Dilawar Figar (b. 1928 - d. 1998) was a noted humorist, poet and scholar of the Indian subcontinent.
He is known as Shehansha-e-Zarafat and Akbar-e-Sani for his satirical and rich humor writings. Dilawar Figar, without any doubt was one of the most illustrious poets of our generation. He first came into prominence with his ‘hair-e-Azam’, which received great acclaim in Delhi. This poem as mentioned in the preface, first helped Dilawar secure a place in the genre of poetry in which we find him today
Dilawar Figar was born on July 1928 in an illuminated family of Badaun, UP India.
He got his early education from his town, and later joined Agra University where he got M.A. (Urdu). He also did M.A. (English) and M.A. (Economics). He associated with academia and teachings. After partition of India, he migrated to Pakistan and settled in Karachi where he joined Abdullah Haroon College and taught Urdu. He also worked for KDA and remained Assistant Director Town Planning. He died on January 1998 in Karachi.
Both critical and full of humor, his brand of poetry is a rare commodity. Well versed with the economic and social trends of our country he has used humor in his poems to express criticism in matters of specific and general interest. He was such a natural in the field that his poems encompassed not only the political and social elements but he also managed to find a humorous side in almost every aspect of life. From ‘Shereen – Farhad’ to searching for love on the computer, his subjects both general and specific, old and contemporary, Dilawar’s brand of poetry appeals to both young and old.
It also goes to his credit that Dilawar has been consistent in tastefully selecting and arranging his words to project his opinions in a most effective and humorous manner. Through this book- ‘Kulyaat- E -Dilawar Figar’, Dilawar has left behind a legacy that will continue to enliven our lives and through its universal appeal might just help resurrect Urdu poetry in the younger generation.
Figar started writing in 1942 at the age of fourteen. And soon got the company of noted masters, viz. Maulvi Jam Nawai Badayuni, Maulana Jami Badayuni. His literary work contains Ghazal, humor, and translation.
* Haadisay (collections of Ghazals) * Sitam Zarifiañ (collections of humor poetry) * Shamat-e-Aamaal (collections of humor poetry) * Adaab Arz (collections of humor poetry) * Assar-e-Nau (collections of humor) * Unglian Figar Apni (collections of humor poetry) * Matla Arz Hai (collections of humor poetry) * Century (collections of humor poetry) * Khuda Jhoot Na Bulwa’ay (collections of humor poetry) * Chiragh-e-Khandañ (collections of humor poetry) * Aaina-e-Raghib (125 rubaiyaat of Raghib Muradabadi) * Khushbu Ka Safar (translation of selected English and American poetry) * Khoob tar Kahan (translation of ‘Why Not the Best’ – biography of Jimmy Carter) * Aabshar-e-Noor (poetic explanation of Sura Fatiha) * Sila-e-Shaheed Kia hai (poetic biography of recipients of Nishan-e-Haider martyrs) * Fi Sabeel Lillah (collections of humor poetry) * Kaha Suna Maaf Karna (collections of humor poetry)
Iqbal was an heir to a very rich literary, mystic, philosophical and religious tradition. He imbibed and assimilated all that was best in the past and present Islamic and Oriental thought and culture. His range of interests covered Religion, Philosophy, Art, Politics, Economics, the revival of Muslim life and universal brotherhood of man. His prose, not only in his national language but also in English, was powerful. His two books in English demonstrate his mastery of English. But poetry was his medium par excellence of expression. Everything he thought and felt, almost involuntarily shaped itself into verse.
Iqbal's Works His first book Ilm ul Iqtisad/The knowledge of Economics was written in Urdu in 1903 . His first poetic work Asrar-i Khudi (1915) was followed by Rumuz-I Bekhudi (1917). Payam-i Mashriq appeared in 1923, Zabur-i Ajam in 1927, Javid Nama in 1932, Pas cheh bayed kard ai Aqwam-i Sharq in 1936, and Armughan-i Hijaz in 1938. All these books were in Persian. The last one, published posthumously is mainly in Persian: only a small portion comprises Urdu poems and ghazals.
His first book of poetry in Urdu, Bang-i Dara (1924) was followed by Bal-i Jibril in 1935 and Zarb-i Kalim in 1936.
Bang-i Dara consist of selected poems belonging to the three preliminary phases of Iqbal's poetic career. Bal-i Jibril is the peak of Iqbal's Urdu poetry. It consists of ghazals, poems, quatrains, epigrams and displays the vision and intellect necessary to foster sincerity and firm belief in the heart of the ummah and turn its members into true believers. Zarb-i Kalim was described by the poet himself "as a declaration of war against the present era". The main subjects of the book are Islam and the Muslims, education and upbringing, woman, literature and fine arts, politics of the East and the West. In Asrar-i Khudi, Iqbal has explained his philosohy of "Self". He proves by various means that the whole universe obeys the will of the "Self". Iqbal condemns self-destruction. For him the aim of life is self-relization and self-knowledge. He charts the stages through which the "Self" has to pass before finally arriving at its point of perfection, enabling the knower of the "Self" to become the viceregent of Allah on earth/Khalifat ullah fi'l ard. In Rumuz-i Bekhudi, Iqbal proves that Islamic way of life is the best code of conduct for a nation's viability. A person must keep his individual characteristics intact but once this is achieved he should sacrifice his personal ambitions for the needs of the nation. Man cannot realize the "Self" out of society. Payam-i Mashriq is an answer to West-Istlicher Divan by Goethe, the famous German peot. Goethe bemoaned that the West had become too materialistic in outlook and expected that the East would provide a message of hope that would resuscitate spiritual values. A hundred years went by and then Iqbal reminded the West of the importance of morality, religion and civilization by underlining the need for cultivating feeling, ardour and dynamism. He explained that life could, never aspire for higher dimensions unless it learnt of the nature of spirituality.
Zabur-i Ajam includes the Mathnavi Gulshan-i Raz-i Jadid and Bandagi Nama. In Gulshan-i Raz-i Jadid, he follows the famous Mathnavi Gulshan-i Raz by Sayyid Mahmud Shabistri. Here like Shabistri, Iqbal first poses questions, then answers them with the help of ancient and modern insight and shows how it effects and concerns the world of action. Bandagi Nama is in fact a vigorous campaign against slavery and subjugation. He explains the spirit behind the fine arts of enslaved societies. In Zabur-i Ajam, Iqbal's Persian ghazal is at its best as his Urdu ghazal is in Bal-i Jibril. Here as in other books, Iqbal insists on remembering the past, doing well in the present and preparing for the future. His lesson is that one should be dynamic, full of zest for action and full of love and life. Implicitly, he proves that there is no form of poetry which can equal the ghazal in vigour and liveliness. In Javid Nama, Iqbal follows Ibn-Arabi, Marri and Dante. Iqbal depicts himself as Zinda Rud (a stream, full of life) guided by Rumi the master, through various heavens and spheres and has the honour of approaching Divinity and coming in contact with divine illuminations. Several problems of life are discussed and answers are provided to them. It is an exceedingly enlivening study. His hand falls heavily on the traitors to their nation like Mir Jafar from Bengal and Mir Sadiq from the Deccan, who were instrumental in the defeat and death of Nawab Siraj-ud-Daula of Bengal and Sultan Tipu of Mysore respectively by betraying them for the benefit of the British. Thus, they delivered their country to the shackles of slavery. At the end, by addressing his son Javid, he speaks to the young people at large and provides guidance to the "new generation".
Pas Cheh Bay ed Kard ai Aqwam-i Sharq includes the mathnavi Musafir. Iqbal's Rumi, the master, utters this glad tiding "East awakes from its slumbers" "Khwab-i ghaflat". Inspiring detailed commentary on voluntary poverty and free man, followed by an exposition of the mysteries of Islamic laws and sufic perceptions is given. He laments the dissention among the Indian as well as Muslim nations. Mathnavi Musafir, is an account of a journey to Afghanistan. In the mathnavi the people of the Frontier (Pathans) are counseled to learn the "secret of Islam" and to "build up the self" within themselves.
Armughan-i Hijaz consists of two parts. The first contains quatrains in Persian; the second contains some poems and epigrams in Urdu. The Persian quatrains convey the impression as though the poet is travelling through Hijaz in his imaginatin. Profundity of ideas and intensity of passion are the salient features of these short poems. The Urdu portion of the book contains some categorical criticism of the intellectual movements and social and political revolutions of the modern age.
Iqbal's English Works Iqbal wrote two books in English. The first being The Development of Metaphysics in Persia in which continuity of Persian thought is discussed and sufism is dealt with in detail. In Iqbal's view true Islamic Sufism awakens the slumbering soul to a higher idea of life.
The second book, The Reconstruction of Religious Thought in Islam, is the collection of Iqbal's six lectures which he delivered at Madras, Hyderabad and Aligarh. These were first published from Lahore in 1930 and then by Oxford University Press in 1934. Some of the main subjects are "Knowledge and Religious Experience," "The Conception of God and the Meaning of Prayer," "The Human Ego," "Predestination and Free Will," "The Spirit of Muslim Culture," "The Principle of Movement in Islam (Ijtihad)." These issues are discussed pithily in a thought provoking manner in the light of Islam and the modern age. These lectures were translated into Urdu by Sayyid Nazir Niazi.
Letters In addition to these books he wrote hundreds of letters in Urdu and English. Urdu letters have been published in ten different books. He issued statements pertaining to the burning topics of the day relating to various aspects of social, religious, cultural and political problems of India, Europe and the world of Islam. For a few years he served as a Professor of Philosophy and Oriental Learning at the government College, Lahore and the Punjab University Oriental College. Many of his speeches and statements have been compiled and published in book form. Except for the last four years of his life he practised at the Lahore High Court Bar. All his life he was easily accessible to all and sundry and evening sessions at his home were a common feature.
In Spite of his heavy political and social commitments he had time for poetry, a poetry which made philosophy sing. A.K Brohi says:
Dr. Iqbal is undoubtedly a renowned poet-philosopher of Islam and may have in his writings a never failing source of inspiration, delight and aesthetic wonder. He has made signal contribution to our understanding of the Holy Writ of Islam and offered his evaluation of the remarkable example of which the life of the Prophet of Islam (pbuh) has presented to the world at large and the high water-mark of excellence, it provides of how best our earthly lives can be lived here below.
Iqbal The Visionary Iqbal joined the London branch of the All India Muslim League while he was studying Law and Philosophy in England. It was in London when he had a mystical experience. The ghazal containing those divinations is the only one whose year and month of composition is expressly mentioned. It is March 1907. No other ghazal, before or after it has been given such importance. Some verses of that ghazal are:
At last the silent tongue of Hijaz has announced to the ardent ear the tiding That the covenant which had been given to the desert-dwelles is going to be renewed vigorously:
The lion who had emerged from the desert and had toppled the Roman Empire is As I am told by the angels, about to get up again (from his slumbers.)
You the dwelles of the West, should know that the world of God is not a shop (of yours). Your imagined pure gold is about to lose it standard value (as fixed by you).
Your civilization will commit suicide with its own daggers. A nest built on a frail bough cannot be durable.
The caravan of feeble ants will take the rose petal for a boat And inspite of all blasts of waves, it shall cross the river.
I will take out may worn-out caravan in the pitch darkness of night. My sighs will emit sparks and my breath will produce flames.
For Iqbal it was a divinely inspired insight. He disclosed this to his listeners in December 1931, when he was invited to Cambridge to address the students. Iqbal was in London, participating in the Second Round Table Conference in 1931. At Cambridge, he referred to what he had proclaimed in 1906:
I would like to offer a few pieces of advice to the youngmen who are at present studying at Cambridge ...... I advise you to guard against atheism and materialism. The biggest blunder made by Europe was the separation of Church and State. This deprived their culture of moral soul and diverted it to the atheistic materialism. I had twenty-five years ago seen through the drawbacks of this civilization and therefore had made some prophecies. They had been delivered by my tongue although I did not quite understand them. This happened in 1907..... After six or seven years, my prophecies came true, word by word. The European war of 1914 was an outcome of the aforesaid mistakes made by the European nations in the separation of the Church and the State.
It should be stressed that Iqbal felt he had received a spiritual message in 1907 which even to him was, at that juncture, not clear. Its full import dawned on him later. The verses quoted above show that Iqbal had taken a bold decision about himself as well. Keeping in view that contemporary circumstances, he had decided to give a lead to the Muslim ummah and bring it out of the dark dungeon of slavery to the shining vasts of Independence. This theme was repeated later in poems such as "Abdul Qadir Ke Nam," "Sham-o-Sha'ir," "Javab-i Shikwa," "Khizr-i Rah," "Tulu-e Islam" etc. He never lost heart. His first and foremost concern, naturally, were the Indian Muslims. He was certain that the day of Islamic resurgence was about to dawn and the Muslims of the South Asian subcontinent were destined to play a prominent role in it.
Iqbal, confident in Allah's grand scheme and His aid, created a new world and imparted a new life to our being. Building upon Sir Sayyid Ahmed's two-nation theory, absorbing the teaching of Shibli, Ameer Ali, Hasrat Mohani and other great Indian Muslim thinkers and politicians, listening to Hindu and British voices, and watching the fermenting Indian scene closely for approximately 60 years, he knew and ultimately convinced his people and their leaders, particularly Quaid-i-Azam Muhammad Ali Jinnah that:
"We both are exiles in this land. Both longing for our dear home's sight!"
"That dear home is Pakistan, on which he harpened like a flute-player, but whose birth he did not witness."
Many verses in Iqbal's poetry are prompted by a similar impulse. A random example, a ghazal from Zabur-i Ajam published in 1927 illustrates his deepseated belief:
The Guide of the Era is about to appear from a corner of the desert of Hijaz. The carvan is about to move out from this far flung valley.
I have observed the kingly majesty on the faces of the slaves. Mahmud's splendour is visible in the dust of Ayaz.
Life laments for ages both in the Ka'bah and the idol-house. So that a person who knows the secret may appear.
The laments that burst forth from the breasts of the earnestly devoted people. Are going to initiate a new principle in the conscience of the world.
Take this harp from my hand. I am done for. My laments have turned into blood and that blood is going to trickle from the strings of the harp.
The five couplets quoted above are prophetic. In the first couplet Allama Iqbal indicates that the appearance of the Guide of the Era was just round the corner and the Caravan is about to start and emerge from "this" valley. Iqbal does not say that the awaited Guide has to emerge from the centre of Hijaz. He says he is going to appear from a far flung valley. For the poet the desert of Hijaz, at times, serves as a symbol for the Muslim ummah. This means that Muslims of the Indian sub-continent are about to have a man who is destined to guide them to the goal of victory and that victory is to initiate the resurgence of Islam.
In the second couplet, he breaks the news of the dawn which is at hand. the slaves are turning into magnificent masters. In the third couplet he stresses the point that the Seers come to the world of man after centuries. He himself was one of those Seers. In the fourth couplet he refers to some ideology or principle quite new to the world which would effect the conscience of all humanity. And what else could it be, if it were not the right of self-determination for which the Muslims of the sub-continent were about to struggle. After the emergence of Pakistan this right became a powerful reference. It served as the advent of a new principle and continues to provide impetus to Muslims in minority in other parts of the world such as in the Philippines, Thailand and North America.
In the fifth couplet Iqbal indicates that he would die before the advent of freedom. He was sure that his verses which epitomized his most earnest sentiments would stand in good stead in exhorting the Muslims of the sub-continent to the goal of freedom.
Born - 15 October 1931 Achievements - This eminent scientist and engineer has also served as the 11th President of India from the period 2002 to 2007. APJ Abdul Kalam is a man of vision, who is always full of ideas aimed at the development of the country. He firmly believes that India needs to play a more assertive role in international relations.
Apart from being a notable scientist and engineer, Dr APJ Abdul Kalam served as the 11th President of India from the period 2002 to 2007. He is a man of vision, who is always full of ideas aimed at the development of the country and is also often also referred to as the Missile Man of India. People loved and respected Dr APJ Abdul Kalam so much during his tenure as President that was popularly called the People's President. Read more about the biography of Dr APJ Abdul Kalam here.
APJ Abdul Kalam was born on 15 October 1931 at the South Indian state of Tamil Nadu and received honorary doctorates from about 30 universities globally. In the year 1981, the Government of India presented him the nation's highest civilian honor, the Padma Bhushan and then again, the Padma Vibhushan in 1990 and the Bharat Ratna in 1997. Before Kalam, there have been only two presidents - Sarvepalli Radhakrishnan and Zakir Hussain - to have received the Bharat Ratna before bring appointed to the highest office in India.
Read on about the life history of Dr APJ Abdul Kalam, who's also the first scientist and bachelor to occupy the seat of the Rashtrapati Bhavan. His perspectives on important topics have been enunciated by him in the book 'India 2020'. It highlights the action plans that will help develop the country into a knowledge superpower by the time 2020. One thing for which he received ample kudos is his unambiguous statement that India needs to play a more assertive role in international relations.
And Dr APJ Abdul Kalam regards his work on India's nuclear weapons program as a way to assert India's place as a future superpower. Even during his tenure as President, APJ Kalam took avid interest in the spheres of India's science and technology. He has even put forward a project plan for establishing bio-implants. He is also an ardent advocate of open source software over proprietary solutions to churn out more profits in the field of information technology in India.
Allah Rakha Rahman was born A.S. Dileep Kumar on January 6, 1966, in Madras (now Chennai), India, to a musically affluent family. Dileep started learning the piano at the age of 4, and at the age of 9, his father passed away. Since the pressure of supporting his family fell on him, he joined Ilayaraja's troupe as a keyboard player at the age of 11. He dropped out of school as a result of this and traveled all around the world with various orchestras.
He accompanied the great tabla maestro Zakir Hussain on a few world tours and also won a scholarship at the Trinity College of Music at Oxford University, where he studied Western classical music and obtained a degree in music. Due to some personal crisis, Dileep Kumar embraced Islam and came to be known as A.R. Rahman. In 1987, he moved to advertising, where he composed more than 300 jingles over 5 years. In 1989, he started a small studio called Panchathan Record Inn, which later developed into one of the most well-equipped and advanced sound recording studios in India.
At an advertising awards function, Rahman met one of India's most famous directors, Mani Ratnam. Rahman played him a few of his music samples. Mani loved them so much that he asked Rahman to compose the music for his next film, Roja (1992). The rest, as they say, is history. He went on to compose several great hits for Tamil-language films before composing the score and songs for his first Hindi-language film, Rangeela (1995). The enormous success of his first Hindi venture was followed by the chart-topping soundtrack albums of films such as Bumbai (1995) , Dil Se.. (1998), Taal (1999), Zubeidaa (2001), and Lagaan: Once Upon a Time in India (2001), which was nominated for best foreign-language film at the 2002 Academy Awards.
More recently, he worked with Sir Andrew Lloyd Webber and Shekhar Kapur (director of Elizabeth (1998)) on a musical called "Bombay Dreams." At 36 years old, A.R. Rahman has revolutionized Indian film music and one can only expect this musical genius to reach greater heights.
Studied Western classical music as a student at Oxford University in the UK.
He was nominated for a 2003 Laurence Olivier Theatre Award (The Hilton Award) for Best New Musical of 2002, "Bombay Dreams," performed at the Apollo Theatre, West End, London, and on Broadway in New York City.
On August 15, 1997, he released an album called "Vande Mataram," on Columbia/SME Records, to commemorate 50 years of Indian independence. A tribute to the motherland, it featured songs for each of the Indian flag colors. The album was released simultaneously across the world in 28 countries, and Rahman himself performed in New Delhi to a packed audience including the honorable Indian Prime Minister. Over 1.2 million copies were sold in India alone.
Also known as the John Williams of the Indian Film Industry.
Collaborated on The Lord of The Rings' Stage Musical original score with Finnish folk music group Varttina and Christopher Nightingale.
Personal Quotes
"I have rubbed many a producer the wrong way by disturbing the schedule, but it has paid off."
"I wasn't too happy with the I-don't-want-to-listen-to-it attitude of our youngsters towards film music. Why can't we get our guys to listen to our own music rather than to Michael Jackson? I didn't want us to lose the market to the West. The music had to be cool and rooted, and yet had to branch out. It was like the wild imagination of a child... but it worked... it did travel beyond Madras and attract people."
About his belief in Sufism: "I'm a deeply spiritual person. Sufism is about love - love for a fellow human, love for all round humanity, and ultimately love for God. For me, it's where music and religion meet - at dargahs, you will find qawwalis. That's my inspiration."
About his song Vande Mataram: "It had to be unlike the one played on the radio for years. I wanted a sound that would connect me with people and capture a collective energy."
I hate the word [Bollywood]. I think it's derivative and it doesn't represent the entire film community in India. There's the eastern film industry, four industries in the south - they all make extraordinary films. It's like saying the whole of the West is Hollywood.
Where Are They Now
(March 2004) The Broadway debut of Bombay Dreams will take place on March 28, 2004 at the Broadway Theatre in New York City.
Artist Biography: Wajid Akhtar was born in July 1984 and raised in Sheffield, in the North of England. He comes from a devout Muslim family of Asian origin. From a young age he had a desire for becoming an ‘MC’ (rap star) like many of the youth today. Soon after he had left school he faced many challenges in his life where he lost two of his close friends who both died tragically and at a very young age. This was a very crucial time in Wajid’s life and he felt very withdrawn from society and became drawn into the world of Islam. Despite his passion for becoming an MC, Wajid traveled to Makkah where he made the pilgrimage. It was sometime after his return from Makkah that he began to write and sing many of his own nasheeds. He then went onto to perform his nasheeds locally and was met with very positive feedback. He then took this a step further and was given the opportunity to record his debut album “Show Me the Way” which was released in September 2008, along with his debut video “I Need Your Help” The album and video have been met with much Critical Acclaim and have become recognised internationally. Wajid then went onto perform with The Kaiser Chiefs at the LMHR 2008; this was to a huge audience of whom the majority were Non – Muslim. He feels that this has now given him an opportunity to express and invite people to the call of Islam through his singing and thought provoking lyrics. Wajid now wishes to share his God given talent and hybrid vocals with the rest of the world.Total Lyrics from this artist on Islamic Lyrics: 1 Lyrics Artist Website: http://www.WajidAkhtar.com/
Artist Biography: Sami Yusuf is a British composer, singer and an accomplished musician. He was born in July 1980 into a musical family of Azeri origin, thus music played an integral part in his life. Sami learnt to play several instruments at a very young age and gradually began to show a keen interest in singing and composing. He studied music at several institutions and with renowned composers and musicians including composers from the Royal Academy of Music in London, one of the world most prestigious music institutions. Total Lyrics from this artist on Islamic Lyrics: 28 Lyrics Artist Website: http://www.SamiYusufOfficial.com
Artist Biography: Muhammad Owais Raza Qadri was born on 8th. July 1970 in Pakistan. He is Intermediate in academic qualifications. He has performed several Hajj and Umras, the first Umra being in 1992 while the first Hajj in 1996. Apart from Holy Places, Pakistan is Owais Qadri's favourite country. Among clothes, he likes Shalwar Qameez the best. Owais Qadri's best friends are books. According to him, the memorable moment of his life has not arrived. His favourite personality is Alahazrat, Mujaddid-e-Din-o-Millat Imam Shah Ahmed Raza Khan Barelvi. His favourite dish is Bar B.Q. and favourite colors are black and white. He started reciting naats at the age of 8 only. He was inspired by AlHaaj Yousuf Ashrafi (late) who was his ideal Naat Khawan also. He did not take special naat classes but acquired the companionship of good, pious "Ushaqaan-e-Rasool". All naats are his favorites. Reciting the Kalaam of Imam-e-Ahle-sunnat, Alahazrat Shah Ahmed Raza Khan Sahib Barelvi is most liked by Owais Raza Qadri. His first album was released in 1983 and after that numerous albums have been released.Total Lyrics from this artist on Islamic Lyrics: 49 LyricsArtist Website: http://www.OwaisQadri.com/
He is known as Shehansha-e-Zarafat and Akbar-e-Sani for his satirical and rich humor writings. Dilawar Figar, without any doubt was one of the most illustrious poets of our generation. He first came into prominence with his ‘hair-e-Azam’, which received great acclaim in Delhi. This poem as mentioned in the preface, first helped Dilawar secure a place in the genre of poetry in which we find him today
He got his early education from his town, and later joined Agra University where he got M.A. (Urdu). He also did M.A. (English) and M.A. (Economics). He associated with academia and teachings. After partition of India, he migrated to Pakistan and settled in Karachi where he joined Abdullah Haroon College and taught Urdu. He also worked for KDA and remained Assistant Director Town Planning. He died on January 1998 in Karachi.
Both critical and full of humor, his brand of poetry is a rare commodity. Well versed with the economic and social trends of our country he has used humor in his poems to express criticism in matters of specific and general interest. He was such a natural in the field that his poems encompassed not only the political and social elements but he also managed to find a humorous side in almost every aspect of life. From ‘Shereen – Farhad’ to searching for love on the computer, his subjects both general and specific, old and contemporary, Dilawar’s brand of poetry appeals to both young and old.
