You Are The One by Matthew Jenson

For you I would climb
The highest mountain peak
Swim the deepest ocean
Your love I do seek.

For you I would cross
The rivers most wide
Walk the hottest desert sand
To have you by my side.

For you are the one
Who makes me whole
Youâ??ve captured my heart
And touched my soul.

For you are the one
That stepped out of my dreams
Gave me new hope
Showed me what love means.

For you alone
Are my reason to live
For the compassion you show
And the care that you give.

You came into my life
And made me complete
Each time I see you
My heart skips a beat.

For you define beauty
In both body and mind
Your soft, gentle face
Is the best I can find.

For you are the one
God sent from above
The angel I needed
For whom I do love

Maybe only today by Kara

Sitting beside you, staring into your eyes
my stomach does a flip and my heart cries
i don't think i should be feeling, like i am today
because every time you touch me, our love just melts away
i know you'd do anything, to keep me by your side
but I'm not feeling the same, and i don't know why
it used to be that every time you touched me i felt like flying
but today I'm feeling strange...i feel like our love is dying
so the hardest part now, is for me to figure out
if today will last forever, or am i just having doubts
saying goodbye will be too hard, i already know
I've already figured out that its hard to let people go
i guess you could call me confused, because its obvious that i must be
i guess i could wait for you, but I'd only be hurting me
so until you're in my shoes, and know just how i feel
don't call me crazy,because you don't know the deal
i just want you to get the picture, that its my heart to break
and if I've done the wrong thing, then I'll learn from my mistake
so I'm trying my hardest, I'm going to say goodbye
its hurts for me to keep it in, but it hurts to see you cry
so once again, here i am, not knowing what to do
i don't want to hurt me, but it seems worse to be hurting you
so i guess i'll just hold on, i'll try to keep it in
maybe this feeling i have today, wont ever come again

I Cry Tonight by Amelia osteen

I Cry Tonight
by Amelia osteen
You'd say baby I love you
I'd say I love you too...
I liked it when you called me baby
but now I need someone to save me
from the misery
the sleepless nights
the pain
of a broken heart
of a lost soul
I don;t know what to do anymore
I am so lost without you
My love was real
I'm thinking yours was fake
I would never have hurt you
the way you hurt me
I would never have made you cry
the way you made me cry
I would never have made you cry
as many times you made me
I cry almost every night now
I wish I had saved all those tears
that you made me cry
so I can drown you in them
I wish I had you
I wish I had someone to hold me
the way you held me
I wish I had someone to kiss me
the way you kissed me
I wish I had someone to make me feel special
the way you made me feel special
I wish I had someone to make me feel beautiful
the way you made me feel beautiful
the way you told me I was beautiful
am I not beautiful now?
am I not special now?
am I not kissable now?
am I not holdable now?
I wish so many things
My biggest wish is you
I wish all these things
The only wish I want to come true is you
It's dissapointing
I know I can't have you
But I wish I had you
I have had you in the past
but i screwed up
I made no effort
I love you so much
All I need is your touch
I can't get your touch
and can't have you
The last time you touched me
You hit me
whether you were playing or not
your last touch was when you hit me
the love
the pain
they say dont cry because its over
smile because it happened
but I'm not smiling
I'm crying
I cry tonight

Portraits of Chinese Poets

Portraits of Poets

Chu Yuan, Confucius, Li Bai, Bai Juyi, Tao YuanMing, Qi BaiShi, Pu Hsin-yu

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Chu Yuan
A portrait of Chu Yuan, often called the father of Chinese poetry.

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Confucius

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Li Bai
Li Bai - the best known poet of the Tang Dynasty, perhaps of all times.

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Bai Juyi
Two years after Du Fu died, another great poet was born. Bai Juyi (772-846), the son of a petty official, was born in Xinzheng, Henan. He spent his youth wandring about to escape wars, and was often cold and hungry. He was successful in civil service examinations, became an official, and worked in the central government for about 15 years. Then because he was disliked by those in power, he was sent ot work in Jiangzhou (now Jiujiang), Hangzhou and Suzhou. Later he moved to Luoyang, where he died at the age of 75.

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Tao YuanMing (365-437)
This painting of Tao YuanMing was by the Wang Chungyu, a fourteenth-century literati painter, is in the collection of Beijing Museum, Beijing.
In the work, the painter portrays the poet as he imagines him on the basis of his writings and the most important events of his life.
He gave us the image of a dignified, calm, somewhat haughty man, qualities he displayed in the incident that put an end to his official career.
On this occasion he composed the famous poem Home Again in which he justified what he did.

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Su Shi [Su DongPo] (1037-1101)

The original stone portrait is in the Six-Banyan Pagoda in Guangzhou, Guangdong Province.

Another portrait | More |

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Qi BaiShi [Chi Pai-shih][]
A photograph of Qi BaiShi, one of the most popular painters of the 20-th century, whose paintings are not only in all of the leading museums, but seemingly everywhere.

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[Pu Hsin-yu]
A photograph of Pu Hsin-yu (1896-1963). He was a native of Beijing, a member of the Manchu imperial family. Following the overthrow of the Manchu Ching dynasty, he changed his name to Pu Ju, style Hsin-yu. He spent seven years at the Chien Tai monastery on Mt. Hsi, and took the studio name Hsi-shan I-shih or "Retired official of Mt. Hsi."

Wafa ki Hadd Se Guzar Gaya

Teri Ghaflatoan Ko Khabar Kahan,
Mere Haal-e-Dil pey Nazar Kahan

Tu Jafa Ki Hadd mey b Na Aaska
Main Wafa ki Hadd Se guzar Gaya

History of chinese poetry

Introduction

Chinese poetry can be divided into three main periods: the early period, characterized by folk songs in simple, repetitive forms; the classical period from the Han dynasty to the fall of the Qing dynasty, in which a number of different forms were developed; and the modern period of Westernized free verse.

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Early Poetry

The Shi Jing (literally "Classic of Poetry", also called "Book of Songs") was the first major collection of Chinese poems, collecting both aristocratic poems (Odes) and more rustic poetry, probably derived from folksongs (Songs).
A second, more lyrical and romantic anthology was the Chu Ci (楚辭 Songs of Chu), made up primarily of poems ascribed to the semi- legendary Qu Yuan (c. 340 BCE- 278 BCE) and his follower Song Yu (fourth century BCE).

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Classical Poetry

During the Han dynasty (206 BCE- CE 220), the Chu lyrics evolved into the fu (賦), a poem usually in rhymed verse except for introductory and concluding passages that are in prose, often in the form of questions and answers; often called a poetical essay (i.e. Robert van Gulik). One of the fine examples of fu is Xi Kang's Qin Fu 《琴賦》, or "Poetical Essay in Praise of the Qin".
From the Han dynasty onwards, a process similar to the origins of the Shi Jing produced the yue fu poems. Again, these were song lyrics, including original folk songs, court imitations and versions by known poets (the best known of the latter being those of Li Bai).
From the second century CE, the yue fu began to develop into shi or classical poetry- the form which was to dominate Chinese poetry until the modern era. These poems have five or seven character lines, with a caesura before the last three characters of each line. They are divided into the original gushi (old poems) and jintishi, a stricter form developed in the Tang dynasty with rules governing tone patterns and the structure of the content. The greatest writers of gushi and jintishi are often held to be Li Bai and Du Fu respectively.
Towards the end of the Tang dynasty, the ci lyric became more popular. Most closely associated with the Song dynasty, ci most often expressed feelings of desire, often in an adopted persona, but the greatest exponents of the form (such as Li Houzhu and Su Shi) used it to address a wide range of topics.
As the ci gradually became more literary and artificial after Song times, the san qu, a freer form, based on new popular songs, developed. The use of san qu songs in drama marked an important step in the development of vernacular literature.

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Later Classical Poetry

After the Song dynasty, both shi poems and lyrics continued to be composed until the end of the imperial period, and to a lesser extent to this day. However, for a number of reasons, these works have always been less highly regarded than those of the Tang dynasty in particular. Firstly, Chinese literary culture remained in awe of its predecessors: in a self-fulfilling prophecy, writers and readers both expected that new works would not bear comparison with the earlier masters. Secondly, the most common response of these later poets to the tradition which they had inherited was to produce work which was ever more refined and allusive; the resulting poems tend to seem precious or just obscure to modern readers. Thirdly, the increase in population, expansion of literacy, wider dissemination of works through printing and more complete archiving vastly increased the volume of work to consider and made it difficult to identify and properly evaluate those good pieces which were produced. Finally, this period saw the rise of vernacular literature, particularly drama and novels, which increasingly became the main means of cultural expression.

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Modern Poetry

Modern Chinese poems usually do not follow any prescribed pattern. Poetry was revolutionized after the May Fourth Movement when writers try to use vernacular styles closer to what was being spoken rather than previously prescribed forms. Early twentieth-century poets like Xu Zhimo, Guo Moruo and Wen Yiduo sought to break Chinese poetry from past conventions by adopting Western models; for example Xu consciously follows the style of the Romantic poets with end-rhymes.
In the post-revolutionary Communist era, poets like Ai Qing used more liberal running lines and direct diction, which were vastly popular and widely imitated.
In the contemporary poetic scene, the most important and influential poets are the group known as Misty Poets, who use allusion and hermetic references. The most important Misty Poets include Bei Dao, Gu Cheng, Duo Duo, and

The Tang Dynasty

In 581 Yang Jian, prime minister of the Northern Zhou, seized power and established the Sui Dynasty. Eight years later he unified China after he conquered Chen in the south, thus putting an end to the period of division which lasted more than three centuries.

His son, who succeeded him, was a corrupt and evil emperon. His despotic rule was hated by the people, and peasant uprisings started. The dynasty was overthrown only 37 years after it was founded.

Li Yuan, a military commander in Taiyuan, Shanxi raised an army and occupied Chang'an. In 618 he founded the Tang Dynasty. His chief advisor was his second son, Li Shimin. In a power struggle Shimin killed his two brothers; his father had to five him the throne.

This ambitious and capable young man turned out to be one of the wisest emperors that ruled China. He was later called Tang Tai Zong. The 130 years from his time to the Time of Tang Xuan Zong was the heyday not only of the Tang Dynasty, but of the whole feudal period of China. The Tang emperors ruled over a vast area, larger than /china had been during the Han Dynasty. China was then the largest and strongest country in the world; it was also economically and culturally the most advanced. In Chang'an, the capital, there were over 300,000 households, with a great number of merchants, traders, scholars and students from foreign countries. Chinese culture, including philosophy, and political, legal and economic systems, had a far-reaching influence, especially in East Asia. At the same time, foreign products and culture were introduced into China.

In 755 the revolt of An Lushan and Shi Siming broke out. Their troops entered Chang'an, and Xuan Zong fled to Sichuan in a hurry. This was the beginning of the decline of the Tang Dynasty. But the dynasty,

Li Bai

Li Bai (701-762) was born in Suiye in Central Asia. His ancestors had been banished there by the Sui rulers. At five he moved to Sichuan with his father, who was probably a rich merchant. When young, he studied not only Confucian classics, but works of other schools. After 20 he first travelled for and wide in Sichuan, and then he started a long journey to Central, East and North China. He did not sit for the civil service examination, for he looked down upon it. But he wished to become an official. When he was 42, he was recommended to Tang Xuan Zong, who ordered him to go to Chang'an. He stayed there for three years and was bitterly disappointed. During the years of An Lushan's rebellion, he joined the staff of Prince Li Lin. Later, because Li Lin tried to seize power and failed, Li Bai was exiled to Yelang. On his way to Yelang he was freed by an amnesty. He went to East China and died at 62 in Dangtu, Anhui.

He wrote as many as 900 poems. Some of them describe the life of the people; some describe the magnificent scenery he saw; others express his own wishes and sorrows. His poems are characterized by unusual imagination and free and direct expression of feelings. That is why he is called a romantic poet.

At dawn I left Baidi towering in the midst of colorful clouds,
And reached Jiangling a thousand Li away in a day.
The screams of monkeys on either bank went on and on,
While my light boat passed by ten thousand hills.

Satisfaction and admiration will fill our hearts when we read such beautiful and dashing lines. They are so colorful, so musical, and so impressive. The image in the poem-a boat rushing toward down the gorges-is just a description of the poet himself.

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Du Fu

Du Fu (712-770) was born in Gongxian, Henan. The son of an official, he was interested in learning when he was young. "I read ten thousand volumns until they were worn out," he said. At 20 he started his 10-year-long travels from north to south. At 35 he went to Chang'an, where he stayed for ten years without getting any position in the government. His disappointment made him look at reality and see the sharp contrast between the life of the upper classes and that of the ordinary people. He began to write poems about the sufferings of the poor. After the An Lushan rebellion began, he had a hard time as a refugee, but this brought him closer to the people. His well-known poems describing three officials and three departures were written during this period. In 759 he went to Chengdu. After wandering in Sichuan, Hubei and Hunan for more than ten years, he finally died on board a small boat on his way from Changsha to Yueyang.

Deep sympathy for the people is one of the main characteristics of Du Fu's poems. In this respect he surpassed all earlier poets. His poems have been called "poetic history", for they reflect the political and military situation of his time, and the life and miseries of the people. He pushed the tradition of realism in poetry to a new level.

Here are the first six lines from the poem "The Official of Shihao":

At dusk I came to Shihao Village to stay overnight,
And heard an official trying to catch somone after dark.
The old man in the house climbed over the wall and fled,
Leaving the old woman to face the official at the door.
Shouting loudly, the official was very angry;
Sobbing bitterly, the woman was full of sorrow.

Du Fu exposes the Shameless luxury of the ruling class in these famous lines:

Behind the red doors wine and meat stink,
But on the roads lie men frozen to death.

Li Bai and Du Fu are among the greatest poets that China has produced. Their poems have given the Chinese people boundless inspiration and have been taken as models of poetry. Han Yu, also a famous Tang poet, wrote: "The works of Li and Du are there; their brilliant light will shine for ever."

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Bai Juyi

Two years after Du Fu died, another great poet was born. Bai Juyi (772-846), the son of a petty official, was born in Xinzheng, Henan. He spent his youth wandring about to escape wars, and was often cold and hungry. He was successful in civil service examinations, became an official, and worked in the central government for about 15 years. Then because he was disliked by those in power, he was sent ot work in Jiangzhou (now Jiujiang), Hangzhou and Suzhou. Later he moved to Luoyang, where he died at the age of 75.

Bai Juyi wrote more poems than any other Tang poet-nearly 3,000. Many of them deal with important social and political problems, and show signs of Du Fu's influence. He also wrote many lyrics expressing his personal feelings. His two long narrative poems-"The Everlasting Sorrow" and "The Song of a Pipa Player"-are among the best known. Many of his poems have deep meaning, and they are written in simple and plain language, which ordinary readers can understand.

The following are a few lines from "The Old Man with a Broken Arm":

In the south and in the north of my village people wept sadly;
Children were parting from parents and husbands from wives.
Everyone said that in battles against the southern tribes,
Of ten thousand men sent there not one returned.

The poem clearly shows the poet's opposition to battles against border tribes, which caused miseries to both Han and tribal poeple.

In "The Song of a Pipa Player" there are these lines describing the beautiful music produced by the Pipa:

Strong and loud, the thick string sounded like a sudden shower;
Weak and soft, the thin string whispered in your ear.
When strong and weak, loud and soft sounds were mixed,
They were like big and tiny pearls falling on a jade plate.

History of Urdu poetry

by Anisur Rahman

Urdu language and literature, beyond their spatial confines, have been more heard of than read. With the publication of some notable translations, some of them in the recent past, a new literary culture seems to be emerging from the canons of the old. Modern Urdu poetry, of which this is the first comprehensive selection, has its own tradition of the new. It has developed through stages of a variegated literary history. This history has absorbed both the native and non- native elements of writing in Arabic and Persian, and the Urdu language has survived through several crises and controversies. Some of these are related to its growth and development, its use by the British to divide the Hindus and the Muslims. it estrangement in the land of its birth following the Partition of India and its interaction with Hindi once akin but now an alien counterpart. Even with the extinction of those generations of Sikhs in Punjab, Muslims in Bengal and Hindus elsewhere, who nurtured the language with love and for whom it was the mark of a cultivated man, the language has survived and developed. It is now the cultural legacy of India and the adopted national identity of Pakistan, and significant new literature has emerged in both countries.

Literary centre : Deccan, Delhi and Lucknow

Literature in Urdu grew at three different centres: Deccan, Delhi and Lucknow. As it happened, the Deccan emerged as the earliest centre, even though the language had first developed in northern India, as a result of an interesting linguistic interaction between the natives and the Muslim conquerors from Central Asia, who settled there in the twelfth and thirteenth centuries, The period stretching roughly from the middle of the fourteenth centuries to the middle of the eighteenth produce a number of poets. They are claimed both by Urdu and Hindi literary historians, but Quli Qutub Shah (1565-1611) is generally acknowledged as the first notable poet, like Chaucer is English, with a volume of significant poetry in a language later named Urdu. He was followed by several others, among whom Wali Deccani (1635-1707) and Siraj Aurangabadi ( 1715-1763) deserves special mention. Delhi emerged as another significant centre with Mirza Mohammad Rafi Sauda (1713-80), Khwaja Mir Dard (1721-85), Mir Taqi Mir (1722-1810), Mirza Asadullah Khan Ghalib (1797-1869) and Nawab Mirza Khan Dagh (1831-1905). It reached its height of excellence during the eighteenth and nineteenth centuries. Lucknow made its way as the third important centre with Ghulam Hamdani Mushafi (1725-1824), Inshallah Khan Insha (1757-1817), Khwaja Haidar Ali Atish (1778-1846), Iman Baksh Nasikh (1787-1838), Mir Babr Ali Anis (1802-74) and Mirza Salamat Ali Dabir (1803-1875). These literary capitals, where the classical tradition developed, had their individual stylistic and thematic identities, but broadly it may be said that the ghazal (love lyric) reached its zenith with Mir and Ghalib, qasida (panegyric) with Sauda, mathnawi(romance) with Mir Hasan and marthiya (elegy) with Anis and Dabir.

Hali and Iqbal : new poetry in Urdu

In the period that followed, and before the launching of the Progressive Writers Movement in the 30s, mention should be made of Altaf Husain Hali (1837-1914) and Mohammad Iqbal (1877-1938). Hali was a poet of the newer socio-cultural concerns and advocated 'natural poetry' that had an ameliorative purpose. His Musaddas is an important example of this. He was also a theorist who opened new frontiers in Urdu criticism with his Moqaddama-e-Sher-o-Shairi (Preface to Poetry) which equals Wordsworth's Preface to Lyrical Ballads in importance, and even surpasses it in certain respects. He realized that with the impact of the West a new perspective was required. He, along with Mohammad Husain Azad (1830-1910), laid the foundations of a new poetry in 1867 under the auspices of Anjuman-e-Punjab, Lahore. Azad had asserted in the same year that Urdu poets should come out of the grooves of responses conditioned by Persian culture and root their works in the ethos of the land. Seeing no response to his pleas, he reiterated the same point seven years later on May 8, 1874 during his address on the occasion of the first mushaira of the Anjuman. These appeals failed to make and impact as sensibilities rooted in particular tradition are not easily altered even by impassioned pleas. Hali, creating a new taste for his age. Iqbal, with his remarkable religio-philosphical vision, and Josh Malihabadi (1838-1982), with his nationalistic and political fervour, produced exceptionally eloquent kinds of poetry that continue to reverberate over the years. Iqbal remained the most influential poet to achieve artistic excellence while putting forward a philosophical point of view, and his poetry, quite often, acquired the status of the accepted truth. A host of others Urdu poets and translators of English poetry who appeared on the literary scene during the first quarter of this century experimented with non-traditional poetic forms but they ultimately echoed sentiments and adopted forms that were more or less tradition-bound. They also looked towards the West, the traditional source of literary influence, but that was a world apart and too far to seek, They could reach only the Romantics who had already become outmoded in an age identified with Ezra Pound and T. S. Eliot. A characteristically modern poem in form and value, tone and tenor, remained at best an intriguing possibility.

Progressive Writers Movement

The 1930s emerged as the archway for entry into a new world and achieve the unachieved. Some young Indians-- Sajjad Zaheer, Mulk Raj Anand, and Mohammad Deen Taseer-- who wee then studying in London, musing on the role of literature in a fast-changing world, came up with a manifesto for what came to be known as the Progressive Writers Movement. Even before this, Sajjad Zaheer, during his stay in India had published Angare (Embers), an anthology of short stories, with explicit sexual references and an attack on the decadent moral order. The book had to be banned, like Lady Chatterley's Lover, but the stories had an impact, as they were thematically interesting and technically innovative. The reader had suddenly become exposed to the worlds of Freud, Lawrence, Joyce and Woolf. There was a world of new values waiting to be explored by an emotionally charged and intellectually agile reader. the Progressive Writers Movement was launched at the right time. This was the precise hour to shed the age-old traditions, take leave to the clichés, proposed new theories, and explore a new world order.
Akhter Husain Raipuri, in his well-timed Adab aur Inqilab (Literature and Revolution) published in 1934, discarded the classical Urdu poets, including Mir and Ghalib, as degenerate representative of a feudalistic culture. This rejection was, however, based on extra-critical considerations as he was more intent on popularizing Marxist thought in literature. Premchand's famous presidential address to the conference of Progressive Writers Association in Lucknow two years later in 1936, came as a more precise call to relate literature to social reality. ' We will have to change the standards of beauty, ' he had said, and beauty of him was that which Eliot identified as ' boredom and horror' in his own context. The movement focussed on poverty, social backwardness, decadent morality, political exploitation; it dreamt of an ideal society and a just political system.
Every rebel was, therefore, a progressive writer and vice-versa during those exhilarating days. He was basically wedded to the idea of political and social revolution. He drew his inspiration from Marx. He rejected the striving for individual signatures, new modes of expression and new experiments in form. It was important for the poet to denote rather than connote, and to appeal to the larger humanity rather than to the individual. Falling victim of these errors before long, the movement alienated some noted poets, the most important of them being N. M. Rashed (1910-75) and Miraji (1912-49), who came together to lead a group called Halqa-e-Arbab-e-Zauq (Circle of Connoisseurs) in 1939. The progressive writers insistence on ideology and the impatience of those who cared more for art are reminiscent of the British poets of the 1930s and the later stance of W. H. Auden.
Faiz Ahmad Faiz (1911-84) is the most prominent and the finest of the poets who subscribed to the progressive ideology. he was singularly successful in striking a balance between art an ideas. He was drew upon sources other than Urdu and Persian and imparted an individual tone to his poetry. he did not raise slogans; he only uttered soft notes of expostulation. he was inspired more by the spirit of liberation than by slogans raised elsewhere. Prominent among other progressive poets were Asrarul Haq Majaz (1908-56), Makhdoom Mohiuddin (1908-69), Ali Sardar jafri (b.1913), Jan Nisar Akhter (1914-76), Kaifi Azmi (b.1918) and Sahir Ludhianawi (1921-80). They are mentioned here not only for the individual qualities of their poetry by also for their importance in this movement at a particular juncture in literary history. Despite the deep political complexion of the Progressive Writers Movement, it prominence was a short-lived affair. The next generation of poets expressed certain misgivings about their emphasis on class struggle in a materialistic and scientific world. The new poet wished to shake off all external shackles and apprehend his own experience for himself.

The modernism

N. M. Rashed and Miraji are the two most remarkable poets in this group.They along with Faiz, represent in the Urdu language what Eliot and the Symbolists do in English and French. They appeared later but also showed a unique resilience and vitality. Faiz was a poet with a message, one woven artistically into a pattern of symbols and delivered in a mellifluous tones. Rashed treated the Urdu language in a fresh way and created complex symbiotic fusion. Faiz appeals alike to the philanthropist and the philanderer, the pious and profane, the music makers and dreamers of dreams, but Rashed appeals only to a select readership. Faiz emerged as a myth in his own lifetime while Rashed and Miraji are yet to be fully appreciated. Rashed's resources are immense. The merging to the eastern and western influences accounts for the richness of his verse enhanced by linguistic innovation and poetic skill. Miraji, who reminds one of Tristan Corbiere in his bohemianism, drew upon Oriental, American and French sources, meditated upon time, death, the mystery if human desires, the raptures of sex and wrote in a variety of verse forms -- regular, free, and prose-like. He opted for esoteric symbolism, resorted to the stream-of-consciousness method and emerged as a unique modernist movement in Urdu poetry.
It was on this tradition that individual poets later developed their own version of modernism. Majeed Amjad (1914-74), Akhtarul Iman (b.1915) and Mukhtar Siddiqi (1917-72) deserves special mention here. A poem for them was a delicate work of art that succeeded or failed for its artistic worth. Akhtarul Iman wrote ironic, nostalgic and dramatic poems, while Majeed Amjad wrote in an inimitable introspective mood and ideas. They served as models for the younger poets to follow. The impact of Rashed, Miraji and Faiz was immense and far-reaching. Their successors echoed them, learnt from them and so came to acquire their own voices in course of time.
The generations of poets since the 1950s faced new predicaments. The Partition of India was an experience they had suffered, while the world around was also terribly alive and eventful. Groups of poets followed on after another; Wazir Agha (b.1922), Muneer Niyazi (b.1927), Ameeq Hanfi (1922-88), Balraj Komal (b.1928), Qazi Saleem (b.1930) grappled with the world around in an idiom and form that were decidedly new and had nothing to do with Progressive aesthetics. All of them acquired their own individual identities and made their mark in the development of modern poetry. They looked back at their won masters-- Mir and Ghalib-- and fared forward to Eliot and Empson. Modern literary and philosophical movements no longer remained alien. Realism, symbolism, existentialism, and surrealism, were drawn closer home. Kumar Pashi (1935-92), Zubair Rizvi (b.1935), Shahrayar (b.1936), Nida Fazli (b.1938) and Adil Mansoori (b.1941), on the one hand, and Gilani Kamran (b.1926), Abbas Ather (b.1934), Zahid Dar (b.1936), Saqi Farooqi (b.1936), Iftekhar Jalib (b.1936), Ahmed Hamesh (b.1937), Kishwar Naheed (b.1940) and Fehmida Reyaz (b.1946), on the other, experimented in form and technique, bringing in new diction and finding a place for new experiences. The new poem had come into being; modernism had firmly established itself by the mid-1970s.
Shaabkhoon, a literary journal, projected this movement in a big way and identified the poets of the new order. Ever since its inception in 1966, it has done a singular job -- especially during the vital 60s and 70s -- of creating a taste for modernism. Shamsur Rehman Farooqi, the most perceptive of the modern Urdu critics, played a vital role in helping recognize the contours of modernism with his critical studies. his studies appraising modern poets, as well as classical poets who bear upon the modern tradition, developed sound critical theories and helped in creating an atmosphere for the acceptance and appreciation of modernism.

Poetry in Pakistan

It may not seem quite right to speak of Urdu poetry in terms of Indian and Pakistani poetry, but it would be reasonable to say that the new urdu poetry in Pakistan is remarkable for its variety and vitality. Emerging from the common sources and traditions of history and culture, poetry in Pakistan has achieved its own frames of reference, its own tones of voice, its own notes of protest, largely because of the socio-political compulsions. Its poetics is characterized by a healthy adherence to tradition and somewhat virile improvisation of the traditional modes of expression.
The new poet in Pakistan has created his own blend of the lyrical with the prosaic, the manifest with the allegorical. he expressed his own predicament and that of the world around him which arouse both hope and fear, dreams and despair. Faiz Ahmad Faiz, Majeed Amjad and Muneer Niyazi, with their vitality and strength, have led us to the still more varied and vibrant Sermad Sehbai, Asghar Nadeem Syed, Afzal Ahmad Syed, Zeeshan Sahil and the vital feminine voices of Kishwar Nahed, Fehmida Reyaz, Nasreen Anjum Bhatti, Sara Shagufta, Shaista Habib and Azra Abbas. All these and many more form part of a formidable poetic scene. They are rich in their experience and execution and may well be placed among the prominent Third World voices that are being heard today with great curiosity and interest.
Modernism is an international phenomenon and modern Urdu poetry is a part of it. It has made its mark with its recognizably individual poetics. The Urdu poet is now free to make his choice; he has drawn upon sources both indigenous and foreign, literary and extra-literary, including philosophy, sociology and mythology. The issues regarding the form of the poem, the language, experiential capital and aesthetic dimensions have been resolved. the modern reader has finally identified his poem.

English calendar with holidays

Holidays and Notable Special Days in Great Britain

Many festivals and holidays in Britain are centuries old. Every town, village and hamlet in Britain has its own traditions, some involving months of careful planning and preparations of costumes and choreography, others requiring simply a worrying desire to make a complete and utter fool of oneself.

The 2009 - 2011 calendar below contains the most important and well known festivals and popular events in Britain. If you are looking for the date of a particular holiday or festival in the UK, then you will find it here. Please also see our other calendars.

January	February	March	April
May	June	July	August
September	October	November	December

Click here for all our calendars

January 1st New Year's Day 5th Twefth Night February 1st Candlemas Day 14th Valentine's Day March 1st St David's Day (Wales National Day) 17th St. Patrick's Day (Ireland's Special Day) March/April Shrove Tuesday Lent Mothering Sunday Maundy Thursday Easter April 1st April Fool's Day 23rd St George's Day (England's National Day) May 1st May Day

June Trooping the Colours Wimbledon Tennis Tournament July Swan Upping August Notting Hill Carnival September Harvest Festival October 31st Halloween November 5th Bonfire Night 11th Remembrance Day 30th St Andrew's Day (Scotland's National Day) December Advent 25th Christmas 26th Boxing Day

chinese calendar

The following table shows the 60-year cycle matched up to the Western calendar for the years 1924–2043 (see Sexagenary cycle article for years 1804–1923).

	Year	Associated Element	Heavenly Stem	Earthly Branch	Associated Animal	Year
	1924–1983					1984–2043
1	Feb 05 1924–Jan 23 1925	Yang Wood	甲	子	Rat	Feb 02 1984–Feb 19 1985
2	Jan 24 1925–Feb 12 1926	Yin Wood	乙	丑	Ox	Feb 20 1985–Feb 08 1986
3	Feb 13 1926–Feb 01 1927	Yang Fire	丙	寅	Tiger	Feb 09 1986–Jan 28 1987
4	Feb 02 1927–Jan 22 1928	Yin Fire	丁	卯	Rabbit	Jan 29 1987–Feb 16 1988
5	Jan 23 1928–Feb 09 1929	Yang Earth	戊	辰	Dragon	Feb 17 1988–Feb 05 1989
6	Feb 10 1929–Jan 29 1930	Yin Earth	己	巳	Snake	Feb 06 1989–Jan 26 1990
7	Jan 30 1930–Feb 16 1931	Yang Metal	庚	午	Horse	Jan 27 1990–Feb 14 1991
8	Feb 17 1931–Feb 05 1932	Yin Metal	辛	未	Ram	Feb 15 1991–Feb 03 1992
9	Feb 06 1932–Jan 25 1933	Yang Water	壬	申	Monkey	Feb 04 1992–Jan 22 1993
10	Jan 26 1933–Feb 13 1934	Yin Water	癸	酉	Rooster	Jan 23 1993– Feb 09 1994
11	Feb 14 1934–Feb 03 1935	Yang Wood	甲	戌	Dog	Feb 10 1994–Jan 30 1995
12	Feb 04 1935–Jan 23 1936	Yin Wood	乙	亥	Boar	Jan 31 1995–Feb 18 1996
13	Jan 24 1936–Feb 10 1937	Yang Fire	丙	子	Rat	Feb 19 1996–Feb 06 1997
14	Feb 11 1937–Jan 30 1938	Yin Fire	丁	丑	Ox	Feb 07 1997–Jan 27 1998
15	Jan 31 1938–Feb 18 1939	Yang Earth	戊	寅	Tiger	Jan 28 1998–Feb 15 1999
16	Feb 19 1939–Feb 07 1940	Yin Earth	己	卯	Rabbit	Feb 16 1999–Feb 04 2000
17	Feb 08 1940–Jan 26 1941	Yang Metal	庚	辰	Dragon	Feb 05 2000–Jan 23 2001
18	Jan 27 1941–Feb 14 1942	Yin Metal	辛	巳	Snake	Jan 24 2001–Feb 11 2002
19	Feb 15 1942–Feb 04 1943	Yang Water	壬	午	Horse	Feb 12 2002–Jan 31 2003
20	Feb 05 1943–Jan 24 1944	Yin Water	癸	未	Ram	Feb 01 2003–Jan 21 2004
21	Jan 25 1944–Feb 12 1945	Yang Wood	甲	申	Monkey	Jan 22 2004–Feb 08 2005
22	Feb 13 1945–Feb 01 1946	Yin Wood	乙	酉	Rooster	Feb 09 2005–Jan 28 2006
23	Feb 02 1946–Jan 21 1947	Yang Fire	丙	戌	Dog	Jan 29 2006–Feb 17 2007
24	Jan 22 1947–Feb 09 1948	Yin Fire	丁	亥	Boar	Feb 18 2007–Feb 06 2008
25	Feb 10 1948–Jan 28 1949	Yang Earth	戊	子	Rat	Feb 07 2008–Jan 25 2009
26	Jan 29 1949–Feb 16 1950	Yin Earth	己	丑	Ox	Jan 26 2009–Feb 13 2010
27	Feb 17 1950–Feb 05 1951	Yang Metal	庚	寅	Tiger	Feb 14 2010–Feb 02 2011
28	Feb 06 1951–Jan 26 1952	Yin Metal	辛	卯	Rabbit	Feb 03 2011–Jan 22 2012
29	Jan 27 1952–Feb 13 1953	Yang Water	壬	辰	Dragon	Jan 23 2012–Feb 09 2013
30	Feb 14 1953–Feb 02 1954	Yin Water	癸	巳	Snake	Feb 10 2013–Jan 30 2014
31	Feb 03 1954–Jan 23 1955	Yang Wood	甲	午	Horse	Jan 31 2014–Feb 18 2015
32	Jan 24 1955–Feb 11 1956	Yin Wood	乙	未	Ram	Feb 19 2015–Feb 07 2016
33	Feb 12 1956–Jan 30 1957	Yang Fire	丙	申	Monkey	Feb 08 2016–Jan 27 2017
34	Jan 31 1957–Feb 17 1958	Yin Fire	丁	酉	Rooster	Jan 28 2017–Feb 18 2018
35	Feb 18 1958–Feb 07 1959	Yang Earth	戊	戌	Dog	Feb 19 2018–Feb 04 2019
36	Feb 08 1959–Jan 27 1960	Yin Earth	己	亥	Boar	Feb 05 2019–Jan 24 2020
37	Jan 28 1960–Feb 14 1961	Yang Metal	庚	子	Rat	Jan 25 2020–Feb. 11 2021
38	Feb 15 1961–Feb 04 1962	Yin Metal	辛	丑	Ox	Feb 12 2021–Jan 31 2022
39	Feb 05 1962–Jan 24 1963	Yang Water	壬	寅	Tiger	Feb 01 2022–Jan 21 2023
40	Jan 25 1963–Feb 12 1964	Yin Water	癸	卯	Rabbit	Jan 22 2023–Feb 09 2024
41	Feb 13 1964–Feb 01 1965	Yang Wood	甲	辰	Dragon	Feb 10 2024–Jan 28 2025
42	Feb 02 1965–Jan 20 1966	Yin Wood	乙	巳	Snake	Jan 29 2025–Feb 16 2026
43	Jan 21 1966–Feb 08 1967	Yang Fire	丙	午	Horse	Feb 17 2026–Feb 05 2027
44	Feb 09 1967–Jan 29 1968	Yin Fire	丁	未	Ram	Feb 06 2027–Jan 25 2028
45	Jan 30 1968–Feb 16 1969	Yang Earth	戊	申	Monkey	Jan 26 2028–Feb 12 2029
46	Feb 17 1969–Feb 05 1970	Yin Earth	己	酉	Rooster	Feb 13 2029–Feb 02 2030
47	Feb 06 1970–Jan 26 1971	Yang Metal	庚	戌	Dog	Feb 03 2030–Jan 22 2031
48	Jan 27 1971–Feb 14 1972	Yin Metal	辛	亥	Boar	Jan 23 2031–Feb 10 2032
49	Feb 15 1972–Feb 02 1973	Yang Water	壬	子	Rat	Feb 11 2032–Jan 30 2033
50	Feb 03 1973–Jan 22 1974	Yin Water	癸	丑	Ox	Jan 31 2033–Feb 18 2034
51	Jan 23 1974–Feb 10 1975	Yang Wood	甲	寅	Tiger	Feb 19 2034–Feb 07 2035
52	Feb 11 1975–Jan 30 1976	Yin Wood	乙	卯	Rabbit	Feb 08 2035–Jan 27 2036
53	Jan 31 1976–Feb 17 1977	Yang Fire	丙	辰	Dragon	Jan 28 2036–Feb 14 2037
54	Feb 18 1977–Feb 06 1978	Yin Fire	丁	巳	Snake	Feb 15 2037–Feb 03 2038
55	Feb 07 1978–Jan 27 1979	Yang Earth	戊	午	Horse	Feb 04 2038–Jan 23 2039
56	Jan 28 1979–Feb 15 1980	Yin Earth	己	未	Ram	Jan 24 2039–Feb 11 2040
57	Feb 16 1980–Feb 04 1981	Yang Metal	庚	申	Monkey	Feb 12 2040–Jan 31 2041
58	Feb 05 1981–Jan 24 1982	Yin Metal	辛	酉	Rooster	Feb 01 2041–Jan 21 2042
59	Jan 25 1982–Feb 12 1983	Yang Water	壬	戌	Dog	Jan 22 2042–Feb 09 2043
60	Feb 13 1983–Feb 01 1984	Yin Water	癸	亥	Boar	Feb 10 2043–Jan 29 2044