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ASSIGNMENTPAKISTAN STUDIES

MAY15, 2010

SUBMITTED TO: SIR QAMAR ABBAS

SUBMITTED BY: ANUM AMIN SHAH

F09B019 MADIHA SULTAN F09B018 AQSA GILLANI F09B048

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Contents

1.Introduction…………………………………………………………………………………………..2

2. History………………………………………………………………………………..……………….3

3.Association with the Sikhs.....................................................................4

4.Modern Punjabi.....................................................................................5

5.Characteristics of the Modern Punjabi Language:................................5

6.Modern Punjabi Language and Dialects................................................5

7.Punjabi Language in Pakistan...............................................................6

8.India.......................................................................................................7

9.Punjabi Language in India.....................................................................8

10.The Punjabi Diaspora...........................................................................9

11.Major Punjabi dialects.........................................................................9

12.Classification by Ethnologue..............................................................12

13.Examples............................................................................................12

14.Phonology:.........................................................................................13

15.Writing system...................................................................................13

16.Punjabi in modern culture.................................................................13

17.Punjabi literature...............................................................................14

18.Early Punjabi literature (c. 11th-13th century).................................14

19.The Mughal and Sikh periods (c. 16th century - 1849).....................14

20.Modern Punjabi literature (c. 1860-1947).........................................15

21.Post-Independence literature (since 1947).......................................16

22.Pakistani Punjabi Literature………...….………………………………………...……...17

23.Diaspora Punjabi literature...............................................................17

24.Muslim Sufis And Punjabi Poets…………………………………...….………………….19

25. Hazrat Baba Farid-ud-din Masud Ganj-Shakkar………………………………….19

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26.Bulleh Shah: The Mystic Voice of Punjab………………………………………...... ..21

21..................................................................................بلھیا کی جاناں میں کون

27.Waris Shah's Heer Ranjha in Universities.........................................23

28.Punjabi Dictionaries:.........................................................................24

29.Refrences....................................................................................................25

PUNJABI LANGUAGE

Pakistan (Urdu: ِک�ستان has two official languages: Urdu, which is also the national language and (پاPakistan's lingua franca, and English. Additionally, Pakistan has four major provincial languages: Punjabi, Pashto, Sindhi and Balochi, as well as two major regional languages: Saraiki and Kashmiri. Most of the languages of Pakistan belong to the Indo-Iranian branch of the Indo-European language family.

INTRODUCTION:

Meaning:

Punjabi is considered to be an ancient language. The name “Punjabi” comes from the region it is spoken in “The Punjab”. [1] The word Punjab means five rivers, the land of five rivers. Punjab had a different ancient name but during to the Mughul rule, the rulers who spoke mostly Persian gave the region this name. Punjab is actually a combination of two Persian words, “Punj” meaning five and “ab” (Pronounced Aab) meaning water.

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Punjabi is fusion and tonal language. Tonal being that it distinguishes words by the tones and fusion, because of its tendency to fuse morphemes (a morpheme is the smallest linguistic unit that has semantic meaning). It is from the Indo-Aryan group of languages, which is the sub group of Indo-Iranian and Indo-European group of languages. Punjabi (also Panjabi) in Shahmukhi, is an Indo-Aryan language spoken by the Punjabi people in India, Pakistan and other parts of the world.

It is an Indo-European language within the smaller Indo-Iranian subfamily. Unusually for an Indo-European language, Punjabi is tonal; the tones arose as a reinterpretation of different consonant series in terms of pitch. In terms of linguistic typology it is an inflecting language, and word order is Subject Object Verb

Punjabi Scripts:

Punjabi uses two different scripts, 1.Perso-Arabic Perso-Arabic is used by Muslims of Pakistan. The Perso-arabic script was also referred to as Shahmukhi. “Shahmukhi” means “from the mouth of the kings”. Shahmukhi relates to the Persian language used by the Muslim kings of India. This script is a slightly modified version of the Persian script. Perso-Arabic used in writing in Urdu, Pashto, Sindhi and Balochi languages.2.GurmukhiGurmukhi by the Sikhs of Eastern Punjab. “Gurmukhi” means “from the mouth of the Gurus” whereas the Gurmukhi script used by the Sikh Gurus is the descendent of the Brahmi script. Gurmukhi has also been adapted to written in Hindi, Khairboli, Sanskrit, etc.

Punjabi is spoken in both Eastern and Western Punjab, Jammu and Kashmir, the mountainous areas of Pakistan and India. Apart from this Punjabi is also spoken by immigrants who migrated to USA, Canada, U.K., Australia and Singapore. Almost a 100 million people worldwide speak different dialects of this language as their first language. The number of people who speak Punjabi as a second language is very small, but most people who speak Urdu or Hindi can understand most Punjabi dialects without too much effort.

Punjabi is the preferred language of the Sikh people and it is also the language of their religion. Punjabi as a language gained prominence in the 17th century when the first real Punjabi literary work started emerging.

According to the Ethnologue 2005 estimate, there are 88 million native speakers of the Punjabi language, which makes it approximately the 13th most widely spoken language in the world.

The Punjabi language, also spelled Panjabi, boasts a rich literary history that is still celebrated by the Punjabi-language community today.

Traditional oral poetry and Punjabi folklore has been passed down and transcribed for generations and remains a popular part of Punjabi folk culture. This rich cultural history, combined with the Punjab territory’s past of British colonialism, makes the development of the language an intriguing point of study.

HISTORY:

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Punjabi is an Indo-Aryan language like many other modern languages of South Asia. It is a descendant of Sauraseni Prakrit, which was the chief language of medieval northern India. Punjabi is considered to be an ancient language. The exact date when it started cannot be estimated but the ancestors of the Punjabis have been known to have inhabited the Indus Valley as far back as 2500 BC.

Punjabi emerged as an independent language in the 11th century from the Sauraseni Apabhramsa.Other early influences on Punjabi include Indo-Aryan and pre-Indo-Aryan languages.

The literary tradition in Punjabi started with Fariduddin Ganjshakar (Baba Farid) (1173–1266), many ancient Sufi mystics and later Guru Nanak Dev ji, the first Guru of Sikhism. The early Punjabi literature was principally spiritual in nature and has had a very rich oral tradition. The poetry written by Sufi saints has been the folklore of the Punjab and is still sung with great love in any part of Punjab.

Between 1600 and 1850, Muslim Sufi, Sikh and Hindu writers composed many works in Punjabi. The most famous Punjabi Sufi poet was Baba Bulleh Shah (1680–1757), wrote in the Kafi style. Bulleh Shah practiced the Sufi tradition of Punjabi poetry established by poets like Shah Hussain (1538–1599), Sultan Bahu (1629–1691). His lifespan also overlapped with the legendary Punjabi poet Waris Shah (1722–1798), of Heer Ranjha fame. Waris Shah's rendition of the tragic love story of Heer Ranjha is among the most popular medieval Punjabi works. Other popular tragic love stories are Sohni Mahiwal, Mirza Sahiba and Sassi Punnun. Shah Mohammad's Jangnama is another fine piece of poetry that gives an eye witness account of the First Anglo-Sikh War that took place after the death of Maharaja Ranjit Singh.

The linguist George Abraham Grierson in his multivolume Linguistic Survey of India (1904–1928) [2] used the word "Punjabi" to refer to several languages spoken in the Punjab region: the term "Western Punjabi" (ISO 639-3 pnb) covered dialects (now designated separate languages) spoken to the west of Montgomery and Gujranwala districts, while "Eastern Punjabi" referred to what is now simply called Punjabi (ISO 639-3 pan). After Saraiki, Pothohari and Hindko (earlier categorized as "Western Punjabi") got the status of separate languages, the percentage of Punjabi speakers in Pakistan decreased from 59% to 44%.

Association with the Sikhs

Punjabi is not the predominant language of the Sikh scriptures (which though in Gurmukhi script are written in several languages). A few portions of Guru Granth Sahib use the Punjabi dialects, but the book is interspersed with several other languages including Brajbhasha, Khariboli), Sanskrit and Persian. Guru Gobind Singh, the last Guru of the Sikhs composed Chandi di Var in Punjabi, although most of his works are composed in other languages like Braj bhasha and Persian.

However, in the 20th century, the Punjabi-speaking Sikhs started attaching importance to the Punjabi written in the Gurmukhi script as a symbol of their distinct identity. The Punjabi identity was affected by the communal sentiments in the 20th century. Bhai Vir Singh, a major figure in the movement for the revival of Punjabi literary tradition, started insisting that the Punjabi language was the exclusive preserve of the Sikhs. After the partition of India, the Punjab region was divided between Pakistan and India. Although the Punjabi people formed the 2nd biggest linguistic group in Pakistan after Bengali, Urdu was declared the national language of Pakistan, and Punjabi did not get any official

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status. The Indian Punjab, which then also included what are now Haryana and Himachal Pradesh, became Hindi-majority.

In the 1960s, the Shiromani Akali Dal proposed "Punjabi Suba", a state for Punjabi speakers in India. Paul R. Brass, the Professor Emeritus of Political Science and South Asian Studies at the University of Washington, opines that the Sikh leader Fateh Singh tactically stressed the linguistic basis of the demand, while downplaying the religious basis for the demand—a state where the distinct Sikh identity could be preserved. The movement for a Punjabi Suba led to trifurcation of Indian Punjab into three states: Punjab (India), Haryana and Himachal Pradesh.

Modern Punjabi

In India, Punjabi is one of the 22 languages with official status in India. It is the first official language of Punjab (India) and Union Territory State Chandigarh and the 2nd official language of Haryana, Himachal Pradesh and Delhi. In Pakistan, Punjabi is the provincial language of Punjab (Pakistan) the second largest and the most populous province of Pakistan. [3]

The famous Punjabi writers from Pakistan include:

Shareef Kunjahi Mir Tanha Yousafi Sanawar Chadhar Alam Lohar Abid Tamimi Anwar Masood Aatish Shaista Nuzhat Raja Muhammed Ahmed

The famous Indian Punjabi poets in modern times are:

Prof. Mohan Singh Amrita Pritam Balwant Gargi Shiv Kumar Batalvi Surjit Paatar

Characteristics of the Modern Punjabi Language:

Modern Punjabi is a very tonal language, making use of various tones to differentiate words that would otherwise be identical. Three primary tones can be identified: high-rising-falling, mid-rising-falling, and low rising.

By using these tones properly, Punjabi language speakers are able to differentiate between words that otherwise appear to be the exact same as one another. Needless to say, for those who attempt to learn Punjabi as a second language, grasping the importance of and mastering the different tones can be extremely challenging.

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Modern Punjabi Language and Dialects

Two main varieties of the Punjab language exist: western, also known as Lahnda, and eastern, also known as Gurmukhi. There are an estimated 88 million native Punjabi-language speakers around the world today, the majority of them located in India and Pakistan. Additional Punjab language communities can be found around the world, from the United States to South Africa.

Administrative Divisions of Punjab Pakistan:

Punjabi is the most spoken language of Pakistan. Punjabi is spoken as first language by over 44.15% of Pakistanis. Punjabis comprise the largest ethnic group in the country. Punjabis are dominant in key institutions such as business, agriculture, industry, government, army, navy, air force, and police which is why about 70% of Pakistanis can understand or speak Punjabi.

The Punjabis found in Pakistan are composed of various social groups, castes and economic groups. Muslim Rajputs, Jat, Tarkhans, Dogars, Gujjars, Gakhars, Khatri or Punjabi Shaikhs, Kambohs, and Arains, comprise the main tribes in the north, while Awans, Gilanis, Gardezis, Syeds and Quraishis are found in the south. There are Pashtun tribes like the Niazis and the lodhis, which are very much integrated into Punjabi village life. People in major urban areas have diverse origins, with many post-Islamic settlers tracing their origin to Afghanistan, Persia, Turkey, Arabia and Central Asia.

Punjabi Language in Pakistan

Pakistan is a linguistically diverse country, and Punjabi is only one of many languages that can be found in the country. As in India, Punjab language speakers in Pakistan tend to be found primarily in the country’s Punjab Province, formerly part of British India’s Punjab Territory. The official national languages of Pakistan are English and Urdu, a form of Farsi. Even in the Punjab state, Urdu is more prominently used than Punjab for formal purposes.

Because Urdu is taught in Punjab schools and every Punjabi reads and writes the language, the Punjabi language is used predominantly in the spoken form. In the late 20th century, a movement calling for an increased use of Punjabi in Pakistan led to the publishing of many Punjabi language texts using the Urdu script.

Census History of Punjabi Speakers in Pakistan

Year

Population of Pakistan Percentage Punjabi Speakers

1951 33,740,167 67.08% 22,632,905

1961 42,880,378 66.39% 28,468,282

1972 65,309,340 66.11% 43,176,004

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1981 84,253,644 48.17% 40,584,980

1998 132,352,279 44.15% 58,433,431

In the National Census of Pakistan (1981) Saraiki, Pothohari and Hindko (Before categorized as "Western Punjabi") got the status of separate languages thats why number of Punjabi speakers got decreased.

Provinces of Pakistan by Punjabi speakers (2008)

Rank

Division

Punjabi

speakers

Percenta

ge

— Pakistan76,335,300

44.15%

1 Punjab70,671,704

75.23%

2 Sindh3,592,261

6.99%

3 Islamabad Capital Territory1,343,625

71.66%

4 North-West Frontier Province(NWFP)396,085

0.97%

5 Baluchistan318,745

2.52%

6 Federally Administered Tribal Areas 12,880

0.23%

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India

Punjabi is spoken as a native language by over 2.85% of Indians. Punjabi is the official language of the Indian state of Punjab and the shared state capital Chandigarh. It is one of the official languages of the state of Delhi and the second language of Haryana.

The Punjabis found in India are composed of various ethnic groups, tribal groups, social groups (caste) and economic groups. Some major sub-groups of Punjabis in India include Ahirs, Arora, Bania, Bhatia, Brahmin, Chamar,Gujjar, Kalals/Ahluwalias, Kambojs, Khatris, Lobanas, Jats, Rajputs, Saini, Sood and Tarkhan. Most of these groups can be further sub-divided into clans and family groups.

Most of East Punjab's Muslims (in today's states of Punjab, Haryana, Himachal Pradesh, Delhi and Chandigarh) left for West Punjab in 1947. However, a small community still exists today, mainly in Malerkotla, the only Muslim princely state among the seven that formed the erstwhile Patiala and East Punjab States Union (PEPSU). The other six (mostly Sikh) states were: Patiala, Nabha, Jind, Faridkot, Kapurthala and Kalsia. [4]

Census History of Punjabi Speakers In India

Year

Population of India

Punjabi Speakers in India

Percentage

1971 665,457,679 14,108,443

2.57%

1981 665,287,849 19,611,199 2.95%1991 838,583,988 23,378,744 2.79%2001 1,028,610,328 29,102,477 2.83%

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Punjabi Language in India

Punjabi is an officially recognized language in India’s constitution; however, as with most of India’s linguistic groups, Punjabi’s distribution in the country is very regional. The majority of Punjab language speakers are found in the Punjab state, formerly part of British India’s Punjab Territory, where Punjabi serves as the official state language. Hindi is also widely spoken in the Punjab state.

The Punjab state is home to a large Sikh population, as well as a number of holy Sikh shrines and temples. For this reason, Sikhism and the Punjabi language are often seen as having an intertwined identity in India.

The Punjabi Diaspora

Punjabi is also spoken as a minority language in several other countries where Punjabis have emigrated in large numbers, such as the United States, Australia, the United Kingdom (where it is the second most commonly used language) and Canada, where in recent times Punjabi has grown fast and has now become the fourth most spoken language.

Major Punjabi dialects

Majhi

The Majhi dialect is Punjabi's prestige dialect and spoken in the heart of Punjab where most of the Punjabi population lives. The Majhi dialect, the dialect of the historical region of Majha, which spans the Lahore, Sheikhupura, Kasur, Okara, Gujranwala, Wazirabad, Sialkot, Narowal, Gujrat and to some extant in Jhelum District of Pakistani Punjab and Amritsar, Tarn Taran Sahib, and Gurdaspur Districts of the Indian State of Punjab.

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Pothowari

This dialect is spoken in north Pakistani Punjab. mainly The area where Pothowari is spoken extends in the north from Muzaffarabad to as far south as Jhelum, Gujar Khanand Rawalpindi. [phr] 49,440 (2000 WCD). Murree Hills north of Rawalpindi, and east to Bhimber. Poonchi is east of Rawalakot. Potwari is in the plains around Rawalpindi. Alternate names: Potwari, Pothohari, Potohari, Chibhali, Dhundi-Kairali. Dialects: Pahari (Dhundi-Kairali), Pothwari (Potwari), Chibhali, Punchhi (Poonchi), Jhelumi, Mirpuri. Pahari means 'hill language' referring to a string of divergent dialects, some of which may be separate languages. A dialect chain with Panjabi and Hindko. Closeness to western Pahari is unknown. Lexical similarity 76% to 83% among varieties called 'Pahari', 'Potwari', and some called 'Hindko' in Mansehra, Muzaffarabad, and Jammun. Classification: Indo-European, Indo-Iranian, Indo-Aryan, Northern zone, Western Pahari.

Jhangochi or Rachnavi

Jhangochi (جھنگوچی) dialect is spoken in Pakistani Punjab. Jhangochi or Rachnavi is the oldest and most idiosyncratic dialect of the Punjabi. It is spoken throughout a widespread area, starting from Khanewal and Jhang at both ends of Ravi and Chenab to Gujranwala district. It then runs down to Bahawalnagar and Chishtian areas, on the banks of river Sutlej. This entire area has almost the same traditions, customs and culture. The Jhangochi dialect of Punjabi has several aspects that set it apart from other Punjabi variants. This area has a great culture and heritage, especially literary heritage, as it is credited with the creation of the famous epic romance stories of Heer Ranjha and Mirza Sahiba. It is spoken in the Bar areas of Punjab, i.e., areas whose names are often suffixed with 'Bar', for example Sandal Bar, Kirana Bar, Neeli Bar, Ganji Bar and also from Khanewal to Jhang includes Faisalabad and Chiniot.

Shahpuri

This dialect is spoken in Pakistani Punjab. The Shahpuri language has been spoken by the people of the town Shahpur. This language has been spoken by the people of District Sargodha including Dera Chanpeer Shah, Khushab, Jhang, Mianwali, Attock, parts of Faisalabad (formerly Lyallpur), parts of Dera Ismail Khan, Dera Ghazi Khan, Bahawalnagar, Chakwal, Mianwali, Sargodha, Khushab and Mandi Bahauddin districts.

Hindko

Classified under Lahnda languages by many linguists; perhaps differs from Punjabi. Hindko dialect is spoken in north west Pakistani Punjab and North-West Frontier Province mainly this dialect is spoken in districts of Peshawar, Attock, Nowshehra, Mansehra, Balakot, Abbottabad and Murree and the lower half of Neelum District and Muzafarabad.

Malwi

Malwi spoken in the eastern part of Indian Punjab. Main areas are Patiala Ludhiana, Ambala, Bathinda, Ganganagar, Malerkotla, Fazilka, Ferozepur. Malwa is the southern and central part of present day Indian Punjab. It also includes the Punjabi speaking northern areas of Haryana,

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viz. Ambala, Hissar, Sirsa, Kurukshetra etc. Not to be confused with the Malvi language, which shares its name.

Doabi

Doabi spoken in Indian Punjab. The word "Do Aabi" means "the land between two rivers" and this dialects is spoken between the rivers of Beas and Sutlej. It includes Jalandhar, Nawanshahr, Kapurthala and Hoshiarpur districts.

Bhattiani

Bhattiani, is a mixture of Punjabi and Rajasthani, spoken in Eastern Punjab.

Rathi

Rathi, is very commonly spoken in Ratia and Tohana in India

Pwadhi

Powadh or Puadh or Powadha is a region of Punjab and parts of Haryana between the Satluj and Ghaggar rivers. The part lying south, south-east and east of Rupnagar adjacent to Ambala District (Haryana) is Powadhi. The Powadh extends from that part of the Rupnagar District which lies near Satluj up to the Ghaggar river in the east, which separates the states of Punjab and Haryana. Parts of Fatehgarh Sahib district, and parts of Patiala districts like Rajpura are also part of Powadh. The language is spoken over a large area in present Punjab as well as Haryana. In Punjab, Kharar, Kurali, Ropar, Nurpurbedi, Morinda, Pail, Rajpura and Samrala are the areas where the Puadhi language is spoken and the area itself is claimed as including from Pinjore, Kalka to Bangar area in Hisar district which includes even Nabha and Patiala in it.

Dogri

Although Dogri is generally considered a separate language having its own vocabulary, some sources consider it a dialect of Punjabi. It is spoken by about 3.5 million peoples in the Jammu region of India.

Saraiki

Saraiki or Siraiki is a dialect continuum of jhangochi dialect of Punjabi and Sindhi.It is now considered to be a separate language, instead of merely a dialect of Punjabi.It is mostly spoken in southern and western districts of Punjab,which comprises Multan, Lodhran,Bahawalpur, Mianwali, Bhakkar, Layyah, Dera Ghazi Khan, Rahim Yar Khan, Vehari, some parts of Khanewal,Bahawalnagar and Khushab districts. It is also spoken by majority of population of Dera Ismail Khan district in NWFP province, kachi plain of Balochistan, northern part Sindh, and cities of Hyderabad and Karachi.

Dhani

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The people of Pothohar speak Pothohari dialect. However, the people of Chakwal or the Dhanni area in particular do not speak Pothohari and are ethnologically not regarded as Potoharis. They speak a distinctive Chakwali or Dhanni dialect of Punjabi, which is closer to Shahpuri, a dialect spoken in the Shahpur-Salt Range area and also has a slight element of Saraiki and Pothohari.

Baar di Boli

Baar di Boli, this is a foreign dialect which evolved mostly in the United Kingdom and is spoken by the immigrants living there. This has a number of English words. The word Baar di Boli means, language of the outside or language from the foreign land.

Jangli

Jangli, spoken in Pakistan side of Punjab. Mostly in Jhang, Khanewal, Chistian and Bhawalnagr along with adjoining areas. This is considered to be a very old dialect and is more like eastern Punjabi spoken in a Siraiki tone. Among the most distinct difference is the use of the word “Then” in most Punjabi dialects it is “tay” in Jangli it is “wut”. And the Jangli speakers have a tendency to use it more often than required.

Ghebi

Ghebi, spoken in Pindi Gheb, Fatehjhang and adjoining areas, however it is spoken in a belt with a large mix Punjabi dialects.

Chakwali

Chakwali, Spoken by the people of Chakwal and adjoin area. This is a southern Potohar dialect, very close to dialects spoken in Sahiwal region .

Lubanki

Lubanki, an almost extinct dialect, was spoken in Rajasthan and Gujrat regions of India and in some parts of Pakistan .

Gojiri

Gojri, This dialect was used by the Gujjars from both sides of Punjab. Mostly the northern part of Punjab.

Classification by Ethnologue

Because of the stature of Ethnologue as a widely accepted authority on the identification and classification of dialects and languages, their divergent views of the geographical distribution and dialectal naming of the Punjabi language merit mention. They designate what tradition calls "Punjabi" as "Eastern Punjabi" and they have implicitly adopted the belief (contradicted

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by other specialists) that the language border between "western Panjabi" and "eastern Panjabi" has shifted since 1947 to coincide with the international border.

Examples

English Majhi, Lahori/Amritsari Pothohari Dogri Pahari

What are you doing? (masculine)

Ki karda ae? Ka karne uo?Ke karde o?

Ke (kay) peya kare-nanh?

What are you doing? (masculine to address female)

Ki kardi aa? Ka karani ay?Ke karani ae?

Ke (kay) pai (payi) kare-neenh?

How are you? Ki haal hai, Keh aal e? ke aal a?Tudda ke haal e (eh)?

Do you speak Punjabi?Tusi Punjabi Bol laende ho ?

Punjabii bolne uo?

Punjabi bolde o?

Punjabi uburne o?

Where are you from?Tusi kidhar to ho?/ Tusi kidron aaye ho?

Tusa kudhr nay aiyo?

Tus kudhr to o?

Kathe ne o?

Phonology:Vowels

Front Central Back

Close iː uː

Near-close

Close-mid eː ə oː

Open ɛː ɑː ɔː

Tone

Punjabi has three phonemically distinct tones that developed from the lost murmured (or "voiced aspirate") series of consonants. Phonetically the tones are rising or rising-falling contours and they can span over one syllable or two, but phonemically they can be distinguished as high, mid, and low.A historical murmured consonant (voiced aspirate consonant) in word initial position became tenuis and left a low tone on the two syllables following it: ghoṛā [kòːɽɑ̀Uː] "horse". A stem final murmured consonant became voiced and left a high tone on the two syllables preceding it: māgh [mɑ́ːɡ] "October". A stem medial murmured consonant which appeared after a short vowel and before a long vowel became voiced and left a low tone on the two syllables following it: maghāṇā [məɡɑ̀Uːɳɑ̀Uː] "to be lit". Other syllables and words have mid tone.

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Writing system

There are several different scripts used for writing the Punjabi language, depending on the region and the dialect spoken, as well as the religion of the speaker. In the Punjab province of Pakistan, the script used is Shahmukhi. The eastern part of the Punjab region, located in India, is divided into three states. In the state of Punjab, the Gurmukhī script is generally used for writing Punjabi. Punjabi Hindus, who are mainly concentrated in the neighbouring Indian states such of Haryana and Himachal Pradesh, as well as the national capital territory of Delhi, sometimes use the Devanāgarī script to write Punjabi.

Punjabi in modern culture Punjabi is becoming more acceptable among Punjabis in modern media and communications. Punjabi has always been an intergal part of Indian Bollywood cinema. In recent years a trend of Bollywood songs written totally in Punjabi can be observed. Punjabi pop and folk songs are very popular both in India and Pakistan at the national level. A number of television dramas based on Punjabi characters are telecast by different channels. The number of students opting for Punjabi literature has increased in Pakistani Punjab. Punjabi cinema in India has also seen a revival and more and more Punjabi movies are being produced

Punjabi literaturePunjabi literature refers to literary works written in the Punjabi language particularly by peoples from the historical Punjab region of India and Pakistan including the Punjabi diaspora. The Punjabi language is written in several different scripts, of which the Shahmukhi, the Gurmukhī scripts are the most commonly used.

Early Punjabi literature (c. 11th-13th century)

Whereas the oldest Punjabi literature can be found in the fragments of writings of the 11th Nath yogis Gorakshanath and Charpatnah, the Punjabi literary tradition is generally conceived to commence with Fariduddin Ganjshakar (1173–1266). Farid's mostly spiritual and devotional verse were compiled after his death in the Adi Granth.

So says Farid

My bread is of wood

And hunger is my sauce

Those who eat the rich food

Do suffer from a fatal mood and

The severe agonies

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The Mughal and Sikh periods (c. 16th century - 1849)

The Janamsakhis, stories on the life and legend of Guru Nanak (1469–1539), are early examples of Punjabi prose literature. Nanak himself composed Punjabi verse incorporating vocabulary from Sanskrit, Arabic, Persian, and other Indic languages as characteristic of the Gurbani tradition. Sufi poetry developed under Shah Hussain (1538–1599), Sultan Bahu (1628–1691), Shah Sharaf (1640–1724), Ali Haider (1690–1785), and Bulleh Shah (1680–1757). In contrast to Persian poets who had preferred the ghazal for poetic expression, Punjabi Sufi poets tended to compose in the Kafi.

Punjabi Sufi poetry also influenced other Punjabi literary traditions particularly the Punjabi Qissa, a genre of romantic tragedy which also derived inspiration from Indic, Persian and Quranic sources. The Qissa of Heer Ranjha by Waris Shah (1706–1798) is among the most popular of Punjabi qissa.

Rañjha Ranjha kar di niñ maeñ

ape Rañjha hoi

Ranjha maeñ no har koi akho Heer na akho koi

Other popular stories include Sohni Mahiwal by Fazal Shah, Mirza Sahiba by Hafiz Barkhudar (1658–1707), Sassi Punnun by Hashim Shah (1735?-1843?), and Qissa Puran Bhagat by Qadaryar (1802–1892).

Heroic ballads known as Vaar enjoy a rich oral tradition in Punjabi. Prominent examples of heroic or epic poetry include Guru Gobind Singh's in Chandi di Var (1666–1708). The semi-historical Nadir Shah Di Vaar by Najabat describes the invasion of India by Nadir Shah in 1739. The Jangnama of Shah Mohammad (1780–1862) recounts the First Anglo-Sikh War of 1854-56.

Modern Punjabi literature (c. 1860-1947)

The Victorian novel, Elizabethan drama, free verse and Modernism entered Punjabi literature through the introduction of British education during colonial rule.

The setting up of a Christian mission at Ludhiana in 1835 (where a printing press was installed for using Gurmukhi fonts, and which also issued the first Punjabi grammar in 1838), the publication of a Punjabi dictionary by Reverend J. Newton in 1854 and the ripple-down effect of the strengthening and modernizing the education system under the patronage of the Singh Sabha Movement in 1860s, were some of the developments that made it possible for ‘modernism’ to emerge in Punjabi literary culture. ‘Modernism’ here refers to a range of developments in the Punjabi literary culture, starting with the break from tradition or the past to a commitment to progressive ideology, from the experimental nature of the avant-garde to the newness of the forward-looking.

The Punjabi novel developed through Nanak Singh (1897–1971) and Vir Singh. Both in the realms of Punjabi poetry and novel, it is Vir Singh who is often seen as the harbinger of modernism. Starting off as a pamphleteer, he soon evolved into a major literary figure of his times, contributing a large body of qualitative and trail-blazing literature. If Bhai Vir Singh retrieved Punjabi poetry from the excesses of Persian poetry, he also energized the narrative tradition by adapting the Western form of

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the novel to his indigenous expression and ideology. Nanak Singh however actually grounded the novel into local culture. Turning to the indigenous modes of story telling such as Qissa, popular in the medieval period, Nanak Singh gave to the Punjabi novel a distinctive local character and habitation. It was through his efforts that the novel managed to reclaim not only its vital link with the oral tradition, but also its soft, delicate formless texture. In the novels of Nanak Singh, fluidity of sentimentalism goes hand in hand with the ideological concerns of a social reformer, something that Sohan Singh Seetal and Jaswant Singh Kanwal, who were to come later, also tried to emulate, fairly successfully.

The novels, short stories and poetry of Amrita Pritam (1919–2005) highlighted, among other themes, the experience of women, and the Partition of India. Poetry began to explore more the experiences of the common man and the poor through the work of Puran Singh (1881–1931) whereas Dhani Ram Chatrik (1876–1957), Diwan Singh (1897–1944) and Ustad Daman (1911–1984) composed nationalist poetry during and after the Indian freedom movement. The Punjabi diaspora also produced poetry whose theme was revolt against British rule in Ghadar di Gunj ('Echoes of Mutiny')[5]. Modernism was meanwhile introduced into Punjabi poetry through Prof. Mohan Singh (1905–78) and Shareef Kunjahi.

Post-Independence literature (since 1947)

Among the more prominent Punjabi poets since 1947 are included Amrita Pritam (1919–2005), Shiv Kumar Batalvi (1936–1973), Munir Niazi (1928–2006), Surjit Paatar (1944 - ) and Pash (1950–1988). This generation sought to re-inscribe the ideology and aesthetics of Punjabi poetry in the modern context. Though in some form or the other, their poetry bore the scars of the trauma of Partition, each one of them wrote in as varied an idiom and as distinct a voice as anyone could.

Brought up on a heavy dose of English and American poetry, Puran Singh was definitely more liberal and direct than most of his predecessors, and his poetic expression always bristled with naked sensuousness and primal celebration of human body. Most explicitly Freudian, he openly proclaims in one of his poems, "I want to be an animal again."

Mohan Singh could be described as a ‘progressive modern’ for it was he who liberated Punjabi poetry from the constraints of mysticism and/or revivalism. His range was simply astounding as he moved imperceptibly from the romantic felicities of Saave Pattar to the political consciousness of Adhvate, from the Freudian flights of Kasumbhara to the socialist fancies of Vadda Vela. If there is anything that defines Amrita Pritam's poetry, it is the boldness of her expression, pungency of her social criticism and relentless critique of defunct morality that often works to the detriment of women.

In 1950s, when Mohan Singh and Amrita Pritam had already won great accolades and the future of the Punjabi poetry didn’t appear to be very encouraging, it was the soul-stirring lyricism of Shiv Batalavi and the thought-content of Harbhajan Singh that infused new possibilities into it. Attuning himself to the raw, jagged rhythms of his work-a-day, earthy life, Shiv Batalavi created such haunting melodies of pain and suffering that they continue to resound in our hearts, even today. A skilful craftsman of words, he had this rare ability to make even a fleeting, ordinary moment pulsate with eternal possibilities. To this day, his poetic drama Luna, in which he re-interpreted the popular legend of Puran Bhagat from a woman's standpoint, remains one of the best works ever produced in contemporary Punjabi literature.

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The rediscovery of Punjabi identity in Pakistan has been explored in the novels of Fakhar Zaman and Afzal Ahsan Randhawa. Literary criticism in Punjabi has also emerged through the writings of Shafqat Tanvir Mirza (b. 1932), Ahmad Salim, and Najm Hosain Syed (b. 1936).

In the Punjabi language, however, Charan Singh Shaheed, Joshua Fazal Deen, Heera Singh Dard and Nanak Singh were among the early practitioners of the short story. Some of the factors that helped in popularizing this form in its early days were the proliferation of printing presses across Punjab, the mushrooming of literary magazines, journals and newspapers, and the spread of literary education. In its initial stages, at least, the Punjabi short story was subversively used as a tool for propagating Sikh ideology and thought, as most of the story-tellers also happened to be strong votaries of the Singh Sabha Movement, too.

Unlike the short story, drama as a form in Punjabi has not had a very eventful or a consistent track record of growth and evolution, as it has been somewhat sporadic and fitful. Interestingly, the beginnings of the Punjabi drama/theatre are often traced back to the fortuitous efforts of Norah Richards, the Irish wife of a Unitarian minister preaching in Punjab.

Around 1913-14, Norah started drama competitions among her students of Dyal Singh College, Lahore, where she was teaching then. It was in one of these competitions that Ishwar Nanda, then a student and now widely recognized as one of the pioneers of Punjabi drama, discovered his talent for playwriting. His one-act play Suhag (1913) was adjudged the best and that marked the beginning of the indigenous theatre movement in Punjabi. Ishwar Nanda went on to write over twenty one-act plays, all of which show a definite influence of Ibsen, fired as he was by an unsparing zeal for social reform and change.

Pakistani Punjabi literature

Pakistan is where the majority of Punjabis live. Due to politics Urdu has displaced the natural local language so not many writers write in Punjabi. A few do and have contributed positively to the corpus. These include Afzal Sahir, Mazhar Tirmazi, Najm Hosain Syed and Nadir Ali. Mansha Yaad is the author of twenty one books including award winning novel ‘Tawan TawaN Tara‘ (Masud Khadarposh Award and Waris Shah Award for 1998), and a collection of short fiction ‘Wagda Paani‘ (Waris Shah Award 1987). He also won a Pride of Performance from the Pakistan Government in 2004 for his literary contributions.

Nadir Ali's last collection Kahani Praga was given the Waris Shah Memorial Award as the best book of the year in Punjabi in 2005 by Pakistan Academy of Letters. A few of his short stories have been translated into English and Urdu. Also, Lahore Television dramatized his story Ik Maani DaaniyaaN Di in 1999.

Some of the important Punjabi poetry books of 2004 are: Sada Cheter Ajey Naheen Aya by Ashiq, Kach Dian Tooban by Dr Adal Siddiqui, , Baree Wich Samunder by Majeed Khawar, Dil Dyaan Baran by A.G. Hosh and Dubdey Paindoo Da Dhola by Mohammad Azeem. Sufne Tayyaba De is a collection of Punjabi Na'ats by Muhammad Sharif Anjum. Naveen Punjabi Nazam De Rattan by Akram Bajwa is a collection of critical writings on 13 modern Punjabi poets. In a large and well-organized ceremony held at the Alhamra Arts Centre, Lahore, in April 2004, prizes were awarded for Punjabi books published in 2003. The following writers received first prizes: Saleem Ahang (poetry), Amin Malik (prose), Dr Syed Akhter Jaafri (criticism), M.A. Azad Khokhar (religious literature), and Babu Javed Garjakhi (children's literature).

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Diaspora Punjabi literature

Punjabi Diaspora literature has developed through writers in the United Kingdom, Canada, Australia, the United States as well as writers in Africa such as Ajaib Kamal (b. 1932) in Kenya. Some of the themes explored by diaspora writers include the cross-cultural experience of Punjabi migrants, racial discrimination, exclusion, and assimilation, the experience of women in the diaspora, and spirituality in the modern world. Second generation writers of Punjabi ancestry such as Rupinderpal Singh Dhillon (b. 1969) have explored the relationship between British Punjabis and their immigrant parents as well as experiment with surrealism, science-fiction and crime-fiction. The vast majority of Diaspora writers are immigrants from the Punjab whose primary language is not English. Very few have been born and raised outside of India, and choose to write in Punjabi. The western mindset is somewhat different to the east. The current tendency in the West is towards non-realistic and anti-realistic literature and realism is being considered inauthentic now, which can be seen in the works of western raised Punjabis.

Canadian Punjabi literature

Sadhu Binning is probably the most modern exponent in Canada. His writings mix western ideals with immigrant experiences. Binning is a central figure in the Punjabi arts community in B.C. As an author and a UBC professor, he is a big reason why the Punjabi language has flourished in this province in recent decades. Binning has published several books of poetry, fiction and plays in English and Punjabi since here as a 19-year-old in 1967. His works have been included in more than 20 anthologies in both languages. These include the ground breaking Jugtu (2002) and the popular Kis Da Kasoor.

Binning is also one of the founders of the Punjabi Language Education Association, which has successfully got Punjabi courses introduced into the public school curriculum across the Lower Mainland. He has often used many loan words from English, which reflect how Punjabi spoken in the west has adapted and often replaced traditional Punjabi wrords with western nouns, which are in the west now more familiar. This has been a change in the language, influenced by living in the west. In many cases where there were not any Punjabi nouns, English words have been adapted.

Surjeet Kalsey has also made waves in Canada and India.Surjeet Kalsey is an accomplished Punjabi Canadian author of poetry, short fiction and drama. In her writings, Surjeet explores the lives of Punjabi Canadian women and communities from aware ‘immigrant’ perspectives

Ajmer Rode is a Punjabi Canadian author living in Vancouver BC. A poet, playwright, translator and a cultural activist he writes both in English and Punjabi. Rode is one of the poets whose work has been added to Poetry international web with eight of his poems in English along with Punjabi translations. One of the poems ‘Kalli’ reflecting on the bonding between human and animal life in Punjab, received special attention from editors. The poem was also displayed with a painting Homecoming in a Surrey Arts Gallery exhibition (Jarnail Singh – Discovering the soul of Punjab) in 2004.

British Punjabi literature

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Mazhar Tirmazi(1950-) is a British Punjabi Poet and Playwright. He is a distinct voice in modern Punjabi literature as he explores the theme of separation from the homeland with persistence, and in all its manifestations till it evolves into a constant longing for the lost/unattainable.

Author of four collections of poetry, Tirmazi's work is a part of the curriculum in Punjabi language courses at Chandigargh University; his play on partition titled ‘A Lifetime on Tiptoes – Healing the Wounds of Partition’ has been performed/read in English, Wellish and Punjabi in India, Pakistan and UK. He is a recipient of the British parliamentary award ‘Punjabis in Britain’ that recognizes poetic acumen, linguistic ability and promotion of Punjabi culture. And most important, Tirmazi is the author of a beautiful and popular song ‘UmraN LangiaN PabaN Bhaar’ (a lifetime on tiptoes).

His published work includes ‘Jag da Sufna’ (dream of awakening), ‘Thandi Bhubal’ (cold ashes), ‘Kaya Kagad’ (1998) and ‘Dooja Hath Sawali’ (2001). His poetry also features in Kings College anthology ‘Mother Tongues’, and in a collection of underground poems titled ‘Waiting Room’.

Tirmazi has worked as a journalist in London for Urdu-English bilingual daily newspaper Awaaz International and Akbar Wattan, and has organized conferences to promote Punjabi language in Britain and Australia.

Roop Dhillon (Rupinderpal Singh Dhillon) ( 1969-) is one of a few born and raised westerners who have chosen to write in Punjabi. His generation has blended English and Punjabi in such a way as to produce a new dialect, codified to English grammar, yet distinctly Punjabi. This Creole can be called a "Khichadi" Punjabi. He has chosen to write in this manner, thus being a pioneer. Known as the Godfather of British Punjabi prose, he has written the adventure novel Neela Noor ( 2007), and many science fiction and surrealist short stories.

Muslim Sufis And Punjabi Poets

1.Hazrat Baba Farid-ud-din Masud Ganj-Shakkar

Do not speak a word that pains,For in everyone the true Lord reigns,

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Do not break the hearts to whirl, For each man’s heart, is a priceless pearl

Hazrat Ji, commonly known as Baba Farid was a Sufi preacher, saint and a poet, belonging to the Chishtia Order of Sufis.Baba Farid is generally recognized as the first major poet of the Punjabi language and is one of the pivotal saints of the Punjab. Revered by Muslims and Hindus alike, he is also considered one of the fifteen Sikh Bhagats within Sikhism and his works form part of the Guru Granth Sahib, the Sikh sacred scripture. He was born on the first day of Ramzan in 1173 in the city of Kothiwal, near Dipalpur in West Punjab. He was given this name after the great Sufi poet Farid-ud-Din Attar. Baba Ji’s birth place is now called Pak Pattan; but its original name as recorded in history books was Ajodhan. . The present city of Pak Pattan lies on the banks of the river Sutlej. The name Ganj Shakar has an interesting tale. Baba Farid’s parents took extreme care that their child offered regular prayers and got an insightful religious education. The parents kept sweets under his pillow as a reward for the prayers their son offered. It was an incentive to keep him going that way. One day his mother found out that there were no more sweets in the house.

Fearing that their child would not pray without the promised prize the parents decided to collect some pebbles and place them under Baba Farid’s prayer mat. Farid woke and went straight to his prayer-mat, the moment he finished the prayers and reached for the prize his mother shouted, “No, sonny, they are not sweets; your father has gone to the bazaar to bring them.”

“But they are sweets,” said Baba Farid and placed them in his mouth one by one.

“No!” the mother shouted again.

But the child kept munching sweets and to his mother’s astonishment found them sweeter than before.The bewildered parents witnessed a miracle. From that day, Sheikh Farid came to be known as Ganj-e-Shakar [the store-house of sweets]. Allah had kept child’s faith intact.

YOU are my protectionO Lord, my salvationGrant to Sheikh Farid

Thy blessingOf thy adoration

O Lord

Farid endured severe penance and asceticism under Khwaja Qutbuddin’s training. He went through strenuous physical exercises and suffered pain and hunger, and narrated his experiences in a number of his verses:

So says Farid

My bread is of wood

And hunger is my sauce

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Those who eat the rich food

Do suffer from a fatal mood and

The severe agonies

Baba Sheikh Farid Shakarganj is quite truly regarded as the founder of Punjabi poetry. His verse goes deep into the soul, and induces in man the vision of the ideal life, a rising emotion in the heart, more

purified than before.

2. Bulleh Shah: The Mystic Voice of Punjab

بلھیا کی جاناں میں کون

ہن میں مومن وچ مسیتاں، ن میں وچ کفر دیاں ریتاں ہہن میں پاکاں وچ پلیتاں، ن میں موسی7 ن فرعون ہ ہہن میں اندر بھید کتاباں، ن بھنگاں ن وچ شراباں ہ ہہن وچ رنداں مست خرباں، ن وچ جاگن وچ سون ہہن وچ شادی ن غمناکی، ن میں وچ پلیتی پاکی ہ ہہن میں آبی ن میں خاکی، ن میں آتش ن میں پون ہ ہ ہر نگوری وری، ن میں ھندی ش ہن میں عربی ن ال ہ ہ ہ ہہن ھندو ن ترک پشوری، ن ميں ریندا وچ چندوHن ہ ہ، ن میں آدم حوا جایا ب دا پای ہن میں بھید مز ہ ہ ہہن میں اپنا نام دھرایا، ن وچ بھیٹن ن وچ بھون ہ ہور پچھان ہاول آحر آپ نوں جاناں، ن کوئی دوج ہ ہ ہ

ا او کھڑا ور ن کوئی سیانا، بل ہمیتھوں ہ ہ ?ےا کون ہ

Bulleh Shah was a Sufi poet who lived in Pakistan from 1680 to 1758. His given name was Abdullah Shah, Bulleh was a nickname and it is the name he chose to use as a poet. Bullah traveled to Lahore in search of a Murshid(Master). He found Hazrat Shah Inayat, a well-known Qadiri Sufi and gardener by profession. He asked Inayat, "I wish to know how to realize God." Inayat Shah replied, "What is the problem in finding God? One only needs to be uprooted from here and replanted there."

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Inayat graced Bulleh with the secret of spiritual insight and the Knowledge of God. [6]

Then who can dare put strife to me,

Who dare anyone harm to me,

Shah Inayat graces me,

Gives riddance of wrangles and of me,

My master, my Shah is with Me.

Bulleh Shah spent rest of his life in total self denial; he did not care at all of the concern and hostility

that orthodox mullahs unleashed at him for his rebellious poetry. He danced ecstatically, fearlessly,

perpetually and thus treaded the path of spiritual realization and atonement. He preached love and

humanism with a firm rejection of any formal religious authority on the affairs of the people. So it

was no surprise that on his death in 1758, he was denied a burial in Muslim cemetery and was thus

laid to rest in isolation outside the main city of Qasur. But his massage of love, his fight against

religious bigots, the traditional hierarchs of different theological schools in the subcontinent, made

him a people’s wali or saint.

RaateeN jaageyN kareyN ibaadatYou wake up at night to pray

RaateeN jaagan kuttey teython utteyDogs are awake at night too, more than you

Bhonkanon band mool naa hundey They never stop barking

Jaa ruree tey suttey, teythoN utteyand sleep on heap of dump, are better than you

Khasam apney da dar na chhaddeyThey never leave the door of their provider

BhaaweyN so so wajjan juteyeven if beaten by shoes

Bulleh shah kooee rakht weyhaaj leyBulleh Shah get into love someone

Baazee ley gaey kuttey tethoN utteyOr the dogs are better than you. [7]

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Me the first, me is the last,

Me don’t know, no one else,

3. Waris Shah

Waris Shah (Punjabi: شاہ ,was a Punjabi Muslim poet, born in what is now Pakistani Punjab (,وارثliving from 1722 – 1798. He is best-known for his seminal work Heer Ranjha, based on the traditional folk tale of Heer and her lover Ranjha. Heer is considered one of the quintessential works of classical Punjabi literature. The story of Heer was also put to paper by several other writers, including Damodar Das, Mukbal, and Ahmed Gujjar, but Waris Shah's version is by far the most popular today. Shah who was born in Jandiala Sher Khan is popular in India and Pakistan, especially in the Punjab region.

Waris Shah was born into a reputed Syed family, the descendant of Islamic prophet Muhammad. He was born in the village of Jandiala Sher Khan, Sheikhupura District, Punjab in or around 1722.

Shakespeare of the Punjabi language

Waris Shah is also called Shakespeare of the Punjabi language because of his great poetic love story, Heer Ranjha. Some critics say that through this story of romantic love, he tried to portray the love of man for God (the quintessential subject of Sufi literature).

Waris Shah's Heer Ranjha in Universities

Waris Shah's Heer Ranjha is taught in many universities, including Punjab University, Lahore and Bahauddin Zakariya University, Multan, as a great legendary love story and classic example of Punjabi language writing.

Waris Shah's Heer is best expressed in a vocal format by the late Alam Lohar.These are the opening lines[1] from Waris Shah's rendering of Heer:

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“ Awwal hamad khuda da vird kariye

Ishq kita su jag da mool mian

Pehlaan aap hi rabb ne ishq kita

Te mashooq he nabi rasool mian ”

Of all the folk tales of Punjab, Waris Shah’s Heer is the most widely read, recited (actually, sung),

commented upon and quoted love story. People have even done Ph.Ds on it. It is a very long poem,

written in the Punjabi baint meter, comprising of 630 odd stanzas of 6 to 12 or more lines each. Waris

Shah wrote it sometime in the 1760s.

Ajj aakhañ Waaris Shah nooñ, kitoñ Qabrañ vichooñ bol!

te ajj Kitab-e-ishq da koi agla varka phol!

ik roi si dhee punjab dee tuu likh-likh mare vaiñrh

ajj lakkhañ Dheeyañ rondiañ tainuuñ Waaris Shah

nooñ kaehn

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uth Darmandañ diaa dardiaa uth tak apñrha Punjaab!

ajj bele laashaañ vichhiaañ te laoo dii bharii Chenaab![8]

Punjabi Dictionaries:

Singh, Maya. The Panjabi dictionary. Lahore: Munshi Gulab Singh & Sons, 1895. Punjabi Dictionary English to Punjabi Dictionary Shabdkosh.com: Punjabi to English Dictionary English to Punjabi Dictionary Online translator English to Punjabi, or vice-versa Punjabi Kashmiri Dictionary by Omkar N Koul and Rattan Lal Talashi. Patiala: Language

Department. 1998. Pothohari (Nothern Lahnda,pahari or Modern panjistani) dictionary by Sharif Shad

References

1. http://en.wikipedia.org/wiki/Punjabi_language

2. http://en.wikipedia.org/wiki/Punjabi_language#cite_ref-10

3. “India's culture through the ages” by Mohan Lal Vidyarthi.

Published by Tapeshwari Sahitya Mandir, 1952. Page 148

4. Punjabis Without Punjabi By Ishtiaq Ahmed. The News, 24

May 2008.

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5. Gill, Tejwant Singh, "Reading Modern Punjabi Poetry: From

Bhai Vir Singh to Surjit Patar" in Journal of Punjab

Studies (Spring-Fall 2006, Volume 13, No. 1 &2)

6. The Life of Bulleh Shah By: J.R. Puri and T.R. Shangari

7. Bulleh's Poetry Translated by Shuman Kashyap

8. Translation from a book in English by Darshan Singh Maini

titled: Studies in Punjabi Poetry

REGARDZ

ANUM AMIN SHAH

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