چکیده:
The Urdu language has utilized all forms of Persian literary prose and poetry, providing a vast treasure. Among the literary genres of Urdu poetry, "elegy" is a type that some researchers and critics of the subcontinent believe to be an independent genre from Arabic and even Persian. What is certain is that mourning and lamentation for the deceased have existed in the culture of all nations since ancient times and still exist today, and in this regard, the difference lies only in the way it is expressed and the intensity of expressing heartfelt impressions. Among these, the elegy for the martyrs of Karbala has taken on a special form due to its religious aspect. Urdu-speaking elegists, most of whom are Shia Muslims, have expanded it so much that most researchers and critics throughout the subcontinent, regardless of religion, acknowledge its literary importance. They added elements to the elegy that, in addition to being sad, attract the reader and listener due to their dramatic and theatrical characteristics, etc. The division of the elegy into various sections and elements, such as "full face," "arrival," "war," etc., in the form of a six-line quatrain in different periods created a literary genre that only eminent poets could demonstrate their skills in this field, and automatically during the period of brilliance of Urdu elegy in the city of Lucknow, less educated mourners and inexperienced poets stepped aside and with the presence of eminent poets, the literary importance of Urdu elegy increased greatly.
خلاصه ماشینی:
tu@atayab 1-Introduction In literary terminology, “ritha” or “marthiya” (elegy) refers to poems composed in mourning for the deceased, comforting friends and survivors, expressing regret over the death of kings and dignitaries, mentioning the tribulations of the Imams (peace be upon them), especially Imam al-Husayn (peace be upon him) and other martyrs of Karbala, praising their virtues and merits, glorifying the status and rank of the deceased, magnifying the event, honoring the grief, and inviting mourners to patience and tranquility, and other meanings of this kind (Mu’tamman 2).
It is clear that these types of compositions, whether in elegy for the martyrs of Karbala or for beloved relatives and religious or political figures, are directly related to the thoughts and heartfelt emotions of the poet, and these thoughts and emotions are always associated with human beings, to the extent that it can be said that human tribes have, since the beginning of time, expressed these feelings in some way when losing loved ones or dignitaries, and perhaps left them as poems for future generations.
But in reality, according to the desire of the same common people, the poet also brings those personalities and heroes from the land of Arabia to their own land with all its cultural characteristics and describes them in such a way that an Urdu elegy listener or reader, for example, in the city of Lucknow or in other regions of the subcontinent, sees them as being like themselves and in their own community.
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