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Fariyaislam 2 books 0 friends. PG 4 books 0 friends. Mokshith 2 books 0 friends. Add a reference: In this the narrator meets a beautiful boy who was, how- ever, unsophisticated in the art of charming men. He is discussing the norms of role-playing in a conventional society. Moreover, he is upholding decency because, like the behavioral norms enjoined upon the Greek boy eromenos or ephebos Do- ver 16 , there were certain forms of good behaviour ex- pected from the amrad also.
Modernity has changed the categorization upon which boy- love was based. He flourished during the rule of Asif ud-Daulah as he has been mentioned in several couplets. In some cases the names of prostitutes are also mentioned but mostly, like all pornographers, the poet is concerned with types of fornication.
Bechaen was from Rampur. His verses were collected together by Qudrat cAli Qudrat in He writes mostly in Urdu but there are poems in Persian too. The Accursed Satan! No one shares with you in the distinction of being the accursed one.
Here too some prostitutes are mentioned by name but most re- main anonymous. Elements of the hazal — couplets and even complete poems — are found interspersed in the works of some of the classical poets.
These days they are either not printed or printed with blank spaces in their poetic collections.
One No. He is also one of the few, even among the hazal-go-s, to write on menstrua- tion. Excretion is an obsession with him and even when he is mentioning sexual acts he brings in some allusion to excretion.
Sex is used as a weapon; a device for insulting people; a means of embarrassing them. And this usage is based on the assumptions and values of a feu- dal society in which the crude use of power is a reality of life. This society was rigidly hierarchical and the male gender role was placed higher than the female one. Sexual acts outside the institution of marriage — in which case they were not discussed — were seen as conquests.
For the male they brought honour; for the female, dishonour. And if a male boy, eunuch or man took the female role of being penetrated there was dishonour for him.
It is in the context of these power relations and perceptions of reality that the world view of these anthologies of the hazal must be understood. It is necessary to state, then, that the hazal — taking these collections as a whole — is neither part of erotica nor even of pornography. It yields no sexual pleasure, not even of the kind which pornography can and, of course, it is not erotic in any artistic sense of the word.
To give a few examples: Bazm narrates the story of a woman who has five lovers from the working classes — the low- est of the low in society, association with whom brings dishonour TARIQ RAHMAN even if it is not of a sexual nature. The purpose of the poem is to insult the man and his wife and not to excite lust. The poet sometimes names the butt of his insults — a certain Mazhar — who is said to be a passive homosexual and whose wife and daughter are sexually exploited by the poet Bazm Rasa insults a man called Samim boasting about taking his mother, wife and daughter.
He even mentions bestiality but, again, to insult Samim whose sister is sexually abused by a bull dog. Obscenity, after all, is a part of all languages and remains on the margins of all literatures. Much more was contributed to the creation of this association by the erotic sub-genres in Urdu which were not, however, pornographic. The breasts, buttocks, legs and vagina are all described through metaphors and poetic similes.
The narrator takes revenge for her indifference by pretend- ing to love somebody else who, in turn, is described much in the same conventional terms as the first beloved. The drama suc- ceeds in bringing the lovers together again. These tales not only have erotic scenes but also feature a kind of defiant, and wayward, female sexuality which expresses itself by cheating the husband in a dare devil way.
For instance, some of the women fornicate with a youth in the presence of their husbands. This book was eventually thrown out of the curricula but it was translated into Urdu, notably by Mirza Jan Tapish. Modern transla- tions purge out some couplets which are considered obscene but, in , the work was acceptable to the authorities of Fort Wil- liam College who are praised in it. The stories of the great primal battle between good and evil — good personified by Amir Hamza and evil by the magician Afra- syab — have all elements of public entertainment: magic, war, deceit, trickery, sex and merry-making.
The tales describe scenes of drinking and female beauty every now and then. In the am- bience the tales create, the erotic, as in other Muslim literature, is very much a part of life and it is life which the tales reflect. It makes fun of the feminine, trivializing and vulgarizing it. It has already been mentioned that Rangin is cred- ited with having pioneered it though, in fact, there are occasional poems in a pseudo-feminine voice from earlier poets.
In- stead, she is constantly being held to ridicule and has to hold her own against seducing men and scheming women. Unfortunately, this glimpse into the lives of women has a slant towards the ludicrous. Its purpose is not to represent women but to ridicule them. Naim, however, defends the more orthodox view that it is trivial, misogynistic and meant only for male titillation Naim In- deed, it is recited even now in all-male gatherings in Pakistan and India to make men laugh.
It was a joke and, like all jokes, it cre- ated stereotypes and figures of fun. Some of the poets themselves have written of their work in terms of macho self-confidence expressed in terms of ridicule for the feminine. Sometimes she demands it as a present while at others she hides it from prying eyes of intrusive men.
In such cases they ridicule the men and indulge in tabooed pleasures. They make love passionately as de- scribed below: When you join your lips to my lips, It feels as if new life pours into my being, When breast meets breast, the pleasure is such. That from sheer joy the words rise to my lips. The way you rub me, oh?
English translation by Vanita and Kidwai In most oth- ers, however, the dominating tone is satirical, marginalizing, ridiculing. It was simply too unrestrained, non- serious, sexist and rambunctious. In an age of increasing puritan- ism when even the Persian classics were purged, it could not be countenanced by reformers wishing to assert the respectability of their literary legacy. However, it would not really be accurate to say that it was purged; it was never actually included in the canon of Urdu literature from the outset.
It was a joke to begin with and remained one throughout its career. However, because it was quoted for fun in male gatherings as a joke, it may have contributed to the impression that Urdu was the natural language of erotica. Mir Hasan b. Badr-i-Munir allows Benazir to make love to her. The scene of copulation is described in a for- mulaic manner an early example being from Manjhan for the translation of which in English see Behl and Weightman The girl usually has a cunning maid servant who is bribed into making her palanquin-bearers leave her in a vacant house or garden.
There the lover approaches her with seductive words and professions of ardour. She rejects him initially but eventually yields. When discovered the girl suffers and dies. As Suvorova points out, this is unproven and unprovable , but Shauq, as well as the Nawab, contributed to the association of eroticism with Urdu poetry, and indirectly with the language itself, at least with reference to Lucknow and its Urdu poetry.
Incidents like a storm are occasions for kissing or fondling a beauty and dreams, of course, are an excuse for describing them. Nazeer uses words in common use, including obscene ones, which have been expurgated in modern editions so that there are blanks in many poems, espe- cially those describing festive occasions.
One reason for this is the popularity and wide availability of the genre while the others are neither so easily available nor so often quoted as cultural icons.
And Ghalib invests the situation with inimitable humour. He cries, sighs and grows pale and ill with the pain of sepa- ration. These would be recited to make the conversation interesting.
This went on till one of the parties ran out of couplets. The other one was the winner. However, if the official language of the songs in India is said to be Hindi it is that version of the shared language of North India and urban Pakistan which was called Hindustani and which is closer to the Urdu end of the linguistic spectrum.
Forster in his novel A Passage to India as follows: They listened delighted, for they took the public view of poetry, not the private which obtains in England. It never bored them to hear words, words; they breathed them with the cool night air never stopping to analyze; the name of the poet, Hafiz, Hali, Iqbal, was sufficient guarantee.
Forster 38 This kind of enthusiasm for poetry was common. Every student of Aligarh Muslim University who has written memoirs has at- tested to it. This image proved to be harmful for Urdu during the Urdu-Hindi controversy when some Hindu spokesmen said that they did not want their children to learn Urdu as, being taught through its literature, it would spoil them.
The defeat of Eros The reformers crusaded against the eroticism of Urdu in ways which have been described earlier Rahman They won and slowly Urdu started becoming associated with Islam and Pakistani nationalism in Pakistan. In India it remains associated with the Muslim identity. In the latter case there are some fading associations with romance and beauty but hardly the erotic. Mostly, however, in India Urdu is a matter of demands, protests and Muslim political mobilization at least in north India see Farouqui Conclusion In short, the nineteenth century witnessed battles, so to speak, for the soul of Urdu.
It was a period of transition and the formation of new identities for groups of human beings Muslims, Hindus etc. Language was part of the construction of these identities.
They felt compelled to defend their culture and literature, and by extension the whole Muslim community, against the Brit- ish and Hindu charge of concupiscence, decadence and lethargy of which the literature of Urdu, as known up to the reformist movement, seemed to be an obvious and painful reminder. This went hand in hand with the ideological imperative of emphasiz- ing the Muslim identity which tended to push Urdu towards an Islamic orientation. As Muslim separatism needed it as a symbol of the Muslim political identity mobilized against a Hindu ver- sion of a similar but opposing identity, it took on new features of a strident nationalism which is perennial in Urdu textbooks in Pakistan.
During the same century the new language — the older one being Persian — continued to express the medieval themes of redemption and spirituality of which the erotic was always a part.
During the same period Urdu produced all of its canonical literature in poetry which is predominantly associated with love and sometimes with the erotic. We now live in a highly politicized age when the amorous and the erotic are toler- ated far less than ever before though, ironically, it is also the age of mass production of and easy access to commercial pornogra- phy through the Internet.
Andrews, Walter G. Bilgrami, S. Bouhdiba, Abdelwahab, , Sexuality in Islam, trans. Dover, K. Forster, E. Har- mandsworth: Penguin Book. King, Christopher R.