪‬‬
‫ﭘﮡ ﺳﺎﮘﻲ ﺟﺎﮐﻮڙ ﺑﺮﻗﺮار رﮐﻲ ﺟﻬﮍي “ﺳﻨﮅي‪-‬اﻧﮕﻠﺶ ڊﻛﺸﻨﺮي‪ ”‬ﻻ‪ ‬ﻛﺌﻲ ﻫﺌﻲ‪ ،‬ﺟﻨﻬﻦ‬
‫ﺟﻮ ﺗﺬﻛﺮو ﻣﭥﻲ ﻛﻴﻮ وﻳﻮ آﻫﻲ‪ .‬ﺧﺎص ﻛﺮي اﻧﮕﺮﻳﺰي ﻟﻔﻈﻦ ﻻ‪ ‬ﭠﻬﻜﻨﺪڙ ﻣﺘﺒﺎدل‬
‫ﺳﻨﮅي ﻟﻔﻆ داﺧﻼ ﻫﻴﭟ رﮐﻴﺎ وﻳﺎ‪ .‬ﻫﻲ‪ ‬ﻟﻐﺖ ان ﺣﻮاﻟﻲ ﺳﺎن ﭘﻨﻬﻨﺠﻮ َﻣﭧ ﭘﺎڻ آﻫﻲ‪ ،‬ﺟﻴﻜﺎ‬
‫ﭘﻨﻬﻨﺠﻲ َدور ﺟﻲ ﺑﻬﺘﺮﻳﻦ اﻧﮕﺮﻳﺰي‪-‬ﺳﻨﮅي ﻟﻐﺖ ﺟﻲ ﺣﻴﺜﻴﺖ رﮐﻨﺪڙ آﻫﻲ‪ .‬اﻫﮍو ذﻛﺮ‬
‫ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا رام ‘ﭘﻴﺶ ﻟﻔﻆ’ ۾ ﭘﮡ ﻛﻴﻮ آﻫﻲ‪:‬‬
‫‪“As for the collections of new words, I have made special efforts to‬‬
‫‪find single appropriate words as equivalents for the English words in‬‬
‫‪place of the tedious definitions which have often been resorted to by‬‬
‫‪others”(23).‬‬
‫ﻳﻌﻨﻲ‪“ ،‬ﻧﻮن ﻟﻔﻈﻦ ﺟﻲ ﻣﺠﻤﻮﻋﻦ واﺳﻄﻲ‪ ،‬ﻣﻮن اﻧﮕﺮﻳﺰي ﻟﻔﻈﻦ ﺟﻲ وڏﻳﻦ وﺻﻔﻦ‬
‫ﺑﺪران‪ ،‬ﺟﻴﻜﻲ ﮔﻬﮣﻲ ﭜﺎﮜﻲ ﭔﻴﻦ ﭘﺎران ڏﻧﻴﻮن وﻳﻮن آﻫﻦ‪ ،‬ﻫﻴﻜﻠﻦ ُﺗﺰ ﻟﻔﻈﻦ ﮐﻲ ﻣﺘﺒﺎدﻟﻦ‬
‫ﻃﻮر ڏﻳﮡ ﺟﻮن ﺧﺎص ﻛﻮﺷﺸﻮن ﻛﻴﻮن آﻫﻦ‪”.‬‬
‫ﻳﻌﻨﻲ “ﺟﻴﺌﻦ ﺗﻪ ﻧﺌﻴﻦ ﻟﻔﻈﻦ ﺟﻲ ﻣﺠﻤﻮﻋﻲ ﻃﻮر ﺗﻲ‪ ،‬ﻣﻮن وﺳﻴﻊ ﺑﻴﺎﻧﻦ ﺟﻲ ﺟﺎء ﺗﻲ‬
‫ﺳﻨﮅي ﻟﻔﻈﻦ ﻻء واﺣﺪ ﻣﻨﺎﺳﺐ ﻟﻔﻈﻦ ﮐﻲ ﮘﻮﻟﮡ ﻻء ﺧﺎص ﻛﻮﺷﺸﻮن ﻛﻴﻮن آﻫﻦ‪ ،‬ﺟﻦ‬
‫ﮐﻲ اﻛﺜﺮ ﻛﺮي ﭔﻴﻦ ﻃﺮﻓﺎن ﭘﻴﺶ ﻛﻴﻮ وﻳﻮ آﻫﻲ‪”.‬‬
‫ﻫﻲ‪“ ‬ﻧﻴﻮ اﻧﮕﻠﺶ‪-‬ﺳﻨﮅي ڊﻛﺸﻨﺮي” ڊﺑﻞ ﻛﺮاﺋﻮن ﻣﺎپ ۾ ﮀﭙﻴﻞ آﻫﻲ ۽ اﺑﺘﺪاﺋﻲ‬
‫ﺻﻔﺤﻦ ﮐﺎن ﺳﻮا‪ ،‬اﻧﮕﺮﻳﺰي داﺧﻼﺋﻦ ۽ اﻧﻬﻦ ﺟﻲ ﻣﻌﻨﺎﺋﻦ ﺗﻲ ﻣﺸﺘﻤﻞ ۽ ﭔﻦ ﻛﺎﻟﻤﻦ ﺟﻲ‬
‫ﺻﻮرت ۾‪ 460 ،‬ﺻﻔﺤﻦ ﺗﻲ ﭘﮑﮍﻳﻞ آﻫﻲ‪ .‬ﻫﻦ ﻟﻐﺖ ﺟﻲ ﺗﻴﺎري‪ ‬۾ ﻫﻨﻦ ﻛﺘﺎﺑﻦ ۽ ﻟﻐﺘﻦ‬
‫ﻣﺎن‪ ،‬ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا رام اﺳﺘﻔﺎدو ﺣﺎﺻﻞ ﻛﻴﻮ‪ :‬وﻳﺒﺴﭩﺮس اﻧﭩﺮﻧﻴﺸﻨﻞ ڊﻛﺸﻨﺮي‪َ ،‬د‬
‫ﻛﻨﺴﺎﺋﺰ اوﻛﺴﻔﺮڊ ڊﻛﺸﻨﺮي‪ ،‬ﺟﻲ‪.‬ﭨﻲ‪ .‬ﭘﻠﻴﭩﺲ ﺟﻲ ﻫﻨﺪﺳﺘﺎﻧﻲ ڊﻛﺸﻨﺮي‪ ،‬ﻓﺎﻟﻦ ۽‬
‫ﻓﻮرﺑﺰ ﺟﻮن اﻧﮕﻠﺶ‪-‬اردو ڊﻛﺸﻨﺮﻳﻮن‪َ ،‬د ﻧﻴﻮ ﺳﻴﻨﭽﺮي اﻧﮕﻠﺶ‪-‬اردو ڊﻛﺸﻨﺮي‪َ ،‬د‬
‫اﺳﭩﻮڊﻧﭩﺲ ﭘﺮﺋﻜﭩﻴﻜﻞ اﻧﮕﻠﺶ‪-‬اردو ڊﻛﺸﻨﺮي‪ ،‬ﺟﺎن ﺷﻴﻜﺴﭙﻴﺌﺮ ﺟﻮن اردو‪-‬اﻧﮕﻠﺶ‬
‫۽ اﻧﮕﻠﺶ‪-‬اردو ڊﻛﺸﻨﺮﻳﻮن‪ ،‬ﻣﺮﺣﻮم ﺳﻮﭜﺮاج ﻫﺎﺳﺎﻧﻨﺪ ﺟﻲ ﻧﻨﮃي اﻧﮕﻠﺶ‪-‬ﺳﻨﮅي‬
‫ڊﻛﺸﻨﺮي‪ ‬ﺟﻮ ﻣﺴﻮدو‪ ،‬ووﻟﺴﭩﺎن ﺟﻲ اﻧﮕﻠﺶ‪-‬ﭘﺮﺷﻦ ڊﻛﺸﻨﺮي‪ ،‬ﺷﺮٽ )‪ (Rev. Shirt‬ﺟﻲ‬
‫‪111‬‬ ‫ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮارام ﺟﻲ ادﺑﻲ‪ ،‬ﺻﺤﺎﻓﺘﻲ ۽ ﻟﻐﻮي ﺧﺪﻣﺘﻦ ﺟﻮ ﺟﺎﺋﺰو‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫اﻧﮕﻠﺶ‪-‬ﺳﻨﮅي ڊﻛﺸﻨﺮي‪ ‬ﺟﻮ ﻣﺴﻮدو‪ ،‬ﺳﻨﺴﻜﺮت‪-‬اﻧﮕﻠﺶ ڊﻛﺸﻨﺮي‪َ ،‬د ﭨﻮﻳﻨﭩﻴﭣ‬

‫َ‬
‫اﺳﭩﻴﻨﮉ‪r‬ڊ اﻧﮕﻠﺶ‪-‬ﮔﺠﺮاﺗﻲ ڊﻛﺸﻨﺮي‪َ ،‬ﻣ ِﺮي ﺟﺎ‬ ‫ﺳﻴﻨﭽﺮي اﻧﮕﻠﺶ‪-‬ﻣﺮاﭠﻲ ڊﻛﺸﻨﺮي‪َ ،‬د‬
‫ﭔﻪ ﻛﺘﺎب‪ :‬ورﭨﻴﺒﺮﻳﭧ زوﻻﺟﻲ آف ﺳﻨﮅ ۽ ﭘﻼﻧﭩﺲ اﻳﻨﮉ ڊرﮔﺲ آف ﺳﻨﮅ‪ ،‬ڊﻣﺎﻛﺲ‬
‫ﻣﭩﻴﺮﺋﺎ ﻣﻴﮉﻳﻜﺎ‪ ،‬ﻓﺮﻫﻨﮓ ﺟﻌﻔﺮي‪َ ،‬د ڊﻛﺸﻨﺮي آف ﻛﻤﺮﺷﻞ ﭨﺮﻣﺲ‪َ ،‬د ﻫﻨﺪﺳﺘﺎﻧﻲ‬
‫ﮔﻼﺳﺮي آف ﺳﺎﺋﻨﭩﻴﻔﻚ ﭨﺮﻣﺲ‪ ،‬ﺳﻨﮅ ﮔﺰﻳﭩﻴﺌﺮ‪ ،‬ﺑﺎﻏﺒﺎﻧﻲ‪ ‬ﺑﺎﺑﺖ ﻣﺮزا ﻗﻠﻴﭻ ﺑﻴﮓ ﺟﻮ‬
‫ﻛﺘﺎب‪ ،‬۽ ﻛﻮﭨﻮﻣﻞ ﺟﻲ‪ .‬آڏواﮢﻲ‪ ‬ﺟﻮ ﻛﺘﺎب ﻧﺎﻣﻨﻜﻠﻴﭽﺮ آف ﺳﻨﮅ ﻛﺮاﭘﺲ‪.‬‬
‫ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬ﺟﻲ واڌاري ﻻ‪ ‬ﻛﻴﻞ ﺑﻨﻴﺎدي ۽ اﻧﺘﻬﺎﺋﻲ ﻛﺎراﺋﺘﻦ ﻛﻤﻦ ۾ ﺷﺎﻣﻞ‬
‫ﻧﺎﻧﻮ ۽ ﻣﻘﺒﻮﻟﻴﺖ ﮐﻲ ُﻧﻴﻦ اوﭼﺎﺋﻴﻦ ﺗﻲ ﭘﻬﭽﺎﺋﻲ‬
‫ﻫﻨﻦ ﭔﻨﻬﻲ ﻟﻐﺘﻦ؛ ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا رام ﺟﻲ َ‬
‫ﮀﮇﻳﻮ ۽ ﺳﻨﺪس ﻋﻠﻤﻲ ﻗﺪ ﻛﺎٺ ﺟﻲ ﻗﺒﻮﻟﻴﺖ دل ﺳﺎن ﻛﺌﻲ وﺋﻲ‪.‬‬
‫ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا رام ﺟﻮن ﻫﻲ ﭔﺌﻲ ﻟﻐﺘﻮن ﺳﻨﮅ ۽ ﻫﻨﺪ ۾ ﭔﻴﻬﺮ ﮀﭙﻴﻮن آﻫﻦ‪ .‬ﺳﻨﮅ ۾‪،‬‬
‫اﻧﺴﭩﻴﭩﻴﻮٽ آف ﺳﻨﮅاﻻﺟﻲ ﭴﺎﻣﺸﻮري ﭘﺎران “ﺳﻨﮅي‪-‬اﻧﮕﺮﻳﺰي ڊﻛﺸﻨﺮي‪ ”‬ﺟﺎ ﭔﻪ ﮀﺎﭘﺎ‪،‬‬
‫‪1976‬ع ۽ ‪1991‬ع ۾ ﮀﭙﻴﺎ‪ ،‬۽ “ﻧﻴﻮ اﻧﮕﻠﺶ‪-‬ﺳﻨﮅي ڊﻛﺸﻨﺮي‪ ”‬ﺟﺎ ﺑﻪ ﭔﻪ ﮀﺎﭘﺎ‪1979 ،‬ع ۽‬
‫‪1994‬ع ۾‪ ،‬ﺳﺎﮘﻲ اداري ﻃﺮﻓﺎن ﮀﭙﻴﺎ‪ .‬ﺟﮇﻫﻦ ﺗﻪ “ﻧﻴﻮ اﻧﮕﻠﺶ‪-‬ﺳﻨﮅي ڊﻛﺸﻨﺮي‪ ”‬ﺟﺎ َﻧﻮن‬
‫واڌارن ۽ ﺳﮅارن ﺳﺎن ﻛﺠﻬﻪ ﮀﺎﭘﺎ‪ ،‬اورﻳﻨﭩﻞ ﺑﻚ ﺳﻮﺳﺎﺋﭩﻲ ﻻﻫﻮر ﭘﺎران ﭘﮡ‪1990 ،‬ع‬
‫ٽ ﺳﻨﮅي”‬ ‫ﺟﻲ ڏﻫﺎﻛﻲ ۾‪“ ،‬ﻧﻴﻮ اﻳﺞ ﭘﺎﭘﻮﻟﺮ اوﻛﺴﻔﺮڊ اﺳﭩﻴﻨﮉڊ ڊﻛﺸﻨﺮي‪ :‬اﻧﮕﻠﺶ ُ‬
‫ﺟﻲ ﻧﺎﻟﻲ ﺳﺎن ﮀﭙﻴﺎ آﻫﻦ‪ .‬ﻫﻨﻦ ﭔﻨﻬﻲ “اﻧﮕﺮﻳﺰي‪-‬ﺳﻨﮅي” ۽ “ﺳﻨﮅي‪-‬اﻧﮕﺮﻳﺰي” ﻟﻐﺘﻦ ﮐﻲ‬
‫ﭘﻬﺮﻳﻮن ﭜﻴﺮو ﮀﭙﺌﻲ وڏو ﻋﺮﺻﻮ ﮔﺬري وﻳﻮ آﻫﻲ‪ ،‬ان دوران ﭔﻨﻬﻲ ﭔﻮﻟﻴﻦ اﻧﮕﺮﻳﺰي ۽ ﺳﻨﮅي‪‬‬
‫۾ ﻟﻔﻈﻦ ﺟﻮ وڏو واڌارو ﭘﮡ ﭤﻴﻮ آﻫﻲ ۽ ﻟﻐﺖ ﻧﻮﻳﺴﻲ‪ ‬ﺟﻲ ﻓﻦ ﺑﻪ اوﺳﺮ ﻛﺌﻲ آﻫﻲ‪ ،‬ان‬
‫ﺻﻮرت ۾ ﺿﺮوري آﻫﻲ‪ ،‬ﺗﻪ ﻫﻨﻦ ﭔﻨﻬﻲ ﻟﻐﺘﻦ ﮐﻲ ﻧﺌﻴﻦ ﺳﺮ ُﺳﻮڌي ۽ ﺳﻨﻮاري ﺟﺪﻳﺪ ﻧﻤﻮﻧﻲ‬
‫ﺷﺎﻳﻊ ﻛﻴﻮ وﭸﻲ‪ ،‬ﺗﻪ ﺟﻴﺌﻦ ﺳﻬﮣﻦ ﺳﻨﮅي ﻟﻔﻈﻦ ﺳﺎن ﺳﻴﻨﮕﺎرﻳﻞ اﻧﻬﻦ ﭔﻨﻬﻲ ﻛﺎراﺋﺘﻴﻦ‬
‫ﻟﻐﺘﻦ ﻣﺎن ﻣﺴﺘﻘﻞ ﻓﺎﺋﺪي ﺟﻲ ﺣﺎﺻﻼت ﭤﺌﻲ‪.‬‬
‫َ‬
‫ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا رام ﺟﻲ ﻛﻢ ﺟﻮ ﻣﭥﺌﻴﻦ ﺟﺎﺋﺰي ﻣﺎن ﻛﭣ ﻛﺮي ﺳﮕﻬﺠﻲ ﭤﻲ ﺗﻪ‬
‫ﺳﻨﺪس ادﺑﻲ‪ ،‬ﺻﺤﺎﻓﺘﻲ ۽ ﻟﻐﻮي ﻛﻢ ﻳﻘﻴﻨﺎً اﻫﮍي اﻋﻠﻰ ﻣﻌﻴﺎر ﺟﻮ آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ﻣﺎن ﮔﻬﮣﻮ‬
‫ﺋﻲ ﻓﺎﺋﺪو ﺣﺎﺻﻞ ﻛﺮي ﺳﮕﻬﺠﻲ ﭤﻮ ۽ ﺟﻨﻬﻦ ﺟﻲ ﻗﺒﻮﻟﻴﺖ ﻫﺮ ﻟﺤﺎظ ﮐﺎن اﻫﻤﻴﺖ رﮐﻲ ﭤﻲ‪.‬‬

‫ﺣﻮاﻻ‪:‬‬
‫‪ .1‬آڏواﮢﻲ‪ ،‬ﻛﻲ‪.‬ﺑِﻲ‪ ،.‬ﭘﺮوﻓﻴﺴﺮ‪‘ ،‬ﭨﺌﮕﻮر ۽ ﭘﺮﻣﺎﻧﻨﺪ’ )ﻣﻀﻤﻮن(‪ ،‬ﻛﺘﺎب “ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا رام”‪،‬‬
‫ﺳﻨﮅﻳﻜﺎر ۽ ﺳﻬﻴﮍﻳﻨﺪڙ‪ :‬اﻧﻌﺎم ﺷﻴﺦ‪ ،‬ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬ﺟﻮ ﺑﺎاﺧﺘﻴﺎر ادارو ﺣﻴﺪرآﺑﺎد‪ ،‬ﭘﻬﺮﻳﻮن ﮀﺎﭘﻮ‬
‫آﮔﺴﭧ ‪2017‬ع‪ ،‬ص‪230 :‬‬
‫‪ .2‬اﺟﻮاﮢﻲ‪ ،‬ﻟﻌﻞ ﺳﻨﮕﻬﻪ‪“ ،‬ﺳﻨﮅي ادب ﺟﻲ ﺗﺎرﻳﺦ”‪ ،‬ﺳﻨﮅﻳﻜﺎر‪ :‬ﻫﻴﺮو ﺷﻴﻮﻛﺎﮢﻲ‪ ،‬ﺳﻨﮅي ﺳﺎﻫﺖ ﮔﻬﺮ‬
‫ﺣﻴﺪرآﺑﺎد‪ ،‬ﭔﻴﻮ ﮀﺎﭘﻮ ﺟﻮﻻ‪2007 ‬ع‪ ،‬ص‪247 :‬‬
‫‪112‬‬ ‫ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮارام ﺟﻲ ادﺑﻲ‪ ،‬ﺻﺤﺎﻓﺘﻲ ۽ ﻟﻐﻮي ﺧﺪﻣﺘﻦ ﺟﻮ ﺟﺎﺋﺰو‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬
‫‪ .3‬ﻣﻠﻜﺎﮢﻲ‪ ،‬ﻣﻨﮕﻬﺎرام‪ ،‬ﭘﺮوﻓﻴﺴﺮ‪“ ،‬ﺳﻨﮅي ﻧﺜﺮ ﺟﻲ ﺗﺎرﻳﺦ”‪ ،‬روﺷﻨﻲ ﭘﺒﻠﻴﻜﻴﺸﻦ ﻛﻨﮉﻳﺎرو‪ ،‬ﭨﻴﻮن‬
‫ﮀﺎﭘﻮ اﭘﺮﻳﻞ ‪1993‬ع‪ ،‬ص‪203 :‬‬
‫‪ .4‬ﺑﻠﻮچ‪ ،‬ﻋﺒﺪاﻟﺴﺘﺎر‪ ،‬ﭘﺮوﻓﻴﺴﺮ‪“ ،‬ﺳﻨﮅ ﺟﻮن ﺳﻮن ورﻧﻴﻮن دﻟﻴﻮن”‪ ،‬ﻛﻮﻳﺘﺎ ﭘﺒﻠﻴﻜﻴﺸﻦ ﺣﻴﺪرآﺑﺎد‪،‬‬
‫ﭘﻬﺮﻳﻮن ﮀﺎﭘﻮ ‪2014‬ع‪ ،‬ص‪118 :‬‬
‫‪ .5‬اﻧﻴﻤﺎﻧﻨﺪا‪‘ ،‬ﺳﺮﻳﺠﺖ ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا رام ﺟﻲ زﻧﺪﮔﻲ ۽ ﺟﺪوﺟﻬﺪ’ )ﻣﻀﻤﻮن(‪ ،‬ﻛﺘﺎب “ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا‬
‫رام”‪ ،‬ص‪61 :‬‬
‫‪ .6‬ﺳﻨﮅي‪ ،‬ﻣﻴﻤﮡ ﻋﺒﺪاﻟﻐﻔﻮر‪ ،‬ڊاﻛﭩﺮ‪‘ ،‬ﻋﻈﻴﻢ ﺳﻨﮅي اﻧﺴﺎن’ )ﻣﻀﻤﻮن(‪ ،‬ﻛﺘﺎب “ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا رام”‪،‬‬
‫ص‪175 :‬‬
‫‪ .7‬اﻻﻧﺎ‪ ،‬ﻏﻼم ﻋﻠﻲ‪ ،‬ڊاﻛﭩﺮ‪“ ،‬ﺳﻨﮅي ﻧﺜﺮ ﺟﻲ ﺗﺎرﻳﺦ”‪ ،‬ﺳﻨﮅي ﺳﺎﻫﺖ ﮔﻬﺮ ﺣﻴﺪرآﺑﺎد‪ ،‬ﭨﻴﻮن ﮀﺎﭘﻮ‬
‫‪1999‬ع‪ ،‬ص‪135 :‬‬
‫‪ .8‬آڏواﮢﻲ‪ ،‬ﺟﻬﻤﭧ ﺳﻨﮕﻬﻪ اﻳﭿ‪‘ ،.‬ﭜﺎ‪ ‬ﭘﺮﻣﺎﻧﻨﺪ’ )ﻣﻀﻤﻮن(‪ ،‬ﻛﺘﺎب “ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا رام”‪ ،‬ص‪212 :‬‬
‫‪ .9‬اﻧﻴﻤﺎﻧﻨﺪا‪‘ ،‬ﺳﺮﻳﺠﺖ ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا رام ﺟﻲ زﻧﺪﮔﻲ ۽ ﺟﺪوﺟﻬﺪ’‪ ،‬ﻛﺘﺎب “ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا رام”‪ ،‬ص‪125 :‬‬
‫‪ .10‬ﺳﻨﮅي‪ ،‬ﻣﻴﻤﮡ ﻋﺒﺪاﻟﻐﻔﻮر‪ ،‬ڊاﻛﭩﺮ‪‘ ،‬ﻋﻈﻴﻢ ﺳﻨﮅي اﻧﺴﺎن’ )ﻣﻀﻤﻮن(‪ ،‬ﻛﺘﺎب “ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا رام”‪،‬‬
‫ص‪176 :‬‬
‫‪ .11‬آڏواﮢﻲ‪ ،‬ﭜﻴﺮوﻣﻞ ﻣﻬﺮﭼﻨﺪ‪‘ ،‬ﺳﻨﮅ ﺟﻮ اﺋﮉﻳﺴﻦ’ )ﻣﻀﻤﻮن(‪ ،‬ﻛﺘﺎب “ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا رام”‪ ،‬ص‪235 :‬‬
‫‪ .12‬ﻣﻠﻜﺎﮢﻲ‪ ،‬ﻣﻨﮕﻬﺎرام‪ ،‬ﭘﺮوﻓﻴﺴﺮ‪“ ،‬ﺳﻨﮅي ﻧﺜﺮ ﺟﻲ ﺗﺎرﻳﺦ”‪ ،‬ص‪314 :‬‬
‫‪ .13‬ﺳﺎﮘﻴﻮ‪ ،‬ص‪203 :‬‬
‫‪ .14‬اﺟﻮاﮢﻲ‪ ،‬ﻟﻌﻞ ﺳﻨﮕﻬﻪ‪“ ،‬ﺳﻨﮅي ادب ﺟﻲ ﺗﺎرﻳﺦ”‪ ،‬ص‪260 :‬‬
‫‪ .15‬اﻻﻧﺎ‪ ،‬ﻏﻼم ﻋﻠﻲ‪ ،‬ڊاﻛﭩﺮ‪“ ،‬ﺳﻨﮅي ﻧﺜﺮ ﺟﻲ ﺗﺎرﻳﺦ”‪ ،‬ص‪136 :‬‬
‫‪ .16‬اﻧﻴﻤﺎﻧﻨﺪا‪‘ ،‬ﺳﺮﻳﺠﺖ ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا رام ﺟﻲ زﻧﺪﮔﻲ ۽ ﺟﺪوﺟﻬﺪ’‪ ،‬ﻛﺘﺎب “ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮا رام”‪ ،‬ص‪123 :‬‬
‫‪17. Mewa Ram, Permanand, Sindhi-English Dictionary, Institute of Sindhology Jamshoro,‬‬
‫‪3rd Reprint. 1991, p. IX‬‬
‫‪18. Mewa Ram, Permanand, A New English-Sindhi Dictionary, Institute of Sindhology‬‬
‫‪Jamshoro, 3rd Reprint. 1994, p. 1‬‬
‫‪19. Mewa Ram, Permanand, Sindhi-English Dictionary, p.IX‬‬
‫‪ .20‬اﺟﻮاﮢﻲ‪ ،‬ﻟﻌﻞ ﺳﻨﮕﻬﻪ‪“ ،‬ﺳﻨﮅي ادب ﺟﻲ ﺗﺎرﻳﺦ”‪ ،‬ص ص‪260-259 :‬‬
‫‪21. Mewa Ram, Permanand, Sindhi-English Dictionary, p. X‬‬
‫‪ .22‬ﺟﻴﭩﻠﻲ‪ ،‬ﻣﺮﻟﻴﮅر‪ ،‬ڊاﻛﭩﺮ‪‘ ،‬ﺳﻨﮅي ﻟﻐﺖ ﻧﻮﻳﺴﻲ‪ ‬ﺟﻲ ﺗﺎرﻳﺦ’ )ﻣﻀﻤﻮن(‪ ،‬ﭼﻴﻒ اﻳﮉﻳﭩﺮ‪ :‬ڊاﻛﭩﺮ‬
‫ﻓﻬﻤﻴﺪه ﺣﺴﻴﻦ “ﺳﻨﮅي ﭔﻮﻟﻲ” ﺗﺤﻘﻴﻘﻲ ﺟﺮﻧﻞ‪ ،‬آﻛﭩﻮﺑﺮ‪-‬ڊﺳﻤﺒﺮ ‪2009‬ع‪ ،‬ص ص‪24-23 :‬‬
‫‪23. Mewa Ram, Permanand, English-Sindhi Dictionary, p. 2‬‬

‫‪113‬‬ ‫ﭘﺮﻣﺎﻧﻨﺪ ﻣﻴﻮارام ﺟﻲ ادﺑﻲ‪ ،‬ﺻﺤﺎﻓﺘﻲ ۽ ﻟﻐﻮي ﺧﺪﻣﺘﻦ ﺟﻮ ﺟﺎﺋﺰو‬

 [ ] ‫ﺌرو ﮬ‬

‫م‬
،‫ ﺳﻨﮅي ﺷﻌﺒﻮ‬،‫ ڊي اﺳﻜﺎﻟﺮ‬-‫ﭘﻲ اﻳﭿ‬
.‫وﻓﺎﻗﻲ اردو ﻳﻮﻧﻴﻮرﺳﭩﻲ‬

‫ار ﺌ‬ ُ ُ ‫ار ر ﺌ‬ ‫ﺌ‬ ‫ﺌرڙن‬

EVOLINATION OF CHILDREN’S MONTHLY
MAGAZINE GUL PHUL
Abstract:
One of the objectives of the establishment of Sindhi Adabi Board
in 1951 was to strive for the healthy and constructive literature for the
children of Sindh. In order to materialize this aim, a monthly magazine,
entitled, “Gul Phul” for children was issued since January 1959. The
very purpose of “Gul Phul” was to introduce Sindhi children with
modern world and literature. For this, Mr. Muhammad Ibrahim Joyo and
Mr. Ghulam Rabbani Agro, burnt the midnight oil and decorated this
monthly with colorful writings of both senior and junior generation of
writers and, thus, mode “Gul Phul” received a serve setback, when its
declaration was cancelled in 1966, hence its publication was suspended
till January 1974. Afterwards, “Gul Phul” acquired declaration and
started its publication since January 1974 with Mr. Shoukat Hussain
Shoro as its editor. Mr. Shoro ensured regular publication of “Gul Phul”
and made it a popular magazine of Sindhi children. After him, Mr.
Anwar Halai, Mr. Akbar Jiskani, Mr. Tarique Alam Abro, Mr. Din
Muhammad Kalhoro, Dr. Zafar Abbasi and Mrs. Najma Panhwar have
been the editors of “Gul Phul” and put best of their intellectual energies
to provide modern thoughts and literature to the children of Sindh. Gul
Phul received a great co-operation of writers, poets and intellectuals of
high stature. That’s why, its every issue is worth – reading as it provides
a variety of writings. It is a role model for all the magazines of children
published from various parts of Sindh.
‫ورت ۽ ا‬ ‫ر ﺌ‬ ‫ﺌرڙن‬
‫اﻧﺴﺎن ﺟﻲ زﻧﺪﮔﻲ ﮀﺎ آﻫﻲ؟ ﻫﻚ ﻻﮘﻴﺘﻮ ﺳﻤﺎﺟﻲ ﻋﻤﻞ _ ادب ﮀﺎ آﻫﻲ؟ ان‬
‫ ادب ﺟﻲ واڌ ِوﻳﺠﻬﻪ ۾ ﻛﺘﺎب ﺑﻪ ﺷﺎﻣﻞ‬.‫ﻻﮘﻴﺘﻲ ﺳﻤﺎﺟﻲ ﻋﻤﻞ ﺟﻲ ﺗﺨﻠﻴﻘﻲ ﺗﺮﺟﻤﺎﻧﻲ‬
‫آﻫﻦ ﺗﻪ اﺧﺒﺎرون ﭘﮡ ﭘﺮ اﻧﮭﻦ ﭔﻨﮭﻲ ﮐﺎن وڌﻳﻚ اﻫﻤﻴﺖ رﺳﺎﻟﻦ ﮐﻲ ﺣﺎﺻﻞ آﻫﻲ ﮀﻮ ﺗﻪ‬
114 ‫ﭔﺎرڙن ﺟﻲ ﻣﺎﻫﻮار رﺳﺎﻟﻲ ‘ ُﮔﻞ ُﭰﻞ’ ﺟﻲ ارﺗﻘﺎ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫اﻫﻲ ﻣﺎﮢﮭﻦ ﮐﻲ ﻳﺎ ﭘﻨﮭﻨﺠﻲ ﭘﮍﻫﻨﺪڙن ﮐﻲ وﻗﺖ ﺳﺎن ﮔﮇ وﭠﻲ ﻫﻠﮡ ﺟﻲ ﺳﮕﻬﻪ رﮐﻨﺪا آﻫﻦ‪.‬‬
‫ﺟﻴﺌﻦ ﺗﻪ رﺳﺎﻻ زﻧﺪﮔﻲ‪ ‬ﺟﻲ ﺗﺴﻠﺴﻞ ﺟﻮ ﺳﺎٿ ڏﻳﻨﺪا آﻫﻦ‪ ،‬ان ﻛﺮي اﻧﮭﻦ ﺟﻮ ﭘﻴﺪا‬
‫ﻛﻴﻞ ادب ﺑﻪ ﮔﻬﮣﻮ ُﻣﺘﺤﺮڪ ۽ اﺛﺮاﺋﺘﻮ ُﻫﻮﻧﺪو آﻫﻲ‪ .‬رﺳﺎﻻ ۽ ﺧﺎص ﻛﺮي ادﺑﻲ رﺳﺎﻻ‬
‫اﺳﺎن ﺟﻮ ﻋﻠﻤﻲ‪ ،‬ﺗﮭﺬﻳﺒﻲ ۽ ﺛﻘﺎﻓﺘﻲ ورﺛﻮ ُﻫﻮﻧﺪا آﻫﻦ ۽ اﻫﻲ ﻫﻠﻨﺪڙ دور ﺟﻲ ﻓﻜﺮي ۽‬
‫ﻋﻠﻤﻲ ڌاراﺋﻦ ﺟﺎ ﻧﻤﺎﺋﻨﺪا ُﻫﻮﻧﺪا آﻫﻦ‪ .‬اﻧﮭﻦ رﺳﺎﻟﻦ ۾ وري ﭔﺎرڙن ﺟﺎ رﺳﺎﻻ ﺑﻪ ﺧﺎص‬
‫اﻫﻤﻴﺖ وارا ُﻫﻮﻧﺪا آﻫﻦ‪ ،‬ﺟﻴﻜﻲ ﭔﺎرڙن ﺟﻲ ذﻫﻨﻲ ۽ ﺳﻤﺎﺟﻲ ﺗﺮﺑﻴﺖ ﺳﺎن ﮔﮇو ﮔﮇ‬
‫ﺳﻨﺪن ﺷﺨﺼﻴﺖ ﺟﻲ ﺟﻮڙ ﺟﻚ ۾ ُﻣﮑﻴﻪ ﻛﺮدار ادا ﻛﻨﺪا آﻫﻦ‪.‬‬
‫ﺑﺪ ﻗﺴﻤﺘﻲ‪ ‬ﺳﺎن اﺳﺎن ﺟﻲ ﺳﻨﮅي ﺳﻤﺎج ۾ ﭔﺎر ﮐﻲ ﻛﻮ ﺑﻪ ﻣﻌﺎﺷﺮﺗﻲ رﺗﺒﻮ ﺣﺎﺻﻞ‬
‫ﻧﻪ ُﻫﻴﻮ‪ .‬ﻫﻚ ﭔﺎر ﺻﺪﻳﻦ ﮐﺎن وﭠﻲ ﭘﻨﮭﻨﺠﻲ زﻧﺪﮔﻲ‪ ‬ﺟﻲ ﻫﺮ ﻛﺎر وﻫﻨﻮار ۽ ﻓﻴﺼﻠﻦ ۾‬
‫ﭘﻨﮭﻨﺠﻲ وڏڙن ﺟﻮ ﺋﻲ ﻣﺤﺘﺎج ﭘﺌﻲ رﻫﻴﻮ آﻫﻲ‪ُ .‬اوﮢﻴﮭﻴﻦ‪ ‬ﺻﺪي‪ ‬۾ ﺟﺪﻳﺪ ﻋﻠﻤﻦ ﺟﻲ‬
‫ُاﭜﺮڻ‪ُ ،‬اﺳﺮڻ‪ ،‬ﻋﻠﻢ ﻧﻔﺴﻴﺎت ﺟﻲ ﺗﻴﺰي‪ ‬ﺳﺎن ﺗﺮﻗﻲ‪ ‬۽ ﺟﺪﻳﺪ ﺳﺎﺋﻨﺴﻲ اِﻳﺠﺎدن ﻛﺮي‬
‫ﻫﻚ ﭔﺎر ﺟﻲ ﺳﻤﺎﺟﻲ ﺣﻴﺜﻴﺖ ﺑﻪ ُاﺟﺎﮘﺮ ﭤﻲ ۽ ﮐﻴﺲ ﺳﻤﺎج ﺟﻮ ﻫﻚ ُﺑﻨﻴﺎدي اﻳﻜﻮ‬
‫ﺳﻤﺠﻬﮡ ﺳﺎن ﮔﮇ ﺳﻨﺪس اﺣﺴﺎﺳﻦ‪ ،‬ﺟﺬﺑﻦ ۽ ﻧﻔﺴﻴﺎﺗﻲ ﻻڙن ڏاﻧﮭﻦ ڌﻳﺎن ڏﻳﮡ ﺑﻪ ﺷﺮوع‬
‫ﻛﻴﻮ وﻳﻮ‪ .‬ﻣﻌﺎﺷﺮي ۾ ﭔﺎر ﺟﻲ ﺣﻴﺜﻴﺖ ﮐﻲ ﻣﭹﺘﺎ ﻣﻠﻲ وﺋﻲ‪ .‬اﻫﮍي‪ ‬ﻃﺮح ﺳﻨﮅي ﭔﺎر ﻫﻚ‬
‫ﺻﻮرت ۾ وﻳﮭﻴﻦ‪ ‬ﺻﺪي‪ ‬۾ ُاﭜﺮي آﻳﻮ‪ .‬ﻣﻄﻠﺐ ﺗﻪ ﭔﺎر ﺟﻲ ﻫﺎﮢﻮﻛﻲ ُ‬
‫ﺗﺼﻮر‬ ‫ﻛﺎﻣﻞ ﺳﻤﺎﺟﻲ ُ‬
‫ﮐﻲ وﻳﮭﻴﻦ‪ ‬ﺻﺪي‪ ‬۾ ُﭘﺨﺘﺎ ُﺑﻨﻴﺎد ﻣﻠﻴﺎ‪ .‬اﻫﻮ ﺋﻲ ﺳﺒﺐ آﻫﻲ ﺟﻮ اﺳﺎن وٽ ﺳﻨﮅ ۾ ﭔﺎرڙن ﺟﻲ‬
‫ادب ﺟﻲ اﻫﻤﻴﺖ ﺟﻮ اﺣﺴﺎس ﺟﺎﮘﻴﻮ ۽ ﭘﻮ‪ ‬ﭔﺎرڙن ﻻ‪ ‬رﺳﺎﻻ ﻛﮃڻ ﺿﺮوري ﺳﻤﺠﻬﻴﻮ وﻳﻮ‪.‬‬
‫ُﻣﺨﺘﻠﻒ اﺷﺎﻋﺘﻲ ادارن ﻧﻪ ُرﮘﻮ ﭔﺎرڙن ﻻ‪ ‬ﻛﺘﺎب ﮀﺎﭘﮡ ﺷﺮوع ﻛﻴﺎ ﭘﺮ ﺳﻨﺪن ذوق ﺟﻲ‬
‫ﺗﺴﻜﻴﻦ‪ ،‬ﭴﺎڻ ۽ ِوﻧﺪر ُوروﻧﮭﻦ ﻻ‪ ‬رﺳﺎﻻ ﭘﮡ ﭘﮅرا ﻛﻴﺎ‪.‬‬
‫ﻫﺘﻲ اﻫﺎ ﺣﻘﻴﻘﺖ ﺑﻪ واﺿﺢ ﻛﺠﻲ ﺗﻪ اﻧﮭﻦ رﺳﺎﻟﻦ ﻧﻪ ُرﮘﻮ ﭔﺎراﮢﻲ ادب ﺟﻲ واڌاري‬
‫۾ ُﻣﮑﻴﻪ ﻛﺮدار ادا ﻛﻴﻮ ﭘﺮ ﺧﻮد ﺳﻨﮅي ادب ﮐﻲ ﭘﮡ زﺑﺮدﺳﺖ ﺗﺮﻗﻲ وﭠﺮاﺋﻲ ۽ ُﺳﭡﻦ‬
‫ﻟﻴﮑﻜﻦ ﺟﻮن ﻛﻴﺘﺮﻳﻮن ﺋﻲ ﮐﻴﭙﻮن ﺗﻴﺎر ﻛﻴﻮن‪ .‬ﺟﻴﻜﮇﻫﻦ اﺳﺎن ﻫﺎﮢﻮﻛﻦ ادﻳﺒﻦ ۽‬
‫ﺷﺎﻋﺮن ﺗﻲ ﻧﻈﺮ ِوﺟﻬﻨﺪاﺳﻴﻦ ﺗﻪ اﻫﺎ ﺣﻘﻴﻘﺖ ﺳﺎﻣﮭﻮن اﻳﻨﺪي ﺗﻪ ﺳﻨﺪن دﻟﻴﻦ ۽ ذﻫﻨﻦ ۾‬
‫ﺗﺨﻠﻴﻘﻲ ﺟﺬﺑﻮ ﭘﻴﺪا ﻛﺮڻ ﺟﻮ اﺻﻞ ۽ ُﺑﻨﻴﺎدي ُﻣﺤﺮڪ ﭔﺎراﮢﺎ رﺳﺎﻻ ﺋﻲ رﻫﻴﺎ آﻫﻦ‪ .‬اﻫﻲ‬
‫ﭘﻨﮭﻨﺠﻲ ﻧﻨﮃﭘﮡ ۾ ﺟﻴﻜﻲ ﻛﭽﻴﻮن ﭰِﻜﻴﻮن ﻟﮑﮣﻴﻮن ﺳﺮﺟﻴﻨﺪا ُﻫﺌﺎ ﻳﺎ وري ﻫﻠﻜﻲ‬
‫ُﭰﻠﻜﻲ ﺷﺎﻋﺮي ﻛﻨﺪا ُﻫﺌﺎ‪ ،‬ﺳﺎ اﺻﻞ ۾ ﺳﻨﺪن وڏي ادﻳﺐ ۽ ﺷﺎﻋﺮ ُﻫﺠﮡ ﺟﻮ ُاﻫﭹﺎڻ‬
‫ُﻫﻮﻧﺪي ُﻫﺌﻲ‪.‬‬
‫ان ﺣﻘﻴﻘﺖ ﮐﺎن ﺑﻪ اﻧﻜﺎر ﻣﻤﻜﻦ ﻛﻮﻧﮭﻲ ﺗﻪ ورﻫﺎﮜﻲ ﮐﺎن اڳ ﺳﻨﮅي‪ ‬۾‬
‫ﻧﻜﺮﻧﺪڙ ﭔﺎرڙن ﺟﺎ رﺳﺎﻻ ﻛﻲ ﮔﻬﮣﺎ ﻣﻌﻴﺎري ﻛﻮﻧﻪ ُﻫﺌﺎ‪ .‬ﭔﺎرڙن ﺟﻲ ُاردو رﺳﺎﻟﻦ ۽ ﻳﻮرپ‬
‫ﻣﺎن ﮀﭙﺠﻨﺪڙ ﭔﺎراﮢﻦ رﺳﺎﻟﻦ ﺟﻲ ﭜﻴﭧ ۾ ﺳﻨﮅي ﭔﺎراﮢﺎ رﺳﺎﻻ ﻣﻌﻴﺎر ﺟﻲ ﻟﺤﺎظ ﮐﺎن ﺑﻴﺤﺪ‬
‫ﮔﻬﭧ ُﻫﺌﺎ‪ .‬ﻧﻪ ﺗﻪ ﻛﺎﻏﺬ ُﺳﭡﻮ ُﻫﻮﻧﺪو ﻫﻮ ۽ ﻧﻪ ﺋﻲ وري ﭨﺎﺋﻴﭩﻞ ﻛﻮ وﮢﻨﺪڙ ُﻫﻮﻧﺪو ُﻫﻴﻮ‪ .‬اﻧﮭﻦ ۾‬
‫ﺗﺼﻮﻳﺮون ﻳﺎ اﺳﻜﻴﭻ ﻳﺎ ﺗﻪ ُﻫﻮﻧﺪا ﺋﻲ ﻛﻮﻧﻪ ُﻫﺌﺎ ﻳﺎ ﺟﻴﻜﮇﻫﻦ ُﻫﻮﻧﺪا ﺑﻪ ُﻫﺌﺎ ﺗﻪ اﻧﮭﻦ ۾‬
‫‪115‬‬ ‫ﭔﺎرڙن ﺟﻲ ﻣﺎﻫﻮار رﺳﺎﻟﻲ ‘ ُﮔﻞ ُﭰﻞ’ ﺟﻲ ارﺗﻘﺎ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻛﺴﻲ‬ ‫ﭔﺎرڙن ﻻ‪ ‬ﻛﺎ ﺧﺎص ﻛﺸﺶ ﻛﺎﻧﻪ ُﻫﻮﻧﺪي ُﻫﺌﻲ‪ .‬اﻧﮭﻦ رﺳﺎﻟﻦ ﺟﻲ َﮀﭙﺎﺋﻲ ﺑﻪ َ‬
‫ُﻫﻮﻧﺪي ُﻫﺌﻲ‪ .‬ان ﮐﺎن ﺳﻮا‪ ‬ﭔﺎرڙن ﺟﻲ ذﻫﻨﻲ ﺳﻄﺢ ۽ ﻋﻠﻤﻲ ﻣﻌﻴﺎر ﺟﻮ ﺧﻴﺎل ﺑﻪ ﮔﻬﭧ ﺋﻲ‬
‫ﻛﮍي‪ ‬ﺣﻘﻴﻘﺖ ﺟﻲ ُ‬
‫ﺑﺎوﺟﻮد اﻧﮭﻦ رﺳﺎﻟﻦ ﭔﺎراﮢﻲ ادب ﺟﻲ واڌ ِوﻳﺠﻬﻪ‬ ‫رﮐﻴﻮ وﻳﻨﺪو ﻫﻮ‪ .‬ان َ‬
‫۾ ﺟﻴﻜﻮ ُﻣﮑﻴﻪ ﻛﺮدار ادا ﻛﻴﻮ ﺗﻨﮭﻦ ﮐﻲ ﻫﺮﮔﺰ ِوﺳﺎري ﻧﻪ ﭤﻮ ﺳﮕﻬﺠﻲ‪ .‬اﻧﮭﻦ ﺟﻲ‬
‫اﻓﺎدﻳﺖ ﺳﺪاﺋﻴﻦ ﻣﭹﻴﻞ رﻫﻨﺪي‪.‬‬
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‫ﭔﺎرڙن ﺟﺎ رﺳﺎﻻ ﻛﻴﺘﺮن ﺋﻲ ﺣﻮاﻟﻦ ﺳﺎن ﻻﭜﺎﺋﺘﺎ ﻫﻮﻧﺪا آﻫﻦ‪ .‬ﻛﻴﺘﺮا ﺋﻲ ﭔﺎرڙا ﭘﺎڻ‬
‫ﻣﺤﺪود ﻛﺮي ﮀﮇﻳﻨﺪا آﻫﻦ‪ ،‬ان ﻛﺮي ﺟﻮ ﺳﻨﺪن‬ ‫ُ‬ ‫ﮐﻲ ُرﮘﻮ ﻧﺼﺎﺑﻲ ﻛﺘﺎﺑﻦ ﺗﺎﺋﻴﻦ‬
‫ﻛﺘﺎﺑﻦ ﺗﺎﺋﻴﻦ ﭘﮭﭻ ﻛﺎﻓﻲ ﺣﺪ ﺗﺎﺋﻴﻦ ُﻣﺸﻜﻞ ُﻫﻮﻧﺪي آﻫﻲ ﻳﺎ وري اﻫﻲ ﻣﮭﺎﻧﮕﺎ ﻛﺘﺎب‬
‫ﺧﺮﻳﺪ ﻧﻪ ﻛﺮي ﺳﮕﻬﻨﺪا آﻫﻦ‪ .‬ان ﺟﻲ ُاﺑﺘﮍ اﻫﻲ رﺳﺎﻻ ﻳﺎ ﺗﻪ ﺧﺮﻳﺪ ﻛﺮي ﭘﮍﻫﻲ ﺳﮕﻬﻨﺪا‬
‫ﻛﺠﻬﻪ ﮔﻬﭧ ُﻫﻮﻧﺪي آﻫﻲ ﻳﺎ وري دوﺳﺘﻦ ﮐﺎن ﺣﺎﺻﻞ ﻛﺮي‬ ‫آﻫﻦ‪ ،‬ﺟﻮ اﻧﮭﻦ ﺟﻲ ﻗﻴﻤﺖ ُ‬
‫ﭘﮍﻫﻨﺪا آﻫﻦ‪ .‬اﻫﮍي‪ ‬ﻃﺮح ﺳﻨﺪن ﭴﺎڻ ۾ واڌارو ﭤﻴﻨﺪو رﻫﻨﺪو آﻫﻲ‪ .‬رﺳﺎﻟﻲ ﻻ‪ ‬ﻛﻮ‬
‫ﻣﻀﻤﻮن ﻟﮑﮡ ﻻ‪ ‬ﻛﻴﺘﺮا ﺋﻲ ﻛﺘﺎب ﭘﮍﻫﮣﺎ َﭘﻮﻧﺪا آﻫﻦ‪ ،‬ﺗﻨﮭﻦ ﻛﺮي ﻛﻴﺘﺮن ﺋﻲ‬ ‫ُ‬
‫ﻣﻀﻤﻮن ۾ اﭼﻲ وﻳﻨﺪو آﻫﻲ‪ .‬ﻧﺘﻴﺠﻲ ۾ ﻫﻚ ﭔﺎر ﺟﻲ ﭴﺎڻ ﮔﻬﮡ‬ ‫ُ‬ ‫ﻛﺘﺎﺑﻦ ﺟﻮ ﻧﭽﻮڙ ﻫﻚ‬
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‫ﻛﺸﺎدي ﭤﻲ وﻳﻨﺪي آﻫﻲ‪ .‬ﻣﻄﻠﺐ ﺗﻪ “ﭔﺎرن ﺟﺎ رﺳﺎﻻ ﭔﺎرن ﺟﻲ ﻻ‪ ‬اﺳﺘﺎد‪،‬‬ ‫ُرﺧﻲ ۽ ُ‬
‫ُاﭘﺪﻳﺸﻚ‪ ،‬ﻣﺎ‪ ‬ﭘﻲ‪ ،‬دوﺳﺖ‪ ،‬ﺻﻼﺣﻜﺎر ۽ رﻫﺒﺮ ﺟﮭﮍا اﻧﻴﻚ رول ﻧﺒﺎﻫﻦ ﭤﺎ‪ .‬ﺳﮅي‪‬‬
‫ﭼﺎﻫﻲ اڻ ﺳﮅي‪ ‬ﻃﺮح ُﻫﻮ ﺳﮑﻴﺎ ڏﻳﮡ ﺟﻮ ﻛﻢ ﻛﻦ ﭤﺎ‪ .‬ﺳﻴﮑﺎرڻ ۽ ﭴﺎڻ ڏﻳﮡ ﺟﻮ ﻛﻢ‬
‫اﺳﻜﻮﻟﻦ ۾ ﺟﻴﻜﻮ ﻧﻪ ﭤﻮ ﭘﮍﻫﺎﻳﻮ وﭸﻲ ﺳﻮ ﻫﻨﻦ رﺳﺎﻟﻦ ذرﻳﻌﻲ ﭔﺎرن ﺟﻲ اﮘﻴﺎن‬ ‫ُ‬ ‫ﻛﻦ ﭤﺎ‪.‬‬
‫اﭼﻲ ﭤﻮ‪ .‬اﺳﻜﻮﻟﻲ ﻛﺘﺎﺑﻦ ﮐﺎن ﭔﺎر ﺟﻴﺘﺮو ﭨﮭﻦ ﭤﺎ اوﺗﺮو رﺳﺎﻟﻦ ﺟﻲ وﻳﺠﻬﻮ اﭼﻦ ﭤﺎ‪.‬‬
‫اﻧﮭﻲ‪ ‬ﺧﻴﺎل ﮐﻲ ڏﺳﺠﻲ ﺗﻪ ﭔﺎرن ﺟﻲ رﺳﺎﻟﻦ ﺟﻮ ﻛﺎرﻳﻪ اﺳﻜﻮﻟﻲ ﻛﺘﺎﺑﻦ ﮐﺎن ﺑﻪ وڌﻳﻚ‬
‫ذﻣﻴﻮاري‪ ‬وارو آﻫﻲ‪ .‬ﭔﺎل رﺳﺎﻟﻦ ﺟﻲ ﺳﻤﭙﺎدڪ ﮐﻲ ﺗﻤﺎم وڏي اﻫﻤﻴﺖ واري ۽ ﻧﺎزڪ‬
‫ﺟﻮاﺑﺪاري ﻧﺒﺎﻫﮣﻲ ﭘﻮي ﭤﻲ‪ .‬ﺳﻤﭙﺎدڪ ﺟﻲ ﺳﻮﺟﻬﻪ ﭔﻮﺟﻬﻪ‪ ،‬ﭴﺎڻ ۽ ﺷﻜﺘﻲ ﭔﺎل رﺳﺎﻟﻲ‬
‫ﮐﻲ ﭔﺎرن ۾ وڌﻳﻚ ﻟﻮﻛﭙﺮﻳﻪ ﺑﮣﺎﺋﻲ ﭤﻲ‪(١) ”.‬‬

‫و ﺌت‪:‬‬ ‫ر ﺌ‬ ‫۾ ﺌرڙن‬
‫ﻣﻀﺒﻮط ﻛﺮڻ ﺟﻲ ڏس ۾ ﭔﺎراﮢﻲ ادب ﺟﻲ‬ ‫ُ‬ ‫ﺳﻨﮅي ﺳﻤﺎج ﮐﻲ ﻋﻠﻤﻲ ﺣﻮاﻟﻲ ﺳﺎن‬
‫ﻣﺤﺴﻮس ﻛﻨﺪي ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬ﺟﻲ ﺳﭽﻲ ﺧﺪﻣﺘﮕﺎر ۽ ڏاﻫﻲ ﭘﺮﻣﺎ ﻧﻨﺪ ﻣﻴﻮا‬ ‫ﺿﺮورت ﮐﻲ ُ‬
‫رام ﭘﻨﮭﻨﺠﻲ ﻫﻔﺘﻴﻮار اﺧﺒﺎر “ﺟﻮت” ﺟﻴﻜﺎ ُﻫﻦ ‪١٨٩٦‬ع ۾ ﺣﻴﺪرآﺑﺎد ﻣﺎن ﺟﺎري ﻛﺌﻲ‬
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‫ﻣﻀﻤﻮﻧﻦ ﮐﺎن‬ ‫ﻣﺨﺼﻮص ﻛﻴﻮ‪ ،‬ﺟﻨﮭﻦ ۾ ﻛﮭﺎﮢﻴﻦ ۽‬ ‫ُ‬ ‫ُﻫﺌﻲ‪ ،‬۾ ﭔﺎرڙن ﺟﻮ ﻫﻚ ﺻﻔﺤﻮ‬
‫ﻋﻼوه ﭔﺎرڙن ﺟﻲ دﻟﭽﺴﭙﻲ‪ ‬ﺟﻮ ﮔﻬﮣﻮ ﻣﻮاد ﺷﺎﻳﻊ ﻛﻴﻮ وﻳﻨﺪو ُﻫﻴﻮ‪ .‬ﭔﺎرن ﺟﻲ ﻟﻴﮑﻚ ۽‬
‫ﺗﺮﺟﻤﻲ ﻧﮕﺎر ﺧﺎﻟﺪ ﭜﭩﻲ‪ ‬ﺟﻮ راﻳﻮ آﻫﻲ ﺗﻪ “ﺟﻮت اﺧﺒﺎر ﺟﻮ ﭔﺎرن ﺟﻮ ﺻﻔﺤﻮ ﺳﻨﮅي رﺳﺎﻟﻦ‬
‫ﺟﻲ اﺷﺎﻋﺖ ﻻ‪ُ ‬اﺗﺴﺎﻫﻪ ﺟﻮ ﺳﺒﺐ ﺑﮣﻴﻮ‪ .‬اﻫﺎ ﻫﻚ وڏي‪ ‬ﺳﺎک واري اﺧﺒﺎر ُﻫﺌﻲ ۽ ان ﺟﻲ‬
‫ﭔﺎرن ﺟﻲ ﺻﻔﺤﻲ ﮐﻲ ﺳﭵﻲ‪ ‬ﺳﻨﮅ ۾ وڏي ﭼﺎﻫﻪ ﺳﺎن ﭘﮍﻫﻴﻮ وﻳﻨﺪو ُﻫﻴﻮ‪ .‬ان ﺻﻔﺤﻲ ﺟﻲ‬
‫‪116‬‬ ‫ﭔﺎرڙن ﺟﻲ ﻣﺎﻫﻮار رﺳﺎﻟﻲ ‘ ُﮔﻞ ُﭰﻞ’ ﺟﻲ ارﺗﻘﺎ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻣﺤﺴﻮس ﻛﺌﻲ وﺋﻲ‪(٢) ”.‬‬ ‫ﻣﻘﺒﻮﻟﻴﺖ ﮐﻲ ِڏﺳﻲ ﭔﺎراﮢﻦ رﺳﺎﻟﻦ ﺟﻲ ﺿﺮورت ُ‬ ‫ُ‬
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‫ﭔﺎرڙن ﺟﻲ رﺳﺎﻟﻦ ﺟﻲ اﺷﺎﻋﺖ ﺟﻲ ڏس ۾ ﭘﮭﺮﻳﻦ ِوک “ﻫﻮﭘﻔﻞ اﻛﻴﮉﻣﻲ اﺳﻜﻮل‬
‫ﺷﻜﺎرﭘﻮر” ﮐﻨﺌﻲ‪ ،‬ﺟﻨﮭﻦ ﻣﺌﻲ ‪١٩١٤‬ع ۾ “ﻫﻮﭘﻔﻞ اﻛﻴﮉﻣﻲ ﻣﺌﮕﺰﻳﻦ” ﺟﻮ ﭘﮭﺮﻳﻮن ﭘﺮﭼﻮ‬
‫ﭘﮅرو ﻛﻴﻮ‪ .‬ﻫﻲ‪ ‬رﺳﺎﻟﻮ ﺳﺎل ۾ ﭔﻪ ﭜﻴﺮا ﮀﭙﺒﻮ ُﻫﻴﻮ ۽ ان ﺟﻮ ادارﺗﻲ ﺳﭣ راڌا ﻛﺮﺷﻦ ﭘﺎرو‬
‫ﺟﻴﻮن داس ۽ ﺟﻬﺎﻣﻦ داس ُدوارﻛﺎ داس ﺗﻲ ُﻣﺸﺘﻤﻞ ﻫﻮ‪ .‬ان رﺳﺎﻟﻲ ﺟﻲ‬ ‫ﻣﻞ‪ ،‬ﻛﺸﻦ ﭼﻨﺪ َ‬
‫ﺗﺴﻠﺴﻞ ۾ ﺳﻨﮅ ﺟﻲ ُﻣﺨﺘﻠﻒ ﺷﮭﺮن ﻣﺎن ﮘﭻ ﭔﺎراﮢﺎ رﺳﺎﻻ ﭘﮅرا ﭤﻴﺎ‪ ،‬ﺟﻴﻜﻲ ‪١٩٤٧‬ع ۾‬
‫ﻧﻨﮃي ﮐﻨﮉ ﺟﻲ ورﻫﺎﮜﻲ ﺗﺎﺋﻴﻦ ﻫﻠﻨﺪا رﻫﻴﺎ‪ .‬اﻧﮭﻦ رﺳﺎﻟﻦ ۾ “ ُﮔﻞ ُﭰﻞ” ۽ “ ُﮔﻠﺴﺘﺎن” رﺳﺎﻟﻦ‬
‫ﮐﻲ ﺗﻤﺎم ﮔﻬﮣﻲ ُ‬
‫ﻣﻘﺒﻮﻟﻴﺖ ﺣﺎﺻﻞ ﭤﻲ‪.‬‬
‫‪١٩٤٧‬ع ۾ ﻧﻨﮃي ﮐﻨﮉ ﺟﻲ ورﻫﺎﺳﺖ ﭤﻲ ﺗﻪ ﭔﺎراﮢﻦ رﺳﺎﻟﻦ ﺟﻲ اﺷﺎﻋﺖ ﺟﻮ ﺳﻠﺴﻠﻮ‬
‫ﻫﻚ دم ُرﻛﺠﻲ وﻳﻮ ﭘﺮ ‪١٩٥٠‬ع ۾ “ ُﮔﻠﺴﺘﺎن” رﺳﺎﻟﻮ ﭔﻴﮭﺮ ﺟﺎري ﻛﻴﻮ وﻳﻮ‪ُ .‬ﮔﻠﺴﺘﺎن ﮐﺎن‬
‫ﻋﻼوه “ﭰﻮﻟﺴﺘﺎن” ۽ “دل ﺑﮭﺎر” ﻧﺎﻟﻲ ﭔﺎراﮢﺎ رﺳﺎﻻ ﺑﻪ ﺷﺮوع ﻛﻴﺎ وﻳﺎ‪ .‬ﺑﺪﻗﺴﻤﺘﻲ‪ ‬ﺳﺎن اﻧﮭﻦ‬
‫رﺳﺎﻟﻦ ﺟﻲ اﺷﺎﻋﺖ ﺟﻮ ﺳﻠﺴﻠﻮ ﮔﻬﮣﻮ وﻗﺖ ﺟﺎري ﻧﻪ رﻫﻲ ﺳﮕﻬﻴﻮ‪.‬‬

‫۽ ار ﺌ(‪:‬‬ ‫‪،‬ا‬ ‫ﺌري ﮙ )‬ ‫ُ ُ‬

‫ڊﺳﻤﺒﺮ ‪١٩٥١‬ع ۾ “ﺳﻨﮅي ادب ﻻ‪ ‬ﻣﺮﻛﺰي ﺻﻼﺣﻜﺎر ﺑﻮرڊ” ﮐﻲ “ﺳﻨﮅي ادﺑﻲ‬
‫ﺑﻮرڊ” ﺟﻮ ﻧﺎﻟﻮ ڏﻧﻮ وﻳﻮ‪ ،‬ﺟﻨﮭﻦ ﺟﻲ ﻗﻴﺎم ﺟﻲ ﻣﻘﺼﺪن ﻣﺎن ﻫﻚ ﻣﻘﺼﺪ “ﭔﺎرڙن ﻻ‪ ‬ﺻﺎﻟﺢ ۽‬
‫ﺻﺤﺘﻤﻨﺪ ادب ﭘﮅرو ﻛﺮڻ” ﺑﻪ ُﻫﻴﻮ‪(٣) .‬‬
‫ﺻﻮرت ڏﻳﻨﺪي وﻳﮭﻴﻦ‪ ‬ﺻﺪي‪ ‬ﺟﻲ ﮀﮭﻴﻦ ڏﻫﺎﻛﻲ ﺟﻲ‬ ‫ان ﻣﻘﺼﺪ ﮐﻲ ﻋﻤﻠﻲ ُ‬
‫ﭘﮁﺎڙي‪ ‬۾ ﺟﻨﻮري ‪١٩٥٩‬ع ۾ ﻣﺎﻫﻮار ُﮔﻞ ُﭰﻞ ﺳﻨﮅي ادﺑﻲ ﺑﻮرڊ ﭘﺎران ﺟﺎري ﭤﻴﻮ‪ .‬ان ڏس ۾‬
‫ُﮔﻞ ُﭰﻞ ﺟﻮ ﭘﮭﺮﻳﻮن اﻳﮉﻳﭩﺮ ُﻏﻼم رﺑﺎﻧﻲ آﮔﺮو ﻟﮑﻲ ﭤﻮ “ﺳﻨﮅي ادﺑﻲ ﺑﻮرڊ ﺟﻮ ﺳﻴﻜﺮﻳﭩﺮي‬
‫ﺳﺎﺋﻴﻦ ﺟﻮﻳﻮ ﺻﺎﺣﺐ ﻫﻮ ۽ ﻣﺎن اﺳﺴﭩﻨﭧ ﺳﻴﻜﺮﻳﭩﺮي‪ .‬ﺗﮇﻫﻦ ﺑﻮرڊ ﺟﻮن آﻓﻴﺴﻮن‬
‫اﺳﻜﻮل ﺟﻲ ﻋﻤﺎرت ۾ ُﻫﻮﻧﺪﻳﻮن ُﻫﻴﻮن‪.‬‬ ‫ُ‬ ‫ﻛﺮاﭼﻲ‪ ‬۾ ﺑﻨﺪر روڊ ﺗﻲ اﻳﻦ ﺟﻲ وي ﻫﺎ‪‬‬
‫اﺳﻜﻮل ﺳﺎن ﮔﮇ ﭔﻴﻮن ﺑﻪ ﮔﻬﮣﻴﻮن آﻓﻴﺴﻮن ُﻫﻴﻮن‪ .‬ﻫﻚ دﻓﻌﻲ اﺋﻴﻦ واﺗﻴﻦ وﻳﮣﻴﻦ ُﭔﮅڻ ۾‬‫ُ‬
‫آﻳﻮ ﺗﻪ ﺑﻮرڊ ﭔﻪ ﻧﻮان رﺳﺎﻻ ﻛﮃي رﻫﻴﻮ آﻫﻲ‪ .‬ﻫﻚ ﻋﻮرﺗﻦ ﺟﻮ رﺳﺎﻟﻮ ۽ ﭔﻴﻮ ﭔﺎرن ﺟﻮ رﺳﺎﻟﻮ‪.‬‬
‫ﺑﻮرڊ ﺗﻴﺴﻴﻦ ُرﮘﻮ “ﻣﮭﺮاڻ” ﺷﺎﻳﻊ ﻛﻨﺪو ُﻫﻴﻮ‪ ،‬ﺟﻴﻜﻮ ‪١٩٥٥‬ع ﮐﺎن ﺟﺎري ﭤﻴﻮ ﻫﻮ‪ .‬ان ﺟﻮ‬
‫اﺑﺘﺪاﺋﻲ اﻳﮉﻳﭩﺮ ﺑﻮرڊ ﺟﻮ ﺳﻴﻜﺮﻳﭩﺮي ﺳﺎﺋﻴﻦ ﺟﻮﻳﻮ ﺻﺎﺣﺐ ﭘﺎڻ ُﻫﻴﻮ‪ .‬ﭔﺎرن ۽ ﻋﻮرﺗﻦ ﺟﻲ‬
‫ﭔﻦ َﻧﻮن رﺳﺎﻟﻦ ﺟﻲ اﻳﮉﻳﭩﻨﮓ ﻻ‪ ‬ﻫﻚ ﺳﻨﮅي ﺧﺎﺗﻮن ُﻣﻨﺘﺨﺐ ﭤﻲ‪ ،‬ﺟﺎ ﭨﻲ ﻣﮭﻴﻨﺎ ﮐﻦ ﺑﻮرڊ‬
‫ﺟﻲ ‪ Pay-roll‬ﺗﻲ رﻫﻲ ﭘﺮ ﭔﻨﮭﻲ رﺳﺎﻟﻦ ﻣﺎن ﻛﻨﮭﻦ ﺟﻮ ﺑﻪ ﭘﺮﭼﻮ ﻛﻮﻧﻪ ﻧﻜﺘﻮ‪ .‬ﺳﻮ ﻫﻚ‬
‫ڏﻳﻨﮭﻦ ﺟﻮﺋﻲ ﺻﺎﺣﺐ ُﻣﻮن ﮐﻲ ﭼﻴﻮ ﺗﻪ “ﭔﺎرن ﺟﻮ رﺳﺎﻟﻮ ﺗﻮن ﻛﮃ‪ ”.‬ﻣﻮن وٽ اﺳﺴﭩﻨﭧ‬
‫دﺳﺘﻮري )‪ (Routine‬ﻛﻢ ﻛﻨﺪو ُﻫﻴﻮ‪.‬‬ ‫ﺳﻴﻜﺮﻳﭩﺮي‪ ‬ﺟﻲ ُﻋﮭﺪي ﺟﻲ ﻟﺤﺎظ ﮐﺎن ﻓﻘﻂ ُ‬
‫اداري ﺟﻲ ُﻣﮑﻴﻪ ﻣﺎﻟﻲ‪ ،‬اﻧﺘﻈﺎﻣﻲ ۽ ﻋﻠﻤﻲ ﻣﻌﺎﻣﻠﻦ ﮐﻲ ﺟﻮﻳﻮ ﺻﺎﺣﺐ ﭘﺎڻ ُﻣﻨﮭﻦ ڏﻳﻨﺪو ﻫﻮ‪،‬‬
‫ﺳﻮ “ ُﮔﻞ ُﭰﻞ” ﺟﻮ اﺿﺎﻓﻲ ﻛﻢ ﻣﻠﻴﻢ ﺗﻪ ﭘﺎڻ ﻫﻚ ﻗﺴﻢ ﺟﻲ ﺧﻮﺷﻲ ﭤﻴﻢ‪ ،‬ﮀﻮ ﺗﻪ ُﻗﺪرت ُﻣﻮن‬
‫‪117‬‬ ‫ﭔﺎرڙن ﺟﻲ ﻣﺎﻫﻮار رﺳﺎﻟﻲ ‘ ُﮔﻞ ُﭰﻞ’ ﺟﻲ ارﺗﻘﺎ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﮐﻲ ‘ﻋﻤﻠﺪار’ ﺑﺪران ادﻳﺐ وارو ﻣﺰاج ڏﻧﻮ ُﻫﻴﻮ‪(٤) ”.‬‬

‫ﭔﺎر ﺟﻲ ﭘﮭﺮﻳﻦ ﺗﺮﺑﻴﺖ ﮔﺎﻫﻪ ﻣﺎ‪ ‬ﺟﻲ ﻫﻨﺞ ُﻫﻮﻧﺪي آﻫﻲ‪ .‬ان ﮐﺎن ﭘﻮ‪ ‬آس ﭘﺎس ﺟﻮ‬
‫اﺳﻜﻮل وﭸﮡ ﺟﻲ ُﻋﻤﺮ ﮐﻲ ﭘﮭﭽﻨﺪو‬ ‫ُ‬ ‫ﻣﺎﺣﻮل ﮐﻴﺲ ُﻣﺘﺎﺛﺮ ﻛﻨﺪو آﻫﻲ‪ .‬ﭘﻮ‪ ‬ﺟﮇﻫﻦ ُﻫﻮ‬
‫اﺳﻜﻮل ۾ وﭸﻲ ﻟﮑﮡ ﭘﮍﻫﮡ ﺟﻲ ﻻﺋﻖ ﭤﻴﻨﺪو آﻫﻲ ﺗﻪ درﺳﻲ ﻛﺘﺎﺑﻦ ﮐﺎن ﻋﻼوه‬ ‫ُ‬ ‫آﻫﻲ ۽‬
‫ﻛﮭﺎﮢﻴﻦ ﺟﺎ ﻛﺘﺎب ۽ ﭔﺎرڙن ﺟﺎ رﺳﺎﻻ ﺳﻨﺪس ﺷﺨﺼﻴﺖ ۽ اﻫﻤﻴﺖ ﮐﻲ ﻧﻈﺮ ۾ رﮐﻨﺪي‬
‫ﻫﺮ دور ۾ ﭔﺎرڙن ﺟﻲ ﺗﻌﻠﻴﻢ ۽ ﺗﺮﺑﻴﺖ ﻻ‪ ‬رﺳﺎﻟﻦ ﮐﻲ ﻫﻚ ُﻣﮑﻴﻪ ذرﻳﻌﻮ ﭘﺌﻲ ﺳﻤﺠﻬﻴﻮ وﻳﻮ‬
‫ﻣﺨﺼﻮص ﻛﻴﻮ وﻳﻮ‪ .‬ان ڏس‬ ‫ُ‬ ‫آﻫﻲ‪ُ .‬ﮔﻞ ُﭰﻞ ﮐﻲ ﺑﻪ ﺳﻨﮅي ﭔﺎرڙن ﺟﻲ ﺗﻌﻠﻴﻢ ۽ ﺗﺮﺑﻴﺖ ﻻ‪‬‬
‫۾ ُﮔﻞ ُﭰﻞ ﺟﻲ ﭘﮭﺮﻳﻦ ﺳﺎﻟﻨﺎﻣﻲ ۾ ُﻏﻼم رﺑﺎﻧﻲ ﻟﮑﻲ ﭤﻮ “اﻳﺘﺮو ﻛﺎﻣﻞ ﻳﻘﻴﻦ ﺳﺎن ﭼﺌﻲ‬
‫ﻛﺠﻬﻪ اﺳﺎن ﭘﻴﺶ ﻛﻴﻮ آﻫﻲ ﺳﻮ‬ ‫ﺳﮕﻬﺠﻲ ﭤﻮ ﺗﻪ ُﮔﻞ ُﭰﻞ ﺟﻲ ﺻﻔﺤﻦ وﺳﻴﻠﻲ ﺟﻴﻜﻲ ُ‬
‫ﻣﺠﻤﻮﻋﻲ ﻃﻮر اوﻫﺎن ﺟﻲ ﺷﺨﺼﻴﺖ ﺟﻲ اڏاوت ﺟﻲ ﻻ‪‬‬ ‫اوﻫﺎن ﺟﻲ ذﻫﻨﻲ واڌاري ﻻ‪ ‬۽ ُ‬
‫ﺻﺤﺘﻤﻨﺪ آﻫﻲ‪ُ .‬ﮔﻞ ُﭰﻞ ۾ ﭘﻴﺶ ﭤﻴﻞ ﮘﺎﻟﮭﻴﻮن اوﻫﺎن ﮐﻲ زﻧﺪﮔﻲ‪ ‬۾ ﮔﻬﮣﻮ ﻛﻢ اﻳﻨﺪﻳﻮن ۽‬
‫زﻧﺪﮔﻲ وڏي ﮘﺎﻟﮭﻪ آﻫﻲ! ﺳﭛ ﮐﺎن اول اﻫﺎ “ﺑﻲ ﻣﺜﻞ ﻧﻌﻤﺖ” آﻫﻲ ۽ ﺳﭛ ﮐﺎن آﺧﺮ )۽ ﺳﭛ‬
‫ﮐﺎن اﻫﻢ( اﻫﺎ “ﻋﻈﻴﻢ ﺗﺮﻳﻦ ﺟﻮاﺑﺪاري” آﻫﻲ‪ .‬ان ﺑﻴﻤﺜﺎل ﻧﻌﻤﺖ ﺟﻮ ُﭘﻮرو ُﭘﻮرو ﻗﺪر ُﺳﭹﺎﮢﮡ‬
‫۽ ان ﻋﻈﻴﻢ ﺗﺮﻳﻦ ﺟﻮاﺑﺪاري‪ ‬ﮐﻲ ُﭘﻮري‪ُ ‬ﭘﻮري‪ ‬اﻳﻤﺎﻧﺪاري‪ ‬ﺳﺎن ﺳﻨﭝﺎﻟﮡ ﺟﻲ اوﻫﺎن ﮐﻲ‬
‫ﺳﮑﻴﺎ ڏﻳﮡ ُﮔﻞ ُﭰﻞ ﺟﻲ اﺷﺎﻋﺖ ﺟﻮ ﻣﻘﺼﺪ آﻫﻲ‪(٥) ”.‬‬
‫ُﻏﻼم رﺑﺎﻧﻲ آﮔﺮو ﻫﻚ روﺷﻦ ﺧﻴﺎل ادﻳﺐ‪ ،‬ڏاﻫﻮ ﺷﺨﺺ ۽ ﻫﻚ ذﻫﻴﻦ اﻳﮉﻳﭩﺮ ﻫﻮ‪،‬‬
‫ﺗﻨﮭﻦ ﻛﺮي ُﻫﻦ ُﮔﻞ ُﭰﻞ ﺟﮭﮍي اﺛﺮاﺋﺘﻲ ﭘﻠﻴﭧ ﻓﺎرم ﮐﻲ ﭔﺎرڙن ۾ ﻋﻠﻢ ۽ ادب ﺟﻲ ﭘﮑﻴﮍ ۽‬
‫واڌاري ۽ ﺳﻨﺪن وﻧﺪر وروﻧﮭﻦ وارو ﻛﻢ وﭠﮡ ﺟﻲ ﺗﻤﺎم ﮔﻬﮣﻲ ﻛﻮﺷﺶ ﻛﺌﻲ ۽ ان‬
‫رﺳﺎﻟﻲ ﮐﻲ ﺳﻨﮅي ﭔﺎرڙن ﺟﻲ ذﻫﻨﻲ ۽ ﺳﻤﺎﺟﻲ ﺗﺒﺪﻳﻠﻲ‪ ‬ﺟﻮ ﻫﻚ ُﻣﮑﻴﻪ ذرﻳﻌﻮ ﺑﮣﺎﺋﮡ ﺟﻲ‬
‫ڏس ۾ َوﺳﺎن ﻛﻴﻦ ﮔﻬﭩﺎﻳﻮ‪ .‬ﺗﻨﮭﻦ ﻛﺮي وڏي اﻋﺘﻤﺎد ﺳﺎن ﭼﺌﻲ ﺳﮕﻬﺠﻲ ﭤﻮ ﺗﻪ ُﮔﻞ ُﭰﻞ‬
‫ﺟﻲ ﺟﺎري ﭤﻴﮡ ﮐﺎن ﭘﻮ‪ ‬ﺳﻨﮅ ۾ ﺟﻴﻜﻲ ﭔﺎراﮢﺎ رﺳﺎﻻ ﮀﭙﺠﮡ ﺷﺮوع ﭤﻴﺎ ﺳﻲ ﮔﻬﮣﻲ ﭜﺎﮜﻲ‬
‫ُﮔﻞ ُﭰﻞ ﮐﺎن ﺋﻲ ُﻣﺘﺎﺛﺮ ﻧﻈﺮ اﭼﻦ ﭤﺎ‪ُ “ .‬ﻣﺘﺎﺛﺮ ﺑﻪ ﮀﻮ ﻧﻪ ﻧﻈﺮ اﭼﻦ؟ ُﮔﻞ ُﭰﻞ ﺗﻪ ﻫﻚ رﺟﺤﺎن ﺳﺎز‬
‫رﺳﺎﻟﻮ آﻫﻲ ۽ ﺳﻨﮅ ﻣﺎن ﺷﺎﻳﻊ ﭤﻴﻨﺪڙ ﻫﺮ رﺳﺎﻟﻲ ان ﺟﻲ ﭘﻴﺮوي ﻛﺌﻲ آﻫﻲ‪ .‬ﺻﺤﺘﻤﻨﺪ ۽‬
‫ﺻﻮرت ۾ ﻣﺤﻤﺪ اﺑﺮاﻫﻴﻢ ﺟﻮﻳﻲ ۽ ُﻏﻼم رﺑﺎﻧﻲ‬ ‫ﺗﻌﻤﻴﺮي ادب ﺟﻮ وڻ ﺟﻴﻜﻮ ُﮔﻞ ُﭰﻞ ﺟﻲ‪ُ ‬‬
‫آﮔﺮي ﭘﻮﮐﻴﻮ ُﻫﻴﻮ ﺗﻨﮭﻦ ﺟﻲ ﻣﻴﻮي ﻣﺎن ﺳﭝﺌﻲ ﺳﻨﮅي ﭔﺎراﮢﺎ رﺳﺎﻻ ﻓﺎﺋﺪو وﭠﻲ رﻫﻴﺎ آﻫﻦ‪.‬‬
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‫ﻣﻀﻤﻮﻧﻦ‬ ‫ُﮔﻞ ُﭰﻞ ﻫﻚ وﮢﻨﺪڙ ۽ ﻻﭜﺎﺋﺘﻮ رﺳﺎﻟﻮ آﻫﻲ‪ .‬ﻫﻲ‪ ‬رﺳﺎﻟﻮ ﺳﺎدي‪ ‬ﭔﻮﻟﻲ‪ ،‬ﻛﺎراﺋﺘﻦ‬
‫۽ دﻟﭽﺴﭗ ﻟﮑﮣﻴﻦ ﺟﻲ ﻟﺤﺎظ ﮐﺎن ﻏﻨﻴﻤﺖ آﻫﻲ‪ .‬ﮔﮇو ﮔﮇ ﺳﭝﻨﻲ ﺳﻨﮅي ﭔﺎراﮢﻦ رﺳﺎﻟﻦ ﻻ‪‬‬
‫ﻫﻚ رول ﻣﺎڊل آﻫﻲ‪(٦) ”.‬‬
‫ﻣﺎﻫﻮار ُﮔﻞ ُﭰﻞ ﺟﻲ ﺟﺎري ﭤﻴﮡ ﺟﻮ ﻣﻘﺼﺪ ﻋﻠﻤﻲ ۽ ادﺑﻲ ﻫﻴﻮ‪ .‬ﺗﻨﮭﻦ ﻛﺮي اﻫﻮ ﺟﻠﺪ‬
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‫ﺋﻲ ﺳﻨﮅ ﺟﻲ ﺑﺎرڙن ﺟﻲ ﻋﻠﻤﻲ ۽ ادﺑﻲ ذوق ﺟﻲ آﺑﻴﺎري‪ ‬ﺟﻮ ﻫﻚ اﻫﻢ ذرﻳﻌﻮ ﺑﮣﺠﻲ وﻳﻮ ۽‬
‫ﮔﮇو ﮔﮇ ﺳﻨﺪن ﺳﻮچ ﮐﻲ ﺑﺪﻻﺋﮡ ۽ ڌرﺗﻲ‪ ‬ﺳﺎن ﺳﻨﺪن ﮘﺎﻧﮃاﭘﻲ ﺟﮭﮍن ﻣﻘﺼﺪن ﮐﻲ‬
‫ﺣﺎﺻﻞ ﻛﺮڻ ﺟﻲ ﺳﻠﺴﻠﻲ ۾ ﺑﻴﺤﺪ ﮔﻬﮣﻲ ﺳﺮﮔﺮﻣﻲ ڏﻳﮑﺎري‪ .‬ﻧﻪ ُرﮘﻮ اﻳﺘﺮو ﭘﺮ ﻫﻲ‪ ‬رﺳﺎﻟﻮ‬
‫‪118‬‬ ‫ﭔﺎرڙن ﺟﻲ ﻣﺎﻫﻮار رﺳﺎﻟﻲ ‘ ُﮔﻞ ُﭰﻞ’ ﺟﻲ ارﺗﻘﺎ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﺟﻠﺪ ﺋﻲ وڏن ﻻ‪ ‬ﻟﮑﻨﺪڙ وڏن ادﻳﺒﻦ ۽ ﺷﺎﻋﺮن ﺟﻲ دﻟﻴﻦ ۾ ﭘﮡ ﮔﻬﺮ ﻛﺮي وﻳﻮ‪.‬‬
‫ﺟﻴﺌﻦ ﺗﻪ ُﮔﻞ ُﭰﻞ ﺟﻲ ﻧﻮﻋﻴﺖ ﺧﺎﻟﺺ ﻋﻠﻤﻲ ۽ ادﺑﻲ ﭘﺌﻲ رﻫﻲ آﻫﻲ‪ ،‬ﺗﻨﮭﻦ ﻛﺮي ان‬
‫ﭔﺎرڙن ﺟﻲ ادب ﺟﻲ واڌ ِوﻳﺠﻬﻪ ۾ ﺑﻴﺤﺪ اﻫﻢ ﻛﺮدار ادا ﻛﻴﻮ آﻫﻲ‪ُ .‬ﮔﻞ ُﭰﻞ ﻫﻚ اﻫﮍو‬
‫ﻗﺒﻮل ﻛﺮي ورﺗﻮ‪ُ .‬ﮔﻞ‬ ‫اﺟﺘﮭﺎد ُﻫﻴﻮ‪ ،‬ﺟﻨﮭﻦ ﮐﻲ ﺳﻨﮅ ﺟﻲ ﻣﮍﻧﻲ ڏاﻫﻦ‪ ،‬ادﻳﺒﻦ ۽ ﻗﻠﻢ ڌﮢﻴﻦ ُ‬
‫ُﭰﻞ ﺳﻨﮅي ﭔﺎرڙن ﺟﻲ ﻋﻠﻤﻲ ۽ ادﺑﻲ ﺗﺤﺮﻳﻚ ﺟﻮ واﺣﺪ ﻧﻤﺎﺋﻨﺪو ُﻫﻴﻮ‪ .‬ﺟﻴﺘﻮﮢﻴﻚ‬
‫ﻣﺤﺪود ُﻫﺌﻲ ﺗﻨﮭﻦ ُﻫﻮﻧﺪي ﺑﻪ ان ﺟﻲ اﺛﺮ ﺟﻮ ﺣﻠﻘﻮ‬ ‫ﺷﺮوﻋﺎﺗﻲ دور ۾ ُﮔﻞ ُﭰﻞ ﺟﻲ اﺷﺎﻋﺖ ُ‬
‫ﭼﮝﻮ ﭼﻮﮐﻮ وﺳﻴﻊ ُﻫﻴﻮ‪ .‬اﻫﻮ ﺋﻲ ﺳﺒﺐ ُﻫﻴﻮ ﺟﻮ ﻫﻚ ﭘﺮﭼﻮ ﻛﻴﺘﺮن ﺋﻲ ﻫﭥﻦ ۾ ﮔﺮدش‬
‫ﮔﻬﺮاﺋﻲ ﻳﺎ دوﺳﺘﻦ ﮐﺎن وﭠﻲ ﭔﺎرڙن ﮐﻲ‬ ‫ﻛﻨﺪو ُﻫﻴﻮ ۽ ﻛﮇﻫﻦ ﻛﮇﻫﻦ ﺗﻪ ﭔﻴﻦ ﺷﮭﺮن ﻣﺎن ُ‬
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‫ﭘﮍﻫﺎﻳﻮ وﻳﻨﺪو ُﻫﻴﻮ ﺗﻪ ﺟﻴﺌﻦ اﻧﮭﻦ ﺟﻲ ﭴﺎڻ ۾ واڌارو ﭤﺌﻲ ﺟﻮ ﮔﻞ ﭰﻞ ۾ ﺷﺎﻣﻞ ﻣﻮاد ﻳﺎ‬
‫ﻛﻴﺘﺮا ﺋﻲ ﻻﮘﻴﺘﺎ ﺳﻠﺴﻼ ﭔﺎرڙن ﻻ‪ ‬ﺑﻴﺤﺪ ﻻﭜﺎﺋﺘﺎ ُﻫﻮﻧﺪا ُﻫﺌﺎ‪ .‬ﺟﻴﺌﻦ ڊاﻛﭩﺮ ﻫﻮﻧﺪ راج‬
‫ﺑﻠﻮاﮢﻲ‪ ‬ﻟﮑﻴﻮ آﻫﻲ “ﻫﻲ‪ ‬رﺳﺎﻟﻮ وﮢﻨﺪڙ ﺳﺎﺋﻴﺰ‪ُ ،‬ﺳﮭﮣﻲ‪ ‬ﮀﭙﺎﺋﻲ‪ ،‬دﻟﻜﺶ ﭨﺎﺋﻴﭩﻞ ۽ ﭔﺎرن‬
‫ﺟﻲ ﻻﺋﻖ ﻛﺎرﮔﺮ ﻣﻮاد ﺟﻲ ﻛﺎرڻ ﺳﭵﻲ‪ ‬ﺳﻨﮅ ﺟﻲ ﭔﺎرن ۾ ﭘﻴﺎرو آﻫﻲ‪ .‬ﻣﻨﺠﻬﺲ‬
‫ﻛﮭﺎﮢﻴﻦ‪ ،‬ﮔﻴﺘﻦ وﻏﻴﺮﻫﻪ ﮐﺎن ﺳﻮا‪ ‬ﮘﺎﻟﮭﻪ ﭔﻮﻟﮭﻪ‪ ،‬ﻟﻄﻴﻔﻲ ﻻت‪ ،‬ﺳﺎﺋﻨﺲ‪ ،‬روح رﻫﺎڻ ﺟﮭﮍا‬
‫ﻛﺎﻟﻢ ڏﻧﺎ وﻳﻨﺪا آﻫﻦ‪ .‬ﺗﻨﮭﻦ ﮐﺎن ﺳﻮا‪“ ‬روﺷﻦ ﺗﺎرا” ۾ ﻛﻨﮭﻦ ﭔﺎل ادﻳﺐ‪ ،‬ﭔﺎل ﻛﻼﻛﺎر‬
‫ﻳﺎ ﻛﻨﮭﻦ ُﻫﻨﺮﻣﻨﺪ ﭔﺎر ﺳﺎن ُﻣﻼﻗﺎت ڏﻧﻲ وﻳﻨﺪي آﻫﻲ‪ .‬ﻣﺰﻳﺪار ﺧﺒﺮن ﺟﻲ ﻻ‪“ ‬ﭔﺎرن ﺟﻲ‬
‫اﺧﺒﺎر” ﻛﺎﻟﻢ آﻫﻲ‪“ .‬ﻧﻨﮃڙا ادﻳﺐ” ۾ ﭔﺎرڙن ﺟﻮن ﺗﺨﻠﻴﻘﻮن ﮀﭙﻲ ﮐﻴﻦ ُا َﺗﺴﺎﻫﻪ ڏﻳﺎرﻳﻮ‬
‫وﻳﻨﺪو آﻫﻲ‪“ .‬اوﻫﺎن ﺟﻮ اﻣﺘﺤﺎن” ۽ “اڌ اﮐﺮي ُﮘﺠﻬﺎرت” ﺟﮭﮍن اﻧﻌﺎﻣﻲ ُﻣﻘﺎﺑﻠﻦ ۾ ﺻﺤﻴﺢ‬
‫ﺟﻮاب ﻣﻮﻛﻠﻴﻨﺪڙ ﭔﺎرن ﺟﺎ َاﭠﻦ َاﭠﻦ ﭘﻴﺠﻦ ﺗﻲ ﭰﮭﻠﻴﻞ ﻧﺎﻻ ڏﺳﻲ اﻧﺪازو ﻟﮙﺎﺋﻲ ﺳﮕﻬﺠﻲ ﭤﻮ‬
‫ﺗﻪ اﻫﻮ رﺳﺎﻟﻮ ﭔﺎرن ۾ ﻛﻴﺘﺮو ﻟﻮﻛﭙﺮﻳﺎ ُﻫﻮﻧﺪو‪(٧) ”.‬‬
‫ان ﻣﺎن اﻫﻮ اﻧﺪازو ﻟﮙﺎﺋﻲ ﺳﮕﻬﺠﻲ ﭤﻮ ﺗﻪ ﭔﺎرڙن ﺟﻲ ادب ﺳﺎن واﮘﻴﻞ ﻣﺎﮢﮭﻦ ۽ ﻗﻠﻢ‬
‫ڌﮢﻴﻦ ﺟﻲ ُﮔﻞ ُﭰﻞ ۾ ﺗﻤﺎم ﮔﻬﮣﻲ دﻟﭽﺴﭙﻲ ۽ ﮘﺎﻧﮃاﭘﻮ رﻫﻴﻮ آﻫﻲ‪ .‬ﻣﻄﻠﺐ ﺗﻪ ُﮔﻞ ُﭰﻞ ﮐﻲ ﺳﻨﮅي‬
‫ﻣﺎﮢﮭﻦ ۽ ﭔﺎرڙن ﺟﻮ ﺑﻴﺤﺪ ﺳﺮﮔﺮم ﺳﮭﻜﺎر ﺣﺎﺻﻞ رﻫﻴﻮ‪ ،‬ﺗﻨﮭﻦ ﻛﺮي ُﮔﻞ ُﭰﻞ ُﻣﺴﺘﻘﺒﻞ ﺟﻲ‬
‫ﭔﺎراﮢﻲ ﺳﻨﮅي ادب ﻻ‪ ‬زرﺧﻴﺰ زﻣﻴﻦ ﺗﻴﺎر ﻛﺌﻲ ۽ ‪١٩٥٩‬ع ﮐﺎن ﭘﻮ‪ ‬ﺟﻴﻜﻲ ﺑﻪ ﺳﻨﮅي ﭔﺎراﮢﺎ‬
‫رﺳﺎﻻ ﭘﮅرا ﭤﻴﺎ ﺗﻦ ﺟﺎ وڻ ۽ ُﭔﻮﭨﺎ ُﮔﻞ ُﭰﻞ ﺟﻲ ﮔﻬﮍﻳﻞ زﻣﻴﻦ ﻣﺎن ﺋﻲ ُﭰﭩﻲ ﻧﻜﺘﺎ‪.‬‬
‫ُﮔﻞ ُﭰﻞ ﺟﻮ ادﺑﻲ ﭘﺎﺳﻮ ﺗﻤﺎم ﮔﻬﮣﻮ ﺳﮕﻬﺎرو رﻫﻴﻮ آﻫﻲ‪ .‬ان ﺟﻲ ﻟﻴﮑﻜﻦ ۾ ﺳﻨﮅ ﺟﺎ‬
‫ﺳﻤﻮرا ادﻳﺐ‪ ،‬ﺷﺎﻋﺮ‪ُ ،‬ﻣﺤﻘﻖ وﻏﻴﺮﻫﻪ ﺷﺎﻣﻞ رﻫﻴﺎ آﻫﻦ‪ .‬اﻧﮭﻦ ﺳﭝﻨﻲ ﮐﻲ ُﮔﻞ ُﭰﻞ ۾ ﻟﮑﮡ ﻻ‪‬‬ ‫ُ‬
‫راﺿﻲ ﻛﺮڻ ﺟﻲ ڏس ۾ ُﻏﻼم رﺑﺎﻧﻲ آﮔﺮي ﺟﻮن ﻛﺎوﺷﻮن واﮐﺎڻ ﺟﻮﮘﻴﻮن آﻫﻦ‪ .‬ﻫﻦ ﺋﻲ‬
‫ﺷﻴﺦ اﻳﺎز ﮐﻲ ُﮔﻞ ُﭰﻞ ۾ ﻟﮑﮡ ﻻ‪ ‬آﻣﺎدﻫﻪ ﻛﻴﻮ ﻫﻮ‪“ .‬ﺟﮇﻫﻦ اﻳﺎز ﺳﺎن ﮔﮭﺮي ﮔﻬﺎﭨﻲ ﺳﻨﮕﺖ‬
‫ﻛﺮﺳﻲ‪‬‬ ‫ﭤﻲ ﺗﻪ ﻫﻚ ﭜﻴﺮي ﮐﻴﺲ ﭼﻴﻢ ‘ﻣﻮن ﮐﻲ ُﮔﻞ ُﭰﻞ ﻻ‪ ‬ﻧﻈﻢ ﻳﺎ ﮔﻴﺖ ﻟﮑﻲ ڏي‪ ’.‬آرام ُ‬
‫ﺗﻲ وﭸﻲ وﻳﭡﻮ‪ .‬ﻣﻨﭧ ﭔﻪ ﺳﻮﭼﻲ‪ ،‬ﺳﮕﺮﻳﭧ ُدﮐﺎﻳﺎﺋﻴﻦ ۽ ﻧﻈﻢ ﻟﮑﻲ ڏﻧﺎﺋﻴﻦ‪ .‬اﻫﻮ ﻧﻈﻢ ﭔﺎرڙن‬
‫ﺟﻲ ادب ۾ ﻫﻤﻴﺸﻪ ﻫﻚ ﺷﺎﻫﻜﺎر ﺗﺴﻠﻴﻢ ﻛﻴﻮ وﻳﻨﺪو‪ (٨) ”.‬ﺷﻴﺦ اﻳﺎز ﺟﻮ اﻫﻮ ﻧﻈﻢ ُﮔﻞ‬
‫ُﭰﻞ ﺟﻲ ﭘﺮﭼﻲ ﻧﻮﻣﺒﺮ _ ڊﺳﻤﺒﺮ ‪١٩٦٠‬ع ۾ ُﻣﻜﻤﻞ ﮀﭙﻴﻞ آﻫﻲ‪.‬‬
‫‪119‬‬ ‫ﭔﺎرڙن ﺟﻲ ﻣﺎﻫﻮار رﺳﺎﻟﻲ ‘ ُﮔﻞ ُﭰﻞ’ ﺟﻲ ارﺗﻘﺎ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬
‫ﺟــﻬــﻮﻧــﻲ ُ‬
‫ﻛــﻮڙ ﺳــﺎن ُﻣــﻨــﮭــﻨــﺠــﻮ ﺟــﻬــﻴــﮍو‪ ،‬ﻫــﻠــﻨــﺪو آﺧــﺮ ﺗــﺎﺋــﻴــﻦ‬
‫ﻧــﺌــﻮن ﻧــﺌــﻮن ﺳــﭻ ﺗــﻮن ﮘــﻮﻟــﻴــﻨــﺪﻳــﻦ‪ ،‬ﺟــﻴــﺌــﻴــﻦ ﺷــﺎل ﺳــﺪاﺋــﻴــﻦ‬

‫ڌرﺗـــﻲ‪ ‬ﺟـــﻲ ُدک ۾ آ ُﻣـــﻨـــﮭـــﻨـــﺠـــﻮ‪ ،‬ﭼـــﺎﻫـــﻪ اﻧـــﮭـــﻲ‪ ‬ﻟـــﺌـــﻪ ﻻل‬

‫ﻧـﺌــﻮن ﻧــﺌــﻮن ُﺳــﮏ ﺟــﻴـﺌــﻦ ﺗــﻮن ﻣــﺎﮢــﻴــﻦ‪ ،‬ﺟــﻴـﺌــﻴــﻦ ﺷــﺎل ﺳــﺪاﺋــﻴــﻦ‬

‫ﻣـــﻤـــﻜـــﻦ آﻫـــﻪ ﺗـــﻪ ڌرﺗـــﻲ‪ ‬ﺟـــﻮ ُدک‪ُ ،‬ﭘـــﻮرو ﻛـــﻮﻧـــﻪ ﭤـــﺌـــﻲ‬

‫ﻣـــﻤـــﻜـــﻦ آﻫـــﻪ ﺗـــﻪ ُﺗـــﻨـــﮭـــﻨـــﺠـــﻮ ﺑـــﺎﺑـــﺎ‪ ،‬وڙﻫـــﻨـــﺪي ﺟـــﺎن ِڏﺋـــﻲ‬
‫ﻣــﻤــﻜــﻦ آﻫــﻲ ﺗــﻪ ُﻣــﻮن ﮐــﺎن ﭘــﻮ‪ ‬ﭜــﻲ‪ُ ،‬ڏﮐــﻴــﻮ ُﺑــﮑــﻴــﻮ اﻧﺴــﺎن‬
‫ﮘـــﭝـــﻲ ﮘـــﭝـــﻲ ﻻ‪ ‬ﮘـــﺎٽ ﺟـ ُــﻬـــﻜـــﺎﺋـــﻲ‪ُ ،‬ﻫـــﺠـــﻲ اﭸـــﺎن ﺣـــﻴـــﺮان‬
‫ﺻـــﻮرت ۾ ُﻣـــﻨـــﮭـــﻨـــﺠـــﺎ ِﻣـــﭡـــﮍا‪ ،‬ﺟـــﻴـــﺌـــﻴـــﻦ ﺷـــﺎل ﺳـــﺪاﺋـــﻴـــﻦ‬
‫ان ُ‬

‫ُﺗــﻮن ﺗــﻪ اﺋــﻴــﻦ ﺋــﻲ وڙﻫــﻨــﺪو رﻫــﺠــﺎن‪ ،‬ﭘــﻨــﮭــﻨــﺠــﻲ آﺧــﺮ ﺗــﺎﺋــﻴــﻦ‬

‫ﻛــﻮڙ‪ ،‬ﺳــﺪاﺋــﻴــﻦ ﺟــﻨــﮭــﻦ ﮐــﻲ ﻧــﺎﻫــﻲ ﺛــﺒــﺎت‬ ‫ﻧــﻴــﭟ ﺗــﻪ ڊﻫــﻨــﺪو ُ‬
‫ﻧــﻴــﭟ ﺗــﻪ ُﭰــﭩــﻨــﺪو ﺳــﭻ ﺟــﻮ ُﺳــﻮرج‪ ،‬ﻧــﻴــﭟ ﺗــﻪ ُﮐــﭩــﻨــﺪي رات )‪(9‬‬
‫ﺷﻴﺦ اﻳﺎز ﮐﺎن ﻋﻼوه ڊاﻛﭩﺮ ﺗﻨﻮﻳﺮ ﻋﺒﺎﺳﻲ‪ُ ،‬اﺳﺘﺎد ُﺑﺨﺎري‪ُ ،‬ﻏﻼم ﻣﺤﻤﺪ ﮔﺮاﻣﻲ‪،‬‬
‫اﻟﻤﻮﻟﻲ‪ ،‬اﻧﻮر ﻫﺎﻻﺋﻲ‪ ،‬ﺷﻤﺸﻴﺮاﻟﺤﻴﺪري‪ ،‬ڊاﻛﭩﺮ ﻧﻮاز ﻋﻠﻲ‬ ‫ٰ‬ ‫ﻣﺨﺪوم ﻣﺤﻤﺪ زﻣﺎن ﻃﺎﻟﺐ‬
‫ﺼﻄﻔﻲ ﻗﺎﺳﻤﻲ‪ ،‬ﺧﻴﺮاﻟﻨﺴﺎ‪ ‬ﺟﻌﻔﺮي‪ُ ،‬ﻧﻮر ُ‬
‫اﻟﮭﺪيٰ ﺷﺎﻫﻪ‪ ،‬زرﻳﻨﺎ ﺑﻠﻮچ‪،‬‬ ‫ٰ‬ ‫ﺷﻮق‪ ،‬ﻋﻼﻣﻪ ُﻏﻼم ُﻣ‬
‫ﺳﻮﺳﻦ ﻣﺮزا‪ ،‬ج _ ع ﻣﻨﮕﻬﺎﮢﻲ‪ ،‬ﺟﻲ اﻳﻢ ﻣﮭﻜﺮي‪ ،‬ﺷﻮﻛﺖ ُﺣﺴﻴﻦ ﺷﻮرو‪ ،‬ﻧﺜﺎر ﺑﺰﻣﻲ‪،‬‬
‫ﻣﺤﻤﻮد ُﻣﻐﻞ‪ ،‬ڊاﻛﭩﺮ ُﻏﻼم ﻣﺤﻤﺪ ﻻﮐﻮ‪ ،‬ڊاﻛﭩﺮ ادل ُﺳﻮﻣﺮو‪ ،‬ڊاﻛﭩﺮ ﻛﻤﺎل‬ ‫ڊاﻛﭩﺮ ُ‬
‫ﭴﺎﻣﮍو‪ ،‬ﻃﺎرق ﻋﺎﻟﻢ اﺑﮍو‪ ،‬اﻛﺒﺮ ﺟﺴﻜﺎﮢﻲ‪ ،‬ﻧﺼﻴﺮ ﻣﺮزا‪ ،‬اﻣﺪاد ُﺣﺴﻴﻨﻲ‪ ،‬ﻓﻴﺮوزا ﺳﻤﺎ‪،‬‬
‫ﺷﮕﻔﺘﺎ ﺷﺎﻫﻪ‪ ،‬ﻓﻘﻴﺮ ﺷﮭﻤﻴﺮ ﭼﺎﻧﮉﻳﻮ‪ ،‬ﭘﺮوﻓﻴﺴﺮ ﻋﺒﺪاﻟﺮﺣﻤﺎن ﺟﺘﻮﺋﻲ‪ ،‬اﻣﺎم راﺷﺪي‪ ،‬ﻋﺰﻳﺰ‬
‫ﻛﻨﮕﺮاﮢﻲ‪ ،‬اﻳﺎز ُﮔﻞ‪ُ ،‬ﻏﻼم ﻣﺤﻤﺪ ﻏﺎزي وﻏﻴﺮﻫﻪ ﭘﮡ ُﮔﻞ ُﭰﻞ ﻻ‪ ‬ﻻﮘﻴﺘﻮ ﻟﮑﻨﺪا رﻫﻴﺎ‪ .‬اﻧﮭﻦ‬
‫ﻣﮍﻧﻲ ﺳﺮﺟﮣﮭﺎرن ﺟﻲ ﻟﮑﮣﻴﻦ ﺟﻲ ﻛﺮي ُﮔﻞ ُﭰﻞ اﻳﺘﺮو ﺗﻪ ُ‬
‫ﻣﻘﺒﻮل ﭤﻴﻮ ﺟﻮ ﭘﻴﺮ ﺣﺴﺎم اﻟﺪﻳﻦ‬
‫اﻟﻤﻮﻟﻲ‪ ،‬ڊاﻛﭩﺮ اﻳﻦ ﻣﻴﺮي ﺷﻤﻞ ۽ رﺿﺎ ﻋﻠﻲ‬ ‫ٰ‬ ‫راﺷﺪي‪ ،‬ﻣﺨﺪوم ﻣﺤﻤﺪ اﻟﺰﻣﺎن ﻃﺎﻟﺐ‬
‫ُ‬
‫ﻋﺎﺑﺪي ﺑﻪ ان ﺟﻲ واﮐﺎڻ ﻛﻨﺪي ﻧﻪ ﭤﻜﺒﺎ ﻫﺌﺎ‪ .‬ان ڏس ۾ ﭘﺮوﻓﻴﺴﺮ ﻋﺒﺪاﻟﺮﺣﻤﺎن ﺟﺘﻮﺋﻲ‪‬‬
‫ﺟﻲ را‪ ‬ﺑﻴﺤﺪ وزن رﮐﻲ ﭤﻲ ﺗﻪ “ﻣﮍﻧﻲ ﺳﻨﮅي ادﻳﺒﻦ ۽ ﺷﺎﻋﺮن ﺟﻲ ﺳﮭﻜﺎر ﻛﺮي ُﮔﻞ ُﭰﻞ‬
‫ﭔﺎرڙن ﺟﻲ ادب ۽ ﭔﺎرڙن ﺟﻲ ﺟﺬﺑﻦ ﺟﻲ اﻇﮭﺎر ﺟﻲ ﻫﻚ اﻫﻢ ذرﻳﻌﻲ ﺳﺎن ﮔﮇ ﺳﻨﮅ ﺟﻲ‬
‫ﭔﺎراﮢﻲ ادب ﺟﻲ ﺗﺎرﻳﺦ ﺟﻮ ﻫﻚ ُﻣﺴﺘﻨﺪ ۽ ﺷﺎﻧﺎﺋﺘﻮ دﺳﺘﺎوﻳﺰ آﻫﻲ‪(١٠) ”.‬‬
‫وﻗﺖ ۽ ﺣﺎﻟﺘﻦ ﺟﻲ ﻻﻫﻦ ﭼﺎڙﻫﻦ ۽ اﻧﺘﻈﺎﻣﻲ ﺗﺒﺪﻳﻠﻴﻦ ﺟﻲ ﻛﺮي ﺷﺮوع ﮐﺎن وﭠﻲ‬
‫ُﮔﻞ ُﭰﻞ ﺟﻲ ﻻﮘﻴﺘﻲ اﺷﺎﻋﺖ ﺟﻲ ڏس ۾ اڻ ﮘﮣﻴﻮن رﻛﺎوﭨﻮن َﭘﻮﻧﺪﻳﻮن ﭘﺌﻲ آﻳﻮن آﻫﻦ‪.‬‬
‫ﻛﮇﻫﻦ ان ﮐﻲ ﭔﻪ ﻣﺎﻫﻲ ﻛﻴﻮ وﻳﻮ ﺗﻪ ﻛﮇﻫﻦ وري ﮀﮭﻪ ﻣﺎﻫﻲ ﺗﻪ ﻛﮇﻫﻦ وري ﺳﺎﻟﻦ ﺟﺎ‬
‫‪120‬‬ ‫ﭔﺎرڙن ﺟﻲ ﻣﺎﻫﻮار رﺳﺎﻟﻲ ‘ ُﮔﻞ ُﭰﻞ’ ﺟﻲ ارﺗﻘﺎ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﺳﺎل اﻫﻮ ﭘﮅرو ﻧﻪ ﭤﻲ ﺳﮕﻬﻴﻮ‪ُ .‬ﮔﻞ ُﭰﻞ ﺟﻲ اﺷﺎﻋﺖ ﮐﻲ ُان وﻗﺖ ﻛﺎﭘﺎري ڌڪ ﻟﮙﻮ‪ ،‬ﺟﮇﻫﻦ‬
‫ﻣﺤﻤﺪ اﺑﺮاﻫﻴﻢ ﺟﻮﻳﻮ ‪١٩٦١‬ع ۾ ﺳﻨﮅي ادﺑﻲ ﺑﻮرڊ ﮀﮇي وﻳﻮ‪ .‬ﺟﻴﺌﻦ ﺗﻪ ُﮔﻞ ُﭰﻞ ﺟﻮﻳﻲ‬
‫ﺻﺎﺣﺐ ﺟﻲ ﺳﺮﭘﺮﺳﺘﻲ‪ ‬۽ ذاﺗﻲ دﻟﭽﺴﭙﻲ‪ ‬ﺟﻮ ﺛﻤﺮ ُﻫﻴﻮ ﺗﻨﮭﻦ ﻛﺮي ﺑﻮرڊ ﮐﺎن ﺳﻨﺪس‬
‫ﻋﻠﻴﺤﺪﮔﻲ‪ ‬ﮐﺎن ﭘﻮ‪ ‬ﻟﮙﻮ ﺗﻪ ُﮔﻞ ُﭰﻞ ﺷﺎﻳﺪ ﺟﺎري ﻧﻪ رﻫﻲ ﺳﮕﻬﻲ ﭘﺮ ﭔﻦ ﺳﺎﻟﻦ ﺟﻲ ِوﭤﻲ‪ ‬ﮐﺎن‬
‫ﭘﻮ‪ ‬ﺟﮇﻫﻦ ‪١٩٦٣‬ع ۾ ﺟﻮﻳﻮ ﺻﺎﺣﺐ ﭔﻴﮭﺮ ﺳﻨﮅي ادﺑﻲ ﺑﻮرڊ ۾ ﻣﻮﭨﻲ آﻳﻮ ﺗﻪ ُﮔﻞ ُﭰﻞ ﺟﻲ‬
‫اﺷﺎﻋﺖ ﮐﻲ ﻫﻚ ﭜﻴﺮو ﭔﻴﮭﺮ ﻣﻤﻜﻦ ﺑﮣﺎﻳﺎﺋﻴﻦ‪.‬‬
‫ُ‬ ‫ُ‬
‫ﻣﺤﻤﺪ اﺑﺮاﻫﻴﻢ ﺟﻮﻳﻲ ﺟﻲ ﺳﻨﮅي ادﺑﻲ ﺑﻮرڊ ۾ واﭘﺴﻲ‪ ‬ﮐﺎن ﭘﻮ‪ ‬ﮔﻞ ﭰﻞ ﮐﻲ ﭴﮡ ﺗﻪ‬
‫ﻧﺌﻴﻦ زﻧﺪﮔﻲ ﻣﻠﻲ وﺋﻲ‪ .‬ﭘﮭﺮﻳﺎن ﺟﻲ‪ ‬ﭜﻴﭧ ۾ ُﮔﻞ ُﭰﻞ ﺗﻲ وڌﻳﻚ ڌﻳﺎن ڏﻧﻮ وﻳﻮ‪١٩٦٦ .‬ع‬
‫ﺗﺎﺋﻴﻦ ﻳﻌﻨﻲ ُﮔﻞ ُﭰﻞ ﺟﻲ ڊﻛﻠﻴﺮﻳﺸﻦ ﺑﻨﺪ ﭤﻴﮡ ﺗﺎﺋﻴﻦ‪ ‬ﺟﺎ ُﺷﻤﺎرا ﻫﻚ ﻧﻮاڻ ۽ ﺷﮕﻔﺘﮕﻲ‪‬‬
‫ﺑﺎوﺟﻮد ﺳﭛ ﭘﺮﭼﺎ ﻣﻮاد ۽ ﮔﻴﭧ َاپ ﺟﻲ ﻟﺤﺎظ ﮐﺎن‬
‫ﺟﻮ ﺗﺎﺛﺮ ڏﻳﻦ ﭤﺎ‪ .‬وﺳﻴﻠﻦ ﺟﻲ ﮐﻮٽ ﺟﻲ ُ‬
‫ﺷﺎﻧﺪار ﻟﮙﻦ ﭤﺎ‪ .‬ﭔﺎرن ﺟﻲ ﺷﺨﺼﻴﺖ ﺳﺎزي‪ ‬۽ اﺧﻼق ﺟﻲ ُﺑﻠﻨﺪي‪ ‬ﺗﺎﺋﻴﻦ ﺑﮭﺘﺮﻳﻦ ﻟﮑﮣﻴﻮن‬
‫اﻧﮭﻦ ﭘﺮﭼﻦ ﺟﻲ زﻳﻨﺖ ﺑﮣﻴﻞ آﻫﻦ‪ .‬ان ﮐﺎن ﺳﻮا‪ ‬ﻟﮑﮣﻴﻦ ۾ ﻗﻮﻣﻲ روح ۽ ﻗﻮﻣﻲ ُﺳﭹﺎﮢﭗ‬
‫ﺟﻮن ﺟﻬﻠﻜﻴﻮن ﭘﮡ ﻧﻈﺮ اﭼﻦ ﭤﻴﻮن‪ُ .‬ﮔﻞ ُﭰﻞ ﺟﻲ اﺷﺎﻋﺖ ﻫﻚ وڏي ﺟﺬﺑﻲ ﺳﺎن ﺟﺎري‬
‫ُﻫﺌﻲ ﺗﻪ ان ﮐﻲ روﻛﻴﻮ وﻳﻮ‪ .‬ان ﺟﻮ ﻛﺎرڻ ُﭔﮅاﺋﻴﻨﺪي ُﻏﻼم رﺑﺎﻧﻲ آﮔﺮو ﻟﮑﻲ ﭤﻮ “‪١٩٦٣‬ع‬
‫۾ ﻫﻨﺪﺳﺘﺎن ۽ ﭘﺎﻛﺴﺘﺎن ﺟﻲ ﺟﻨﮓ ﻟﮙﻲ‪ .‬ﭘﺎﻛﺴﺘﺎن ﺳﺮﻛﺎر ﺟﻨﮓ ﺟﻲ ﺧﺮچ ُﭘﻮري‬
‫ﻛﻮٽ ﻛﺌﻲ‪ .‬ﺳﺎل ‪١٩٦٦‬ع ﮐﺎن ﺳﻨﮅي ادﺑﻲ ﺑﻮرڊ ﺟﻲ‬ ‫ﻛﺮڻ ﻻ‪ ‬ﻫﺘﻲ ُﻫﺘﻲ ﻛﺎٽ ُ‬
‫ﮔﺮاﻧﭧ ﭘﻨﺞ ﺳﻴﻜﮍو ﻛﭩﻲ ﭘﻨﺠﺎﻧﻮي ﻫﺰار ﻛﻴﺎﺋﻮن‪ُ .‬رﮘﻮ اﻫﻮ َوڙ ﻛﻮﻧﻪ ﻛﻴﺎﺋﻮن ﭘﺮ‬
‫‪١٩٦٦‬ع ﮐﺎن ُﮔﻞ ُﭰﻞ ﺟﻮ ڊﻛﻠﻴﺮﻳﺸﻦ ﺋﻲ ﺑﻨﺪ ﻛﺮي ﮀﮇﻳﺎﺋﻮن‪(١١) ”.‬‬
‫اﻫﮍي‪ ‬ﻃﺮح ‪١٩٦٦‬ع ﮐﺎن ‪١٩٧٣‬ع ﺗﺎﺋﻴﻦ ُﭘﻮرا ﺳﺖ ﺳﺎل ُﮔﻞ ُﭰﻞ ﺟﻲ اﺷﺎﻋﺖ ُﻣﻌﻄﻞ‬
‫ﺳﻤﻮرو ﻋﺮﺻﻮ ﭴﮡ ﺗﻪ ﺳﻨﮅ ﺟﻲ ﭔﺎرڙن ﺟﻲ ادﺑﻲ ۽ ﺛﻘﺎﻓﺘﻲ ﺗﺮﻗﻲ ُرﻛﻴﻞ رﻫﻲ‪.‬‬ ‫رﻫﻲ‪ .‬اﻫﻮ ُ‬
‫ﭘﻮ‪ ‬وري ُﮔﻞ ﭰﻞ ﺟﻲ ڊﻛﻠﻴﺮﻳﺸﻦ ﺑﺤﺎل ﻛﺌﻲ وﺋﻲ ۽ ﺷﻮﻛﺖ ُﺣﺴﻴﻦ ﺷﻮري ﮐﻲ ان ﺟﻮ‬ ‫ُ‬
‫اﻳﮉﻳﭩﺮ ُﻣﻘﺮر ﻛﻴﻮ وﻳﻮ‪ُ .‬ﻏﻼم رﺑﺎﻧﻲ آﮔﺮو ﻟﮑﻲ ﭤﻮ “اﺳﺎن ﮐﻲ ُﮔﻞ ُﭰﻞ ﺟﻮ ڊﻛﻠﻴﺮﻳﺸﻦ وري‬
‫وﭸﻲ ﺳﻦ ‪١٩٧٤‬ع ۾ ﻣﻠﻴﻮ‪ .‬ﺗﻴﺴﻴﻦ ﻣﺎن ﺑﻮرڊ ﺟﻲ ُﻣﮑﻴﻪ اﻧﺘﻈﺎﻣﻲ‪ ،‬ﻣﺎﻟﻲ ۽ ﻋﻠﻤﻲ ﻣﺴﺌﻠﻦ ۾‬
‫ﻗﺎﺑﻮ ﭤﻲ وﻳﻮ ُﻫﺌﺲ‪ .‬ﻫﻜﮍو ﺋﻲ رﺳﺘﻮ ﻧﻈﺮ آﻳﻢ ﺗﻪ ﭔﺌﻲ ﻛﻨﮭﻦ ﮐﻲ اﻳﮉﻳﭩﺮ ﻛﺮي ﻣﺎن ﭘﺎڻ‬ ‫ُ‬
‫رﺳﺎﻟﻲ ﺟﻲ ﻧﮕﺮان ﻃﻮر ﻛﻢ ﻫﻼﻳﺎن‪ُ .‬ﻣﻨﮭﻨﺠﻲ ﻧﮕﺎﻫﻪ ﺷﻮﻛﺖ ُﺣﺴﻴﻦ ﺷﻮري ﺗﻲ ﭘﻴﺌﻲ‪.‬‬
‫ﺷﻮﻛﺖ ادﻳﺐ ﻫﻮ ۽ ﻧﺌﻴﻦ‪ ‬ﭨﮭﻲ‪ ‬ﺟﻲ ﻟﮑﻨﺪڙن ۾ ﻫﺮ دل ﻋﺰﻳﺰ ُﻫﻴﻮ‪ .‬ﺳﺪاﺋﻴﻦ وﭨﺲ َﻧﻮن‬
‫ادﻳﺒﻦ ﺟﻮ ﻣﻴﮍ ِڏﺳﻨﺪو ُﻫﺌﺲ‪ُ .‬ﻫﻮﻧﺌﻦ ﺑﻮرڊ ۾ ﻟﺌﺒﺮﻳﺮﻳﻦ ﺟﻲ ُﻋﮭﺪي ﺗﻲ ُﻫﻴﻮ ﭘﺮ ﻣﺎن ﻣﮍﻧﻲ‬
‫ﮘﺎﻟﮭﻴﻦ ﮐﺎن وڌﻳﻚ ﺳﻨﺪس ﺟﻨﮭﻦ ُﺧﻮﺑﻲ‪ ‬ﮐﺎن ُﻣﺘﺎﺛﺮ ُﻫﺌﺲ ﺳﺎ ﻫﻲ‪ُ ‬ﻫﺌﻲ ﺗﻪ ُ‬
‫ﻣﺎﮢﮭﻮ ﻣِﭡﻮ‬
‫ﻫﻮ‪ ،‬ﺳﭕﺎﺟﻬﻮ‪ُ ،‬ﮔﻔﺘﮕﻮ‪ ‬۾ ﻧﺮم ۽ اﮐﻴﻦ ۾ ﺣﻴﺎ‪ .‬ﺑﺤﻴﺜﻴﺖ اﻳﮉﻳﭩﺮ ُﮔﻞ ُﭰﻞ ﭘﮭﺮﻳﻮن ﭘﺮﭼﻮ‬
‫ﺟﻨﻮري ‪١٩٧٤‬ع ۾ ﻛﮃﻳﺎﺋﻴﻦ‪(١٢) ”.‬‬
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‫ﺷﻮﻛﺖ ُﺣﺴﻴﻦ ﺷﻮري ﮐﺎن ﭘﻮ‪ ‬اﻧﻮر ﻫﺎﻻﺋﻲ‪ ‬ﮔﻞ ﭰﻞ ﺟﻲ اﻳﮉﻳﭩﺮ ﺟﻲ ﺣﻴﺜﻴﺖ ﺳﺎن‬
‫اﻧﻮر ﻫﺎﻻﺋﻲ‪ ‬ﭘﻨﮭﻨﺠﻲ‪ ‬ﻣﺤﻨﺖ ۽ ﺗﺠﺮﺑﻲ ﺟﻲ آڌار ﺗﻲ ُﮔﻞ ُﭰﻞ‬ ‫ﺧﺪﻣﺘﻮن ﺳﺮ اﻧﺠﺎم ڏﻧﻴﻮن‪َ .‬‬
‫‪121‬‬ ‫ﭔﺎرڙن ﺟﻲ ﻣﺎﻫﻮار رﺳﺎﻟﻲ ‘ ُﮔﻞ ُﭰﻞ’ ﺟﻲ ارﺗﻘﺎ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻣﻘﺒﻮل رﺳﺎﻟﻮ ﺑﮣﺎﻳﻮ‪ .‬اﻫﺎ ﺋﻲ ﻣﺤﻨﺖ ُﻫﺌﻲ ﺟﻨﮭﻦ ُﮔﻞ ُﭰﻞ ﮐﻲ ﭘﺎﻛﺴﺘﺎن‬ ‫ﮐﻲ ﺳﻨﮅي ﭔﺎرن ﺟﻮ ُ‬
‫ﺟﻲ ﭔﺎراﮢﻦ رﺳﺎﻟﻦ ۾ ﺑﮭﺘﺮﻳﻦ رﺳﺎﻟﻲ ﺟﻮ اﻋﺰاز ڏﻳﺎرﻳﻮ‪“ .‬ﻧﻴﺸﻨﻞ ﺑﻮڪ ﻛﺎﺋﻮﻧﺴﻞ آف‬
‫ﭘﺎﻛﺴﺘﺎن ﻃﺮﻓﺎن ُﮔﻞ ُﭰﻞ رﺳﺎﻟﻲ ﮐﻲ ﺳﻨﺪس ﺑﮭﺘﺮﻳﻦ ﻛﺎرﻛﺮدﮔﻲ‪ ‬ﺗﻲ ‪١٩٨٠‬ع ۾ اﻧﻌﺎم‬
‫ﻣﻠﻲ ُﭼﻜﻮ آﻫﻲ‪ .‬ﭘﺎﻛﺴﺘﺎن ُﻣﻠﻚ ۾ ﺷﺎﻳﻊ ﭤﻴﻨﺪڙ ﻣﻌﻴﺎري رﺳﺎﻟﻦ ﺟﻮ ﺟﺎﺋﺰو وﭠﮡ ﮐﺎن ﭘﻮ‪‬‬
‫اﻫﻮ اﻧﻌﺎم ُﮔﻞ ُﭰﻞ ﮐﻲ ڏﻧﻮ وﻳﻮ آﻫﻲ‪ .‬ﺳﻨﮅي‪ ‬۾ ﻧﻜﺮﻧﺪڙ ﻫﻲ‪ ‬ﭘﮭﺮﻳﻮن رﺳﺎﻟﻮ آﻫﻲ ﺟﻨﮭﻦ‬
‫ﮐﻲ اﻋﺰاز ﻣﻠﻴﻮ آﻫﻲ‪(١٣) ”.‬‬
‫اﻧﻮر ﻫﺎﻻﺋﻲ‪ ‬ﮐﺎن ﭘﻮ‪ ‬اﻛﺒﺮ ﺟﺴﻜﺎﮢﻲ‪ ،‬ﻃﺎرق ﻋﺎﻟﻢ اﺑﮍو‪ ،‬ڊاﻛﭩﺮ ﻇﻔﺮ ﻋﺒﺎﺳﻲ ۽‬ ‫َ‬
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‫دﻳﻦ ﻣﺤﻤﺪ ﻛﻠﮭﻮڙو ﮔﻞ ﭰﻞ ﺟﺎ اﻳﮉﻳﭩﺮ رﻫﻴﺎ‪ .‬ﻫِﻦ وﻗﺖ ﻧﺠﻤﺎ ﭘﻨﮭﻮر ﮔﻞ ﭰﻞ ﺟﻲ اﻳﮉﻳﭩﺮ‬
‫ﻃﻮر ﭘﻨﮭﻨﺠﻮن ﺧﺪﻣﺘﻮن ﺳﺮ اﻧﺠﺎم ڏﺋﻲ رﻫﻲ آﻫﻲ‪.‬‬
‫ﻣﻄﻠﺐ ﺗﻪ ُﮔﻞ ُﭰﻞ ﺳﻨﮅي ﭔﺎرڙن ﺟﻲ ادﺑﻲ ۽ ﺗﮭﺬﻳﺒﻲ ﺗﺎرﻳﺦ ﺟﻮ ﻫﻚ ُﺑﻨﻴﺎدي ﻣﺎﺧﺬ‬
‫ﺟﻬﻠﻚ ﻧﻈﺮ اﻳﻨﺪي آﻫﻲ‪ُ .‬ﮔﻞ ُﭰﻞ ﺟﺎ اﺛﺮ اﻳﺘﺮا ﺗﻪ‬ ‫آﻫﻲ‪ .‬ان ۾ ﺷﺎﻣﻞ ﻣﻮاد ﻣﺎن ادﺑﻴﺖ ﺟﻲ َ‬
‫ﭼﻮڻ ﻧﮭﺎﻳﺖ ُﻣﻨﺎﺳﺐ رﻫﻨﺪو ﺗﻪ ﻧﻨﮃي ﮐﻨﮉ ﺟﻲ ورﻫﺎﮜﻲ ﮐﺎن ﭘﻮ‪‬‬ ‫ُڏور رس آﻫﻦ ﺟﻮ اﻫﻮ َ‬
‫ﺳﻨﮅي ﭔﺎراﮢﻲ ادب ﭘﻨﮭﻨﺠﻲ اک ﻣﺎﻫﻮار ُﮔﻞ ُﭰﻞ ﺟﻲ ﻫﻨﺞ ۾ ﮐﻮﻟﻲ‪ُ .‬ﮔﻞ ُﭰﻞ ﮐﻲ ﭘﺎﻟﻲ ﺗﺎﺗﻲ‬
‫وڏو ﻛﺮڻ ۾ ﻣﺤﻤﺪ اﺑﺮاﻫﻴﻢ ﺟﻮﺋﻲ‪ُ ،‬ﻏﻼم رﺑﺎﻧﻲ آﮔﺮي ۽ ﺑﻌﺪ ۾ آﻳﻞ ﭔﻴﻦ اﻳﮉﻳﭩﺮن ﺟﻮ‬
‫ﻫﻚ ﺗﺎرﻳﺨﻲ ﻛﺮدار رﻫﻴﻮ آﻫﻲ‪ .‬اﻧﮭﻦ ﺳﭝﻨﻲ اﻳﮉﻳﭩﺮ ﺻﺎﺣﺒﻦ ُﮔﻞ ُﭰﻞ ﮐﻲ ﻗﻮﻣﻲ ۽‬
‫ﻣﺠﻤﻮﻋﻲ ﻃﻮر ﺗﻲ اﻫﺎ ﻛﻮﺷﺶ ﻛﻴﺎﺋﻮن ﺗﻪ‬ ‫ﻛﺘﺐ آﻧﺪو ۽ ُ‬ ‫ﺗﮭﺬﻳﺒﻲ ﻣﻘﺼﺪن ﻻ‪ ‬ﺋﻲ َ‬
‫ﭔﺎرڙن ﺟﻲ دﻟﭽﺴﭙﻴﻦ‪ ،‬ﭴﺎڻ ۽ ﺳﻨﺪن ذﻫﻨﻲ ﻻڙن ﮐﻲ آڏو رﮐﻨﺪي اﻫﮍي ادب ﮐﻲ اﻫﻤﻴﺖ‬
‫اﻋﻠﻲ ﻋﻠﻤﻲ ﺳﻄﺢ ﺗﻲ آﮢﮡ ۾ ﻫﻚ‬ ‫ٰ‬ ‫ڏﻧﻲ وﭸﻲ ﺟﻴﻜﻮ ﺳﻨﮅي ﭔﺎرڙن ﮐﻲ ﺑﻠﻨﺪ ﺗﮭﺬﻳﺒﻲ ۽‬
‫وﺳﻴﻠﻲ ﻃﻮر ﻛﻢ اﭼﻲ‪.‬‬
‫ُﮔﻞ ُﭰﻞ ﻫﻚ ﺑﻴﺤﺪ ﺳﮕﻬﺎرو رﺳﺎﻟﻮ ُﻫﺠﮡ ﺳﺎن ﮔﮇ ﻫﻚ ﺳﮕﻬﺎرو آواز ﭘﮡ رﻫﻴﻮ‬
‫ﭼﻮڻ ۾ ﻛﻮ وڌا‪ ‬ﻧﻪ ﭤﻴﻨﺪو ﺗﻪ ﺳﭵﻲ‪ ‬ﺳﻨﮅ ﺟﻲ ﭔﺎرڙن ۾‬ ‫آﻫﻲ‪ .‬اﻣﺎم راﺷﺪي‪ ‬ﭼﻮاﮢﻲ “ان َ‬
‫ﺳﻮچ ﺟﻲ ﺗﺒﺪﻳﻠﻲ ۽ ﭴﺎڻ ﺟﻲ ﭘﮑﻴﮍ ۽ ﺗﺮﻗﻲ ُﮔﻞ ُﭰﻞ ﺟﻲ ﺟﺎري ﭤﻴﮡ ﺳﺎن ﺷﺮوع ﭤﻲ‪ُ .‬ﮔﻞ‬
‫ﻣﻌﻤﻮﻟﻲ آواز ﻧﺎﻫﻲ‪ُ .‬ﮔﻞ ُﭰﻞ ﺟﻮ آواز اﻫﻮ‬‫ُﭰﻞ ۾ ﮀﭙﺠﻨﺪڙ ﻣﻮاد ﻫﻚ آواز آﻫﻲ ۽ اﻫﻮ ﻛﻮ ُ‬
‫ﻛﻨﺎﻳﻮ آﻫﻲ‪ .‬ان ﮐﺎن‬ ‫آواز آﻫﻲ ﺟﻨﮭﻦ ﮐﻲ ﺳﻨﮅ ﺟﻲ ﻫﺮ ﻧﻨﮃي ﺗﻮڙي وڏي ادﻳﺐ ﻏﻮر ﺳﺎن َ‬
‫ﺳﻮا‪ُ ‬ﮔﻞ ُﭰﻞ ﻗﻮﻣﻲ‪ ،‬ﻋﻠﻤﻲ ۽ اﺧﻼﻗﻲ ﻣﻘﺼﺪن ﺟﻮ اﻣﻴﻦ ﭘﺌﻲ رﻫﻴﻮ آﻫﻲ ۽ اﻫﮍو ادب ﭘﻴﺶ‬
‫ﻛﻴﻮ اﭤﺎﺋﻴﻦ ﺟﻴﻜﻮ ﭔﺎﻟﻚ _ ُﺳﮅارڪ رﻫﻴﻮ آﻫﻲ‪(١٤) ”.‬‬
‫ُ‬ ‫ُ‬
‫ﻣﺤﻤﺪ اﺑﺮاﻫﻴﻢ ﺟﻮﺋﻲ ۽ ُﻏﻼم رﺑﺎﻧﻲ آﮔﺮي ﻣﺎﻫﻪ وار ﮔﻞ ﭰﻞ ﺟﺎ ﺟﻴﻜﻲ ﻣﻘﺼﺪ ۽‬
‫ﻣﻮل َﻣﺘﺎ ُﻣﻘﺮر ﻛﻴﺎ ُﻫﺌﺎ ﺗﻦ ﮐﻲ ﺣﺎﺻﻞ ﻛﺮڻ ﺟﻲ ڏس ۾ ﻫِﻦ رﺳﺎﻟﻲ ﺑﻴﺤﺪ ﮔﻬﮣﻲ‬
‫ﻛﺎﻣﻴﺎﺑﻲ ﺣﺎﺻﻞ ﻛﺌﻲ آﻫﻲ‪ .‬ﺣﻘﻴﻘﺖ ۾ ُﮔﻞ ُﭰﻞ ﻫﻚ ﻣﻘﺼﺪ ۽ ﻫﻚ ﻻڙو آﻫﻲ‪ُ .‬ﮔﻞ ُﭰﻞ‬
‫ﻧﻤﻮﻧﻮ آﻫﻲ‪ُ .‬ﮔﻞ ُﭰﻞ ۾ ﺷﺎﻳﻊ ﭤﻴﻨﺪڙ ﻋﻠﻤﻲ‬ ‫ﭘﻨﮭﻨﺠﻲ ﺷﺎن ﺟﻮ ﻫﻚ ڌار‪ ،‬ﺧﺎص ۽ روﺷﻦ ُ‬
‫ﻣﻀﻤﻮن‪ ،‬ﻛﮭﺎﮢﻴﻮن‪ ،‬ﺷﺎﻋﺮي‪ ،‬ﺗﺮﺟﻤﺎ ۽ ﭔﻴﺎ ﻟﻴﮏ ﻻﭜﺎﺋﺘﺎ آﻫﻦ‪ .‬ﺗﻨﮭﻦ ﻛﺮي ُﮔﻞ ُﭰﻞ‬ ‫ُ‬ ‫ﻣﻮاد‪،‬‬
‫ﺳﻨﮅي ﭔﺎراﮢﻦ رﺳﺎﻟﻦ ﺟﻲ ﻗﺎﻓﻠﻲ ﺟﻮ ﺳﺮواڻ رﻫﻴﻮ آﻫﻲ‪.‬‬
‫‪122‬‬ ‫ﭔﺎرڙن ﺟﻲ ﻣﺎﻫﻮار رﺳﺎﻟﻲ ‘ ُﮔﻞ ُﭰﻞ’ ﺟﻲ ارﺗﻘﺎ‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﺣﻮاﻻ‪:‬‬
‫ﺑﻠﻮاﮢﻲ‪ ،‬ﻫﻮﻧﺪ راج‪ ،‬ڊاﻛﭩﺮ‪“ ،‬ﺳﻨﮅي ﭔﺎل ﺳﺎﻫﺘﻴﺎ” ﺳﻨﮅي ﺳﺎﻫﺖ ﮔﻬﺮ‪ ،‬ﺣﻴﺪرآﺑﺎد‪ ،‬ﺳﻨﮅ‪٢٠٠٧ ،‬ع‪،‬‬ ‫‪.1‬‬
‫ص‪٢٠٣ :‬‬
‫ﭜﭩﻲ‪ ،‬ﺧﺎﻟﺪ )اﻧﭩﺮوﻳﻮ(‪ ،‬ﺳﻨﮕﺘﻲ ﭘﺒﻠﻴﻜﻴﺸﻦ ﺷﻜﺎرﭘﻮر‪ ،‬ﻣﺎرچ _ اﭘﺮﻳﻞ ‪١٩٩٧‬ع‪ ،‬ص‪١٣ :‬‬ ‫‪.2‬‬
‫)ﻣﻀﻤﻮن( ﻣﺎﻫﻮار ُﮔﻞ ُﭰﻞ‪ ،‬ﺳﻨﮅي ادﺑﻲ ﺑﻮرڊ ﭴﺎم‬
‫ُ‬ ‫آﮔﺮو‪ُ ،‬ﻏﻼم رﺑﺎﻧﻲ‪“ ،‬آﮐﺎﮢﻲ رﺳﺎﻟﻲ ُﮔﻞ ُﭰﻞ ﺟﻲ”‬ ‫‪.3‬‬
‫ﺷﻮرو‪ ،‬ﻓﻴﺒﺮوري‪ ،‬ﻣﺎرچ‪ ،‬اﭘﺮﻳﻞ ‪٢٠١٣‬ع‪ ،‬ص‪١٨ :‬‬
‫ﺳﺎﮘﻴﻮ‪ ،‬ص‪١٤ :‬‬ ‫‪.4‬‬
‫ُ‬ ‫ُ‬ ‫ُ‬
‫آﮔﺮو‪ُ ،‬ﻏﻼم رﺑﺎﻧﻲ‪“ ،‬ﮔﺬارش” )ادارﻳﻮ( ﻣﺎﻫﻮار ﮔﻞ ﭰﻞ‪ ،‬ﺳﻨﮅي ادﺑﻲ ﺑﻮرڊ ﻛﺮاﭼﻲ‪ ،‬ﻧﻮﻣﺒﺮ _ ڊﺳﻤﺒﺮ‬ ‫‪.5‬‬
‫‪١٩٦٠‬ع‪ ،‬ص‪٤ :‬‬
‫ﺑﺰﻣﻲ‪ ،‬ﻧﺜﺎر )اﻧﭩﺮوﻳﻮ(‪ ،‬ﻣﺎﻫﻮار ﭔﺎﻟﻚ رﻧﮓ ﻛﺮاﭼﻲ‪ ،‬ﻣﺎرچ ‪١٩٨٧‬ع‪ ،‬ص‪١٠ :‬‬ ‫‪.6‬‬
‫ﺑﻠﻮاﮢﻲ‪ ،‬ﻫﻮﻧﺪ راج‪ ،‬ڊاﻛﭩﺮ‪“ ،‬ﺳﻨﮅي ﭔﺎل ﺳﺎﻫﺘﻴﺎ” ﺳﻨﮅي ﺳﺎﻫﺖ ﮔﻬﺮ‪ ،‬ﺣﻴﺪرآﺑﺎد‪ ،‬ﺳﻨﮅ‪٢٠٠٧ ،‬ع‪،‬‬ ‫‪.7‬‬
‫ص‪٢٦٩ :‬‬
‫ُ‬ ‫ُ‬ ‫ُ‬ ‫ُ‬ ‫ُ‬
‫آﮔﺮو‪ُ ،‬ﻏﻼم رﺑﺎﻧﻲ‪“ ،‬آﮐﺎﮢﻲ رﺳﺎﻟﻲ ﮔﻞ ﭰﻞ ﺟﻲ” )ﻣﻀﻤﻮن( ﻣﺎﻫﻮار ﮔﻞ ﭰﻞ‪ ،‬ﺳﻨﮅي ادﺑﻲ ﺑﻮرڊ ﭴﺎم‬ ‫‪.8‬‬
‫ﺷﻮرو‪ ،‬ﻓﻴﺒﺮوري‪ ،‬ﻣﺎرچ‪ ،‬اﭘﺮﻳﻞ ‪٢٠١٣‬ع‪ ،‬ص‪١٦ :‬‬
‫اﻳﺎز‪ ،‬ﺷﻴﺦ‪ُ “ ،‬ﻣﻨﮭﻨﺠﺎ ﻣِﭡﮍا ُﭘﭧ” )ﻧﻈﻢ( ﻣﺎﻫﻮار ُﮔﻞ ﭰﻞ‪ ،‬ﺳﻨﮅي ادﺑﻲ ﺑﻮرڊ ﻛﺮاﭼﻲ‪ ،‬ﻧﻮﻣﺒﺮ _ ڊﺳﻤﺒﺮ‬
‫ُ‬ ‫‪.9‬‬
‫‪١٩٦٠‬ع‪ ،‬ص‪٥ :‬‬
‫ﺟﺘﻮﺋﻲ‪ ،‬ﻋﺒﺪاﻟﺮﺣﻤﺎن‪ ،‬ﭘﺮوﻓﻴﺴﺮ‪“ ،‬ﻋﻘﻠﻤﻨﺪ ﻗﺎﺿﻲ” )ﻣﮭﺎڳ( ﺳﻨﮅي ﺳﺎﻫﺖ ﺳﻮﺳﺎﺋﭩﻲ ﺷﻜﺎرﭘﻮر‪،‬‬ ‫‪.10‬‬
‫‪١٩٨٩‬ع‪ ،‬ص‪٤ :‬‬
‫ُ‬ ‫ُ‬
‫)ﻣﻀﻤﻮن( ﻣﺎﻫﻮار ﮔﻞ ﭰﻞ‪ ،‬ﺳﻨﮅي ادﺑﻲ ﺑﻮرڊ ﭴﺎم‬ ‫ُ‬ ‫ُ‬ ‫ُ‬
‫آﮔﺮو‪ُ ،‬ﻏﻼم رﺑﺎﻧﻲ‪“ ،‬آﮐﺎﮢﻲ رﺳﺎﻟﻲ ﮔﻞ ﭰﻞ ﺟﻲ”‬ ‫‪.11‬‬
‫ﺷﻮرو‪ ،‬ﻓﻴﺒﺮوري‪ ،‬ﻣﺎرچ‪ ،‬اﭘﺮﻳﻞ ‪٢٠١٣‬ع‪ ،‬ص‪١٧ :‬‬
‫ﺳﺎﮘﻴﻮ‬ ‫‪.12‬‬
‫ﺑﻠﻮاﮢﻲ‪ ،‬ﻫﻮﻧﺪ راج‪ ،‬ڊاﻛﭩﺮ‪“ ،‬ﺳﻨﮅي ﭔﺎل ﺳﺎﻫﺘﻴﺎ” ﺳﻨﮅي ﺳﺎﻫﺖ ﮔﻬﺮ‪ ،‬ﺣﻴﺪرآﺑﺎد‪ ،‬ﺳﻨﮅ‪٢٠٠٧ ،‬ع‪،‬‬ ‫‪.13‬‬
‫ص‪٢٦٩ :‬‬
‫ُ‬ ‫ُ‬
‫راﺷﺪي‪ ،‬اﻣﺎم‪“ ،‬ﮔﻞ ﭰﻞ ﻣﻨﮭﻨﺠﻲ‪ ‬ﻧﻈﺮ ۾” )ﻣﻀﻤﻮن( ﺧﺮﭼﻲ ﭘﺒﻠﻴﻜﻴﺸﻦ ﺷﻜﺎرﭘﻮر‪ ،‬ﻧﻮﻣﺒﺮ _‬ ‫ُ‬ ‫ُ‬ ‫‪.14‬‬
‫ڊﺳﻤﺒﺮ ‪١٩٩٤‬ع‪ ،‬ص‪١٧ :‬‬

‫‪123‬‬ ‫ﭔﺎرڙن ﺟﻲ ﻣﺎﻫﻮار رﺳﺎﻟﻲ ‘ ُﮔﻞ ُﭰﻞ’ ﺟﻲ ارﺗﻘﺎ‬

 [ ] ‫ﺌرو ﮬ‬

‫ﺌرق‬
‫ وﻓﺎﻗﻲ اردو ﻳﻮﻧﻴﻮرﺳﭩﻲ‬،‫ ﺳﻨﮅي ﺷﻌﺒﻮ‬،‫ ڊي اﺳﻜﺎﻟﺮ‬-‫ﭘﻲ اﻳﭿ‬

‫ن‬ ‫س‬ ‫۽‬ ‫زا‬ ‫ﺌز‬

MUMTAZ MIRZA: HIS LIFE
AND CONTRIBUTION

Abstract
This research work aims to highlight various aspects of the work &
life of the Sindhi literature & culture legend, Mumtaz Mirza. In
contemporary Sindhi literature Murntaz Mirza is a towering figure. From
broadcasting to Sindhi short story, from managing cultural troupes to
music he as notable figure who made strides in all genres of prose and
added a unique flair to Sindhi literature. Mumtaz was a writer who
neither wrote for embellishing literary genres nor he reflected his views
to appease his inner self, he painted life, the issues and miseries that had
been the hallmark of the modern art. As a fiction writer he voiced boldly
the issues of life that have been portrayed with utmost care. As a
playwright he upheld the high values without which the life becomes
meaningless; and as music lover he had a passion to promote every
single note facing neglect.
Mumtaz came from the Mirza family of Hyderabad which
produced such giants as Mirza Sadiq Ali Beg. Mirza Ajntal Beg and
Mirza Budhal Beg whose contributions occupy a historical place in
Sindhi literature and poetry. His forefathers were assigned the important
task of maintaining records of the government and engage in the
promotion of literature by the Talpurs. His father, Mirza Gul Hassan
Ahsan Karbalai was an eminent poet and prose writer of Sindhi before he
died in 1960s.
‫ ﺗﺎرﻳﺦ ۽ ﺷﺎﻫﻪ ﻟﻄﻴﻒ ﺟﻲ ﺣﻮاﻟﻲ ﺳﺎن ﺧﺪﻣﺘﻮن‬،‫ ﺛﻘﺎﻓﺖ‬،‫ ﻟﻮڪ ادب‬،‫ﺳﻨﮅي ادب‬
‫ﺳﺮاﻧﺠﺎم ڏﻳﻨﺪڙ ﺷﺨﺼﻴﺘﻦ ﺟﻮ ﺟﮇﻫﻦ ﺑﻪ ذﻛﺮ ﻛﺒﻮ ﺗﻪ ﻣﻤﺘﺎز ﻣﺮزا ﺟﻮ ﻧﺎﻟﻮ اﻧﻬﻦ ۾‬
‫ ﺷﺨﺼﻴﺖ ﮔﮭﮡ رﺧﻲ ﭤﻲ اﭜﺮي ۽ ﻫﺮ ُرخ ۾ ﺳﻨﺪس‬‫ ﺳﻨﮅي ادب ﺟﻲ ﻫﻲ‬.‫ﻧﻤﺎﻳﺎن ﻫﻮﻧﺪو‬
‫ ادﺑﻲ ۽ ﺛﻘﺎﻓﺘﻲ ﺧﺪﻣﺘﻦ ﺗﻮڙي‬،‫ ﻣﻤﺘﺎز ﻣﺮزا ﺟﻲ ﻋﻠﻤﻲ‬.‫ ﺳﺎن ﻣﺤﻨﺖ ﻧﻈﺮ اﻳﻨﺪي‬‫دﻟﺠﻮﺋﻲ‬
.‫ﺧﺎﻧﺪان ﺟﻲ ﺣﻮاﻟﻲ ﺳﺎن ﻫﺘﻲ ﻫﻚ ﺗﺤﻘﻴﻘﻲ ﺟﺎﺋﺰو ﭘﻴﺶ ﻛﺠﻲ ﭤﻮ‬
124 ‫ﻣﻤﺘﺎز ﻣﺮزاﺟﻲ ﺷﺨﺼﻴﺖ ۽ ﺳﻨﺪس ﺧﺪﻣﺘﻮن‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﺌ ان‪:‬‬ ‫ﺌز زا‬

‫ﻣﻤﺘﺎز ﻣﺮزا ﺟﻮ ﺗﻌﻠﻖ ﺣﻴﺪرآﺑﺎد ﺟﻲ ﻗﺪﻳﻢ ﭘﺎڙي ﭨﻨﮉي آﻏﺎ ﺟﻲ ﻣﺮزا ﺧﺎﻧﺪان ﺳﺎن‬
‫آﻫﻲ‪ .‬ﺣﻴﺪرآﺑﺎد ۾ ﻣﺮزاﺋﻦ ﺟﺎ ﭔﻪ ﭘﺎڙا آﻫﻦ‪ :‬ﻫﻜﮍا ﭨﻨﮉي ﭠﻮڙﻫﻲ ﺟﺎ ﻣﺮزا‪ ،‬ﺟﻴﻜﻲ ﺷﻤﺲ‬
‫اﻟﻌﻠﻤﺎ‪ ‬ﻣﺮزا ﻗﻠﻴﭻ ﺑﻴﮓ ﺟﻲ اوﻻد ﻣﺎن آﻫﻦ ۽ ﭔﻴﺎ ﭨﻨﮉي آﻏﺎ ﺟﺎ ﻣﺮزا ﺟﻴﻜﻲ ﭨﺎﻟﭙﺮن ﺟﻲ‬
‫دور ﺟﻲ وزﻳﺮ ۽ ﺷﺎﻋﺮ ﻣﺮزا ﭔﮃل ﺑﻴﮓ ﺟﻲ اوﻻد ﻣﺎن آﻫﻦ‪ .‬ﭔﻨﻬﻲ ﻣﺮزا ﺧﺎﻧﺪاﻧﻦ ﺟﻮ ﺣﺴﺐ‬
‫ﮔﺮﺟﻲ ﻣﺮزا” )‪ (1‬ﺳﮇﺑﺎ آﻫﻦ‪ ،‬ﺟﮇﻫﻦ ﺗﻪ ﭨﻨﮉي‬ ‫ﻧﺴﺐ ﺑﻨﻬﻪ اﻟﮗ آﻫﻲ‪ .‬ﭨﻨﮉي ﭠﻮڙﻫﻮ ﺟﺎ ﻣﺮزا“ ُ‬
‫آﻏﺎ وارا ﻣﺮزا “ﺧﻴﺮﭘﻮري ﻣﺮزا” )‪ (2‬ﺳﮇاﺋﻴﻦ‪ .‬ﻣﻤﺘﺎز ﻣﺮزا ﺧﻴﺮﭘﻮري ﻣﺮزا ﻫﻮ‪.‬‬
‫ﻣﻤﺘﺎز ﻣﺮزا ﺟﺎ وڏا ﻣﻴﺮن ﺟﻲ دور ۾ ﺳﺮﻛﺎري ﺳﻄﺢ ﺗﻲ ﻣﺠﻠﺴﻮن ﭘﮍﻫﻨﺪا ﻫﺌﺎ‪.‬‬
‫ﻣﻴﺮن ﺳﻨﮅ ﺟﻲ ﺗﺎرﻳﺦ ۾ ﭘﻬﺮﻳﻮن ﭜﻴﺮو اﻫﻞ ﺗﺸﻴﻊ ﻓﺮﻗﻲ ﮐﻲ ﭘﺬﻳﺮاﺋﻲ ڏﺋﻲ‪ ،‬ﭘﻨﻬﻨﺠﻲ درﭔﺎر‬
‫۾ ﻣﺤﺮم ﺟﻲ ﻣﻬﻴﻨﻲ ۾ اﻣﺎﻣﻦ ﺳﮙﻮرن ﺟﻲ ﻏﻢ ۾ ﻣﺠﻠﺴﻮن ۽ ﻣﺸﺎﻋﺮا ﻛﺮاﻳﺎ‪ .‬ﻣﻴﺮن ﺟﻮ‬
‫ﭘﻬﺮﻳﻮن ﺣﺎﻛﻢ ﻣﻴﺮ ﻓﺘﺢ ﻋﻠﻲ ﺧﺎن ﭨﺎﻟﭙﺮ ﺟﻨﻬﻦ “ﺳﺮزﻣﻴﻦ ﺳﻨﮅ ﺗﻲ ﺣﻀﺮت اﻣﺎم ﺣﺴﻴﻦ‬
‫ﺟﻲ ﺗﻌﺰﻳﻪ داري ۽ ﻋﺰاداري ﺟﻮ ﺑﻨﻴﺎد وڌو” )‪ (3‬اﻫﮍي‪ ‬رﻳﺖ ﺧﻴﺮﭘﻮر ۾ ﻣﻴﺮ ﺻﺎﺣﺒﻦ‬
‫ﭘﻨﻬﻨﺠﻲ درﭔﺎر ۾ ﻋﺬاداري‪ ‬ﺟﻮ ﺳﻠﺴﻠﻮ ﻫﻼﻳﻮ‪ .‬ﺧﻴﺮﭘﻮر ﺟﻮ واﻟﻲ ﻣﻴﺮ ﺳﻬﺮاب ﺧﺎن ﭨﺎﻟﭙﺮ‬
‫ﺟﻴﻜﺎ ﻣﺠﻠﺲ ﻛﺮاﺋﻨﺪو ﻫﻮ‪ ،‬اﻫﺎ ﻣﺮزا ﻣﺮاد ﻋﻠﻲ ﺑﻴﮓ “ﺳﺎﺋﻞ” ﭘﮍﻫﻨﺪو ﻫﻮ‪ .‬ﺣﻴﺪرآﺑﺎد‬
‫ﺗﻮڙي ﺧﻴﺮﭘﻮر ۾ ﻣﻴﺮن ﺟﻲ درﭔﺎر ۾ ﻣﺮزا ﺻﺎﺣﺐ ﻣﺠﻠﺴﻮن ﭘﮍﻫﻨﺪا ﻫﺌﺎ‪“ .‬ﺣﻴﺪرآﺑﺎد ﺟﻲ‬
‫ﮔﮭﺮ ﺗﻲ ﺧﻴﺮﭘﻮر رﻳﺎﺳﺖ ﺟﻲ واﻟﻲ ﻣﻴﺮ ﻣﺮاد ﻋﻠﻲ ﺧﺎن‬ ‫ﻣﻴﺮ ﺣﺴﻦ ﻋﻠﻲ ﺧﺎن ﭨﺎﻟﭙﺮ ﺟﻲ ُ‬
‫)‪ (1842-1894‬ﻣﺮزا ﻓﺘﺢ ﻋﻠﻲ ﺑﻴﮓ ﮐﻲ ﺣﻴﺪرآﺑﺎد ڏﻳﺎري ﻣﻮﻛﻠﻴﻮ‪ .‬اﻫﮍي‪ ‬ﻃﺮح ﻣﺮزاﺋﻦ‬
‫ﺟﻲ ﺧﺎﻧﺪان ﺣﻴﺪرآﺑﺎد اﭼﻲ ﭘﻨﻬﻨﺠﻮ ﺑﻮد و ﺑﺎش اﺧﺘﻴﺎر ﻛﻴﻮ‪ (4) ”.‬ﻫﻲ اﻫﻮﺋﻲ دؤر ﻫﻮ‬
‫ﺟﮇﻫﻦ ﺳﻨﮅي ادب ﺟﻲ رزﻣﻴﻪ ﺷﺎﻋﺮي ﺟﻲ ﺳﺮواڻ ۽ ﻣﺮﺛﻴﻪ ﻧﮕﺎري‪ ‬ﺟﻲ وڏي ۾ وڏي ﺷﺎﻋﺮ‬
‫ﺳﻴﺪ ﺛﺎﺑﺖ ﻋﻠﻲ ﺷﺎﻫﻪ ۽ ُﺳﻨﻲ ﻓﺮﻗﻲ ﺳﺎن واﺳﻄﻮ رﮐﻨﺪڙ ﺷﺎﻋﺮ ﺳﻴﺪ ﺧﻴﺮﺷﺎﻫﻪ ﺟﻮ ﭘﺎڻ ۾‬
‫ﻣﻨﺎﻇﺮو ﻫﻠﻨﺪو ﻫﻮ‪.‬‬
‫ﻣﺮزا ﺧﺎﻧﺪان ﻣﻴﺮن ﺟﻲ ﺳﭵﻲ دور ۾ ﻣﺠﻠﺴﻮن ﭘﮍﻫﻨﺪو رﻫﻴﻮ‪ ،‬ﻣﺸﺎﻋﺮا ﻛﺮاﺋﻴﻨﺪو‬
‫رﻫﻴﻮ ۽ ﻣﻴﺮن ﺳﺎن ادﺑﻲ ﻣﺤﻔﻠﻦ ۾ ﻣﻌﺎوﻧﺖ ﻛﻨﺪو رﻫﻴﻮ‪ .‬ﻣﺮزا ﻓﺘﺢ ﻋﻠﻲ ﺑﻴﮓ ﺑﻪ ﺗﻤﺎم وڏو‬
‫ﺷﺎﻋﺮ ﻫﻮ‪.‬‬
‫ﻣﺮزا ﻓﺘﺢ ﻋﻠﻲ ﺑﻴﮓ ﮐﺎن ﭘﻮ‪ ‬ﺳﻨﺪس ﻓﺮزﻧﺪ ﻣﺮزا ﻗﺎﺳﻢ ﻋﻠﻲ ﻗﺎﺳﻢ ﺑﻪ ﺑﻬﺘﺮﻳﻦ ﺷﺎﻋﺮ‬
‫ﺑﮣﻴﻮ‪ .‬ﭘﺎڻ ﻋﺮﺑﻲ ۽ ﻓﺎرﺳﻲ ﭔﻮﻟﻴﻦ ﺗﻲ ﻣﻜﻤﻞ دﺳﺘﺮس رﮐﻨﺪو ﻫﻮ‪ .‬ﻋﺮوﺿﻲ ﺷﺎﻋﺮن ۾‬
‫ﺳﻨﺪس ﻧﺎﻟﻮ ذﻛﺮ ﻻﺋﻖ آﻫﻲ‪ .‬ﻣﺮزا ﻗﺎﺳﻢ ﻋﻠﻲ ﻗﺎﺳﻢ ﺳﻨﮅي ﺳﻤﻴﺖ ﻓﺎرﺳﻲ ۽ اردو‪ ‬۾ ﺑﻪ‬
‫ﻛﻼم ﭼﻴﻮ آﻫﻲ‪“ .‬ﺳﻨﺪس ﻛﻠﻴﺎت ۾ ﺳﻼم‪ ،‬ﻣﺮﺛﻴﺎ‪ ،‬ﻣﻨﺎﻗﺐ‪ ،‬ﻗﺼﻴﺪا‪ ،‬ﻏﺰل ۽ رﺑﺎﻋﻴﻮن‬
‫ﻣﻮﺟﻮد آﻫﻦ‪(4) ”.‬‬
‫ﻫﻦ ﺧﺎﻧﺪان ﭨﺎﻟﭙﺮن ﺟﻲ دور ۾ ﻫﻚ ﺑﺎﻛﻤﺎل ﺷﺎﻋﺮ ﻣﺮزا ﭔﮃل ﺑﻴﮓ ﺟﻲ ﺻﻮرت ۾ ﺑﻪ‬
‫ﻣﺮﺗﻀﻲ‬
‫ٰ‬ ‫ڏﻧﻮ‪ ،‬ﺟﻨﻬﻦ ﺟﻲ ﻫﻢ ﻋﺼﺮن ۾ ﻣﻴﺮﺣﺴﻦ ﻋﻠﻲ ﺣﺴﻦ‪ ،‬ﻣﻴﺮ ﻋﺒﺪاﻟﺤﺴﻴﻦ ﺳﺎﻧﮕﻲ‪،‬‬
‫ﺷﺎﻫﻪ ﻣﺮﺗﻀﺎﺋﻲ‪ ،‬ﻏﻼم ﻣﺤﻤﺪ ﺷﺎﻫﻪ ﮔﺪا‪ ،‬ﻣﺮزا دوﺳﺖ ﻣﺤﻤﺪ دوﺳﺖ‪ ،‬ﻣﺼﺮي ﺷﺎﻫﻪ‪ ،‬ﻓﻀﻞ‬
‫‪125‬‬ ‫ﻣﻤﺘﺎز ﻣﺮزاﺟﻲ ﺷﺨﺼﻴﺖ ۽ ﺳﻨﺪس ﺧﺪﻣﺘﻮن‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻣﺤﻤﺪ ﻣﺎﺗﻢ ۽ ﻓﺎﺿﻞ ﺷﺎﻫﻪ ﺟﻬﮍا ﺑﻠﻨﺪ ﭘﺎﻳﻪ ﺷﺎﻋﺮ ﺷﺎﻣﻞ ﻫﺌﺎ‪ .‬ﻣﺮزا ﭔﮃل ﺑﻴﮓ ﺳﻨﮅي ﺷﺎﻋﺮي‪‬‬
‫ﺟﻲ ﻣﺨﺘﻠﻒ ﺻﻨﻔﻦ ﺑﻴﺖ‪ ،‬ﻏﺰل‪ ،‬ﻛﺎﻓﻴﻮن‪ ،‬ﻣﺮﺛﻴﻪ‪ ،‬ﺳﻼم ۽ ﻗﺼﻴﺪه ﭼﻴﺎ آﻫﻦ‪.‬‬
‫ﻣﺮزا ﭔﮃل ﺑﻴﮓ واري زﻣﺎﻧﻲ ۾ ﺋﻲ ﻣﺮزا دوﺳﺖ ﻣﺤﻤﺪ دوﺳﺖ ﺑﻪ ﺳﭡﻮ ﺷﺎﻋﺮ ﭤﻲ‬
‫ﮔﺬرﻳﻮ آﻫﻲ‪ .‬اﺋﻴﻦ ﭼﺌﺠﻲ ﺗﻪ ﻣﺮزا ﭔﮃل ﺑﻴﮓ ﺟﻮ ﻧﻨﮃو ﻫﻤﻌﺼﺮ ﻫﻮ‪ .‬ﺳﻨﺪس ﺷﺎﻋﺮي‪ ‬ﺟﻲ‬
‫اﺻﻼح اﻧﻬﻲ‪ ‬وﻗﺖ ﺟﻮ ﺑﻠﻨﺪ ﭘﺎﻳﻪ ﺷﺎﻋﺮ ﻏﻼم ﻣﺤﻤﺪ ﺷﺎﻫﻪ ﮔﺪا ﻛﻨﺪو ﻫﻮ‪ .‬ﻫﻚ ﻫﻨﮅ ﺗﻲ‬
‫ﻣﺮزا ﺻﺎﺣﺐ ﭘﻨﻬﻨﺠﻲ ﻫﻚ ﺷﻌﺮ ۾ ﻫﻦ ﻃﺮح ﮔﺪا ﺟﻮ ذﻛﺮ ﻛﻴﻮ آﻫﻲ‪:‬‬
‫آ‪ ‬ﺷــﺎﮔــﺮد ِ “ﮔــﺪا” ﺷــﺎﻫــﻲ ﺳــﻨــﺪس ﻣﻀــﻤــﻮن ﭤــﻴــﺎ‪،‬‬
‫ﺷﻌﺮ ﺟﻲ ﻣﻴـﺪان ۾‪ ،‬ﻣـﻮن ﺳـﺎن ﺑـﺮاﺑـﺮ ڏي ﻛـﻮ ﻻﻫـﻪ‪(5) .‬‬
‫ﻣﺮزا دوﺳﺖ ﻣﺤﻤﺪ دوﺳﺖ ﻓﺎرﺳﻲ ۽ اردو ﭔﻮﻟﻴﻦ ۾ ﭘﮡ ﺷﺎﻋﺮي ﻛﺌﻲ آﻫﻲ‪ .‬ﻫﻮ‬
‫ﺳﻨﮅي‪ ‬۾ ﻣﺬﻫﺒﻲ ﺷﺎﻋﺮي ﺣﻤﺪﻳﻪ ﻛﻼم‪ ،‬ﻣﺮﺛﻴﻪ ۽ ﺳﻼم ﺳﭡﺎ ﭼﻮﻧﺪو ﻫﻮ‪ ،‬ﭘﺮ ان ﮐﺎن ﺑﻪ‬
‫وڌﻳﻚ ﻏﺰل ﺟﻮ ﻣﺎﻫﺮ ﺷﺎﻋﺮ ﻫﻴﻮ‪.‬‬
‫ﭨﺎﻟﭙﺮن ﺟﻲ ﭘﮁﺎڙي‪ ‬۽ اﻧﮕﺮﻳﺰن ﺟﻲ اواﺋﻠﻲ دؤر ۾ ﻫﻦ ﺧﺎﻧﺪان ﺳﺎن ﺗﻌﻠﻖ رﮐﻨﺪڙ‬
‫ﻣﺮزا ﻗﺮﺑﺎن ﻋﻠﻲ ﺑﻴﮓ ﻗﺮﺑﺎن ﻋﺮوﺿﻲ ﺷﺎﻋﺮي ﻛﺌﻲ‪ .‬ﻫﻦ ﺟﻮ ﻛﻼم ﻣﺮﺛﻴﻦ‪ ،‬ﻣﻨﺎﺟﺎﺗﻦ‪،‬‬
‫ﻣﻨﺎﻗﺒﻦ ۽ ﻧﻌﺘﻦ ﺗﻲ ﭔﮅل آﻫﻲ‪ .‬ﭘﺮ ﻏﺰل ﺟﻲ ﺻﻨﻒ ﺗﻲ ﺑﻪ ﭜﻠﻲ ﻃﺒﻊ آزﻣﺎﺋﻲ ﻛﻴﺎﺋﻴﻦ‪.‬‬
‫ﻣﺮزا ﻗﺮﺑﺎن ﻋﻠﻲ ﺟﻮ ﻫﻤﻌﺼﺮ ﻣﺮزا ﻣﺪد ﻋﻠﻲ ﺑﻴﮓ “ﻣﺪد” ﻏﺰل ﺟﻮ ﺑﻬﺘﺮﻳﻦ ﺷﺎﻋﺮ‬
‫ﻫﻮ‪“.‬ﻫﻦ ﮐﻲ ﺳﻨﮅي ۽ اﻧﮕﺮﻳﺰي ﺟﻲ ﺗﻌﻠﻴﻢ ڏﻧﻲ وﺋﻲ ۽ ﻓﺎرﺳﻲ ۽ اردو ۾ ﺑﻪ ﻣﻬﺎرت ﺣﺎﺻﻞ‬
‫ﻛﺌﻲ‪ (9) ”.‬ﻫﻲ ﺷﺎﻋﺮ ﮐﺎن ﻋﻼوه ﻧﺎول ﻧﮕﺎر ﭘﮡ ﻫﻮ‪.‬‬
‫ﻣﺮزا ﮔﻞ ﺣﺴﻦ ﺑﻴﮓ “اﺣﺴﻦ ﻛﺮﺑﻼﺋﻲ” ﺳﻨﮅ ﺟﻲ ﻧﺎﻣﻴﺎري ﺷﺎﻋﺮ ﻣﺮزا دوﺳﺖ‬
‫ﻣﺤﻤﺪ “دوﺳﺖ”‪ ،‬ﺟﻲ ﮔﮭﺮ ۾ ‪1897‬ع ۾ ﺟﻨﻢ ورﺗﻮ‪ .‬اﺣﺴﻦ ﻛﺮﺑﻼﺋﻲ ﺟﻴﺘﺮو ﭜﻠﻮ ﺷﺎﻋﺮ ﻫﻮ‪،‬‬
‫اوﺗﺮوﺋﻲ ﭜﻠﻮ ﻧﺜﺮ ﻧﻮﻳﺲ ﺑﻪ ﻫﻮ‪ .‬ﻫﻦ ﺟﻮ دور ﺳﻨﮅي ادب ۽ ﭔﻮﻟﻲ‪ ‬ﺟﻲ ﺗﺮﻗﻲ وارو دور ﻫﻮ‪.‬‬
‫ﺳﻨﮅي ﻋﻠﻢ ادب ﺟﺎ ﻫﻦ دور ۾ ﺳﻨﮅ ۾ ﻛﺘﺎب ﺷﺎﻳﻊ ﭤﻴﮡ ﺷﺮوع ﭤﻴﺎ‪ .‬ﺷﻤﺲ اﻟﻌﻠﻤﺎ‪‬‬
‫ڊاﻛﭩﺮ ﻋﻤﺮ ﺑﻦ ﻣﺤﻤﺪ داﺋﻮد ﭘﻮﭨﻮ‪ ،‬ڊاﻛﭩﺮ ﺷﻴﺦ ﻣﺤﻤﺪ اﺑﺮاﻫﻴﻢ ﺧﻠﻴﻞ‪ ،‬ﻛﺎﻛﻮ‬
‫ﭜﻴﺮوﻣﻞ‪ ،‬ﻛﻠﻴﺎڻ آڏواﮢﻲ‪ ،‬ڊاﻛﭩﺮ ﻫﻮﺗﭽﻨﺪ ﻣﻮﻟﭽﻨﺪ ﮔﺮﺑﺨﺸﺎﮢﻲ‪ ،‬ﻣﺤﻤﺪ ﺻﺪﻳﻖ ﻣﻴﻤﮡ‪،‬‬
‫ﭘﻴﺮ ﺣﺴﺎم اﻟﺪﻳﻦ راﺷﺪي‪ ‬ﺗﺎﺋﻴﻦ ﺳﻨﺪس ﻫﻤﻌﺼﺮ ﻫﺌﺎ‪ .‬ﻣﺮزا ﮔﻞ ﺣﺴﻦ ﺑﻴﮓ ﺷﺎﻋﺮي‪ ‬ﺟﻲ‬
‫ﺳﻤﻮرﻳﻦ ﺻﻨﻔﻦ ﺗﻲ ﻃﺒﻊ آزﻣﺎﺋﻲ ﻛﺌﻲ‪ .‬ﺑﻴﺖ‪ ،‬ﻧﻌﺖ‪ ،‬ﺣﻤﺪ‪ ،‬ﻣﺮﺛﻴﻮ‪ ،‬ﺳﻼم‪ ،‬ﻗﺼﻴﺪو‪،‬‬
‫رﺑﺎﻋﻲ‪ ،‬ﻏﺰل ۽ ﻧﻈﻢ ﻟﮑﻴﺎﺋﻴﻦ‪ ،‬ﺟﻴﻜﻲ ﻣﺨﺘﻠﻒ اﺧﺒﺎرن ۽ رﺳﺎﻟﻦ ۾ ﺷﺎﻳﻊ ﭤﻴﻨﺪا‬
‫رﻫﻴﺎ‪.‬ﻣﺮزا ﺻﺎﺣﺐ ﻛﻴﺘﺮاﺋﻲ ﻣﻀﻤﻮن ۽ ﻣﻘﺎﻻ ﻟﮑﻴﺎ‪.‬‬
‫ﻧﺎﻣﻴﺎري ﻣﺆرخ ﭘﻴﺮ ﺣﺴﺎم اﻟﺪﻳﻦ راﺷﺪي‪ ‬ﺳﺎن ﺑﻪ ﻣﻴﺮن ﺟﻲ ﺗﺎرﻳﺦ ﺟﻲ ﺣﻮاﻟﻲ ﺳﺎن‬
‫ﺳﺎﮢﺲ ﻣﺪدﮔﺎر رﻫﻴﻮ ۽ ﺗﺤﻘﻴﻘﻲ ﭘﻮرﻫﻴﻮ ﻛﻴﺎﺋﻴﻦ‪ ،‬ﺟﻨﻬﻦ ﺟﻮ اﻋﺘﺮاف ﭘﻴﺮﺣﺴﺎم اﻟﺪﻳﻦ‬
‫راﺷﺪي‪ ‬ﺟﻲ ﻟﮑﻴﻞ ﺧﻄﻦ ﻣﺎن ﭤﺌﻲ ﭤﻮ‪ .‬ﻣﺮزا ﺻﺎﺣﺐ ﻓﺎرﺳﻲ‪ ‬ﻣﺎن ﭘﮡ ﻛﻴﺘﺮاﺋﻲ ﻛﺘﺎب‬
‫ﺗﺮﺟﻤﻮ ﻛﻴﺎ‪ .‬ﻣﻮﻻﻧﺎ ﻏﻼم رﺳﻮل ﻣﻬﺮ ﺟﮇﻫﻦ ﺳﻨﮅ ﺟﻲ اردو‪ ‬۾ ﺗﺎرﻳﺦ ﻟﮑﻲ رﻫﻴﻮ ﻫﻮ اﻧﻬﻲ‪‬‬
‫ﺑﻪ ﻣﺮزا ﺻﺎﺣﺐ ﮐﺎن ﻣﺪد ورﺗﻲ‪.‬‬
‫‪126‬‬ ‫ﻣﻤﺘﺎز ﻣﺮزاﺟﻲ ﺷﺨﺼﻴﺖ ۽ ﺳﻨﺪس ﺧﺪﻣﺘﻮن‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻣﺮزا ﮔﻞ ﺣﺴﻦ ﺑﻴﮓ ﻧﺌﻴﻦ زﻧﺪﮔﻲ‪ ‬۾ ﻣﻴﺮن ﺟﻲ ﺗﺎرﻳﺦ ۽ ﺳﻨﺪن ﻋﻠﻤﻲ ﺣﻴﺜﻴﺖ ﺗﻲ‬
‫ﭘﻨﺪرﻫﻦ ﻣﻘﺎﻻ ﻟﮑﻴﺎ ﺟﻴﻜﻲ ﻧﻬﺎﻳﺖ اﻫﻢ آﻫﻦ‪ .‬ﻣﺮزا ﺻﺎﺣﺐ وٽ ﻣﻴﺮن ﺟﻲ دور ﺟﺎ ﻓﺎرﺳﻲ‪‬‬
‫۾ ﺗﺎرﻳﺨﻲ ﻧﺴﺨﺎ ﺳﺎﻧﮃﻳﻞ ﻫﺌﺎ‪ ،‬ﺟﻨﻬﻦ ﺟﻮ ﻗﺪر ﺗﺎرﻳﺦ ﺟﻲ ﻣﺎﻫﺮن ﮐﻲ ﻫﻮ‪ .‬ﻣﺮزا ﺻﺎﺣﺐ‬
‫ﺳﭽﻞ ﺳﺮﻣﺴﺖ ﺟﻲ ﻓﺎرﺳﻲ ﺷﺎﻋﺮي‪ ‬ﺗﻲ ﭘﮡ ﺗﺤﻘﻴﻖ ﻛﺌﻲ‪ .‬ان ڏس ۾ آﻏﺎ ﺗﺎج ﻣﺤﻤﺪ ﺧﺎن‬
‫ﮐﺎﻧﺌﺲ ﻣﺪد وﭠﻨﺪو ﻫﻮ‪ .‬اﻫﮍي‪ ‬رﻳﺖ ڊاﻛﭩﺮ ﻧﺒﻲ ﺑﺨﺶ ﺑﻠﻮچ ﺑﻪ ﭨﺎﻟﭙﺮن ﺟﻲ ﻋﻠﻤﻲ‬
‫ﻛﺎرﻧﺎﻣﻦ ﺑﺎﺑﺖ ﻣﺮزا ﮔﻞ ﺣﺴﻦ ﮔﻞ ﺳﺎن ﻣﻼﻗﺎﺗﻮن ﻛﻨﺪو ﻫﻮ ۽ ﮐﺎﻧﺌﺲ ﻣﺪد وﭠﻨﺪو ﻫﻮ‪.‬‬
‫”ﻣﻴﺮزا ﺻﺎﺣﺐ ‪1953‬ع ۾ ﺣﻴﺪرآﺑﺎد ﻣﻴﻮﻧﺴﭙﺎﻟﭩﻲ‪ ‬۾ ﻧﻮﻛﺮي ﻛﺮي آﻛﭩﺮا‪‬‬
‫اﻧﺴﭙﻴﻜﭩﺮ ﺟﻲ ﻋﻬﺪي ﺗﺎن رﭨﺎﺋﺮڊ ﭤﻴﻮ‪ .‬ﺗﻨﻬﻦ ﮐﺎن ﭘﻮ‪ ‬ﭘﻨﻬﻨﺠﻲ ﺣﻴﺎﺗﻲ‪ ‬ﺟﺎ ﺑﺎﻗﻲ ڏﻳﻨﻬﻦ‬
‫رﻳﮉﻳﻮ ﭘﺎﻛﺴﺘﺎن ﺣﻴﺪرآﺑﺎد ﺗﻲ اﺳﻜﺮﭘﭧ راﺋﭩﺮ ﺟﻲ ﺣﻴﺜﻴﺖ ﺳﺎن‪ ،‬ﭘﻨﻬﻨﺠﻲ ﺣﻴﺎﺗﻲ‪‬‬
‫ﺟﻲ آﺧﺮي ڏﻳﻨﻬﻦ ﺗﺎﺋﻴﻦ ﻛﻢ ﻛﻨﺪو رﻫﻴﻮ‪ .‬ﻣﻴﺮزا ﺻﺎﺣﺐ ‪ 28‬اﭘﺮﻳﻞ ‪1962‬ع ﺗﻲ وﻓﺎت‬
‫ﻛﺌﻲ‪(7) .‬‬

‫‪:‬‬ ‫و دت ۽‬ ‫ﺌز زا‬

‫ﺳﻨﮅ ﺟﻮ ﻧﺎﻣﻴﺎرو ﻋﺎﻟﻢ‪ ،‬ادﻳﺐ‪ ،‬ڊراﻣﻪ ﻧﮕﺎر‪ ،‬ﺷﺎﻫﻪ ﺟﻲ ﻛﻼم ﺟﻮ ﭘﺎرﮐﻮ‪ ،‬ﻧﺜﺮ ﻧﻮﻳﺲ‬
‫۽ رﻳﮉﻳﻮ‪ ،‬ﭨﻲ وي‪ ،‬ﻋﻠﻤﻲ ادﺑﻲ‪ ،‬ﺛﻘﺎﻓﺘﻲ ﻣﺤﻔﻠﻦ ﺟﻮ ﻣﺎﻳﻪ ﻧﺎز ﻣﻴﺰﺑﺎن ﻣﻤﺘﺎز ﻣﺮزا ﺣﻴﺪرآﺑﺎد‬
‫ﺟﻲ ﻗﺪﻳﻢ ﭘﺎڙي ﭨﻨﮉي آﻏﺎ ۾ ‪29‬ﻫﻴﻦ ﻧﻮﻣﺒﺮ ‪1940‬ع ﺗﻲ ﺟﻨﻢ ورﺗﻮ‪ .‬ﺳﻨﺪس واﻟﺪ ﻣﺮزا ﮔﻞ‬
‫ﺣﺴﻦ ”اﺣﺴﻦ ﻛﺮﺑﻼﺋﻲ” ﭘﻨﻬﻨﺠﻲ وﻗﺖ ﺟﻮ ﺑﺎﻛﻤﺎل ﺷﺎﻋﺮ‪ ،‬ادﻳﺐ ۽ ﻣﺤﻘﻖ ﻫﻮ‪.‬‬
‫ﻣﻤﺘﺎز ﻣﺮزا اﺑﺘﺪاﺋﻲ ﺗﻌﻠﻴﻢ اﻧﮕﺮﻳﺰن ﺟﻲ دور ﺟﻲ درﺳﮕﺎﻫﻪ آﺳﻮدي ﻣﻞ‬
‫ﺣﻜﻮﻣﺘﺮا‪ ‬اﺳﻜﻮل‪ ،‬ﺟﻴﻜﻮ ورﻫﺎﮜﻲ ﮐﺎن ﭘﻮ‪ ‬ﺳﻴﭟ ﺣﺎﻓﻆ ﭘﺮاﺋﻤﺮي اﺳﻜﻮل ﭰﻠﻴﻠﻲ‬
‫ﺑﮣﺠﻲ وﻳﻮ‪ ،‬۾ ﺣﺎﺻﻞ ﻛﺮڻ ﺑﻌﺪ ﻣﺌﭩﺮڪ ﻧﻮر ﻣﺤﻤﺪ ﻫﺎ‪ ‬اﺳﻜﻮل ﺣﻴﺪرآﺑﺎد ﻣﺎن ﻛﺌﻲ‪.‬‬
‫ﺗﮇﻫﻦ ﻣﺌﭩﺮڪ ﺳﺘﻴﻦ درﺟﻲ ﺗﺎﺋﻴﻦ ﻫﻮﻧﺪي ﻫﺌﻲ‪ .‬ﻫﻦ اﻧﭩﺮﻣﻴﮉﻳﭧ ﺳﻨﮅ اورﻳﻨﭩﻞ ﻛﺎﻟﻴﺞ‬
‫ﻣﺎن ﻛﺌﻲ‪ .‬ان ﮐﺎن ﭘﻮ‪ ‬ﻋﺎﻟﻢ ﻓﺎﺿﻞ ﺳﻨﮅي‪ ‬ﺟﻲ )اﭴﻮﻛﻲ اﻳﻢ اي ﺟﻲ ﺑﺮاﺑﺮ( ﺳﻨﮅ‬
‫ﻳﻮﻧﻴﻮرﺳﭩﻲ‪ ‬ﻣﺎن ڊﮔﺮي ﺣﺎﺻﻞ ﻛﺌﻲ‪.‬‬

‫‪:‬‬ ‫ﺌن وا‬ ‫ر‬ ‫ﺌز زا‬

‫“‪1955‬ع ۾ ﺟﮇﻫﻦ رﻳﮉﻳﻮ ﭘﺎﻛﺴﺘﺎن ﺣﻴﺪرآﺑﺎد ﻗﺎﺋﻢ ﭤﻴﻮ‪ ،‬ﺗﮇﻫﻦ ﻣﻤﺘﺎز ﺟﻮ واﻟﺪ ﻣﺮزا‬
‫ﮔﻞ ﺣﺴﻦ “اﺣﺴﻦ ﻛﺮﺑﻼﺋﻲ” اﺗﻲ ﺳﻨﮅي‪ ‬ﺟﻮ ﭘﻬﺮﻳﻮن اﺳﻜﺮﭘﭧ راﺋﭩﺮ ﭤﻴﻮ ۽ ﻣﻤﺘﺎز ﺑﻪ‬
‫ﻫﻦ ﺳﺎن ﮔﮇ رﻳﮉﻳﻮ ﭘﺎﻛﺴﺘﺎن ۾‪ ،‬ﺟﻨﻬﻦ ﺟﻲ آﻓﻴﺲ ۽ اﺳﭩﻮڊﻳﻮ ﻫﻮم ﺳﭩﻴﮉ ﻫﺎل ۾ ﻫﻮﻧﺪا‬
‫ﻫﺌﺎ‪ ،‬اﭼﮡ وﭸﮡ ﻟﮙﻮ‪(08) ”.‬‬
‫ﻣﻤﺘﺎز ﻣﺮزا رﻳﮉﻳﻮ ﭘﺎﻛﺴﺘﺎن ﺗﻲ ﭘﺮوﮔﺮاﻣﻦ ﻛﺮڻ ﺳﺎن ﮔﮇوﮔﮇ ﺗﻌﻠﻴﻢ ﺑﻪ ﺟﺎري‬
‫رﮐﻨﺪو آﻳﻮ ﻫﻮ‪.‬‬
‫“ﻣﻤﺘﺎز ﻣﺮزا ﺟﮇﻫﻦ رﻳﮉﻳﻮ ﭘﺎﻛﺴﺘﺎن ﺗﻲ واﻟﺪ ﺳﺎن ﮔﮇ وﻳﻨﺪو ﻫﻮ ﺗﮇﻫﻦ ﺳﻨﮅ‬
‫‪127‬‬ ‫ﻣﻤﺘﺎز ﻣﺮزاﺟﻲ ﺷﺨﺼﻴﺖ ۽ ﺳﻨﺪس ﺧﺪﻣﺘﻮن‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻳﻮﻧﻴﻮرﺳﭩﻲ‪ ‬۾ داﺧﻼ ﺑﻪ ورﺗﻲ ﻫﺌﺎﺋﻴﻦ‪ .‬اﻫﻮﺋﻲ زﻣﺎﻧﻮ ﻫﻮ ﺟﮇﻫﻦ ﮐﻴﺲ رﻳﮉﻳﻮ ﺗﻲ ﭘﺮوﮔﺮام‬
‫ﻛﺮڻ ﺟﻮ ﺷﻮق ﺟﺎﮘﻴﻮ‪ .‬ﻫﻦ رﻳﮉﻳﻮ ﭘﺎﻛﺴﺘﺎن ﺗﻲ ﭘﺮوﮔﺮاﻣﻦ ﺟﺎ ﻣﺴﻮدا ﻟﮑﮡ ﺳﺎن ﻛﻢ‬
‫ﺟﻲ ﺷﺮوﻋﺎت ﻛﺌﻲ‪ .‬ﻫﻦ ﺷﺮوع ﺷﺮوع ۾ ﻧﻨﮃا ﻧﻨﮃا اﺳﻜﺮﭘﭧ ﺗﺤﺮﻳﺮ ﻛﻴﺎ ﭘﺮ ان ﮐﺎن‬
‫ﭘﻮ‪ ‬رﻳﮉﻳﺎﺋﻲ ﻧﺎﭨﻚ ﻟﮑﮡ ﺑﻪ ﻟﮙﻲ وﻳﻮ‪ .‬ﺟﻠﺪ ﺋﻲ رﻳﮉﻳﻮ ﭘﺎﻛﺴﺘﺎن ﺣﻴﺪرآﺑﺎد ۾ اﺳﻜﻮل‬
‫ﺑﺮاڊ ﻛﺎﺳﭩﻨﮓ ﺟﻮ ﺷﻌﺒﻮ ﮐﻠﻴﻮ ۽ ﻣﻤﺘﺎز ﮐﻲ ﺳﻨﮅي ﺳﻴﻜﺸﻦ ﺟﻮ اﻧﭽﺎرج ﻣﻘﺮر ﻛﻴﻮ‬
‫وﻳﻮ‪(09) ”.‬‬
‫ﻣﻤﺘﺎز ﻣﺮزا رﻳﮉﻳﻮ ﭘﺎﻛﺴﺘﺎن ﺣﻴﺪرآﺑﺎد ﺗﻲ ﻣﻮﺳﻴﻘﻲ‪ ‬ﺟﺎ ﭘﮡ ﭘﺮوﮔﺮام ﻛﻴﺎ‪،‬‬
‫ﺟﻨﻬﻦ ۾ ﮔﻠﻮﻛﺎرن ﺟﻲ ذاﺗﻲ ۽ ﻓﻨﻲ زﻧﺪﮔﻲ‪ ‬ﺗﻲ ﭘﮡ ﺣﺎل اﺣﻮال ﭤﻴﻨﺪو ﻫﻮ‪.‬‬
‫ﻫﻲ رﻳﮉﻳﻮ ﭘﺎﻛﺴﺘﺎن ﺣﻴﺪرآﺑﺎد ﺟﻲ اوج وارو زﻣﺎﻧﻮ ﻫﻮ‪ .‬ﻣﻤﺘﺎز ﻣﺮزا “آدﻣﻲ ﻧﺎﻣﻪ‬
‫)ﺟﻨﻬﻦ ۾ ﺳﻤﺎج ﺟﻲ ﻣﺨﺘﻠﻒ ﻃﺒﻘﻦ ﺳﺎن ﺗﻌﻠﻖ رﮐﻨﺪڙ ﻣﺎﮢﻬﻦ ﺟﺎ اﻧﭩﺮوﻳﻮ ﻧﺸﺮ ﻛﻴﺎ وﻳﻨﺪا‬
‫ﻫﺌﺎ(‪ ،‬ﺳﺎﮢﻴﻬﻪ ﺟﺎ ﺳﻴﻨﮕﺎر‪ ،‬ﻣﻮﺳﻴﻘﻲ‪ ،‬ادب‪ ،‬ﻟﻮڪ ادب‪ ،‬ﺗﺎرﻳﺦ ﺑﺎﺑﺖ ﭘﺮوﮔﺮام ﻛﻨﺪو‬
‫ﻫﻮ‪(10) ”.‬‬
‫ﻣﻤﺘﺎز ﻣﺮزا رﻳﮉﻳﻮ ﭘﺎﻛﺴﺘﺎن ﺗﻲ ﺟﮇﻫﻦ ﭘﻨﻬﻨﺠﻲ ﻛﻴﺮﻳﺌﺮ ﺟﻲ ﺷﺮوﻋﺎت ﻛﺌﻲ‬
‫ﻣﺼﻄﻔﻲ ﻗﺮﻳﺸﻲ‪ ،‬ﻋﺒﺪاﻟﻠﻄﻴﻒ ﺳﺎﻗﻲ‪ ،‬ﻣﺸﺘﺎق ﻣﻐﻞ ۽ زرﻳﻨﻪ ﺑﻠﻮچ ﺑﻪ ﺳﺎﻧﮣﺲ‬‫ٰ‬ ‫ﺗﻦ ڏﻳﻨﻬﻦ ۾‬
‫ﮔﮇ ﻓﻨﻲ ﻛﻴﺮﻳﺌﺮ ﺷﺮوع ﻛﻴﻮ ﻫﻮ‪ .‬اﻫﮍن ﻋﺎﻟﻴﺸﺎن اداﻛﺎرن ﻣﻤﺘﺎز ﻣﺮزا ﺟﻲ ڊراﻣﻦ‬
‫آﺧﺮي رات‪ ،‬ﭘﻨﺮو ﺑﮉام‪ ،‬واﭨﻮن ۽ ﻧﻴﮡ‪ ،‬ﻻﮐﻮ ﭰﻼﮢﻲ‪ ،‬ﭘﮍاڏو ﺳﻮ ﺳﮇ ۽ ﻣﺎ‪ ‬۽ ﻣﺤﺒﺖ ۾ ﻛﻢ‬
‫ﻛﻴﻮ‪ .‬ﻣﻤﺘﺎز ﻣﺮزا ﺟﻲ ڊراﻣﻦ ﺟﻮ ﻣﻮﺿﻮع ﻟﻮڪ داﺳﺘﺎن ۽ ﺳﻨﮅ ﺟﻲ ﺗﺎرﻳﺦ رﻫﻴﻮ‪ .‬رﻳﮉﻳﻮ‬
‫ﺟﻲ ڊراﻣﻦ ﺟﻲ ﺣﻮاﻟﻲ ﺳﺎن ‪1960‬ع واري ڏﻫﺎﻛﻲ ۾ ﺣﻴﺪرآﺑﺎد ﺟﻲ ﻛﻤﺸﻨﺮ ﭘﺎران “‬
‫ﺟﺸﻦ ﺣﻴﺪرآﺑﺎد” ﻣﻠﻬﺎﻳﻮ وﻳﻮ‪ .‬ﺟﻴﻜﻮ ﺣﻴﺪرآﺑﺎد ﺟﻲ ﺗﺎرﻳﺨﻲ ﭘﻜﻲ ﻗﻠﻌﻲ ﺟﻲ ﺗﻌﻤﻴﺮ‬
‫ﺟﻲ ﭔﻪ ﺳﺆ ﺳﺎﻟﻦ ﻣﻜﻤﻞ ﭤﻴﮡ ﺟﻲ ﺧﻮﺷﻲ‪ ‬۾ ﻣﻠﻬﺎﻳﻮ وﻳﻮ‪ .‬اﻧﻬﻲ‪ ‬ﻣﻮﻗﻌﻲ ﺗﻲ رﻳﮉﻳﻮ‬
‫ﭘﺎﻛﺴﺘﺎن ﺣﻴﺪر آﺑﺎد ﭘﺎران ﻣﻮﺋﻦ ﺟﻲ دڙي ﮐﺎن وﭠﻲ ﭘﺎﻛﺴﺘﺎن ﺟﻲ ﻗﺎﺋﻢ ﭤﻴﮡ ﺗﺎﺋﻴﻦ ﺟﻲ‬
‫ﺗﺎرﻳﺦ ﺟﻲ ﻣﺨﺘﻠﻒ دورن ﺗﻲ ڊراﻣﺎ ۽ ﻓﻴﭽﺮ ﭘﻴﺶ ﻛﻴﺎ وﻳﺎ‪ .‬اﻧﻬﻲ‪ ‬ﻣﻮﻗﻌﻲ ﺗﻲ ﻣﻤﺘﺎز ﻣﺮزا‬
‫ﻣﻮﺋﻦ ﺟﻲ دڙي ﺗﻲ ڊراﻣﻮ “آﺧﺮي رات” ﻟﮑﻴﻮ ﺟﻨﻬﻦ ﮐﻲ ﭜﺮﭘﻮر ﻛﺎﻣﻴﺎﺑﻲ ﺣﺎﺻﻞ ﭤﻲ‪ .‬ﻫﻦ‬
‫ڊراﻣﻲ ﺟﻲ ﭘﺮوڊﻳﻮﺳﺮ ﻣﺮاد ﻋﻠﻲ ﻣﺮزا ان ﺣﻮاﻟﻲ ﺳﺎن ﻟﮑﻴﻮ آﻫﻲ ﺗﻪ‪“ :‬اﺳﻴﻦ ﻫﺮ ﺳﺎل رﻳﮉﻳﻮ‬
‫ﭘﺎﻛﺴﺘﺎن ﺣﻴﺪرآﺑﺎد ﺗﺎن ﺟﺸﻦ ﺗﻤﺜﻴﻞ ۽ ﺟﺸﻦ ﻣﻮﺳﻴﻘﻲ‪ ‬ﺟﺎ ﻫﻔﺘﺎ ﻣﻠﻬﺎﺋﻴﻨﺪا ﻫﺌﺎﺳﻴﻦ‪.‬‬
‫ﻫﻜﮍي ﺟﺸﻦ ﺗﻤﺜﻴﻞ )ﺳﺎل ‪1966‬ع( ﻣﻮن ﻣﻤﺘﺎز ﻣﺮزا ﮐﺎن ﻣﻮﺋﻦ ﺟﻲ دڙي ﺟﻲ ﺗﺒﺎﻫﻲ ﺟﻲ‬
‫ﻣﻮﺿﻮع ﺗﻲ ﺳﻨﮅي‪ ‬۾ ڊراﻣﻮ ﻟﮑﺮاﻳﻮ‪ ،‬ﺟﻨﻬﻦ ﺟﻮ ﻋﻨﻮان “آﺧﺮي رات” ﻫﻮ‪ .‬ﻫﻦ اﻫﻮ ڊراﻣﻮ‬
‫ڏاڍي ﻣﺤﻨﺖ ۽ ﭘﻴﺎر ﺳﺎن ﻟﮑﻴﻮ ۽ ﻣﻮن ﺑﻪ اﻫﮍي ﺋﻲ ﻣﺤﻨﺖ ۽ ﭘﻴﺎر ﺳﺎن ﭘﺮوڊﻳﻮس ﻛﻴﻮ‪.‬‬
‫ﺳﻴﺪ ﺻﺎﻟﺢ ﻣﺤﻤﺪ ﺷﺎﻫﻪ‪ ،‬ﻣﻬﺘﺎب ﭼﻨﻪ )ﻣﻬﺘﺎب اﻛﺒﺮ راﺷﺪي( ۽ ﻣﺸﺘﺎق ﻣﻐﻞ ان ڊراﻣﻲ ۾‬
‫ﺧﻮﺑﺼﻮرت ﺻﺪاﻛﺎري ﻛﺌﻲ‪ ،‬ﺟﻨﻬﻦ ﻛﺮي ان ڊراﻣﻲ ﺟﻲ ﻛﻴﺘﺮن ﺋﻲ ﺳﺎﻟﻦ ﺗﺎﺋﻴﻦ‬
‫ﻫﺎڪ ﻫﺌﻲ‪(11) ”.‬‬
‫ﻣﻤﺘﺎز ﻣﺮزا ﺟﻮ ڊراﻣﻮ “ آﺧﺮي رات” اﻳﺘﺮي ﻛﺎﻣﻴﺎﺑﻲ ﻣﺎﮢﻲ ﭼﻜﻮ ﻫﻮ ﺟﻮ ﺟﮇﻫﻦ‬
‫‪128‬‬ ‫ﻣﻤﺘﺎز ﻣﺮزاﺟﻲ ﺷﺨﺼﻴﺖ ۽ ﺳﻨﺪس ﺧﺪﻣﺘﻮن‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻋﺎﻟﻤﻲ رﻳﮉﻳﺎﺋﻲ ڊراﻣﻦ ﺟﻮ ﻣﻘﺎﺑﻠﻮ ﭤﻴﻮ ﺗﮇﻫﻦ “آﺧﺮي رات ” ﮐﻲ ﻛﻮﻟﻤﺒﻴﺎ ﺑﺮاڊ‬
‫ﻛﺎﺳﭩﻨﮓ اﻳﻮارڊ ۾ ﭔﻴﻮ ﻧﻤﺒﺮ ﻗﺮار ڏﻧﻮ وﻳﻮ‪ .‬ﺑﻌﺪ ۾ “آﺧﺮي رات” ﺟﻲ ﻧﺎﻟﻲ ﺳﺎن ‪1979‬ع ۾‬
‫رﻳﮉﻳﻮ ۽ ﭨﻲ وي ڊراﻣﻦ ﺗﻲ ﭔﮅل ﻛﺘﺎب ﺷﺎﻳﻊ ﭤﻴﻮ‪ ،‬ﺟﻴﻜﻮ ﺳﻨﮅ ﺟﻲ ﻳﻮﻧﻴﻮرﺳﭩﻴﻦ ﺟﻲ‬
‫ﺳﻨﮅي ﺷﻌﺒﻦ ﺟﻲ ﻛﻮرس ۾ ﺑﻪ ﺷﺎﻣﻞ ﻛﻴﻮ وﻳﻮ‪.‬‬

‫ﺌر‪:‬‬ ‫ا ﺌ‬ ‫ﺌز زا ﺐ‬
‫اﻓﺴﺎﻧﻮ ﺳﻨﮅي ادب ﺟﻲ ﺟﺪﻳﺪ ﺻﻨﻒ ﻃﻮر ﻣﻘﺒﻮل رﻫﻴﻮ آﻫﻲ‪ .‬ﻣﻤﺘﺎز ﻣﺮزا ﺳﻨﮅي‬
‫اﻓﺴﺎﻧﻦ ۾ ﺳﻨﮅ ﺟﻲ ﺗﺎرﻳﺦ ۽ ﻟﻮڪ داﺳﺘﺎﻧﻦ ﮐﻲ ﭘﻨﻬﻨﺠﻮ ﻣﻮﺿﻮع ﺑﮣﺎﻳﻮ‪ .‬ﺳﻨﺪس اﻓﺴﺎﻧﻦ ۾‬
‫“ﭘﻴﺎر ۽ ڌﻛﺎر” )ﻫﻔﺘﻴﻮار اﻧﺴﺎن اﺧﺒﺎر ﺣﻴﺪرآﺑﺎد(‪“ ،‬ﻫﺎر” روازﻧﻲ ﻫﻼل ﭘﺎﻛﺴﺘﺎن اﺧﺒﺎر‬
‫ﺟﻲ ﻣﺎﻫﻮار اﻳﮉﻳﺸﻦ واري اﻓﺴﺎﻧﻪ ﻧﻤﺒﺮ ﺟﻲ ﺳﻠﺴﻠﻲ ۾ ‪1957‬ع ۾ ﺷﺎﻳﻊ ﭤﻴﻮ( ﺟﻨﻬﻦ ﮐﻲ‬
‫اﻧﻌﺎم ﻳﺎﻓﺘﻪ ﻗﺮار ڏﻧﻮ وﻳﻮ‪“ .‬ﻫﺎ‪ ‬ﺣﻴﺎﺗﻲ ﻫﻲ ﭤﻮﻫﺮ ﺟﻮ وڻ” )ﻣﺎﻫﻮار اﻳﮉﻳﺸﻦ روزاﻧﻲ ﻫﻼل‬
‫ﭘﺎﻛﺴﺘﺎن ‪1957‬ع(‪“ ،‬ﻣﻌﻤﺎ” )ﻣﺎﻫﻮار ﻓﻠﻤﻲ دﻧﻴﺎ ‪1958‬ع(‪“ ،‬ﭼﻮڙﻳﻮن” )روازاﻧﻲ ﻫﻼل‬
‫ﭘﺎﻛﺴﺘﺎن ‪1958‬ع(‪“ ،‬اﻧﮅﻳﺮ ﻧﻨﮕﺮي” )ﭨﻪ ﻣﺎﻫﻲ ﻣﻬﺮاڻ ‪1958‬ع‪ ،‬اﻳﮉﻳﭩﺮ ﻋﻼﻣﻪ ﻋﻤﺮ ﻣﺤﻤﺪ ﺑﻦ‬
‫داﺋﻮد ﭘﻮﭨﻮ(‪“ ،‬اڄ ﭘﮡ اﮐﮍﻳﻦ” )ﻣﺎﻫﻮار ﻋﺒﺮت اﻳﮉﻳﺸﻦ ‪1960‬ع(‪“ ،‬ﭘﻮڙﻫﻮ” )ﻣﺎﻫﻮار اﻳﮉﻳﺸﻦ‬
‫روزاﻧﻲ ﻫﻼل ﭘﺎﻛﺴﺘﺎن ‪ “ ،19589‬ﺳﻨﮅ راﮢﻲ” )ﭨﻪ ﻣﺎﻫﻲ ﻣﻬﺮاڻ ‪“ ،(1968‬ﻫﻮ ﺳﻮﭼﻴﻨﺪو‬
‫رﻫﻴﻮ” )ﭨﻪ ﻣﺎﻫﻲ ﻣﻬﺮاڻ ‪ ،(1964‬ﺳﻤﻴﺖ ﭼﺎﻟﻴﻬﻪ ﻋﺪد اﻓﺴﺎﻧﺎ ﺗﺤﺮﻳﺮ ﻛﻴﺎﺋﻴﻦ‪.‬‬
‫ﻣﻤﺘﺎز ﻣﺮزا ﺟﻲ اﻓﺴﺎﻧﻦ ﺟﺎ ﻛﺮدار ﻋﺎم ﻣﺎﮢﻬﻮ رﻫﻴﺎ آﻫﻦ‪ ،‬ﺟﮇﻫﻦ ﺗﻪ ﺗﺎرﻳﺨﻲ ﭘﺲ‬
‫ﻣﻨﻈﺮ ۾ ﻟﮑﻴﻞ اﻓﺴﺎﻧﻦ ﺟﺎ ﻛﺮدار وري ﭘﻨﻬﻨﺠﻲ اﻟﮗ ﻧﻮﻋﻴﺖ ﺟﺎ آﻫﻦ‪ .‬ﻣﻤﺘﺎز ﻣﺮزا ﺟﻲ‬
‫اﻓﺴﺎﻧﻦ ﺟﻮ اﺳﻠﻮب ﺳﻠﻮﮢﻮ‪ ،‬روﻣﺎﻧﻮي ۽ ﻧﺞ ﺳﻨﮅي آﻫﻲ‪ .‬ﻫﻦ ﺟﻲ ﻟﻬﺠﻲ ۾ ﻟﻔﻈﻦ ﺟﻲ‬
‫ﺟﻮڙﺟﻚ ﻧﻬﺎﻳﺖ ﺟﺎﻧﺪار آﻫﻲ‪ .‬ﻫﻦ ﺟﺎ اﻓﺴﺎﻧﺎ ﻣﺨﺘﺼﺮ رﻫﻴﺎ آﻫﻦ‪ .‬ﺟﻴﻜﻲ ﭘﮍﻫﻨﺪڙ ﮔﮭﭧ‬
‫وﻗﺖ ۾ ﭘﻮرو ﻛﺮي وﭠﻦ ﭤﺎ ۽ ﻃﻮاﻟﺖ ﺟﻲ ﺑﻴﺰاري ﻧﻪ ﭤﻲ ﭤﺌﻲ‪ .‬ﻋﺎﻟﻤﻲ ﺳﻄﺢ ﺗﻲ اﻓﺴﺎﻧﻲ ﺟﻲ‬
‫وﺻﻒ ﺑﻪ اﻫﺎﺋﻲ ﻧﻜﺮي ﭤﻲ ﺗﻪ ﻣﺨﺘﺼﺮ ۽ دﻟﭽﺴﭗ ﻫﺠﮡ ﮔﮭﺮﺟﻲ‪ .‬آﻣﺮﻳﻜﺎ ﺟﻮ ﭼﻮﭨﻲ‪‬‬
‫ﺟﻮ اﻓﺴﺎﻧﻪ ﻧﮕﺎر اﻳﮉﮔﺮ اﻳﻠﻦ ﭘﻮ ﭼﻮي ﭤﻮ‪ “ :‬اﻓﺴﺎﻧﻮ ﻧﺜﺮ ﺟﻲ اﻫﺎ ﻛﻬﺎﮢﻲ آﻫﻲ‪ ،‬ﺟﻴﻜﺎ‬
‫ﭘﮍﻫﻨﺪڙ ﻫﻚ ﺋﻲ ﻧﺸﺴﺖ ۾ )اڌ ﻛﻼڪ ﮐﺎن ﭔﻦ ﻛﻼﻛﻦ ﺗﺎﺋﻴﻦ( ﺧﺘﻢ ﻛﺮي‬
‫ﺳﮕﻬﻲ‪(12) ”.‬‬
‫ﻣﻤﺘﺎز ﻣﺮزا ﺳﻨﮅي ادب ۽ اﻓﺴﺎﻧﻲ ﺟﻲ ﭨﺌﻴﻦ دور ﺟﻮ اﻓﺴﺎﻧﻪ ﻧﮕﺎر آﻫﻲ ﺟﻴﻜﻮ‬
‫ورﻫﺎﮜﻲ ﮐﺎن ﭘﻮ‪ ‬ﺷﺮوع ﭤﺌﻲ ﭤﻮ‪ .‬ﺳﻨﺪس ﻫﻤﻌﺼﺮن ۾ ﻣﺮاد ﻋﻠﻲ ﻣﺮزا‪،‬ﺣﻤﻴﺪ ﺳﻨﮅي‪ ،‬ع‪.‬ق‪.‬‬
‫ﺷﻴﺦ‪ ،‬ﺟﻤﺎل اﺑﮍو‪ ،‬ﻏﻼم رﺑﺎﻧﻲ آﮔﺮو‪ ،‬اﻳﺎز ﻗﺎدري‪ ،‬ﺳﺮاج‪ ،‬ﺣﻔﻴﻆ ﺷﻴﺦ‪ ،‬اﺑﺐ ﺣﻴﺎت ﭘﻨﻬﻮر‪،‬‬
‫ﺛﻤﻴﺮه زرﻳﻦ‪ ،‬ﻋﻠﻲ ﺑﺎﺑﺎ‪ ،‬آﻏﺎ ﺳﻠﻴﻢ ۽ اﻣﺮﺟﻠﻴﻞ ﺟﻬﮍا ﻧﺎﻣﻴﺎرا اﻓﺴﺎﻧﻪ ﻧﮕﺎر ﺷﺎﻣﻞ آﻫﻦ‪.‬‬
‫ﻫﻲ اﻫﻮ زﻣﺎﻧﻮ ﻫﻮ ﺟﻨﻬﻦ ۾ اﺧﺒﺎرون ۽ رﺳﺎﻻ اﻓﺴﺎﻧﻲ ﺟﻲ ﺻﻨﻒ ﮐﻲ ﺧﺎص ﺟﮙﻬﻪ‬
‫ڏﻳﻨﺪا ﻫﺌﺎ‪ .‬ﻧﺌﻴﻦ زﻧﺪﮔﻲ‪ ،‬ﻣﻬﺮاڻ‪ ،‬ﻋﺒﺮت ۽ ﻫﻼل ﭘﺎﻛﺴﺘﺎن ﺳﻨﮅي اﻓﺴﺎﻧﻲ ﮐﻲ ﻣﻘﺒﻮل‬
‫ﺑﻨﺎﺋﮡ ۾ ﺧﺎص ﻣﻘﺎم رﮐﻦ ﭤﺎ‪ ،‬ﺟﻦ ﺟﻲ اﺷﺎﻋﺘﻲ ﺳﻬﻜﺎر ﮐﺎن ﺳﻮا‪ ‬ﺳﻨﮅي اﻓﺴﺎﻧﻲ ﺟﻮ‬
‫‪129‬‬ ‫ﻣﻤﺘﺎز ﻣﺮزاﺟﻲ ﺷﺨﺼﻴﺖ ۽ ﺳﻨﺪس ﺧﺪﻣﺘﻮن‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫اﮘﺘﻲ وڌڻ ﻣﻤﻜﻦ ﻛﻮﻧﻪ ﻫﻴﻮ‪.‬‬

‫‪:‬‬ ‫ڪ ادب ۾‬ ‫ﺌز زا‬

‫ﻣﻤﺘﺎز ﻣﺮزا ﻟﻮڪ ادب ﺟﻲ ﺣﻮاﻟﻲ ﺳﺎن ﺳﻨﮅي ادﺑﻲ ﺑﻮرڊ ﺟﻲ ﻛﻴﺘﺮﻳﻦ ﺋﻲ‬
‫اﺳﻜﻴﻤﻦ ۾ ﺗﺤﻘﻴﻘﻲ ﭘﻮرﻫﻴﻮ ﻛﻴﻮ‪ .‬ﻫﻦ ‪1957‬ع ﮐﺎن وﭠﻲ ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬ﺟﻲ ﻟﻐﺖ “ﺟﺎﻣﻊ‬
‫ﺳﻨﮅي ﻟﻐﺎت” ۽ “ ﻟﻮڪ ادب” ﺟﻲ ﺣﻮاﻟﻲ ﺳﺎن ﭘﺮوﺟﻴﻜﭧ ۾ ﺳﻨﮅ ﺟﻲ ﻣﺎﻫﺮ ﻟﺴﺎﻧﻴﺎت‪،‬‬
‫ﻣﺆرخ‪ ،‬ﺷﺎﻫﻪ ﺟﻲ ﺷﺎرح‪ ،‬ﻟﻮڪ ادب ﺟﻲ ﻣﺎﻫﺮ ۽ ﺗﻌﻠﻴﻤﻲ ﻣﺎﻫﺮ ڊاﻛﭩﺮ ﻧﺒﻲ ﺑﺨﺶ ﺧﺎن‬
‫ﺑﻠﻮچ ﺟﻲ ﻧﮕﺮاﻧﻲ‪ ‬۾ ﻛﻢ ﻛﻴﻮ‪ .‬ﻣﻤﺘﺎز ﻣﺮزا ﻟﻮڪ ادب ﺟﻲ اﺳﻜﻴﻤﻦ ۾ ڊاﻛﭩﺮ ﺑﻠﻮچ‬
‫ﺳﺎن ﺳﻨﮅ ﺗﻮڙي ﺳﻨﮅ ﮐﺎن ﺑﺎﻫﺮ وﺳﺘﻲ‪ ‬واﻫﮡ ۾ ﺗﺤﻘﻴﻖ ﻻ‪ ‬ﮔﮇوﮔﮇ رﻫﻴﻮ‪ .‬ﻫﻦ ﻣﻤﺘﺎز ﻣﺮزا‬
‫ﮐﻲ ﻧﻬﺎﻳﺖ ﻣﺤﻨﺘﻲ ڏﭠﻮ ۽ ﺳﻨﺪس ﻗﺎﺑﻠﻴﺖ ﮐﻲ اﺳﺘﻌﻤﺎل ﻛﻴﺎﺋﻴﻦ‪ .‬ﺟﻨﻬﻦ ﺟﻮ ذﻛﺮ ڊاﻛﭩﺮ‬
‫ﺑﻠﻮچ ﺻﺎﺣﺐ ﭘﻨﻬﻨﺠﻲ ﻫﻚ ﻳﺎدﮔﻴﺮي‪ ‬ﻃﻮر ﻫﻦ رﻳﺖ ڏﺋﻲ ﭤﻮ‪ “ :‬ﭔﻴﻮ وڏو ﻛﻢ ﻟﻮڪ ادب‬
‫ﺟﻲ ﻛﺘﺎﺑﻦ ﺟﻲ ﺗﺎﻟﻴﻒ ﺟﻮ ﻫﻮ‪ .‬ان ۾ ﭔﻪ ﻛﻢ ﻛﺮﮢﺎ ﻫﺌﺎ‪ ،‬ﻫﻚ ﺗﻪ ﺳﻨﮅ ﺟﻲ ﻫﺮ ﭜﺎﮜﻲ ۾‬
‫ﺳﮕﮭﮍن ﺳﺎن ﻛﭽﻬﺮﻳﻮن ﻛﺮڻ‪ ،‬ﺳﻨﺪن زﺑﺎﻧﻲ ﻟﻮڪ ادب ﺟﻮ ﺳﺮﻣﺎﻳﻮ ﮔﮇ ﻛﺮڻ ۽ ﭘﻮ‪‬‬
‫ﻟﻮڪ ادب ﺟﻲ ﻣﻮاد ﮐﻲ ﺗﺮﺗﻴﺐ ڏﻳﮡ ۽ ﻣﻘﺪﻣﺎ ﻟﮑﻲ ﮀﭙﺎﺋﻲ‪ ‬ﻻ‪ ‬ﺗﻴﺎر ﻛﺮڻ‪ .‬ان ﻛﻢ ۾‬
‫ﻣﻤﺘﺎز ﻣﺮزا ﮐﻲ ﺷﺎﻣﻞ ﻛﻴﻢ‪ .‬ﺳﮕﮭﮍن ﺳﺎن رﭤﻴﻞ ﻛﻦ وڏﻳﻦ ﻛﭽﻬﺮﻳﻦ ۾ ﮐﻴﺲ وﭠﻲ وﻳﺲ‬
‫۽ ﻛﭽﻬﺮﻳﻦ ﺟﻲ ﻧﻮع ﻧﻤﻮﻧﻲ ۽ ﺳﮕﮭﮍن ﺟﻲ زﺑﺎﻧﻲ ﭔﻬﺮاڙي‪ ‬ﺟﻲ ﻧﺞ ﭔﻮﻟﻲ ۽ ان ﺟﻲ ﻟﻬﺠﻲ‬
‫ﮐﺎن واﻗﻒ ﭤﻴﻮ‪ .‬ﻫﻚ وڏي ﻛﭽﻬﺮي ﺟﻨﻬﻦ ۾ اﺳﺘﺎد ﻣﺤﻤﺪ اﺳﻤﺎﻋﻴﻞ ﺷﻴﺦ ۽ ﻣﻤﺘﺎز ﭔﺌﻲ‬
‫ﻣﻮن ﺳﺎن ﮔﮇﺟﻲ ﻫﻠﻴﺎ ﺳﺎ ﺻﺎدق آﺑﺎد ﺗﻌﻠﻘﻲ ﺟﻲ ﺳﻨﺠﺮﭘﻮر ﻟﮗ ﻣﺤﻤﺪ آﺑﺎد ۾ ﻣﺒﺎرڪ‬
‫ﺷﺎﻫﻪ ﺟﻴﻼﻧﻲ‪ ‬ﺟﻲ دﻋﻮت ۾ ﭤﻲ‪ ،‬ﺟﻨﻬﻦ ۾ ﻣﻨﻬﻨﺠﻲ ﺧﻮاﻫﺶ ﻣﻄﺎﺑﻖ رﺣﻴﻢ ﻳﺎر ﺧﺎن ﺿﻠﻌﻲ‬
‫ﺟﺎ ﭼﻮﻧﮉ ﺳﻨﮅي ﺳﮕﮭﮍ آﻧﺪا وﻳﺎ‪ .‬ﻣﻤﺘﺎز ﮐﻲ ﮔﮇ وﻳﻬﺎري ﻛﭽﻬﺮي ﻫﻼﻳﻢ ۽ ﻛﻲ ﮘﺎﻟﻬﻴﻮن‬
‫ﮐﻴﺲ ﭼﻴﻢ ﺗﻪ ﭘﮁﻲ ۽ ﻟﮑﻲ‪(13) ”.‬‬
‫ﻣﻤﺘﺎز ﻣﺮزا ﺟﻮ ﻟﻮڪ ادب اﺳﻜﻴﻢ ﺟﻲ ﻧﺜﺮ ﺗﻮڙي ﻧﻈﻢ واري ﭜﺎﮜﻲ ۾ ﻛﻴﻞ‬
‫ﺗﺤﻘﻴﻘﻲ ﭘﻮرﻫﻴﻮ ﻣﺴﻮدا ﻟﮑﮡ‪ ،‬ﭘﺮوف ﭘﮍﻫﮡ‪ ،‬ﺳﮕﮭﮍن ۽ راوﻳﻦ ﮐﺎن اﻧﭩﺮوﻳﻮ ﻛﺮي ﻟﮑﮡ‪،‬‬
‫ﺣﻮاﻟﻦ ﺟﺎ ﻛﺎرڊ ﻟﮑﮡ ۽ ﮀﭙﺎﺋﻲ‪ ‬ﺟﻲ ﻛﻤﻦ ﺗﺎﺋﻴﻦ ﺗﺤﻘﻴﻘﻲ ۽ دﻓﺘﺮي ﻛﻢ ﻛﻴﺎ‪ .‬ﻫﻮ‬
‫ڊاﻛﭩﺮ ﻧﺒﻲ ﺑﺨﺶ ﺑﻠﻮچ ﺟﻲ ﭨﻴﻢ ﺟﻮ ﻛﺎرﻛﻦ ﻫﻮ‪ .‬ڊاﻛﭩﺮ ﺻﺎﺣﺐ ﺟﻲ ﻫﺪاﻳﺖ ﺗﻲ‬
‫ﻟﻮڪ ادب اﺳﻜﻴﻢ ﺟﻮ اﻧﭽﺎرج ﺷﻴﺦ ﻣﺤﻤﺪ اﺳﻤﺎﻋﻴﻞ ﺳﻨﺪس ﻛﻢ ﮐﻲ اﮘﺘﻲ وڌاﺋﻴﻨﺪو‬
‫ﻫﻮ‪ .‬ﺳﻨﮅي ادﺑﻲ ﺑﻮرڊ ﭘﺎران ﻟﻮڪ ادب ﺟﻲ ﺣﻮاﻟﻲ ﺳﺎن ﭼﺎﻟﻴﻬﻦ ﮐﺎن ﻣﭥﻲ ﻛﺘﺎب آﻳﺎ‬
‫ﺟﻨﻬﻦ ۾ ﺳﻨﮅي ﻟﻮڪ ﻛﻬﺎﮢﻴﻮن )ﺳﺖ ﺟﻠﺪ(‪ ،‬ﺳﻨﮅ ﺟﺎ ﻋﺸﻘﻴﻪ داﺳﺘﺎن )ﭔﻪ ﺟﻠﺪ(‪ ،‬ﻣﺸﻬﻮر‬
‫ﺳﻨﮅي ﻗﺼﺎ )ﮀﻬﻪ ﺟﻠﺪ(‪ ،‬ﻛﺎﻓﻴﻮن )ﭔﻪ ﺟﻠﺪ(‪ ،‬دودو ﭼﻨﻴﺴﺮ )ﭔﻪ ﺟﻠﺪ(‪ ،‬ﻧﮍ ﺟﺎ ﺑﻴﺖ‪ ،‬ڏور‪،‬‬
‫ﮘﻴﭻ‪ ،‬ﻟﻮڪ ﮔﻴﺖ‪ ،‬ﺑﻴﺖ‪ ،‬ﮘﺠﮭﺎرﺗﻮن )ﭔﻪ ﺟﻠﺪ(‪ ،‬ﺟﻨﮕﻨﺎﻣﺎ‪ ،‬واﻗﻌﺎﺗﻲ ﺑﻴﺖ‪ ،‬ﺳﻨﮅي ﺳﻴﻨﮕﺎر‬
‫ﺷﺎﻋﺮي‪ ،‬ﭨﻴﻬﻪ اﮐﺮﻳﻮن )ﭔﻪ ﺟﻠﺪ(‪ ،‬ﻣﻮﻟﻮد ‪ ،‬ﻣﺪاﺣﻮن ۽ ﻣﻨﺎﺟﺎﺗﻮن‪ ،‬ﻣﻨﺎﻗﺒﺎ‪ ،‬ﻣﻌﺠﺰا‪ ،‬ﭘﺮوﻟﻴﻮن‪،‬‬
‫ڏﭠﻮن‪ ،‬ﻣﻌﻤﺎﺋﻮن ۽ ﭔﻮل ﺟﻬﮍا ﻧﺎﻳﺎب ﻛﺘﺎب ﺷﺎﻣﻞ آﻫﻦ‪ .‬ڊاﻛﭩﺮ ﻧﺒﻲ ﺑﺨﺶ ﺑﻠﻮچ ﻫﺮ‬
‫‪130‬‬ ‫ﻣﻤﺘﺎز ﻣﺮزاﺟﻲ ﺷﺨﺼﻴﺖ ۽ ﺳﻨﺪس ﺧﺪﻣﺘﻮن‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫واﻟﻴﻮم ۾ ﻣﻤﺘﺎز ﻣﺮزا ﮐﻲ ﻣﺪدﮔﺎر ﻃﻮر ﻣﻬﺎڳ ۾ ﭴﺎﮢﺎﻳﻮ آﻫﻲ‪ .‬ﺟﻴﻜﻮ ﻟﻮڪ ادب ﺟﻲ‬
‫ﺳﻠﺴﻠﻲ ۾ ڊاﻛﭩﺮ ﺑﻠﻮچ ﺻﺎﺣﺐ ﭘﺎران اﻋﺘﺮاف آﻫﻲ‪.‬‬
‫ﻣﻤﺘﺎز ﻣﺮزا ﺟﻴﺴﺘﺎﺋﻴﻦ ﭘﻲ ﭨﻲ وي ﺟﻮ اﺳﻜﺮﭘﭧ اﻳﮉﻳﭩﺮ ﻫﻮ‪ ،‬ﺗﻴﺴﺘﺎﺋﻴﻦ ﻟﻮڪ ادب‬
‫ﺟﻲ ﺣﻮاﻟﻲ ﺳﺎن ﺳﻴﺪ ﺻﺎﻟﺢ ﻣﺤﻤﺪ ﺷﺎﻫﻪ ﺟﻲ ﭘﺮوﮔﺮام “اوﻃﺎق” ﺟﻲ ﭘﺬﻳﺮاﺋﻲ ﻛﻴﺎﺋﻴﻦ‪.‬‬
‫ﻛﻴﺘﺮاﺋﻲ ﺳﮕﮭﮍ ﺳﺎﮢﺲ ﻛﻤﺮي ۾ اﭼﻲ ﻛﭽﻬﺮي ﺑﻪ ﻛﻨﺪا ﻫﺌﺎ‪ .‬وري ﺟﮇﻫﻦ ﺳﻨﮅ ﺟﻲ‬
‫ﺛﻘﺎﻓﺖ ﺟﻮ ڊاﺋﺮﻳﻜﭩﺮ ﺟﻨﺮل ﺑﮣﻴﻮ ﺗﮇﻫﻦ ﺑﻪ ﻟﻮڪ ادب ﮐﻲ ﻫﭥﻲ وﭠﺮاﻳﺎﺋﻴﻦ‪ .‬ﭜﭧ ﺷﺎﻫﻪ ﺗﻲ‬
‫ﻟﻄﻴﻒ ﺳﺎﺋﻴﻦ ﺟﻲ ﻋﺮس ﺟﻲ ﻣﻮﻗﻌﻲ ﺗﻲ ﺳﮕﮭﮍن ﺟﻲ ﻛﭽﻬﺮي‪ ‬۾ ﻛﻴﺘﺮن ورﻫﻴﻦ‬
‫ﺗﺎﺋﻴﻦ ﺷﺮﻳﻚ ﭤﻴﻨﺪو رﻫﻴﻮ‪ .‬ﻫﻜﮍي اﻧﭩﺮوﻳﻮ ۾ ﻣﻤﺘﺎز ﻣﺮزا ﻟﻮڪ ادب ﺟﻲ اﻫﻤﻴﺖ‬
‫ﮔﮭﭩﺠﮡ ﺗﻲ ڏک ﺟﻮ اﻇﻬﺎر ﻛﻨﺪي ﭼﻴﻮ‪“ :‬اﺳﺎن ﺟﻮ ﺳﭵﻮ ﻟﻮڪ ادب ﺟﻴﻜﻮ ﺳﻨﮅي ادﺑﻲ‬
‫ﺑﻮرڊ‪ ،‬ﻛﺘﺎﺑﻦ ۾ ﮀﭙﺎﻳﻮ آﻫﻲ‪ ،‬ﺳﻮ ﺳﭵﻮ ﺳﻨﮅي اوﻃﺎق ﺟﻲ ﭘﻴﺪاوار آﻫﻲ‪ .‬اﻫﻲ ﺳﮕﮭﮍ‪ ،‬اﻫﻲ‬
‫ﻓﻘﻴﺮ‪ ،‬اﻫﻲ وﭴﺘﺎ‪ ،‬اﻫﻲ ﺳﭝﻴﺌﻲ ان اوﻃﺎﻗﻲ ﻛﻠﭽﺮ ﻣﺎن آﻳﺎ آﻫﻦ‪ .‬اﻫﻮ ﻛﻠﭽﺮ ﻫﻦ زﻣﺎﻧﻲ ۾‬
‫ﭘﭡﺘﻲ ﭘﻮﻧﺪو ﭘﻴﻮ وﭸﻲ‪ .‬ﺿﺮوري آﻫﻲ ﺗﻪ ان ﺗﻲ ﺗﻮﺟﻪ ڏﺟﻲ ۽ ان ﮐﻲ ﻣﺤﻔﻮظ رﮐﺠﻲ‪(14) ”.‬‬

‫ﺌت(‬ ‫‪):‬‬ ‫ﺌز زا ﺐ ر‬

‫ﺳﻨﮅ ﺟﻲ ﺳﺮﺗﺎج ﺷﺎﻋﺮ ﺷﺎﻫﻪ ﻋﺒﺪاﻟﻠﻄﻴﻒ ﭜﭩﺎﺋﻲ‪ ‬ﺟﻮ ﻛﻼم ﺳﻨﮅ ۽ ﺳﻨﮅي ﻗﻮم‬
‫ﻻ‪ ‬رﻫﻨﻤﺎﺋﻲ‪ ،‬ﻋﻠﻢ‪ ،‬ﺗﺎرﻳﺦ‪ ،‬ﺛﻘﺎﻓﺖ ۽ ﭔﻮﻟﻲ‪ ‬ﺟﻮ اﻫﻮ ﺳﺮﻣﺎﻳﻮ آﻫﻲ‪ ،‬ﺟﻴﻜﻮ ﺗﺎ ﻗﻴﺎﻣﺖ ﻻڀ‬
‫ڏﻳﻨﺪو رﻫﻨﺪو‪ .‬ﺷﺎﻫﻪ ﺟﻮ رﺳﺎﻟﻮ ﻛﻴﺘﺮن ﺋﻲ ﻣﺤﻘﻘﻦ ﺳﻬﻴﮍي ﺗﺮﺗﻴﺐ ڏﻧﻮ‪ ،‬ان ﺟﻲ ﮀﻨﮉﮀﺎڻ‬
‫ﻛﺮي ﺷﺎﻫﻪ ﺻﺎﺣﺐ ﺟﻲ ﻛﻼم ﮐﻲ ﭘﻨﻬﻨﺠﻲ ﭘﻨﻬﻨﺠﻲ رخ ﺳﺎن ﺑﻴﺎن ﻛﻴﻮ آﻫﻲ‪.‬‬
‫ڊاﻛﭩﺮ ارﻧﻴﺴﭧ ﭨﺮﻣﭗ ﮐﺎن وﭠﻲ ﭔﺎﻧﻬﻲ ﺧﺎن ﺷﻴﺦ ﺗﺎﺋﻴﻦ ﻟﻄﻴﻒ ﺳﺎﺋﻴﻦ‪ ‬ﺟﻲ ﻛﻼم ﺟﺎ‬
‫ﻛﻴﺘﺮاﺋﻲ رﺳﺎﻻ ﻣﻨﻈﺮ ﻋﺎم ﺗﻲ اﭼﻲ ﭼﻜﺎ آﻫﻦ‪ .‬اﻫﻲ ﺳﻤﻮرا ﻧﺴﺨﺎ ﮔﻨﺞ ﺷﺮﻳﻒ ﻣﺎن‬
‫ﮘﻮﻟﻬﺎ ﭰﻮﻟﻬﺎ ﻛﺮي ۽ ﺷﺎﻫﻪ ﺻﺎﺣﺐ ﺟﻲ ﻓﻘﻴﺮن ﺟﻲ ﻣﺪد ﺳﺎن ﻋﺎﻟﻤﻦ اﺻﻞ ﺷﺎﻫﻪ ﻟﻄﻴﻒ ﺟﻮ‬
‫ﻛﻼم ﻗﻠﻤﺒﻨﺪ ﻛﻴﻮ آﻫﻲ‪ .‬ﻫﺎﮢﻲ اﻧﻬﻦ رﺳﺎﻟﻦ ﻣﺎن ﺑﻪ ﻛﻴﺘﺮن ﺋﻲ ﻋﺎﻟﻤﻦ ﺗﻲ ﺗﻨﻘﻴﺪي‬
‫ﻧﻈﺮ ﮐﺎن ﭘﻮ‪ ‬ﺟﻴﻜﺎ ﭤﻮري ﮔﮭﮣﻲ ڌارﺋﻲ ﻛﻼم ﺟﻲ ﮔﻨﺠﺎﺋﺶ ﻫﺌﻲ ﺳﺎ ﺗﺤﻘﻴﻖ ﻛﺮي‬
‫ﺧﺘﻢ ﻛﺌﻲ وﺋﻲ آﻫﻲ‪.‬‬
‫ﺳﻨﮅ ﺟﻲ ﻧﺎﻣﻴﺎري ﻋﺎﻟﻢ ۽ ﻣﺤﻘﻖ ﻣﻤﺘﺎز ﻣﺮزا اﻧﻬﻲ‪ ‬ﺣﻮاﻟﻲ ﺳﺎن ﻧﻬﺎﻳﺖ اﻫﻢ‬
‫ﻛﺎرﻧﺎﻣﻮ ﺳﺮاﻧﺠﺎم ڏﻳﻨﺪي ﺷﺎﻫﻪ ﻟﻄﻴﻒ ﺟﻲ ﮔﻨﺞ ﺷﺮﻳﻒ ﮐﻲ ﺟﺪﻳﺪ ﺻﻮرﺗﺨﻄﻲ‪ ‬ﺟﻲ‬
‫ﺻﻮرت ۾ آﻧﺪو‪ .‬ﺷﺎﻫﻪ ﺻﺎﺣﺐ ﭘﻨﻬﻨﺠﻮ ﺳﻤﻮرو ﻛﻼم ﭜﭧ ﺷﺎﻫﻪ ﺗﻲ واﻗﻊ ﻛﺮاڙ ڍﻧﮃ ۾‬
‫اﮀﻼﺋﻲ ﮀﮇﻳﻮ ﻫﻮ‪ ،‬ﭘﺮ ﺟﻴﺌﻦ ﺗﻪ ﻫﻦ ﻋﻈﻴﻢ ﺻﻮﻓﻲ ﺑﺰرگ ﺟﻮ ﻛﻼم ﻻﻓﺎﻧﻲ آﻫﻲ‪،‬‬
‫ﺗﻨﻬﻨﻜﺮي ﺳﻨﺪس ﻓﻘﻴﺮن ۽ راﮘﺎﻳﻦ ﮐﻲ دل و دﻣﺎغ ۾ ﻣﺤﻔﻮظ ﻫﻮ‪ .‬ﮔﻨﺞ ﺷﺮﻳﻒ ۾ آﻳﻞ‬
‫ﻛﻼم ﺷﺎﻫﻪ ﻟﻄﻴﻒ ﺟﻲ ﻓﻘﻴﺮن ﺟﻮ ﮔﮇ ﻛﻴﻞ ﻛﻼم آﻫﻲ ﺟﻨﻬﻦ ۾ ﺷﺎﻫﻪ ﺻﺎﺣﺐ ﺟﻲ‬
‫ﻛﻼم ﮐﺎن ﻋﻼوه ڌارﻳﻮ ﻛﻼم ﺑﻪ ﺷﺎﻣﻞ آﻫﻲ‪ .‬ان ﺟﻮ ﺳﺒﺐ اﻫﻮ آﻫﻲ ﺗﻪ ﺷﺎﻫﻪ ﺻﺎﺣﺐ ﮐﻲ‬
‫ﺟﻴﻜﻮ ﭘﻨﻬﻨﺠﻲ زﻣﺎﻧﻲ ﺟﻲ ﻣﻘﺒﻮل ﺷﺎﻋﺮن ﺟﻮ ﻛﻼم ﻳﺎد ﻫﻮ ﺳﻮ ﭘﺎڻ ﻓﻘﻴﺮن ﮐﻲ ﭔﮅاﺋﻴﻨﺪا‬
‫‪131‬‬ ‫ﻣﻤﺘﺎز ﻣﺮزاﺟﻲ ﺷﺨﺼﻴﺖ ۽ ﺳﻨﺪس ﺧﺪﻣﺘﻮن‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻫﺌﺎ ﻳﺎ ﭘﻨﻬﻨﺠﻲ ﻣﺎﺿﻲ‪ ‬ﺟﻲ ﻗﺎدر اﻟﻜﻼم ﻣﻌﺮوف ﺷﺎﻋﺮن ۽ ﺑﺰرﮔﻦ ﺟﻮ ﻛﻼم ﭘﮍﻫﻨﺪا‬
‫ﻫﺌﺎ ﺗﻪ اﻫﻮ ﺳﻤﻮرو ﻛﻼم ﻓﻘﻴﺮن ﺑﻴﺎن ﻛﻴﻮ ﺟﻴﻜﻮ ﻛﺎﺗﺐ ﻟﮑﻨﺪا وﻳﺎ‪.‬‬
‫“ﮔﻨﺞ ﮐﺎن اڳ ۾ ڏﻫﻪ رﺳﺎﻻ ﭔﻴﺎ ﺑﻪ آﻫﻦ‪ ،‬ﺟﻴﻜﻲ ﺷﺎﻫﻪ ﺻﺎﺣﺐ ﺟﻲ ﺣﻴﺎﺗﻲ‪ ‬۾ ﻳﺎ‬
‫ً‬
‫اﻧﺪازا ‪1125‬ع )‪ 2110‬ﻫﺠﺮي( ﺟﻲ ﭼﺎﻟﻴﻬﻪ ﭘﻨﺠﻴﺘﺎﻟﻴﻬﻪ ﺳﺎﻟﻦ ﮐﻦ‬ ‫ﺳﻨﺪس وﻓﺎت ﮐﺎن ﭘﻮ‪‬‬
‫واري اواﺋﻠﻲ دور ۾ ﻟﮑﻴﺎ وﻳﺎ‪(15) ”.‬‬
‫ﺷﺎﻫﻪ ﻟﻄﻴﻒ ﺟﻲ ﮔﻨﺞ ﺷﺮﻳﻒ ﺟﻲ اﻫﻤﻴﺖ ان ﻣﺎن ﻟﮙﺎﺋﻲ ﺳﮕﮭﺠﻲ ﭤﻲ ﺗﻪ ﻫﻦ‬
‫رﺳﺎﻟﻲ ﺟﻲ ﻫﺮ ﺳﺎل ‪ 14‬ﺻﻔﺮ ﺗﻲ ﺷﺎﻫﻪ ﺻﺎﺣﺐ ﺟﻲ ﻋﺮس ﻣﺒﺎرڪ ﺟﻲ ﻣﻮﻗﻌﻲ ﺗﻲ‬
‫ﭘﺎﻧﮅﻳﺌﮍن ﮐﻲ زﻳﺎرت ﻛﺮاﺋﮡ ﻻ‪ ‬درﮔﺎﻫﻪ ﺗﻲ رﮐﻴﻮ وﻳﻨﺪو آﻫﻲ‪“ .‬ﮔﻨﺞ ﺟﻮ ﻧﺎﻟﻮ اﻧﻬﻲ‪‬‬
‫ﻛﺮي ﭘﻴﻮ اﭤﺲ ﺟﻮ ﻣﻨﺠﮭﺲ ﺷﺎﻫﻪ ﺟﺎ ﺳﭝﺌﻲ ﺑﻴﺖ ﺳﻮا‪ ‬ﺗﺮﺗﻴﺐ ﺟﻲ درج ﻛﻴﺎ وﻳﺎ‬
‫آﻫﻦ‪(16) ”.‬‬
‫ﻗﺪﻳﻢ دؤو ﺟﻲ ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬۾ ﻟﮑﻴﻞ ﻫﻦ رﺳﺎﻟﻲ ﮐﻲ ﻣﻤﺘﺎز ﻣﺮزا ﻧﻬﺎﻳﺖ ﺑﺎرﻳﻚ‬
‫ﺑﻴﻨﻲ‪ ‬ﺳﺎن ﺳﻮڌي ﺳﻨﻮاري ۽ اﺣﺘﻴﺎط ﺳﺎن ﺟﺪﻳﺪ ﺻﻮرﺗﺨﻄﻲ‪ ‬۾ آﻧﺪو آﻫﻲ‪ .‬ﻫﻲ رﺳﺎﻟﻮ‬
‫ﺟﻴﻜﻮ ‪ 1207‬ﻫﺠﺮي‪ ‬۾ ﻟﮑﺠﻲ ﭘﻮرو ﭤﻴﻮ ۽ اﻧﻬﻲ‪ ‬ﺻﻮرت ۾ اﭸﺎ ﺗﺎﺋﻴﻦ ﻣﻮﺟﻮد آﻫﻲ‪ .‬ﻣﻤﺘﺎز‬
‫ﻣﺮزا ﺗﺤﻘﻴﻖ ﻛﻨﺪي ﭼﻮي ﭤﻮ ﺗﻪ‪“ :‬ﻫﻚ ﮘﺎﻟﻬﻪ ﻣﻮﺟﻮده ﺻﻮرﺗﺨﻄﻲ‪ ‬ﺟﻲ ﺳﻠﺴﻠﻲ ۾ ﭼﻮڻ‬
‫ﻧﻬﺎﻳﺖ ﺿﺮوري آﻫﻲ ﺗﻪ ﻣﻮن ﺗﻤﺎم ﮔﮭﮣﻲ ﻛﻮﺷﺶ ﻛﺌﻲ آﻫﻲ ﺗﻪ ﮔﻨﺞ ﺟﻮن ﭘﮍﻫﮣﻴﻮن‬
‫ﮔﮭﮣﻲ ﭜﺎﮜﻲ ﺻﺤﻴﺢ ﻫﺠﻦ اﻟﺒﺖ ﻛﭥﻲ ﻛﭥﻲ ﻛﺎﺗﺐ ﺟﻲ ﺗﺤﺮﻳﺮ ﺟﻲ ُﮘﻮڙﻫﺎﺋﻲ ۽‬
‫ﺻﻮرﺗﺨﻄﻲ‪ ‬ﺟﻲ ﻓﺮق ﻛﺮي‪ ،‬ﻣﺘﻦ ۾ اﺻﻞ ﻣﻮﺟﺐ ﺟﻴﺌﻦ ﺟﻮ ﺗﻴﺌﻦ ﭘﮍﻫﮣﻲ اﺧﺘﻴﺎر ﻛﺌﻲ‬
‫وﺋﻲ آﻫﻲ‪ .‬ان ﮐﺎن ﺳﻮا‪ ‬ﻣﻤﻜﻦ آﻫﻲ ﺗﻪ ﻛﻲ ﻋﺎﻟﻢ ۽ ﻣﺤﻘﻖ ﻣﻮن واري‪ ‬ﻛﻨﻬﻦ ﭘﮍﻫﮣﻲ‪‬‬
‫ﺳﺎن ﻣﺘﻔﻖ ﻧﻪ ﭤﻴﻦ‪ .‬اﻧﻬﻦ ﻻ‪ ‬اﺻﻞ ﻣﻮﺟﻮد آﻫﻲ ان ﻣﻮﺟﺐ ﻫﻮ ﻣﺰﻳﺪ ﺗﺤﻘﻴﻖ ۽ ﺗﺼﺪﻳﻖ‬
‫ﻛﺮي ﺳﮕﮭﻦ ﭤﺎ‪(17) ”.‬‬
‫ﻣﻤﺘﺎز ﻣﺮزا ﻗﺪﻳﻢ ﺳﻨﮅي ﺻﻮرﺗﺨﻄﻲ ۽ ﺟﺪﻳﺪ ﺻﻮرﺗﺨﻄﻲ‪ ‬ﮐﻲ ﻫﺮﻫﻚ ﺻﻔﺤﻲ‬
‫ﺗﻲ ﺳﺎﮘﻴﻮن ﺳﭩﻮن رﮐﻴﻮن آﻫﻦ ﺗﻪ ﺟﻴﺌﻦ ﺗﺤﻘﻴﻘﻲ ﻛﻢ ۽ اﺻﻞ ﺻﻮرت ﺳﺎﻣﻬﻮن رﻫﻲ‪.‬‬
‫ﮔﻨﺞ ﺷﺮﻳﻒ ﺟﻲ ‪1995‬ع ۾ ﺷﺎﻫﻪ ﻋﺒﺪاﻟﻠﻄﻴﻒ ﭜﭩﺎﺋﻲ‪ ‬ﺟﻲ ‪251‬ﻫﻴﻦ ﻋﺮس ﺟﻲ ﻣﻮﻗﻌﻲ ﺗﻲ‬
‫ﺗﮇﻫﻮﻛﻲ وزﻳﺮاﻋﻈﻢ ﻣﺤﺘﺮﻣﻪ ﺑﻴﻨﻈﻴﺮ ﭜﭩﻮ ﺟﻲ ﻫﭥﺎن روﻧﻤﺎﺋﻲ ﻛﺮاﺋﻲ وﺋﻲ‪ .‬ﺟﻴﻜﻮ‬
‫ﺛﻘﺎﻓﺖ ﮐﺎﺗﻲ ﺟﻲ ﺳﻴﻜﺮﻳﭩﺮي ﻋﺒﺪاﻟﺤﻤﻴﺪ آﺧﻮﻧﺪ ﮀﭙﺮاﺋﻲ ﭘﮅرو ﻛﻴﻮ ﻫﻮ‪.‬‬
‫ﮔﻨﺞ ﺷﺮﻳﻒ ﺟﻲ اﻫﻤﻴﺖ ﺷﺎﻫﻪ ﺟﻲ رﺳﺎﻟﻲ ﺟﻲ ﺣﻮاﻟﻲ ﺳﺎن ﺗﺤﻘﻴﻘﻲ ﻧﻈﺮ ﺳﺎن‬
‫ڏﺳﺠﻲ ﺗﻪ اﺋﻴﻦ ﺑﻪ وڌﻳﻚ آﻫﻲ ﺟﻮ ﻣﻤﺘﺎز ﻣﺮزا ﻗﺪﻳﻢ زﻣﺎﻧﻲ ﺟﻲ ﻧﺴﺨﻦ ﺗﻲ ﭜﻴﭩﻲ ۽ ﺷﺎﻫﻪ‬
‫ﺟﻲ ﻛﻼم ﮐﻲ آڏو رﮐﻨﺪي ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬ﺟﻲ اﮐﺮن ۽ اﭼﺎرن ﮐﻲ ڏاڍي‪ ‬ﮐﻮﺟﻨﺎ ﮐﺎن ﭘﻮ‪‬‬
‫ﻛﻼم ﻟﮑﻴﻮ آﻫﻲ‪ .‬ﻣﺜﺎل ﻃﻮر‪ :‬ﻛﺎﺗﺐ ﺟﻲ اﺧﺘﻴﺎر ﻛﻴﻞ “ت” ﮐﻲ ﻣﻮﺟﻮده ﺻﻮرﺗﺨﻄﻲ‪ ‬۾‬
‫ٽ ۽ ٺ اﻫﮍي‪ ‬رﻳﺖ “ک” ﺟﻲ ﻻ‪ ‬ک‪ ،‬گ‪ ،‬ڳ ۽ ﮔﻬﻪ ﻛﻴﻮ وﻳﻮ آﻫﻲ‪ .‬ﻗﺪﻳﻢ ﻧﺴﺨﻲ ﺟﺎ ‪11‬‬
‫اﮐﺮ ﺟﺪﻳﺪ ﺻﻮرﺗﺨﻄﻲ‪ ‬۾ ‪ 19‬ﺻﻮرﺗﻦ ۾ آﻳﺎ آﻫﻦ‪.‬‬
‫ﻣﺮزا ﺻﺎﺣﺐ ﻧﻬﺎﻳﺖ ﻣﺤﻨﺖ ﺳﺎن ﻫﻲ ﺗﺤﻘﻴﻘﻲ ﻛﻢ ﻛﻴﻮ ﺟﻨﻬﻦ ﺳﺎﻧﮕﻲ ﭘﺎڻ‬
‫‪132‬‬ ‫ﻣﻤﺘﺎز ﻣﺮزاﺟﻲ ﺷﺨﺼﻴﺖ ۽ ﺳﻨﺪس ﺧﺪﻣﺘﻮن‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻟﻄﻴﻒ ﺳﺎﺋﻴﻦ‪ ‬ﺟﻲ ﻓﻘﻴﺮن ﺟﻲ اوﻃﺎﻗﻦ ﺗﻲ ﺑﻪ ﻛﻴﺘﺮاﺋﻲ ڏﻳﻨﻬﻦ رﻫﻴﻮ‪ .‬ﺟﮇﻫﻦ ﺗﻪ ﻣﺨﺘﻠﻒ‬
‫ﻛﺘﺐ ﺧﺎﻧﻦ ﻣﺎن ۽ ﭔﻮﻟﻲ‪ ‬ﺟﻲ ﻣﺎﻫﺮن ﺳﺎن ﺑﻪ اﻧﻬﻲ‪ ‬ﺑﺎﺑﺖ ﭜﭳ ُڊڪ ﻛﺮي ﻋﻠﻤﻲ ﭘﻮرﻫﻴﻮ‬
‫ﻣﻜﻤﻞ ﻛﻴﺎﺋﻴﻦ‪.‬‬
‫ﺷﺎﻫﻪ ﺟﻮ رﺳﺎﻟﻮ ﺟﻴﻜﻮ ﻏﻼم ﻣﺤﻤﺪ ﺷﺎﻫﻮاﮢﻲ‪ ‬ﻣﺮﺗﺐ ﻛﻴﻮ آﻫﻲ‪ ،‬ﻣﻤﺘﺎز ﻣﺮزا‬
‫اﻧﻬﻲ‪ ‬ﮐﻲ ﺑﻪ ﺳﻨﻮاري ﺳﮅاري ﭘﻴﺶ ﻛﻴﻮ ﺟﻨﻬﻦ ۾ ﻛﺎﻓﻲ اوﮢﺎﻳﻮن ۽ ﻛﻤﺰورﻳﻮن ﻫﻴﻮن‪،‬‬
‫ﺟﻴﻜﻲ درﺳﺖ ﻛﻴﺎﺋﻴﻦ‪ .‬ﻫﻲ‪ ‬ﺷﺎﻫﻪ ﺟﻮ رﺳﺎﻟﻮ ﺳﻨﻮارڻ ﺑﻌﺪ ‪1993‬ع ۾ ﺳﻨﮅﻳﻜﺎ‬
‫اﻛﻴﮉﻣﻲ‪ ‬ﭘﺎران ﺷﺎﻳﻊ ﻛﻴﻮ وﻳﻮ‪.‬‬
‫‪1992‬ع ۾ “ﺷﺎﻫﻪ ﻟﻄﻴﻒ ﻗﻮﻣﻲ ﻛﺎﻧﻔﺮﻧﺲ” ﻛﺮاﭼﻲ‪ ‬۾ ﭤﻲ‪ ،‬ﺟﻨﻬﻦ ۾ ﺳﻨﮅ ﺟﻲ‬
‫ﻧﺎﻣﻴﺎرن ﻋﺎﻟﻤﻦ ۽ ﻣﺤﻘﻘﻦ ڊاﻛﭩﺮ ﻏﻼم ﻋﻠﻲ اﻻﻧﺎ‪ ،‬ڊاﻛﭩﺮ ﺗﻨﻮﻳﺮ ﻋﺒﺎﺳﻲ‪ ،‬ڊاﻛﭩﺮ ﻧﺒﻲ‬
‫ﺑﺨﺶ ﺑﻠﻮچ‪ ،‬ڊاﻛﭩﺮ ﻣﻴﻤﮡ ﻋﺒﺪاﻟﻤﺠﻴﺪ ﺳﻨﮅي‪ ،‬ڊاﻛﭩﺮ اﻳﺎز ﻗﺎدري‪ ،‬ڊاﻛﭩﺮ ﻋﺒﺪاﻟﺠﺒﺎر‬
‫ﺟﻮﮢﻴﺠﻲ‪ ،‬ﻋﻠﻲ اﺣﻤﺪ ﺑﺮوﻫﻲ‪ ،‬ﺣﻤﻴﺪ ﺳﻨﮅي‪ ،‬ڊاﻛﭩﺮ ﻓﻬﻤﻴﺪه ﺣﺴﻴﻦ‪ ،‬ڊاﻛﭩﺮ ﺳﻠﻴﻤﺎن‬
‫ﺷﻴﺦ‪ ،‬ڊاﻛﭩﺮ ﻫﺪاﻳﺖ ﭘﺮﻳﻢ‪ ،‬اﻧﻌﺎم ﺷﻴﺦ‪ ،‬ﺑﺪر اﺑﮍي ۽ ﺳﻠﻄﺎﻧﻪ وﻗﺎﺻﻲ‪ ‬ﻣﻘﺎﻻ ﭘﻴﺶ ﻛﻴﺎ‪.‬‬
‫اﻧﻬﻦ ﭔﻦ ڏﻳﻨﻬﻦ واري ﻛﺎﻧﻔﺮﻧﺲ ﺟﺎ ﭘﮍﻫﻴﻞ ﻣﻘﺎﻻ “ﻟﻄﻴﻔﻲ ﻻت” ﺟﻲ ﻧﺎﻟﻲ ﺳﺎن ﻛﺘﺎب‬
‫ﺗﺮﺗﻴﺐ ڏﺋﻲ ﺷﺎﻳﻊ ﻛﺮاﻳﺎﺋﻴﻦ‪.‬‬
‫ﺷﺎﻫﻪ ﺻﺎﺣﺐ ﺗﻲ ﻣﻤﺘﺎز ﻣﺮزا ﭨِﻪ ﻣﺎﻫﻲ ﻣﻬﺮاڻ ۾ ﻛﻴﺘﺮاﺋﻲ ﻣﻘﺎﻻ ﺗﺤﺮﻳﺮ ﻛﻴﺎ ﺟﻦ‬
‫ﻣﺎن “ ُﺳﺮ ﺳﺎﻣﻮﻧﮉي‪ :‬ﺳﻨﮅ ﺟﻲ ﻋﻬﺪ رﻓﺘﻪ ﺟﻮ اﻟﻤﻴﻪ داﺳﺘﺎن” ﺗﻤﺎم اﻫﻢ ﻣﻘﺎﻟﻮ ﻫﻮ‪ ،‬ﺟﻨﻬﻦ ﮐﻲ‬
‫‪1997‬ع ۾ ﺛﻘﺎﻓﺖ ﮐﺎﺗﻲ‪ ،‬ﺳﻨﮅ ﺣﻜﻮﻣﺖ ﭘﺎران ﺷﺎﻫﻪ ﻋﺒﺪاﻟﻠﻄﻴﻒ ﭜﭩﺎﺋﻲ ﺟﻲ ﺷﺎﻋﺮي‪ ‬ﺟﻲ‬
‫ﻣﺨﺘﻠﻒ رﺧﻦ ۽ ﭘﻬﻠﻮﺋﻦ ﺗﻲ ﺑﻠﻨﺪ ﭘﺎﻳﻪ ﻣﺤﻘﻘﻦ ﺟﺎ ﻣﻘﺎﻻ ﮔﮇ ﻛﺮي “ﺷﺎﻫﻪ ﻋﺒﺪاﻟﻠﻄﻴﻒ‬
‫ﭜﭩﺎﺋﻲ‪ :‬ﭼﻮﻧﮉ ﻣﻀﻤﻮن” ﺟﻲ ﻋﻨﻮان ﻫﻴﭟ ﮀﭙﺮاﻳﻮ‪ .‬ﻫﻦ ﻣﻘﺎﻟﻲ ۾ ﺷﺎﻫﻪ ﺟﻲ دور ﺟﺎ ﻣﺸﻬﻮر‬
‫ﺗﺎرﻳﺨﻲ واﻗﻌﺎ‪ ،‬ﺳﻨﮅ ﺟﻲ ﺳﻴﺎﺳﻲ ﺻﻮرﺗﺤﺎل‪ ،‬ﺳﻨﮅ ﺟﻲ اﻗﺘﺼﺎدي ﺻﻮرﺗﺤﺎل ۽ ﺳﺮ‬
‫ﺳﺎﻣﻮﻧﮉي‪ ‬ﺗﻲ ﻣﺤﻘﻘﺎﻧﻪ ﻧﻈﺮ وڌي آﻫﻲ‪.‬‬
‫“ﺷﺎﻫﻪ ﭜﭩﺎﺋﻲ ۽ ﺷﺎﻫﻪ ﻟﻄﻒ ا� ﻗﺎدري” ﻧﺎﻟﻲ ﺗﻲ ﺗﺤﻘﻴﻘﻲ ﻣﻘﺎﻟﻮ ‪1970‬ع ۾ ﻣﻤﺘﺎز ﻣﺮزا‬
‫ﻟﮑﻴﻮ ﺟﻴﻜﻮ “ﻧﻘﺶ ﻟﻄﻴﻒ” ﻧﺎﻟﻲ ﻛﺘﺎب ۾ ﺷﺎﻳﻊ ﭤﻴﻮ‪ ،‬ﺟﻴﻜﻮ ﻧﺎﻣﻴﺎري ادﻳﺐ ۽ ﺳﻴﻨﻴﺌﺮ‬
‫ﺻﺤﺎﻓﻲ ﺷﻴﺦ ﻋﺰﻳﺰ ﻣﺮﺗﺐ ﻛﻴﻮ‪ .‬ﻫﻦ ﻣﻘﺎﻟﻲ ۾ ﺳﻨﮅ ﺟﻲ ﭔﻨﻬﻲ ﻗﺎدر ﻛﻼم ﺷﺎﻋﺮن ﺟﻲ‬
‫ﻛﻼم ﺟﻮ ﺗﻘﺎﺑﻠﻲ ﺟﺎﺋﺰو ورﺗﻞ آﻫﻲ‪.‬‬
‫ﻣﻤﺘﺎز ﻣﺮزا ﭘﻨﻬﻨﺠﻲ ﭨﻨﻬﻲ ﻛﺘﺎﺑﻦ وﺳﺎرﻳﺎن ﻧﻪ وﺳﺮن‪ ،‬ﺳﭙﺮﻳﺎن ﺳﻨﺪي ﮘﺎﻟﻬﮍي ۽‬
‫ﺳﺪاﺳﻮﻳﺘﺎ ﻛﺎﭘﮍي ۾ ﺷﺎﻫﻪ ﺻﺎﺣﺐ ﺟﻲ راﮘﻴﻦ‪ ،‬ﻓﻘﻴﺮن ۽ وﭴﺘﻦ ﺳﻤﻴﺖ ﺷﺎﻫﻪ ﺻﺎﺣﺐ‬
‫ﺟﻲ ﻣﻮﺳﻴﻘﻲ‪ ‬ﺑﺎﺑﺖ اﻫﻢ ﺑﺎب ڏﻧﺎ آﻫﻦ‪ .‬ﺟﻴﻜﺎ ﻟﻄﻴﻔﻲ ﺳﺮ ۽ ﺳﺎز ﺟﻲ اﻟﮗ ﺗﺎرﻳﺦ آﻫﻲ‪.‬‬
‫ﻣﻤﺘﺎز ﻣﺮزا ﭘﻨﻬﻨﺠﻦ ﻛﺘﺎﺑﻦ ۾ ﻓﻘﻴﺮن ﺟﻲ ﺷﺠﺮن‪َ ،‬ﺳﻨﺪن رﻫﮣﻴﻦ ۽ ﻓﻦ ﺑﺎﺑﺖ ﻧﻬﺎﻳﺖ اﻫﻢ‬
‫ﺗﺤﻘﻴﻖ ﻛﺌﻲ آﻫﻲ‪ .‬ﻫﻦ ﺷﺎﻫﻪ ﺻﺎﺣﺐ ﺟﻲ درﮔﺎﻫﻪ ﺗﻲ ﻓﻘﻴﺮن ﺟﻲ راڳ رﻫﺎڻ ﺟﻲ‬
‫ﻣﻜﻤﻞ ﭴﺎڻ ڏﻧﻲ آﻫﻲ‪.‬‬
‫رﻳﮉﻳﻮ ﭘﺎﻛﺴﺘﺎن ﺣﻴﺪرآﺑﺎد ﺗﻲ “ﺳﺎﮢﻴﻬﻪ ﺟﺎ ﺳﻴﻨﮕﺎر” ﭘﺮوﮔﺮام ﺳﻨﮅ ﺟﻲ ﺛﻘﺎﻓﺖ ۽‬
‫‪133‬‬ ‫ﻣﻤﺘﺎز ﻣﺮزاﺟﻲ ﺷﺨﺼﻴﺖ ۽ ﺳﻨﺪس ﺧﺪﻣﺘﻮن‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻣﻮﺳﻴﻘﻲ‪ ‬ﺗﻲ ﻫﻮﻧﺪو ﻫﻮ‪ ،‬ﺟﻨﻬﻦ ﺟﻮ ﻣﻴﺰﺑﺎن ﻣﻤﺘﺎز ﻣﺮزا رﻫﻴﻮ‪ .‬ﻫﻲ ‪1970‬ع واري ڏﻫﺎﻛﻲ‬
‫ﺟﻮ ﻣﻘﺒﻮل ﭘﺮوﮔﺮام ﻫﻮ ﺟﻨﻬﻦ ۾ ﺷﺎﻫﻪ ﺻﺎﺣﺐ ﺟﻲ ﺣﻮاﻟﻲ ﺳﺎن ﭘﮡ ﻛﻴﺘﺮاﺋﻲ ﭘﺮوﮔﺮام‬
‫ﻧﺸﺮ ﭤﻴﺎ‪.‬‬
‫ﻣﻤﺘﺎز ﻣﺮزا ﭘﻲ ﭨﻲ وي ﺗﻲ ﺑﻪ ﺷﺎﻫﻪ ﻟﻄﻴﻒ ﺟﻲ ﺣﻮاﻟﻲ ﺳﺎن ﻣﻮﺳﻴﻘﻲ‪ ‬ﺟﻲ ﭘﺮوﮔﺮاﻣﻦ‬
‫۾ ﺷﺎﻫﻪ ﺻﺎﺣﺐ ﺟﻲ ﻛﻼم ﺗﻲ ﮔﻔﺘﮕﻮ ﻛﺮڻ وارن ﻛﻴﺘﺮن ﺋﻲ ﭘﺮوﮔﺮاﻣﻦ ﺟﻮ ﻣﻴﺰﺑﺎن‬
‫رﻫﻴﻮ‪“ .‬روح رﻫﺎڻ” اﻫﻮ ﭘﺮوﮔﺮام ﻫﻮ ﺟﻴﻜﻮ ﻓﻘﻂ ﺷﺎﻫﻪ ﺻﺎﺣﺐ ﺟﻲ ﺣﻮاﻟﻲ ﺳﺎن ﭴﺎڻ‬
‫ڏﻳﻨﺪڙ ﻫﻮ‪ ،‬ﺟﻨﻬﻦ ۾ ﻟﻄﻴﻒ ﺳﺎﺋﻴﻦ‪ ‬ﺟﻲ ﻛﻼم ﺟﻲ ﺳﺮن ﺑﺎﺑﺖ‪ ،‬ﺳﻨﺪس دؤر ﺑﺎﺑﺖ‬
‫ﺳﻨﺪس ﻛﻼم ۾ ﺟﮭﺮ ﺟﮭﻨﮓ‪ ،‬ﻣﺎﮘﻦ ﻣﻜﺎﻧﻦ‪ ،‬ﺗﺎرﻳﺦ‪ ،‬ﻛﺮدار ۽ ﺳﻮاﻧﺢ ﺳﻤﻴﺖ ﺳﭵﻮ‬
‫ﺳﺎرو ﻣﻮﺿﻮع ﻟﻄﻴﻔﻴﺎت ﻫﻮ‪ .‬ﻫﻲ‪ ‬ﭘﺮوﮔﺮام ﺳﭵﻲ‪ ‬ﺳﻨﮅ ۾ ﻣﻘﺒﻮﻟﻴﺖ ﺟﻮ رﻛﺎرڊ ﭠﺎﻫﻲ‬
‫وﻳﻮ‪ .‬ﭘﺮوﮔﺮام ﺟﻲ دﻟﭽﺴﭙﻲ اﻧﻬﻲ‪ ‬۾ ﻫﺌﻲ ﺗﻪ ﺷﺎﻫﻪ ﺻﺎﺣﺐ ﺑﺎﺑﺖ ﻛﻮﺑﻪ ﻣﻬﻤﺎن ﺳﻮال‬
‫ﮘﺠﮭﻮ رﮐﻨﺪو ﻫﻮ ۽ ﻣﻤﺘﺎز ﻣﺮزا اﻧﻬﻲ‪ ‬ﺳﻮال ﺟﻲ ﮘﺠﻬﻪ ﮐﻲ ﮘﻮﻟﻲ ﻟﻬﻨﺪو ﻫﻮ‪.‬‬
‫ﭘﻲ ﭨﻲ وي ﺗﺎن ﻧﺸﺮ ﭤﻴﻨﺪڙ ﭔﻴﻦ ﭘﺮوﮔﺮاﻣﻦ ﻟﻄﻴﻔﻲ ﻻت ﺟﻬﮍو ﻳﺎدﮔﺎر ﭘﺮوﮔﺮام ﻣﻤﺘﺎز‬
‫ﻣﺮزا ﺟﻲ آڌار ﺗﻲ ﻛﺎﻣﻴﺎب ﭤﻴﻮ ﺟﻨﻬﻦ ﺟﻮ ﻣﻴﺰﺑﺎن رﻫﻴﻮ‪ .‬ﻟﻄﻴﻔﻲ ﻻت ۽ روح رﻫﺎڻ‬
‫ﭘﺮوﮔﺮاﻣﻦ ﺟﻮ ﭘﺮوڊﻳﻮﺳﺮ ﺑﻴﺪل ﻣﺴﺮور ﻫﻮ‪.‬‬
‫ﻫﻦ ﺷﺎﻫﻪ ﻟﻄﻴﻒ ﺟﻲ ﺣﻮاﻟﻲ ﺳﺎن ﭘﻲ ﭨﻲ وي ﺗﺎن ﻧﺸﺮ ﭤﻴﻨﺪڙ دﺳﺘﺎوﻳﺰي ﭘﺮوﮔﺮاﻣﻦ‬
‫۾ ﺑﻪ اﺳﻜﺮﭘﭧ ﭘﮍﻫﻴﺎ ﺟﻴﻜﻲ ﺷﺎﻫﻪ ﺻﺎﺣﺐ ﺟﻲ ﻋﺮس ﺗﻲ ﺧﺼﻮﺻﻲ ﻃﻮر ﺗﻴﺎر ﻛﻴﺎ‬
‫وﻳﻨﺪا ﻫﺌﺎ‪.‬‬

‫يﺐ ‪:‬‬ ‫ﺌ‬

‫ﻣﻴﻮن ﻋﻴﺴﻮ ﺳﻨﮅي ﺑﻴﺖ ﺟﻮ اﻫﻢ ﺷﺎﻋﺮ آﻫﻲ ﺟﻴﻜﻮ ﻟﻄﻴﻒ ﺳﺎﺋﻴﻦ ﺟﻲ زﻣﺎﻧﻲ ﺟﻮ‬
‫ﻫﻮ‪ .‬اﻧﻬﻲ‪ ‬ﺣﻮاﻟﻲ ﺳﺎن ﻋﻼﻣﻪ ﻋﻤﺮ ﻣﺤﻤﺪ ﺑﻦ داﺋﻮد ﭘﻮﭨﻮ ﺑﻪ ﺗﺤﻘﻴﻖ ﻛﺮي ﭼﻜﻮ ﻫﻮ‪ .‬ﻣﻤﺘﺎز‬
‫ﻣﺮزا ﺳﻨﮅي ﺑﻴﺖ ﺟﻲ ﺟﻮڙﺟﻚ ۽ ﻣﺎﺿﻲ‪ ‬ﺟﻲ ﺷﺎﻋﺮن ﺟﺎ ﻣﺜﺎل ڏﺋﻲ ﻣﻴﻴﻦ ﻋﻴﺴﻲ ﺟﻲ‬
‫ﺷﺎﻋﺮي‪ ‬ﺟﻮ ﺟﺎﺋﺰو ورﺗﻮ آﻫﻲ‪ .‬ﻫﻦ ﻛﺘﺎب ۾ ﻣﻴﻴﻦ ﻋﻴﺴﻲ ﺟﻲ ﺳﻮاﻧﺢ‪ ،‬ﻣﻴﻴﻦ ﻋﻴﺴﻲ ﺟﻮ‬
‫ﻣﺴﻠﻚ‪ ،‬ﻣﻴﻴﻦ ﻋﻴﺴﻲ ﺟﻲ ﻛﻼم ﺟﻮ ذﺧﻴﺮو‪ ،‬ﻣﻴﻴﻦ ﻋﻴﺴﻲ ﺟﻲ ﺷﺎﻋﺮي‪ ،‬ﻋﻴﺴﻮ ۽ ﺷﺎﻫﻪ‬
‫ﻟﻄﻴﻒ‪ ،‬ﻣﻴﻴﻦ ﻋﻴﺴﻲ ﺟﻲ ﻛﻼم ﺟﻲ ﺧﺼﻮﺻﻴﺖ‪ ،‬ﻣﻴﻴﻦ ﻋﻴﺴﻲ ﺟﻲ ﻛﻼم ۾ ﺑﺰرﮔﻦ ۽‬
‫ﻋﺎﻟﻤﻦ ﺟﺎ ﻧﺎﻻ ﺟﻲ ﻋﻨﻮان ﺳﺎن ﻧﻨﮃا ﻧﻨﮃا ﻣﻀﻤﻮن آﻳﻞ آﻫﻦ‪ .‬ﻫﻲ ﺗﺤﻘﻴﻘﻲ ﭘﻮرﻫﻴﻮ ‪1993‬ع‬
‫۾ ﺷﺎﻳﻊ ﭤﻴﻮ‪.‬‬

‫اريﮭ ﺌ ل‪:‬‬
‫ﻟﻮاري‪ ‬وارا اوﻟﻴﺎ‪ ‬ﺳﻨﮅ ﺟﻲ ﻣﭹﻴﻞ ﺑﺰرﮔﻦ ﻣﺎن آﻫﻦ‪ ،‬ﺳﻨﺪن رﺗﺒﻮ ﻧﻬﺎﻳﺖ ﺑﻠﻨﺪ‬
‫آﻫﻲ‪ .‬ﻣﻤﺘﺎز ﻣﺮزا اﻧﻬﻲ‪ ‬ﺣﻮاﻟﻲ ﺳﺎن ﺑﻪ ﺗﻔﺼﻴﻠﻮار ﺑﻴﺎن ﻛﻴﻮ آﻫﻲ‪ .‬ﻫﻦ ﮐﻲ درﮔﺎﻫﻪ ﻟﻮاري‬
‫ﺷﺮﻳﻒ ﺳﺎن ﮔﻬﺮو ﻟﮙﺎ‪ ‬ﻫﻮ‪ .‬اﻧﻬﻲ‪ ‬ﺣﻮاﻟﻲ ﺳﺎن ﻣﻤﺘﺎز ﻣﺮزا ﻟﻮاري ﺷﺮﻳﻒ ﺟﻲ اوﻟﻴﺎﺋﻦ ﺗﻲ‬
‫‪134‬‬ ‫ﻣﻤﺘﺎز ﻣﺮزاﺟﻲ ﺷﺨﺼﻴﺖ ۽ ﺳﻨﺪس ﺧﺪﻣﺘﻮن‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻗﻠﻢ آراﺋﻲ ﻛﺌﻲ آﻫﻲ‪ .‬ﻫﻦ ﭘﻴﺮ روﺷﻦ ﺿﻤﻴﺮ ﺧﻮاﺟﻪ اﺑﻮاﻟﻤﺴﺎﻛﻴﻦ ﭠﭩﻮي ﻗﺪس ﺳﺮه‪،‬‬
‫ﺣﻀﺮت ﻣﺤﺒﻮب اﻟﺼﻤﺪ ﺧﻮاﺟﻪ ﮔﻞ ﻣﺤﻤﺪ ﻗﺪس ﺳﺮه‪ ،‬ﺣﻀﺮت ﺧﻮاﺟﻪ ﻣﺤﻤﺪ ﺣﺴﻦ‬
‫ﺷﺎﻫﻪ ﻣﺪﻧﻲ ﻗﺪس ﺳﺮه ۽ ﺧﻮاﺟﻪ ﻣﺤﻤﺪ زﻣﺎن ﻟﻮاري‪ ‬واري ﺗﻲ ﻟﮑﻴﻮ‪.‬‬

‫ن‪:‬‬ ‫ﺌ‬ ‫ن ﺌ‬ ‫ﺌز زا‬

‫ﻣﻤﺘﺎز ﻣﺮزا ‪1990‬ع ﮐﺎن ﺳﻨﮅ ﺣﻜﻮﻣﺖ ﺟﻲ ﺛﻘﺎﻓﺖ ﮐﺎﺗﻲ ﺟﻮ ﭘﻬﺮﻳﻮن ڊاﺋﺮﻳﻜﭩﺮ‬
‫ﺟﻨﺮل ﻣﻘﺮر ﭤﻴﻮ‪ .‬اﻧﻬﻲ‪ ‬ﮐﺎن اڳ ۾ ﻫﻲ‪ ‬ﭘﻮﺳﭧ ﻛﻮﻧﻪ ﻫﺌﻲ‪ .‬ﺛﻘﺎﻓﺖ ﮐﺎﺗﻲ ۾ ﺑﺎﻗﺎﺋﺪﮔﻲ‪‬‬
‫ﺳﺎن ﺳﺮﻛﺎري ﻋﻬﺪي ﺳﻨﭝﺎﻟﮡ ﮐﺎن ﭘﻮ‪ ‬ﺛﻘﺎﻓﺖ ﮐﺎﺗﻲ ۾ ﻛﺘﺎﺑﻦ ﺟﻲ اﺷﺎﻋﺖ ﺟﻮ ﺳﻠﺴﻠﻮ‬
‫ﺗﻴﺰ ﭤﻲ وﻳﻮ‪ .‬ﻫﻦ ﻛﺘﺎﺑﻦ ﺟﻲ ﻣﻌﻴﺎر ﮐﻲ ﺑﻪ ﺑﻬﺘﺮ ﺑﮣﺎﻳﻮ‪ .‬ﻣﻤﺘﺎز ﻣﺮزا ﺳﻨﮅ ﺟﻲ ﻣﺤﻘﻘﻦ ﮐﻲ‬
‫وڌﻳﻚ اﻫﻤﻴﺖ ڏﻧﻲ ۽ ﭘﻲ اﻳﭿ‪ .‬ڊي ﻛﻨﺪڙ ﻋﺎﻟﻤﻦ ﺟﻮن ﭤﻴﺴﺰ ﺷﺎﻳﻊ ﻛﺮڻ ﺷﺮوع ﻛﻴﻮن‪.‬‬
‫ﺳﻨﮅ ﺟﺎ ﺛﻘﺎﻓﺘﻲ وﻓﺪ ﭘﺮڏﻳﻬﻪ وﻳﻨﺪا ﻫﺌﺎ ﺗﻪ اﻧﻬﻦ ﺟﻲ ﻧﻤﺎﺋﻨﺪﮔﻲ ﻛﻨﺪو ﻫـﻮ‪ .‬ﭘـﺎﻛﺴـﺘـﺎن‬
‫ﺟﻲ ﻗﻮﻣﻲ ڏﻳﻨﻬﻦ ﺗﻲ اﺳﻼم آﺑﺎد ۾ ﺳﻨﮅي ﺛﻘﺎﻓﺖ ﺟﺎ ﺟﭥﺎ وﭠﻲ وﻳﻨﺪو ﻫﻮ‪.‬‬
‫ﺛﻘﺎﻓﺖ ﮐﺎﺗﻲ ﺟﻲ ذﻳﻠﻲ اداري ﺳﻨﮅي ﻟﻴﻨﮕﻮﻳﺞ اﭤﺎرﭨﻲ‪ ‬ﺟﻮ ﺑﻪ ﭼﻴﺌﺮﻣﻴﻦ )اﺿﺎﻓﻲ‬
‫ﭼﺎرج( رﻫﻴﻮ‪.‬‬
‫ﭜﭧ ﺷﺎﻫﻪ ﺗﻲ ﺛﻘﺎﻓﺖ ﮐﺎﺗﻲ ﭘﺎران ﭤﻴﻨﺪڙ راڳ رﻫﺎڻ واري ﻣﺤﻔﻞ ﺟﻮ ڊﮔﮭﻲ ﻋﺮﺻﻲ‬
‫ﮐﺎن وﭠﻲ ﻛﻤﭙﻴﺌﺮ رﻫﻴﻮ‪ .‬ﺟﮇﻫﻦ اﺳﭩﻴﺞ ﺳﻨﭝﺎﻟﻴﻨﺪو ﻫﻮ ﺗﻪ ﺷﺎﻫﻪ ﻟﻄﻴﻒ ﺟﻲ ﻛﻼم‪ ،‬ﺳﻨﮅ‬
‫ﺟﻲ ﺗﺎرﻳﺦ‪ ،‬ﺛﻘﺎﻓﺖ ۽ ﺗﻬﺬﻳﺐ ﺟﺎ ﻛﻴﺘﺮاﺋﻲ ﺣﻮاﻻ ڏﻳﻨﺪي ﻛﺎرواﺋﻲ ﻫﻼﺋﻴﻨﺪو ﻫﻮ‪ .‬ﻣﻤﺘﺎز‬
‫ﻣﺮزا ﺟﻲ ﺑﺮاﺑﺮ اﭸﺎ ﺗﺎﺋﻴﻦ ﻛﻮﺑﻪ ﭜﭩﺎﺋﻲ‪ ‬ﺟﻲ ﻧﮕﺮي‪ ‬ﺗﻲ ﻛﻤﭙﻴﺌﺮ ﻧﺎﻫﻲ آﻳﻮ‪ ،‬ﺟﻨﻬﻦ ۾‬
‫اﻳﺘﺮﻳﻮن ﺳﺎرﻳﻮن ﺻﻼﺣﻴﺘﻮن ۽ ﺧﻮﺑﻴﻮن ﻫﻚ ﺋﻲ وﻗﺖ ﻫﺠﻦ‪.‬‬

‫ن‪:‬‬ ‫وي‬ ‫ن‬ ‫ﺌز زا‬

‫‪1974‬ع ۾ ﻣﻤﺘﺎز ﻣﺮزا ﭘﻲ ﭨﻲ وي ﺗﻲ اﺳﻜﺮﭘﭧ اﻳﮉﻳﭩﺮ ﺑﮣﻴﻮ‪ .‬ﭘﻲ ﭨﻲ وي ﺗﻲ‬
‫ﻋﺒﺪاﻟﻜﺮﻳﻢ ﺑﻠﻮچ ﺟﻮ ﻣﭥﺲ وڏو اﻋﺘﻤﺎد ﻫﻮ‪ .‬ﻣﻤﺘﺎز ﻣﺮزا ﺟﻲ ﭘﻲ ﭨﻲ وي واري ﺳﭵﻲ‬
‫ﻋﺮﺻﻲ ۾ ﺳﻨﮅي ﭘﺮوﮔﺮاﻣﻦ ﺟﻮ ﻋﺮوج رﻫﻴﻮ‪ ،‬اﻳﺘﺮي‪ ‬ﺣﺪ ﺗﺎﺋﻴﻦ ﺟﻮ ﻛﻴﺘﺮاﺋﻲ ﺳﻨﮅي‬
‫ڊراﻣﺎ اردو ﭔﻮﻟﻲ‪ ‬۾ ﻛﺮي ڏﻳﮑﺎرﻳﺎ وﻳﺎ‪ .‬ﻫﻲ‪ ‬اﻫﻮ دور ﻫﻮ ﺟﮇﻫﻦ ﻣﻠﻚ ۾ آﻣﺮﻳﺖ ﺟﻮ راڄ‬
‫ﻫﻮ‪ ،‬ﭘﺮ ﭨﻲ وي ﺗﻲ ﺳﻨﮅي ﭘﺮوﮔﺮاﻣﻦ ﺟﻮ وﻗﺖ اڌ ﻛﻼڪ ﻣﺎن وڌاﺋﻲ ﻫﻚ ﻛﻼڪ‬
‫ﻛﺮاﺋﮡ واري ﺟﺪوﺟﻬﺪ ۾ ﻋﺒﺪاﻟﻜﺮﻳﻢ ﺑﻠﻮچ ۽ ﻣﻤﺘﺎز ﻣﺮزا ﺟﻮ ﮔﮇﻳﻞ ﺳﺎٿ رﻫﻴﻮ‪ .‬ﭘﻲ ﭨﻲ‬
‫وي ﻛﺮاﭼﻲ‪ ‬ﺟﻲ ﺳﻤﻮرن ﺳﻨﮅي ﭘﺮوﮔﺮاﻣﻦ ڊراﻣﻦ‪ ،‬ﻣﻮﺳﻴﻘﻲ‪ ،‬ادب‪ ،‬ﻟﻮڪ ادب‪ ،‬اﺳﭩﻴﺞ‬
‫ﺷﻮ ۽ ﺣﺎﻻت ﺣﺎﺿﺮه ﺟﻲ ﭔﻮﻟﻲ‪ ،‬ﻣﻌﻴﺎر ۽ ﭘﻴﺸﻜﺶ ﺗﻲ ﻣﻤﺘﺎز ﻣﺮزا ﻧﮕﺎﻫﻪ رﮐﻨﺪو ﻫﻮ‪.‬‬
‫ﻛﻴﺘﺮاﺋﻲ ڊراﻣﺎ ۽ ﻻﮘﺎﭘﻴﻞ ﭘﺮوﮔﺮام ڊﮔﮭﻲ ﻋﺮﺻﻲ ﺗﺎﺋﻴﻦ ﻛﻨﻬﻦ ﻛﻤﺰوري‪ ‬۽ ﺟﮭﻮل‬
‫ﺳﺒﺐ اﭨﻜﻲ ﺑﻪ ﭘﻮﻧﺪا ﻫﺌﺎ ۽ ﻛﻴﺘﺮاﺋﻲ رد ﻛﺮي ﮀﮇﻳﻨﺪو ﻫﻮ‪ .‬ﻣﻤﺘﺎز ﻣﺮزا ﺟﻲ زﻣﺎﻧﻲ ۾‬
‫ﻋﺒﺪاﻟﻘﺎدر ﺟﻮﮢﻴﺠﻲ‪ ،‬ﻧﻮراﻟﻬﺪيٰ ﺷﺎﻫﻪ‪ ،‬اﻣﺮ ﺟﻠﻴﻞ‪ ،‬ﻗﻤﺮ ﺷﻬﺒﺎز‪ ،‬ﺷﻤﺸﻴﺮاﻟﺤﻴﺪري‪ ،‬آﻏﺎ‬
‫‪135‬‬ ‫ﻣﻤﺘﺎز ﻣﺮزاﺟﻲ ﺷﺨﺼﻴﺖ ۽ ﺳﻨﺪس ﺧﺪﻣﺘﻮن‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﺳﻠﻴﻢ ۽ ﻣﺮاد ﻋﻠﻲ ﻣﺮزا ﺟﻬﮍا ﻣﺎﻳﻪ ﻧﺎز ڊراﻣﺎ ﻧﮕﺎر ﺳﻨﮅي ڊراﻣﻦ ﺟﺎ ﻟﻴﮑﻚ رﻫﻴﺎ‪.‬‬
‫ﻣﻴﺰﺑﺎن ﻃﻮر ﭘﻲ ﭨﻲ وي ﺗﻲ ﻣﺨﺰن‪ ،‬ادﺑﻲ ﺳﻨﮕﺖ‪ ،‬روح رﻫﺎڻ‪ ،‬ﻟﻄﻴﻔﻲ ﻻت‪ ،‬ﻣﻬﺮاڻ‬
‫رﻧﮓ‪ ،‬ﺳﻨﮅ ﺳﻴﻨﮕﺎر ۽ ﭘﺎرﮐﻮ ﭘﺮوﮔﺮام ﻛﻴﺎﺋﻴﻦ‪ ،‬ﺟﻴﻜﻲ ﭘﻨﻬﻨﺠﻮ ﻣﭧ ﭘﺎڻ ﻫﺌﺎ‪1974 .‬ع‬
‫ﮐﺎن وﭠﻲ ‪1990‬ع ﺗﺎﺋﻴﻦ ﻫﻦ ﭘﻲ ﭨﻲ وي ﺗﻲ ذﻣﻴﻮارﻳﻮن ادا ﻛﻴﻮن‪.‬‬
‫ﻣﻤﺘﺎز ﻣﺮازا ‪1990‬ع ﮐﺎن ‪1996‬ع ﺗﺎﺋﻴﻦ ﺛﻘﺎﻓﺖ ﮐﺎﺗﻲ ﺟﻮ ڊاﺋﺮﻳﻜﭩﺮ ﺟﻨﺮل رﻫﻴﻮ‪.‬‬
‫ﺳﻨﺪس ﺧﺪﻣﺘﻦ ﺟﻲ ﻋﻴﻮض ﺛﻘﺎﻓﺖ ﮐﺎﺗﻲ ﭘﺎران ﻛﺮاﭼﻲ‪ ‬۾ ڊاﺋﺮﻳﻜﭩﻮرﻳﭧ ﺟﻨﺮل ۾‬
‫ﺟﻴﻜﻮ اﺳﭩﻮڊﻳﻮ آﻫﻲ ﻣﻤﺘﺎز ﻣﺮزا ﭘﻨﻬﻨﺠﻲ زﻧﺪﮔﻲ‪ ‬۾ ﺟﻴﻜﻮ ﺗﻌﻤﻴﺮ ﻛﺮاﺋﻲ رﻫﻴﻮ ﻫﻮ ﺗﻪ‬
‫اﻧﻬﻲ‪ ‬۾ ﺳﻨﮅ ﺟﻲ ﻓﻨﻜﺎرن ﺟﺎ ﻛﻼم ۽ اﻧﭩﺮوﻳﻮ رﻛﺎرڊ ﻛﻴﺎ وﻳﻨﺪا‪ ،‬ﺗﻨﻬﻦ اﺳﭩﻮڊﻳﻮ ﺟﻲ‬
‫ﺗﻜﻤﻴﻞ ﮐﺎن اڳ ﺋﻲ ﭘﺎڻ ﭘﺮوردﮔﺎر ﮐﻲ ﭘﻴﺎرو ﭤﻲ وﻳﻮ‪ .‬ﺳﻨﺪس وﻓﺎت ﮐﺎن ﭘﻮ‪ ‬ﮐﺎﺗﻲ ﺟﻲ‬
‫ﺳﻴﻜﺮﻳﭩﺮي‪ ‬ﺣﻤﻴﺪ آﺧﻮﻧﺪ اﻧﻬﻲ‪ ‬اﺳﭩﻮڊﻳﻮ ﮐﻲ ﻣﻤﺘﺎز ﻣﺮزا ﺟﻲ ﻧﺎﻟﻲ ﺳﺎن ﻣﻨﺴﻮب ﻛﺮي‬
‫ﮀﮇﻳﻮ‪ .‬ﺟﮇﻫﻦ ﺗﻪ ﺣﻴﺪرآﺑﺎد ۾ ﻣﻤﺘﺎز ﻣﺮزا آدﻳﭩﻮرﻳﻢ ﺑﻪ ﺳﻨﺪس ﻧﺎﻟﻲ آﻫﻲ‪.‬‬

‫ﺣﻮاﻻ‪:‬‬
‫ﻗﻠﻴﭻ ﺑﻴﮓ‪ ،‬ﻣﺮزا‪ -‬ﺳﺎﺋﻮ ﭘﻦ ﻳﺎ ﻛﺎرو ﭘﻨﻮ‪ .‬ﺳﻨﮅي ادﺑﻲ ﺑﻮرڊ‪ ،‬ﭴﺎﻣﺸﻮرو ‪2012‬ع )ص – ‪(1‬‬ ‫‪.1‬‬
‫ﻣﺮزا‪ ،‬ﻣﻤﺘﺎز‪ ،‬ﺳﭙﺮﻳﺎن ﺳﻨﺪي ﮘﺎﻟﻬﮍي – ﻣﻬﺮاڻ ﭘﺒﻠﺸﺮز ﻛﺮاﭼﻲ‪1991 ،‬ع )ص – ‪(34‬‬ ‫‪.2‬‬
‫ﺳﻨﮅي‪ ،‬ﻣﻴﻤﮡ ﻋﺒﺪاﻟﻤﺠﻴﺪ‪ ،‬ڊاﻛﭩﺮ‪ -‬ﺳﻨﮅي ادب ﺟﻮ ﺗﺎرﻳﺨﻲ ﺟﺎﺋﺰو‪ ،‬ﻋﺠﺎﺋﺐ اﺳﭩﻮر ﺳﮑﺮ‪1986 ،‬‬ ‫‪.3‬‬
‫– )ص‪(123-‬‬
‫ﻗﺎدري‪ ،‬اﻳﺎز‪ ،‬ﺳﻨﮅي ﻏﺰل ﺟﻲ اوﺳﺮ‪ ،‬اﻧﺴﭩﻴﭩﻴﻮٽ آف ﺳﻨﮅاﻻﺟﻲ‪ ،‬ﭴﺎﻣﺸﻮرو‪1982 ،‬ع )ص‪(67 -‬‬ ‫‪.4‬‬
‫ﺳﺎﮘﻴﻮ )ص ‪(68-‬‬ ‫‪.5‬‬
‫ﺳﺎﮘﻴﻮ )ص ‪(213-‬‬ ‫‪.6‬‬
‫ﺳﺎﮘﻴﻮ )ص ‪(215-‬‬ ‫‪.7‬‬
‫ﺳﺎﮘﻴﻮ )ص ‪(276-‬‬ ‫‪.8‬‬
‫ﻣﻴﻤﮡ‪ ،‬ﺷﻔﻘﺖ ﺣﺴﻴﻦ‪“ ،‬ﻣﻴﺮزا ﮔﻞ اﺣﺴﻦ ﻛﺮﺑﻼﺋﻲ”‪ ،‬ﻣﺎﻫﻮار ﻧﺌﻴﻦ زﻧﺪﮔﻲ‪ ،‬اﻃﻼﻋﺎت ﮐﺎﺗﻮ‪،‬‬ ‫‪.9‬‬
‫ﺣﻴﺪرآﺑﺎد – ﺳﻴﭙﭩﻤﺒﺮ ‪1994‬ع )ص – ‪(22‬‬
‫ﻣﺮزا‪ ،‬ﻣﺮاد ﻋﻠﻲ‪ ،‬ﺳﻬﮣﻲ ﺳﻮچ ۽ ﮔﻔﺘﺎر ﺟﻮ ﻣﺎﻟﻚ‪ ،‬ﺳﻬﮣﻮ ﭘﺎڻ ﺳﮇاﺋﻲ وﻳﺎ‪ .‬ﻣﺮﺗﺐ‪ :‬ﻧﺼﻴﺮ ﻣﺮزا‪،‬‬ ‫‪.10‬‬
‫روﺷﻨﻲ ﭘﺒﻠﻴﻜﻴﺸﻦ ﻛﻨﮉارو‪2005 .‬ع )ص‪(343 -‬‬
‫ﻣﺮزا‪ ،‬ﻣﺮاد ﻋﻠﻲ‪ ،‬ﻣﻤﺘﺎز ﻣﺮزا ﺟﻲ ﺣﻴﺎﺗﻲ‪ ‬ﺟﺎ آﺧﺮي ‪ 56‬ﻛﻼڪ‪ .‬ﺳﻬﮣﻮ ﭘﺎڻ ﺳﮇاﺋﻲ وﻳﺎ‪ ،‬ﻣﺮﺗﺐ‪:‬‬ ‫‪.11‬‬
‫ﻧﺼﻴﺮ ﻣﺮزا‪ ،‬روﺷﻨﻲ ﭘﺒﻠﻴﻜﻴﺸﻦ ﻛﻨﮉﻳﺎرو ‪) ،2005‬ص‪(338 -‬‬
‫ﻣﺮزا‪ ،‬ﻧﺼﻴﺮ‪،‬آرﺳﻲ‪ ،‬ﺳﻬﮣﻮ ﭘﺎڻ ﺳﮇاﺋﻲ وﻳﺎ‪ ،‬روﺷﻨﻲ ﭘﺒﻠﻴﻜﻴﺸﻦ ﻛﻨﮉﻳﺎرو‪2005 ،‬ع )ص ‪(44-34‬‬ ‫‪.12‬‬
‫ﻣﺮزا‪ ،‬ﻣﺮاد ﻋﻠﻲ‪ ،‬ﻣﻤﺘﺎز ﻣﺮزا ﺟﻲ ﺣﻴﺎﺗﻲ‪ ‬ﺟﺎ آﺧﺮي ‪ 56‬ﻛﻼڪ‪ .‬ﺳﻬﮣﻮ ﭘﺎڻ ﺳﮇاﺋﻲ وﻳﺎ‪ ،‬ﻣﺮﺗﺐ‪:‬‬ ‫‪.13‬‬
‫ﻧﺼﻴﺮ ﻣﺮزا‪ ،‬روﺷﻨﻲ ﭘﺒﻠﻴﻜﻴﺸﻦ ﻛﻨﮉﻳﺎرو ‪) ،2005‬ص‪(338 -‬‬
‫ﻟﻐﺎري‪ ،‬اﻛﺒﺮ‪ ،‬ﺳﻨﮅي ادب ﺟﻮ ﻣﺨﺘﺼﺮ ﺟﺎﺋﺰو‪ ،‬ﻧﻴﻮ ﻓﻴﻠﮉس ﭘﺒﻠﻴﻜﻴﺸﻦ‪ ،‬ﺣﻴﺪرآﺑﺎد ‪) .1993‬ص – ‪(66‬‬ ‫‪.14‬‬
‫‪136‬‬ ‫ﻣﻤﺘﺎز ﻣﺮزاﺟﻲ ﺷﺨﺼﻴﺖ ۽ ﺳﻨﺪس ﺧﺪﻣﺘﻮن‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬
‫ﺑﻠﻮچ‪ ،‬ﻧﺒﻲ ﺑﺨﺶ‪ ،‬ڊاﻛﭩﺮ‪ ،‬ﻳﺎدﮔﻴﺮﻳﻮن ﻣﻤﺘﺎز ﺟﻮن‪ ،‬ﺳﻬﮣﻮ ﭘﺎڻ ﺳﮇاﺋﻲ وﻳﺎ‪ .‬ﻣﺮﺗﺐ‪ :‬ﻧﺼﻴﺮ ﻣﺮزا‪ ،‬روﺷﻨﻲ‬ ‫‪.15‬‬
‫ﭘﺒﻠﻴﻜﻴﺸﻦ ﻛﻨﮉﻳﺎرو‪2005 ،‬ع ‪) .‬ص ‪(321-‬‬
‫ﺷﺎﻫﻪ‪ ،‬ﺣﺒﻴﺐ ا�‪ ،‬آﺧﺮي رات ﮐﺎن ﭘﻬﺮﻳﻦ ﺟﻮ ﺳﻔﺮ‪) ،‬اﻧﭩﺮوﻳﻮ( ﻣﺎڪ ﭘﺒﻠﻴﻜﻴﺸﻦ ﺣﻴﺪرآﺑﺎد‪،‬‬ ‫‪.16‬‬
‫اﻳﮉﻳﭩﺮ‪ :‬ﻧﻮر اﻟﻬﺪيٰ ﺷﺎﻫﻪ‪1984 .‬ع‪.‬‬
‫ﺑﻠﻮچ‪ ،‬ﻧﺒﻲ ﺑﺨﺶ ڊاﻛﭩﺮ‪ ،‬ﺷﺎﻫﻪ ﺟﻮ رﺳﺎﻟﻮ‪ ،‬ﺟﻠﺪ ﭘﻬﺮﻳﻮن‪ .‬ﭜﭧ ﺷﺎﻫﻪ ﺛﻘﺎﻓﺘﻲ ﻣﺮﻛﺰ‪ ،‬ﭜﭧ‬ ‫‪.17‬‬
‫ﺷﺎﻫﻪ‪1989.‬ع )ص – ‪(112‬‬
‫داﺋﻮد ﭘﻮﭨﻮ‪ ،‬ﻋﻤﺮ ﺑﻦ ﻣﺤﻤﺪ‪ ،‬ڊاﻛﭩﺮ‪ ،‬ﻣﻀﻤﻮن ۽ ﻣﻘﺎﻻ‪ -‬ﭜﭧ ﺗﻲ ﭜﻴﺮو‪) ،‬ﮔﻨﺞ ﺟﻮ ﻣﻄﺎﻟﻌﻮ( ﭜﭧ ﺷﺎﻫﻪ ﺛﻘﺎﻓﺘﻲ‬ ‫‪.18‬‬
‫ﻣﺮﻛﺰ ﭜﭧ ﺷﺎﻫﻪ‪1978 .‬ع )ص – ‪(183‬‬
‫ﻣﺮزا‪ ،‬ﻣﻤﺘﺎز‪ ،‬ﮔﻨﺞ )ﻣﻬﺎڳ(‪ ،‬ﭜﭧ ﺷﺎﻫﻪ ﺛﻘﺎﻓﺘﻲ ﻣﺮﻛﺰ ﭜﭧ ﺷﺎﻫﻪ‪ ،‬ﭜﭧ ﺷﺎﻫﻪ‪) .1995 .‬ص ‪(17 -‬‬ ‫‪.19‬‬

‫‪137‬‬ ‫ﻣﻤﺘﺎز ﻣﺮزاﺟﻲ ﺷﺨﺼﻴﺖ ۽ ﺳﻨﺪس ﺧﺪﻣﺘﻮن‬

 [ ] ‫ﺌرو ﮬ‬

‫ﺌل‬ ‫ا‬
‫ ﺳﻨﮅي ﺷﻌﺒﻮ‬،‫ ﻓﻞ اﺳﻜﺎﻟﺮ‬.‫اﻳﻢ‬
.‫ ﺧﻴﺮﭘﻮر‬،‫ﺷﺎﻫﻪ ﻋﺒﺪاﻟﻠﻄﻴﻒ ﻳﻮﻧﻴﻮرﺳﭩﻲ‬

‫ﺌريﮭ‬ ‫ﺑ ﺐ‬
‫ﺌ‬ ‫ي‬ ‫اري‬ ُ
A CRITICAL STUDY OF ‘SUR KEDARO’ OF
KHALIFO NABI BUX LAGHARI

Abstract
Sur Kedaro exists on two subjects in Sindhi poetry; one historical
back ground of ‘Karbala’ and second is historical back ground of battle
of ‘Khariri’.
Ihsan Fakeer and Shah Abdul Latif are the poets, who have
initiated ‘Sur Kedaro’ with the subject based on the back ground of battle
of ‘Karbala’. Later on Abdul Raheem Grahori, Ghulam Hyder Terihiyo
Sufi Sadiq Faqeer and Khalifo Nabi Bux Laghari have also written ‘Sur
Kedaro’, but except Khalifo Nabi Bux Laghari and Sufi Sadiq Faqeer,
‘Sur Kedaro’ is consisted upon the back ground of battle of ‘Karbala’.
Only Kedaro of Khalifo Nabi Bux Laghari is based on the back
ground of battle of ‘Khareri’, which was taken place between the armed
forces of Shah Shuja Afghan and forces of Talpur Rulers of Sindh in
1834 A.D.
Signs of Khariri are available in the shape of police station Khariri,
which is situated near Sukkur. Khalifo Nabi Bux Laghari is a first poet of
Sindh, who has introduced Kedaro of Sindh, which is purely consist
upon the back ground of popular battle of Sindh, known as ‘Khariri’.
This paper presents a critical review of ‘Sur Kedaro’ of Khalifo
Nabi Bux Laghari keeping in view the importance of Kedaro of Sindh.
‫ ﮐﻲ ﺷﺎﻋﺮ ﺟﻲ روپ ۾ ﺷﺎﻫﻪ ﻟﻄﻴﻒ ﺟﻬﮍي ﻻﻓﺎﻧﻲ ﺷﺎﻋﺮ ﮐﺎن ﭘﻮ‬‫ﺳﻨﮅي ﭔﻮﻟﻲ‬
‫ اﻫﻮ‬،‫ ﻛﻨﺎﻳﻦ ۽ ﺗﺸﺒﻴﻬﻦ ﺳﺎن ﻣﺎﻻ ﻣﺎل ﻛﻴﻮ آﻫﻲ‬،‫ اﺳﺘﻌﺎرن‬،‫ﺟﻨﻬﻦ ﺷﺎﻋﺮ ﻧﻮن ﻟﻔﻈﻦ‬
‫ ۾ ﻧﻔﺎﺳﺖ ۽ ﭘﺨﺘﮕﻲ اﻋﻠﻰ ﭘﺪ‬‫ ﺟﻨﻬﻦ ﺟﻲ ﺷﺎﻋﺮاﮢﻲ ﭔﻮﻟﻲ‬،‫آﻫﻲ ﺧﻠﻴﻔﻮ ﻧﺒﻲ ﺑﺨﺶ ﻟﻐﺎري‬
‫ ﻫﻨﺪي ۽ ﻣﺎرواڙي ﭔﻮﻟﻴﻦ ۾ ﺷﺎﻋﺮي‬،‫ اردو‬،‫ ﺳﺮاﺋﻴﻜﻲ‬،‫ ﺳﻨﮅي‬.‫ﺗﻲ ﭘﻬﺘﻞ ﻧﻈﺮ اﭼﻲ ﭤﻲ‬
‫ ﺟﻲ ﺷﺎﻋﺮي ﺟﻴﺘﻮﮢﻴﻚ اﮢﭩﻴﻬﻦ ُﺳﺮن‬‫ ﺧﻠﻴﻔﻲ ﻧﺒﻲ ﺑﺨﺶ ﻟﻐﺎري‬،‫ﺳﺮﺟﻴﻨﺪڙ ﺷﺎﻋﺮ‬
138 ‫ ﺟﻲ ُﺳﺮ ﻛﻴﮇاري ﺟﻮ ﺗﻨﻘﻴﺪي اﭜﻴﺎس‬‫ﺧﻠﻴﻔﻲ ﻧﺒﻲ ﺑﺨﺶ ﻟﻐﺎري‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻛﻠﻴﺎڻ‪ ،‬ﮐﻨﭝﺎت‪ ،‬ﺳﺮ راڳ‪ ،‬ﺳﺎﻣﻮﻧﮉي‪ ،‬ﺗﻮڏي‪ ،‬ﺳﺎرﻧﮓ‪ ،‬ﻛﻴﮇاري‪ ،‬ﺳﺴﺌﻲ‪ ،‬ﺳﻮرٺ‪،‬‬
‫ﺑﻴﺮاڳ ﻫﻨﺪي‪ ،‬ﺟﻮڳ‪ ،‬ﺟﮭﻨﮕﻠﻲ‪ ،‬ﺑﺮووي ﺳﻨﮅي‪ ،‬راﮢﻲ‪ ،‬ﮐﺎﻫﻮڙي‪ ،‬راﻣﻜﻠﻲ‪ ،‬رپ‪ ،‬ﻟﻴﻼن‬
‫ﭼﻨﻴﺴﺮ‪ ،‬ﺑﻼول‪ ،‬ڏﻫﺮ‪ ،‬ﻛﺎﭘﺎﺋﺘﻲ‪ ،‬ﮔﮭﺎﺗﻮ‪ ،‬ڍوﻟﻲ ﻣﺎرو‪ ،‬ﻣﺎرﺋﻲ‪ ،‬ڌﻧﺎﺳﺮي‪ ،‬ﭘﻮرب‪ ،‬آﺳﺎ‪،‬‬
‫ﻛﺎراﻳﻞ ۽ ﻛﺎﻣﻮڏ ﺗﻲ آڌارﻳﻞ آﻫﻲ‪ ،‬ﭘﺮ ﻫﺘﻲ ﻣﻄﺎﻟﻌﻲ ﻫﻴﭟ ﺻﺮف ُﺳﺮ ﻛﻴﮇاري ﮐﻲ‬
‫آﻧﺪو وﻳﻮ آﻫﻲ‪.‬‬
‫ُ‬
‫ﺳﻨﮅ ۾ ﺳﺮ ﻛﻴﮇاري ۾ ﭔﻦ واﻗﻌﻦ ﮐﻲ ﺑﻨﻴﺎد ﺑﻨﺎﻳﻮ وﻳﻮ آﻫﻲ‪ ،‬ﻫﻚ ﻛﺮﺑﻼ ﺟﻮ‬
‫واﻗﻌﻮ؛ ﭔﻴﻮ ﮐﺮڙي‪ ‬ﺟﻲ ﺟﻨﮓ ﺟﻮ واﻗﻌﻮ‪ ،‬ﻛﻴﮇاري ﻟﮑﮡ ﺟﻮ ﻣﺤﺮڪ آﻫﻲ‪‘.‬ﮐﺮڙي‪ ‬ﺟﻲ‬
‫ﺟﻨﮓ’ ﺳﻨﮅ ﺟﻲ ﺣﻜﻤﺮاﻧﻦ ﻣﻴﺮن ۽ اﻓﻐﺎﻧﻲ ﺷﺎﻫﻪ ﺷﺠﺎع ﺟﻲ وچ ۾ ﺳﮑﺮ ﺟﻲ ﭜﺮ ۾‬
‫ﮐﺮڙي‪ ‬ﺟﻲ ﻣﻴﺪان ﺗﻲ ﺳﻦ ‪1834‬ع ﻟﮙﻲ‪ ،‬ﺟﻨﻬﻦ ۾ ﺳﻨﮅ ﺟﺎ ﺟﻮڌا ﺗﺮارن ۽ ﻛﭩﺎرن ﺳﺎن‬
‫دﺷﻤﻦ ﻓﻮﺟﻦ ﺳﺎن دﻟﻴﺮي‪ ‬ﺳﺎن وڙﻫﻴﺎ ﺗﻮڙي ﺟﻮ ﻣﺨﺎﻟﻒ ﻓﻮج ﺗﻮﺑﻦ ﺳﺎن ﻣﺴﻠﺢ ﻫﺌﻲ‪ .‬ﻫﻦ‬
‫ﺟﻨﮓ ﺟﻲ اﻫﻢ ﮘﺎﻟﮭﻪ اﻫﺎ آﻫﻲ ﺗﻪ ﺳﻨﮅ ﺟﺎ ﺟﻮڌا ﭘﻨﻬﻨﺠﻮن ﭼﻴﻠﻬﻮن ﻫﻜﭕﺌﻲ ﺳﺎن ﭔﮅي‬
‫ﭘﻨﻬﻨﺠﻲ ڌرﺗﻲ‪ ‬ﺟﻲ ﺗﺤﻔﻆ ﻻ‪ ‬ﻟﮍﻳﺎ ۽ ﻛﻴﺘﺮاﺋﻲ ﻛﻮﻧﮅر ﺷﻬﻴﺪ ﭤﻲ وﻳﺎ؛ ﺟﻦ ﺟﻲ‬
‫ﺟﻮاﻧﻤﺮدي ۽ ﺷﻬﺎدت ﺟﻮ ذﻛﺮ ﺧﻠﻴﻔﻲ ﻧﺒﻲ ﺑﺨﺶ ﻟﻐﺎري‪ ‬ﭘﻨﻬﻨﺠﻲ ﻛﻼم ۾ ُﺳﺮ‬
‫ﻛﻴﮇاري ﺟﻲ ﻧﺎﻟﻲ ﺳﺎن ﻛﻴﻮ آﻫﻲ‪ .‬ﻏﻼم ﻣﺮﺗﻀﻰ ﺷﺎﻫﻪ‪ ،‬ﺳﻴﺪ ﻛﺎﻇﻢ ﺷﺎﻫﻪ‪ ،‬ﻣﺤﻤﺪ‬
‫ﺗﻘﻲ ﺷﺎﻫﻪ‪ ،‬درﻳﺎ ﺧﺎن ﻧﻈﺎﻣﺎﮢﻲ‪ ،‬ﺟﻬﺎن ﺧﺎن ﻣﺮي‪ ،‬ﺳﺮدار ﻫﺎﺷﻢ ﺧﺎن ﺧﺎﺻﺨﻴﻠﻲ ۽ ﭔﻴﺎ ﻫﻦ‬
‫ﺟﻨﮓ ﺟﺎ اﻫﻲ ﺳﻮرﻫﻴﻪ آﻫﻦ‪ ،‬ﺟﻴﻜﻲ ﭘﻨﻬﻨﺠﻲ ﺳﺮن ﺟﺎ ﻧﻈﺮاﻧﺎ ﭘﻴﺶ ﻛﺮي ﺗﺎرﻳﺦ ﺟﺎ‬
‫اﻣﺮ ﻛﺮدار ﺑﮣﺠﻲ وﻳﺎ‪ُ .‬ﺳﺮ ﻛﻴﮇاري ﺑﺎﺑﺖ وڌﻳﻚ ﻟﮑﮡ ﮐﺎن اڳ ﻛﻴﮇاري ﻟﻔﻆ ﺟﻲ‬
‫ﻣﻌﻨﻰ ۽ ﻣﻔﻬﻮم ﺑﺎﺑﺖ ﭴﺎڻ ﭘﮡ اﻧﺘﻬﺎﺋﻲ ﺿﺮوري آﻫﻲ‪.‬‬

‫م‬ ‫ارو ۽ ان‬ ‫‪‬‬

‫‪ ‬ﻛﻴﮇاري ﻟﻔﻆ ﺟﻲ ﻟﻐﻮي ﻣﻌﻨﻰ‬
‫ﻛﻴﺪ = ﻣﻜﺮ‪ .‬ﻓﺮﻳﺐ ( ف‪ .‬ﺟﻨﮓ‪ -‬ﻟﮍاﺋﻲ( ﺳﻦ‪.‬‬ ‫“ﻛﻴﮇارو ج ﻛﻴﮇارا‪ :‬ذ‪) .‬ع‪َ .‬‬
‫ﻛﻴﺪ ‪ +‬وارو= ﻛﻴﮇارو(‪ .‬ﺟﻨﮓ‪ -‬ﻛﻴﺪارو‪ -‬ﻟﮍاﺋﻲ‪ -‬ﻣﻌﺮﻛﻮ‪ .‬ﺟﮭﻴﮍو‪ .‬ﻗﺘﻞ ﻋﺎم‪ .‬ﻣﺎﺗﻢ‪.‬‬
‫)اﺳﻢ ﺧﺎص(‪ .‬ﻫﻚ ُﺳﺮ ﻳﺎ راﮘﮣﻲ‪ ‬ﺟﻮ ﻧﺎﻟﻮ‪ -‬ﺟﻨﮓ ﺟﻮ ُﺳﺮ‪ -‬درد ﭜﺮﻳﻮ ُ‬
‫راڳ‪ -‬ﻛﻴﺪارو”‪(1) .‬‬
‫‪ ‬ﻛﻴﮇاري ﻟﻔﻆ ﺟﻲ اﺻﻄﻼﺣﻲ ﻣﻌﻨﻰ‬
‫ﻛﻴﮇاري ﺟﻲ اﺻﻄﻼﺣﻲ ﻣﻌﻨﻰ ﺗﻮڙي ﺟﻮ ﺟﻨﮓ ﺟﻮ ﻣﻴﺪان ۽ ﭘﻴﺶ آﻳﻞ واﻗﻌﻦ ﺟﻲ‬
‫ﭘﻴﺶ ﻛﺶ ﺟﻮ اﮐﻴﻦ ﺟﻲ اﮘﻴﺎن ﭤﻴﻨﺪي ﻣﺤﺴﻮس ﭤﻴﻨﺪڙ اﺣﻮال آﻫﻲ‪ .‬ﭘﺮ ﺗﻨﻬﻦ ﻫﻮﻧﺪي ﺑﻪ‬
‫ﻣﺨﺘﻠﻒ ﻣﺤﻘﻖ ۽ ﻋﺎﻟﻢ ان ﮐﻲ ﻛﻴﺌﻦ ڏﺳﻦ ﭤﺎ‪ ،‬ان ﺟﻮ ﻣﻄﺎﻟﻌﻮ ﭘﮡ ﺿﺮوري آﻫﻲ‪.‬‬
‫“ﻛﻴﮇارو ﺳﻨﺴﻜﺮت ﻟﻔﻆ ‘ﻛﻴﺪار’ ﺟﻲ ﺑﮕﮍﻳﻞ ﺻﻮرت آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ﺟﻲ ﻣﻌﻨﻰ‬
‫آﻫﻲ ‘ﺟﻨﮓ ﺟﻮ ﻣﻴﺪان’ ﻫﻨﺪﺳﺘﺎﻧﻲ ﮔﻮﺋﻴﻦ ﻣﻮﺟﺐ ‘ﻛﻴﺪاري’ ﻫﻚ راﮘﮣﻲ‪ ‬ﺟﻮ ﻧﺎﻟﻮ‬
‫آﻫﻲ‪ ،‬ﺟﺎ دﻳﭙﻚ راڳ ﺟﻲ ﭘﻨﺠﻦ ﭜﺎرﻳﺎﺋﻦ )زاﻟﻦ( ﻣﺎن ﻫﻚ آﻫﻲ”‪(2) .‬‬
‫“ﻛﻴﮇارو ﻟﻔﻆ ‘ﻛﻴﺪار’ ﺟﻲ ﺑﮕﮍﻳﻞ ﺻﻮرت آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ﺟﻲ ﻣﻌﻨﻰ آﻫﻲ‬
‫‪139‬‬ ‫ﺧﻠﻴﻔﻲ ﻧﺒﻲ ﺑﺨﺶ ﻟﻐﺎري‪ ‬ﺟﻲ ُﺳﺮ ﻛﻴﮇاري ﺟﻮ ﺗﻨﻘﻴﺪي اﭜﻴﺎس‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫‘ﺟﻨﮓ ﺟﻮ ﻣﻴﺪان’‪‘ .‬ﻛﻴﺪاري’ ﻫﻚ راﮘﮣﻲ آﻫﻲ‪ ،‬ﺟﺎ دﻳﭙﻚ راڳ ﺟﻲ ﭘﻨﺠﻦ زاﻟﻦ ﻣﺎن‬
‫ﻫﻚ آﻫﻲ‪ ،‬ﻫﻦ راﮘﮣﻲ‪ ‬ﮐﻲ “ﺳﻤﭙﻮرڻ راﮘﮣﻲ” ﻛﺮي ﺳﮇﻳﻨﺪا آﻫﻦ‪(3) ”ّ .‬‬
‫‪ ‬ﻛﻴﮇاري ﺟﻮ ﻣﻔﻬﻮم‬
‫ﻛﻴﮇاري ﺟﻮ ﻣﻔﻬﻮم ﺟﻨﮓ ﺟﻲ ﻣﻴﺪان ۾ ﺳﺮ ﺟﻮ ﺳﺎﻧﮕﻮ ﻻﻫﻲ‪ ،‬ڌرﺗﻲ‪ ‬ﻻ‪ ‬وڙﻫﻨﺪي‬
‫ﺟﺎن ﻗﺮﺑﺎن ﻛﺮڻ وارن ﺟﻮڌن ﺟﻲ ﺳﻮرﻫﻴﺎﺋﻲ‪ ‬ﮐﻲ ﭘﻴﺶ ﻛﻴﻞ ﻣﻨﻈﻮم ﭜﻴﭩﺎ ﺋﻲ ﭤﻲ‬
‫ﺳﮕﮭﻲ ﭤﻮ‪ .‬ﻛﻴﮇاري ﺟﻲ ﻣﭥﻲ ڏﻧﻞ ﻣﻔﻬﻮم ﻻ‪ ‬ﻫﻴﭡﻴﻮن دﻟﻴﻞ ﭘﻴﺶ ﻛﺠﻲ ﭤﻮ‪:‬‬
‫“ﻛﻴﮇاري ﺟﻮ ُﺳﺮ ۽ ان ﺟﻲ ﺷﺎﻋﺮي اﺻﻞ ۾ ﺟﻨﮕﻲ ﺟﻮڌن ﺟﻲ اﻧﻬﻲ ﺳﭕﺮ ۽‬
‫ﺳﻮرﻫﻴﺎﺋﻲ‪ ،‬ﺳﭽﺎﺋﻲ ۽ ﺳﺮوﻳﭽﻲ‪ ‬ﺟﻮ ﺑﻴﺎن آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ۾ ﻫﻨﻦ ﻣﻴﺪان ﻛﺎرزار ﮐﻲ رت‬
‫ﺟﻮ رﻳﺞ ڏﻳﺌﻲ ﻣﻠﻬﺎﻳﻮ ﻫﺠﻲ‪ :‬ﻛﻴﮇاري ﺟﻲ ُﺳﺮ ﺑﻨﻴﺎدي ﻃﻮر ﺗﻲ ﻛﺮﺑﻼ ﺟﻲ ﻗﻀﺌﻲ ﺟﻲ‬
‫ﺳﻠﺴﻠﻲ ۾ وﺟﻮد ورﺗﻮ‪ ،‬ﺟﻨﻬﻦ ۾ اﻣﺎﻣﻦ ﺳﮙﻮرن ﺟﻲ ﺑﻬﺎدري ۽ اﻧﻬﻦ ﺟﻲ اﻧﻬﻲ‪ ‬ﺟﻨﮓ ﺟﻲ‬
‫ﺑﻴﺎن ﺳﺎن ﻫﻦ ُﺳﺮ ﮐﻲ ﻣﺨﺼﻮص ﻛﻴﻮ وﻳﻮ”‪(4) .‬‬

‫و ﺌت‬ ‫اري‬ ‫۾‬ ‫‪‬‬

‫ﺳﻨﮅ ۾ ﻛﻴﮇاري ﺟﻲ ﺗﺎرﻳﺦ ﺑﻪ ﻳﻘﻴﻨﻦ اوﺗﺮي ﺋﻲ ﭘﺮاﮢﻲ آﻫﻲ‪ ،‬ﺟﻴﺘﺮي ﺷﺎﻋﺮي‪‬‬
‫ﺟﻲ ﺗﺎرﻳﺦ ۽ ﺟﻨﮕﻴﻦ ﺟﻲ ﺗﺎرﻳﺦ ﭘﺮاﮢﻲ آﻫﻲ‪ .‬ﺟﻨﻬﻦ ﺟﻮ ﻣﺜﺎل ﺳﻮﻣﺮن ﺟﻲ دؤر ﺟﻲ ﻣﻠﻴﻞ‬
‫ﮘﺎﻫﻦ ﺟﻲ ﺻﻮرت ۾ ﺳﻨﮅي ادب ۾ ﻣﻮﺟﻮد آﻫﻲ‪ .‬ﭘﺮ ﺗﻨﻬﻦ ﻫﻮﻧﺪي ﺑﻪ ﺳﻨﮅي ﺷﺎﻋﺮي‪ ‬۾‬ ‫ُ‬
‫ﻛﻴﮇاري ﺟﺎ ﻣﺆﺟﺪ اﺣﺴﺎن ﻓﻘﻴﺮ ۽ ﺷﺎﻫﻪ ﻟﻄﻴﻒ ﭼﻴﺎ وﭸﻦ ﭤﺎ‪ ،‬ﺗﻮڙي ﺟﻮ ﺳﻨﺪن ﻛﻴﮇاري‬
‫ﺟﻮ ﭘﺲ ﻣﻨﻈﺮ ﻛﺮﺑﻼ ﺟﻮ واﻗﻌﻮ آﻫﻲ‪.‬‬
‫ُ‬
‫“ﺳﻨﮅ ۾ ﺟﻨﮕﻲ ﭘﺲ ﻣﻨﻈﺮ ۾ ﺳﺮﺟﻴﻞ ﺷﺎﻋﺮي‪ ،‬ﻗﺪﻳﻢ “ﮘﺎﻫﻦ” واري ﺷﺎﻋﺮي‪ ‬ﺟﻲ‬
‫ﺻﻮرت ۾ ﻣﻮﺟﻮد آﻫﻲ‪ .‬ﺟﻨﻬﻦ ۾ دودي ﺳﻮﻣﺮي ﺟﻲ داﺳﺘﺎن وارﻳﻮن ﮘﺎﻫﻮن ﺗﻪ ﺳﻨﮅ ﺟﻲ‬
‫ﺗﺎرﻳﺦ ﺟﻮ َاﻣﻠﻬﻪ ورﺛﻮ آﻫﻦ‪ ،‬ﭘﺮ “ﻛﻴﮇاري” ﺟﻮ ﺳﺮﺟﺎ‪ ،‬اﺣﺴﺎن ﻓﻘﻴﺮ ۽ ﺷﺎﻫﻪ ﻟﻄﻴﻒ ﮐﺎن‬
‫ﭤﻴﻮ‪ .‬ﺷﺎﻫﻪ ﻟﻄﻴﻒ ۽ اﺣﺴﺎن ﻓﻘﻴﺮ ﻛﻴﮇاري ﺟﻲ ﺧﻮﺑﺼﻮرت ﺷﺎﻋﺮي ﻛﺌﻲ آﻫﻲ‪ .‬ان ﺟﻲ‬
‫ﺳﭩﺎ ﺑﻴﺘﻦ ﺟﻲ اداﺋﮕﻲ‪ ‬۽ ﻣﻮاد ﻣﺎن ﺳﻨﮅي ﭘﺴﻤﻨﻈﺮ ﺟﻲ ﺟﮭﻠﻚ ﺗﻪ ﻣﻠﻲ ﭤﻲ‪ ،‬ﭘﺮ ﭔﻨﻬﻲ‬
‫ﻛﻴﮇارن ﺟﻮ ﺗﺎﭸﻲ ﭘﻴﭩﻮ ﻛﺮﺑﻼ ﺟﻲ ﻗﻀﻴﻲ ۽ اﻣﺎﻣﻦ ﺟﻲ ﺷﻬﺎدت ﺟﻲ رواﻳﺘﻲ ﻣﻀﻤﻮن‬
‫ﺗﻲ ﭔﮅل آﻫﻲ”‪(5) .‬‬
‫ﺳﻨﮅ ۾ ﻛﻴﮇاري ﺟﺎ ﻛﻲ ﭔﻴﺎ ﺷﺎﻋﺮ ﭘﮡ اﺣﺴﺎن ﻓﻘﻴﺮ ۽ ﺷﺎﻫﻪ ﻟﻄﻴﻒ ﮐﺎن ﭘﻮ‪‬‬
‫ﺳﻨﮅي ادب ۾ ﻣﻠﻦ ﭤﺎ‪ ،‬ﺟﻦ ۾ ﻋﺒﺪاﻟﺮﺣﻴﻢ ﮔﺮﻫﻮڙي‪ ،‬ﺻﻮﻓﻲ ﺻﺎدق ﻓﻘﻴﺮ‪ ،‬ﻏﻼم ﺣﻴﺪر‬
‫ﺗﻴﺮﻫﻴﻮ ﺳﺮ ﻓﻬﺮﺳﺖ آﻫﻦ‪ ،‬ﺟﻦ ﺟﻲ ﺷﺎﻋﺮي‪ ‬ﺟﺎ ﻧﻤﻮﻧﺎ ﭘﮡ ﻣﻠﻦ ﭤﺎ‪.‬‬
‫“ﺷﺎﻫﻪ ﻟﻄﻴﻒ ۽ اﺣﺴﺎن ﻓﻘﻴﺮ ﮐﺎﻧﭙﻮ‪ ‬ﻋﺒﺪاﻟﺮﺣﻴﻢ ﮔﺮﻫﻮڙي‪ ،‬ﺻﻮﻓﻲ ﺻﺎدق ﻓﻘﻴﺮ‪،‬‬
‫ﻏﻼم ﺣﻴﺪر ﺗﻴﺮﻫﻴﻲ ۽ ﺧﻠﻴﻔﻲ ﻧﺒﻲ ﺑﺨﺶ وٽ ﻛﻴﮇاري ﺟﻲ ﺷﺎﻋﺮي ﺟﻲ رواﻳﺖ ﻣﻮﺟﻮد‬
‫ﻣﻠﻲ ﭤﻲ‪ .‬ﻋﺒﺪاﻟﺮﺣﻴﻢ ﮔﺮﻫﻮڙي‪ ‬ﺟﺎ ﭘﻨﺞ ﺑﻴﺖ ﻣﻠﻦ ﭤﺎ‪ ،‬ﺟﻦ ۾ ﻛﺮﺑﻼ ﺟﻲ ﻗﻀﻴﻲ ﺟﻮ ﺋﻲ‬
‫ذﻛﺮ آﻫﻲ‪ .‬ﺷﺎﻫﻪ ﺷﺮﻳﻒ ﭜﺎڏاﺋﻲ‪ ‬ﺟﻲ ﺷﺎﮔﺮد ﻓﻘﻴﺮ ﻏﻼم ﺣﻴﺪر ﺗﻴﺮﻫﻴﻲ‪ ،‬اﻣﺎﻣﻦ ﺟﻲ‬
‫‪140‬‬ ‫ﺧﻠﻴﻔﻲ ﻧﺒﻲ ﺑﺨﺶ ﻟﻐﺎري‪ ‬ﺟﻲ ُﺳﺮ ﻛﻴﮇاري ﺟﻮ ﺗﻨﻘﻴﺪي اﭜﻴﺎس‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﺷﻬﺎدت واري ﻣﻮﻗﻌﻲ ﮐﻲ ﺗﺎرﻳﺨﻲ رواﻳﺖ ﺟﻲ رﻧﮓ ۾ ﺗﻔﺼﻴﻞ ﺳﺎن ﺑﻴﺎن ﻛﻴﻮ آﻫﻲ”‪(6) .‬‬
‫ﺳﻨﮅ ﺟﻲ ﭔﻦ ﺷﺎﻋﺮن‪ ،‬ﺻﻮﻓﻲ ﺻﺎدق ﻓﻘﻴﺮ ۽ ﺧﻠﻴﻔﻲ ﻧﺒﻲ ﺑﺨﺶ ﮐﻲ اﻫﺎ اﻫﻤﻴﺖ‬
‫ﺣﺎﺻﻞ آﻫﻲ‪ ،‬ﺟﻮ اﻧﻬﻦ ﭔﻨﻬﻲ ﺷﺎﻋﺮن ﻣﺬﻫﺒﻲ وﻫﻜﺮي ۽ روﺣﺎﻧﻲ ﻋﻘﻴﺪت ﮐﺎن ﻫﭩﻲ‬
‫ﻛﺮي ﺳﻨﮅ ﺟﻲ ﺟﻨﮕﻲ ﺟﻮڌن ﺟﻲ ﺷﻬﺎدت ﮐﻲ ﭘﻨﻬﻨﺠﻲ ﻛﻴﮇاري ﺟﻮ ﻣﻮﺿﻮع ﺑﮣﺎﻳﻮ‪.‬‬
‫ﺻﻮﻓﻲ ﺻﺎدق ﻓﻘﻴﺮ ﺟﻲ ﻛﻴﮇاري ﺟﻮ ﭘﺲ ﻣﻨﻈﺮ ﺗﻮڙي ﺟﻮ ﺳﻨﺪس ﻣﺮﺷﺪ ﺷﺎﻫﻪ ﻋﻨﺎﻳﺖ‬
‫ﺷﻬﻴﺪ ﺟﻲ ﺷﻬﺎدت آﻫﻲ‪ ،‬ﭘﺮ ﺗﻨﻬﻦ ﻫﻮﻧﺪي ﺑﻪ ﺳﻨﺪس ﻛﻴﮇاري ۾ ﻛﺮﺑﻼ ۾ ﺷﻬﻴﺪ ﭤﻴﻨﺪڙ‬
‫اﻣﺎن ﺟﻲ واﻗﻌﻲ ﺟﺎ ﻋﻜﺲ ﻧﻤﺎﻳﺎن ﻧﻈﺮ اﭼﻦ ﭤﺎ‪.‬‬
‫“ﺻﻮﻓﻲ ﺻﺎدق ﻓﻘﻴﺮ ۽ ﺧﻠﻴﻔﻮ ﻧﺒﻲ ﺑﺨﺶ ﻟﻐﺎري ﭘﻬﺮﻳﺎن ﭔﻪ ﻋﻮاﻣﻲ ﺷﺎﻋﺮ آﻫﻦ‪ ،‬ﺟﻦ‬
‫وٽ ﻛﻴﮇاري ﺟﻮ ﻣﻮﺿﻮع ﻣﺬﻫﺒﻲ ﺟﺬﺑﻲ ۽ روﺣﺎﻧﻲ ﻋﻘﻴﺪت ﺟﻲ داﺋﺮي ﻣﺎن ﻧﻜﺮي‪،‬‬
‫ﺳﻨﮅ ﺟﻲ ﺳﻮرﻫﻴﻪ ﺷﻬﻴﺪن ﺟﻲ ذﻛﺮ ﻻ‪ ‬وﻗﻒ ﭤﻴﻞ ﻧﻈﺮ اﭼﻲ ﭤﻮ‪ .‬ﭔﻨﻬﻲ ﻛﻴﮇارن ۾‬
‫ﺷﻬﺎدت وارو ﻣﺮﻛﺰي ﻧﻘﻄﻮ ﻣﻮﺟﻮد آﻫﻲ‪ .‬ﺻﻮﻓﻲ ﺻﺎدق ﻓﻘﻴﺮ‪ ،‬ﭘﻨﻬﻨﺠﻲ ﻣﺮﺷﺪ ﺷﺎﻫﻪ‬
‫ﻋﻨﺎﻳﺖ ﺟﮭﻮڪ واري ﺟﻲ ﺷﻬﺎدت ﮐﺎن ‪ 50‬ﺳﺎل ﭘﻮ‪ ،‬ﻣﺮﺷﺪ ﺟﻲ ﻋﻘﻴﺪت ۾ ﻛﻴﮇارو‬
‫ﻟﮑﻴﻮ‪ ،‬ﭘﺮ ُان ﺟﻲ ﭘﺴﻤﻨﻈﺮ ۾ اﻣﺎﻣﻦ ﺟﻲ ﺷﻬﺎدت ﺟﻮ ﭘﮍاڏو ۽ ﺟﮭﻠﻚ ﺑﻪ ﻣﻮﺟﻮد آﻫﻲ”‪(7) .‬‬

‫ڙيﮭ‬
‫ﺧﻠﻴﻔﻲ ﻧﺒﻲ ﺑﺨﺶ ﻟﻐﺎري‪ ‬ﺟﻮ ﻛﻴﮇارو ﺟﻴﺌﻦ ﺗﻪ ﮐﺮڙي‪ ‬ﺟﻲ ﺟﻨﮓ ﺟﻲ ﭘﺲ ﻣﻨﻈﺮ ۾‬
‫ﭼﻴﻞ آﻫﻲ‪ ،‬ﺗﻨﻬﻨﻜﺮي ﭘﻬﺮﻳﺎن ﮐﺮڙي‪ ‬ﺟﻲ ﺟﻨﮓ ﺟﻲ ﭘﺲ ﻣﻨﻈﺮ ﺟﻲ ﭴﺎڻ ﭘﮡ ﺿﺮوري آﻫﻲ‪.‬‬
‫اﻧﮕﺮﻳﺰن ‪1832‬ع ڌاري‪ ،‬ﭨﺎﻟﭙﺮن ﺳﺎن ﻣﻌﺎﻫﺪا ﻛﺮي‪ ،‬ﺳﻨﮅ ﻣﺎن ﻗﺎﺑﻞ وﭸﮡ ﺟﻮ رﺳﺘﻮ‬
‫ﻫﭣ ﻛﺮي ورﺗﻮ ﻫﻮ‪ .‬ﻗﺎﺑﻞ ۾ اﻧﮕﺮﻳﺰن ﺟﻮ ﮀﺎڙﺗﻮ‪ ،‬ﺷﺎﻫﻪ ﺷﺠﺎع ﺗﺨﺖ ﺗﻲ وﻳﻬﺎرﻳﻮ وﻳﻮ ﻫﻮ‪.‬‬
‫ﺳﻨﮅ ﺟﻲ ﭨﺎﻟﭙﺮ ﺣﻜﻤﺮاﻧﻦ ﻛﺎﺑﻞ ﺟﻲ ﺣﻜﻮﻣﺖ ﺟﻲ ﻛﺎ ﻛﺎڻ ﻧﻪ ﭤﻲ ﻛﮃي‪ ،‬ان‬
‫ﻛﺮي ﺷﺎﻫﻪ ﺷﺠﺎع ﺟﻲ ﻓﻮﺟﻦ ﺳﻨﮅ ﺟﻲ ِﺳﺮي واري‪ ‬ﺳﺮﺣﺪ ﺳﺎن ﮐﺌﻮﻧﺲ ﺷﺮوع ﻛﺮي‬
‫ڏﻧﻲ‪ .‬ﺟﻨﻬﻦ ﺟﻲ ﻧﺘﻴﺠﻲ ۾ ‪4‬ﻳﻦ ﺷﻌﺒﺎن ‪1649‬ﻫﻪ ﻣﻄﺎﺑﻖ ‪1834‬ع ۾ ارﺑﻊ ﺟﻲ ڏﻳﻨﻬﻦ‪ ،‬ﮐﺮڙي‪‬‬
‫ﺟﻲ ﻣﻴﺪان ﺗﻲ ﺳﻨﮅﻳﻦ ۽ ﭘﭡﺎﮢﻦ ﺟﻲ وچ ۾ ﺟﻨﮓ ﻟﮙﻲ‪ .‬ﮐﺮڙي ﺳﮑﺮ ۾ آﻫﻲ‪ ،‬ﺟﻨﻬﻦ ﺟﻮ‬
‫ﻳﺎدﮔﺎر‪ ،‬ﻫﻦ وﻗﺖ ﺑﻪ ﺳﮑﺮ ۾ ﮐﺮڙي‪ ‬ﺟﻮ ﭤﺎﮢﻮ ﻣﻮﺟﻮد آﻫﻲ‪.‬‬
‫ﭨﺎﻟﭙﺮن ﺟﻲ ﺣﺎﻛﻢ ﻧﻮاب ﻋﺎﻟﻢ ﺧﺎن ﻣﺮي‪ ‬ﺳﮑﺮ ۾ ﺷﺎﻫﻪ ﺷﺠﺎع ﺟﻲ ﻓﻮج ﮐﻲ‬
‫ﻣﻨﻬﻦ ڏﻳﮡ ﻻ‪ ‬ﻣﺤﺎذ اﭼﻲ ﻗﺎﺋﻢ ﻛﻴﻮ‪ .‬اﻓﻐﺎن ﻓﻮج‪ ،‬ﺳﺮدار ﻫﺪاﻳﺖ ا� ﺧﺎن ﺟﻲ اﮘﻮاﮢﻲ‪ ‬۾‬
‫ﮔﻮﺳﮍﺟﻲ‪ ‬۾ اﭼﻲ دﻳﺮو ﭴﻤﺎﻳﻮ ۽ اڻ ﭔﻮﻻﺋﻲ‪ ،‬ﻟﻚ ﭼﻮري‪ ‬ﺣﻤﻠﻮ ﻛﺮي‪ ،‬ﻋﺎﻟﻢ ﺧﺎن ﻣﺮي‪‬‬
‫ﮐﻲ ﺷﻬﻴﺪ ﻛﺮي وڌو‪ .‬ﺳﺎﮢﺲ ﮔﮇ ﭼﺎﻛﺮ ﺧﺎن ﺟﺴﻜﺎﮢﻲ ۽ رﺣﻴﻢ ﺧﺎن ﮐﻮﺳﻮ ﺑﻪ ﺷﻬﻴﺪ‬
‫ﭤﻲ وﻳﺎ‪ .‬ﻫﻲ‪ ‬واﻗﻌﻮ ‪20‬ﻫﻴﻦ ﺷﻌﺒﺎن ‪ 1249‬ﻫﻪ )‪1834‬ع( ۾ ﭤﻴﻮ‪ .‬ﻋﺎﻟﻢ ﺧﺎن ﻣﺮي‪ ‬ﺟﻮ ُﭘﭧ‬
‫ﺟﻬﺎن ﺧﺎن‪ ،‬وڏو ﺟﻮڌو ﺟﻮان ﻫﻮ‪ُ .‬ان ﮐﻲ ﺟﮇﻫﻦ اﻫﻮ ﻣﻌﻠﻮم ﭤﻴﻮ ﺗﻪ‪ ،‬ﻟﺸﻜﺮ ﺗﻴﺎر ﻛﺮي‬
‫وﭸﻲ ﭘﭡﺎڻ ﺗﻲ ﻛﮍﻛﻴﻮ ۽ ﮐﻴﺲ ﻣﺎري ﻣﺎت ﻛﻴﺎﺋﻴﻦ‪.‬‬
‫ﺟﮇﻫﻦ ﻫﺪاﻳﺖ ﺧﺎن ﺟﻲ ﻣﺎرﺟﮡ ﺟﻲ ﺧﺒﺮ ﻗﺎﺑﻞ ۾ ﭘﻬﺘﻲ ﺗﻪ ان ﺑﻌﺪ ﺳﻤﻨﺪر ﺧﺎن‬
‫‪141‬‬ ‫ﺧﻠﻴﻔﻲ ﻧﺒﻲ ﺑﺨﺶ ﻟﻐﺎري‪ ‬ﺟﻲ ُﺳﺮ ﻛﻴﮇاري ﺟﻮ ﺗﻨﻘﻴﺪي اﭜﻴﺎس‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫اﻓﻐﺎن ﺟﻲ ﻛﻤﺎن ﻫﻴﭟ‪ ،‬وڏو ﻟﺸﻜﺮ وﭠﻲ ﺷﻜﺎرﭘﻮر ﺗﻲ ﻛﺎﻫﻲ آﻳﻮ‪ .‬ﺳﻨﮅ ﺟﻲ اﻣﻴﺮن‪،‬‬
‫ﺳﻤﻨﺪر ﺧﺎن ﺳﺎن ﻣﻘﺎﺑﻠﻲ ﻻ‪ ‬ﻟﺸﻜﺮ ﺳﻨﺒﺎﻫﮡ ﺷﺮوع ﻛﻴﺎ‪ .‬ﻋﺎﻟﻢ ﺧﺎن ﻣﺮي‪ ‬ﺟﻲ‬
‫ﺷﻬﺎدت‪ ،‬ﺳﻨﮅ ۾ ﺑﺪﻟﻲ ﺟﻲ ﺑﺎﻫﻪ اﮘﻲ ﺋﻲ ﭜﮍﻛﺎﺋﻲ ﮀﮇي ﻫﺌﻲ‪ .‬ﺳﻨﮅي ﻣﺎﮢﻬﻮ‪ ،‬ﺳﻨﮅ ﺟﻲ‬
‫ﺣﻔﺎﻇﺖ ﻻ‪ ‬ﺳﺮ ﺳﺎن ﻛﻔﻦ ﭔﮅي ﺑﻴﭡﺎ‪ .‬ﻣﻴﺮ رﺳﺘﻢ ﺧﺎن ﭘﺎران ﻣﺤﺒﺖ ﺧﺎن ﻣﺮي‪ ،‬ﻓﻀﻞ‬
‫ﻣﺤﻤﺪ ﻣﺮي‪ ،‬ڌﮜﺎﮢﻮ ﺧﺎن ﻣﺮي‪ ،‬ﺟﻼل ﺧﺎن ﻣﺮي‪ ،‬ﻧﻈﺎﻣﺎﮢﻴﻦ‪ ،‬ﺟﻠﺒﺎﮢﻴﻦ ۽ ﭔﻴﻦ ﺟﺎ دﺳﺘﺎ ﺳﮑﺮ‬
‫ﭘﻬﭽﻲ وﻳﺎ‪ .‬ﻣﻴﺮ ﻋﻠﻲ ﻣﺮاد ﻃﺮﻓﺎن ﮔﻮﻟﻲ ﺷﺎﻫﻪ ﻛﻬﻴﺮي‪ ‬ﺟﻮ ُﭘﭧ ﻏﻼم ﻣﺮﺗﻀﻰ ﺷﺎﻫﻪ ﺑﻪ‬
‫روﻫﮍي‪ُ ‬اﻛﺮي‪ ،‬ﻟﺸﻜﺮ ﺳﻤﻴﺖ ﺳﮑﺮ ﭘﻬﭽﻲ وﻳﻮ‪) .‬ﮔﻮﻟﻮ ﺷﺎﻫﻪ ﻣﻴﺮ ﻋﻠﻲ ﻣﺮاد ﺟﻲ ﻓﻮج ﺟﻮ‬
‫ﺳﭙﻬﻪ ﺳﺎﻻر ۽ وزﻳﺮ ﻫﻮ‪ .‬ذات ﺟﻮ ﻛﻬﻴﺮي ﭔﺮوچ ﻫﻮ ۽ “ﺷﺎﻫﻲ” ﻟﻘﺐ ﻫﺌﺲ‪ ،‬ﺟﻴﻜﻮ ﮐﻴﺲ‬
‫ﻋﺰت ۽ ﻣﺮﺗﺒﻲ ﺟﻲ ﻛﺮي ﻣﻠﻴﻮ ﻫﻮ‪ (.‬ﺣﻴﺪرآﺑﺎد ﺟﻮ ﺳﻴﺪ ﻛﺎﻇﻢ ﺷﺎﻫﻪ ۽ ﭜﺎﮢﺲ ﻣﺤﻤﺪ‬
‫ﺗﻘﻲ ﺷﺎﻫﻪ‪ ،‬ﺳﭙﺎﻫﻪ وﭠﻲ اﭼﻲ ﺳﮑﺮ ۾ ﺳﺎٿ ﺳﺎن ﻣﻠﻴﺎ‪ .‬ﺳﻤﻨﺪر ﺧﺎن‪ ،‬ﺷﻜﺎرﭘﻮر ﻣﺎن ﭨﻲ‬
‫ﻫﺰار ﺳﻮار ۽ ﭘﻴﺎدا وﭠﻲ‪ ،‬ﺳﺖ ﺗﻮب‪ -‬ﮔﺎڏﻳﻮن ﺳﺎڻ ﻛﺮي‪ ،‬ﺳﮑﺮ ﮐﺎن ﭼﺎر ﻣﻴﻞ ﭘﺮي‪،‬‬
‫ﺟﻌﻔﺮآﺑﺎد ۾ اﭼﻲ ﺧﻴﻤﺎ ﮐﻮڙﻳﺎ‪ .‬ﺳﻨﮅي ﻟﺸﻜﺮ ﺟﻮ ﻫﻚ ﺣﺼﻮ‪ ،‬ﻻل واﻫﻪ ﺟﻲ ﭘﻴﭧ ۾ ُاڙ‬
‫ﺑﻨﺎﺋﻲ وﻳﭡﻮ‪ ،‬ﺳﻤﻨﺪر ﺧﺎن رواﻳﺘﻲ ﭠﮙﻲ‪ ‬ﺟﻮ ﻣﻈﺎﻫﺮو ﻛﺮي ﺳﻨﮅي ﻟﺸﻜﺮ ﮐﺎن ﻣﻴﻞ ﮐﻦ‬
‫ﭘﻨﮅ ﺗﻲ ﭘﻨﻬﻨﺠﻮ ﻟﺸﻜﺮ ﺑﻴﻬﺎرﻳﻮ ۽ ﻫﻚ وڻ ﺗﻲ ﺟﻨﮕﻲ ﺟﮭﻨﮉو ﮐﻮڙاﺋﻲ‪ ،‬ﺟﻨﮓ ﺟﻮ ﺗﻮﺗﺎرو‬
‫وﭴﺎراﻳﻮ‪ .‬ﺑﺎﻗﻲ ﻟﺸﻜﺮ ﮐﻲ ﭘﭡﻴﻦ ﭘﺎﺳﻲ ﮐﺎن ﭰﻴﺮاﺋﻲ‪َ ،‬ﭨﻜﺮ ﺗﻲ ﺗﻮﺑﻦ ﺳﺎن ﻣﺴﻠﺢ ﻛﺮي‬
‫ﺑﻴﻬﺎرﻳﺎﺋﻴﻦ‪ ،‬ﺟﺘﺎن ﺳﻨﮅي ﻟﺸﻜﺮ اﻓﻐﺎﻧﻲ ﺗﻮﺑﻦ ﺟﻲ ﺻﻔﺎ ُﻣﻨﻬﻦ ۾ ﻫﻮ‪ .‬ﺳﻨﮅي ﻟﺸﻜﺮ اﭸﺎ‬
‫ﺳﻨﺒﻬﻴﻮ ﻣﺲ ﺗﻪ اﻓﻐﺎﻧﻦ ﺗﻮﺑﻦ ﺟﺎ ُﻣﻨﻬﻦ ﮀﻮڙي ﮀﮇﻳﺎ‪ .‬ﺳﻨﮅي ﻟﺸﻜﺮ اﻫﺎ ﺣﺎﻟﺖ ڏﺳﻲ دﻫﻠﻴﻮ‬
‫ﻛﻮﻧﻪ‪ ،‬ﭘﺮ ﭘﻴﺮ ﭴﻤﺎﺋﻲ‪ُ ،‬ﻣﮍﺳﻲ‪ ‬ﺳﺎن ﻣﻘﺎﺑﻠﻲ ﻻ‪ ‬ﺗﻴﺎر ﭤﻲ ﺑﻴﭡﻮ‪ .‬ﻏﻼم ﻣﺮﺗﻀﻰ ﺷﺎﻫﻪ ﺳﮅو‬
‫ﭨﻜﺮي‪ ‬ﺗﻲ ﺣﻤﻠﻮ ﻛﺮاﻳﻮ‪ ،‬ﺳﭛ ﮐﺎن اڳ ﺳﻴﺪ ﻛﺎﻇﻢ ﺷﺎﻫﻪ‪ ،‬ﻫﭣ ۾ اﮔﮭﺎڙي ﺗﻠﻮار‬
‫ﺟﮭﻠﻲ‪ ،‬ﮔﮭﻮڙن ﺟﻮن زﻳﻨﻮن ﮀﻜﻲ‪ ،‬ﺳﮅو ﭨﻜﺮي‪ ‬ﺗﻲ ُرخ ﻛﻴﻮ ۽ ﺑﻬﺎدري‪ ‬ﺳﺎن‬
‫وڙﻫﻨﺪي‪ ،‬اﻓﻐﺎﻧﻦ ﺟﻲ ﺳﺮن ﮐﻲ ﻟﮣﻨﺪي‪ ،‬ﺷﻬﻴﺪ ﭤﻲ وﻳﻮ‪ ،‬ﺳﻨﺪس ﺷﻬﺎدت ُﭘﭵﺎﮢﺎن ﻏﻼم‬
‫ﻛﮇاﺋﻲ “ﭘﺮﮐﺎ ﻛﺎرڻ” ﭘﮍ ۾ ﭘﻬﺘﻮ‪.‬‬‫ﻣﺮﺗﻀﻰ ﺷﺎﻫﻪ ﻛﻮﻧﺘﻞ ُ‬
‫ﻏﻼم ﻣﺮﺗﻀﻰ ﺷﺎﻫﻪ ﻛﻤﺎل ﺳﻮرﻫﻴﺎﺋﻲ‪ ‬ﺳﺎن وڙﻫﻨﺪي‪ ،‬اﻓﻐﺎﻧﻦ ﺟﻲ ﺗﻮب ﺟﻮ ﻧﺸﺎﻧﻮ‬
‫ﺑﮣﺠﻲ وﻳﻮ‪ُ .‬ان ﮐﺎن ﭘﻮ‪ ‬ﺣﻴﺪرآﺑﺎدي اﻣﻴﺮن ﺟﻮ وزﻳﺮ درﻳﺎ ﺧﺎن ﻧﻈﺎﻣﺎﮢﻲ‪ ،‬وڏي‪ ‬دﻟﻴﺮي‪ ‬۽‬
‫ﺟﻮان ﻣﮍﺳﻲ‪ ‬ﺳﺎن وڙﻫﻲ ﺷﻬﻴﺪ ﭤﻴﻮ‪ .‬آﺧﺮ ۾ ﺟﻮڌو ﺟﻮان ﺟﻬﺎن ﺧﺎن ﻣﺮي‪ ،‬ﺳﺎﭠﻴﻜﻮ ﭴﮣﻦ‬
‫ﺟﻮ ﺳﭣ وﭠﻲ‪ ،‬ﭘﻬﺮاﮢﻦ ﺟﺎ ﭘﻼﻧﺪ ﻫﻜﭕﺌﻲ ۾ ﮘﻨﮃي‪ ،‬ﻫﻚ ﺻﻒ ﺑﻨﺠﻲ‪ ،‬وﻳﺮﻳﻦ ﺗﻲ وﺳﻲ‬
‫ﭘﻴﻮ‪ .‬ﺳﺎﮢﺲ ﮔﮇ ﺧﺎﺻﺨﻴﻠﻴﻦ ﺟﻮ ﺳﺮدار ﻫﺎﺷﻢ ﺧﺎن ﺑﻪ ﮔﮇ ﻫﻮ‪ .‬ﺗﺮارﻳﻦ ﺗﺠﻼ ﻛﻴﺎ‪ ،‬رڻ‬
‫ﮔﺠﻴﻮ راڙو ﭤﻴﻮ‪ ،‬دﺷﻤﻦ ﺟﺎ ﭜﺎﮜﺎ ﻻﻫﻲ‪ ،‬وڙﻫﻨﺪي وڙﻫﻨﺪي‪ ،‬ﺳﭝﺌﻲ ﺳﻮرﻫﻴﻪ ﺳﻨﮅ ﺟﻲ ﺳﻴﻨﮅ‬
‫ﺗﺎن ﮔﮭﻮرﺟﻲ وﻳﺎ‪.‬‬

‫ارو‬ ‫ُ‬ ‫ﺌريﮭ‬ ‫ﺑ ﺐ‬ ‫‪‬‬

‫ﻫﻦ اﭜﻴﺎس ﺟﻮ داﺋﺮو ﻫﻴﭡﻴﻦ ﺳﻮاﻟﻦ ﺗﻲ ﻣﺒﻨﻲ رﮐﺠﻲ ﭤﻮ‪:‬‬
‫‪142‬‬ ‫ﺧﻠﻴﻔﻲ ﻧﺒﻲ ﺑﺨﺶ ﻟﻐﺎري‪ ‬ﺟﻲ ُﺳﺮ ﻛﻴﮇاري ﺟﻮ ﺗﻨﻘﻴﺪي اﭜﻴﺎس‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫‪ ‬ﻛﻴﮇاري ﺟﺎ ﻣﻌﻴﺎر ﻛﻬﮍا ﭤﻲ ﺳﮕﮭﻦ ﭤﺎ؟‬

‫‪ ‬ﮀﺎ ﺧﻠﻴﻔﻲ ﻧﺒﻲ ﺑﺨﺶ ﻟﻐﺎري‪ ‬ﺟﻮ ُﺳﺮ ﻛﻴﮇارو‪ ،‬ﻛﻴﮇاري ﺟﻲ ﻣﻌﻴﺎرن ﺗﻲ‬
‫ﭘﻮرو ﻟﻬﻲ ﭤﻮ؟‬
‫‪ ‬ﻛﻴﮇاري ﺟﺎ ﻣﻌﻴﺎر‬
‫اﻫﮍي ﺷﺎﻋﺮي ﺟﻨﻬﻦ ۾ ﻣﻴﺪاﻧﻲ ﺟﻨﮓ ۽ اﺗﺎن ﺟﻲ ﺣﺎﻟﺘﻦ واﻗﻌﻦ ﺟﻮ ﺑﻴﺎن اﻫﮍي ﺗﻪ‬
‫اﻧﺪاز ﺳﺎن ﻛﻴﻮ وﻳﻮ ﻫﺠﻲ‪ ،‬ﺟﻮ ﺟﻨﮓ ﺟﺎ ذﻛﺮ ﻫﻴﭟ آﻳﻞ‪ُ ،‬اﻫﻲ ﺳﭛ ﻣﻨﻈﺮ اﮐﻴﻦ اﮘﻴﺎن‬
‫ﭤﻴﻨﺪي ﻣﺤﺴﻮس ﭤﻴﻦ‪.‬‬
‫‪ ‬ﺧﻠﻴﻔﻲ ﻧﺒﻲ ﺑﺨﺶ ﻟﻐﺎري‪ ‬ﺟﻲ ُﺳﺮ ﻛﻴﮇاري ﺟﻮ ﺗﻨﻘﻴﺪي ﻣﻄﺎﻟﻌﻮ‬
‫ﺧﻠﻴﻔﻲ ﻧﺒﻲ ﺑﺨﺶ ﻟﻐﺎري ﻫﻴﭟ ڏﻧﻞ ﺑﻴﺖ ۾ ﺟﺘﻲ ﭘﻨﻬﻨﺠﻲ دﻳﺲ ﺳﻨﮅ ﺳﺎن ﻋﺸﻖ‬
‫ﻛﻨﺪڙ ﺟﺎﻧﺜﺎرن ﮐﻲ ﺳﺮ ڏﺋﻲ ﺳﺮﻫﻮ ﭤﻴﮡ ﺟﻲ ﻣﻨﻈﺮ ﻧﮕﺎري ﻛﺌﻲ آﻫﻲ‪ُ ،‬اﺗﻲ اﻧﻬﻦ‬
‫ﻛﺎﻧﺌﺮن ﺟﻲ ﻛﺎﻧﺌﺮﺗﺎ ﺟﻲ ﻋﻜﺎﺳﻲ ﺑﻪ ﻛﺌﻲ آﻫﻲ‪ ،‬ﺟﻴﻜﻲ درﻳﺎﻫﻪ ﺟﻲ دﻫﺸﺘﻨﺎڪ‬
‫وﻫﻜﺮي ﻣﺎن ﺑﻪ ﺗﺮي ﺟﺎن ﺑﭽﺎﺋﻲ ﭜﭵﻲ وﭸﮡ ۾ ﻛﺎﻣﻴﺎب ﭤﻲ وﻳﺎ‪ .‬ﺳﺎﮘﻲ‪ ‬ﻃﺮح ﻣﺮﺗﻀﻰ‬
‫ﺷﺎﻫﻪ ﺟﮭﮍي اڏول ﺳﻮرﻣﻲ ﺟﻲ ﺳﻮرﻫﻴﺎﺋﻲ‪ ‬ﺟﻮ ﻣﻨﻈﺮ ﭘﮡ ﻗﻠﻤﺒﻨﺪ ﻛﻴﻮ آﻫﻲ‪:‬‬
‫ﻛـــﺮي ﭘـــﻮﻫـــﻪ ﭘـــﭡـــﺎڻ‪ ،‬اﭼـــﻲ ﭘـــﻴـــﻮ اوﭼـــﺘـــﻮ‪،‬‬
‫دؤڙﻳـــﺎ ﻟـــﮏ درﻳـــﺎﻫـــﻪ ڏي‪ ،‬ﺗـــﺎرو رﮐـــﻲ ﺗـــﺎڻ‪،‬‬
‫ﺟﻨﻬﻦ ﻣﺮﺗﻀﻰ ﺳﻴﻦ ﻣﺎڻ‪ ،‬ﺳﻮ راﻫﻪ ﭜﺮﻳﻨﺪو ُرڪ ﺟـﻲ‪) .‬ص‪(42-41:‬‬
‫ﺧﻠﻴﻔﻮ ﻧﺒﻲ ﺑﺨﺶ ﻟﻐﺎري ﺳﻨﮅ ﺟﻲ ﺳﺮﻓﺮوش ﺳﺮوﻳﭽﻦ ﺟﻲ ﺳﺮ ﺳﺎن ﻛﻔﻦ ﭔﮅي‬
‫ﺳﻮرﻫﻴﺎﺋﻲ‪ ‬ﺳﺎن ﻣﻬﺎڏو اﭨﻜﺎﺋﮡ‪ ،‬ﺳﺮﻫﺎﺋﻲ‪ ‬ﺳﺎن ﺟﻨﮓ ﺟﻲ ﻣﻴﺪان ۾ ُ‬
‫ﻛﮇي ﭘﻮڻ ۽ ﺳﺮ‬
‫ﺟﻮ ﺳﺎﻧﮕﻮ ﻻﻫﻲ دﻳﺲ ﮐﻲ ﺟﺎﻧﻴﻦ ﺟﻮ ﻧﻈﺮاﻧﻮ ڏﻳﮡ ﮐﻲ ﭘﺎڻ ﻻ‪ ‬ﻓﺨﺮ ﺟﻮ ﺑﺎﻋﺚ ﺳﻤﺠﮭﮡ ﺟﻲ‬
‫ﻣﻨﻈﺮ ﮐﻲ ﻫﻦ ﻃﺮح ﺑﻴﺎن ﻛﺮي ﭤﻮ‪:‬‬
‫ﻣـــﭥـــﻲ آرڻ اڄ‪ ،‬ﻛـــﻮﻧـــﮅ ُ‬
‫ﻛـــﮇﻧـــﺪي آﺋـــﻴـــﺎ‪،‬‬
‫ﭘـــﮍ ۾ ﭘـــﻬـــﻠـــﻮاﻧـــﻦ ﮐـــﻲ‪ ،‬ﻟـــﮇڻ ڏي ﻧـــﻪ ﻟـــﭳ‪،‬‬
‫ــﺎﻣـــﻬـــﺎن‪) .‬ص‪(42:‬‬ ‫ﭜـــﻴـــﭩـــﻮ وﭸـــﻦ ﭜـــﭳ‪ ،‬ﺳـــﺎﺋـــﻮ ﭤـــﻴـــﻦ ﺳـ ُ‬
‫—‬
‫ﻣـــﻮﭨـــﻴـــﺎ ﻣـ َ‬
‫ــﺎد ِر زاد‪ُ ،‬ﭘـــﭧ ﭘـ َ‬
‫ــﻴـــﻦ ﺟـــﺎ راﻧـــ ِﺌـــﻴـــﺎ‪،‬‬
‫ِوﺋــﺎ وﺳــﺎري ﻧــﻜــﺮي‪ ،‬ﻳــﺎر ﻧــﻪ ﻛــﻴــﺎﺋــﻮن ﻳــﺎد‪،‬‬
‫ﻓــﺮوﺷــﻦ َﺳــﭙــﺠــﻲ‪) .‬ص‪(46:‬‬ ‫ِ‬ ‫ﺳــﻨــﺪو ﺳــﻮڀ ﺳــﻮاد‪َ ،‬‬
‫ﺳــﺮ‬
‫ﺧﻠﻴﻔﻲ ﻧﺒﻲ ﺑﺨﺶ ﻟﻐﺎري ﻫﻴﭡﻴﻦ ﺑﻴﺖ ۾ اﻧﻬﻦ ﺳﺮﻓﺮوﺷﻦ ﺟﻲ ﺳﺮﻓﺮوﺷﻲ‪ ‬ﺟﻲ‬
‫ﻣﻨﻈﺮ ﻧﮕﺎري ﻛﺌﻲ آﻫﻲ‪ ،‬ﺟﻦ ﮐﻲ ﻛﭙﺎر ۾ ﻛﻠﻨﮕﻴﻮن آﻫﻦ ۽ ڌرﺗﻲ ﺑﻪ ﮐﻴﻦ ﺋﻲ آزﻣﺎﺋﻲ‬
‫ﭤﻲ‪ .‬ﺳﻨﺪس ﭼﻮڻ ﻣﻮﺟﺐ ﻫﻲ ُاﻫﻲ ﻣﺎﻧﺠﮭﻲ ﻣﮍس آﻫﻦ‪ ،‬ﺟﻴﻜﻲ ﻫﺎﭤﻲ‪ ‬ﮐﻲ ﻫﭣ ﻫﮣﻲ‬
‫ﻫﭩﺎﻳﻮ ﮀﮇﻳﻦ ۽ ﭔﻲ ﻫﺮﺷﻲ‪ ‬ﮐﻲ ﻣﮏ ﺟﻲ ﻣﺜﻞ ﺳﻤﺠﮭﻦ ﭤﺎ‪ .‬ﻫﻲ ُاﻫﻲ ﺟﺒﻞ ﺟﻬﮍا ﺟﻮڌا آﻫﻦ‪،‬‬
‫‪143‬‬ ‫ﺧﻠﻴﻔﻲ ﻧﺒﻲ ﺑﺨﺶ ﻟﻐﺎري‪ ‬ﺟﻲ ُﺳﺮ ﻛﻴﮇاري ﺟﻮ ﺗﻨﻘﻴﺪي اﭜﻴﺎس‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﺟﻴﻜﻲ ﭘﮍﺗﺎن ﺗﺮ ﺟﻴﺘﺮو ﺑﻪ ﭘﺮي ﭤﻴﮡ وارا ﻧﻪ آﻫﻦ‪.‬‬

‫ﻛــﻠــﻨــﮕــﻴــﻮن ﺟــﻦ ﻛــﭙــﺎر ۾‪ ،‬ﭘــﺎﺋــﻲ ﺗــﻦ ﭘــﺮک‪،‬‬
‫ﻫـﭣ ﻫـﺎﭤـﻲ‪ ‬ﮐـﻲ‪ ،‬ﭔـﻲ ﺳـﭛ ﻣـﻬـﻨـﺪا َﻣـﮏ‪،‬‬ ‫ﻫﮣـﻲ ُ‬
‫وﻳــﺎ ُاڏاﻣــﻲ ﻛــﮏ‪ِ ،‬ﭘ َــﮍ ﺗــﺎن ﭘــﺎﻫــﮡ ﻧــﻪ ُﭼــﺮي‪) .‬ص‪(47:‬‬
‫ﻫﻴﭡﻴﻦ ﺑﻴﺖ ۾ اﻧﻬﻦ ﺟﻮڌن ﺟﻲ ﺳﻮرﻫﻴﺎﺋﻲ‪ ‬ﺟﻮ ﻣﻨﻈﺮﻧﺎﻣﻮ ﭘﻴﺶ ﻛﻴﻮ وﻳﻮ آﻫﻲ‪،‬‬
‫ﺟﻦ ﮐﻲ ﺗﻮڙي ﺟﻮ ڌرﺗﻲ‪ ‬ﺟﻲ ﺣﻔﺎﻇﺖ ﻻ‪ ‬ﺗﮇﻫﻮﻛﻲ ﭨﺎﻟﭙﺮ ﺣﻜﻤﺮاﻧﻦ ﭘﺎران ﺟﻮﮘﻲ‬
‫ﺗﺮﺑﻴﺖ ﻧﻪ ڏﻧﻲ وﺋﻲ ﻫﺌﻲ‪ ،‬ﭘﺮ ﺗﻨﻬﻦ ﻫﻮﻧﺪي ﺑﻪ ُاﻫﻲ اڏول ﺳﺮوﻳﭻ ﺳﻨﮅ ڌرﺗﻲ‪ ‬ﺟﻲ ﺳﺎک‬
‫ﺑﭽﺎﺋﮡ ﻻ‪ ‬ﺗﻮڙي ﭨﺎﻟﭙﺮ ﺣﻜﻤﺮاﻧﻦ ﺟﻲ ﭘﺖ رﮐﮡ ﻻ‪ ‬ﺳﻮرﻫﻴﺎﺋﻲ‪ ‬ﺳﺎن وڙﻫﻨﺪي ﭘﻨﻬﻨﺠﺎ ﺳﺮ‬
‫ﻛﭙﺎﺋﻲ ﺗﺎرﻳﺦ ﺟﺎ اﻣﺮ ﻛﺮدار ﺑﮣﺠﻲ وﻳﺎ‪.‬‬
‫َﻣـﺮﻛــﺎﻳــﺎﺋــﻮن ِﻣــﻴـ ُـﺮ‪َ ،‬ﭘــﺖ ﭘـﺎرﻳــﺎﺋــﻮن ﭘــﺎﻧــﻬــﺠــﻲ‪،‬‬
‫ــﻨــﻴــﺮ‪ ،‬ﮔــﮭــﺮ ﺳــﭝــﺎﮘــﻲ َﺳــﭙــﺠــﻲ‪) .‬ص‪(44:‬‬‫ُ‬ ‫اﻫــﮍو ﻣــﺮد ُﻣ‬
‫ﻫﻴﭡﻴﻦ ﺑﻴﺖ ۾ اﻧﻬﻦ ﺳﻮرﻫﻴﻪ ﺳﺮوﻳﭽﻦ ﺟﻲ ﺳﻮرﻫﻴﺎﺋﻲ‪ ‬ﺟﻲ ﻣﻨﻈﺮﻛﺸﻲ ﻛﺌﻲ‬
‫وﻳﺌﻲ آﻫﻲ‪ ،‬ﺟﻦ ﭘﻨﻬﻨﺠﻲ زﻧﺪﮔﻲ‪ ‬ﺟﻮ ﻣﻘﺼﺪ ﭘﻨﻬﻨﺠﻲ ڌرﺗﻲ‪ ‬ﻻ‪ ‬ﺟﺎن ﻧﺜﺎر ﻛﺮڻ‬
‫ﺳﻤﺠﮭﻴﻮ ۽ وﻃﻦ ﺟﻲ ﺗﺤﻔﻆ ﻻ‪ ‬ﻣﻴﺎڻ ﻣﺎن ﻧﻜﺘﻞ ﺳﻨﺪن ﺗﻠﻮاران ۾ ﮐﻨﻮڻ ﺟﻬﮍا ﺗﺠﻼ‬
‫ﻣﻮﺟﻮد ﻫﺌﺎ‪.‬‬
‫ِرڻ ۾ ﻣــــﺘــــﻲ راﻧــــﺪ‪ ،‬اڄ َاﮔــــﮭــــﻮري آﺋــــﻴــــﺎ‪،‬‬
‫ﻛـﻠــﻬـﺎ ﮔــﮇﻳـﺎ‪ ،‬ﭘــﺎﺳـﻲ ﭤــﻲ ﭘﺴــﻤـﺎﻧــﺪ‪،‬‬ ‫ﻛـﻮﻧـﮅن ُ‬
‫ﭼﻤﻜﻴﻮن ﭼﺌـﻨـﻲ ﭘـﺎﻧـﺪ‪ ،‬ﻣـﭥـﻲ ِﺳـﺮ َﺳـﺮواﻫـﻴـﻮن‪) .‬ص‪(44-43:‬‬
‫ﻫﻴﭡﻴﻦ ﺑﻴﺖ ۾ ﻫﻚ ﻃﺮف ﺗﻪ ﺷﻬﻴﺪ ﻣﺮﺗﻀﻰ ﺟﻲ ﺳﻮرﻫﻴﺎﺋﻲ ﺳﺎن وڙﻫﻨﺪي‪ ،‬ﺟﺎن‬
‫ﺟﻮ ﻧﻈﺮاﻧﻮ ڏﻳﮡ ﺟﻲ ﻣﻨﻈﺮﻛﺸﻲ ﻛﺌﻲ وﺋﻲ آﻫﻲ‪ ،‬ﭔﻲ ﻃﺮف وري ﻣﻴﺮن ﺟﻲ وﻗﺖ ﺳﺮ‬
‫ﻟﺸﻜﺮ ﺟﻲ ﻣﻴﺪان ۾ ﻧﻪ ﻻﻫﮡ ۽ ﮐﻮڙ ﺳﺎرن ﺳﭙﺎﻫﻴﻦ ﺟﻲ ﺟﺎن ﺑﭽﺎﺋﮡ ﺧﺎﻃﺮ ﻣﻴﺪان ﻣﺎن‬
‫ﭜﭵﻲ وﭸﮡ ﺟﻲ دردﻧﺎڪ واﻗﻌﻲ ﺟﻲ ﻣﻨﻈﺮ ﻧﮕﺎري‪ ‬ﺟﻲ ﭘﻴﺸﻜﺶ ﺟﻮ اﻧﺪاز ﺑﻪ ﻧﺮاﻟﻮ آﻫﻲ‪.‬‬
‫اﭼـــﻲ اڄ اﻣـــﻴـــﺮ‪ ،‬ﮐـــﺮڙي‪ ‬ﺧـــﻴـــﻤـــﺎ ﮐـــﻮڙﻳـــﺎ‪،‬‬
‫ﭜــﻴــﭽــﻲ ﭜــﻴــﮍا ﻧــﻪ ﭤــﻴــﺎ‪ ،‬ﻣــﻬــﻨــﺪ ﻧــﻪ آﻳــﺎ ﻣــﻴــﺮ‪،‬‬
‫ڏﻧــــﻮ ِﺳــــﺮ ُﺳــــﮅﻳــــﺮ‪ ،‬ﻣــــﺮﺗﻀــــﻰ ﻣــــﻴــــﺪان ۾‪) .‬ص‪(40 :‬‬
‫ﻫﻴﭡﻴﻦ ﺑﻴﺘﻦ ۾ ﻣﺮﺗﻀﻰ ﺷﺎﻫﻪ ﺟﻲ ﺳﻮرﻫﻴﺎﺋﻲ‪ ‬ﺳﺎن وڙﻫﮡ ۽ ﭘﭡﺎﮢﻦ ﺟﻲ ﺟﭥﻦ ﺟﺎ‬
‫ﭜﺎﮜﺎ ﻻﻫﮡ‪ ،‬ﻛﭩﺎري ﺗﻮڙي ﺟﻲ ﻛﺎت ﺟﻲ رت ﺳﺎن وات رﮜﮡ ۽ ﻣﺎﻧﺠﻬﻲ ﻣﮍﺳﻦ ﺟﻲ ﻫﮇ‬
‫ﻣﮁﺎﺋﮡ‪ ،‬ﮐﺮڙي‪ ‬ﺟﻲ ﻣﻴﺪان ﺟﻲ رت ﺳﺎن رﮜﺠﮡ‪ ،‬ﺳﻮرﻣﻦ ﺟﻲ ﺟﻨﮓ ﺟﻲ ﻣﻴﺪان ۾ ﭘﺮک‪،‬‬
‫ﺳﺆﺳﺴﻴﻮن ڏﺋﻲ ﻫﻜﮍي وک وﭠﮡ ﺟﻴﻜﺎ ﻧﻴﺰي ﺳﺮ ڏﻳﺌﻲ ﻣﻴﺪان ﮐﻲ ﻣﺮﻛﺎﺋﻲ‪ ،‬وﻳﺮي‪‬‬
‫ﺟﻲ وﺟﻮد ﻣﺎن ﻛﭩﺎرو ﻧﻪ ﻛﮃڻ‪ُ ،‬اﻧﮉو وﺟﮭﻲ َاﮜﺮا ور ور ﻛﺮي وڍڻ ﺟﻲ ﻣﻨﻈﺮﻧﮕﺎري‪،‬‬
‫‪144‬‬ ‫ﺧﻠﻴﻔﻲ ﻧﺒﻲ ﺑﺨﺶ ﻟﻐﺎري‪ ‬ﺟﻲ ُﺳﺮ ﻛﻴﮇاري ﺟﻮ ﺗﻨﻘﻴﺪي اﭜﻴﺎس‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻧﺮاﻟﻲ اﻧﺪاز ﺳﺎن ﭤﻴﻞ آﻫﻲ‪.‬‬

‫ﻛﻮﻧﮅ ﻗﻠﻌـﻲ ﺟـﺎ ﻛـﻮڏﻳـﺎ‪ُ ،‬ﻧـﻮﻧـﮅ ﻧـﭽـﻨـﺪا ﭘـﺲ‪،‬‬
‫ﮀــﮇي َﺗــﻦ ﺗــﺮس‪ ،‬ﭘــﻠــﭩــﻴــﻮ ﺷــﺎﻫــﻪ ﭘــﭡــﺎڻ ﺗــﻲ‪) .‬ص‪(41:‬‬
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‫ﻛـــﭩـــﺎري ۽ ﻛـــﺎت‪ ،‬ﻣـــﻦ ﻣـــﺮادون ُﭘـــﻨـــﻴـــﻮن‪،‬‬
‫َرت ﭜــﺮﻳــﺎﺋــﻮن وات‪ ،‬ﻣــﺎﻧــﺠــﮭــﻴــﻦ َﻫــﮇ ُﻣــﮁــﺎﺋــﻴــﺎ‪) .‬ص‪(42:‬‬
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‫ﮐـــﺮڙي ﮐـــﺎﺋـــﻲ َرت‪َ ،‬ﭜـــﺖ ﻧـــﻪ وﺟـــﮭـــﻲ وات ۾‪،‬‬
‫ِﭘــﮍ ۾ ﭘــﻬــﻠــﻮاﻧــﻦ ﺟــﻲ‪ ،‬وﻳــﭡــﻲ ﭘــﺮﮐــﻲ َﭘــﺖ‪،‬‬
‫َﺟﻨﻴـﻦ ﻧـﻴـﮡ ﻧِ َﺴـﺖ‪،‬ﻧـﻴـﻨـﻬـﻦ ﻧـﻪ ﻻﺋـﻲ ﺗـﻦ ﺳـﻴـﻦ‪) .‬ص‪(40:‬‬
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‫ﮐــﺮڙي ﮐــﺎﺋــﻲ ﻣــﺎﻫــﻪ‪ ،‬ﭘــﻴــﺌــﻲ رت ﭘــﻴــﺎﻟــﻴــﻮن‪،‬‬
‫وﻳﭡﻲ ﺳﮇي ﺷﺎﻫـﻪ‪ ،‬ﺟـﻮ ڏﻳـﻨـﺪو ﺳـﺮ ڏﻳـﺎچ ﺟـﻴـﺎن‪) .‬ص‪(41:‬‬
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‫ﺳــﺆ ﺳــﺴــﻴــﻦ ڏﻳــﺌــﻲ‪ِ ،‬وک وﭠــﺠــﻲ ﻫــﻴــﻜــﮍي‪،‬‬
‫ﺟﻨﻬـﻦ ﻧـﻴـﺰي ِﺳـﺮ ﻧـﻴـﺌـﻲ‪َ ،‬ﻣـﺮﻛـﺎﻳـﻮ ﻣـﻴـﺪان ۾‪) .‬ص‪(43:‬‬
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‫ــﮃ‪ ،‬وﻳـــﺮي‪ ‬ﺟـــﻲ وﺟـــﻮد ﻣـــﺎن‪،‬‬ ‫ﻛـــﭩـــﺎرو َم َ‬
‫ﻛـ ُ‬
‫وڍؤ وﻳـــــﭡـــــﻮ َو ُڍ‪ُ ،‬اﻧـــــﮉو وﺟـــــﮭـــــﻲ َاﮜـــــﺮا‪) .‬ص‪(44 :‬‬
‫ﻫﻴﭡﻴﻦ ﺑﻴﺘﻦ ۾ ﻣﺮي ذات ﺟﻲ ﺟﻮڌن ﺟﻲ ﺳﻮرﻫﻴﺎﺋﻲ‪ ‬ﺳﺎن ﮔﮇوﮔﮇ‪ ،‬ﮐﺮڙي ﺟﻨﮓ‬
‫ﺟﻲ ﺳﻮرﻣﻦ ﺟﻲ ﺳﺮ ڏﻳﮡ ۾ ﺳﺮﻫﺎﺋﻲ ﻣﺤﺴﻮس ﻛﺮڻ‪ ،‬ﺟﻨﮓ ﺟﻲ ﺟﺎﻧﺒﺎز ﺳﭙﺎﻫﻴﻦ ﺟﻲ‬
‫دﺷﻤﻦ ﺳﭙﺎﻫﻪ ﺟﻲ وﺟﻮد ﮐﻲ ﭜﺎﮜﺎ ﭜﺎﮜﺎ ﻛﺮڻ‪ ،‬ﻛﺎﻧﺌﺮن ﺟﻲ ﭼﺎﻟﺒﺎزي ﮐﺎن ﺧﺒﺮدار رﻫﮡ‪،‬‬
‫ﻛﭩﺎري ۽ ﻛﺎت ﺟﻲ دﻟﻴﺮي‪ ‬ﺳﺎن اﺳﺘﻌﻤﺎل ﻛﺮڻ ﺟﻲ ﻣﻨﻈﺮن ﺟﻲ ﭼﭩﺴﺎﻟﻲ ﻛﺌﻲ‬
‫وﺋﻲ آﻫﻲ‪.‬‬
‫ﻛﻴـﻨـﮭـﻪ‪،‬‬ ‫ﻛﻮ‪ ‬ڊﭴﻲ ِ‬ ‫ﻣﺮي ذات ُﻣﮍي‪ ‬ﺟﻲ‪ ،‬ﺗﻨﻬﻦ ُ‬
‫ﻇــﺎﻫــﺮ ُﺑــﺖ ﺑﺸــﺮ‪ ،‬ﺟــﻮ ﺳــﻴــﻨــﻲ اﻧــﺪر ﺷــﻴــﻨــﻬــﻦ‪،‬‬
‫ﻛـﭙـﺎر ۾‪) .‬ص‪(47:‬‬ ‫ﺗﻨﻲ ﭼﺎڙﻫﻲ ﭼﻴﻨﮭﻪ‪ ،‬ﻛﻠﻨﮕـﻴـﻮن َﺟـﻦ َ‬
‫ِ‬
‫—‬
‫ﭘــﮍ ۾ ﭘــﻮڙي‪ ‬رﻧــﮓ‪ ،‬ﻣــﺎﺟــﮭــﻴــﻦ رﺗــﺎ ﻣــﻮﻟــﻬــﻴــﺎ‪،‬‬
‫ﺗـــﺮﻳـــﺎن رت ُﺗـــﺮﻧـــﮓ‪ ،‬رڻ ۾ راﻣـــﺎﮢـــﺎ ﻛـــﺮي‪) .‬ص‪(42:‬‬
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‫‪145‬‬ ‫ﺧﻠﻴﻔﻲ ﻧﺒﻲ ﺑﺨﺶ ﻟﻐﺎري‪ ‬ﺟﻲ ُﺳﺮ ﻛﻴﮇاري ﺟﻮ ﺗﻨﻘﻴﺪي اﭜﻴﺎس‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ـﻮڀ‪ ،‬ﺟـﻲ ُﻫـﻮﻧــﺪ ﭘــﺎﻳــﺎن ﭘــﺎﻧـﺪ ۾‪،‬‬

‫ﺳِـﺴِ ــﻲ ﻟــﭥــﻲ ﺳـ َ‬
‫ﻫﻲ ﺟﮗ ُﺳﻮڌو ﻟﻮڀ‪ُ ،‬ﻫﻮ ﭘﮡ ﮔـﮭـﻮرﻳـﻮ ﮔـﮭـﻮرﻳـﺎن‪) .‬ص‪(43:‬‬
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‫ﻫــﮡ ﻛــﭩــﺎرو ﻛــﺎت‪ ،‬وﻳــﺮي وﻳـ َ‬
‫ـﺮم ﻧــﻪ ﺳــﻬــﻲ‪،‬‬
‫ﻣﮁﮡ ﻛﺎ ﻣﺼﻠﺤﺎت‪ ،‬ﻛﺎﻧﺌﺮ وﺟﮭﻴﺌﻲ ﻛـﻦ ﺗـﻲ‪) .‬ص‪(45:‬‬
‫ﻫﻴﭡﻴﻦ ﺑﻴﺘﻦ ۾ ﺷﻬﻴﺪ ﻣﺮﺗﻀﻰ ﺟﻲ ﺳﻮرﻫﻴﺎﺋﻲ‪ ‬ﺳﺎن وڙﻫﮡ‪ ،‬دﺷﻤﻦ ﻓﻮج ﺟﻲ دﺳﺘﻦ‬
‫ﮐﻲ ﻛﭩﺎر ﺳﺎن ﻛﻬﮡ‪ ،‬ﺳﻨﮅي ﺳﻮرﻣﻦ ﺟﻲ دﻟﻴﺮي‪ ‬ﺳﺎن وڙﻫﻨﺪي ﺷﻬﺎدت ﻣﺎﮢﮡ‪ ،‬ڌرﺗﻲ‪‬‬
‫ﺟﻲ ﺣﻔﺎﻇﺖ ﺧﺎﻃﺮ وڙﻫﮡ ري‪ ‬ﻧﻪ وﻳﻬﮡ‪ ،‬ﺳﻮرﻫﻴﻪ ﺳﺮوﻳﭽﻦ ﭘﺎران ڌرﺗﻲ‪ ‬ﺟﻲ ﻣﺤﺒﺖ ۽‬
‫ﺣﻔﺎﻇﺖ ﺟﻲ اوﻟﻴﻦ ﻣﻘﺼﺪ ﺟﻲ ﭘﺲ ﻣﻨﻈﺮ ۾ ﻛﻨﮅ ﮐﻲ ﻛﻠﻬﻦ ﺗﻲ ﺑﺎر ﺳﻤﺠﮭﮡ ﺟﻬﮍن‬
‫اﻧﻤﻮل ﻣﻨﻈﺮن ﮐﻲ ﻧﺮاﻟﻲ اﻧﺪاز ﺳﺎن ﺑﻴﺎن ﻛﻴﻮ وﻳﻮ آﻫﻲ‪.‬‬
‫ﻣـﻴـﺮ‪َ ،‬ﻣ ُـﻞ ﺟـﻬـﻴـﻦ ﺟـﻮ ﻣـﺮﺗﻀـﻰ‪،‬‬
‫ﺳﻮ َﻣﺮ َﻣﺮﻛﻲ ُ‬
‫ﻛــﻴـ ُـﺮ‪،‬‬ ‫دﭔــﺎﺋــﻲ دﺷــﻤــﻦ ﮐــﻲ‪ ،‬ﻛــﻨــﮅ ۾ ﮐــﻮڙي ِ‬
‫ﻛــﻨــﺪ ﻫــﭥــﻦ ﺳــﺎن‪) .‬ص‪(43:‬‬ ‫ﻫــﺎدي ﻫــﻤــﻬــﻪ ﮔــﻴـ ُـﺮ‪ ،‬ﻫــﮣــﻲ ُ‬
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‫ﺳــﻮرﻫــﻴــﻪ ﺳــﻨــﺪي ﺳــﺮ ﺗــﻲ‪ ،‬ﺳــﺴــﻲ‪ ‬ﺳــﻨــﺪو ﺑــﺎر‪،‬‬
‫ــﻖ ادا ﭤـــﺌـــﻮ ُان ﺗـــﺎن‪) .‬ص‪(47:‬‬
‫ﺟـــﻲ ُﺗـــﺮي َﺗـــﻦ ﺗـــﺮار‪ ،‬ﺣـ ُ‬
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‫ُ‬
‫ﺟﺎن ﺟﺎن ﺟﮭﻴﮍو ﻧﻪ ﻛﺮي‪ ،‬ﺗﺎن ﺗﺎن ﻧﺎﻫـﻲ ﺳـﮏ‪،‬‬
‫وڍﻳـــﻮ وﻳـــﺮي‪ ‬اﮜـــﺮا‪ ،‬ﭜـــﭹـــﺌـــﻮ ﻻﻫـــﻲ ُﺑـــﮏ‪،‬‬
‫ﺧﻠﻴﻔﻲ ﻧﺒﻲ ﺑﺨﺶ ﻟﻐﺎري‪ ‬ﺟﺘﻲ ﺳﻮرﻫﻴﻪ ﺳﺮوﻳﭽﻦ ﺟﻲ ﺳﻮرﻫﻴﺎﺋﻲ‪ ‬ﺟﻲ‬
‫ﻣﻨﻈﺮﻛﺸﻲ ﻛﺌﻲ اﻫﻲ‪ُ ،‬اﺗﻲ اﻧﻬﻦ ڌرﺗﻲ‪ ‬ڌﻳﺎﮢﻴﻦ ﺟﻲ وﻃﻦ ﺗﺎن ور ﻗﺮﺑﺎن ﻛﺮڻ ﺟﻲ ﺑﻲ‬
‫ﻟﻮث ﺟﺬﺑﻲ ﺟﻲ ﻣﻨﻈﺮﻛﺸﻲ ﭘﮡ ﻛﺌﻲ آﻫﻲ‪ ،‬ﺟﻦ ﻻ‪ ‬ﺳﻨﺪن ورن ﺟﻲ ﺷﻬﺎدت ﺗﻪ ﻓﺨﺮ ﺟﻮ‬
‫ﺑﺎﻋﺚ آﻫﻲ‪ ،‬ﭘﺮ ﺳﺮ ﺑﭽﺎﺋﻲ ﺟﻨﮓ ﺟﻲ ﻣﻴﺪان ﺗﺎن ﭜﭵﻲ ﻧﻜﺮڻ ﻛﻨﻬﻦ ﺑﻪ ﺻﻮرت ۾ ﻗﺎﺑﻞ‬
‫ﻗﺒﻮل ﻧﺎﻫﻲ‪.‬‬
‫ﺟﻲ ُﺗﻮن ﭜﭵـﻲ آﺋـﻴـﻴـﻦ‪ ،‬ﺗـﻪ آ‪ ‬ﺗـﻨـﻬـﻨـﺠـﻲ ﭜـﻴـﮡ‪،‬‬
‫ـﭣ ﺗــﻨــﻬــﻨــﺠــﻲ َﻧـ َ‬
‫ـﻚ ۾‪ ،‬وﺟــﮭــﺎن ڏﻳــﺌــﻲ وﻳــﮡ‪،‬‬ ‫ﻧـ َ‬
‫ﻛــﺮ َﭘﺴــﺎن ُﭘــﭧ ڏي‪) .‬ص‪(46:‬‬ ‫ﺗــﻮڏي ﮐــﮣــﺎن ﻧــﻴــﮡ‪ ،‬ﺗــﻪ َ‬

‫ﺧﻠﻴﻔﻲ ﻧﺒﻲ ﺑﺨﺶ ﻟﻐﺎري‪ ‬ﻫﻴﭡﻴﻦ ﺑﻴﺘﻦ ۾ ﺳﻨﮅ ﺟﻲ ﺳﻮرﻣﻦ ﺟﻲ ﺳﻮرﻫﻴﺎﺋﻲ ﺟﻮ‬
‫ﺣﻮاﻟﻮ ڏﻳﻨﺪي ﺷﺠﺎع ﮐﻲ ﺗﻨﺒﻴﻬﻪ ﻛﺮي ﭤﻮ ﺗﻪ ﺳﻨﮅ ﺟﺎ ﺳﻮرﻣﺎ ڌرﺗﻲ‪ ‬ﮐﻲ ﺳﺎﮢﻴﻬﻪ ﺳﻤﺠﮭﻦ‬
‫ﭤﺎ‪ ،‬ﺗﻨﻬﻨﻜﺮي ﺑﻲ ﻓﻜﺮ ﭤﻲ ﺳﻤﮡ ﺟﻮ ﺧﻴﺎل ﺑﻪ دل ۾ ﻧﻪ آﮢﺠﺎن‪.‬‬
‫‪146‬‬ ‫ﺧﻠﻴﻔﻲ ﻧﺒﻲ ﺑﺨﺶ ﻟﻐﺎري‪ ‬ﺟﻲ ُﺳﺮ ﻛﻴﮇاري ﺟﻮ ﺗﻨﻘﻴﺪي اﭜﻴﺎس‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﺷـــﺠـــﺎع وﻳـــﮭـــﻪ َم ﺳـــﻨـــﮅ‪ ،‬اوڏا اڏي ﻧـــﺠـــﮭـــﺮا‪،‬‬

‫ﻫـــﺘـــﻲ راوت رﻧـــﺪ‪ ،‬وﺗـــﻦ ﻗـــﻠـــﻌـــﻲ ﻛـــﻮڏﺋـــﺎ‪) .‬ص‪(40:‬‬

‫‪:‬‬
‫ﮘﺎﻫﻦ’ واري ﺷﺎﻋﺮي‪ ‬ﺟﻲ‬ ‫ﺳﻨﮅ ۾ ﺟﻨﮕﻲ ﭘﺲ ﻣﻨﻈﺮ ۾ ﺳﺮﺟﻴﻞ ﺷﺎﻋﺮي‪ ،‬ﻗﺪﻳﻢ ‘ ُ‬
‫ﺻﻮرت ۾ ﻣﻮﺟﻮد آﻫﻲ‪ .‬ﺟﻨﻬﻦ ۾ دودي ﺳﻮﻣﺮي ﺟﻲ داﺳﺘﺎن وارﻳﻮن ﮘﺎﻫﻮن ﺗﻪ ﺳﻨﮅ ﺟﻲ‬
‫ﺗﺎرﻳﺦ ﺟﻮ َاﻣﻠﻬﻪ ورﺛﻮ آﻫﻦ‪ ،‬ﭘﺮ ‘ﻛﻴﮇاري’ ﺟﻮ ﺳﺮﺟﺎ‪ ،‬اﺣﺴﺎن ﻓﻘﻴﺮ ۽ ﺷﺎﻫﻪ ﻟﻄﻴﻒ ﮐﺎن‬
‫ﭤﻴﻮ‪ .‬ﺷﺎﻫﻪ ﻟﻄﻴﻒ ۽ اﺣﺴﺎن ﻓﻘﻴﺮ ﻛﻴﮇاري ﺟﻲ ﺧﻮﺑﺼﻮرت ﺷﺎﻋﺮي ﻛﺌﻲ آﻫﻲ‪ .‬ان ﺟﻲ‬
‫ﺳﭩﺎ‪ ‬ﺑﻴﺘﻦ ﺟﻲ اداﺋﮕﻲ‪ ‬۽ ﻣﻮاد ﻣﺎن ﺳﻨﮅي ﭘﺴﻤﻨﻈﺮ ﺟﻲ ﺟﮭﻠﻚ ﺗﻪ ﻣﻠﻲ ﭤﻲ‪ ،‬ﭘﺮ ﭔﻨﻬﻲ‬
‫ﻛﻴﮇارن ﺟﻮ ﺗﺎﭸﻲ ﭘﻴﭩﻮ ﻛﺮﺑﻼ ﺟﻲ ﻗﻀﻴﻲ ۽ اﻣﺎﻣﻦ ﺟﻲ ﺷﻬﺎدت ﺟﻲ رواﻳﺘﻲ ﻣﻀﻤﻮن‬
‫ﺗﻲ ﭔﮅل آﻫﻲ‪.‬‬
‫ﺷﺎﻫﻪ ﻟﻄﻴﻒ ۽ اﺣﺴﺎن ﻓﻘﻴﺮ ﮐﺎﻧﭙﻮ‪ ‬ﻋﺒﺪاﻟﺮﺣﻴﻢ ﮔﺮﻫﻮڙي‪ ،‬ﺻﻮﻓﻲ ﺻﺎدق ﻓﻘﻴﺮ‪،‬‬
‫ﻏﻼم ﺣﻴﺪر ﺗﻴﺮﻫﻴﻲ ۽ ﺧﻠﻴﻔﻲ ﻧﺒﻲ ﺑﺨﺶ وٽ ﻛﻴﮇاري ﺟﻲ ﺷﺎﻋﺮي‪ ‬ﺟﻲ رواﻳﺖ ﻣﻮﺟﻮد‬
‫ﻣﻠﻲ ﭤﻲ‪ .‬ﻋﺒﺪاﻟﺮﺣﻴﻢ ﮔﺮﻫﻮڙي‪ ‬ﺟﺎ ﭘﻨﺞ ﺑﻴﺖ ﻣﻠﻦ ﭤﺎ‪ ،‬ﺟﻦ ۾ ﻛﺮﺑﻼ ﺟﻲ ﻗﻀﻴﻲ ﺟﻮ ﺋﻲ‬
‫ذﻛﺮ آﻫﻲ‪ .‬ﺷﺎﻫﻪ ﺷﺮﻳﻒ ﭜﺎڏاﺋﻲ‪ ‬ﺟﻲ ﺷﺎﮔﺮد ﻓﻘﻴﺮ ﻏﻼم ﺣﻴﺪر ﺗﻴﺮﻫﻴﻲ‪ ،‬اﻣﺎﻣﻦ ﺟﻲ‬
‫ﺷﻬﺎدت واري ﻣﻮﻗﻌﻲ ﮐﻲ ﺗﺎرﻳﺨﻲ رواﻳﺖ ﺟﻲ رﻧﮓ ۾ ﺗﻔﺼﻴﻞ ﺳﺎن ﺑﻴﺎن ﻛﻴﻮ آﻫﻲ‪.‬‬
‫ﺻﻮﻓﻲ ﺻﺎدق ﻓﻘﻴﺮ ۽ ﺧﻠﻴﻔﻮ ﻧﺒﻲ ﺑﺨﺶ ﻟﻐﺎري ﭘﻬﺮﻳﺎن ﭔﻪ ﻋﻮاﻣﻲ ﺷﺎﻋﺮ آﻫﻦ‪ ،‬ﺟﻦ‬
‫وٽ ﻛﻴﮇاري ﺟﻮ ﻣﻮﺿﻮع ﻣﺬﻫﺒﻲ ﺟﺬﺑﻲ ۽ روﺣﺎﻧﻲ ﻋﻘﻴﺪت ﺟﻲ داﺋﺮي ﻣﺎن ﻧﻜﺮي‪،‬‬
‫ﺳﻨﮅ ﺟﻲ ﺳﻮرﻫﻴﻪ ﺷﻬﻴﺪن ﺟﻲ ذﻛﺮ ﻻ‪ ‬وﻗﻒ ﭤﻴﻞ ﻧﻈﺮ اﭼﻲ ﭤﻮ‪ .‬ﭔﻨﻬﻲ ﻛﻴﮇارن ۾‬
‫ﺷﻬﺎدت وارو ﻣﺮﻛﺰي ﻧﻘﻄﻮ ﻣﻮﺟﻮد آﻫﻲ‪ .‬ﺻﻮﻓﻲ ﺻﺎدق ﻓﻘﻴﺮ‪ ،‬ﭘﻨﻬﻨﺠﻲ ﻣﺮﺷﺪ ﺷﺎﻫﻪ‬
‫ﻋﻨﺎﻳﺖ ﺟﮭﻮڪ واري ﺟﻲ ﺷﻬﺎدت ﮐﺎن ‪ 50‬ﺳﺎل ﭘﻮ‪ ،‬ﻣﺮﺷﺪ ﺟﻲ ﻋﻘﻴﺪت ۾ ﻛﻴﮇارو‬
‫ﻟﮑﻴﻮ‪ ،‬ﭘﺮ ُان ﺟﻲ ﭘﺴﻤﻨﻈﺮ ۾ اﻣﺎﻣﻦ ﺟﻲ ﺷﻬﺎدت ﺟﻮ ﭘﮍاڏو ۽ ﺟﮭﻠﻚ ﺑﻪ ﻣﻮﺟﻮد آﻫﻲ‪.‬‬
‫ﺧﻠﻴﻔﻲ ﻧﺒﻲ ﺑﺨﺶ ﻟﻐﺎري‪ ‬ﺟﻲ ُﺳﺮ ﻛﻴﮇاري ۾ ﻛﻴﮇاري ﺟﻲ ﻣﻌﻴﺎر وارا ﺳﭝﺌﻲ‬
‫ﻟﻮازﻣﺎت ﻣﻮﺟﻮد آﻫﻦ‪ .‬ﺳﻨﺪس ُﺳﺮ ﻛﻴﮇاري ۾ ﮐﺮڙي‪ ‬واري‪ ‬ﺟﻨﮓ ﺟﺎ واﻗﻌﺎ اﻫﮍي اﻧﺪاز‬
‫ﺳﺎن ﺑﻴﺎن ﭤﻴﻞ آﻫﻦ‪ ،‬ﺟﻮ ﭘﮍﻫﻨﺪڙ ﭘﺎڻ ﮐﻲ ﺟﻨﮓ ﺟﻲ ﻣﻴﺪان ۾ ﻣﻮﺟﻮد ﻣﺤﺴﻮس ﻛﺮي ﭤﻮ‬
‫۽ ﺳﻤﻮرا واﻗﻌﺎ اﮐﻴﻦ اﮘﻴﺎن ﭤﻴﻨﺪي ﻣﺤﺴﻮس ﻛﺮي ﭤﻮ‪ .‬ﺧﻠﻴﻔﻲ ﻧﺒﻲ ﺑﺨﺶ ﻟﻐﺎري‪ ‬ﺟﻲ‬
‫ُﺳﺮ ﻛﻴﮇاري ﺟﻮ ُﺣﺴﻦ ان ﮘﺎﻟﮭﻪ ﺟﻲ ﻛﺮي ﺑﻪ ﭔﻴﻦ ﺳﭝﻨﻲ ﺷﺎﻋﺮن ﮐﺎن وڌﻳﻚ ﻧﮑﺮﻳﻞ‬
‫آﻫﻲ‪ ،‬ﺟﻮ ﺳﻨﺪس ُﺳﺮ ﻛﻴﮇاري ﺟﻮ ﻣﻮﺿﻮغ ﺧﺎﻟﺺ ﺳﻨﮅ ﺟﻲ ﺳﺮوﻳﭽﻦ ۽ ﺟﻮڌن ﺟﻲ‬
‫ﺳﻮرﻫﻴﺎﺋﻲ‪ ،‬ﺟﺎﻧﻴﻦ ﺟﺎ ﻧﻈﺮاﻧﺎ ڏﻳﮡ ۽ ﺳﻨﮅ ﺟﻲ ﮐﺮڙي‪ ‬واري‪ ‬ﺟﻨﮓ ﺟﻮ ﻣﻌﺮﻛﻮ آﻫﻲ‪،‬‬
‫ﺟﻨﻬﻦ ۾ ﺳﻨﮅ ﺟﻲ ﺳﭙﻮﺗﻦ ﺟﺎﻧﻴﻦ ﺟﻲ ﭘﺮواﻫﻪ ﻧﻪ ﻛﻨﺪي‪ ،‬ڌرﺗﻲ‪ ‬ﺟﻲ ﺣﻔﺎﻇﺖ ﻻ‪ ‬ﺑﻬﺎدري‪‬‬
‫ﺳﺎن وڙﻫﻨﺪي ﭘﭡﺎﮢﻦ ﺟﻲ ﻟﺸﻜﺮ ﺟﺎ ڏﻧﺪ ﮐﭩﺎ ﻛﺮي ﮀﮇﻳﺎ ﻫﺌﺎ‪ .‬ﺧﻠﻴﻔﻲ ﻧﺒﻲ ﺑﺨﺶ ﻟﻐﺎري‪‬‬
‫ﺟﻮ ُﺳﺮ ﻛﻴﮇارو ﺧﺎﻟﺺ ﺳﻨﮅ ﺟﻲ ﺑﻨﻴﺎدي ﻛﻴﮇاري ﺟﻲ ﺣﻴﺜﻴﺖ رﮐﻲ ﭤﻮ‪.‬‬
‫‪147‬‬ ‫ﺧﻠﻴﻔﻲ ﻧﺒﻲ ﺑﺨﺶ ﻟﻐﺎري‪ ‬ﺟﻲ ُﺳﺮ ﻛﻴﮇاري ﺟﻮ ﺗﻨﻘﻴﺪي اﭜﻴﺎس‬
 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﺣﻮاﻻ‪:‬‬
‫ﺑﻠﻮچ‪ ،‬ﻧﺒﻲ ﺑﺨﺶ ﺧﺎن‪ ،‬ڊاﻛﭩﺮ‪ .‬ﻧﺌﻴﻦ ﺟﺎﻣﻊ ﺳﻨﮅي ﻟﻐﺎت‪ -‬ﺟﻠﺪ ﭔﻴﻮ )ڇ‪ -‬ڪ(‪ -‬ﺣﻴﺪرآﺑﺎد‪ :‬ﺳﻨﮅي‬ ‫‪.1‬‬
‫ﭔﻮﻟﻲ‪ ‬ﺟﻮ ﺑﺎ اﺧﺘﻴﺎر ادارو‪ -‬ﮀﺎﭘﻮ ﭘﻬﺮﻳﻮن‪ .‬ﺳﺎل‪2005 :‬ع‪ ،‬ص‪.1395 :‬‬
‫ﮔﺮﺑﺨﺸﺎﮢﻲ‪ ،‬ﻫﻮﺗﭽﻨﺪ ﻣﻮﻟﭽﻨﺪ‪ ،‬ڊﻛﭩﺮ‪ .‬رﺳﺎﻟﻮ ﺷﺎﻫﻪ ﻋﺒﺪاﻟﻠﻄﻴﻒ ﭜﭩﺎﺋﻲ‪ ‬ﺟﻮ ﻋﺮف ﺷﺎﻫﻪ ﺟﻮ رﺳﺎﻟﻮ‪.‬‬ ‫‪.2‬‬
‫ﻛﺮاﭼﻲ‪ .‬ﺛﻘﺎﻓﺖ ﮐﺎﺗﻮ ﺣﻜﻮﻣﺖ ﺳﻨﮅ‪ ..‬ﮀﺎﭘﻮ ﭼﻮﭤﻮن‪ .‬ﺳﺎل‪2012 :‬ع‪ ،‬ص‪.808 :‬‬
‫آڏواﮢﻲ‪ ،‬ﻛﻠﻴﺎڻ‪ .‬رﺳﺎﻟﻮ ﺷﺎﻫﻪ ﻋﺒﺪاﻟﻠﻄﻴﻒ ﭜﭩﺎﺋﻲ‪ .‬ﻛﺮاﭼﻲ‪ :‬ﺳﻨﮅﻳﻜﺎ اﻛﻴﮉﻣﻲ‪ .‬ﺳﺎل‪2004 :‬ع‪،‬‬ ‫‪.3‬‬
‫ص‪.311 :‬‬
‫‘ﻛﺎﺷﻒ’‪ ،‬ﻣﺤﻤﺪ ﺣﺴﻴﻦ‪ ،‬ﺷﺎﻫﻪ‪ ،‬ﺳﭽﻞ ۽ ﺧﻠﻴﻔﻮ ﻗﺎﺳﻢ‪ .‬ﻛﺮاﭼﻲ‪ .‬ﺛﻘﺎﻓﺖ ﮐﺎﺗﻮ ﺣﻜﻮﻣﺖ ﺳﻨﮅ‪..‬‬ ‫‪.4‬‬
‫ﮀﺎﭘﻮ ﭘﻬﺮﻳﻮن‪ .‬ﺳﺎل‪2012 :‬ع‪ ،‬ص‪.165 :‬‬
‫ﺟﻮﻳﻮ‪ ،‬ﺗﺎج‪ .‬ﺧﻠﻴﻔﻲ ﻧﺒﻲ ﺑﺨﺶ ﺟﻲ ﺷﺎﻋﺮي ۽ ﺳﻨﺪس دور‪ .‬ﺧﻠﻴﻔﻲ ﻧﺒﻲ ﺑﺨﺶ ﺟﻲ ﺷﺎﻋﺮاﮢﻲ‬ ‫‪.5‬‬
‫ﻋﻈﻤﺖ‪ .‬ﻣﺮﺗﺐ‪ :‬ﭘﺮوﻓﻴﺴﺮ ڊاﻛﭩﺮ ﻗﺎدر ﺑﺨﺶ ﻣﮕﺴﻲ‪ .‬ﻛﻨﮉﻳﺎرو‪ :‬روﺷﻨﻲ ﭘﺒﻠﻴﻜﻴﺸﻦ‪ -‬ﮀﺎﭘﻮ‬
‫ﭘﻬﺮﻳﻮن‪ .‬ﺳﺎل‪2015 :‬ع‪ .‬ص‪.54 :‬‬
‫ﺟﻮﻳﻮ‪ ،‬ﺗﺎج‪ .‬ﺣﻮاﻟﻮ ﺳﺎﮘﻴﻮ‪ .‬ص‪.55-54 :‬‬ ‫‪.6‬‬
‫ﺟﻮﻳﻮ‪ ،‬ﺗﺎج‪ .‬ﺣﻮاﻟﻮ ﺳﺎﮘﻴﻮ‪ .‬ص‪.55 :‬‬ ‫‪.7‬‬

‫ﻣﺪدي ﻛﺘﺎب‪:‬‬
‫‪ .1‬ﺑﻠﻮچ‪ ،‬ﻧﺒﻲ ﺑﺨﺶ ﺧﺎن‪ ،‬ڊاﻛﭩﺮ‪ .‬ﺧﻠﻴﻔﻲ ﺻﺎﺣﺐ ﺟﻮ ﻛﻼم‪ -‬ﮀﺎﭘﻮ ﭔﻴﻮ‪ .‬ﭴﺎﻣﺸﻮرو‪ ،‬ﺳﻨﮅي ادﺑﻲ‬
‫ﺑﻮرڊ‪ .‬ﺳﺎل‪2005 :‬ع‪.‬‬

‫‪148‬‬ ‫ﺧﻠﻴﻔﻲ ﻧﺒﻲ ﺑﺨﺶ ﻟﻐﺎري‪ ‬ﺟﻲ ُﺳﺮ ﻛﻴﮇاري ﺟﻮ ﺗﻨﻘﻴﺪي اﭜﻴﺎس‬
 ‫ع۽ ﺌ‬ ‫ﺌ ن ﺌ‬ ‫ڙا‬ ‫‪/‬‬ ‫ا ڊي‬ ‫۽‬ ‫ﺌن ا‬ ‫ﺑ‬ ‫ي‬ ‫ﮭ‬ ‫ر‬ ‫اردو‬ ‫وﺌ‬

‫ﺳﻨﮅي ﺷﻌﺒﻲ ﭘﺎران اﻳﻢ ﻓﻞ‪/‬ﭘﻲ اﻳﭿ‪-‬ڊي ﻛﻴﻞ‪ /‬ﻛﻨﺪڙ اﺳﻜﺎﻟﺮن ﺟﺎ ﻣﻮﺿﻮع ۽ ﻧﺎﻻ‬
‫رﺟﺴﭩﺮﻳﺸﻦ‬
‫ڊﮔﺮي‬ ‫ﺳﭙﺮواﺋﺰر ﺟﻮ ﻧﺎﻟﻮ‬ ‫اﺳﻜﺎﻟﺮ ﺟﻮ ﻧﺎﻟﻮ‬ ‫ﻣﻮﺿﻮع‬ ‫ﻧﻤﺒﺮ‬
‫ﺟﻮ ﺳﺎل‬
‫اﻳﻢ ﻓﻞ ﻟﻴﮉﻧﮓ ﭨﻮ ﭘﻲ اﻳﭿ‪ -‬ڊي‬ ‫‪2011‬ع‬ ‫ڊاﻛﭩﺮ ﺧﻮرﺷﻴﺪ‬ ‫ڊاﻛﭩﺮ ﻋﺎﺑﺪه‬ ‫ﺳﻨﮅي ﺷﺎﻋﺮي‪ ‬۾ ﺗﺮﻗﻲ ﭘﺴﻨﺪ ﻻڙا ۽ ﻧﻈﺮ‬ ‫‪1‬‬
‫ﻋﺒﺎﺳﻲ‬ ‫ﮔﻬﺎﻧﮕﻬﺮو‬ ‫‪2015) Degree Awarded‬ع(‬
‫اﻳﻢ ﻓﻞ ﻟﻴﮉﻧﮓ ﭨﻮ ﭘﻲ اﻳﭿ‪ -‬ڊي‬ ‫‪2011‬ع‬ ‫ڊاﻛﭩﺮ ﻛﻤﺎل ﭴﺎﻣﮍو‬ ‫ﭰﻠﻮ ﻣﻴﮕﻬﻮاڙ‬ ‫ڍاﭨﻜﻲ ﻟﻮڪ ادب ﺟﻮ ﻟﺴﺎﻧﻴﺎﺗﻲ‪ ،‬ﺳﻤﺎﺟﻲ ۽‬ ‫‪2‬‬
‫ﺛﻘﺎﻓﺘﻲ ﻣﻄﺎﻟﻌﻮ )ڊﮔﺮي ﺟﺎري ﭤﻴﮡ واري(‬
‫ﺌرو ﮬ‬

‫اﻳﻢ ﻓﻞ ﻟﻴﮉﻧﮓ ﭨﻮ ﭘﻲ اﻳﭿ‪ -‬ڊي‬ ‫‪2011‬ع‬ ‫ڊاﻛﭩﺮ ﻋﻨﺎﻳﺖ ﺣﺴﻴﻦ‬ ‫ﺳﻴﻤﺎ اﺑﮍو‬ ‫ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬ﺟﻲ ﻣﺨﺘﻠﻒ ﻟﻬﺠﻦ ﺟﻮ ﺗﻘﺎﺑﻠﻲ‬ ‫‪3‬‬
‫ﻟﻐﺎري‬ ‫ﺟﺎﺋﺰو‬
‫]‬

‫اﻳﻢ ﻓﻞ ﻟﻴﮉﻧﮓ ﭨﻮ ﭘﻲ اﻳﭿ‪ -‬ڊي‬ ‫‪2011‬ع‬ ‫ڊاﻛﭩﺮ ﻛﻤﺎل ﭴﺎﻣﮍو‬ ‫رﺿﻴﻪ ﭔﮕﻬﻴﻮ‬ ‫اﻟﻄﺎف ﺷﻴﺦ ﺟﻮ ﺳﻨﮅي ﺳﻔﺮﻧﺎﻣﻦ ﺟﻲ ﺗﺮﻗﻲ‪‬‬ ‫‪4‬‬
‫۾ ﻛﺮدار )ﺗﺤﻘﻴﻘﻲ ۽ ﺗﻨﻘﻴﺪي اﭜﻴﺎس(‬
‫[‬

‫اﻳﻢ ﻓﻞ ﻟﻴﮉﻧﮓ ﭨﻮ ﭘﻲ اﻳﭿ‪ -‬ڊي‬ ‫‪2011‬ع‬ ‫ڊاﻛﭩﺮ ﻛﻤﺎل ﭴﺎﻣﮍو‬ ‫ﺳﺎرﻧﮓ ﭼﺎﻧﮉﻳﻮ‬ ‫ﺳﺎﻣﻲ‪ ‬ﺟﻲ ﻛﻼم ﺟﻮ ﺗﺤﻘﻴﻘﻲ ﺟﺎﺋﺰو‪.‬‬ ‫‪5‬‬
‫ﭘﻲ اﻳﭿ‪ -‬ڊي‬ ‫‪2013‬ع‬ ‫ڊاﻛﭩﺮ ﻛﻤﺎل ﭴﺎﻣﮍو‬ ‫ﺑﺸﻴﺮ اﺣﻤﺪ ﻧﻮﻧﺎري‬ ‫ﺳﻨﮅي ﻛﻬﺎﮢﻴﻜﺎراﺋﻦ ﺟﻲ ﻛﻬﺎﮢﻴﻦ ﺟﻮ‬ ‫‪6‬‬
‫ﺗﺤﻘﻴﻘﻲ ۽ ﺗﻨﻘﻴﺪي ﺟﺎﺋﺰو‬
‫اﻳﻢ ﻓﻞ ﻟﻴﮉﻧﮓ ﭨﻮ ﭘﻲ اﻳﭿ‪ -‬ڊي‬ ‫‪2011‬ع‬ ‫ﻋﺒﺪاﻟﺤﻖ ﻳﺎﺳﺮ ﻗﺎﺿﻲ ڊاﻛﭩﺮ ﻛﻤﺎل ﭴﺎﻣﮍو‬ ‫رﺗﻴﺪﻳﺮي ﺟﻲ ﻋﻠﻤﻲ ۽ ادﺑﻲ ﺗﺎرﻳﺦ‬ ‫‪7‬‬
‫اﻳﻢ ﻓﻞ ﻟﻴﮉﻧﮓ ﭨﻮ ﭘﻲ اﻳﭿ‪ -‬ڊي‬ ‫‪2011‬ع‬ ‫ڊاﻛﭩﺮ ﻛﻤﺎل ﭴﺎﻣﮍو‬ ‫ﺳﻨﮅي ﻛﻼﺳﻴﻜﻲ ﺷﺎﻋﺮن ﺟﻲ ﺷﺎﻋﺮي‪ ‬ﺟﻮ ﻣﺤﺒﻮب ﻋﻠﻲ ﭰﻞ‬ ‫‪8‬‬
‫ﺳﻨﮅي ﺳﻤﺎج ﺗﻲ اﺛﺮ‬

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 ‫ﺳﻨﮅي ﺷﻌﺒﻲ ﭘﺎران اﻳﻢ ﻓﻞ‪/‬ﭘﻲ اﻳﭿ‪-‬ڊي ﻛﻴﻞ‪ /‬ﻛﻨﺪڙ اﺳﻜﺎﻟﺮن ﺟﺎ ﻣﻮﺿﻮع ۽ ﻧﺎﻻ‬
‫ڊاﻛﭩﺮ ﻛﻤﺎل ﭴﺎﻣﮍو ‪2013‬ع اﻳﻢ ﻓﻞ ﻟﻴﮉﻧﮓ ﭨﻮ ﭘﻲ اﻳﭿ‪ -‬ڊي‬ ‫رﻳﺎﺿﺖ ﻋﻠﻲ ﭔﺮڙو‬ ‫ﺳﻨﮅي زﺑﺎن ۾ ﻟﻐﺖ ﻧﻮﻳﺴﻲ‪ ‬ﺟﻮ ﺗﺤﻘﻴﻘﻲ ﻣﻄﺎﻟﻌﻮ‬ ‫‪9‬‬
‫ڊاﻛﭩﺮ ﻛﻤﺎل ﭴﺎﻣﮍو ‪2013‬ع اﻳﻢ ﻓﻞ ﻟﻴﮉﻧﮓ ﭨﻮ ﭘﻲ اﻳﭿ‪ -‬ڊي‬ ‫ﻃﺎرق ﻋﺰﻳﺰ ﻣﻨﮕﻲ‬ ‫‪ 10‬ﺳﮕﻬﮍ ﻣﺤﻤﺪ ﻣﻠﻮڪ ﻋﺒﺎﺳﻲ‪ ‬ﺟﻲ ﻛﻼم ﺟﻮ‬
‫ﺗﻨﻘﻴﺪي ۽ ﺗﺤﻘﻴﻘﻲ ﺟﺎﺋﺰو‬
‫ڊاﻛﭩﺮ ﻛﻤﺎل ﭴﺎﻣﮍو ‪2013‬ع اﻳﻢ ﻓﻞ ﻟﻴﮉﻧﮓ ﭨﻮ ﭘﻲ اﻳﭿ‪ -‬ڊي‬ ‫ﻏﻼم ﻣﺼﻄﻔﻰ‬ ‫‪ 11‬ﭔﺎرن ﺟﻲ رﺳﺎﻟﻲ ﮔﻞ ﭰﻞ ﺟﻮ ﺗﺤﻘﻴﻘﻲ‪ ،‬ﺗﻨﻘﻴﺪي ۽‬
‫ﺳﻮﻟﻨﮕﻲ‬ ‫ﺗﺎرﻳﺨﻲ ﺟﺎﺋﺰو‪.‬‬
‫‪ 12‬ڊاﻛﭩﺮ ادل ﺳﻮﻣﺮي ﺟﻲ ﻋﻠﻤﻲ ۽ ادﺑﻲ ﺧﺪﻣﺘﻦ ﺟﻮ اﻋﺠﺎز ﺣﺴﻴﻦ ﺣﺎﺟﺎﮢﻮ ڊاﻛﭩﺮ ﻋﻨﺎﻳﺖ ﺣﺴﻴﻦ ‪2014‬ع اﻳﻢ ﻓﻞ ﻟﻴﮉﻧﮓ ﭨﻮ ﭘﻲ اﻳﭿ‪ -‬ڊي‬
‫ﻟﻐﺎري‬ ‫ﺟﺎﺋﺰو‬
‫ﺌرو ﮬ‬

‫ﺳﻜﻨﺪر اﺣﻤﺪ ﭘﻨﻬﻴﺎر ڊاﻛﭩﺮ ﻛﻤﺎل ﭴﺎﻣﮍو ‪2014‬ع اﻳﻢ ﻓﻞ ﻟﻴﮉﻧﮓ ﭨﻮ ﭘﻲ اﻳﭿ‪ -‬ڊي‬ ‫‪ 13‬ﺳﻨﮅي ﺷﺎﻋﺮي‪ ‬ﺟﻲ ﺻﻨﻒ ﻛﺎﻓﻲ‪ ‬ﺟﻮ ﺗﺤﻘﻴﻘﻲ‬
‫۽ ﺗﻨﻘﻴﺪي اﭜﻴﺎس‬
‫]‬

‫ڊاﻛﭩﺮ ﻋﻨﺎﻳﺖ ﺣﺴﻴﻦ ‪2014‬ع اﻳﻢ ﻓﻞ ﻟﻴﮉﻧﮓ ﭨﻮ ﭘﻲ اﻳﭿ‪ -‬ڊي‬ ‫ﻋﺮﻓﺎن اﺣﻤﺪ ﻣﻴﻤﮡ‬ ‫‪ 14‬اﻧﮕﺮﻳﺰن ﺟﻲ دور ۾ ﺳﻨﮅي ﻧﺜﺮ ﺟﻮ ﺗﺤﻘﻴﻘﻲ ۽‬
‫ﻟﻐﺎري‬ ‫ﺗﻨﻘﻴﺪي ﺟﺎﺋﺰو‬
‫[‬

‫ڊاﻛﭩﺮ ﻋﻨﺎﻳﺖ ﺣﺴﻴﻦ ‪2014‬ع اﻳﻢ ﻓﻞ‬ ‫ﺛﻨﺎ‪ ‬ا� ﺳﻮﻣﺮو‬ ‫‪ 15‬ﺷﻤﺸﻴﺮ اﻟﺤﻴﺪري‪ ‬ﺟﻲ ﺷﺨﺼﻴﺖ ۽ ﻓﻦ ﺟﻮ‬
‫ﻟﻐﺎري‬ ‫ﺗﺤﻘﻴﻘﻲ ﺟﺎﺋﺰو‬
‫ڊاﻛﭩﺮ ﻋﻨﺎﻳﺖ ﺣﺴﻴﻦ ‪2014‬ع اﻳﻢ ﻓﻞ‬ ‫اﺳﺪا� ﭼﻨﻮ‬ ‫‪ 16‬ﺿﻠﻌﻲ ﻧﻮﺷﻬﺮي ﻓﻴﺮوز ﺟﻮن ﻋﻠﻤﻲ ادﺑﻲ‬
‫ﻟﻐﺎري‬ ‫ﺷﺨﺼﻴﺘﻮن‬
‫ڊاﻛﭩﺮ ﻋﻨﺎﻳﺖ ﺣﺴﻴﻦ ‪2014‬ع اﻳﻢ ﻓﻞ‬ ‫ﻧﻈﺮ ﺣﺴﻴﻦ ﻣﻼح‬ ‫‪ 17‬ﺗﺎﺟﻞ ﺑﻴﻮس ﺟﻲ ﺷﺨﺼﻴﺖ ۽ ﻓﻦ ﺟﻮ ﺗﺤﻘﻴﻘﻲ‬
‫ﻟﻐﺎري‬ ‫ﺟﺎﺋﺰو‬

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 ‫ڊاﻛﭩﺮ ﻋﻨﺎﻳﺖ ﺣﺴﻴﻦ ‪2014‬ع اﻳﻢ ﻓﻞ ﻟﻴﮉﻧﮓ ﭨﻮ ﭘﻲ اﻳﭿ‪ -‬ڊي‬ ‫‪ 18‬اﻣﺪاد ﺣﺴﻴﻨﻲ‪ ‬ﺟﻲ ﺷﺨﺼﻴﺖ ۽ ﻓﻦ ﺟﻮ ﺗﺤﻘﻴﻘﻲ ﺟﺎوﻳﺪ اﺣﻤﺪ ﺷﻴﺦ‬

‫ﺳﻨﮅي ﺷﻌﺒﻲ ﭘﺎران اﻳﻢ ﻓﻞ‪/‬ﭘﻲ اﻳﭿ‪-‬ڊي ﻛﻴﻞ‪ /‬ﻛﻨﺪڙ اﺳﻜﺎﻟﺮن ﺟﺎ ﻣﻮﺿﻮع ۽ ﻧﺎﻻ‬
‫ﻟﻐﺎري‬ ‫ﺟﺎﺋﺰو‬
‫‪2014‬ع اﻳﻢ ﻓﻞ ﻟﻴﮉﻧﮓ ﭨﻮ ﭘﻲ اﻳﭿ‪ -‬ڊي‬ ‫ڊاﻛﭩﺮ ﻛﻤﺎل ﭴﺎﻣﮍو‬ ‫ﻣﺨﺪوم ﻋﺒﺪاﻟﻤﻨﺎن‬ ‫‪ 19‬درﭔﻴﻠﻲ ﺟﻲ ﻣﺨﺪوم ﺧﺎﻧﺪان ﺟﻮن ﻋﻠﻤﻲ ۽ ادﺑﻲ‬
‫ﺧﺪﻣﺘﻮن )ﻫﻚ ﺗﺤﻘﻴﻘﻲ اﭜﻴﺎس(‬
‫ڊاﻛﭩﺮ ﻋﻨﺎﻳﺖ ﺣﺴﻴﻦ ‪2014‬ع اﻳﻢ ﻓﻞ ﻟﻴﮉﻧﮓ ﭨﻮ ﭘﻲ اﻳﭿ‪ -‬ڊي‬ ‫ﻗﺮﺑﺎن ﻋﻠﻲ ﭼﻨﻮ‬ ‫‪ 20‬اﺑﺮاﻫﻴﻢ ﻣﻨﺸﻲ‪ ‬ﺟﻲ ﺷﺨﺼﻴﺖ ۽ ﻓﻦ ﻫﻚ‬
‫ﻟﻐﺎري‬ ‫ﺗﺤﻘﻴﻘﻲ ﺟﺎﺋﺰو‪.‬‬
‫‪2015‬ع اﻳﻢ ﻓﻞ ﻟﻴﮉﻧﮓ ﭨﻮ ﭘﻲ اﻳﭿ‪ -‬ڊي‬ ‫ڊاﻛﭩﺮ ﻛﻤﺎل ﭴﺎﻣﮍو‬ ‫ﻃﺎرق ﻋﺰﻳﺰ ﺷﻴﺦ‬ ‫ﻣﻤﺘﺎز ﻣﺮزا ﺟﻲ ادﺑﻲ ۽ ﺛﻘﺎﻓﺘﻲ ﺧﺪﻣﺘﻦ ﺟﻮ‬ ‫‪21‬‬
‫ﺗﺤﻘﻴﻘﻲ ۽ ﺗﻨﻘﻴﺪي اﭜﻴﺎس‬
‫ﺌرو ﮬ‬

‫‪2015‬ع اﻳﻢ ﻓﻞ ﻟﻴﮉﻧﮓ ﭨﻮ ﭘﻲ اﻳﭿ‪ -‬ڊي‬ ‫ﻧﻴﺎز اﺣﻤﺪ ﺳﺮﻛﻲ ڊاﻛﭩﺮ ﻛﻤﺎل ﭴﺎﻣﮍو‬ ‫ﺷﺎﻫﻪ ﻋﺒﺪاﻟﻠﻄﻴﻒ ﭜﭩﺎﺋﻲ‪ ‬ﺟﻲ ﺷﺎﻋﺮي‪ ‬۾‬ ‫‪22‬‬
‫ورﺟﻴﺴﻦ ‪ /‬ﺗﻠﻤﻴﺤﻦ ﺟﻮ ﺗﺤﻘﻴﻘﻲ ۽ ﺗﻨﻘﻴﺪي ﺟﺎﺋﺰو‬
‫]‬

‫‪2015‬ع اﻳﻢ ﻓﻞ ﻟﻴﮉﻧﮓ ﭨﻮ ﭘﻲ اﻳﭿ‪ -‬ڊي‬ ‫ﺟﺎوﻳﺪ ﺣﺴﻴﻦ ﺑﻮزدار ڊاﻛﭩﺮ ﻛﻤﺎل ﭴﺎﻣﮍو‬ ‫ﺳﻨﮅي ﭔﻮﻟﻲ‪ ‬۽ ادب ﺟﻲ ﺗﺮﻗﻲ‪ ‬۾ روزاﻧﻲ ﻋﻮام‬ ‫‪23‬‬
‫آواز ﺟﻮ ﻛﺮدار )ﺗﺤﻘﻴﻘﻲ ۽ ﺗﻨﻘﻴﺪي اﭜﻴﺎس(‬
‫[‬

‫ڊاﻛﭩﺮ ﻋﻨﺎﻳﺖ ﺣﺴﻴﻦ ‪2015‬ع اﻳﻢ ﻓﻞ ﻟﻴﮉﻧﮓ ﭨﻮ ﭘﻲ اﻳﭿ‪ -‬ڊي‬ ‫ﻟﻴﺎﻗﺖ ﻋﻠﻲ‬ ‫ﺗﻌﻠﻘﻲ ﺧﻴﺮﭘﻮر ﻧﺎﭤﻦ ﺷﺎﻫﻪ ﺟﻮن ﻋﻠﻤﻲ ادﺑﻲ‬ ‫‪24‬‬
‫ﻟﻐﺎري‬ ‫“ﻫﻤﺴﻔﺮ” ﮔﺎڏﻫﻲ‬ ‫ﺷﺨﺼﻴﺘﻮن‬
‫ڊاﻛﭩﺮ ﻋﻨﺎﻳﺖ ﺣﺴﻴﻦ ‪2015‬ع اﻳﻢ ﻓﻞ ﻟﻴﮉﻧﮓ ﭨﻮ ﭘﻲ اﻳﭿ‪ -‬ڊي‬ ‫اﻧﻮر ﻋﻠﻲ ﻛﺎﻛﺎ‬ ‫‪ 25‬ﻣﺨﺪوم اﻣﻴﻦ ﻓﻬﻴﻢ ﺟﻲ ﺷﺨﺼﻴﺖ ۽ ﺷﺎﻋﺮي‪:‬‬
‫ﻟﻐﺎري‬ ‫ﻫﻚ ﺗﺤﻘﻴﻘﻲ ﻣﻄﺎﻟﻌﻮ‬
‫ڊاﻛﭩﺮ ﻋﻨﺎﻳﺖ ﺣﺴﻴﻦ ‪2015‬ع اﻳﻢ ﻓﻞ ﻟﻴﮉﻧﮓ ﭨﻮ ﭘﻲ اﻳﭿ‪ -‬ڊي‬ ‫ام ﻫﺎﻧﻲ ﺳﻨﮅو‬ ‫‪ 26‬ﻗﻤﺮ ﺷﻬﺒﺎز ﺟﻲ ﺷﺨﺼﻴﺖ‪ ،‬ﻓﻦ ۽ ﻓﻜﺮ ﺟﻮ‬
‫ﻟﻐﺎري‬ ‫ﺗﺤﻘﻴﻘﻲ ﺟﺎﺋﺰو‬

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 ‫[‬ ‫]‬ ‫ﺌرو ﮬ‬

‫ﻧﻮٽ‪ :‬ﺳﻨﮅي ﺷﻌﺒﻲ ۾ ‪2011‬ع ۾ ﺗﮇﻫﻦ اﻳﻢ ﻓﻞ ﭘﺮوﮔﺮام ﺷﺮوع ﭤﻴﻮ‪ ،‬ﺟﮇﻫﻦ ﺷﻌﺒﻲ‬
‫۾ ﭔﻪ ﭘﻲ اﻳﭿ‪ -‬ڊي ُاﺳﺘﺎد ڊاﻛﭩﺮ ﻋﻨﺎﻳﺖ ﺣﺴﻴﻦ ﻟﻐﺎري )ﭘﻬﺮﻳﺎن ﮐﺎن ﻣﻮﺟﻮد( ۽ ڊاﻛﭩﺮ‬
‫ﻛﻤﺎل ﭴﺎﻣﮍو ﻣﻘﺮر ﭤﻴﻮ‪ .‬ڊاﻛﭩﺮ ﻟﻐﺎري ُان وﻗﺖ ﺷﻌﺒﻲ ﺟﻮ ﭼﻴﺌﺮﻣﻴﻦ ﻫﻮ‪.‬‬
‫ﭘﻲ اﻳﭿ‪-‬ڊي ﭘﺮوﮔﺮام ‪2013‬ع ۾ ڊاﻛﭩﺮ ﻛﻤﺎل ﭴﺎﻣﮍي ﭘﻨﻬﻨﺠﻲ ﭼﻴﺌﺮﻣﻴﻨﻲ‪‬‬
‫دوران ﺷﺮوع ﻛﺮاﻳﻮ‪.‬‬
‫‪2016‬ع ۾ ﭘﻲ اﻳﭿ‪-‬ڊي ﭘﺮوﮔﺮام ﻳﻮﻧﻴﻮرﺳﭩﻲ اﻧﺘﻈﺎﻣﻴﻪ ﻛﺠﻬﻪ ﺳﺒﺒﻦ ﻛﺮي ﺑﻨﺪ‬
‫ﻛﺮي ﮀﮇﻳﻮ‪ ،‬ﺟﻨﻬﻦ ﺟﻲ ﻧﺘﻴﺠﻲ ۾ رﮘﻮ اﻳﻢ ﻓﻞ ۾ ﭘﻨﺞ داﺧﻼﺋﻮن ﭤﻴﻮن‪ ،‬ﺟﻦ ﺟﻮ ﻛﻮرس‬
‫ورڪ ڊﺳﻤﺒﺮ ‪2017‬ع ۾ ﻣﻜﻤﻞ ﭤﻲ ﭼﻜﻮ آﻫﻲ‪ .‬ﺷﺎﮔﺮد ﻣﻮﺿﻮع ﮐﮣﮡ ﺟﻲ ﺗﻴﺎرﻳﻦ ۾‬
‫آﻫﻦ‪ .‬ﺳﭵﻲ‪ ‬ﻳﻮﻧﻴﻮرﺳﭩﻲ‪ ‬۾ ‪2017-18‬ع ﻻ‪ ‬اﻳﻢ ﻓﻞ‪ /‬ﭘﻲ اﻳﭿ‪-‬ڊي داﺧﻼﺋﻦ ﺟﻮ اﭸﺎ اﻋﻼن‬
‫ﻧﻪ ﭤﻴﻮ آﻫﻲ‪ .‬آﮔﺴﭧ ‪2015‬ع ﮐﺎن ڊاﻛﭩﺮ ﻋﻨﺎﻳﺖ ﺣﺴﻴﻦ ﻟﻐﺎري ﺻﺎﺣﺐ ﺳﻨﮅي ﺷﻌﺒﻲ ﺟﻮ‬
‫ﭼﻴﺌﺮﻣﻴﻦ آﻫﻲ‪) .‬اﻳﮉﻳﭩﺮ(‬

‫‪152‬‬ ‫ﺳﻨﮅي ﺷﻌﺒﻲ ﭘﺎران اﻳﻢ ﻓﻞ‪/‬ﭘﻲ اﻳﭿ‪-‬ڊي ﻛﻴﻞ‪ /‬ﻛﻨﺪڙ اﺳﻜﺎﻟﺮن ﺟﺎ ﻣﻮﺿﻮع ۽ ﻧﺎﻻ‬
‫اردو‬
 [ ] ‫ﺌرو ﮬ‬

‫ا‬

‫ﻮﺋﯽ ﺍﺩﺏ ﻣﯿﮟ‬‫ﺑﺮﺍ‬

‫ﺣﻀﺮﺕ ﺷﺎﮦ ﻋﺒﺪﺍﻟﻠﻄﯿﻒ ﺑﮭﭩﺎﺋﯽ ﮐﺎ ﺗﺬﮐﺮﮦ‬
AN OVER VIEW OF TRANSLATION AND
RESEARCH WORK ON SHAH ABDUL LATIF
BHITTAI IN BRAHUI LITERATURE

Abstract
Shah Abdul Latif Bhitai is a great Sufi poet of the world. He did his
poetry in Sindhi language, which has been translated in English, French,
Urdu, Punjabi, Balochi, Brahui etc.
Balochi and Brahui are languages of Balochistan province of
Pakistan. People of Sindh and Balochistan are very similar to each other
in their customs, traditions, culture and languages. They love and respect
all Sufi poets of Sindh and Balochistan as well as all over Pakistan.
Balochi and Brahui people also recite/sing the poetry of Shah Abdul
Latif Bhitai directly in Sindhi language.
Apart from this Balochi and Brahui scholars translated and
researched on Shah Abdul Latif Bhitai in Balochi and Brahui languages.
Johar Brohi is a prominent scholar of Brahui and Sindhi, who
translated the poetry of Shah Abdul Latif and did research work on him
in Brahui at a large scale. Other Brahui scholars have also done research
work on Shah. In this article their traslation and research work on Shah
Abdul Latif Bhitai's life and poetry in Brahui literature are highlighted/
overviewed.
‫و‬ ‫ز دہ م‬ ‫ہ ا‬ ‫ت‬ ‫ ا ادب‬:‫ٹ‬
‫۔‬ ‫م‬ ‫ا‬ ‫ ٰا‬،
‫ں د‬ ‫ ںاور‬،‫ وں‬،‫د ت‬،‫ ٔوں‬،‫ٔاوں‬ ،‫ں‬ ،‫ھ ں ں‬
‫اس ز‬ ‫۔اس‬ ‫اور‬ ‫ام‬ ‫و ںاو و‬
‫لآپ ۔‬ ‫۔ ا‬ ‫د‬ ‫ار ں ر‬
155 ‫ہ‬ ؒ ‫ت ہ ا‬ ‫ادب‬ ‫ا‬
 ‫[‬ ‫ﺌرو ﮬ ]‬

‫كادباور‬ ‫ا دا‬ ‫رتز ن‬ ‫اور‬ ‫ا ء ا‬

‫ا دراوڑىز ن ۔اس‬ ‫۔‬ ‫ت‬ ‫اا ر‬ ‫ا‬
‫۔‬ ‫دڑو‬
‫۔ان‬ ‫وا‬ ‫‪،‬ا ندو ‪ ،‬ن ازاور‬ ‫ًا‬ ‫ھ گ‬
‫و‬ ‫ھ‬ ‫د ۔ز‬ ‫ر‬ ‫ت ار س‬
‫‪،‬‬ ‫ا ات ِذ ۔ ھ با م‬ ‫ا‬ ‫ا ات‬
‫ھ آ ۔‬ ‫ا ء ا م‬
‫ں‬ ‫آ دى‬ ‫اس‬ ‫ر‬ ‫و‬ ‫‘‘ ر‬
‫ا ‪ ، ،‬ا ‪ ، ، ،‬ن‪ ،‬ا‬ ‫۔اب ھ آ دى‬ ‫ں‬ ‫ا ات‬
‫ى ں‬ ‫رت ا ى آ دى ں‬ ‫آ د ۔ا ح‬
‫آ د ’’۔)‪(۱‬‬
‫اوراس‬ ‫وع‬ ‫ھ‬ ‫ہ ر‬ ‫ر‬ ‫ز ِ ھ‬
‫۔ ر اہ‬ ‫ى دارادا‬ ‫د ‪ ،‬اءاوراد ء‬ ‫ام‪،‬‬ ‫وغ‬
‫تاور را ات‬ ‫ت‪،‬اد ر ت‪،‬‬ ‫ا‬ ‫اس‬ ‫م‬
‫اور ب‬ ‫ا‬ ‫۔‬ ‫دى دارز ن‬ ‫اوراس ا ر‬
‫۔اس وا‬ ‫در‬ ‫ں ا ز ن درىز ن‬ ‫ز ن اور‬
‫ا درىز ن‬ ‫م‬ ‫د ‪ ،‬ں ا‬ ‫ہ ا‬ ‫ل ت‬
‫ت ہ‬ ‫ں ا‬ ‫۔ ز ِ ھ ر اور‬ ‫اوروہا دو ے ا‬
‫اب ۔‬ ‫ى‬ ‫ز نوادب‬ ‫‪ ،‬ں‬ ‫ا‬
‫ُا‬ ‫ع‬ ‫ز ن ا ب’’‬ ‫‘‘‬ ‫ا‬ ‫ت ہ‬
‫‪:‬‬ ‫ا‬ ‫ز اورادب’’‬ ‫‘‘‬
‫۔وہ ا ں‬ ‫۔ ىان ذر ش‬ ‫ا آزاددرو‬ ‫‘‘ ہ ا‬
‫ان‬ ‫وں داد‬ ‫دى‬ ‫ر ں‬
‫۔ و‬ ‫م ز دہ ز دہ ں‬ ‫ز اورا ارِ ت‬ ‫ں‬
‫زن ا ب ۔‬ ‫ز‬ ‫ب ودا‬ ‫ار ِ‬ ‫ا ں ر اوراردو‬
‫رگ ا‬ ‫اوران‬ ‫ا‬ ‫ت اوراد‬ ‫ھ ان‬
‫۔وہ‬ ‫و اج‬ ‫ز وا س را‬ ‫ان‬ ‫دم‬ ‫او‬
‫‪156‬‬ ‫ہ‬ ‫ؒ‬ ‫ت ہ ا‬ ‫ادب‬ ‫ا‬
 ‫[‬ ‫ﺌرو ﮬ ]‬

‫راور‬ ‫ا‬ ‫ى‪ ،‬روم‪،‬‬ ‫ر ج‪،‬را‬ ‫ت‬ ‫زى‬ ‫اور‬ ‫ِ‬

‫ان ر و ا ت‬ ‫زن ۔‬ ‫اوروہ ر‬ ‫ن‬ ‫ا‬ ‫ازى‬
‫زن ا‬ ‫ہ ا‬ ‫۔‬ ‫گ‬ ‫ڑے‬
‫ا ل‬ ‫‪،‬ا رےاور‬ ‫‪،‬‬ ‫‪،‬‬ ‫وہ‬ ‫ت ا ر ذر‬
‫اور روح و‬ ‫و‬ ‫‪،‬‬ ‫و‬ ‫ں‬ ‫۔ا‬ ‫وا‬ ‫ھ‬
‫ن اوراس را‬ ‫ال ا‬ ‫ر اور‬ ‫ں‪ ٰ ،‬ں‪،‬‬ ‫ا ارور ز‪،‬‬
‫۔ ا أت ا م اوراس ر‬ ‫و‬ ‫ف‬
‫ز نوادب د‬ ‫۔اس ح ہ‬ ‫ا ر‬ ‫ا‬
‫و ر د ۔’)‪(۲‬‬
‫ٰ ں ا‬ ‫ال‬ ‫ں‪ ،‬روىاور‬ ‫درج ا‬
‫ذ‬ ‫ى ’’ ٰ ں‬ ‫‘‘ ہ‬ ‫درج ۔اس‬
‫ز ن درىز ن‬ ‫دار ۔‬ ‫ا ان ا ُ ‘‘ ٰ ’’‬
‫اور‬ ‫ا رو ‪،‬‬ ‫و و‬ ‫اوراس‬ ‫ں وا‬
‫‪،‬‬ ‫ر وا‬ ‫اور‬ ‫م ا لآپ ۔ز‬ ‫ا‬
‫زن‬ ‫۔ ٰا‬ ‫ر‬ ‫ا‬ ‫زن‬
‫اس‬ ‫ىد‬ ‫اس ت‬ ‫ا‬ ‫ً ت ہ‬
‫‪:‬‬ ‫ا ا‬
‫ے‬ ‫۔ ھاور‬ ‫ے ذر‬ ‫‘‘ ‪ ،‬اور‬
‫ہاور‬ ‫زن‬ ‫۔‬ ‫وں ہ‪ ،‬اور‬
‫رف‪،‬ا اور ن ’’۔)‪(۳‬‬ ‫‪ ،‬ر اور‬ ‫ے‬
‫گ ‪ ،‬ص اس ظ‬ ‫اء‬ ‫‘‘ ھ‬ ‫ا حآ‬
‫زن ا ِ‬ ‫م‬ ‫ا ں‬ ‫ا ح ا ل‬ ‫م‬ ‫ا ں ا‬
‫اس ورت ۔)‪(۴‬‬ ‫ھ د‬
‫ما ِ‬ ‫ں‬ ‫ھاور‬ ‫ا‬ ‫ت ہ‬
‫ِز‬ ‫رے‬ ‫اما درسِ اور‬ ‫۔اس‬ ‫ِ اور ِ‬
‫ا‬ ‫۔ وہ ما ں ا‬ ‫ں‬ ‫م‬ ‫اور ىا ر و‬
‫ا‬ ‫ا‬ ‫ت ہ‬ ‫ان‬ ‫ق ر‬
‫‪157‬‬ ‫ہ‬ ‫ؒ‬ ‫ت ہ ا‬ ‫ادب‬ ‫ا‬
 ‫[‬ ‫ﺌرو ﮬ ]‬

‫ا‬ ‫ز‬ ‫ان ما‬ ‫مد‬ ‫رو ‪،‬ا وآ‬ ‫ى ذر‬

‫اث ۔‬ ‫اور م ِا‬ ‫ہ‬ ‫ں و‬ ‫۔‬ ‫ذر‬
‫ورت ۔‬ ‫ز دہ ز دہ ں‬
‫اور رىد‬ ‫رى ُد‬ ‫وہ‬ ‫ا‬ ‫ت ہ‬
‫۔‬ ‫۔ان ىاوراد‬ ‫ا‬ ‫ِ ان رے‬
‫ا‬ ‫وں ت ہ‬ ‫زن‬ ‫م ں‬ ‫ا‬
‫۔ اس ے‬ ‫ا‬ ‫۔اس َ ِ ّ ت ج‬ ‫ت ر‬ ‫در‬
‫ا‬ ‫۔ ص‬ ‫ے ر‬ ‫اء‬ ‫رگ‬ ‫اور ل‬ ‫‪،‬‬
‫و ت‬ ‫ان از‬ ‫’’‬ ‫’’ اور‘‘ ت‬ ‫ء‘‘ ہ ا‬
‫ں دوران ھ‬ ‫ںاور‬ ‫و ‪،‬ز ر ں‪،‬‬ ‫۔ا ں ا‬ ‫ر‬
‫اروں‬ ‫ا ب‬ ‫اور‬ ‫ا‬ ‫رگ‪ ،‬ہ‬ ‫رو‬
‫وں‬ ‫ض‬ ‫ل اوررو‬ ‫م آپ ا‬ ‫ىدىان‬
‫آپ‬ ‫اس‬ ‫‪ ،‬ا اور ر‬ ‫ى‬ ‫۔ان ء‬
‫ّ‬
‫۔’’‬ ‫ى‬ ‫وہ رہ ز ں‬ ‫ا‬
‫ں‬ ‫تو‬ ‫ا ں‬ ‫ا‬ ‫ت ہ‬
‫‪،‬اد ‪، ،‬دا راور صو‬ ‫و ش‬ ‫ا‬ ‫ر‬
‫و‬ ‫ا‬ ‫ت ہ‬ ‫ا‬ ‫ھ‬ ‫ا‬
‫و ى‬ ‫ہ‬ ‫۔ان ےذوقو ق‬ ‫ى ى تو ر‬
‫ز ناور ازم ان د‬ ‫ا اء اور‬ ‫ر‬ ‫ا‬
‫۔‬ ‫ہ‬ ‫‘‘ ’’ آ د ا دور ا اد د‬ ‫۔‬
‫ا اء‬ ‫لاسر‬ ‫۔ د ‪۱۹۹۰‬‬ ‫اور‬ ‫اس‬ ‫ا‬
‫ا‬ ‫رہ ت ہ‬ ‫اس ا‬ ‫ا‬ ‫۔۔‬
‫’’‬ ‫‘‘‬ ‫ا‬ ‫۔‬ ‫م ا اء‬ ‫’’‬ ‫ر ‘‘‬ ‫ت‬
‫‪:‬‬ ‫ر‬
‫چ‬ ‫ا‬ ‫‪ ‘‘:‬ل اُدا ا‬ ‫ا‬
‫ں‬ ‫ى (‬ ‫)ا‬ ‫۔ ں‬ ‫و‬ ‫ل رآ‬
‫دودھ‬ ‫’’‬ ‫۔ ور ‘‘‬ ‫طدر‬ ‫ں‬ ‫ا و د ارر‬
‫‪158‬‬ ‫ہ‬ ‫ؒ‬ ‫ت ہ ا‬ ‫ادب‬ ‫ا‬
 ‫[‬ ‫ﺌرو ﮬ ]‬

‫دہ‬ ‫۔ ‘‘ ’’‬ ‫ل‬ ‫ٰ‬ ‫ا‬ ‫۔د‬

‫ر‬ ‫رى‘‘ ’’‬ ‫۔‬ ‫ہ‬ ‫ڑوںاور ں‬ ‫ں‬ ‫اور‬
‫ا‬ ‫ں‬ ‫‘‘ ر ’’‬ ‫۔ ھ دار‪،‬‬ ‫در ڈوب‬
‫ا وہ ا د ں۔‬ ‫۔‬ ‫وا ںاورر داروں‬ ‫رااور ا‬
‫رااور د‬ ‫ت ہ ا‬ ‫ُد‬ ‫اور‬ ‫ا‬
‫رو ان‘‘ا ن‬ ‫۔ان‬ ‫چ ر اورا‬ ‫وہ ل‬
‫را ذ وں ى ں‬ ‫’’ ۔ ا اور ت‬ ‫ا ن‬
‫ر ۔‬
‫وق‬ ‫رخ ں‬ ‫رى وق‬ ‫دل ُد‬
‫دوا ى‬ ‫دو اور‬ ‫وا رود‬ ‫۔‬ ‫ا‬
‫دار‬ ‫رے‬ ‫رہا اور‬ ‫ل آواز ۔‬ ‫۔ ں آواز‬
‫’’۔)‪(۰۵‬‬ ‫رف‬
‫از ۔دو ںدراوڑى‬ ‫اور ا ز ں ر‬
‫۔‬ ‫ان آ‬ ‫۔ و‬ ‫ر‬ ‫ان‬ ‫ز ں ا‬
‫ا‬ ‫ں‬ ‫ا‬ ‫ز نوادب‬ ‫ا‬ ‫ا‬
‫ت‬ ‫۔ا ں‬ ‫ر‬ ‫د‬ ‫وادب‬ ‫ح‬ ‫۔ ا‬ ‫ر‬
‫ار’’‬ ‫۔‘‘‬ ‫م‬ ‫ت ا‬ ‫ا‬ ‫ہ‬
‫م ا‬ ‫ا‬ ‫۔وہ ت ہ‬ ‫قر ى‬ ‫ا‬
‫ہ‬ ‫ار’’‬ ‫‘‘‬ ‫۔ ا‬ ‫م ى‬ ‫ہ‬
‫زاد ‪،‬‬ ‫ار’’ ا اء ا ز ن‬ ‫تد ۔‘‘‬ ‫ا ى‬
‫ل ن‬ ‫‪ ،‬ا وو‬ ‫ڈا ا حا‬ ‫راور ا ا‬
‫‪:‬‬
‫وادب‬ ‫۔ا ں‬ ‫‘‘ ت ہ ا‬
‫‪،‬‬ ‫‪،‬‬ ‫۔ا ق‪،‬ا‬ ‫رو‬ ‫ز رے‬ ‫ا‬ ‫اور ف د‬
‫ل ور‬ ‫‪،‬و دارى‪،‬و رى‪ ،‬ن ازى‪ ، ،‬وت‪ ،‬ردى‪، ،‬ا ر‬
‫س‬ ‫ا اتا‬ ‫صاور ر ا ا ں ا ا‬ ‫ا وآ و‬ ‫ر ۔‬
‫۔‬
‫‪159‬‬ ‫ہ‬ ‫ؒ‬ ‫ت ہ ا‬ ‫ادب‬ ‫ا‬
 ‫[‬ ‫ﺌرو ﮬ ]‬

‫ز ں‬ ‫م‬ ‫ر ‪ ،‬ر وا ر ں ۔ان‬ ‫م‬ ‫ان‬

‫ا‬ ‫(‬ ‫ھ ‘‘ و ’’‬ ‫اب ا ز ن)‬ ‫ا‬
‫ب‬ ‫۔ا ءا‬ ‫ب ر‬ ‫اب‬ ‫م‬ ‫اس‬
‫‪،‬ا انا ن‬ ‫ب‬ ‫وا‬ ‫ن ا‬ ‫ے ۔‬
‫و‪ ،‬اب ہ‪ ،‬ڑ ‪،‬‬ ‫آ د‪ ،‬ر ر‪، ،‬‬ ‫ھ‬ ‫وہ‬ ‫ت‬ ‫ى‬
‫’’)‪(۰۶‬‬ ‫ا‬ ‫دادو‪ ،‬رآ دو ہ ان‬
‫ت ہ‬ ‫۔اس‬ ‫ا ر‬ ‫ا‬ ‫ار’’ ا ں‬ ‫‘‘‬
‫ا‬ ‫۔‬ ‫م ُا‬ ‫ىاور‬ ‫ا‬
‫۔‬ ‫صو ‪ ،‬روا راورا رى‬ ‫ُا‬ ‫رے‬ ‫ہ‬
‫م‬ ‫ا مدى ۔ا ں ہ‬ ‫ا ں ےذوقو ق‬
‫‘‘ رہ‬ ‫ا‬ ‫ار’’‬ ‫۔‘‘‬ ‫ر‬
‫‪:‬‬ ‫’’ ر از‬ ‫ن’’ ‘‘ ى‬
‫مو م از‬ ‫ہ‬ ‫ا‬ ‫ت‬ ‫‪ ‘‘:‬وادب د‬ ‫ا‬
‫م‬ ‫ں‬ ‫۔اس ا ازہاس‬
‫ر ۔‬ ‫م و‬ ‫م ر‬ ‫ا‬
‫۔‬ ‫دے‬ ‫ں ‘‘ ہ ر ’’ ‪۱۸۶۶‬‬ ‫ڈا ار‬
‫‪،‬رو ‪ ،‬ىاور ر‬ ‫۔‬ ‫ا ى’’ مد‬ ‫‘‘‬ ‫اد‬
‫ہم‬ ‫ا‬ ‫۔د‬ ‫م‬ ‫ت‬ ‫و ہ دار ۔ان‬
‫۔ ً ى روم‪،‬د انِ اور‬ ‫ر م‬ ‫۔وہا‬ ‫ر‬
‫ا ح‘‘ ہ ر ’’ رو وف ۔‬
‫ان‬ ‫ع‬ ‫او اس‬ ‫م ان‬ ‫ا ل‬ ‫‘‘اردو ادب ڈا‬
‫م‘‘ ت’’ م‬ ‫۔ا ح ت‬ ‫‘‘ا ت’’ م‬
‫و‬ ‫ئِ‬ ‫وادبا‬ ‫دلود غ آ د‬ ‫۔ ىدا‬
‫۔‬ ‫وہان اورذر‬ ‫ا ن ۔اس‬
‫اورا ن و د آ‬ ‫نر‬ ‫ر وا دلاسز‬
‫۔ م‬ ‫ر‬ ‫ت دى‬ ‫رو‬ ‫ن ت ا ن‬ ‫اب‬
‫ح‬ ‫۔‬ ‫حروح و در‬ ‫۔ا ن‬ ‫ا ح ‘‘راہ ِ ك’’‬
‫‪160‬‬ ‫ہ‬ ‫ؒ‬ ‫ت ہ ا‬ ‫ادب‬ ‫ا‬
 ‫[‬ ‫ﺌرو ﮬ ]‬

‫۔ا حروح‬ ‫ورت‬ ‫ل‬ ‫وں ا‬ ‫ز ہر‬

‫ا ح ن‬ ‫د آن‬ ‫۔اس‬ ‫ورت‬ ‫وں‬
‫ا َﻟَّ ِ◌ﺬ ًﻳ َﻦ ٰا َﻣ ُﻨ ًﻮ َاو َﺗ ًﻄ َﻤﺌ َِّﻦ ﻗُﻠ ًُﻮ ُﺑ ُﻬ ًﻢ ﺑِ ِﺬﮐ ًِﺮاﻟﻠّٰ ِ ا ََﻻ ﺑِ ِﺬﮐ ِ◌ًﺮاﻟﻠّٰ ِ َﺗ ًﻄ َﻤﺌ ُِّﻦ ا ﻟْ ُﻘﻠ ًُﻮ ُب) رہر‬
‫‪،‬آ ہر !ا‬ ‫ا ن‬ ‫ذ‬ ‫آ ‪ : (۲۸‬گا ن اوران دلا‬
‫۔‬ ‫دلا ن‬ ‫ذ‬
‫ر‬ ‫۔اسرا‬ ‫م اسرا‬ ‫اور‬ ‫‘‘راہ ِ ك’’ ا مرا‬
‫ا اد د‬ ‫ا (ا اء‬ ‫۔ )‬ ‫ا ن ل‬ ‫را‬ ‫وا‬
‫ں‬ ‫۔‬ ‫ور‬ ‫ت ر وا‬ ‫ا‬ ‫ر‬
‫ارر‬ ‫ا و د‬ ‫۔اس‬ ‫ا‬ ‫مر‬
‫ے‬ ‫۔اسز‬ ‫ا اء ‘‘ ہ ر ’’‬ ‫ىاوراس‬ ‫ادب آ‬
‫رہ‬ ‫ا اور‬ ‫ہا جر ل ڈ و‘‘ ہ ر ’’ ا‬ ‫ھ(‬ ‫آ د)‬
‫ر۔‬ ‫ا از‬ ‫ُّ‬ ‫َ‬ ‫َ‬ ‫زا‬ ‫ل‘‘ ہ ر ’’ ان‬
‫ور ۔)‪(۰۷‬‬ ‫‘‘ ہ ر ’’ ا وا‬
‫كو‬ ‫ہ ا‬ ‫ت‬ ‫ا‬
‫اور‬ ‫زل‬ ‫و ن‬ ‫۔آپ اوا‬ ‫آوردہ رگ‬
‫ى ۔آپ ا‬ ‫ز ن ُ‬ ‫م ز ناوردل‬ ‫ام ذوق‬
‫وا اور دہا ب‬ ‫ل‬ ‫ں‬ ‫ف اورا‬ ‫ى ذر‬
‫دروازے م‬ ‫وا‬ ‫اوراس‬ ‫ف زن م‬ ‫۔اس حا ں‬
‫وں‬ ‫ى‬ ‫رىز ں آپ‬ ‫لد ۔ ں‬ ‫آد‬
‫ت ا ر ى‬ ‫ت ا ا ز ں آپ ا‬ ‫رىز ں آپ‬
‫ت ا ر‬ ‫ا‬ ‫ہ ا‬ ‫ت‬ ‫ى‬ ‫۔ ا‬
‫۔‬ ‫اس ح‬ ‫ا‬

‫ت‬ ‫را ء‬
‫اردو‬ ‫ا‬
‫ا‬ ‫ز‬ ‫ز‬ ‫ا‬ ‫ز‬ ‫ز‬
‫دى ا‬ ‫دى‬ ‫دى ا‬ ‫ِ‬
‫‪161‬‬ ‫ہ‬ ‫ؒ‬ ‫ت ہ ا‬ ‫ادب‬ ‫ا‬
 ‫[‬ ‫ﺌرو ﮬ ]‬

‫اردو‬ ‫ا‬
‫ان ’ ں‬ ‫ن‬ ‫ان‬
‫ا‬ ‫ٓا‬ ‫دى و‬ ‫ا‬ ‫آ‬ ‫و‬ ‫ِ‬
‫ں اك رہ رو‬ ‫ر‬ ‫او ا‬ ‫آ رو‬
‫ا‬ ‫ى‬ ‫ا‬ ‫ى‬ ‫ئِ‬
‫د‬ ‫و‬ ‫د‬ ‫و‬
‫ا‬ ‫دم ورى‬ ‫ا‬ ‫دم ورى‬
‫رواں‬ ‫ِ‬ ‫ُد‬ ‫روان‬ ‫ے‬ ‫د‬
‫ا‬ ‫د‬ ‫ا‬ ‫ودى‬
‫م‬ ‫ں‬ ‫ارے ہ ِ‬ ‫ُ‬ ‫ہ‬
‫ا‬ ‫دل‬ ‫دى‬ ‫ا‬ ‫ُا‬ ‫ِ‬
‫ا‬ ‫ؔ‬ ‫دل‬ ‫’’‬ ‫‘‘‬ ‫ُا‬
‫)‪(۰۸‬‬ ‫دو ى ا‬ ‫ا‬ ‫ے دو ى‬
‫ت ہ‬ ‫م ا ۔‘‘ ا ادب‬ ‫ا‬ ‫ت ہ‬
‫ا‬ ‫را ا وف ا ط‬ ‫ا‬ ‫ذ ’’‬ ‫ا‬
‫۔‬ ‫نِ‬ ‫ا‬ ‫م ۔‬ ‫ا‬
‫ر ا زن‬ ‫ں‬ ‫رى‬ ‫وا‬ ‫وا ں‬ ‫ا‬ ‫ا‬
‫ب‘‘‬ ‫رے ا‬ ‫اور‬ ‫ت‪،‬‬ ‫ز ‪،‬‬ ‫ا‬ ‫ت ہ‬
‫ى م ا‬ ‫ہ‬ ‫۔ ب آ‬ ‫م‬ ‫ار’’‬
‫‘‘ ہ ر ’’‬ ‫۔ رف آ‬ ‫ر رف‬ ‫وں ا اب‬ ‫۔اس‬
‫اور ا‬ ‫۔اس‬ ‫ا‬ ‫دى‬ ‫انا ظ‬
‫۔‬
‫ادارت‬ ‫ا‬ ‫ا اد ر رٹ ب ا‬ ‫ز‬
‫ن‬ ‫‘‘ ا د ’’ ‘‘ ر ا ’’ ا‬ ‫۔اس‬ ‫آ د ھ‬
‫ن ا ا ں اس‬ ‫ا۔ ا‬ ‫’’‬ ‫ان‘‘ ت ہ ا‬
‫اس ذ‬ ‫۔ ن‬ ‫ا وا درج‬ ‫دى‬ ‫ہ‬
‫ں۔‬ ‫ں‬
‫‪162‬‬ ‫ہ‬ ‫ؒ‬ ‫ت ہ ا‬ ‫ادب‬ ‫ا‬
 ‫[‬ ‫ﺌرو ﮬ ]‬

‫‪:‬‬ ‫ا‬
‫ا‬ ‫۔ان‬ ‫ہ‬ ‫ز ارر‬ ‫ى ار ن‬
‫ا‬ ‫ہ‬ ‫جاورد‬ ‫ز ۔ ُا ں‬ ‫ان‬
‫) زا‬ ‫۔ ٰ اا ں ان‬ ‫ہ‬ ‫ہ ۔ا ق‬
‫ا‬ ‫۔ ہ‬ ‫۔ار ن دے‬ ‫( ہ ا‬ ‫ار ن‬
‫ُد‬ ‫ڑا اور ہ‬ ‫ا‬ ‫دے ر ف‬
‫‪“:‬ﺟﻨﮭﻦ ﺟﻲ ﭼﻴﭻ ﺳﻴﺪ ﮬﭣ‬ ‫اس ا‬ ‫ض ۔ ہ‬
‫‪،‬ا‬ ‫َ ُ‬ ‫۾ ﺗﻨﮭﻦ ﮐﻲ ﻟﮭﺮ ﻧﻪ ﻟﻮڏو”‬
‫ّ‬
‫وا ں اذ د وع ۔ ٓ ّ‬ ‫’’۔ ں انا ں ُ ا اور ہ‬
‫اور ۔۔۔ا‬ ‫رآ اس ٔوں‬ ‫ہؒوا‬
‫ہ‬ ‫۔ زا )‬ ‫دو ر‬ ‫وہ‬ ‫ا‬ ‫ار ں اور‬
‫ارد ۔ ٰ ا‬ ‫د‬ ‫ہؒوا ں‬ ‫ا۔ ں اس‬ ‫پ(‬
‫ہ‬ ‫اوراس ) ہ( ر‬ ‫۔‬ ‫ان‬ ‫ا ں ان‬
‫اور مو ٰۃ‬ ‫دار‬ ‫۔ا وہا‬ ‫ا‬
‫و ت ’’۔)‪(۰۹‬‬ ‫ز‬ ‫۔ ہ ‪ ،‬ہ‬
‫ار ن‬ ‫زا‬ ‫ہ ا‬ ‫ا ن‬
‫د‬ ‫ان ر‬ ‫ار ن‬ ‫زا‬ ‫۔ا‬ ‫م‬
‫۔‬ ‫ا‬ ‫ان دل‬ ‫۔ان‬ ‫ا د‬ ‫۔ ہ‬
‫۔‬ ‫ت‬ ‫ا‬ ‫ہ‬ ‫۔وہ‬ ‫ار ن‬ ‫زا‬
‫و‬ ‫دل دا‬ ‫اور ہ‬ ‫ہ‬ ‫و‬
‫۔‬
‫ز دہ‬ ‫ے‬ ‫۔ و‬ ‫ا‬ ‫ہ تو ت ا‬
‫۔‬ ‫ر ہا‬ ‫اس‬ ‫ا ا‬ ‫ں و ہ‬ ‫۔اس درو‬
‫۔ ٰا ت ہ‬ ‫ز دہ و‬ ‫و‬ ‫ا ن ر و ا‬
‫ا۔‬ ‫ا‬ ‫ت‬ ‫ان‬ ‫ں‬ ‫و‬ ‫ا‬
‫ز‬ ‫ت آ ر‬ ‫وں‬ ‫ا ربا ت وباور‬
‫ى ى‬ ‫۔ ر اس ح وا ت‬ ‫ب وں د‬ ‫د اورا‬
‫‪163‬‬ ‫ہ‬ ‫ؒ‬ ‫ت ہ ا‬ ‫ادب‬ ‫ا‬
 ‫[‬ ‫ﺌرو ﮬ ]‬

‫ار نوا ں‬ ‫زا‬ ‫اس ح ا وا‬ ‫ا‬ ‫۔ ت ہ‬

‫و‬ ‫ہ‬ ‫ڑا‬ ‫ں ر‬ ‫حاُسدور‬ ‫۔ا‬ ‫درج‬ ‫ا ذ‬
‫ا‬ ‫۔ وا‬ ‫دو ر‬ ‫اور‬ ‫ا‬ ‫در ۔‬
‫۔‬ ‫ں ن‬ ‫ا‬
‫درو‬ ‫م و گ ت ہ ا‬ ‫‪ :‬ى‬ ‫ا‬
‫ھ‬ ‫اور اآ د ر وا‬ ‫وم‪ ،‬رى آ‬ ‫۔‬ ‫د‬
‫ں ‘‘د‬ ‫اذ‬ ‫ڑو )‪(۱۷۵۵-۱۷۱۸‬‬ ‫ان ں ر‬
‫ن دو ’’۔)‪(۱۰‬‬
‫۔‬ ‫اور‬ ‫ہ‬ ‫ذوق ا ى‬
‫روا‬ ‫ى‬ ‫۔و‬ ‫دا‬ ‫ازل‬ ‫ى‪ ،‬اور‬
‫آ اس‬ ‫اور‬ ‫۔ا اس‬ ‫د و‬ ‫ا ازہاس‬
‫ں‬ ‫وا ا ۔ ا و‬ ‫وا ت دق آ ۔ا نازل‬
‫ُ‬
‫نِ‬ ‫‘‘ ’’ ا ا ۔درج‬ ‫ِ‬ ‫۔ا‬ ‫‘‘ ’’‬
‫ف‬ ‫۔اس‬ ‫ات‬ ‫زىاور‬ ‫رى‪،‬‬
‫ت ہ‬ ‫رت‬ ‫م‬ ‫۔ا‬ ‫و‬
‫ب ازا ۔ ٰ اا ں‬ ‫ىاور‬ ‫نِ‬ ‫ا‬
‫ل ۔اس‬ ‫ى رىد‬ ‫ان‬ ‫و‬ ‫ى ا‬ ‫ا از‬ ‫ا‬
‫‪:‬‬ ‫ذوق ا‬
‫ا‬ ‫ت ہ ا‬ ‫ر وا‬ ‫‪ :‬ھد‬ ‫‘‘ ا‬
‫ا ز و‬ ‫ا د‬ ‫۔ان ما رگاور و‬ ‫رگاور آ‬
‫ا‬ ‫راور ى‬ ‫ى ب‘‘ ہ ر ’’‬ ‫و ر ۔ان‬
‫اث ۔اس‬ ‫اور م‬ ‫وج ۔ان و ر‬ ‫ز نو‬
‫’’۔)‪(۱۱‬‬ ‫‘‘ ہ ر ’’ ز ن‬ ‫و‬
‫۔ ہ‬ ‫و‬ ‫ز دہ م‬ ‫دہ‬ ‫ا ى‬
‫۔‬ ‫ا ت دو‬
‫دہا از‬ ‫دو ا م ا‬ ‫ا‬
‫ض‬ ‫آ‬ ‫ر‬ ‫۔اس‬ ‫ٔاوں د‬ ‫۔دو‬
‫‪164‬‬ ‫ہ‬ ‫ؒ‬ ‫ت ہ ا‬ ‫ادب‬ ‫ا‬
 ‫[‬ ‫ﺌرو ﮬ ]‬

‫۔‬ ‫حا‬ ‫اور‬ ‫ل ا ا‬ ‫ا‘‪Tempo’ Rhythm‬‬

‫َ‬
‫و‬ ‫۔ اآواز ا‬ ‫ر‬ ‫وزن‬ ‫آ اور آواز‬ ‫ان‬
‫۔ ل‬ ‫۔ ے د ر‬ ‫وزن‬ ‫ہ‬ ‫‪ ۴،۳،۲،۱‬و‬
‫۔)‪(۱۲‬‬ ‫مآ‬ ‫اور‬ ‫‪،‬‬
‫ے____‬ ‫ے____‪۱۳‬‬ ‫‪۱۳‬‬
‫ے____‬ ‫ے____‪۱۳‬‬ ‫‪۱۳‬‬
‫۔‬ ‫‪۴۴‬‬ ‫اور‬ ‫ر‬ ‫۔ان‬ ‫‪ ۴۸‬ے‬
‫ا‬ ‫اور‬ ‫لد‬ ‫دى‬ ‫د ے‬ ‫ت ہ ا‬
‫۔اور‬ ‫‪۱۲‬‬ ‫ں‬ ‫ى ۔دو‬ ‫ا از‬
‫۔‬ ‫ں‬
‫ے____‪ ۱۱‬ے_____‬ ‫لاول‪۱۳‬‬
‫ے____‪ ۱۱‬ے_____‬ ‫‪۱۳‬‬
‫ے____ _______‪ ۱۱‬ے‬ ‫لدوم ‪۱۳‬‬
‫ے____ _______‪ ۱۱‬ے‬ ‫‪۱۳‬‬
‫‪:‬‬ ‫اس ‘‘ ر ’’‬
‫ے____ _______‪ ۱۱‬ے‬ ‫ل م‪۱۳‬‬
‫_________ ‪ ۲۴‬ے____‬
‫ے____ _______‪ ۱۱‬ے‬ ‫‪۱۳‬‬
‫ے_____________‬ ‫ل رم‪۲۴‬‬
‫ے_____________‬ ‫‪۲۴‬‬
‫ے____ _______‪ ۱۱‬ے‬ ‫‪۱۳‬‬
‫۔‬ ‫ا ح ٔاوں‬
‫)‪(۱۳‬‬ ‫در ن آ ا ‘‘ ر ’’‬ ‫ں دو‬ ‫دو‬
‫ار ‘‘ ہ ر ’’ درجذ راگ‬ ‫ا‬ ‫اور‬
‫۔راگاوررا ں ‪ ۳۶‬۔ان‬ ‫رف درج‬ ‫را ںاور وں‬
‫اوررا ںان‬ ‫راگ‬ ‫ں ۔راگاوررا ں ق‬ ‫‪ ۶‬راگاور‪ ۳۰‬را‬
‫ا د ر‬ ‫ز‬ ‫ے ےا دوں‬ ‫م ِ‬ ‫اور ں ۔‬
‫‪165‬‬ ‫ہ‬ ‫ؒ‬ ‫ت ہ ا‬ ‫ادب‬ ‫ا‬
 ‫[‬ ‫ﺌرو ﮬ ]‬

‫م‬ ‫انراگ‪،‬را ںاور كد ں ا‬ ‫ا‬ ‫۔ ت ہ‬

‫ان زوال د ۔)‪(۱۴‬‬ ‫ا ل‬
‫رف‬ ‫اوران‬ ‫‘‘ ہ ر ’’ ُ وں اد‪۳۵‬‬ ‫ار‬
‫۔ ُ آواز‬ ‫او ا‬ ‫‪۶‬‬ ‫۔ ُ ‪،‬راگ ا ا‬ ‫درج‬
‫ر‬ ‫۔ا د‬ ‫ا دو ے‬ ‫ان ت ارد‬ ‫۔ ُا دانِ‬
‫‪:‬‬ ‫درجذ‬ ‫ُا ر ض ا‬ ‫م اول‬ ‫ران ُ وں‬ ‫دوں‬ ‫ا‬
‫دا‬ ‫رے‬
‫رے‬ ‫دا‬
‫ا‬ ‫۔اس‬ ‫ر‬ ‫اورآ ى‘‘ ’’ ا‬ ‫ظ‬
‫‪:‬‬
‫۔رے۔ ۔ ۔‬ ‫م‬ ‫دى‬
‫‪ ُ :‬وں‬ ‫ا‬
‫وہد‬ ‫اس دى‬
‫۔‬ ‫۔دا۔ ۔‬
‫۔اس‬ ‫ر ا ل‬ ‫روح‬ ‫دہ د‬
‫۔اس ز ن‬ ‫ر‬
‫وا ر ‘‘ دى’’ ر ٓا د رہ‘‘ا‬ ‫د ا ا ادارت‬ ‫ڈا‬
‫اس‬ ‫و ‪ ،‬ھ ر‬ ‫۔ا ح و‬ ‫‪۲‬‬ ‫’’‬
‫۔‬ ‫درج‬ ‫د‬ ‫زاو‬ ‫۔ را اس د ا‬ ‫ى‬ ‫ا‬ ‫ا‬
‫ّرے‬ ‫دا‬
‫ل) ( ُ‬ ‫ى ن‬
‫ز‬ ‫‘‘وا’’‬ ‫‘‘ ’’‬ ‫ز ا‬ ‫اس رے‬
‫ُ‬ ‫و ہ۔اس ظ‬ ‫و‬
‫۔)‪(۱۵‬‬ ‫دى م ا ز ن‬
‫۔‬ ‫در‬ ‫ر‬ ‫ُ مرا ں آرو اورا و‬ ‫ں‬ ‫در‬
‫آبو ہ ں ور‬ ‫ا ں‪،‬‬ ‫خ ڑوں‪،‬‬ ‫نا‬
‫۔ ڑ ا‬ ‫ز دہ‬ ‫ڑوں‬ ‫ر ۔ اس‬ ‫ودق ٔاوں و‬
‫‘‘ ’’ م‬ ‫ا اس‬ ‫نم‬ ‫۔ ز‬ ‫‘‘ َ ’’‬
‫۔‬ ‫ن‬ ‫ھ ر وا ا ان ں‬ ‫۔آج‬ ‫ر‬
‫‪166‬‬ ‫ہ‬ ‫ؒ‬ ‫ت ہ ا‬ ‫ادب‬ ‫ا‬
 ‫[‬ ‫ﺌرو ﮬ ]‬

‫آ‬ ‫وہ‬ ‫اِ‬

‫ُ‬ ‫داڑے‬
‫ز‬
‫آ‬ ‫وہ‬ ‫اِ‬

‫ً رى دراوڑى ز ں‬ ‫‘‘ ہ ’’ ا‬ ‫ڑ‬

‫ذ ۔ )‪(۱۶‬‬ ‫ر‬ ‫ڑوں‬ ‫رى‬ ‫ُ‬
‫ا درہ ا ے ے‬ ‫‘‘ ت’’ ار‬ ‫ار ا‬
‫ِذات ا ِ ٰ وہ م‬
‫ِ‬ ‫‘‘‬ ‫ت‬ ‫ر ۔‬ ‫روںاور ں‬
‫اورر‬ ‫اس‬ ‫۔ ت‬ ‫ا در‬ ‫ں‬
‫۔اور‬ ‫۔ ز ل ز ر‬ ‫ت ہ ول را ا‬
‫ٹ‬ ‫دوران ں‬ ‫و‬ ‫ا‬ ‫ا‬ ‫ت ہ‬
‫‘‘ ڑ دو ’’ مدے اس‬ ‫ا ں ‘‘ ہ رى’’‬ ‫۔ا ا ُ‬
‫رو ل را ل‬ ‫ا‬ ‫م ۔ رى ُ‬ ‫دا ن ا‬
‫ح ‪:‬‬ ‫لاس‬ ‫۔‬ ‫ى‬ ‫ا ك ا‬

‫ئ ُ‬ ‫ُ رل ِ‬ ‫ڑى‬ ‫ڑى‬
‫ُ رل ئِ ُ‬ ‫ُ ُ ڑى‬
‫ُ رل ئِ ُ‬ ‫ارى ئِ ِى‬
‫ئ ُ‬ ‫ُ رل ِ‬ ‫دو و ّ ى‬
‫ُ‬
‫ُ‬ ‫ئ‬
‫ِ‬ ‫رل‬ ‫ُ‬ ‫ا ِہ‬
‫ُ رل ئِ ُ و ہ )‪(۱۷‬‬ ‫ا‬
‫م‬ ‫ا‬ ‫و داب ز ىاور‬ ‫‘‘ رى’’ ار‬
‫ز‬ ‫ان ں‬ ‫‘‘ رى’’ وف ۔‬ ‫اب ڑى‬
‫ا‬ ‫ڑى دا‬ ‫ا‬ ‫ار‬ ‫‘‘ رى’’ را ۔ ‘‘ ر’’‬
‫و ہو ہ۔‬ ‫ڑ م‬
‫را ں‬ ‫اس‬ ‫اور‬ ‫ہ‬
‫م‬ ‫رى‬ ‫ص ُ‬ ‫اس‬ ‫ہ‬ ‫ا كد‬
‫‪167‬‬ ‫ہ‬ ‫ؒ‬ ‫ت ہ ا‬ ‫ادب‬ ‫ا‬
 ‫[‬ ‫ﺌرو ﮬ ]‬

‫ہ‬ ‫اس‬ ‫۔ ڑى ں د‬ ‫م ا‬ ‫ہاس‬

‫)‪(۱۸‬‬ ‫اتر‬ ‫تو‬ ‫ڑوں‬
‫دور‬ ‫د‬ ‫ں‬ ‫ن‬
‫دور‬ ‫ں!‬ ‫ا‬
‫‪ ،‬ىر ن‬ ‫وا د‬
‫ن‬ ‫اور ا‬ ‫ہ‬ ‫م م‬
‫ن ر‬ ‫د رى‬
‫دور‬ ‫د‬ ‫ں‬ ‫ن‬
‫دور‬ ‫ں!‬ ‫ا‬
‫‪:‬ا س‪( ،‬‬ ‫)‬
‫ں‬ ‫راگ‬ ‫د‬
‫دا ن ۔ ا را‬ ‫‪:‬د‬ ‫ا‬
‫۔اس‬ ‫‪ ۱۰،‬وا‬ ‫‪۱۳۶،‬‬
‫۔اس ُ ‪۷‬‬ ‫و‬ ‫۔ دو‬ ‫ا‬
‫‪:‬‬ ‫ن‬ ‫م ۔‬ ‫دا ن ا‬
‫روار‪۳،‬۔ اورد ر روار‪۴،‬۔ روار آ‬ ‫روار‪۲،‬۔او وا‬ ‫‪۱‬۔او‬
‫وب ا۔‬ ‫۔‪۵‬۔ روار رج‬ ‫ڈ‬ ‫ت‬ ‫وں‬ ‫ں‬
‫ع ا۔‬ ‫د‬ ‫‪۷ ،‬۔ روار‬ ‫را‬ ‫ڑ‬ ‫‪۶‬۔ روار‬
‫ا ں‬ ‫ت ہ ا‬ ‫ر ں۔اس ُ‬ ‫ا‬ ‫اَو‬
‫‪(۱۹):‬‬ ‫ت‬
‫‪:‬‬ ‫ُ د ا‬ ‫اس‬
‫ار‬ ‫ادو‬ ‫و‬
‫و ’’‬ ‫ور واٹ و ‘‘ ُ‬ ‫و‬
‫ں‬ ‫رو ن ل‬ ‫ُر‬
‫ں‬ ‫ب‬ ‫لاس ر‬ ‫و ’’ ا ظ ا‬ ‫‘‘‬ ‫اس‬
‫ں‬ ‫د ۔ ں‬ ‫ر‬ ‫ھ‬ ‫اورا‬ ‫ش‬ ‫ں‬
‫اد‬ ‫و‬ ‫د ۔‬ ‫و ں‬ ‫ں‬
‫آ د ۔‬ ‫اوردا‬ ‫ڑ‬ ‫(‬ ‫)‬ ‫۔ درہ‬
‫‪168‬‬ ‫ہ‬ ‫ؒ‬ ‫ت ہ ا‬ ‫ادب‬ ‫ا‬
 ‫[‬ ‫ﺌرو ﮬ ]‬

‫‪:‬‬ ‫ل‬ ‫ا ظا‬ ‫ں ا‬ ‫ا‬ ‫ت‬

‫اڑے م‬ ‫دا ‪ ،‬دا ن‪ ،‬داڑے‪،‬‬
‫ُ‬
‫تڈ م‬ ‫دا دا ل‬
‫ُ‬
‫)‪(۲۰‬‬ ‫ا ام‬
‫۔‬ ‫زن‬ ‫م‬ ‫ؒ‬ ‫ہ ا‬ ‫ت‬ ‫‘‘ ہ ر‬
‫م‬ ‫وہ اور ا ز ن ا ظ درج ۔۔۔ ا‬ ‫‪ ،‬ى‬ ‫‪،‬ر‬ ‫اس‬
‫ؒ‬ ‫اور رگ ت ہ ا‬ ‫د اس‬ ‫ت‬ ‫ى ت‬ ‫ا‬
‫ا ررا ا وف‬ ‫۔اس ح‬ ‫ن ا ظ‬ ‫ا ز‬ ‫ى‬ ‫ا‬
‫‪:‬‬ ‫رے درجذ‬ ‫وں‬ ‫) ر ا (‬
‫دا ‪ ،‬دا ‪ ،‬داڑے‪ ،‬اڑے م‬
‫ُ‬
‫تڈ م‬ ‫ل‬ ‫دا‬
‫ُ‬
‫و‬ ‫رم ں رے رے‬ ‫اول‬
‫و‬ ‫ا ر‬ ‫ر رر ل‬
‫و‬ ‫ر ں‬ ‫ئَ‬
‫در )‪(۲۱‬‬ ‫ے وٹ ا‬ ‫ٹ‬
‫ر ‪:‬‬ ‫ب‬ ‫ت‬ ‫اما س ز‬ ‫ا وا‬
‫اڑے اڑے‪،‬دمدا ا ُ ّ ہداڑے‬
‫ٔوٹ ٔوٹ ا ٹ‪ ،‬و ا ڑى‬
‫دمدا ا ُ ّ ہداڑے‬
‫ںڑ‬ ‫ُا او ‪ ،‬م‬ ‫ا‬
‫دمدا ا ُ ّ ہداڑے‬
‫اڑے‬ ‫‪،‬‬ ‫ا‬
‫دمدا ا ُ ّ ہداڑے)‪(۲۶‬‬
‫ط ۔‬ ‫ےاور‬ ‫ر‬ ‫ز ں‬ ‫ا اور‬ ‫ِ ت‬
‫ان‬ ‫و‬ ‫۔‬ ‫دراوڑى‬ ‫ز ں ا‬ ‫دو ں‬
‫‪169‬‬ ‫ہ‬ ‫ؒ‬ ‫ت ہ ا‬ ‫ادب‬ ‫ا‬
 ‫[‬ ‫ﺌرو ﮬ ]‬

‫ا‬ ‫ڈا‬ ‫ان‬ ‫ر ’’‬

‫ز ں‬ ‫‘‘ ا اور‬ ‫۔اس‬
‫ر از ‪:‬‬ ‫ا ا‬
‫ں‬ ‫ے ۔آر ں‬ ‫ا ز ناورا‬ ‫ز‬ ‫‘‘ ا اور‬
‫ں(‬ ‫ے دراوڑ) ا اور‬ ‫)‪۱۵۰۰‬قم ( دوران ں‬
‫ا‬ ‫ڑوں آ د ۔‬ ‫ن‬ ‫دہ‬ ‫۔‬ ‫و ن‬
‫۔‬ ‫’’‬ ‫ان ‘‘‬ ‫ظر‬ ‫رہ ا ز ناور‬ ‫د‬
‫اور و ن‬ ‫م‬ ‫ڑوںآ د ا ‘‘ ا ’’‬ ‫ن‬ ‫ں‬
‫۔‬ ‫ا ں ‘‘دراوڑ’’ م ا‬
‫اندو ں‬ ‫۔ آج‬ ‫اور ا ر ا‬ ‫ا اور‬
‫دو ى‬ ‫ا‬ ‫اندو ںز ں‬ ‫ہ‬ ‫ں‬
‫’’۔)‪(۲۲‬‬ ‫دوز ں‬
‫ںا ظ‪:‬‬ ‫ا‬ ‫‘‘ ہ ر ’’‬
‫اردو‬ ‫ا ظ‬ ‫ا‬ ‫ا ظ اُردو‬ ‫ا‬
‫ر‬ ‫ہ‬ ‫ر‬
‫و‬ ‫آواز‬ ‫ار‬
‫دا )آ (‬ ‫ج)دوا(‬ ‫دارو‬
‫ُ‬
‫د‬ ‫رون)و رہ(‬ ‫ز‬
‫ر‬ ‫ا س ا ظ‬
‫ك‬ ‫و د)ا‬ ‫ڑى‬
‫و د= ‪+‬وڑى(‬
‫دو‬ ‫ل‬ ‫ُ‬
‫َ‬
‫ُ‬ ‫اَو‬
‫ُ‬
‫َ‬ ‫ى‬
‫اب‬ ‫ں‬ ‫)ا (‬ ‫(‬ ‫)‬ ‫ر‬
‫م‬
‫ٔوں‬ ‫دو‬ ‫زا‬
‫)‪(۲۳‬‬
‫‪170‬‬ ‫ہ‬ ‫ؒ‬ ‫ت ہ ا‬ ‫ادب‬ ‫ا‬
 ‫[‬ ‫ﺌرو ﮬ ]‬

‫ر‬ ‫ا‬ ‫ر‬ ‫اردو‬

‫ُ‬ ‫ُ‬
‫ِ‬ ‫ن‬
‫ت‬ ‫اور ر‬ ‫وا‬
‫ر‬ ‫د‬ ‫رن‬
‫ر‬ ‫وا‬
‫اڈ‬ ‫آ د‬ ‫ا‬ ‫اڈ‬
‫ُ‬ ‫‪/‬‬ ‫ذ‬ ‫ا‬
‫ا‬ ‫َ ً‬
‫او‬ ‫) ُا (‬ ‫او ن‬
‫۔‬ ‫ا ح وںا ظ‬
‫ذر د ز ں‬ ‫اس‬ ‫دور ز ں ورتر ۔اس‬
‫د‬ ‫ںاورا ا ِز ا‬ ‫۔اس ا ر‬ ‫آ‬ ‫اد اورد ذ‬
‫۔د‬ ‫ا س‬ ‫و‬ ‫ں در ن‬ ‫وا‬ ‫۔اس دوز‬
‫ا‬ ‫ت ہ‬ ‫ر ۔‬ ‫اس‬ ‫د ز ں ح ا‬
‫ا م‬ ‫فر‬ ‫ا زنں‬ ‫ا‬ ‫م‬
‫ا‬ ‫ر ۔‬ ‫۔ان م‬ ‫ا زن‬ ‫د‬
‫۔ا دو ں‬ ‫ر ‪،‬اد اور‬ ‫ز ں ا‬ ‫ا اور‬ ‫و‬
‫۔ا ں‬ ‫م اور‬ ‫۔اس ان ز دہ‬ ‫ز ں د س‬
‫م‬ ‫ار’’‬ ‫‘‘‬ ‫م‬ ‫دہاورآ ن ا‬ ‫ما‬ ‫ہ‬
‫ار ا‬ ‫۔ ٰا‬ ‫ھاور‬ ‫وا‬ ‫ا‬ ‫۔‬
‫۔ ے‬ ‫ا‬ ‫ا‬ ‫ت‬ ‫ا ماور ہ‬ ‫وا ں‬
‫ا۔‬ ‫اس‬ ‫بر اورا‬

‫‪171‬‬ ‫ہ‬ ‫ؒ‬ ‫ت ہ ا‬ ‫ادب‬ ‫ا‬

 ‫[‬ ‫ﺌرو ﮬ ]‬

‫ا ت‬
‫‪ ۲۰۰۷‬ص‬ ‫‪۲۸‬‬ ‫روز‬ ‫نا‬ ‫‪،‬ر رٹڈا‬ ‫ھ‪،‬‬ ‫ى‬ ‫ا در‪،‬‬ ‫‪.1‬‬
‫)ا (‬
‫‪ ،‬ن‪۲۰۱۲‬ص‪۲۰۱۲/۳۱۹‬۔‬ ‫ز ں ادب‪،‬‬ ‫اُ ‪،‬‬ ‫‪.2‬‬
‫روڈ‪ ،‬ر‪۱۹۹۷‬ص‪۱۳‬۔‬ ‫ٔوس‪-۱۸‬‬ ‫‪،‬‬ ‫ا ا ‪ ،‬ھ‬ ‫‪.3‬‬
‫روڈ‪ ،‬ر‪۱۹۹۷‬ص‪۵۷‬۔‬ ‫ٔوس‪-۱۸‬‬ ‫‪،‬‬ ‫ا ا ‪ ،‬ھ‬ ‫‪.4‬‬
‫ر‬ ‫ا لاو‬ ‫ا‪،‬‬ ‫ز ں‬ ‫ى‪/‬‬ ‫‪: ،‬ج‬ ‫ا‬ ‫‪.5‬‬
‫‪،‬ا مآ د‪ ۲۰۰۸‬ص‪۲۶۰،۲۵۴‬‬
‫ھا ‪ -‬ن‪۱۹۸۶‬ص‪۲‬‬ ‫‪ ،‬آ د‪،‬‬ ‫’’ ا‬ ‫‘‘‬ ‫‪،‬‬ ‫ا‬ ‫‪.6‬‬
‫ن‪۲۰۰۶ ،‬ص‪۵‬‬ ‫ار‪ ،‬ا ا‬ ‫ا ‪،‬‬ ‫‪،‬ا ِر ل‪/‬‬ ‫ڈا ا حا‬ ‫‪.7‬‬
‫ار‪ ،‬ا ا )ر ڈ( ن‪۲۰۰۶ ،‬ص‪۶-۷‬‬ ‫‪،‬‬ ‫ا‬ ‫‪.8‬‬
‫ار۔۔۔۔۔۔۔۔۔۔۔۔۔۔۔ا ً۔۔۔۔۔۔۔۔۔۔۔۔۔۔۔۔ص‪۹‬‬ ‫‪،‬‬ ‫ا‬ ‫‪.9‬‬
‫‘‘ ا د ’’ ‪۱۹۸۴‬‬ ‫آ د۔‬ ‫ت‬ ‫ر ‘‘ ن‪ :‬ت ہ ا‬ ‫ا‬ ‫‪.10‬‬
‫ص‪۳۸‬‬
‫ار۔۔۔۔۔۔۔۔۔۔۔۔۔۔۔ا ً۔۔۔۔۔۔۔۔۔۔۔۔۔۔۔۔ص‪۱۶ ۱۴‬‬ ‫‪،‬‬ ‫ا‬ ‫‪.11‬‬
‫ر ار‪،‬ا ‪۲۰۱۵‬‬ ‫ا ’’ ‪۲۷‬واں ا اد‬ ‫ارو‬ ‫ا ذوق‪ ،‬ہ‪‘‘،‬‬ ‫‪.12‬‬
‫ار۔۔۔۔۔۔۔۔۔۔۔۔۔۔۔درج ۔۔۔۔۔۔۔۔۔۔۔۔۔۔ص‪۱۸‬‬ ‫‪،‬‬ ‫ا‬ ‫‪.13‬‬
‫‪ ،‬ىاردو رڈ‪ ،‬گ‪ ،‬ر رى‪۱۹۷۷‬ص‪۵۱۲‬‬ ‫ں‪ ،‬ر‬ ‫ا‬ ‫‪.14‬‬
‫ار۔۔۔۔۔۔۔۔۔۔۔۔۔۔۔درج ۔۔۔۔۔۔۔۔۔۔۔۔۔۔ص‪۱۸‬‬ ‫‪،‬‬ ‫ا‬ ‫‪.15‬‬
‫ار۔۔۔۔۔۔۔۔۔۔۔۔۔۔۔ا ً۔۔۔۔۔۔۔۔۔۔۔۔۔۔۔۔ص‪۲۱ ۲۰‬‬ ‫‪،‬‬ ‫ا‬ ‫‪.16‬‬
‫ا ‪۲۰۱۲‬ص‪۴۵‬۔‪۴۶‬‬ ‫اا‬ ‫ن‪،‬‬ ‫ىادب‪ ،‬ا ا‬ ‫‪ ،‬ا‬ ‫ا‬ ‫‪.17‬‬
‫‪ ،‬ا و ا ر چا ٹ ن‪۲۰۱۵‬ص‪۱۵۲‬‬ ‫ا‬ ‫‪.18‬‬
‫ن‪۱۹۹۲ ،‬ص‪۲۰۲‬‬ ‫‪ ،‬ا ا‬ ‫ا ‪،‬‬ ‫‪.19‬‬
‫ا اردو زار ا ‪ ،‬اردص‪۱۰۶‬‬ ‫‪،‬‬ ‫ٰ ب‪ ،‬ت ہ ا‬ ‫‪.20‬‬
‫ار۔۔۔۔۔۔۔۔۔۔۔۔۔۔درج ۔۔۔۔۔۔۔۔۔۔۔۔۔۔۔ص‪۲۶‬‬ ‫‪،‬‬ ‫ا‬ ‫‪.21‬‬
‫ن‪۲۰۰۱ ،‬ص‪۲۵‬‬ ‫ھ‪ ،‬ا ا‬ ‫‪،‬‬ ‫ا‬ ‫‪.22‬‬
‫ت آ د‪ ‘‘ ،‬ا د ’’ ‪۱۹۸۴‬ص‪۳۸‬‬ ‫‘‘ ن’’‬ ‫ا‬ ‫‪.23‬‬
‫ن‪۲۰۰۱ ،‬ص‪۲۶‬‬ ‫ھ‪ ،‬ا ا‬ ‫‪،‬‬ ‫ا‬ ‫‪.24‬‬

‫‪172‬‬ ‫ہ‬ ‫ؒ‬ ‫ت ہ ا‬ ‫ادب‬ ‫ا‬

 [ ] ‫ﺌرو ﮬ‬

‫ا‬
‫ڈىا‬- ‫ا‬
‫و اردو ر ۔‬،‫اردو‬
ُ
‫ﺍﺭﺩﻭ ﺷﺎﻋﺮﯼ ﻣﯿﮟ ﻃﺒﻘﺎﺗﯽ ﺷﻌﻮﺭ‬
CLASS CONSCIOUSNESS IN URDU POETRY

Abstract
Urdu poetry contains different dictions and topics besides theories
in its capacity.. Urdu poetry is done on many ideologies like romanti-
cism, feminism, reality and others. Patriotism, social injustice, British
anti colonialism approach is represented with theories and thoughts of
social sense are presented in such a way that all theories are essential
parts of Urdu poetry. After 1936 progressive literary moment introduced
class consciousness in Urdu poetry with strong approach.
In this research paper, we shall discuss some poets of Urdu who
have strengthened sense of class. With their collection of poetry, they not
only irrigated the Urdu poetry but also resisted the social injustice, and
they increased the scope of resistive literature and resistive poetry.

‫ہ‬ ‫۔ ا‬ ‫ر‬ ‫و‬ ‫ے‬ ‫ا‬ ‫ج‬ ‫ا‬

‫زا‬ ‫و‬ ‫اور‬ ‫ ا ن‬،‫ا‬ ‫ت‬ ‫اسو‬
‫و‬ ‫ں اس‬ ، ‫ے ا‬ ‫وع ۔‬ ‫اوار‬
‫وہ‬ ‫ں‬ ‫ر‬ ‫۔‬ ‫ہ ت‬ ‫وع دى۔‬ ‫وش‬
‫وہ‬ ‫ا اد ا‬ ‫؛ ‘‘ ا‬ ٓ‫ا‬ ‫۔اس‬ ‫در‬
‫صر ا اد‬ ‫اور اوار‬ ‫ا‬ ‫صر‬ ‫ا‬ ‫اوار‬
‫اواراس‬ ‫ج‬ ‫ر‬ ‫۔ ل‬ ‫نو در‬ ‫در‬
(1) ’’‫۔‬ ‫ان‬ ‫ں‬ ٓ‫ا‬
ِ ‫ذرا‬ ‫ا‬ ، ‫ے‬ ‫صدور‬ ‫ار‬
‫ں‬ ‫ر ۔ ٰ ااس‬ ‫ہ‬ ‫ں‬ ‫ى‬ ‫اوار‬
ُ
‫ت‬ ‘‘ ‫۔‬ ‫ر‬ ‫ا ا‬ ، ‫ر‬ ‫رو‬
173 ‫ر‬ ‫ى‬ ‫اُردو‬
 ‫[‬ ‫ﺌرو ﮬ ]‬

‫ُا‬ ‫ے دى ں‬ ‫اور‬ ‫ت‬

‫۔’’ )‪(2‬‬ ‫توا ر‬ ‫ے ا‬ ‫ں‬ ‫ذ‬
‫۔ا زاو اورا‬ ‫اورا اذ روا ر و‬ ‫ہ روا ت رد‬
‫رر ۔اس ار‬ ‫ں ‘‘ را ا‬ ‫ِز و‬ ‫اور‬ ‫ُ‬
‫۔’’‬ ‫وا‬ ‫ار‬
‫ہ ت‬ ‫۔‬ ‫تووا ت‪ِ ،‬ز ت‬ ‫ا ن ردرا‬
‫ىروا‬ ‫ر اردو‬ ‫اورا‬ ‫ا ر‬ ‫ر‬
‫۔ ً‬ ‫ں‬ ‫ل ں‬ ‫۔‬
‫ر ان ا وں‬ ‫ر‬
‫ان دو‬
‫ِ دار‬ ‫آ‬
‫ر آ‬ ‫ر‬ ‫ِ‬
‫(‬ ‫)‬
‫آز‬ ‫و‬
‫آز‬ ‫و ں دار و ر‬ ‫ں‬
‫) زا (‬
‫ں‬ ‫ت‬‫ِ‬ ‫ں‬ ‫ر‬
‫رے‬ ‫اس‬
‫) زا (‬
‫ا‬
‫رے ں درد رے‬
‫(‬ ‫)ا‬
‫ا ؛‬ ‫ا ل ا ا ر‬ ‫ى ا تو ت‬
‫دو‬ ‫ں‬ ‫ى ُد‬ ‫ُا‬
‫دو‬ ‫در و د ار‬ ‫خ ُا اء‬
‫روزى‬ ‫د ں‬
‫دو‬ ‫م‬ ‫اس‬
‫‪174‬‬
 ‫[‬ ‫ﺌرو ﮬ ]‬

‫ر‬ ‫م‬ ‫ِ‬ ‫ى ا ُ صا‬

‫ر اد ا اور‬ ‫و‬ ‫ُ دوں ا ار ا ں ا وں‬
‫‘‘‬ ‫آرا‬ ‫۔اس‬ ‫وان‬ ‫اوراس‬ ‫اس م ل‬
‫ا‬ ‫رت ادب ا ج‬ ‫ر ہ ر ا‬
‫ارد ۔’’ )‪(3‬‬
‫وا‬ ‫ڑد ۔ز‬ ‫ز‬ ‫اس‬ ‫ارد‬ ‫ادب آ‬
‫اورا‬ ‫ت ا‬ ‫۔‬ ‫ن‬ ‫ى‬ ‫و‬ ‫ا ں‬
‫‪،‬‬ ‫۔ ك‪،‬‬ ‫و و‬ ‫ر‬ ‫ود ۔ ازاں‬ ‫د‬
‫ُا‬ ‫ت‬ ‫دہروا تاور‬ ‫اس‬ ‫۔در‬ ‫تاردو ى‬
‫‪،‬‬ ‫ت رف اد‬ ‫دىاور‬ ‫روح‬ ‫ادب‬ ‫د ۔اس‬
‫۔‬ ‫ہ‬ ‫اُن ا‬ ‫ر‬ ‫اء‬ ‫۔‬ ‫ر ُا در ر‬

‫ش آ دى)‪1897‬ء ‪1982‬ء(‬
‫ں‬ ‫ن ش آ دى ِ ب‪ِ ،‬ا باور ِ ت‬
‫آگ‬ ‫ف‬ ‫‪ ،‬و اور ا م‬ ‫ُ ۔‘‘ان‬ ‫م‬
‫۔’’ )‪(4‬‬
‫ب‬ ‫ز وں‬ ‫ب‪،‬ا ا‬ ‫ارىاور ں‬ ‫آ ِرا ب‪ ،‬ا‬
‫ر ۔‬ ‫ت‬ ‫ز ان اب‪ ،‬و ہ ا‬ ‫اور‬
‫ں‬ ‫رو ں‬ ‫ا‬ ‫ى آوازوں‬
‫ں‬ ‫ُا آ‬ ‫ت آ ں‬
‫دار و ر‬ ‫اِك و‬ ‫ر ُا‬
‫ِ‬ ‫ج‬ ‫اب‬
‫اغ‬ ‫آ ں‬ ‫ُا‬ ‫دوں دوں‬
‫دغ‬ ‫ل‬ ‫ ‬
‫ہ ُا‬ ‫ر ِ‬
‫ڈر‬ ‫ے‬ ‫ُ ا‬
‫كاور ر‬ ‫وہ د‬ ‫۔‬ ‫و‬ ‫اق‪،‬‬ ‫ن و ‪،‬‬ ‫م‬ ‫ش‬
‫‪175‬‬
 ‫[‬ ‫ﺌرو ﮬ ]‬

‫۔‬ ‫ان م‬ ‫و‬

‫ا ا ز‬ ‫‘‘دو ى‬ ‫ں‬ ‫ے ذ نا‬ ‫ا‬ ‫د‬
‫اور‬ ‫ااور‬ ‫ارت‬ ‫ر‬ ‫ے‬ ‫ے‬ ‫ا‬ ‫۔د‬
‫ر‬ ‫ُ د ‪ ،‬ىد‬ ‫ے ر دانا‬ ‫دو ںا‬ ‫ڈ‬
‫وع ۔‬ ‫ا‬ ‫ے اور ى ر‬ ‫ش‬
‫ہ‬ ‫ُ نِ رو‬ ‫ذ‬ ‫اے‬
‫وتا‬ ‫ل ۔وہا راور ش دوا ا ازا‬ ‫ر‬ ‫ا۔‬ ‫ُا‬
‫د‬ ‫ںا‬ ‫ر ۔)‪ (5‬ش‬ ‫م‬ ‫ٹ ے اور ُ اانا‬
‫م ۔‬ ‫ف‬ ‫۔ان م ا وں‬ ‫ا ٰدر‬ ‫ا ندو‬

‫)‪1911‬ء ‪1984‬ء(‬ ‫ا‬

‫و‬ ‫م‬ ‫۔ان‬ ‫ہ اء‬ ‫ر‬ ‫ر‬ ‫ا‬
‫ر‬ ‫وح اور‬ ‫ا ن روح‬ ‫ا‬ ‫۔ ى‬ ‫ا اج‬
‫ر اورا ں‬ ‫۔ و‬ ‫دا‬ ‫۔ا ں‬
‫‪ ،‬دا‪ ،‬اور‬ ‫ل را۔ا‬ ‫ارا۔‘‘‬ ‫اور ل‬
‫د ۔’’ )‪(6‬‬ ‫۔ ا ر ز ز ن‪ ،‬ا رےاور‬ ‫ا ر‬
‫ذ‬ ‫وہ ت رے‬
‫ار رى‬ ‫وہ ت ان‬
‫)د ِ (‬
‫اں‬ ‫ِ‬ ‫رى‬ ‫رى‬
‫ار‬ ‫ى‬ ‫رى ا‬
‫)ز اں (‬
‫ماور م ت ت ۔ان آزادى ت ۔‬ ‫ى د‬ ‫ا‬
‫۔‬ ‫رى‬ ‫تز‬‫ان ر و اور ِ‬
‫دور‬ ‫زار‬
‫ں‬ ‫ا ں‬
‫‪،‬‬ ‫ُا‬ ‫رہ رہ‬ ‫آگ‬
‫‪176‬‬
 ‫[‬ ‫ﺌرو ﮬ ]‬

‫ر‬ ‫دل‬ ‫ا‬

‫ك ُا‬ ‫ان‬
‫ر م‪ ،‬ے دم‬ ‫۔اےدل ب‬ ‫ِ‬
‫‪،‬ز ان‬ ‫ى ں ‪ ،‬ں‬ ‫ےدو ‪ِ ،‬آزادى‪،‬ا ا ء م‪ ،‬ر‬
‫ر را ں رے اورد‬ ‫‪،‬‬ ‫م‪،‬ز ان ا ُ ‪،‬اےرو ں‬ ‫ا‬
‫ں ‪ ،‬روزاور ى نو ہ و‬ ‫ا ‪،‬آج زار‬ ‫رشز‬ ‫ں‬
‫ف‬ ‫‪،‬ا لاور و‬ ‫۔ روزاور ى ن‪ ،‬ا‬ ‫ط‬ ‫ى ر‬
‫را ا اد‬ ‫و‬ ‫ىز‬ ‫رى‬ ‫ا اورا ج ا‬
‫۔‬
‫روز‬ ‫روز اور ى ن‬
‫ر‬ ‫دم‬ ‫ؤں‬
‫  ‪ ،‬پ ‪ ،‬رو‬ ‫د‬
‫ور‬ ‫اث ‪،‬‬ ‫ا اد‬ ‫ا‬
‫رٹ‬ ‫۔‬ ‫و‬ ‫آج ں ‘‘‬
‫ى‬ ‫۔ ں‬ ‫ڑى ا م‬ ‫۔‬ ‫ر‬ ‫۔‬
‫دوڑ‬ ‫وںا اد‬ ‫ا‬ ‫ر ا۔‬ ‫و زار‬
‫ُ ب ۔دو ى فا ِ ُ ماور ِ ان‬ ‫ام‬ ‫ن ۔‬ ‫۔ ں‬
‫ا‬ ‫اور‬ ‫اس حا‬ ‫۔ ارى ا ام ۔‬ ‫ب ہر‬
‫۔‬ ‫ا ر‬ ‫رے د ں‬ ‫را ں‬
‫واد ۔‬ ‫۔’’ )‪(7‬اس ناورر‬ ‫ان ںاوران ر‬
‫ر ہ‬ ‫ن‬ ‫ِ‬
‫ہ‬ ‫ِ‬
‫ں‬ ‫زار‬ ‫آج‬
‫ِ ر ں‬ ‫‪،‬‬ ‫د ِ ا ں‬
‫اں‬ ‫ں‬ ‫‪،‬‬ ‫ك‬
‫ں‬ ‫‪،‬‬ ‫راہ‬
‫‪177‬‬
 ‫[‬ ‫ﺌرو ﮬ ]‬

‫ِ م‬ ‫‪،‬‬ ‫ِ‬
‫ِ ُد م‬ ‫‪،‬‬ ‫ا ام‬ ‫ِ‬
‫م‬ ‫‪ ،‬رو ِز‬ ‫د‬ ‫ِ‬
‫ن‬ ‫ا‬ ‫ز ا‬ ‫دم‬ ‫ان‬
‫؟‬ ‫ن‬ ‫اب‬ ‫ں‬ ‫ِ‬
‫؟‬ ‫ن‬ ‫ں ر‬ ‫ِ‬ ‫د‬
‫رو‬ ‫ھ ‪ ،‬دل‬ ‫دل‬ ‫ر‬
‫رو‬ ‫ٓا‬
‫۔ ز‬ ‫ى‬ ‫ں‬ ‫۔ان‬ ‫ے‬ ‫ا‬
‫س‬ ‫ں‬ ‫دا ن ۔ مو م‬ ‫و‬ ‫اور‬ ‫۔ ل‬
‫‪،‬‬ ‫۔اس ان ا ر‬ ‫ر‬ ‫دا ن ا نِ‬ ‫ا ں ا‬
‫۔‬ ‫ٓا‬ ‫‪،‬‬

‫ى)‪1922‬ء ‪1981‬ء(‬
‫ا ا‬ ‫م ۔ان لاور‬ ‫ى اردو ى‬
‫ك‬ ‫ل ا۔ا ں‬ ‫ام‬ ‫۔ا ں‬ ‫دو‬
‫ر‬ ‫۔ان‬ ‫ر‬ ‫ت‬ ‫ف‬ ‫ا ساور دارى‬
‫۔‬ ‫ر‬ ‫اور وروحاوردلود غ‬ ‫د ر‬ ‫و آ‬
‫ں’’‬ ‫دو‬ ‫ل ‘‘‬ ‫آ‬ ‫ر اور‬ ‫م ا‬ ‫ان‬
‫‘‘ دام‪‘‘ ’’،‬وہ‬ ‫ر‬ ‫وہ ا ں‬ ‫۔اس‬ ‫د‬
‫ىز ‪ ’’،‬ن‬ ‫‪ ‘‘ ’’،‬ج ‪ ‘‘ ’’،‬ا‬ ‫آ‬ ‫‪‘‘ ’’،‬وہ‬ ‫آ‬
‫‪،‬‬ ‫ى ‪ ’’،‬ا‬ ‫‪ِ ‘‘ ’’،‬طا ارى‬ ‫ن ‪ ‘‘ ’’،‬ردےر‬
‫۔‬ ‫ں ر د‬ ‫ر‬ ‫ان‬
‫د‬ ‫م‬
‫رواں ز‬
‫دى‬ ‫ں‬ ‫ں‬
‫ں‬ ‫ق‬ ‫سِ‬ ‫انِ‬
‫‪178‬‬
 ‫[‬ ‫ﺌرو ﮬ ]‬

‫؟‬ ‫ام‬ ‫ا ازہ‬ ‫اس‬

‫۔‬ ‫و د م‬ ‫ى ى‬ ‫۔ان‬ ‫ر‬ ‫و دہو‬ ‫ا‬
‫ں ل ۔‬ ‫ان م مو اص‬ ‫و‬
‫د‬ ‫ڈا‬ ‫دو‪،‬‬
‫د‬ ‫ے‬
‫د‬ ‫‪،‬‬ ‫رى‬
‫؟‬ ‫د ا‬
‫ن‬ ‫اورذ‬ ‫‪،‬‬ ‫رى ں و ں‬ ‫ں‬ ‫اس‬
‫د ۔‬
‫ر‬ ‫و‬ ‫ز اں‬ ‫و‬
‫ر‬ ‫و‬ ‫و‬
‫ہ رى‬ ‫ا ں‬ ‫ك‬ ‫و‬
‫ُر‬ ‫ں‬ ‫‪ ،‬و‬ ‫و ؤں‬
‫آ‬ ‫ن‬ ‫ك اور‬
‫ر‬ ‫زوں‬ ‫و‬ ‫ل! اے‬
‫ذرا‬ ‫ں ‪ ،‬ا‬ ‫روك! ان‬
‫ر‬ ‫ں‬ ‫اے ك دم ڑ ڈ‬
‫؟‬ ‫ڈ‬ ‫ں‬ ‫ز‬
‫؟‬ ‫ت‬ ‫ؤں‬ ‫ان‬
‫(‬ ‫) و‬
‫ا از‬ ‫باورا ا ط‬ ‫۔‬ ‫كاورا س ں‬ ‫اس‬
‫۔ با ادى‬ ‫ب‬ ‫ں‬ ‫۔‬ ‫وہ‬
‫ا ا اد‬ ‫ر اور‬ ‫ج‬ ‫ا‬ ‫۔ و‬ ‫ر د‬ ‫ا‬
‫آ ۔‬ ‫اق‬ ‫آ اور كا ل ام‬ ‫اور‬
‫اق‬ ‫۔وہ ج‬ ‫دو ے ر ُرخ‬ ‫ج‬ ‫‘‘‬
‫مو‬ ‫ں ں‬ ‫دارا م اق اُڑا‬ ‫اڑا اُس دارا اور‬
‫داروںاور داروں‬ ‫م م‬ ‫اور‬ ‫ر اوردو‬ ‫ن‬
‫‪179‬‬
 ‫[‬ ‫ﺌرو ﮬ ]‬

‫ے‬ ‫اس‬ ‫ں ڑى ۔‬ ‫ُد‬ ‫ت‬ ‫ا‬

‫۔’’ )‪(8‬‬ ‫ا اور‬ ‫ع ا ر‬ ‫۔‬
‫ُ‬

‫ا)‪1933‬ء ‪1993‬ء(‬
‫د اور‬ ‫۔‬ ‫ا‬ ‫آ‬ ‫ا‬ ‫م‬ ‫ا م ت او‬
‫ز‬ ‫۔ و‬ ‫و دورى‬ ‫۔‬
‫ء‬ ‫ا ت س ۔ ‘‘‪1958‬ء ر‬ ‫رىر اوراد‬ ‫دورانر‬
‫۔’’ )‪(9‬‬ ‫ر‬
‫ت‬ ‫م‬ ‫را‬ ‫ى ‪،‬‬ ‫دور‬ ‫ى ًا‬ ‫ان‬
‫۔‬

‫ُ‬
‫ے‬ ‫دوروں‬
‫رےاد‬ ‫ر وہ ہ‬ ‫در‬
‫م روح ۔ان‬ ‫ان‬ ‫ںاورا‬ ‫‪،‬ا‬ ‫۔ا‬ ‫ز دہ‬
‫ر اور دوروں‬ ‫ى ۔ م دورى‬ ‫ت‬ ‫‪،‬‬ ‫ى‬
‫ل ۔‬ ‫د ا‬ ‫ر ۔رات ں‬
‫ح د‬ ‫ں‬ ‫اے رات‬
‫ُ‬
‫ن ُٹ ر ر ۔‬ ‫دن‬
‫ف‬ ‫‪،‬‬ ‫ىا‬ ‫ناوررات ں د‬ ‫و‬ ‫دن‬
‫دہ‪،‬‬ ‫رت‬ ‫ت‬ ‫ى‬ ‫۔ان‬ ‫وا‬ ‫دن‬
‫رت ۔‬ ‫اورروز ہ وا تاور ت‬
‫ے اء‬ ‫ض‬ ‫‘‘ اس رے‬ ‫ںر از‬ ‫ا‬
‫وش ۔ ى‬ ‫ا‬ ‫اور‬ ‫آ‬ ‫ح ے ل‬
‫۔ ى ح ےا ر ا رزقا ہ ك‬ ‫ىا‬
‫كزادوں‬ ‫كزاد ۔ اور ا ا‬ ‫اد‬ ‫ے ر‬ ‫اورا‬
‫۔)‪(10‬‬ ‫ہ‬ ‫ا‬ ‫ناور ن‬
‫ے ۔‬ ‫اا‬ ‫وا‬
‫‪180‬‬
 ‫[‬ ‫ﺌرو ﮬ ]‬

‫ر‬ ‫‪،‬‬ ‫ب‪،‬‬

‫وا‬ ‫ى‬

‫ا م‬ ‫‪ ،‬ا‬ ‫دور ں‪،‬‬

‫د‬ ‫ُد درد‬ ‫ں‬

‫ا اس‬ ‫آج‬
‫ں‬ ‫رى‬ ‫ا‬ ‫ف‬
‫ت‬ ‫دورا ں‬ ‫۔‬ ‫‪ ،‬و ش‬ ‫رو‬
‫۔‬ ‫س و ر ۔ ں دور‬ ‫ت‬
‫وا‬ ‫ا‬ ‫ف‬ ‫ح اوروہ‬ ‫دور‬ ‫ا ان‬ ‫‘‘‬
‫ى‬ ‫۔ان‬ ‫ڑ‬ ‫ِر زا‬ ‫ا ى رل ر‬ ‫رىاور‬
‫د‬ ‫ا‬ ‫ا‬ ‫دور‬ ‫ى‬ ‫ا‬ ‫دور‬ ‫ان‬
‫ا‬ ‫آ ش‬ ‫ن‬ ‫دا‬ ‫ان ى ر‬ ‫۔ دورى اور دور‬
‫ز د۔‬ ‫دو ے دور وں‬
‫’’۔)‪(11‬‬ ‫ى زا ِدراہ‬ ‫وہا دورى ا‬
‫ں‬ ‫ر وت‬
‫ں‬ ‫رى‬ ‫ِز‬ ‫ے‬ ‫آج ا‬

‫ورا‬ ‫زردار‬ ‫د‬

‫دور‬ ‫ا پ‬
‫ں دور‪،‬‬
‫ر ں‬ ‫دور ں‪،‬‬
‫ات‬ ‫د ‪،‬‬
‫ت‬ ‫۔ا ں‬ ‫‪،‬ا ت‬ ‫ف‬ ‫ى‬
‫درس‬ ‫اورا‬ ‫م ا ‪،‬ر‬ ‫ا‬ ‫ر‬ ‫ت ز‬ ‫س ۔‬
‫ااردو‬ ‫۔ ‘‘‬ ‫ى‬ ‫ى رت‬ ‫ر ں‬ ‫ر ۔ا ں‬ ‫د‬
‫ا‬ ‫ا ر ؤں‪ ،‬ںاور ں ذ ر رآ ۔‬ ‫ل‬
‫‪181‬‬
 ‫[‬ ‫ﺌرو ﮬ ]‬

‫‪:‬‬ ‫۔ ں وہ‬ ‫آؤٹآف ؤ ر‬ ‫ل‬ ‫ذ‬ ‫‘‘دا د’’‬

‫دوں‬ ‫رت‬
‫و‬ ‫دا د‬ ‫اُس‬
‫اس‬ ‫ات ر‬ ‫اس‬ ‫اُردو ل دا د‬
‫۔)‪(12‬‬ ‫ِل‬ ‫ا اور‬ ‫ا‬ ‫رے ے رےا‬
‫ان‬ ‫۔ دہاور ا ا از ا‬ ‫ى‬ ‫ا م‬
‫ُ‬
‫ت‬ ‫ا ا‬ ‫ت‬ ‫۔ ا فد ‪،‬ر و‬ ‫م‬
‫۔وہ ہ ؤں ۔‬ ‫ں‬
‫ؤں‬ ‫ د‬ ‫ا‬
‫ؤں‬ ‫‪،‬‬ ‫دى د پ‬
‫۔‬ ‫م ر ا دا‬ ‫ان م‬
‫۔‬ ‫ىزاو ں‬ ‫آ رى اوراُردو ىروا‬ ‫ان اء‬
‫ُ‬
‫ز‬ ‫ت‪،‬‬ ‫۔‬ ‫و‬ ‫ى ُد ادب‬ ‫اُردو ا‬
‫وازىاور ا‬ ‫رت ل‪،‬‬ ‫ُ رف وا ‪،‬‬ ‫اور آ‬
‫۔‬ ‫دا‬ ‫ِ اُردو ىروا‬

‫ت‬ ‫ا‬
‫رآ د‪2014‬ء‪،‬ص‪49:‬‬ ‫‪،‬آدرش‬ ‫ُ‬ ‫‪ ُ : ،‬ق ن‪،‬‬ ‫)‪ٓ (1‬ا‬
‫ُ‬
‫ار ء‪ ،‬دا ل ا ‪1977‬ء‪،‬ص‪45:‬‬ ‫‪ ،ِ ،‬ن‬ ‫)‪(2‬‬
‫د ‪2012،‬ء‪86،‬‬ ‫ى‪،‬‬ ‫‪،‬ا ن‪،‬ڈا ‪،‬‬ ‫)‪(3‬‬
‫ا ‪2012‬ء‪،‬ص‪247:‬‬ ‫ا‬ ‫)‪، ، (4‬ڈا ‪،‬اُردو ا ل ا ات‪،‬‬
‫در ‪ ،‬دا ل ا ‪2011‬ء‪،‬ص‪80:‬‬ ‫‪،‬ا ‪ ،‬ڈا ‪،‬‬ ‫)‪(5‬‬
‫‪ ،‬ز‪ ،‬و ‪،‬ادباور ر‪،‬ادارہء ا ‪1992‬ء‪،‬ص‪231:‬‬ ‫)‪(6‬‬
‫ى ‪2013‬ء‪،‬ص‪12:‬‬ ‫‪،‬ا ٰ ‪ ، ،‬اور ) ت(‪ ُ ،‬ا اور‬ ‫)‪(7‬‬
‫ِاُردو ن‪2010‬ء‪،‬ص‪113:‬‬ ‫ت ش‪،‬ا ُ‬ ‫)‪ (8‬ا ‪ ، ،‬و ‪،‬اُردو ى‬
‫‪2016‬ء‪،‬ص‪18:‬‬ ‫درے‪ ،‬ر‬ ‫‪،‬‬ ‫‪،‬‬ ‫)‪(9‬‬
‫‪2016‬ء‪،‬ص‪27:‬‬ ‫درے‪ ،‬ر‬ ‫)‪ (10‬ا‪، ،‬‬
‫‪2016‬ء‪،‬ص‪26:‬‬ ‫درے‪ ،‬ر‬ ‫‪،‬‬ ‫)‪ (11‬ا ‪،‬ا ار‪، ،‬‬
‫‪2016‬ء‪،‬ص‪23:‬‬ ‫درے‪ ،‬ر‬ ‫)‪، (12‬ا ‪، ،‬‬
‫‪182‬‬
 Recognized by Higher Education Commission

KAROONJHAR
Bi-annual
[ RESEARCH JOURNAL ]
ISSN 2222-2375

VOL:9, ISSUE 17, DECEMBER 2017

Editor
Dr. Kamal Jamro

DEPARTMENT OF SINDHI
Faculty of Languages
Federal Urdu University of Arts, Science & Technology,
Abdul Haq Campus, Karachi, Sindh, Pakistan.
 Patron in Chief
Prof. Dr. Sayed Altaf Hussain
Vice Chancellor, Federal Urdu University

Editorial Board
Dr. Muhammad Qasim Bughio Dr. Jetho Lalwani
Chairman, Pakistan Academy of Latters, Madhar Van, Aditya Banglows, Nobel
Islamabad. Nagar, Ahmedabad - 382340, India.

Prof. Dr. Nawaz Ali Shauq Dr. Parveen Talpur

Professor Adviser, Shah Abdul Latif 03330-Old Vestal Road, Appartmnet-1,
Bhitai Chair, University of Karachi. Vestal, Newyork-13850, USA.

Dr. Kamal Jamro Dr. Shahnaz Shoro

Dean, Faculty of Languages, Federal Unit 1505, 4900 Erin Glen Drive,
Urdu University, Abdul Haq Campus, Mississauga, Toronto, Canada.
Karachi.

Reviewers Committee
Dr. Murlidhar Jetly Prof. Dr. Muhammad Yusuf
D-127, Vivak Vihar Khushuk
Delhi - 110095, India Dean, Faculty of Social Sciences
Prof. Dr. Khursheed Abbasi and Languages, Shah Abdul Latif
University Khairpur
B-178, Block-3 Saadi Town, Karachi
Prof. Dr. Anwar Figar Hakro Prof. Dr. Adal Soomro
Waritar Sukkar
Chairman, Department of Sindhi,
Sindh University Jamshoro Dr. Aftab Abro
Dr. Muhammad Khan Sangi 404, Rafique Center, Abdullah Haroon
Road, Saddar, Karachi
Director, Institute of English Language
and Literature, University of Sindh, Dr. Qasim Rajper
Jamshoro. Principal, Government Aysha Bawani
Dr. Abid Mazhar College II, Karachi.
Ex. Chairman, Sindhi Department,
University of Karachi.
 KAROONJHAR [Research Journal]
Abbas Ali Gopang
Bisharat Ali Lanjwani.
Assistant Professor Political Science,
University of Sindh, Jamshoro

INFLUENCE OF ENGLISH VOCABULARY

ON SINDHI LANGUAGE:
A CASE STUDY OF KOT-DIJI, SINDH
Abstract
This paper highlights the Influence of English Vocabulary on
Sindhi Language. Language creation is not a result of one person
or one period, but it is a foundation on which so many workers /
individuals have worked. When one language gets influence of
other languages, then it does not maintain its originality in the
society. Same is the case with the Sindhi Language which is being
influenced by one powerful language i.e. English. As we are living
in the most advanced world, so we have to find out the different
factors which are helping English language to influence Sindhi
language. The informal discussions, the folk tales and the audio
recorders were used as research tools to collect the data. The
results show that English has influenced the Sindhi Language. Not
only literate but illiterate people are also using words of English
while talking in the Sindhi Language. In conclusion, the Sindhi
language would not lose its identity completely, but some of its
words.

1. INTRODUCTION:
Human beings need a language to communicate and interact
with each other, which ultimately helps them for their social
survival. Every language has its individual identity and
importance. Although, languages have borrowed words from each
other since centuries, but the present digital world has affected the
originality of many languages severely through the digital devices
such as mobile, television, internet etc. It seems people are rather
attached with the digital devices. This attachment does not only
give them opportunities of learning the other languages but also
Influence of English Vocabulary on Sindhi Language 3
 KAROONJHAR [Research Journal]
develops a curiosity among them to acquire the new languages. In
this research the researcher has shown that how English language
is influencing Sindhi language.
The language is one among the important factors, through
which a nation feels its presence and keeps its identity alive. When
the language of any nation gets affected by other dominating
languages, then slowly and gradually that nation loses its
importance in a broader sense.
To some extent same thing is happening with the Sindhi
language. The English language is particular influencing it. It is
replacing the words of daily conversation. People are unaware of
this language change. Interestingly, the most of the speakers do not
know that what words of other languages they use in their
communication.
However, many factors affect the languages. This digital era
the flow of information and interaction has been quite easy and
interesting. The media is playing a very influential role. People are
often acquiring new words while watching and listening plays,
movies, talk shows and news on the Television, Radio and
Internet.
This situation needs to be investigated. This sentence be
shifted her The current research, therefore, aims to find out the
influence of English Vocabulary on Sindhi language and to find
out various modes of influence. It is important to explore the
influence of English Vocabulary on Sindhi language. This study
will highlight the words, which have been adopted by the people
living in the focused locale.

2. LITERATURE REVIEW:
This research is about the influence of English on the Sindhi
language. In this chapter the researcher has given the review of
relevant literature of the fields of language, language and culture,
language and society, and Sindhi language. The researcher has
analyzed and identified different written material related to the
current study.

2.1. Language:
Language plays very important role in our life from cradle to
grave. Without language, survival is incomplete. Language is a
source for communication; it helps us in our daily life. Language is
Influence of English Vocabulary on Sindhi Language 4
 KAROONJHAR [Research Journal]
used without any conscious effort. Language is learnt Through the
process of acquisition. We acquire language from our forefathers
and from our society. When we hear new sentence we can pick up
the significance of sentence that is the reason we think dialect is
simple thing. In this way, the investigation of dialect demonstrates
to us that dialect is boggling and theoretical. Halliday (2007) said
“language is very complicated and different complexities are
involved in the use of language.” He says that language is not only
a concept it helps us in understanding, explaining and analyzing
“variation we find within a language the different styles, levels of
formality or the nature of language itself.”
Language is not only a source of communication, but it also
establishes relations among people. As Trudgill (1981) said
“Language is not simply means for communication information
about the weather or any other subject.” It is also very important
means of establishing or maintaing relationship with other people.
So it is a basic need for a man to live in a society.

2.2. Language and Culture:

Language is a foundation for the establishment of society and
culture. Language, society and culture are interrelated with each
other. Current study is about Sindhi language. We clearly realize
that language is a face of society; Sindhi language has its own
standards, qualities and conventions. We cannot concentrate on
Sindhi language without its dialect and society.
Society is an assortment of data which we find from other
individuals. We pick up this data transparently eye to eye
fascination or examination of their conduct and ways with other
individuals. As we live in society with individuals who are living
around us, then certainly we additionally impart our way of life to
them. This source assumes crucial part when we correspond with
one another. Culture is a band of norms, ethics and believes. These
ethics are shared through language and signs. As Sapir (1970) said,
“Language doesn’t exist apart from culture, that is, from social
inherited assemblage of practices and beliefs that determines the
texture of our lives.” We earlier discussed that culture is a band of
norms, ethics and believes that people of a society receive from
their forefathers and from other resources.

Influence of English Vocabulary on Sindhi Language 5

 KAROONJHAR [Research Journal]
2.3. Language and Society:
Language and society are interrelated with one another. As
Downes (1998) said, “Language is indissolubly linked with the
members of the society in which it is spoken, and social factors
are inevitably affected in their speech. Language has a social
function which helps human being to establish and maintain
relationship with other people in society. The relationship between
language and society is extremely anchored. Language performs a
range of actions in the society and society also does the same.
As we discussed earlier that language is a tool of
communication, it helps us for establishing peace, law and order in
a society, for presentation of power and authority and it also helps
for gaining objectives. Language can destroy the society if it is
used improperly. However, society controls our language by giving
us preference as what is suitable and what is not. Our langugae
may be accepted by a group of people but not for all people. We
should be prepared for the circumstances that where, and for what
reason we utilize it.

2.4. Sindhi Language:

Sindhi is not a modern language; it is an ancient. Sindhi is a
language of Sindh. It is the language of Sindh region of the South
Asia, which is now a province of Pakistan. The history of Sindhi
language is older than that of Sanskrit. It has been in use since the
inception of ancient time the languages of Saints, Sages.
Throughout the history Sindhi language has fascinated and
contributed greatly for Sindhi art, music, literature, culture and
way of life. Writer Malkani (1984) said, “Sindhi language and
literature reflect the rich variety and quality of Sindhi life and
thought. Soomro( 2011) writes “Dr. Tariq Rehman’s view about
Sindhi in his article that it is probably the oldest written language
of Pakistan. Even when Persian was the official language of the
Muslim rulers of Sindh, Sindhi was given more importance in the
educational institutions of Sindh than the other languages of
Pakistan in the areas where they were spoken. From the 17th
century onwards, a number of religious and other books were
written in Sindhi and were probably part of the curricula of
religious seminaries. It was the only indigenous Pakistani language
which was taught officially by the British at various levels of
education.
Influence of English Vocabulary on Sindhi Language 6
 KAROONJHAR [Research Journal]
3. THEORITICAL FRAME WORK:
The researcher took the theory ‘Markedness Model’ of Myer-
Scotton (1993). In her theory, she argues that persons use words of
other language to show that they are from elite class. The theory
states “educated bilingual speakers may practice elite closure by
consciously pronouncing borrowed items as closely to the originals
as possible”.

3.1. Objective:
The objectives of current research are:
To focus on the impact/influence of English vocabulary on Sindhi
Language.

3.2. Research Questions:

How far Sindhi has been influenced by English language in
rural areas of the Sindh province?
What are the factors responsible for, helping English
language to influence Sindhi language?

4. RESEARCH METHODOLOGY:
This research used the case study method, because it attempts
to arrive at a comprehensive understanding of the phenomena
under study. Simultaneously, it develops more general theoretical
statements about the regularities in the observed phenomena. This
method, therefore, helped to observe the impact of English
language on the mother-tongue of the respondents. First, researcher
took the locale as a case. Afterwards, due to the time limit and
resources constraints, he, then, selected the certain cases from it
while applying the purposive sampling.
In order to obtain the required data the researcher used
purposive sampling because it helped to select the required sample
keeping in view the purpose of present research study.
Total 30 folk tales and stories were recorded and among them
9 respondents were taken equally from monolinguals, bilinguals
and multilingual as a sample randomly. The investigator arranged
the informal discussions with the respondents, while telling them
about the objectives of the study. The reasons behind the informal
discussion were to find out the real reaction of Sindhi speakers, so
that they can speak without any fear. The researcher listened all
folk tales and narratives from different people of different ages,
Influence of English Vocabulary on Sindhi Language 7
 KAROONJHAR [Research Journal]
professions and recorded them. He, then, used a tape recorder to
record their folk tales and the stories of respondents. The length of
every recording was about 03-07 minutes. The participants
willingly participated and allowed to record the conversation.

4.1. Data Analysis:

After collecting the data, the researcher measured it and
converted into percentage. He listened folk tales and the stories of
the respondents, which were in Sindhi language to find out English
words. The written transcription of recordings was rather fruitful
for the researcher to highlight the English terms without any
problem.

4.2. RESULTS:
This section has presented the collected data and the analysis
of it. The researcher has divided the data of monolingual, bilingual
and multilingual separately in order to give a brief picture of the
data.

5. Monolinguals:
These people were uneducated. The researcher recorded their
folk tales and took 3 recordings of monolingual for the analysis of
the data.

Participant 1
Chart.1. Chart of total words and their percentage

(Source: Field data)

Chart 1 shows vocabulary of Sindhi and English used by the
Participant as a part of his 3 minutes and 31 seconds
Influence of English Vocabulary on Sindhi Language 8
 KAROONJHAR [Research Journal]
communication. Participant was a farmer and he told a tale in a
friendly atmosphere. He used 444 words of Sindhi and 9 words of
English in his 3:31 second conversation. 9 words of English have
replaced Sindhi words in daily conversation and it is quite
dangerous for Sindhi language.
The percentage of Sindhi and English words was 97.58%,
1.97% respectively.
Table.1. English words’ and their Sindhi words
English words Sindhi words English words Sindhi words
Meeting Gadhjani Land Dharti, Zameen
Suit Wago Tape Pati
Conference Behs Mubaso Current Wehkro, Mojodah
Time Waqt, Zamano Colour Rang
Okay Sahi
(Source: Field data)
Table 1 gives the English words used by the Participant while
telling a tale and Sindhi words which were displaced by these
English words. The Participant likewise used some of English
words tale.

Participant 2
Chart.2. Chart of words and their percentage

(Source: Field data)

Chart 2 gives the words of English and Sindhi used by the
participant 2 in 3 minutes and 16 seconds conversation. Participant
was a farmer and he told a tale in frank atmosphere. He used 404
words of Sindhi and 6 English words in his conversation.
Moreover, the percentages of Sindhi and English words were
97.82% and 1.45% separately.
Influence of English Vocabulary on Sindhi Language 9
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Table.2. English words and their Sindhi words
English words Sindhi words English words Sindhi words
Jail Qaid Khano Fit Poro
Time Waqt, Zamano Minute Pal
Word Akhar Mix Gadan
(Source: Field data)
Table 2 gives English words used by the participant and
Sindhi words which are replaced by these English words. He
repeated some words many times.

Participant 3
Chart.3. Chart of total words and their percentage

(Source: Field data)

The third participant was a retailer. He took 2 minutes and 57
seconds while telling a tale. In his communication, he used 368
words of Sindhi and 6 words of English. 6 words of English words
exhibit that English words are supplanting Sindhi words in step by
step dialogue.
The percentage of Sindhi and English and words was 97.61%
and 1.59% respectively.
Table.3. English words and their Sindhi words
English words Sindhi words English words Sindhi words
Okay Sahi Cut Wadhan
Half Adh Shoot Goli Marn
Lout Phur, Khasan Fit Poro
(Source: Field data)
Table 3 gives the English words used by the Participant and
Sindhi words which are supplanted by these English words.
Participant rehashed a few words.
Influence of English Vocabulary on Sindhi Language 10
 KAROONJHAR [Research Journal]
5.2. Bilinguals:
Bilinguals were low educated (primary educated). The researcher
recorded their folk tales and from all recordings took 3 recordings
randomly to analyze the data.

Participant 1
Chart.4. Chart of total words and their percentages

(Source: Field data)

Chart 4 gives the total number of words used by the
participant 1 in 3 minutes and 49 seconds conversation. Participant
was a worker. In his discourse, he used 471 words of Sindhi and 11
words of English. 11 words of English words demonstrate that
these words have supplanted Sindhi words in day by day
discussion.
The percentage of Sindhi and English was, 96.71% and
2.25% separately.
Table.4. English words and their Sindhi words
English words Sindhi words English words Sindhi words
Cross Guzar, Langh Bulb Deedar
Check post Choki Time Waqt, Zamano
Card Pato Foot Paer
Kilometer Dareg Shoot GoliMarn
School Darsgah Order HukamDeyan
Building Jagah, Jae
(Source: Field data)
Table 4 contains English words used by the Participant and
Sindhi words which were supplanted by these English words.
Participant rehashed a few words ordinarily.
Influence of English Vocabulary on Sindhi Language 11
 KAROONJHAR [Research Journal]
Participant 2
Chart.5. Chart of words and their percentages (Source: Field data)

Chart 5 shows the total words used by the participant and

their percentages. Participant was a farmer. In 3 minute and 19
second tale, he used 391 Sindhi words and 9 English words. 9
words of English show the influence of English on Sindhi
language. The percentages of Sindhi and English words were,
97.02% and 2.23% respectively.
Table.5. English words and their Sindhi words (Source: Field data)
English words Sindhi words English words Sindhi words
Trolley Rehro Sugar Mil Khand jo Karkhano
Barrage Wadi Chab By Pass Bahiran
Jump Tarpo Deyan WAPDA Bjli jo Ghar
Train Rail Gadhi Juice Ras
Minute Pal
Table 5 gives the list of English words used by the Participant
and those Sindhi words which were supplanted by these English
words. Participant rehashed a few words commonly.

Participant 3
Chart.6. Chart of total words and their percentages (Source: Field data)

Influence of English Vocabulary on Sindhi Language 12

 KAROONJHAR [Research Journal]
Chart 6 shows the total words and their percentages used by
the participant 3. While telling a tale, he took 3 minutes and 45
seconds. During his conversation, the participant used 438 words
of Sindhi and 11 words of English. 11 expressions of English
words demonstrate that English words are supplanting Sindhi
words in every day discussion.
The percentages of Sindhi and English words used by the
participant were, 96.90% and 2.43% respectively.
Table.6. English words and their Sindhi words (Source: Field data)
English words Sindhi words English words Sindhi words
Level Hikjahrai Change Mataen
Sign Sahi Copy Namono
Wait Tarsan Piece Tukro
Line Leek Pass Guzarn
Building Jagah Rest Aram
Fault Nuqs
Table 6 shows the graph of English words used by the
Participant and Sindhi words those were supplanted by these
English words. The Participant rehashed a few words ordinarily.

5.3. Multi-Linguals:
The Multi-linguals were well educated and these people were
from different professions. The researcher listened and recorded
their folk tales for the data analysis.

Participant 1
Chart.7. Chart of total words and their percentages (Source: Field data)

Chart 7 gives the total words and their percentages used by

the participant 1. The participant was undergraduate student. He
told a tale in a friendly atmosphere. While telling a tale, he took 4
Influence of English Vocabulary on Sindhi Language 13
 KAROONJHAR [Research Journal]
minutes and 25 seconds. During his discussion he utilized 547
words of Sindhi language and 14 expressions of English. 14
expressions of English demonstrate that English Vocabulary is
affecting Sindhi language in day by day discussions.
The percentages of used words were Sindhi words 96.64%
and English words 2.47% individually.
Table.7. English words and their Sindhi words (Source: Field data)
English words Sindhi words English words Sindhi words
Six Chah Entertainment Winder
School Darsgah Metric Dahon Darjo
Class Darjo Civilize Sudhran
Monitor Agwan Hotel Musafir Khano
Programme Tarz-e-Aml Kilometer Dareg, Koh
Teacher Ustad Clock Gharyal
Enjoyment Mazo, Lutf Hold Pukhto Rakhn
Table 7 gives the graph of English words used by the and
those Sindhi words which were supplanted by these English words.
The Participant reused a few words ordinarily.

Participant 2
Chart.8. Chart of total words and their percentages (

Source: Field data)

Chart 8 shows the total words and their percentages used by
the participant in his 3 minutes and 3 seconds conversation. The
participant was graduated. During telling a tale he used 419 words
of Sindhi language and 10 words of English. 10 expressions of
English words demonstrate that English words are supplanting
Sindhi words in day by day discussion.
The percentages of used words were Sindhi words 96.76%
and English words 2.30% respectively.
Influence of English Vocabulary on Sindhi Language 14
 KAROONJHAR [Research Journal]
Table.8. English words and their Sindhi words (Source: Field data)
English words Sindhi words English words Sindhi words
Manager Kam Halaendar Weight Tor, Wazan
Habit Khaslat Routine Wahnwar
Death Ajal Note Dhan, Ropyo
Record Mehfooz Karan Train Rail Gadhi
Time Zamano, Waqt Book Kitab
The Above table gives the English words used by the and
Sindhi words which were supplanted by these English words. The
repeated a few words.

Participant 3
Chart.9. Chart of total words and their percentages (Source: Field data)

Chart 9 shows the total words used by the participant in his

conversation. Participant was a primary teacher. He told a folk tale
in a friendly atmosphere. He took 6 minutes and 10 seconds while
telling a folk tale. In his 6:10 seconds conversation he used 845
word of Sindhi language and 13 words of English. 13 words of
English words demonstrate that Sindhi language has been affected
by English vocabulary at a great extent. The percentages of Sindhi
and English words were, 98.14% and 1.50% respectively.
Table.9. English words and their Sindhi words (Source: Field data)
English words Sindhi words English words Sindhi words
Help Puthbhari Friend Dost
Powerful Sagharo Story Aakhani
Healthy Chango, bhalo Lesson Sabak
Fight Werh Really Sachi
Free Wando Love Chah
Piece Tukro Building Jagah
Jail Qaid Khano
Influence of English Vocabulary on Sindhi Language 15
 KAROONJHAR [Research Journal]
The Above table provides the list of English words which
were used by the participant 3 and those Sindhi words those were
substituted by English terms. Some words were frequently used by
participant many times.

6. CONCLUSION:
Although, the National language of Pakistan is Urdu, but the
fact is that people do not use Urdu as a professional language.
People rather prefer English language in their offices. For instance,
the monolingual speakers used around 5 percent words of English.
However, the conversation of bilinguals contains around 6 percent
words of English. The multilingual speakers used 6.2 percent
English words in their daily conversation.
People are more inclined towards the learning and using
English, because of the two main reasons. First, a status-quo
symbol is attached to the English. People consider it as a language
of literate, knowledgeable, wise and elites. It means communi-
cating in English or just using its vocabulary is considered as a
matter of pride. Second, it is the lingua franca that controls the
flow of information or knowledge. It is the language of every new
quality research. Also, the top quality educational institutes also
offer their degrees in English. One cannot attain the latest
information and the degrees without learning this language.
People, therefore, do not have another alternate except learning
and adopting it in order to attain a good reputation or status in the
society, and learn the current trends of research and knowledge.
That is the reason that English vocabulary has more influence on
the Sindhi language. Another reason of using English language is
that our media is promoting English language and culture. Internet
and television are the major factors which are promoting English.
Owing to the reasons mentioned above, English is necessary at
every stage of formal education. However, it is being taught
improperly, and taught as a subject not as a language. People learn
English not really as a language of communication, but rather try
to make an impression of highly knowledgeable in order to earn a
good job and reputation in the society. This learning of English just
for the sake of jobs indicates the superiority of it over the native
languages of that society. Here, it will not be wrong to refer the
theory of Mayor-Scotton that the people do code mixing just to
impress the others and make their conversation more effective.
Influence of English Vocabulary on Sindhi Language 16
 KAROONJHAR [Research Journal]
On the other hand, Sindhi is one of the strong and ancient
languages. As, Pirzado (2009) indicates that the word “Sindhi” is
found recorded first time in rock inscriptions around 2500 years
ago. Also, at the time of Arab’s arrival in India, Sindhi was one of
the most advanced languages. The Arab writers mentioned that
Sindhi was a common spoken language of that time. Nowadays,
Since grade student learns English in Sindh province, however, it
has been seen that most of the Sindhi speakers do not get the
proper accent of English. It is purely due to the strong sounds of
the Sindhi that do not allow other languages to dominate it.
Here, researcher does not make any big statement and
impression that the Sindhi language will lose its identity for that
influence. However, some words may disappear with the passage
of time.

REFERENCES:
1. Halliday, (2007). Language and Society. Continum International Publishing
group Ltd.
2. Malkani, K. R. (1984). The Sindh Story. Allied Publishers Private Limited.
3. Pirzado, A. (2009). Sindhi Language and Literature. Hyderabad: Sindhi
Language Authority, National Highway, Hyderabad,Sindh, 71000,
Pakistan .
4. Trudgill. (1981). Socio Linguistics . Pengum Books Limited, 2000.
5. Downes, W. (1998). Language and Society. (Second, Ed.) Cambridge
University Press.
6. Sapir, E. (1970). Language, Culture and Personality. University of
California Press.
7. Memon, D. A. (2011). Sindhi Boli Jo Grammar. Hyderabad: Sindhi
Language Authority, Hyderabad, Sindh.
8. Allana, D. G. (2019). Sindhi Language and Literature At A Glance .
9. Hyderabad: Taj Joyo, Secretary Sindhi Language Authority, National
Highway, Hyderabad, Sindh,71000, Pakistan.

Influence of English Vocabulary on Sindhi Language 17

 KAROONJHAR [Research Journal]
Muhammad Hanif Laghari
Assistant Professor, Department of Anthropology & Archaeology,
University of Sindh, Jamshoro.

THE CONQUEST OF SINDH:

REALITY AND FACTS
Abstract
This research paper focusing, to find the reality and facts as
Arabs, powerful attack on Sindh in 711 A.D, which was ruled by
Devji belonging to the Rai dynasty. According to the historical
books Sindh was peaceful and rich country and irrigated by River
Indus and fertile the plain area bounded from eastern is the large
series of Thar Desert from southern Rann of Kutch to District
Ghotki. While western are the series of Kohistan Khirthar range.
The Indus River divided the plains in left and right. The territory of
King Raja Dahar was eastern side of river Indus and its capital
was Aror and than, Brahamanabad. In Bhanbhore there were
temples, where life size models of deities were made from gold and
silver which were precious. So this may be the reason for attack
over Sindh. Further more researchers collected some evidences
from releavent historical books and found the reality and facts
which are discussed in this research.

KEYWORDS: Sindh, Indus River, Islamic period, historical

reality, Historical facts, Raja Dahar, Muhammad bin Qasim, War,
Culture, Heritage, Architecture, Archaeology Descend

INTRODUCTION
The capital of Rai dynasty was Alore/Aror which was located
some 05 Kilometers south of Present Taluka Rohri of district
Sukkur Sindh. (Prominent Sindhi short story writer Amar Jalil Has
written an story named “Aror jo Mast” focusing this location, here
is a dialogue from that story, “I went to Aror to glimpse Allah Bux
Mast, Near an old mosque I unmounted from my horse, I travelled
from Rohri to Aror without taking breath)(1). It was extended from
East is the Sorth (India) South is the Makran coast and Arabian
The Conquest of Sindh: Reality and Facts 18
 KAROONJHAR [Research Journal]
Sea, West is the Qandhar, Sistan, Koh Suleman and Kekanan and
from North is Kashmir and Qanuj. During the period of Rai
dynasty at Aror the ruler was Dewaj.He ruled with justice, and
honesty. His relations were very well with eastern territory. After
his death his son Rai Saharis controled the powers of the territory
and he ruled like his father very well than, his son Rai Sahasi came
in power and had controls administration of the state.He ruled
peacefully. Later than his son Rai Saharis II came in power and
was killed during war near Kech (Boulchistan) than his son Sahasi
II ruled over the Alore / Aror (Table # 01).
Table # 01 Period of Rai dynasty ruled over Sindh
S.N0 RULERS FROM TO (AD) YEARS
1 Rai Sahasi II = 632
2 RaiSaharis II = =
3 Rai Sahasi I = =
4 Rai Saharis I = =
5 Rai Devji 500 =
The talented minster named Ram, who was Budhest Chach
came from Kashmir and joined the court of King and he was assign
to take care of the temple of Aror. By chance, the affair Minster
Ram was feeling ill during these days some important letters
regarding country affairs were received in the court of king for
reading of these letters Ram proposed Chach for reading and
answering.He was wise and active. Later, he was called to enter to
the palace king wanted to get answer of these letters which written
by princes (Qanae Thatvi, 2006).After, reading these letters Chach
answered them properly after reviewing the letters king pleased
and appointed him as his minster and gave him permission to
attend every day to come for state correspondence purposes.
During these days his queen Suhand felt inclined him and sent
messages to the Chach but Chach refuse and did not accept her
offer. Later on, King fell ill and immediatly Rani Suhandi called
Chach and told him the condition of her husband. Rani suggested
him that he was the minster if he marry her than he will become
king and real heir of the state.
Chach was Brahman Suhandi Rani advised him to distribute
the treasury of the state among the poor peoples. The other brother
of Rai Sahasi called Mehrath the king of Chitori (India) with his
army came near Jaisalmeer and wrote a letter to the Chach that
The Conquest of Sindh: Reality and Facts 19
 KAROONJHAR [Research Journal]
Brahaman had no permission to rule otherwise he would be
retuned status. Chach told the whole story to wife Suhandi than
king of Chitori came with his army for attack near the Arore and
during war Mehrath was killed. Chach appointed his brother
Chander and extended the boundery of the state. The king of the
Sewistan Matta and king Agham Lohana accepted the Obedience
of Chach. He ruled 40 years successfully and expired (Qanae
Thatvi, 2006).
After the death of Chach his brother Chander came into
power. During that time Matta the ruler of Sewistan went to the
Raja of Qunoj (Kashmir) and informed that Chach had expired and
his brother came in power if he interest to control the power of the
state.When, Chander heard the news he decided to wage war but
later situations came back with peace. Chander ruled 08 years and
expired than Dahar the son of Chach controled the positions of the
state (Qanae Thatvi, 2006). Dahar ruled over Aror and he
appointed his brother Daharseena at Brahamanabad (Table # 02).
Table #02 Rulers of the Brahaman Dynasty rule over Sindh
S.NO RULERS FROM TO (AD) YEARS
1 Dahar 700 711 11
2 Dhar 670 700 30
3 Dahar & Dharj 669 670 01
4 Chandar 666 669 03
5 Chach 632 666 34
There is a perception to attack on Sindh by Arab rulers that,
ships were looted by friates near laybul. After this act Hijaj
immediately dispatched an envoy to Raja Dahar the ruler of Sindh
demanding early release of the women’s. Raja Dahar replied the
king of Sindh is not involved in the bad incident and he could not be
responsible for the act of pirates. Dahar informed the Hijaj that
Deybutis not in my jurisdiction (Plan # 01). Governor of Basra Hijaj
appointed young man Umaad uddin Muhammad bin Qasim and
decided to attack Sindh. Second statement is that, some people of
Makran killed the Governor of the state and came to the territory of
Raja Dahar for and Dahar Protection (Baricho) Third statement is,
Hijaj appointed two young Generals Qutabah bin Muslim from
Turkistan and Muhammad bin Qasim from Sindh attack china with
hope whoever conquered the country will be promoted to the high
rank of the state. Fourth statement is the cause of attack on Sindh
The Conquest of Sindh: Reality and Facts 20
 KAROONJHAR [Research Journal]
by Arabs that Khalifa sent his agents to Sindh to buy young and
beautiful Sindhi Hindustani girl slaves and other things from Sindh
and Hind (Cousen, 1975). Fifth statement is Sindh was rich in
agriculture, timber, perfumes, chillies, precious stones and metals.
All the statuettes / gods kept in the temples were made from gold
and silver, these precious things were sent by Muhammad bin
Qasim to the viceroy of Basra. Sixth The Arabs ignored Sindh, and
had no economic relationship with the indigenous people of Sindh
and Hindh. The people were poor and external trade was limited
Hunger, mismanagement, evil activities were out of control
coursing native people loot the ships. Hijaj, the governor of Basra
appointed Umaad udin Muhammad bin Qasim the chief
commander of army infantry Battalion as footman, horseman and
camel rider and naval Battalion with five Catapults (Table # 03)
Ameer-ul- Bahar Jaaoba named catapult opretor (Molai, 1957)
threw the stone balls and destroys the fortification wall and he
fallen the flag (Balaldhury, 1902) one of them is called Al-Uroos.
They used dry naval route nd came from Basra viva Kirman and
attack Panjgor conquered it and stayed 06 months than marched
Armabeel Present Lasbella conquered it and stayed there long time
(Nadvi, 2008) Makran to Daybul and also used dry rout of coastal
region and also use Naval route. Muhammad bin Qasim laid foot
print from boat to the land of Daybul from southern side and seize
the communication of the city.
Plan # 01 shows the dry and naval route from Basra towards
Sindh

The Conquest of Sindh: Reality and Facts 21

 KAROONJHAR [Research Journal]
During that time, the city of Daybul was used as port where heavy
boats from Iran, Iraq, Arabia and Africa anchoraged. In the city of
Daybul there was a Temple called Davel Mander with high dome
and red flag was trembling on air than Arabs called it Daybul.
Muhammad bin Qasim addressed the residents of Daybul.
All human beings are created by Allah and are equal in his eyes.
He is one and without a peer. In my religion only those who are
kind to fellow human beings are worthy of respect. Cruelty and
oppression are prohibited in our law. We fight only those who
are unjust and who are enemies of the truth (Hussain, 1997).
It was Friday 93 Hijri Muhammad bin Qasim attack Daybul
which was fortified city of Sindh. He ordered the operator of
catapult to fix properly and directed the soldiers to dig the ditches
for safety from all sides, face to face war started from both sides.
Muhammad bin Qasim ordered the operator of Catapult to attack
from eastern side of the dome of the Temple where red flag was
fixed. When flag came down Arab conquered and looted
continuously there (Qanae 2006).Than, Muhammad bin Qason laid
the foundation of first Islamic Mosque at Daybul and divided the
city into two portions as eastern side was handed over newly
settlers of Muslim communities and western side was handed over
to the Hindus. Muhammad bin Qasim control the administration of
the Daybul and then decided to march to the Seesum jo Daro to
Nirunkot which was located near the present Hyderabad
(Hussain1997). The siege equipment was loaded back onto the
ships and transported up the Indus River. The Arab army marched
along the river bank for seven days journey (Nadvi 2008). The
ruler of Nirunkot was Budhest called Shmni he already inform to
Hijaj about the movement of Muhammad bin Qasim with
presents / gifts Shmni warmly welcomed the Arabs and assured the
co-operation in the matter of the state. Muhammad bin Qasim laid
the foundation of second mosque at Nirunkot (Nadvi 2008) than he
crossed Indus river to march to Sewistan (present Sehwan) which
was ruled by Bajrah bin Chander. Shmni wrote a letter to the
Bajrah with advice that
We are Shmni religious man killing is prohibited in our religion
and you are resting in the Palaces you must come and accept the
obedience of Arabs.
Bajrah refused and then, Shmni sent a secret message to
Muhammad bin Qasim saying
The Conquest of Sindh: Reality and Facts 22
 KAROONJHAR [Research Journal]
“The peasents, artisans, merchants and comman people have
withdrawn their allegiance from Bajrai and forsaken
him.’ (Hussai1997).
He decided the war. Arab army came around the fort of
Sewistan they fought continuously, but within week Bajrah
arranged escape from the fort of Sewistan (Qanae 2006).
Muhammad bin Qasim entered the fort of Sewistan and occupied
it. Again Muhammad bin Qasim decided to march the kingdom of
Raja Dahar at Brahamanabad. After 50 days the on toArab army
was distressed they ate the sick horses near Sehwan than, Raja
Dahar said
“ I hear the bad news about you and your army that you all go
back I will help you”
For this statement Muhammad bin Qasim replied
“ Inshallah the flag will tremble and you will obey us and tribute
us otherwise you will not be given a suitable place” (Qanae 2006).
When Hijaj heard this news he sent two thousand horse
soldiers with instruction to cross the river Indus and finish him
near Jhem (present Jhampeer) where the Indus River divided in to
courses. Muhammad bin Qasim ordered to arrange new boats and
cross the Indus. When Arab reach the town of Brahamanabad King
Dahar was resting in his palace he was informed the war from
morning to evening both troops faught each other. The Arabarmy
was expert to putout fire work and arrows. Raja Dahar had iron
tassel those he through whose head cut down. Like a lion he faught
10 days and 11th day it was Thursday evening 10th of Ramdan 93
hijri It was the time of sun set Arab soldier Shujah Aerabi (Qanae
2006) threw the arrow which passed the chest of Dahar he fall
down and died (Molai, 1957). When Muhammad bin Qasim heard
the news of killing along with Arab brave soldier he took the
corpse of Raja Dahar and separated the head from his body and
raised the head on nib of the spear and shown the slave daughters
for his identification.
Then, Muhammad bin Qasim enter the main entrance the
door was opened Arab solders kept the member near the temple
and pray the Juma prayer (Qanae 2006). Muhammad bin Qasim
collect the plunder along with the head of Dahar and his slave
daughters under the command of Qais send to the governor of the
Basra (Qanae 2006). After that, Hijaj wrote a letter to Muhammad
bin Qasim to move the capital city of Aror. He marched via Bhiro
The Conquest of Sindh: Reality and Facts 23
 KAROONJHAR [Research Journal]
Bham where, he built a mosque and appointed representative.
Again Muhammad bin Qasim marched to Aror and conqured it.
And than, move to wards Multan, Uchh.

DISCUSSION:
Before the Arab conquers of Sindh, the territory was under
the control of Rai dynasty and Brahman dynasty both ruled over
Sindh from early 5th Century AD to early 8th Century AD. Than,
Arabs came and possesses the both right and left of Indus River.
During literature rivew found different reseasons given by different
scholars which are early mention in this research. A young Arab
General Amaad-uddin-Muhammad bin Qasim was appointed by
Hijaj the Governor of Basra to conquer the territory of Sindh first
he attack the city of Bhanbhore, Seesam jo daro, Nirunkot,
Sewistan, than he cross the Indus River from coastal area and
marched to Brahmanabad where King Raja Dahar was resided.
Faught face to face Dahar killed Arabs control the administration
of the state and appointed the Governor and march to the Alore and
Uchh. From early 8th Century AD to early 11th century AD total
three centuries three dynasties Ummiad, Abbasid and Habbari
ruled over Sindh.

CONCLUSION:
While since long time historical books mentions only the
statement that pirates looted the ships reasoning crying beautiful
girl Governor of Basra appointed a Young General to attack over
Sindh. But this statement is not sufficient but researcher has many
opinions which are given above that may be the cause to attack /
conquer of Sindh.

BIBLIOGRAPHY:
1. Amar Jalil, (1991) Dil Ji Dunia, New Fields Publications, Tando Wali
Muhammad, Hyd.
2. Qanae Thathvi, M. A. (2006). Tuhfatul-ul-Karam. Sindhi Adbi Board,
Jamshoro.
3. Qanae Thathvi, M. A. (2006). Tuhfatul-ul-Karam. Sindhi Adbi Board,
Jamshoro.
4. Qanae Thathvi, M. A. (2006). Tuhfatul-ul-Karam. Sindhi Adbi Board,
Jamshoro.
5. Baig, M. K. (1900). The Chach Nammah. Karachi: Persian Printed at the
commissioners press Karachi.
The Conquest of Sindh: Reality and Facts 24
 KAROONJHAR [Research Journal]
6. Baladhury,. ((1902)). Futuh ul-Buldan. pu Cairo.
7. Baricho, M. M. Tarikh Pak w Hindh. Yadgar, Yadgar lane Urdu Bazar
Hyderabad.
8. Cousen, H. (1975). The Antiquities of Sindh. Culture Department,
Government of Sindh, Pakistan.
9. Moalai, R. S. (1957). Janatul Sindh. Sindhi Adbi Board Jamshoro.
10. Baladhury. ((1902)). Futuh ul-Buldan. pu Cairo.
11. Nadvi, S. S. (2008). Tarrik Sindh. Sindh: Sndhica Academy, Karachi,
Pakistan.
12. Hussain, J. (1997) History and People of Pakistan. Oxford Uni
13. versity Press, Karachi, Pakistan.
14. Qanae Thathvi, M. A. (2006). Tuhfatul-ul-Karam. Sindhi Adbi Board,
Jamshoro.
15. Hussain, J. (1997) History and People of Pakistan. Oxford University Press,
Karachi, Pakistan.
16. Nadvi, S. S. (2008). Tarrik Sindh. Sindh: Sndhica Academy, Karachi,
Pakistan.
17. Nadvi, S. S. (2008). Tarrik Sindh. Sindh: Sndhica Academy, Karachi,
Pakistan.
18. Hussain, J. (1997) History and People of Pakistan. Oxford University Press,
Karachi, Pakistan.
19. Qanae Thatvi, M. A. (2006). Tuhfatul-ul-Karam. Sindhi Adbi Board,
Jamshoro.
20. Qanae Thatvi, M. A. (2006). Tuhfatul-ul-Karam. Sindhi Adbi Board,
Jamshoro.
21. Molai, R. S. (1957). Janatul Sindh. Sindhi Adbi Board Jamshoro.
22. Qanae Thatvi, M. A. (2006). Tuhfatul-ul-Karam. Sindhi Adbi Board,
Jamshoro.
23. Qanae Thatvi, M. A. (2006). Tuhfatul-ul-Karam. Sindhi Adbi Board,
Jamshoro.
24. Qanae Thatvi, M. A. (2006). Tuhfatul-ul-Karam. Sindhi Adbi Board,
Jamshoro.

The Conquest of Sindh: Reality and Facts 25

 KAROONJHAR [Research Journal]
Mahrukh Khan
Lecturer, Department of English,
Sir Syed University of Engineering & Technology Karachi.

THE OEDIPUS COMPLEX

IS IN THE WANE
Abstract
This paper is intended to bring to mind two distinctive issue
ranges. Initially regardless of how fearlessly the sense of self
moves in the opposite direction of it and what the comparative
extents of suppression, division, "demolition" may possible in the
phase of puberty the Oedipus complex supports it once more, thus
it presents in the middle of one’s life advanced phases, in typical
individuals and additionally in masochists. "Melting away of the
Freud’s Concepts" poses a contemporary decrease in
psychoanalytic enthusiasm for the stage of oedipal with its clashes
and the prevalence of intrigue and study in pre-oedipal
improvement, in the newborn child mom dad and problems of
partition individuation and of the self and vanity (in the as of late
expounded feeling of these terms).
Keywords: Wane, Oedipus complex, familial lust.

Introduction
When science is passing through a fast developmental phase
the thoughts that were initially communicated by individuals were
rapidly gotten to be basic property. Nobody who endeavors to
advance today his perspectives on insanity and its psychical
premise can abstain from rehashing an extraordinary amount of
other individuals' musings which are in the demonstration of
transient from individual into universal ownership. It is barely
conceivable dependably to be sure who first issued them
articulation, and there is constantly a peril of seeing as a result of
one's own what has as of now been said by another person. (1)
In psychoanalytic theory, Oedipus circuitous symbolizes the
affections and account that the apperception retains in the
The Oedipus Complex is in the Wane 26
 KAROONJHAR [Research Journal]
unconscious, via activating suppression, that apply aloft a boy’s
admiration to sexually acquire his mother. The Interpretation of
Dreams is the official presentation of the concept which was
published in 1900. Freud described about the phallic stage in his
work as the Oedipus complex, doesn’t specifically move ahead on
to the authoritative genital association, yet plunges and is
supplanted through the latency period. In the contention amid
egotistic enthusiasm for the penis and libidinal cathexis of paternal
articles, initially successful: kid's self esteem moves in opposite
direction of the Oedipus complex. Freud emphasizes the
significance of mutilation and the protections of ego beside
emasculation nervousness. Talking about to give up the oedipal
article cathexis with its change through distinguishing proof with
paternal power, which structures the core of the conscience; of de-
sexualization and the libidinal strivings complex divisions, and of
point hindrance and their change into delicate motivations.(2)
Underlining the procedure of dismissing the ego from the complex
is in the greater limit, that sums in a perfect world completed, to a
devastation and abrogation of it. He suggests that the perfect
standard, never achieved, would be such devastation as stood out
from suppression. And later when it is reduced, it endures
unwittingly in the id and in the future demonstrate its dangerous
infective impacts.
Then from prior examination, Freud suspected that human
was born with some sentiments and feeling like sensual whish,
affinity and so on. Freud was trying to say that human is sexy by
birth; a child must have sensual wish actually when he is in his
Mother's womb and this intrinsic sensual inclination establishes the
framework for all other penchant. Anyway this case of Freud has
negated through number of current organic analyses or tests which
recommend that each sentiment or propensity is started from
partitioned nerve, and sex maker nerve is not able to create
different emotions, likewise, different anxieties are not additionally
included in creating sex.(3) Furthermore at the time of conception,
sex maker nerves are juvenile which oblige a certain phase of age
to create sensual sentiments that implies postulations can't work
before sprouting youth.(4)
Later on, Freud attempted to subjectively bolster his
hypothesis with philosophical convictions of what must repudiate
with his purported logical case. Coating of the legendary Oedipus,
The Oedipus Complex is in the Wane 27
 KAROONJHAR [Research Journal]
Freud said that his predetermination moved us simply because it
may have been our own. On the grounds that prophesy laid the
same condemnation upon us before our introduction to the world
as upon him. It is the destiny of every one of us, maybe, to direct
our first sensual motivation toward our mom and our initially scorn
and our first dangerous desire against our dad. Our fantasies
persuade us that this is so.(5) So as indicated by Freud himself this
complex occurs as a result of the condemnation of prophesy.
Presently it is very significant to ask Freud what is the logical
estimation of this case? Here it gets to be exceptionally unscientific
claim and complex as in light of the fact that neither any
significant religion nor science uncovers and universalizes that we
all people are reviled like Oedipus.
Obligation to oneself in the feeling of being receptive to one's
influences in the way includes confronting and having the blame
for the demonstrations studying the felonious. In the oedipal
setting, killing of one’s parent is typical and interbreeding. Bearing
the cognitive realism, it makes a little difference if these
demonstrations are just in the reality target dreams or typical
acts. Killing of parents and interbreeding itself unequivocally
entwined, and a symbol of fundamental senses of animosity and
sexuality in their offensive, underhanded angles. If the parent
killing and interbreeding not completed in reality, they nonetheless
share the cognitive realism.(6)
Through the prior remark, Freud has made the idea or
hypothesis substantially more irrational and complex. He was Jew
and it was a remarkable truth that in Judaism there was no
understanding of prophesies. It was the conviction endorsed
through agnostic religion; henceforth here Freud was conflicting
with his own particular conviction and claim as a researcher.(7)
Freud's hypothesis was produced through legitimate disarrays
emerging out of his unproven established dependence on cocaine
to the perspective that he made an essential, however troubling,
observational revelation, which he intentionally smothered for the
hypothesis of the oblivious, realizing that the last would be all the
more socially satisfactory.(8)
Abridging, the different types of the Oedipus complex's
fading away which are: suppression; annihilation by disguise,
including parricide, blame, and penance. Grieving, regret,
apology, would need to be measured Obliteration on the plane of
The Oedipus Complex is in the Wane 28
 KAROONJHAR [Research Journal]
article affection, by surrendering depraved bonds and reproducing
the killed one and grieved oedipal relations through novel
adoration associations.(9) It is consolidating here cognitive
occasions that rehash themselves on diverse levels of advancement
all through lifecycle. And in that, the authoritative devastation of
the Oedipus complex is not present.
The generational battles, most show in youthfulness however
regularly drawn out a long way past, and later continued, if in
switched structure, when kids get to be parents, these battles are
substantial verifiable encounters that may, and at last do, decrease
one or the other side. Parents or youngsters have a tendency to be
rendered moderately barren, at any rate the extent that the
generational commitment itself is concerned. It is a parity or
amicability that in the outside no not as much as in the interior
coliseum stays defenseless.(10) The great result of an investigation,
regarding the determination of the transference despondency,
shows itself in the expanding however delicate foundation of such
uniformity. It is not settled for the last time, yet requires proceeded
with inside movement; and it is not so much clear at the purpose of
real.

Familial lust
Interbreeding maybe perceived as opposite side of parricide, a
phase where adoration seems prevailing. In the parricide, though,
beneath otherwise blended with dangerous hostility, likewise a
pretty much fierce is present, enthusiastic appointment of what’s
practiced as adorable and praiseworthy in parentages. So also,
interbreeding not simply curse adoration or the need of Eros to
bind together and marry. Interbreeding likewise comprises a
rejection or obliteration of the third person in a triangle, besides
regularly the contemptuous retribution executed on a perverted
item needed, permitted or reacted to the adversary. Will the
adversary remain an opponent on the off chance that he or she was
not a depraved affection protest in camouflage? The familial lust,
here, gay person patterns or acts in the middle of youngsters and
folks or kin.
The consecrated purity of essential egotistic solidarity and its
subordinates, foremost to individuation and its intrinsic blame and
expiation, while coming about because of sensual union of the
parentages, goes before and is the indistinguishable wellspring of
The Oedipus Complex is in the Wane 29
 KAROONJHAR [Research Journal]
the kid's rising sexuality. Our visualization tends to be smeared
through a sentimental yearning in such state; where there is an
interest in conserving and extending the condition of guiltlessness
in the affected kids and in recovering a part of it for us in the
protecting and identifying dealings with our youngsters. Implied in
a cutting-edge independent investigative perspective, then again,
an interest in another way that likely to invalidate a legitimacy,
though bargained as well as confounded through ensuing
improvement, of power of a single source.
Freud's theory is great at descriptive however not a foreseeing
conduct which is one of the objectives of science. For this
explanations his assumption is falsifiable - it can neither be
verified invalidated or genuine. For example, the oblivious
personality is hard to examine and measure dispassionately. By
and large, Freud's assumption is exceedingly unscientific. (11)
Besides, the larger part of the verification for Freud's
hypotheses is taken from an unrepresentative specimen. He mainly
contemplated himself, his patients and stand out youngster e.g.
Little Hans.
To be completely alive in a way like an oedipal period,
comprises more than acknowledged through Freud, despite he
recognized the truth long prior in it’s exceptionally center
gimmicks of essential recognizable proof and beneficial interaction
can provide a shine to the Oedipus complex in contemporary
psycho-analytic atmosphere.
Mentioning the issue of individuation, valuation and status of
an individual, therapy gives off an impression of being in an
ungainly position. From one perspective, it appears to have a
suggestion that the rise of moderately self-governing person is a
perfection of humanoid advancement. How this occurs and what
meddles with such results, bringing about psychopathology, is a
most essential part of psycho-analytic examination, recreation, and
treatment. Additionally, therapy is singular treatment, happens
between two people. The thought of the determination of the
transference depression, for one, has neither rhyme nor reason if
singular self-rule is not imagined.
Yet analysis has dependably been in a clumsy position,
actually when just the Oedipus complex it’s the focal point of
Oedipus complex consideration. Although its goal has to be
infiltrate oblivious complex in the light of judicious comprehen-
The Oedipus Complex is in the Wane 30
 KAROONJHAR [Research Journal]
sion, it additionally been and its purpose is to uncover the
nonsensical oblivious bases, strengths rousing, arranging cognizant
and normal rational techniques.(12) Over the span of these
investigations, oblivious courses of action got to be available to
discerning comprehension, and in the meantime thought itself
reasonable and understanding our objective of the world as an
object got to be hazardous. In conceptualizing and examining of
the Oedipus complex and in its transmission it got to be obvious
that not just the masochist's libidinal article is doubtful in that its
impartiality is debased and twisted by transmissions. In typicality
too, protest relationships as settled in the oedipal period added the
structure of modern libidinal object. As such, modern libidinal
object, regardless the opportunity that liberated of the horrible
transference twists seen in mental issues which helped us to see the
universal sensation of transmission, is impossible or contains
silly components.(13) In the event that this is thus, objectivity,
judiciousness, and reality themselves aren’t what we assumed them
to be, not outright perspectives and/or the world that eventual
autonomous of and unpretentious through the reproductive
procedure structures of psyche and world.
In the psycho-sexual and societal existence of the present day,
ancients are all the more in proof, less curbed. They thus make for
diverse inconveniences, regularly closer to depravity than to
despondency.(14) Our own perspectives on what is to be measured
as corruption are changing, for instance, concerning
homosexuality. Cutting edge life both moved and by moving
therapy is the redrawing of diagrams and moving norms of the
typicality, of what is obsolete in the rational of life and what is
progressed in a full grown mindset.

Conclusion
Enthusiasm for the Oedipus complex has been on the melt
away due to these advancements. Yet, it is likewise obvious that
there are different points of view on the Oedipus complex, that a
diverse methods of winding its down and waxing amid of life
phases that gives it vigor importance, weightiness and the middle
idea of perverted ties, halfway amongst recognizable proof and
question cathexis, tosses extra light on its centrality. We are
repeated that the oedipal connections, battles, and clashes should
likewise be comprehended as a new form of essential union
The Oedipus Complex is in the Wane 31
 KAROONJHAR [Research Journal]
individuation quandary. A conscience, as perfection of a single
clairvoyant structural development, speaks to somewhat extreme in
the essential partition individuation process.

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The Oedipus Complex is in the Wane 32