روايات سيرت كى تحقيق كا حديثى معيار

Seerah is a separate Islamic science from Hadith as their primary sources are different. Although there are some extents where there is over laying between them, but traditionally Seerah has different principles as compared to Hadith. The Scholars of Hadith were very strict in applying their rules whereas the scholars of Seerah were more flexible. The reason is, when academics were dealing with Ahadiths and deducingdivine rulings, they wanted to make sure they were founding the rulings on Ahadiths that were authentic and sound. So that is why they applied very stringent rules to accept Ahadith. However, when it came to Seerah, they were more flexible in their rules, because they study this as history of The Prophet PBUH which does not touch the Sharia rulings. So, we find that writers of Seerah would accept narrations, they would not usually accept if they were dealing with Ahadith. This practice with Seerah narrations was followed by our early scholars. But recently, there is a new movement among some of our researchers that they wanted to apply the rules of Ahadith on Seerah. We do not agree this approach and in this article, we have had a humble effort to compile a set of rules for acceptance of Seerah narrations.

پاکستانی اردوغزل کی تنقید کا ارتقاء

“Ghazal”is evergreen genere of Urdu literature. With the passage of time, it has gone through changes in its subjects, and structure. Because of these changes, not only variety of Urdu Ghazal was amplified, but also there was an addition in the critical treasure of Ghazal. After the Partition, Urdu Ghazal in Pakistan has also got gradually distinctiveness in its thematic approach, topical variation and artistic characteristics. Today where “Pakistani Ghazal” has got a solitary identity, the critics on it has become most comprehensive, accurate, modern and most helpful in its consideration and explanation. The criticism of Urdu Ghazal not only focused the changes coming in the language and expression, methods and rhythm of Urdu Ghazal but also harmonized itself with the changes. This research is an effort to know and evaluate the trends in critiquing “Urdu Ghazal of Pakistan” and the nature and quality of its development. This study will be helpful not only in knowing the characteristics, trends and inclination of Urdu Ghazal of Pakistan but also will support in consideration of periodical changes in trends and views of critical analysis of Pakistani Urdu Ghazal and identifying the nature, pace and direction of its future journey. The following kinds of materials have been considered fundamental, to cover up the authentic sources and materials: 1. The critical books containing discussions, as a whole, on Pakistani Urdu Ghazal. 2. Constant Critical Books on Urdu Ghazal/Ghazal poets. 3. General reviews which contain references of Pakistani Urdu Ghazal. 4. Articles containing analytical discussions of Pakistani Urdu Ghazal. 5. Articles consisting of comprehensive evaluation on Pakistani Urdu Ghazal. 6. Critical Books containing any article written on Pakistani Ghazal or any Pakistani Ghazal poet. 7. Compiled Books, Prefaces and Flaps on the collection of Ghazal of renowned poets. 8. Important analytical articles on Pakistani Ghazal or Ghazal poet. 9. The special volumes of journals and magazines on Ghazal poet or Ghazal. 10. Published or unpublished degree thesis. In making a comprehensive study, chapters have been presented as under: Chapter one is consisted of the discussion on the critical culture of Urdu Ghazal and basic points in which the initial stages of critic on Ghazal and prominent features are included. The second chapter presents an analysis of the different trends of critics on Pakistani Urdu Ghazal from 1947 to 1960. The third chapter presents a review of the trends of critic on Ghazal in the critical books and famous journals and publications which are written in respect of movements of lingual development in 1960’sand 1970’s. The fourth chapter is consisted on the analysis of critics on Ghazal and different trends in 1980’s and 1990’s. The fifth chapter presents an analysis of the critics of Ghazal from 2000 till now in respect of an established Pakistani consciousness. The sixth chapter presents a collective analysis of critics of Ghazal in the light of the initial and evolutionary trends and modern critical views and discussions of Pakistani Urdu Ghazal, and there are some recommendations and suggestions as well.