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Friday, 23 December 2011
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Sunday, 18 December 2011
WHAT'S THE DIFFERENCE BETWEEN BEHR, NAZM, GHAZAL, KAVITA, RACHNA....???
I do not have vast knowledge about poetry, but I am trying to answer your question in a simple way.
Whats are differeneces between behr, Nazm, Ghazal, kavita, rachna....???
to know the differences between all this, first we shuuld know what is beh’r, Nazm, Ghazal, Kavita & Rachana.
1) Ancient Indian Poetry (indo-Aryan languages)
Geet & Kavita,
Geet is a word in several Indo-Aryan languages, deriving from the Sanskrit word gita, which means a song or a poem. It is a genre of poetry in most contemporary Indo-Aryan languages like Hindi, Punjabi, Guajarati, etc. It is commonly used as song or hymn.
Kavita: Kavi(poet) +ta(imagination) = Creation/imagination of a poet, the whole poetic work of a poet(KAVI) may be called a kavita. It is just like Nazm. (But Nazm basically consist of urdu words, but Kavita basically consist of Hindi words. ) Just like the difference between a Shayar and a kavi...: D Nazm & kavita is almost same...
An example of Kavita, by Sri Gopal Das Neeraj
chhup chhup ashru bahaane waaloN,
Moti byarth lutaane waaloN,
Kuchh sapno ke mar jaane se jeevan nahiiN mara karta hai.
Sapna kya hai, nayan sej par,
soya huaa aaNkh ka paani
aur TooTna hai us ka jyoN,
Jaage kachchhi niNd jawaani,
Gili umar banaane waalon, Doobe bina nahaane waaloN,
Kuchh paani ke bah jaane se saawan nahiiN mara karta hai
Mala bikhar gayee to kya hai,
Khud hi hal ho gaii samshya,
aaNSuu gar niilaam huye to
samjho puri huii tapashya
RooThe deevas manaane waaloN, Phatee kameez silaane waaloN,
Kuchh deepoN ke bujh jaane se, aaNgan nahiIN mara karta hai.
Khota nahiiN kuchh bhi yahaan par,
keval jild badli thee pothii,
Jaise raat utaar chaaNdanii,
pahne subah dhoop ki dhotii,
Vastra badal kar aane waalon, chaal badal kar jaane waaloN,
Chand khilone ke khone se bachpan nahiiN mara karta hai..
Laakh baar gagariyaaN phooti,
shikan na aayee panghat par,
Laakh baar kishtiyaaN duubi,
Chahal-pahal wahiihai taT par,
Tam ki umr baRhaane waalON, lo ki aayu Ghataane waaloN,
Laakh kar patjhaR koShiSh par upban nahiiN mara karta hai..
LooT liya maali ne upban,
LooTi na lekin gaNdh phool kii,
ToofaanoN tak ne CheRha par,
Khirki baNd na huyii dhuul kii,
Nafrat gale lagaane waaloN, sab par dhuul uRaane waalon,
Kuchh mukhroN naarazgii se darpan nahiiN mara karta hai..
(GOPAL DAS NIIRAJ)
Rachana: it means creation. It may be a prose, poetry or any thing else... e.g. we are creation of god. Creations stand here for rachana.
2) Urdu poetry (Arabic and Persian languages)
Urdu poetry (Urdu Shayari) is one of the greatest and finest poetries of the world. It has many different colours & types and some those unique traditions which are nowhere in any poetry. It has generated its root from Arabic and mainly from Persian. Urdu Poetry has two main types i.e. Ghazal and Nazm
Ghazal: In poetry (and as the lyrics in songs), the Ghazal is a poetic form consisting of couplets which share a rhyme and a refrain.
A Ghazal, in short, is a collection of couplets (called sher) which follow the rules of Matla, Maqta, Beher, Qaafiyaa, Radif, Khayaal and Wazan. The traditional complete Ghazal has a matla, a maqta, and atleast three other shers in between. The first two shers of a Ghazal can have the form of a qatha (a specific variation of which is a ruba'ee; most familiar to modern readers from Khayyám's Rubayyat).
Details of the Form
* The second line of each couplet in a Ghazal ends with the repetition of a refrain of one or a few words, known as a Radif, preceded by a rhyme (though in a less strict Ghazal the rhyme does not need to precede the refrain immediately), known as a Kaafiyaa. In the first couplet, this introduces the theme, both lines end in the rhyme and refrain. I.e. AA BA CA etc
* There can be no enjambment across the couplets in a strict Ghazal; each couplet must be a complete sentence (or several sentences) in itself.
* All the couplets, and each line of each couplet, must share the same meter.
* Some Ghazals do not have any Radif. This is, however, rare. Such Ghazals are called "gair-muraddaf" Ghazal.
* Although every Sher, should be an independent poem in itself, it is possible for all the Shers to be on the same theme. Alternatively, even have continuity of thought. This is called a musalsal Ghazal, or "continuous Ghazal". The Ghazal "Chupke chupke raat din aasun bahaanaa yaad hai" is a famous example of this.
* In modern Urdu poetry, there are many Ghazals, which do not follow the restriction of same Beher on both the lines of Sher. However, even in these Ghazals, Kaafiyaa and Radif are present.
* The restriction of Maqta has become rather loose in modern times. The Maqta was used historically as a way for the poet to secure credit for his or her work and poets often make elegant use of their takhallus in the maqta. However, many modern Ghazals do not have a Maqta or, many Ghazals have a Maqta just for the sake of conforming to the structure or tradition. The name of the Shayar is sometimes placed unnaturally in the last Sher of the Ghazal.
In the Context of Sufism, Ghazal by Amir Khusru: (sufiism)
Chhap tilak sab cheeni ray mosay naina milaikay
Chhap tilak sab cheeni ray mosay naina milaikay
Prem bhatee ka madhva pilaikay
Matvali kar leeni ray mosay naina milaikay
Gori gori bayyan, hari hari churiyan
Bayyan pakar dhar leeni ray mosay naina milaikay
Bal bal jaaon mein toray rang rajwa
Apni see kar leeni ray mosay naina milaikay
Khusrau Nijaam kay bal bal jayyiye
Mohay Suhaagan keeni ray mosay naina milaikay
Nazm:
A Nazm is an Urdu poetic form that is normally written in rhymed verse. The Ghazal in Urdu represents the most popular form of subjective poetry, while the Nazm exemplifies the objective kind, often reserved for narrative, descriptive, didactic or satirical purposes.
Example of Nazm:
YAAD: By Fazil Jamili
Tum hanstee thee jaisey saawan gaa'ye malhaar
Tum rotee thee jaisey baarish, woh bhi moosla dhaar
Tum chaltee thee subah saweray jaisey chaley hawa
Tum ruktee thee maang raha ho jaisey koi dua
Tum sotee thee toot rahi ho jaisey koi angrraayee
Mein ney jitney mosam dekhhey yaad tumhaaree aayee
Beher:
behar in Urdu poetry is the meter of a sher (a form of poetry in Urdu, essentially a couplet). It may be considered as the length of the sher. Both the lines in the sher, the couplet, must be of same beher. Moreover, all the shers in one Ghazal (a poetic form consisting of couplets, which share a rhyme and a refrain) must be of the same beher. There are 19 kinds of beher. However, generally beher is categorized in three classes:
Short, medium, long, depending upon the length of the misra (first line of the sher)
For a Ghazal, all the shers in the Ghazal should be of the same of beher. The example of this is this Ghazal of Faiz Ahmed Faiz. Notice the length and meter of the a’shaars in this Ghazal: it is same throughout.
shaiKh saahab se rasm-o-raah na kii
shukr hai zindagii tabaah na kii
tujh ko dekhaa to ser-e-chashm hue
tujh ko chaahaa to aur chaah na kii
tere dast-e-sitam kaa ajz nahii.n
dil hii kaafir thaa jis ne aah na kii
the shab-e-hijr kaam aur bahut
ham ne fikr-e-dil-e-tabaah na kii
kaun qaatil bachaa hai shahar me.n 'Faiz'
jis se yaaro.n ne rasm-o-raah na kii
So, the differences between Behar, Nazm, kavita, rachna, Ghazal
Except, Behr all others are the either expressive or poetic creation by a person. Behr is pattern in which we arrange words of Ghazal/Nazm/Kavita/ geet etc etc in a musical way.
Ghazal
i) Followed the rule of matla/maqta, raadiif, qaafiye, Khayaal, wazn , rhyme etc.
ii) Every couplet of a Ghazal may be called as Nazm coz; every couplet is complete in itself.
iii) Every couplets is complete in it’s self. Ghazal may not be a centralization of a thought,
iv) The Ghazal in Urdu represents the most popular form of subjective poetry,
Nazm
i) Here is only the rule of Khayaal, rhyme, & somewhere behr too.
ii) The entire poetical work is called as Nazm.
iii) The complete poetical work is a centralization of a thought; we cannot write a part Nazm. It will be just like an incomplete story.
iv) The Nazm exemplifies the objective kind, often reserved for narrative, descriptive, didactic or satirical purposes.
Hope you people understand, (uff! kasam se bohat mehnat karwayaa hai,
)
source : http://www.shayri.com/forums/showthread.php?t=54153
Whats are differeneces between behr, Nazm, Ghazal, kavita, rachna....???
to know the differences between all this, first we shuuld know what is beh’r, Nazm, Ghazal, Kavita & Rachana.
1) Ancient Indian Poetry (indo-Aryan languages)
Geet & Kavita,
Geet is a word in several Indo-Aryan languages, deriving from the Sanskrit word gita, which means a song or a poem. It is a genre of poetry in most contemporary Indo-Aryan languages like Hindi, Punjabi, Guajarati, etc. It is commonly used as song or hymn.
Kavita: Kavi(poet) +ta(imagination) = Creation/imagination of a poet, the whole poetic work of a poet(KAVI) may be called a kavita. It is just like Nazm. (But Nazm basically consist of urdu words, but Kavita basically consist of Hindi words. ) Just like the difference between a Shayar and a kavi...: D Nazm & kavita is almost same...
An example of Kavita, by Sri Gopal Das Neeraj
chhup chhup ashru bahaane waaloN,
Moti byarth lutaane waaloN,
Kuchh sapno ke mar jaane se jeevan nahiiN mara karta hai.
Sapna kya hai, nayan sej par,
soya huaa aaNkh ka paani
aur TooTna hai us ka jyoN,
Jaage kachchhi niNd jawaani,
Gili umar banaane waalon, Doobe bina nahaane waaloN,
Kuchh paani ke bah jaane se saawan nahiiN mara karta hai
Mala bikhar gayee to kya hai,
Khud hi hal ho gaii samshya,
aaNSuu gar niilaam huye to
samjho puri huii tapashya
RooThe deevas manaane waaloN, Phatee kameez silaane waaloN,
Kuchh deepoN ke bujh jaane se, aaNgan nahiIN mara karta hai.
Khota nahiiN kuchh bhi yahaan par,
keval jild badli thee pothii,
Jaise raat utaar chaaNdanii,
pahne subah dhoop ki dhotii,
Vastra badal kar aane waalon, chaal badal kar jaane waaloN,
Chand khilone ke khone se bachpan nahiiN mara karta hai..
Laakh baar gagariyaaN phooti,
shikan na aayee panghat par,
Laakh baar kishtiyaaN duubi,
Chahal-pahal wahiihai taT par,
Tam ki umr baRhaane waalON, lo ki aayu Ghataane waaloN,
Laakh kar patjhaR koShiSh par upban nahiiN mara karta hai..
LooT liya maali ne upban,
LooTi na lekin gaNdh phool kii,
ToofaanoN tak ne CheRha par,
Khirki baNd na huyii dhuul kii,
Nafrat gale lagaane waaloN, sab par dhuul uRaane waalon,
Kuchh mukhroN naarazgii se darpan nahiiN mara karta hai..
(GOPAL DAS NIIRAJ)
Rachana: it means creation. It may be a prose, poetry or any thing else... e.g. we are creation of god. Creations stand here for rachana.
2) Urdu poetry (Arabic and Persian languages)
Urdu poetry (Urdu Shayari) is one of the greatest and finest poetries of the world. It has many different colours & types and some those unique traditions which are nowhere in any poetry. It has generated its root from Arabic and mainly from Persian. Urdu Poetry has two main types i.e. Ghazal and Nazm
Ghazal: In poetry (and as the lyrics in songs), the Ghazal is a poetic form consisting of couplets which share a rhyme and a refrain.
A Ghazal, in short, is a collection of couplets (called sher) which follow the rules of Matla, Maqta, Beher, Qaafiyaa, Radif, Khayaal and Wazan. The traditional complete Ghazal has a matla, a maqta, and atleast three other shers in between. The first two shers of a Ghazal can have the form of a qatha (a specific variation of which is a ruba'ee; most familiar to modern readers from Khayyám's Rubayyat).
Details of the Form
* The second line of each couplet in a Ghazal ends with the repetition of a refrain of one or a few words, known as a Radif, preceded by a rhyme (though in a less strict Ghazal the rhyme does not need to precede the refrain immediately), known as a Kaafiyaa. In the first couplet, this introduces the theme, both lines end in the rhyme and refrain. I.e. AA BA CA etc
* There can be no enjambment across the couplets in a strict Ghazal; each couplet must be a complete sentence (or several sentences) in itself.
* All the couplets, and each line of each couplet, must share the same meter.
* Some Ghazals do not have any Radif. This is, however, rare. Such Ghazals are called "gair-muraddaf" Ghazal.
* Although every Sher, should be an independent poem in itself, it is possible for all the Shers to be on the same theme. Alternatively, even have continuity of thought. This is called a musalsal Ghazal, or "continuous Ghazal". The Ghazal "Chupke chupke raat din aasun bahaanaa yaad hai" is a famous example of this.
* In modern Urdu poetry, there are many Ghazals, which do not follow the restriction of same Beher on both the lines of Sher. However, even in these Ghazals, Kaafiyaa and Radif are present.
* The restriction of Maqta has become rather loose in modern times. The Maqta was used historically as a way for the poet to secure credit for his or her work and poets often make elegant use of their takhallus in the maqta. However, many modern Ghazals do not have a Maqta or, many Ghazals have a Maqta just for the sake of conforming to the structure or tradition. The name of the Shayar is sometimes placed unnaturally in the last Sher of the Ghazal.
In the Context of Sufism, Ghazal by Amir Khusru: (sufiism)
Chhap tilak sab cheeni ray mosay naina milaikay
Chhap tilak sab cheeni ray mosay naina milaikay
Prem bhatee ka madhva pilaikay
Matvali kar leeni ray mosay naina milaikay
Gori gori bayyan, hari hari churiyan
Bayyan pakar dhar leeni ray mosay naina milaikay
Bal bal jaaon mein toray rang rajwa
Apni see kar leeni ray mosay naina milaikay
Khusrau Nijaam kay bal bal jayyiye
Mohay Suhaagan keeni ray mosay naina milaikay
Nazm:
A Nazm is an Urdu poetic form that is normally written in rhymed verse. The Ghazal in Urdu represents the most popular form of subjective poetry, while the Nazm exemplifies the objective kind, often reserved for narrative, descriptive, didactic or satirical purposes.
Example of Nazm:
YAAD: By Fazil Jamili
Tum hanstee thee jaisey saawan gaa'ye malhaar
Tum rotee thee jaisey baarish, woh bhi moosla dhaar
Tum chaltee thee subah saweray jaisey chaley hawa
Tum ruktee thee maang raha ho jaisey koi dua
Tum sotee thee toot rahi ho jaisey koi angrraayee
Mein ney jitney mosam dekhhey yaad tumhaaree aayee
Beher:
behar in Urdu poetry is the meter of a sher (a form of poetry in Urdu, essentially a couplet). It may be considered as the length of the sher. Both the lines in the sher, the couplet, must be of same beher. Moreover, all the shers in one Ghazal (a poetic form consisting of couplets, which share a rhyme and a refrain) must be of the same beher. There are 19 kinds of beher. However, generally beher is categorized in three classes:
Short, medium, long, depending upon the length of the misra (first line of the sher)
For a Ghazal, all the shers in the Ghazal should be of the same of beher. The example of this is this Ghazal of Faiz Ahmed Faiz. Notice the length and meter of the a’shaars in this Ghazal: it is same throughout.
shaiKh saahab se rasm-o-raah na kii
shukr hai zindagii tabaah na kii
tujh ko dekhaa to ser-e-chashm hue
tujh ko chaahaa to aur chaah na kii
tere dast-e-sitam kaa ajz nahii.n
dil hii kaafir thaa jis ne aah na kii
the shab-e-hijr kaam aur bahut
ham ne fikr-e-dil-e-tabaah na kii
kaun qaatil bachaa hai shahar me.n 'Faiz'
jis se yaaro.n ne rasm-o-raah na kii
So, the differences between Behar, Nazm, kavita, rachna, Ghazal
Except, Behr all others are the either expressive or poetic creation by a person. Behr is pattern in which we arrange words of Ghazal/Nazm/Kavita/ geet etc etc in a musical way.
Ghazal
i) Followed the rule of matla/maqta, raadiif, qaafiye, Khayaal, wazn , rhyme etc.
ii) Every couplet of a Ghazal may be called as Nazm coz; every couplet is complete in itself.
iii) Every couplets is complete in it’s self. Ghazal may not be a centralization of a thought,
iv) The Ghazal in Urdu represents the most popular form of subjective poetry,
Nazm
i) Here is only the rule of Khayaal, rhyme, & somewhere behr too.
ii) The entire poetical work is called as Nazm.
iii) The complete poetical work is a centralization of a thought; we cannot write a part Nazm. It will be just like an incomplete story.
iv) The Nazm exemplifies the objective kind, often reserved for narrative, descriptive, didactic or satirical purposes.
Hope you people understand, (uff! kasam se bohat mehnat karwayaa hai,
)source : http://www.shayri.com/forums/showthread.php?t=54153
Mirza Ghalib
Life
Mirza Ghalib was born in Agra to parents with Turkish aristocratic ancestry on 27th December 1796.
Mirza Asadullah Beg Khan — known to posterity as Ghalib, a `nom de plume’ he adopted in the tradition of all classical Urdu poets, was born in the city of Agra, of parents with Turkish aristocratic ancestry, probably on December 27th, 1797. As to the precise date, Imtiyaz Ali Arshi has conjectured, on the basis of Ghalib’s horoscope, that the poet might have been born a month later, in January 1798.
The death of his father and uncle during his youth left Ghalib with no male-dominant figures. He then moved to Delhi.
Ghalib’s early education has always been a matter of confusion. There are no known records of his formal education, although it was known that his circle of friends in Delhi were some of the most intelligent minds of the time.
Around 1810, he was married into a family of nobles, at the age of thirteen. He had seven children, none of whom survived (this pain has found its echo in some of Ghalib’s ghazals). There are conflicting reports regarding his relationship with his wife. She was considered to be pious, conservative and God-fearing while Ghalib was carefree, unconventional without any scruples, and arguably not very religious, in the strict sense of the word.
Ghalib was very fond of drinking and gambling (in this respect, he himself admitted he was not quite a strict “Muslim”). Gambling used to be an offence in Delhi at that time and he was even apprehended once for having indulged in it in his own backyard. Ghalib also had an affair with a courtesan who quite admired his poetry. There still exists the First Information Report filed against Ghalib in Kotwali ( “Police Station” is a more convenient term in modern (English) language), Daryaganj, New Delhi that relates his rivalry with the then Kotwal when it came to the courtesan.
Ghalib never worked as such for a livelihood but lived on either state patronage, credit or generosity of his friends. His fame came to him posthumously. He had himself remarked during his lifetime that although his age ignored his greatness, it would be recognized by later generations. History has vindicated his claim. He also is arguably the most “written about” among Urdu poets.
He died in Delhi on February 15th, 1869.
?Contemporaries and disciples
Ghalib’s closest rival was poet Zauq, tutor of Bahadur Shah Zafar II, the then emperor of India with his seat in Delhi. There are some amusing anecdotes of the competition between Ghalib and Zauq and exchange of jibes between them. However, there was mutual respect for each other’s talent. Both also admired and acknowledged the supremacy of Meer Taqi Meer, a towering figure of Urdu Poetry of 18th century. Another poet Momin, whose ghazals had a distinctly lyrical flavor, was also a famous contemporary of Ghalib.
?Ghalib’s poetry
Although Ghalib wrote in Persian as well, he is more famous for his ghazals written in Urdu. It is believed he wrote most of his very popular ghazals by the age of nineteen. His ghazals, unlike those of Meer Taqi Meer, contain highly Persianized Urdu, and are therefore not easily understood or appreciated by a vast majority of people without some extra effort. Before Ghalib, ghazal was primarily an expression of anguished love but he expressed philosophy, the travails of life and many such subjects, thus vastly expanding the scope of ghazal. This, together with his many masterpieces, will forever remain his paramount contribution to Urdu Poetry and Literature.
In keeping with the conventions of the classical ghazal, in most of Ghalib’s verses, the identity and the gender of the beloved is indeterminate. The beloved could be a beautiful woman, or a beautiful boy, or even God. As the renowned critic/poet/writer Shamsur Rahman Faruqui explains, since the convention of having the “idea” of a lover or beloved instead of an actual lover/beloved freed the poet-protagonist-lover from the demands of “realism”, love poetry in Urdu from the last quarter of the seventeenth century onwards consists mostly of “poems about love” and not “love poems” in the Western sense of the term. Ghalib’s poetry is a fine illustration of this. Ghalib also excels in deeply introspective and philosophical verses.
The first complete English translation of Ghalib’s love poems (ghazals) was written by Dr. Sarfaraz K. Niazi(http://www.ghalib.org) and published by Rupa & Co in India and Ferozsons in Pakistan. The title of this book is Love Sonnets of Ghalib and it contains complete roman transliteration, explication and an extensive lexicon.
?His Letters
Not only Urdu poetry but the prose is also indebted to Mirza Ghalib. His letters gave foundation to easy and popular Urdu. Before Ghalib, letter writing in Urdu was highly ornamental. He made his letters “talk” by using words and sentences as if he were conversing with the reader. According to him “sau kos say ba-zabaan-e-qalam baatein kiya karo aur hijr mein visaal kay ma-zay liya karo” [ from hundred of miles talk with the tongue of the pen and enjoy the joy of meeting even when you are separated] His letters were very informal, some times he would just write the name of the person and start the letter. He himself was very humorous and also made his letter very interesting. He said “main koshish karta hoon keh koi aisi baat likhoon jo pa-rhay khoosh ho jaaye” [ I want to write the lines that whoever reads those should enjoy it] When the third wife of one of his friends died, he wrote… “Allah allah aik woh log hain jo teen teen dafah iss qaid say chhoot chu-kain hain aur aik hum hain keh aik ag-lay pachas baras say jo phansi ka phanda ga-lay mein parha hai to nah phanda hi tut-ta hai nah dum hi nikalta hai” [Allah Allah, there are some among us who have been freed from this prison three times and I have for the past 50 years this rope around my neck; neither this rope breaks nor it takes my life] Some scholars says that Ghalib would have the same place in Urdu literature if only on the basis of his letters.They have been beautifully translated into English by Ralph Russell, The Oxford Ghalib.
?His Takhallus
His original Takhallus (pen-name) was Asad but then he came across this ‘sher’ (couplet) which used the same takhallus:
Asad us jafaa par butoN say wafaa ki. Meray sher shabaash rahmat kHuda ki.
(Asad worshipped idols after being betrayed. O My Lion, mercy of God Be On You)
He apparently said, “Whoever authored this sher should get lots of rahmat (“mercy”) of God but if it is mine then lots of laanat (“shame”) on me!”, and he changed his takhallus to ‘Ghalib’, which literally means a conqueror.
See note at Urdu poetry#Pen names
?Film,TV serial and Plays based on Ghalib
Indian Cinema has paid a tribute to the legendary poet through a film (in sepia/black and white) named Mirza Ghalib (made in 1954) in which Bharat Bhushan plays Ghalib and Suraiya plays his courtesan lover, Chaudvin. The musical score of the film was composed by Ghulam Mohammed and his compositions of Ghalib’s famous ghazals are likely to remain everlasting favorites.
Pakistan Cinema has also paid tribute to the legendary poet through another film also named Mirza Ghalib. The film was directed by M.M. Billoo Mehra and produced as well by M.M. Billoo Mehra for S.K. Pictures. The music was composed by Tassaduq Hussain. The film starred Pakistan film superstar Sudhir playing Ghalib and Madam Noor Jehan playing his courtesan lover, Chaudvin. The film was released on November 24, 1961 and reached average status at the box-office, however, the music remains memorable in Pakistan to this day.
Gulzar produced a TV serial titled Mirza Ghalib. It was telecast on Doordarshan (the Indian National Channel) and was quite well-accepted and liked by viewers. Naseeruddin Shah played Ghalib in the serial. The ghazals were sung by Jagjit Singh and Chitra singh.
Pakistan government in 1969 commissioned Khaliq Ibrahim (died 2006) to make a documentary on Mirza Ghalib. The movie was completed in 1971-2, and is regarded as a masterpiece. It is said, that the movie–a docu-drama–was historically more correct than what the official Pakistan government point of view was. Thus, it was never released. Till this date, barring a few private viewing, the movie is lying with the Department of Films and Publication, Government of Pakistan. The movie was made on 16 mm format. Ghalib’s role was played by actor Subhani Bayunus, who later played this role in many TV productions.
Various Theatre groups have staged various plays related to the life of Mirza Ghalib,have shown different life styles and the way he used to live his life.One of the leading theatre group in New Delhi Pierrot?s Troupe staged a play named “GHALIB IN NEW DELHI” where it was shown if Ghalib returns back to his beloved Dilli.and what all changes will he see here.It is a comedy directed by Dr.M.Sayed Alam.
Synopsis :Purveyor of original plays, particularly in the genre of comedy, in India, Pierrot?s Troupe brings, this time around, Ghalib In New Delhi — the most popular and critically acclaimed comedy play in recent times.This rip-roaring comedy has the great erstwhile Urdu poet Mirza Ghalib revisiting his beloved ?Dehli?, now ironically ?Delhi?, in 2007 to witness his posthumous fame, something that was quite elusive in his lifetime.The entire plot revolves around Ghalib striving against an omnipotent identity crisis, beginning with the occupants of his ?Haveli? mistaking him as Ghalib?s ?Jinn?. This forces him to stay with a ?Bihari? boy, Jai Hind, a Delhi University student, in a servant quarter. His confidence is further shattered when Jai Hind and his landlady Mrs. Chaddha recognize his worth only through the voice of Jagjit Singh, and the screen portrayal of Naseeruddin Shah. Persuaded by the duo and in desperate need of recognition, Ghalib decides to ?sell? himself. The consequent press conference turns out to be a damp squib with the journalists being more interested in post-conference snacks and juicy headlines. Ghalib then opts for an advertising agency to perpetuate his presence in the minds of the people. What is the fate of Ghalib? Does his rebirth spell further disaster? Is Delhi a mere travesty of his hopes and aspirations? The answer lies in watching Ghalib in New Delhi, a laugh riot posing some serious questions about the stagnating moral codes.
Friday, 9 December 2011
TAX CONVENTION: OECD WANTS INDIA TO SPEED UP RATIFICATION
The OECD, a grouping of wealthy nations, hopes that India would go in for quick ratification of the Multilateral Convention on mutual administrative assistance in tax matters—a multilateral agreement that is now being seen as the `gold standard' for co-operation in tax administration. The multilateral convention covers all taxes (both direct and indirect taxes), all forms of exchange of information and provides for assistance not just in the assessment of tax but also in the actual collection, according to Mr Jeffrey Owens, Director, Centre for Tax Policy and Administration, OECD. G20 countries are moving from bilateral to multilateral agreements. At the recent G20 leaders summit at Cannes, India had along with 12 other G20 countries associated with this convention. India has already signed a letter of intent and now quick ratification is required, Mr Owens told Businessline here today. Mr Owens and senior OECD officials had a bilateral meeting with the Finance Minister, Mr Pranab Mukherjee and his top officials here today. The discussions included the action points arising from the recent G20 Summit at Cannes, progress made by India in extending their tax agreements with so called tax havens or bank secrecy jurisdictions, transparency on tax incentives offered by India and the benefits of Goods and Services Tax (GST) implementation. In a global economy, where high networth individuals and multinational enterprises operate in many jurisdictions,it is now being recognised that bilateral agreements may be inadequate to address multilateral issues, Mr Owens pointed out. As many as 34 countries have already signed the multilateral convention on mutual administrative assistance on tax matters. - www.thehindubusinessline.com
GOOGLE INDIA GETS I-T NOTICE
GOOGLE INDIA GETS I-T NOTICE
Around the same time Telecom Minister Kapil Sibal was planning to pull up Google,the Income-Tax Department was giving the final touches to a tax demand on the Indian arm of the global search engine company.Google India Pvt Ltd,according to the tax office,has not offered its entire income for taxation and the profit and loss account filed by the company does not give complete picture of the businesses.The department has questioned Google Indias practice of paying tax on its net income from advertisements,after crediting a sizeable amount as distribution fees to Google Ireland.Google India runs the Adwords programme whereby advertisements that appear on its website are sold in India to Indian business establishments.Tax officers have built their argument on the basis of the contract between Google India and Google Ireland.As per this,Google India is conducting the business and obtaining revenue from Adwords programme on its own account.This,according to the I-T departments interpretation,makes Google India a separate entity that should declare its full income for tax purpose, said a person who is aware of a tax assessment order that was served on Google India this week.For the assessment year 2008-09,the order says Google India has admitted revenue of only.Rs.7.49 crore instead of showing the correct revenue of.Rs.167.32 crore.Besides,no tax was deducted at source against the amount credited to Google Ireland.Based on the tax on the gross income and TDS,the department has made a claim of.Rs.74 crore for the year.Google India spokesperson did not reply to a text message and an email query from ET.The firm is learnt to have told the department that there is no omission in accounting of the revenue and the transaction with Google Ireland is at arms length and adequate documentation has been maintained to substantiate this. - www.economictimes.indiatimes.
Around the same time Telecom Minister Kapil Sibal was planning to pull up Google,the Income-Tax Department was giving the final touches to a tax demand on the Indian arm of the global search engine company.Google India Pvt Ltd,according to the tax office,has not offered its entire income for taxation and the profit and loss account filed by the company does not give complete picture of the businesses.The department has questioned Google Indias practice of paying tax on its net income from advertisements,after crediting a sizeable amount as distribution fees to Google Ireland.Google India runs the Adwords programme whereby advertisements that appear on its website are sold in India to Indian business establishments.Tax officers have built their argument on the basis of the contract between Google India and Google Ireland.As per this,Google India is conducting the business and obtaining revenue from Adwords programme on its own account.This,according to the I-T departments interpretation,makes Google India a separate entity that should declare its full income for tax purpose, said a person who is aware of a tax assessment order that was served on Google India this week.For the assessment year 2008-09,the order says Google India has admitted revenue of only.Rs.7.49 crore instead of showing the correct revenue of.Rs.167.32 crore.Besides,no tax was deducted at source against the amount credited to Google Ireland.Based on the tax on the gross income and TDS,the department has made a claim of.Rs.74 crore for the year.Google India spokesperson did not reply to a text message and an email query from ET.The firm is learnt to have told the department that there is no omission in accounting of the revenue and the transaction with Google Ireland is at arms length and adequate documentation has been maintained to substantiate this. - www.economictimes.indiatimes.
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