مولانا محمد ناظم ندوی
اخباروں سے یہ افسوس ناک خبر ملی کہ ماہ جون ۲۰۰۰ء مین مشہور عالم اور عربی زبان و ادب کے قابل ادیب و شاعر جناب مولانا محمد ناظم ندوی کا پاکستان میں انتقال ہوگیا۔ اِنا ﷲ وَاِنا اِلیہ رَاجِعونْ۔
وہ دارالعلوم ندوۃ العلماء کے اس روشن دور کی آخری نشانی تھے جو حضرت مولانا سید سلمان ندوی کی سرپرستی اور مولانا حیدر حسن خاں ٹونکی اور علامہ تقی الدین ہلالی مراکشی کی تربیت و محنت سے سب سے زیادہ فیضیاب ہوا، گزشتہ صدی کی تیسری، چوتھی دہائی میں مولانا مسعود عالم ندوی، مولانا سید ابوالحسن علی ندوی، مولانا عبدالسلام قدوائی ندوی، مولانا ابواللیث اصلاحی ندوی، مولانا محمد عمران خاں ندوی اور مولانا محمد اویس ندوی رحمہم اﷲ جیسے سیارگان علم و فضل ایک ہی وقت میں برج سلیمانی میں جمع ہوگئے تھے، مولانا محمد ناظم ندوی بھی اس مجموعہ نجوم کے تابناک ستارے تھے۔ انہوں نے خاص طور پر علامہ ہلالی مراکشی سے استفادہ کیا۔ اس باب میں وہ مولانا مسعود عالم ندوی اور مولانا سید ابوالحسن ندوی کے بعد ثالث ثلثہ ہوئے۔
بہار کا مردم خیز خطہ مونگیر ان کا وطن تھا، گھر اور پٹنہ کے مدرسہ شمس الہدیٰ میں تعلیم حاصل کرنے کے بعد وہ انیس بیس سال کی عمر میں دارالعلوم ندوہ میں اعلیٰ تعلیم کے لئے داخل ہوئے، فراغت حاصل کرنے کے بعد وہ ڈابھیل کی اس درس گاہ میں درس و تدریس کے لئے منتخب کئے گئے جو اس وقت مولانا شبیر احمد عثمانی اور مولانا محمد یوسف بنوری جیسے جلیل القدر علماء کی موجودگی سے مرکز نگاہ بنی ہوئی تھی، کئی سال گزارنے کے بعد وہ حضرت سید صاحب کی خواہش پر ندوہ میں عربی زبان و ادب کے استاد کی حیثیت سے واپس تشریف لائے اور تقسیم ہند تک یہیں رہے، پاکستان بنا تو انہوں نے...
Paper currency has remained controversial since its advent, until the majority of the modern scholars agreed that paper currency is just like gold and silver, and all the rules and provisions regarding the/of homogeneous and heterogeneous exchange of gold and silver are applicable to paper currency. This viewpoint is widely adopted by prominent modern-day international academies of Islamic Jurisprudence and the same has been preferred by the majority of contemporary scholars in their books, dissertations and scholarly articles. On the contrary, there is a different opinion of majority of the scholars in Indian sub-continent. The reason behind this was that the viewpoint of Ḥanafi school of thought about legal effective cause (᾽illat) of Ribā i.e. Weight is not found in paper currency, so the rules of Ṣarf (Exchange of gold and silver) are inapplicable. So, they opined that paper currency is like Fulūs (metal coins). Furthermore, to stop all the possible ways resulting to/in Ribā according to this opinion, they preferred the viewpoint of Imam Muhammad (R.A) regarding the metal coins and set some precautionary measures. However, the said standpoint has not been deliberated and contested in the contemporary jurisprudential research work as it deserved. This research aims to evaluate this viewpoint in detail, clarifying its roots and evidences while revealing its implications and comparing it with the view adopted by the majority of the contemporary scholars.
Stylistic Devices in Sylvia Plath: A Textual Analysis of 'The Bell Jar' and Selected Poems This research is being conducted to investigate stylistic devices utilized to construct Sylvia Plath’s novel ‘The Bell Jar’ and selective poems from her early and later poetry. The researcher has mainly focused upon the textual analysis of her works. Sylvia Plath holds prominent stance as a post war American Poetess, her works are termed as confessional and slightly auto biographical, comprehensive details of her life are discussed in Chapter 1. Plath’s energy as a writer lies in her personal life experiences, most of her work is autobiographical therefore we are bound to review her personal life to analyze her works. She invested a lot of her energy into writing poetry but her only novel ‘The Bell Jar’ is a poignant prototype of a young women gradually seeping into the realm of mental breakdown. The whole book undergoes symbolism and cynicism in its many layers to unveil the harsh reality of depression and realization of social inequality. Sylvia Plath’s style of writing (in ‘The Bell Jar’) is very simplistic and easy to understand, but is also full of radiant detail..............Sylvia Plath has a pure voice that rings. She is witty. Her words have punch. She paces words well and she uses words well, precisely. A tale of a sane woman in an insane world, or is it anyway a great tale narrated with vivid imagery. The dark humor of the text is a counter to melancholy of the main character. (69:71) This simplistic style is transformed into complicated symbols and metaphors in her poetry. Sylvia Plath is a poet of decadence, death, misery, war, hunger, pain, suffering, angst, anger; passion, animism, and intense scorn are the key images of her works. Her style is also influenced by traditionalists. Her style is narrative and it usually has a first, second or third person narrators. Images of Death and Life for her poems are frequently inculcated in her works. Plath constantly uses metaphors or witty symbols for representation of her ideas. Plath’s works are marred with pessimism, deception, degradation and feministic retaliation towards the unjust hegemony of patriarchic society. Her work presents suffering and sickness for example ‘Cut’, ‘Fever 103 ̊’, ‘Plaster’ and ‘Tulips’. Even in the novel Esther is psychologically disturbed person on the verge of a breakdown, she even struggles to spend a normal healthy life. Though Plath’s works are termed as subjective projections of her own troubled neurotic self, still, her work holds universality of human emotions a feeling experienced by the oppressed classes or gender. The researcher concluded that “The Bell Jar” is a ground basis for her poetry there are many poems which bears references from the novel they will be mentioned in this paper.