This document provides biographical information about English poet John Keats in 3 sentences: Born in 1795 in London, England, John Keats was a renowned English Romantic poet who died young in 1821 in Rome, Italy at the age of 25. The document then discusses some linguistic elements of Keats' poetry and their influence on Urdu poetry, analyzing similarities between certain words and constructions in English and Urdu.

1. Born: October 31, 1795,
Moorgate, City of London, United Kingdom

2. Died: February 23, 1821,
Rome, Italy
‫زبان‬ ‫شعری‬ ‫کی‬ ‫کیٹس‬ ‫جان‬ ‫اور‬ ‫اردو‬
‫مفاد‬ ‫یا‬ ‫آئے‬ ‫نہ‬ ‫یا‬ ‫آئے‬ ‫قریب‬ ‫کے‬ ‫دوسرے‬ ‫ایک‬ ‫انسان‬
‫عناصر‬ ‫پرست‬‘‫رکھیں‬ ‫کیے‬ ‫پیدا‬ ‫دوریاں‬ ‫میں‬ ‫ان‬‘‫کے‬ ‫اس‬
‫نفسیات‬ ‫کی‬ ‫اس‬ ‫باوجود‬‘‫قربت‬ ‫میں‬ ‫معاشیات‬ ‫اور‬ ‫سماجیات‬
‫سے‬ ‫حوالہ‬ ‫امرجاتی‬ ‫اور‬ ‫نظریاتی‬ ‫ہے۔‬ ‫رہتی‬‘‫رہ‬ ‫دور‬ ‫کوسوں‬
‫بھی‬ ‫کر‬‘‫اثر‬ ‫زیر‬ ‫کے‬ ‫تینوں‬ ‫ان‬‘‫رہتا‬ ‫قریب‬ ‫کے‬ ‫دوسرے‬ ‫ایک‬
‫کم‬ ‫کی‬ ‫مزدور‬ ‫سیٹھ‬ ‫اور‬ ‫ہے‬ ‫مجبوری‬ ‫کی‬ ‫سیٹھ‬ ‫مزدور‬ ‫ہے۔‬
‫دار‬ ‫دوکان‬ ‫گاہک‬ ‫اور‬ ‫ساتھ‬ ‫کے‬ ‫گاہک‬ ‫دار‬ ‫دوکان‬ ‫ہے۔‬ ‫زوری‬
‫میں‬ ‫سکھ‬ ‫دکھ‬ ‫ہیں۔‬ ‫منسلک‬ ‫ساتھ‬ ‫کے‬‘‫کو‬ ‫کاٹنے‬ ‫تنہائی‬
‫اس‬ ‫ہے۔‬ ‫دوڑتی‬
‫بھی‬ ‫سانجھ‬ ‫کی‬ ‫دشمن‬ ‫وقت‬‘‫ہے۔‬ ‫کرتی‬ ‫کام‬ ‫کا‬ ‫مداوے‬
‫نفسیات‬ ‫سے‬ ‫دوسرے‬ ‫ایک‬ ‫انسان‬ ‫جب‬‘‫اور‬ ‫سماجیات‬
‫سے‬ ‫حوالہ‬ ‫کے‬ ‫معاشیات‬‘‫ہیں‬ ‫رکھتے‬ ‫قربت‬‘‫کس‬ ‫زبانیں‬ ‫تو‬
‫کسی‬ ‫نہ‬ ‫کسی‬ ‫ہیں۔‬ ‫سکتی‬ ‫رہ‬ ‫دور‬ ‫سے‬ ‫دوسرے‬ ‫ایک‬ ‫طرح‬
‫پر‬ ‫سطع‬‘‫ناچیز‬ ‫اس‬ ‫ہے۔‬ ‫ہوتی‬ ‫موجود‬ ‫قربت‬ ‫لسانیاتی‬ ‫میں‬ ‫ان‬
‫میں‬ ‫تحریر‬‘‫کی‬ ‫کیٹس‬ ‫شاعرجان‬ ‫رومانوی‬ ‫کے‬ ‫انگریزی‬
‫کا‬ ‫زبان‬‘‫میں‬ ‫تناظر‬ ‫کے‬ ‫اردو‬‘‫کی‬ ‫کرنے‬ ‫مطالعہ‬ ‫لسانیاتی‬

3. ‫کرے‬ ‫هللا‬ ‫ہے۔‬ ‫گئی‬ ‫کی‬ ‫کوشش‬‘‫احباب‬ ‫کوشش‬ ‫حقیر‬ ‫یہ‬ ‫میری‬
‫نکلے۔‬ ‫کی‬ ‫کام‬ ‫کے‬
‫آواز‬ ‫مرکب‬‫ری‬‘‫آنے‬ ‫رے‬ ‫میں‬ ‫آخر‬ ‫ہے۔‬ ‫مستعمل‬ ‫میں‬ ‫اردو‬
‫بعد‬ ‫کے‬ ‫آواز‬ ‫والی‬‘‫کر‬ ‫بڑھا‬ ‫مصدری‬ ‫یائے‬‘‫مختلف‬ ‫کی‬ ‫لفظ‬
‫مثال‬ ‫ہیں۔‬ ‫جاتی‬ ‫لی‬ ‫بنا‬ ‫حالتیں‬ ‫اور‬ ‫صورتیں‬
‫صفتی‬:‫بھاری‬‘‫ساری‬‘‫کاری‬‘‫عاری‬
‫فعلی‬:‫جاری‬‘‫اتاری‬‘‫ماری‬
‫اسمی‬:‫آری‬‘‫ہاری‬‘‫کیاری‬‘‫الری‬
‫آواز‬ ‫مرکب‬ ‫باطور‬ ‫کا‬ ‫اس‬ ‫میں‬ ‫اردو‬ ‫چاہیے‬ ‫رہنا‬ ‫باور‬
‫ہوا۔‬ ‫نہیں‬ ‫استعمال‬
‫مثال‬ ‫ہے۔‬ ‫ملتا‬ ‫استعمال‬ ‫سابقہ‬ ‫باطور‬
‫ریحان‬
‫ہیں‬ ‫صورتیں‬ ‫دو‬ ‫کی‬ ‫اس‬:
‫حان‬ ‫ری‬‘‫ان‬ ‫ریح‬
‫ان‬ ‫ریح‬:‫ان‬ ‫انس‬‘‫ان‬ ‫شیط‬
‫ہے۔‬ ‫سابقہ‬ ‫صفتی‬ ‫باطور‬ ‫میں‬ ‫حان‬ ‫ری‬
‫ہے۔‬ ‫آتا‬ ‫میں‬ ‫استعمال‬ ‫سابقہ‬ ‫صفتی‬ ‫باطور‬ ‫بھی‬ ‫میں‬ ‫انگریزی‬
‫ہو‬ ‫مالحظہ‬ ‫استعمال‬ ‫کا‬ ‫اس‬ ‫ہاں‬ ‫کے‬ ‫کیٹس‬ ‫جان‬:

4. Never have relish in the faery
power
‫تر‬:‫لیے‬ ‫کے‬ ‫کرنے‬ ‫بیان‬ ‫حالت‬ ‫دوسری‬ ‫کی‬ ‫صفت‬ ‫میں‬ ‫اردو‬
‫مثال‬ ‫ہے۔‬ ‫آتا‬ ‫میں‬ ‫استعمال‬ ‫الحقہ‬ ‫باطور‬
‫تر‬:‫تر‬ ‫خوب‬‘‫تر‬ ‫قریب‬‘‫تر‬ ‫عظیم‬
‫بدتر‬
‫میں‬ ‫انگریزی‬‘‫آواز‬ ‫متبادل‬ ‫کی‬ ‫اس‬ ‫نہیں‬ ‫موجود‬ ‫آواز‬ ‫کی‬ ‫ت‬
‫ہے‬ ‫ٹ‬‘‫ٹر‬ ‫ہے۔‬ ‫آتا‬ ‫میں‬ ‫استعمال‬ ‫ٹر‬ ‫بجائے‬ ‫کی‬ ‫تر‬ ‫لیے‬ ‫اس‬
‫طرح‬ ‫کی‬ ‫ہی‬ ‫اردو‬‘‫سے‬ ‫طور‬ ‫اسی‬‘‫حالت‬ ‫دوسری‬ ‫کی‬ ‫صفت‬
‫لیے‬ ‫کے‬ ‫کرنے‬ ‫واضح‬‘‫ہے۔‬ ‫آتا‬ ‫میں‬ ‫استعمال‬ ‫الحقہ‬ ‫باطور‬
‫ہو‬ ‫مالحظہ‬ ‫استعمال‬ ‫کا‬ ‫اس‬ ‫ہاں‬ ‫کے‬ ‫کیٹس‬ ‫:جان‬
Are sweeter; therefore, ye soft pipes,
play on;
‫آیا‬ ‫سے‬ ‫سنسکرت‬ ‫کہ‬ ‫ہے‬ ‫جاتا‬ ‫کہا‬ ‫ہے۔‬ ‫سابقہ‬ ‫کا‬ ‫نہی‬ ‫ان‬
‫سہی‬ ‫بھی‬ ‫جو‬ ‫ہے۔‬‘‫جیسے‬ ‫ہے۔‬ ‫ہوتا‬ ‫استعمال‬ ‫عام‬ ‫میں‬ ‫اردو‬

5. ‫ان‬:‫پڑھ‬ ‫ان‬‘‫تھک‬ ‫ان‬‘‫جان‬ ‫ان‬‘‫حد‬ ‫ان‬‘‫وغیرہ‬ ‫گنت‬ ‫ان‬
‫عام‬ ‫لیے‬ ‫کے‬ ‫تفہیم‬ ‫کی‬ ‫نہی‬ ‫سابقہ‬ ‫یہ‬ ‫بھی‬ ‫میں‬ ‫انگریزی‬
‫کا‬ ‫سابقے‬ ‫اس‬ ‫ہاں‬ ‫کے‬ ‫کیٹس‬ ‫جان‬ ‫ہے۔‬ ‫آتا‬ ‫میں‬ ‫استعمال‬
‫ہو۔‬ ‫مالحظہ‬ ‫استعمال‬
‫ان‬ -un
Thou still unravish'd bride of
quietness,
Heard melodies are sweet, but those
unheard
And, happy melodist, unwearied,
That I might drink, and leave the
world unseen,
Of unreflecting love;--then on the
shore
Heard melodies are sweet, but those
unheard
‫سے‬ ‫بڑھوتی‬ ‫کی‬ ‫الحقے‬ ‫ئی‬ ‫ساتھ‬ ‫کے‬ ‫ہا‬ ‫ہائی‬ ‫لفظ‬ ‫انگریزی‬

6. ‫کی‬ ‫پیدا‬ ‫آواز‬ ‫کی‬ ‫ای‬ ‫سے‬ ‫ایچ‬ ‫جی‬ ‫آواز‬ ‫مرکب‬ ‫پایا۔‬ ‫ترکیب‬
‫ہا‬ ‫بہرطور‬ ‫نہیں۔‬ ‫تکلم‬ ‫اسلوب‬ ‫اپنا‬ ‫کا‬ ‫انگریزی‬ ‫یہ‬ ‫ہے۔‬ ‫گئی‬
‫بھی‬ ‫میں‬ ‫اردو‬ ‫الحقہ‬ ‫کا‬ ‫ئی‬ ‫کہ‬ ‫جب‬ ‫ہے‬ ‫مترادف‬ ‫باال‬ ‫لیے‬ ‫کے‬
‫مثال‬ ‫ہے۔‬ ‫موجود‬
‫ہائی‬:‫باالئی‬
‫سالئی‬ ‫گائی‬ ‫پائی‬ ‫الئی‬ ‫کھائی‬ ‫مزید‬
‫ہو‬ ‫مالحظہ‬ ‫استعمال‬ ‫کا‬ ‫ہائی‬ ‫ہاں‬ ‫کے‬ ‫کیٹس‬ ‫جان‬
That leaves a heart high-sorrowful and
cloy'd,
‫مثال‬ ‫ہے۔‬ ‫آتا‬ ‫استمال‬ ‫لیے‬ ‫کے‬ ‫ترکیب‬ ‫کی‬ ‫فاعل‬ ‫کر‬ ‫الحقہ‬
‫کر‬:‫دنکر‬‘‫پربھاکر‬‘‫بھیانکر‬‘‫عطاکر‬‘‫جادوکر‬‘‫محاکاتکر‬
‫مستعمل‬ ‫بھی‬ ‫میں‬ ‫انگریزی‬ ‫لیے‬ ‫کے‬ ‫مقصد‬ ‫اسی‬ ‫الحقہ‬ ‫یہ‬
‫ہو۔‬ ‫مالحظہ‬ ‫استعمال‬ ‫کا‬ ‫الحقے‬ ‫اس‬ ‫ہاں‬ ‫کے‬ ‫کیٹس‬ ‫جان‬ ‫ہے۔‬
Bold Lover, never, never canst thou
kiss,
And sometimes like a gleaner
thou dost keep

7. ‫قطعی‬ ‫سے‬ ‫اردو‬ ‫چلن‬ ‫کا‬ ‫استعمال‬ ‫و‬ ‫ترکیب‬ ‫کی‬ ‫الحقے‬ ‫اس‬
‫نہیں۔‬ ‫مختلف‬
‫طور‬ ‫کھاتے‬ ‫میل‬ ‫سے‬ ‫مزاج‬ ‫و‬ ‫موڈ‬ ‫انسانی‬‘‫رویے‬ ‫اور‬ ‫انداز‬
‫لیے‬ ‫کے‬ ‫اظہار‬ ‫کے‬‘‫جیسے‬ ‫ہیں۔‬ ‫کرتے‬ ‫بڑھوتی‬ ‫کی‬ ‫سے‬
‫سے‬ ‫شفقت‬ ‫سے‬ ‫الفت‬‘‫سے‬ ‫غضب‬‘‫سے‬ ‫قہر‬‘‫سے‬ ‫محبت‬
‫مثال‬ ‫ہیں۔‬ ‫بڑھاتے‬ ‫بھی‬ ‫یہ‬ ‫الحقہ‬ ‫لیے‬ ‫کے‬ ‫اس‬
‫شوقیہ‬‘‫مذاقیہ‬‘‫ذوقیہ‬
‫لیے‬ ‫کے‬ ‫اس‬‘‫بہ‬ ‫جیسے‬ ‫ہے۔‬ ‫آتا‬ ‫میں‬ ‫استعمال‬ ‫بھی‬ ‫بہ‬ ‫سابقہ‬
‫حیثیت‬ ‫بہ‬ ‫قدر‬ ‫بہ‬ ‫مشکل‬
‫گھڑنے‬ ‫لفظ‬ ‫اردو‬ ‫ہیں۔‬ ‫کرتے‬ ‫پیوست‬ ‫الحقہ‬ ‫لی‬ ‫میں‬ ‫انگریزی‬
‫میں‬ ‫سننے‬ ‫ٹربالت‬ ‫لفظ‬ ‫جیسے‬ ‫رکھتی۔‬ ‫نہیں‬ ‫جواب‬ ‫اپنا‬ ‫میں‬
‫پائیں‬ ‫ترکیب‬ ‫یوں‬ ‫کچھ‬ ‫لفظ‬ ‫یہ‬ ‫سے‬ ‫بڑھانے‬ ‫الحقہ‬ ‫لی‬ ‫ہے۔‬ ‫آیا‬
‫گے۔‬
‫الفتلی‬ ‘ ‫شفقتلی‬‘‫غضبلی‬‘‫قہرلی‬‘‫محبتلی‬
‫نہیں۔‬ ‫تہی‬ ‫سے‬ ‫لی‬ ‫سابقہ‬ ‫اردو‬
‫جھولی‬‘‫کھولی‬‘‫سولی‬‘‫شرلی‬
‫بریلی‬‘‫حویلی‬
‫نحو‬ ‫معروف‬:‫اکیلی‬
‫نحو‬ ‫اصل‬:‫ایکلی‬
‫الحقہ‬ ‫ہاں‬ ‫کے‬ ‫کیٹس‬ ‫جان‬‫لی‬‫ہو‬ ‫مالحظہ‬ ‫استعمال‬ ‫کا‬:
A flowery tale more sweetly than

8. our rhyme:
‫ور‬ ‫طاقت‬ ‫مثال‬ ‫ہے۔‬ ‫الحقہ‬ ‫کا‬ ‫استعمال‬ ‫عام‬ ‫ور‬ ‫میں‬ ‫اردو‬‘‫دیدہ‬
‫ور‬-‫باور‬
‫جان‬ ‫میں‬ ‫مثال‬ ‫۔‬ ‫ہے‬ ‫مستعمل‬ ‫الحقہ‬ ‫یہ‬ ‫بھی‬ ‫میں‬ ‫انگریزی‬
‫ہو۔‬ ‫مالحظہ‬ ‫الئین‬ ‫یہ‬ ‫کی‬ ‫کیٹس‬
Never have relish in the faery power
‫اردو‬ ‫کا‬ ‫استعمال‬ ‫ساتھ‬ ‫ایک‬ ‫الحقہ‬ ‫اور‬ ‫سابقہ‬ ‫ساتھ‬ ‫کے‬ ‫لفظ‬
‫مثال‬ ‫ہے۔‬ ‫موجود‬ ‫چلن‬ ‫میں‬
‫ہمنوائی‬:‫ئی‬ ‫نوا‬ ‫ہم‬
‫بےوفائی‬:‫ئی‬ ‫وفا‬ ‫بے‬
‫روسیاہی‬:‫ی‬ ‫سیاہ‬ ‫رو‬‘‫ہی‬ ‫سیا‬ ‫رو‬
‫المتناہی‬:‫ی‬ ‫متناہ‬ ‫ال‬‘‫ہی‬ ‫متنا‬ ‫ال‬
‫یہ‬ ‫ہاں‬ ‫کے‬ ‫کیٹس‬ ‫جان‬ ‫ہے۔‬ ‫موجود‬ ‫میں‬ ‫انگریزی‬ ‫طور‬ ‫یہ‬
‫فرمائیں‬ ‫مالحظہ‬ ‫چلن‬:
No -yet still steadfast, still
unchangeable,
un change able,

9. ‫تشبیہ‬ ‫میں‬ ‫اردو‬‘‫حامل‬ ‫کی‬ ‫حیثیت‬ ‫نمایاں‬ ‫میں‬ ‫شعر‬ ‫حسن‬
‫شے‬ ‫کسی‬ ‫ہے۔‬‘‫جگہ‬‘‫اور‬ ‫اجاگر‬ ‫کو‬ ‫معاملے‬ ‫اور‬ ‫شخص‬
‫میں‬ ‫کرنے‬ ‫نمایاں‬‘‫انگریزی‬ ‫ہے۔‬ ‫کرتی‬ ‫ادا‬ ‫کردار‬ ‫اہم‬ ‫بڑا‬
‫ملتا‬ ‫استعمال‬ ‫سے‬ ‫طور‬ ‫اور‬ ‫غرض‬ ‫اسی‬ ‫کا‬ ‫اس‬ ‫میں‬ ‫شاعری‬
‫سا‬ ‫کا‬ ‫میں‬ ‫تشبیہ‬ ‫حرف‬ ‫ہے۔‬‘‫جیسا‬‘‫لیے‬ ‫کے‬ ‫طرح‬ ‫کی‬ like
‫شعر‬ ‫حسن‬ ‫اس‬ ‫بھی‬ ‫نے‬ ‫کیٹس‬ ‫جان‬ ‫ہے۔‬ ‫آتا‬ ‫میں‬ ‫استعمال‬
‫سے‬‘‫مالحظہ‬ ‫مثالیں‬ ‫چند‬ ‫میں‬ ‫ذیل‬ ‫اس‬ ‫ہے۔‬ ‫لیا‬ ‫کام‬ ‫باکثرت‬
‫فرمائیں۔‬
Forlorn! the very word is like a bell
Like Nature's patient sleepless
Eremite,
Hold like rich garners the full
ripen'd grain;
‫شعرا‬ ‫اردو‬ ‫ہے۔‬ ‫خدمت‬ ‫بڑی‬ ‫بہت‬ ‫کی‬ ‫زبان‬ ‫تشکیل‬ ‫کی‬ ‫مرکبات‬
‫انگریزی‬ ‫ہیں۔‬ ‫پائے‬ ‫ترکیب‬ ‫مرکبات‬ ‫کے‬ ‫طرح‬ ‫کئی‬ ‫ہاں‬ ‫کے‬
‫شاعری‬ ‫کی‬ ‫کیٹس‬ ‫جان‬ ‫ہے۔‬ ‫ملتا‬ ‫عام‬ ‫چلن‬ ‫یہ‬ ‫میں‬ ‫شاعری‬
‫ہوں۔‬ ‫مالحظہ‬ ‫مثالیں‬ ‫چند‬ ‫سے‬

10. Not to the sensual ear, but, more
endear'd,
Fair youth, beneath the trees, thou
canst not leave
To what green altar, O mysterious
priest,
Or mountain-built with peaceful
citadel,
Is emptied of this folk, this pious
morn?
O Attic shape! Fair attitude! with
brede
Of marble men and maidens
overwrought,
With forest branches and the
trodden weed;

11. Thou, silent form, dost tease us out
of thought
And haply the Queen-Moon is on
her throne,
Where beauty cannot keep her
lustrous eyes
A flowery tale more sweetly than our
rhyme
And when I feel, fair creature of an
hour,
‫عام‬ ‫میں‬ ‫اردو‬ ‫کا‬ ‫بنانے‬ ‫لفظ‬ ‫کر‬ ‫مال‬ ‫کو‬ ‫لفظوں‬ ‫مرتبہ‬ ‫ہم‬ ‫دو‬
‫مثال‬ ‫ہے۔‬ ‫ملتا‬ ‫رجحان‬
‫بزدل‬‘‫عینک‬
‫رجحان‬ ‫یہ‬ ‫میں‬ ‫اس‬ ‫نہیں۔‬ ‫تر‬ ‫الگ‬ ‫سے‬ ‫رجحان‬ ‫اس‬ ‫انگریزی‬
‫کی‬ ‫اس‬ ‫ہاں‬ ‫کے‬ ‫کیٹس‬ ‫جان‬ ‫ہے۔‬ ‫ملتا‬ ‫پر‬ ‫سطع‬ ‫عمومی‬
‫ہوں۔‬ ‫مالحظہ‬ ‫مثالیں‬

12. And, little town, thy streets for
evermore
When I behold, upon the night's
starr'd face,
‫ہی‬ ‫پہلے‬
Already with thee! tender is the
night,
And leaden-eyed despairs;
The grass, the thicket, and the
fruit-tree wild;
‫میں‬ ‫مہارت‬ ‫جو‬ ‫ہے‬ ‫ہوتا‬ ‫تکیہءکالم‬ ‫ناکوئی‬ ‫کوئی‬ ‫کا‬ ‫زبان‬ ‫اہل‬
‫یہ‬ ‫بھی‬ ‫میں‬ ‫اردو‬ ‫ہے۔‬ ‫لیتا‬ ‫کر‬ ‫اختیار‬ ‫شکل‬ ‫کی‬ ‫روزمرہ‬ ‫کر‬ ‫آ‬
‫تکیہءکالم‬ ‫اجتماعی‬ ‫اور‬ ‫شخصی‬ ‫ہے۔‬ ‫موجود‬ ‫حال‬ ‫صورت‬
‫مثال‬ ‫ہیں۔‬ ‫موجود‬ ‫صورتیں‬ ‫کی‬
‫ہوں‬ ‫رہی‬ ‫کہہ‬ ‫سے‬ ‫گھنٹے‬‘‫منٹ‬ ‫دو‬‫جاؤ۔‬ ‫ٹھہر‬
‫یار‬‫منٹ‬ ‫دو‬‫رکو۔‬

13. ‫ہے۔‬ ‫کو‬ ‫جانے‬ ‫بجلی‬ ‫مار‬ ‫منٹ‬
‫تھا‬ ‫ہی‬ ‫یہاں‬‫منٹ‬ ‫دو‬‫ہے‬ ‫گیا‬ ‫کر‬ ‫اٹھ‬ ‫پہلے‬
‫گیا۔‬ ‫آ‬ ‫مزا‬ ‫آہا‬
‫جان‬ ‫میں‬ ‫ذیل‬ ‫اس‬ ‫ہیں۔‬ ‫موجود‬ ‫دونوں‬ ‫یہ‬ ‫میں‬ ‫انگریزی‬
‫ہوں۔‬ ‫مالحظہ‬ ‫الئنیں‬ ‫یہ‬ ‫کی‬ ‫کیٹس‬
One minute past, and Lethe-wards
had sunk:
Ah, happy, happy boughs! that
cannot shed
‫استعمال‬ ‫کا‬ ‫الفاظ‬ ‫متعلق‬ ‫اور‬ ‫نشر‬ ‫و‬ ‫لف‬ ‫صنعت‬‘‫شاعری‬ ‫اردو‬
‫حسن‬ ‫صوتی‬ ‫جہاں‬ ‫سے‬ ‫اس‬ ‫ہے۔‬ ‫حامل‬ ‫کا‬ ‫اہمیت‬ ‫بڑی‬ ‫میں‬
‫ہے‬ ‫ہوتا‬ ‫اضافہ‬ ‫میں‬‘‫یہ‬ ‫ہے۔‬ ‫ملتی‬ ‫جال‬ ‫بھی‬ ‫کو‬ ‫فکر‬ ‫وہاں‬
‫جان‬ ‫ہے۔‬ ‫ملتی‬ ‫کو‬ ‫پڑھنے‬ ‫بھی‬ ‫میں‬ ‫شاعری‬ ‫انگریزی‬ ‫صنعت‬
‫فرمائیں۔‬ ‫مالحظہ‬ ‫الئنیں‬ ‫یہ‬ ‫کی‬ ‫کیٹس‬
In ancient days by emperor and
clown

14. What little town by river or sea
shore,
‫لفظی‬ ‫تکرار‬‘‫ہے‬ ‫بنتی‬ ‫سبب‬ ‫کا‬ ‫موسیقیت‬ ‫اور‬ ‫آہنگ‬ ‫جہاں‬‘
‫میں‬ ‫اردو‬ ‫ہے۔‬ ‫بنتی‬ ‫موجب‬ ‫بھی‬ ‫کا‬ ‫بالیدگی‬ ‫فکری‬ ‫وہاں‬‘‫اس‬
‫یہ‬ ‫بھی‬ ‫میں‬ ‫انگریزی‬ ‫ہے۔‬ ‫ملتا‬ ‫استعمال‬ ‫عام‬ ‫کا‬ ‫صنعت‬
‫سطور‬ ‫یہ‬ ‫کی‬ ‫کیٹس‬ ‫جان‬ ‫ہوئی۔‬ ‫نہیں‬ ‫انداز‬ ‫نظر‬ ‫صنعت‬
‫ہوں۔‬ ‫مالحظہ‬
Still, still to hear her tender-taken
breath,
"Beauty is truth, truth
beauty,--that is all
For ever piping songs for ever new;
Of deities or mortals, or of both,
Away! away! for I will fly to thee,
‫ہے۔‬ ‫رکھتی‬ ‫درجہ‬ ‫کا‬ ‫شعر‬ ‫حسن‬ ‫تضاد‬ ‫صنعت‬ ‫میں‬ ‫اردو‬

15. ‫ساتھ‬ ‫ساتھ‬ ‫کے‬ ‫کرنے‬ ‫واضح‬ ‫صورت‬ ‫تقابلی‬‘‫معنویت‬ ‫کی‬ ‫ان‬
‫کا‬ ‫صنعت‬ ‫اس‬ ‫بھی‬ ‫میں‬ ‫انگریزی‬ ‫ہے۔‬ ‫کرتی‬ ‫نمایاں‬ ‫بھی‬
‫ہاں‬ ‫کے‬ ‫کیٹس‬ ‫جان‬ ‫ہے۔‬ ‫ملتا‬ ‫استعمال‬‘‫بڑا‬ ‫استعمال‬ ‫کا‬ ‫اس‬
‫لیجیے۔‬ ‫لطف‬ ‫اور‬ ‫پڑھیے‬ ‫الئنیں‬ ‫یہ‬ ‫ہے۔‬ ‫بےتکلفانہ‬ ‫ہی‬
What men or gods are these? What
maidens loth?
A flowery tale more sweetly than
our rhyme:
‫فن‬ ‫کمال‬ ‫استعمال‬ ‫میں‬ ‫شاعری‬ ‫اردو‬ ‫کا‬ ‫لفظوں‬ ‫صوت‬ ‫ہم‬
‫ہے۔‬ ‫موجود‬ ‫بھی‬ ‫میں‬ ‫انگریزی‬ ‫چلن‬ ‫یہ‬ ‫ہے۔‬ ‫جاتا‬ ‫سمجھا‬
‫ہوں۔‬ ‫مالحظہ‬ ‫الئنیں‬ ‫یہ‬ ‫کی‬ ‫کیٹس‬ ‫جان‬
Bold Lover, never, never canst thou
kiss,
A burning forehead, and a
parching tongue.

16. ‫اصطالحیں‬ ‫انگریزی‬ ‫بعض‬‘‫مطابق‬ ‫کے‬ ‫مزاج‬ ‫کے‬ ‫اردو‬ ‫میں‬ ‫اردو‬
‫سلکی‬ ‫مثال‬ ‫ہیں۔‬ ‫مستعمل‬
‫فرمائیں‬ ‫مالحظہ‬ ‫ہاں‬ ‫کے‬ ‫کیٹس‬ ‫جان‬ ‫ہی‬ ‫یہ‬ ‫اب‬
And all her silken flanks with garlands
drest?
‫مثال‬ ‫ہیں۔‬ ‫رائج‬ ‫میں‬ ‫اردو‬ ‫لفظ‬ ‫کئی‬ ‫ایسے‬ ‫نہیں‬ ‫طور‬ ‫نیا‬ ‫کوئی‬ ‫سلکی‬
‫نلکی‬‘‫پھلکی‬ ‫ہلکی‬
‫میں‬ ‫اشعار‬ ‫اپنے‬ ‫شعرا‬ ‫اردو‬‘‫استعمال‬ ‫الفاظ‬ ‫کے‬ ‫معنوں‬ ‫قریب‬ ‫قریب‬
‫کرکے‬‘‫شاعری‬ ‫انگریزی‬ ‫ہیں۔‬ ‫کرتے‬ ‫پیدا‬ ‫بالغت‬ ‫و‬ ‫فصاحت‬ ‫میں‬ ‫کالم‬
‫میں‬ ‫دامن‬ ‫کے‬‘‫کی‬ ‫کیٹس‬ ‫جان‬ ‫میں‬ ‫ذیل‬ ‫اس‬ ‫ہے۔‬ ‫موجود‬ ‫طور‬ ‫یہ‬ ‫کا‬ ‫اردو‬
‫ہو۔‬ ‫مالحظہ‬ ‫الئین‬ ‫یہ‬
Through the sad heart of Ruth, when, sick for
home,
‫موجود‬ ‫الحقے‬ ‫کے‬ ‫قریب‬ ‫قریب‬ ‫لیے‬ ‫کے‬ ‫بنانے‬ ‫جمع‬ ‫میں‬ ‫زبانوں‬ ‫دونوں‬
‫مثال‬ ‫ہیں۔‬
‫یں‬:‫حوریں‬‘‫کاریں‬
‫ین‬:‫مورخین‬‘‫مفکرین‬‘‫قارین‬
‫ہو‬ ‫مالحظہ‬ ‫جمع‬ ‫کی‬ ‫طور‬ ‫اس‬ ‫ہاں‬ ‫کے‬ ‫کیٹس‬ ‫جان‬
Sylvan historian, who canst thus express

17. ‫مثال‬ ‫ہیں۔‬ ‫گیے‬ ‫ہو‬ ‫مستعمل‬ ‫میں‬ ‫اردو‬ ‫الفاظ‬ ‫انگریزی‬ ‫بےشمار‬
slow, time, god, pipe, ditties, song, Lover, kiss,
happy, love, green, age, pains,need, high
pen, hand, chance, high
October 31st 1795 to 23rd of February 1821
Ode On A Grecian Urn
Thou still unravish'd bride of quietness,
Thou foster-child of silence and slow time,
Sylvan historian, who canst thus express
A flowery tale more sweetly than our rhyme:
What leaf-fring'd legend haunts about thy shape
Of deities or mortals, or of both,
In Tempe or the dales of Arcady?
What men or gods are these? What maidens
loth?
What mad pursuit? What struggle to escape?
What pipes and timbrels? What wild ecstasy?

18. Heard melodies are sweet, but those unheard
Are sweeter; therefore, ye soft pipes, play on;
Not to the sensual ear, but, more endear'd,
Pipe to the spirit ditties of no tone:
Fair youth, beneath the trees, thou canst not
leave
Thy song, nor ever can those trees be bare;
Bold Lover, never, never canst thou kiss,
Though winning near the goal yet, do not grieve;
She cannot fade, though thou hast not thy bliss,
For ever wilt thou love, and she be fair!
Ah, happy, happy boughs! that cannot shed
Your leaves, nor ever bid the Spring adieu;
And, happy melodist, unwearied,
For ever piping songs for ever new;
More happy love! more happy, happy love!
For ever warm and still to be enjoy'd,
For ever panting, and for ever young;
All breathing human passion far above,
That leaves a heart high-sorrowful and cloy'd,
A burning forehead, and a parching tongue.
Who are these coming to the sacrifice?
To what green altar, O mysterious priest,
Lead'st thou that heifer lowing at the skies,
And all her silken flanks with garlands drest?
What little town by river or sea shore,

19. Or mountain-built with peaceful citadel,
Is emptied of this folk, this pious morn?
And, little town, thy streets for evermore
Will silent be; and not a soul to tell
Why thou art desolate, can e'er return.
O Attic shape! Fair attitude! with brede
Of marble men and maidens overwrought,
With forest branches and the trodden weed;
Thou, silent form, dost tease us out of thought
As doth eternity: Cold Pastoral!
When old age shall this generation waste,
Thou shalt remain, in midst of other woe
Than ours, a friend to man, to whom thou say'st,
"Beauty is truth, truth beauty,--that is all
Ye know on earth, and all ye need to know."
Ode To A Nightingale
My heart aches, and a drowsy numbness pains
My sense, as though of hemlock I had drunk,
Or emptied some dull opiate to the drains
One minute past, and Lethe-wards had sunk:
'Tis not through envy of thy happy lot,

20. But being too happy in thy happiness,---
That thou, light-winged Dryad of the trees,
In some melodious plot
Of beechen green, and shadows numberless,
Singest of summer in full-throated ease.
O for a draught of vintage, that hath been
Cooled a long age in the deep-delved earth,
Tasting of Flora and the country green,
Dance, and Provencal song, and sun-burnt
mirth!
O for a beaker full of the warm South,
Full of the true, the blushful Hippocrene,
With beaded bubbles winking at the brim,
And purple-stained mouth;
That I might drink, and leave the world unseen,
And with thee fade away into the forest dim:
Fade far away, dissolve, and quite forget
What thou among the leaves hast never known,
The weariness, the fever, and the fret
Here, where men sit and hear each other groan;
Where palsy shakes a few, sad, last gray hairs,
Where youth grows pale, and spectre-thin, and
dies;
Where but to think is to be full of sorrow
And leaden-eyed despairs;
Where beauty cannot keep her lustrous eyes,

21. Or new love pine at them beyond tomorrow.
Away! away! for I will fly to thee,
Not charioted by Bacchus and his pards,
But on the viewless wings of Poesy,
Though the dull brain perplexes and retards:
Already with thee! tender is the night,
And haply the Queen-Moon is on her throne,
Clustered around by all her starry fays;
But here there is no light,
Save what from heaven is with the breezes
blown
Through verdurous glooms and winding mossy
ways.
I cannot see what flowers are at my feet,
Nor what soft incense hangs upon the boughs,
But, in embalmed darkness, guess each sweet
Wherewith the seasonable month endows
The grass, the thicket, and the fruit-tree wild;
White hawthorn, and the pastoral eglantine;
Fast-fading violets covered up in leaves;
And mid-May's eldest child,
The coming musk-rose, full of dewy wine,
The murmurous haunt of flies on summer eves.
Darkling I listen; and for many a time
I have been half in love with easeful Death,

22. Called him soft names in many a mused rhyme,
To take into the air my quiet breath;
Now more than ever seems it rich to die,
To cease upon the midnight with no pain,
While thou art pouring forth thy soul abroad
In such an ecstasy!
Still wouldst thou sing, and I have ears in vain---
To thy high requiem become a sod
Thou wast not born for death, immortal Bird!
No hungry generations tread thee down;
The voice I hear this passing night was heard
In ancient days by emperor and clown:
Perhaps the self-same song that found a path
Through the sad heart of Ruth, when, sick for
home,
She stood in tears amid the alien corn;
The same that oft-times hath
Charmed magic casements, opening on the foam
Of perilous seas, in faery lands forlorn.
Forlorn! the very word is like a bell
To toll me back from thee to my sole self!
Adieu! the fancy cannot cheat so well
As she is famed to do, deceiving elf.
Adieu! adieu! thy plaintive anthem fades
Past the near meadows, over the still stream,
Up the hill-side; and now 'tis buried deep

23. In the next valley-glades:
Was it a vision, or a waking dream?
Fled is that music:---do I wake or sleep?
Ode To Autumn
1.
Season of mists and mellow fruitfulness,
Close bosom-friend of the maturing sun;
Conspiring with him how to load and bless
With fruit the vines that round the
thatch-eves run;
To bend with apples the moss'd
cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the
hazel shells
With a sweet kernel; to set budding
more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o'er-brimm'd their
clammy cells.
2.
Who hath not seen thee oft amid thy store?

24. Sometimes whoever seeks abroad may
find
Thee sitting careless on a granary floor,
Thy hair soft-lifted by the winnowing wind;
Or on a half-reap'd furrow sound asleep,
Drows'd with the fume of poppies, while
thy hook
Spares the next swath and all its
twined flowers:
And sometimes like a gleaner thou dost keep
Steady thy laden head across a brook;
Or by a cyder-press, with patient look,
Thou watchest the last oozings hours
by hours.
3.
Where are the songs of Spring? Ay, where are
they?
Think not of them, thou hast thy music
too,—
While barred clouds bloom the soft-dying day,
And touch the stubble-plains with rosy
hue;
Then in a wailful choir the small gnats mourn
Among the river sallows, borne aloft
Or sinking as the light wind lives or
dies;
And full-grown lambs loud bleat from hilly

25. bourn;
Hedge-crickets sing; and now with treble
soft
The red-breast whistles from a
garden-croft;
And gathering swallows twitter in the
skies.
His Last Sonnet
Bright star, would I were steadfast as thou art! -
Not in lone splendour hung aloft the night,
And watching, with eternal lids apart,
Like Nature's patient sleepless Eremite,
The moving waters at their priestlike task
Of pure ablution round earth's human shores,
Or gazing on the new soft fallen mask
Of snow upon the mountains and the moors -
No -yet still steadfast, still unchangeable,
Pillowed upon my fair love's ripening breast,
To feel for ever its soft fall and swell,
Awake for ever in a sweet unrest,
Still, still to hear her tender-taken breath,
And so live ever -or else swoon to death.

26. When I Have Fears
When I have fears that I may cease to be
Before my pen has glean'd my teeming brain,
Before high-piled books, in charactery,
Hold like rich garners the full ripen'd grain;
When I behold, upon the night's starr'd face,
Huge cloudy symbols of a high romance,
And think that I may never live to trace
Their shadows, with the magic hand of chance;
And when I feel, fair creature of an hour,
That I shall never look upon thee more,
Never have relish in the faery power
Of unreflecting love;--then on the shore
Of the wide world I stand alone, and think
Till love and fame to nothingness do sink.