Urdunama

World Environment Day may come around once a year, , but the questions it raises remain. As temperatures rise and green spaces shrink, the humble shajar feels less like a poetic image and more like a reminder of what sustains us.
On this week's Urdunama, we explore the Urdu word shajar, meaning tree. In poetry, a tree is never merely part of the landscape. It can offer shade to a weary traveller, bear the fruits of patience and perseverance, or remind us of the roots that anchor us to our origins.
Through verses by Bashir Badr, Javed Akhtar, Parveen Shakir and Qateel Shifai, Fabeha Syed traces the many meanings of shajar in Urdu poetry and reflects on why, in an age of climate change and environmental anxiety, this timeless symbol feels more relevant than ever. Tune in.

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“Ujaale apni yaadon ke hamare saath rehne do,
na jaane kis gali mein zindagi ki shaam ho jaaye.”

With Bashir Badr sahab’s passing on May 28, Urdu poetry lost one of its warmest and most humane voices. In this episode of Urdunama, we remember the poet who made shayari feel intimate, conversational and deeply personal. From love and loneliness to loss, memory, riots and modern city life, Bashir sahib wrote about ordinary human emotions in a way generations instantly connected with.

Fabeha Syed revisits some of his most iconic ghazals and reflects on the quiet grace and resilience that made Bashir Badr’s poetry timeless.

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In Urdu, 'nadarad' means 'ghayab', when something is absent, has disappeared or is missing. Until you see how it’s used in poetry.
It’s usually not just about something being gone. It’s about something that should have been there but is not.  A person who didn’t show up. A message that never came. A moment that didn’t happen the way you thought it would, and has left you with an overwhleming need for closure. 
That’s why the word has many layers to it and poets like Momin Khan Momin and Mirza Ghalib have talked about 'absence' in their ashar without necessarily using the word itself. Because nadārad isn’t just about what’s missing, but it’s about what stays behind, even after it’s gone. Tune in. 

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After a short vaqfa, Urdunama returns with an episode on the very idea of pause. What does a simple break or interval mean in the language of Urdu verse?
Through lines by Mir Taqi Mir, Ahmad Mushtaq, and Aziz Bano Darab Wafa, we explore how pauses, silences, and brief halts often carry as much meaning as the words themselves. In poetry, the space between two phrases can deepen emotion, shape rhythm, and allow a thought to breathe.
This episode looks at how poets turn a vaqfa into metaphor which sometimes becomes a moment of rest, sometimes looks like a distance between longing and fulfilment, and sometimes it feels like the space where meaning emerges before the next line begins. Tune in.

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In the vocabulary of Urdu poetry, sahra, meaning the desert, is far more than a barren landscape. It is a metaphor for the inner wilderness of the heart: solitude, longing, and the untamed intensity of love. In this episode, we wander through verses by Mirza Ghalib, Daagh Dehlvi, and Jaun Elia to explore how poets transform the desert into a space of vahshat, searching, and emotional vastness. Tune in.

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In Valentine’s month, we are drawn to a picture-perfect version of love that is warm, dazzling, and effortless. Yet real love asks for more than beauty. It calls for ikhlaas meaning pure intention to be sincere and have honest devotion that persists even when the glow fades. True love thrives in patience, understanding, and care, beyond grand gestures and fleeting romance.
In this episode, we draw wisdom from literary masters like Ahmad Faraz, Rahat Indori, and Jaun Elia, celebrating a sincerity that holds the courage to love, to be loved, and ultimately, to become love itself. Tune in. 

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Junoon is often translated as passion or madness, but in Urdu poetry it carries layered, sometimes conflicting meanings. For poets like Mirza Ghalib, junoon is dangerous if exposed or fully unpacked. It then becomes a force so raw that it can undo the self. 
If Ghalob's junoon is intense, self-aware, and often destructive, poets like Ahmad Faraz and Ameer Qazalbash later engage with the same intensity differently. Where Ghalib is wary of junoon’s excess, they explore what happens when that intensity is held with awareness and direction when madness becomes purposeful rather than consuming.
This episode traces that shift in from junoon, from a volatile force that must remain partially veiled, to junoon as a creative energy that can transform darkness into light. Junoon, in the end, is not one thing. It is a risk and sometimes, a possibility.

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In this episode, we sit with the Urdu word 'mehnat' which is usually translated as 'hard work', but carrying far more tiredness, repetition, and lived experience.
Moving between everyday life and Urdu poetry, the episode pushes back against the idea that hard work always guarantees success. From the comforting language of motivational culture to the kind of labour that happens quietly, without visibility or reward, 'mehnat' here is effort that continues even when energy runs low and outcomes remain uncertain.
At the centre of the episode is Kaifi Azmi’s nazm Makan, which speaks directly to inequality, to those who build homes, palaces, and comfort for others, while having no place of rest themselves.
This is not a motivational talk. It’s a conversation about work that doesn’t shine, effort that isn’t applauded, and the kind of labour that changes life gradually, over time, rather than all at once. Tune in. 

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In Urdu poetry, dua is never just prayer but it is a reflection of how a poet relates to hope, faith, and control.
For Ghalib, dua is too uncertain. He chooses action over waiting, offering his entire self instead of trusting outcomes.
For Munawwar Rana, dua is absolute assurance, a mother's prayer that walks beside him like protection, unquestioned and complete.
And for Kaifi Azmi, dua becomes the final gift that a father offers when strength, means, and time have run out, leaving only blessing and trust in the child’s choice.
Three poets. One word.
And three very different ways of believing in what prayer can do.

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Reading Ghalib's 'Koi Umeed Bar Nahin Aati': Ego and Self Awareness Without ApologyDescription: Mirza Asadullah Beg Khan, known to the world as Mirza Ghalib, remains a towering figure in Urdu poetry for his rare ability to capture complex emotions with striking simplicity. In this episode, we step into Ghalib’s world through one of his most well-known ghazals, 'Koi Umeed Bar Nahin Aati.' The reading reveals a poet who is deeply human and full of flaws and contradictions, and yet remarkably alert to his own shortcomings.

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