Punjabi literature, specifically literary works written in the Punjabi language, is characteristic of the historical Punjab of present-day Pakistan and India and the Punjabi diaspora. The Punjabi language is written in several scripts, of which the Shahmukhi and Gurmukhī scripts are the most commonly used in Western Punjab and Eastern Punjab, respectively.
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👉 Punjabi literature in the context of Damodar Gulati
Damodar Gulati (Punjabi: [dəmoːdəɾ gʊlaːʈi]; c. 16th century – 17th century) also known as Damodar Das Arora, was a Punjabi Hindu poet, of the 16th and 17th centuries, hailing from Jhang. He is widely celebrated for his poetic narration of the romance tragedy, Heer Ranjha, on the preexisting Punjabi oral legend; his tradition continued to be adapted throughout centuries in Punjabi literature. He lived during the reign of Mughal king Akbar.
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Punjabi literature in the context of Tragedy
A tragedy is a genre of drama based on human suffering and, mainly, the terrible or sorrowful events that befall a main character or cast of characters. Traditionally, the intention of tragedy is to invoke an accompanying catharsis, or a "pain [that] awakens pleasure," for the audience. While many cultures have developed forms that provoke this paradoxical response, the term tragedy often refers to a specific tradition of drama that has played a unique and important role historically in the self-definition of Western civilization. That tradition has been multiple and discontinuous, yet the term has often been used to invoke a powerful effect of cultural identity and historical continuity—"the Greeks and the Elizabethans, in one cultural form; Hellenes and Christians, in a common activity," as Raymond Williams puts it.
Originating in the theatre of ancient Greece 2500 years ago, where only a fraction of the works of Aeschylus, Sophocles and Euripides survive, as well as many fragments from other poets, and the later Roman tragedies of Seneca; through its singular articulations in the works of Shakespeare, Lope de Vega, Jean Racine, and Friedrich Schiller to the more recent naturalistic tragedy of Henrik Ibsen and August Strindberg; Nurul Momen's Nemesis' tragic vengeance & Samuel Beckett's modernist meditations on death, loss and suffering; Heiner Müller postmodernist reworkings of the tragic canon, tragedy has remained an important site of cultural experimentation, negotiation, struggle, and change. A long line of philosophers—which includes Plato, Aristotle, Saint Augustine, Voltaire, Hume, Diderot, Hegel, Schopenhauer, Kierkegaard, Nietzsche, Freud, Benjamin, Camus, Lacan, and Deleuze—have analysed, speculated upon, and criticised the genre.
Punjabi literature in the context of Waris Shah
Pir Waris Shah (Punjabi: وارث شاہ (Shahmukhi); 1722 – 1798) was an 18th-century Punjabi Muslim Sufi poet of the Chishti order, known popularly for his contribution to Punjabi literature.
He is primarily known as the author of the Heer Ranjha love poem. It's about one of the most popular tragic romances of Punjab. Traditionally, this love poem is recited in bhairavi raga and this continues to be done even today.
Punjabi literature in the context of Shardha Ram Phillauri
Shardha Ram Phillauri (September 1837 – 24 June 1881) was an Indian writer, poet and social reformer, known for his contributions to Hindi and Punjabi literature. He is best known for his Hindu religious hymn Om Jai Jagdish Hare and Bhagyawati, one of the first novels in Hindi. Phillauri has also been called the "father of modern Punjabi prose". Born in Phillaur, he visited cities across Punjab and died in Lahore in 1881.
Punjabi literature in the context of Bayt (poetry)
A bayt (Arabic: بَيْت, romanized: bayt, pronounced [bajt], lit. 'a house') is a metrical unit of Arabic, Azerbaijani, Ottoman, Persian, Punjabi, Sindhi and Urdu poetry.
In Arabic poetry, a bayt corresponds to a single line divided into two hemistichs of equal length, each containing two, three or four feet, or from 16 to 32 syllables. In Persian, Turkic and Urdu poetry, the word bayt has come to refer to two lines (like a couplet, although the two lines of a Persian, Turkic or Urdu bayt do not have to rhyme).