The Gujral Committee Report - Language in India

Urdu held sway even after the breakup of the Deccani Kingdom in the year 1687. In fact, Aurangzeb's long stay in the South with his retinue and large concentrations of armed forces drawn from heterogeneous outsiders served to augment the process of 2.34
growth of a common language. We meet a galaxy of poets composing in all the popular forms-ghazal qaside, marsia and masnavi. Prose also prospered. the
The contribution of the Deccani poets and writers in giving deeper local colour and 2.35
to Urdu poetry is outstanding. The longer poems written in Golcunda and Bijapur are soaked in Indian imagery and the ghazal also breathes a fresher air with the extension of its frontiers to accommodate new Indian images and symbols. Love and content
acquire new meaning as the ghazal seems to endow Physical beauty with divine charm. The strain runs through the entire period right up to "Vali" until lie yields partly to the temptation of the Persian tradition under the advice of Shah Sa'dullah "Gullshan". beauty
What saved the later Urdu ghazal from sheer imitation of the Iranian themes was the emergence of India as an important centre of Persian and the revival of sabk-e- Hindi of Khusrau's time. We have talked of the influence of Braj literary tradition earlier. 2.36
was not restricted to the nascent Dehlavi, Hindi, Hindavi or Urdu. Even the firmly established Persian bad not remained immune to its influence. It
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frequent use of figures of speech elaboration of style and imaginative exaggeration common to the languages of the Sanskrit family was fairly widespread in the Persian that was written at that time from India to Iran. To the awed literary critics in Iran today The
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The Gujral Committee Report
this special style of Persian appears unfamiliar enough to justify the title of sabk-e-Hindi but at that period of time it was in vogue. What Urdu borrowed from Persian was actually its Indian style. Frequent recourse to figures of speech like Iham Tainis, and other forms of rhetorics sound unmistakably like, an echo of Braj Bhasha. Mohammad Hussain "Azad" was probably referring only to these trends when he concluded that
on Urdu