A history of naat in Urdu, its research and criticism

NAAT is an Arabic word and it implies, truly, commend. In Urdu naat implies the acclaim of Prophet Hazrat Muhammad (PBUH). A lyric with acclaim of Prophet Muhammad (PBUH) is additionally called naat in Urdu.
new punjabi naat

In Arabic verse, the class naat exists yet it is called 'madh' or 'madeeh'. The soonest naat was composed in Arabic amid the lifetime of Prophet Muhammad (PBUH). From Arabic naat achieved countless written works, including Persian, Urdu, Turkish, Punjabi naat , Sindhi, Pashtu, Seraiki and some more.

The custom of forming naat verse in Urdu has a long history. Since practically every Urdu writer has created no less than a couple of couplets in acclaim of the Prophet (PBUH), the historical backdrop of Urdu naat verse is as old as Urdu verse itself. In spite of the fact that significant writers of Urdu, for example, Qulli Qutub Shah, Vali Dakani, Mirza Sauda, Mir Taqi Mir, Maumin, Karamat Ali Shaheedi and Ghalib composed couplets applauding the Prophet of Islam (PBUH), it was not until the primary portion of the nineteenth century that naat in Urdu verse turned into a perceived and particular poetical sort independent from anyone else.

It is Maulana Kifayat Ali Kaafi who is credited with making naat a particular sort. Maulana Kaafi was an Islamic researcher from Muradabad and was hanged in 1858 by the British for partaking in India's 1857 war of flexibility. Another writer who assumed a part in advancing naat in Urdu in early stage was Maulana Ghulam Imam Shaheed. At that point Hafiz Lutf Barelvi advanced the class of naat.

After this early stage, Mohsin Kakorvi and Ameer Meenai culminated the specialty of naat in Urdu in the last quarter of the nineteenth century. These two writers have surprisingly a gathering of naat verse every, which was a remarkable refinement as till then no Urdu artist had distributed an accumulation of verse comprising altogether of naat. Mohsin Kakorvi was the principal Urdu artist to have dedicated all his poetical ability to create naat as it were.

Afterward, particularly in the post 1857-period, various Urdu artists made naat full out of poignancy of the specific circumstance. Altaf Hussain Hali drove the path with his well known Musaddas, titled 'Madd-o-jazar-I-Islam'. It contains various stanzas made in a style out of naat. His different sonnets too have naat components. With a signal from Hali, Shibli Nomani, Maulana Zafar Ali Khan and Allama Iqbal thought of some moving bits of religious and nationalistic verse with naat components. Another artist known for his naat verse is Maulana Ahmed Raza Khan Barelvi. After the autonomy in 1947, another period of naat in Urdu verse started, particularly in Pakistan. Countless are currently creating naat.

In any case, it is extremely bizarre that basic works on naat are similarly rare. Maulana Hali's 'Muqaddama-I-sher-o-shaeri' is the main treatise in Urdu on the craftsmanship and standards of scholarly feedback, yet it says nothing of the naat verse. Ameer Meenai's works safeguarding Mohsin Kakorvi are maybe the primary basic Urdu compositions that talk about naat on the premise of abstract benefits and beautiful esteems. It was none other than Muhammad Hasan Askari who, while composing on Mohsin Kakorvi, lit up the path for the commentators who were to compose regarding the matter in the years to come. However, Askari is somewhat unconvinced of the naat components in Hali's Musaddas. Since Askari had betrayed pioneers and Modernism, he felt that Hali had made those stanzas from a western and innovator perspective, commending certain parts of the life and identity of the Prophet (PBUH) that are more "humanistic" than "profound".

In his as of late aggregated and distributed book Urdu naat ki shaeri rivayet, Sabeeh Rahmani has given a diagram history of basic and research works did on naat in Urdu. As indicated by him, however now we have around 10 PhD and a few M Phil and MA expositions composed on the class of naat in Urdu, Dr Rafiuddin Ashfaq has the qualification of acquiring the first-since forever PhD on a proposition inquiring about and assessing Urdu's naat verse. College of Nagpur granted him a doctorate in 1955 on his work Urdu mein naatiya shaeri. In 1974, Dr Farman Fatehpuri's book Urdu ki naatiya shaeri was distributed from Karachi. Dr Talha Rizvi Barq's book Urdu ki naatiya shaeri distributed from India that year. Obviously, both the researchers were unconscious of each other's work while composing the book and freely finished their exploration. In Pakistan, includes Sabeeh Rahmani, Dr Riaz Majeed penned Urdu mein naat goi, first doctoral paper in Pakistan on naat, which was distributed in 1990.

In his introduction to the book Sabeeh Rahmani has given a thumbnail outline of the substantial number of basic and research chips away at naat in Urdu. Distributed by Karachi's Academy Bazyaft, the thick volume comprises of articles by famous scientists and faultfinders, clarifying the definition, history, prospects and artistic benefits of naat verse in Urdu. Sabeeh Rahmani has given the credit to Mubeen Mirza for giving him aggregating such a book. Without a doubt both the essayists merit praise and our a debt of gratitude is in order for such exhaustive work on Urdu naat verse.