Literary Persona Research Articles

Biography, Works and Literary Personality of Mele Telheyê Şerefkî

Mele Telheyê Şerefkî, one of the literary scholars of Kurmanji literature, has not been the subject of an academic research so far with his biography, works and literary personality. Only a few of his poems were in the possession of a few local madrasah teachers. Apart from this, there was no information about him in the literature. Therefore, we identified this situation as a research problem and in order to introduce him with his biography, works and literary personality, we prepared our questions and entered the field of study. During the research process, we saw Şerefki and met him face to face. We asked him our questions and recorded his voice. We collected information several times through interviews, one of the qualitative research techniques. Later, we obtained his manuscript works and studied them. As a result of the research, we found out that this scholar studied in the madrasa environment of Diyarbakır and Batman region since the 1960s under the famous mudarrises of the region and received his madrasa icazet from Mele Mûsa, the scholar of Diyarbakır Cimikan Madrasa. He started to write poems in Turkish, Arabic and Kurmanji from his early youth. Since he was the son-in-law of Şêx Xalidê Zengokî and his family benefited from his religious works in Kurmanji, he was influenced by him in terms of religious literature. However, since he studied in various madrasas in Diyarbakır and Batman, he started to write Kurmanji poetry with the reflex and attitude of Mele Şêxmus (Cegexwîn) and Mele Ebdurrehmanê Muşî (Durre). Şerefkî wrote a poetic mawlid, two divans, a poetic autobiography and a prose biography in Kurmanji, as well as several poems in Arabic and Turkish. Until now, none of these works have been published and researchers of Kurmanji literature have not been aware of him. The theme of his poetry is usually national sentiments, but there are also many poems that deal with the values of Islam.

A Literature Review on Karabakh Women Poets of the 19th Century

The 19th century was the beginning of a period in the history of Azerbaijan in which new views, different approaches, and judgments emerged. The upheavals in social life as a matter, of course, led to the awakening of literary and artistic thoughts, and enlightenment, and elucidated the development of public, ethnic, and national identity. In the 19th century, the poetic assemblies functioning in Karabakh contributed to the development of literature, especially poetry, and the inclusion of poetry in social life and its impact on it. Thanks to the "Meclis-i Uns" and "Meclis-i Feramushan" literary assemblies, poets living in Karabakh came together and depicted the problems of the period, social life, and nature in their poems. Referring to these literary samples, it is feasible to see the view of 19th-century Karabakh. Aghabeyim Agha, Khurshidbanu Natavan, Fatma Khanim Kamina, and Ashuq Peri were female poets grown up in the Karabakh literary environment in the 19th century. Research related to the life, art, and literary personality of women poets who grew up in Karabakh was thoroughly scrutinized and investigated based on the qualitative method in the article. As a result of our research, we have come to the following conclusions; There is a need to prepare coherent comparative texts from the work of female poets. The works of these poets were published due to the permission of Soviet censorship. Poems with religious content were not included in these books, and Sufi works were presented as secular and divine poems. Keywords: Karabakh, Enlightenment, Poet, Literary Heritage, Azerbaijan.

The role of Nasimi's poetry in the formation of students' outlook

I.Nasimi, a great Azerbaijani poet living in the XIV century, believed in power of a word and skillfully used it as a poet. Nasimi's philosophical thoughts encourage people in moral development. His thoughts sound like human values rather than only admonitions. Dynamics of Nesimi's poems are both literary peak of his creativity and the centre of his literary personality. Determinations as well as resolution to keep one’s promise and courageous characters in the poet's ghazals are factors that influence the formation of students' outlook.

The illness that dare not speak its name: HIV/AIDS in Gil de Biedma’s diaries

ABSTRACT This paper analyzes the implications of illness and queerness for the identity Gil de Biedma constructs through his personal diary of 1985. This is a unique case of a Spanish author providing a complex picture of the effect of HIV/AIDS on his own life and work. In addition, the author’s diaries are a rare example of Spanish autobiographical writing on illness. Gil de Biedma kept several diaries throughout his life. The last diary, titled “Diario de 1985”, is an account of his stay at a French hospital while undergoing treatment for Kaposi’s sarcoma. This short diary offers crude yet insightful material on human illness, suffering and the stigma of HIV/AIDS in Spain during the 1980s. By close reading a selection of fragments of the author’s diary, utilizing an approach that combines psychoanalysis and social history, this paper exposes the connections between illness, sexuality and identity in Gil de Biedma’s autobiographical writing. This paper claims that Gil de Biedma (un)consciously represses naming the illness in his diaries while being very descriptive about the physical symptoms of AIDS and its treatment. This evidences the brutal social and familial pressure to conform to a certain identity, ultimately giving way to a very particular symbiosis between the author’s literary persona and his bourgeois self.

Dehumanized Voices and Traumatic Articulations in Late Nineteenth-Century Chinese Classical Tales

This study leverages trauma theory to examine Xuan Ding's 宣鼎 (1832–1880) Yeyu qiudeng lu 夜雨秋燈錄 (Recorded on Rainy Nights by Autumn Lamp), a collection of classical tales published in the aftermath of the Taiping Civil War (1850–1864). The analysis here delves into the concept of dehumanization, typically understood as the denial of one's intrinsic human traits by other people. In the late Qing context, dehumanization can occur when an individual is perceived as deviating from the path of self-cultivation, or as inept at or resistant to fulfilling prescribed social and gender roles, often leading to social ostracism. Xuan Ding conveys both the acute trauma of the Taiping war and the quotidian, gender- and class-based traumas imposed by late Qing society through the dramatic depiction of characters who undergo a metamorphosis into subhuman forms. This study also shows that in his preface to the collection, Xuan engages in the artistic dehumanization of his own literary persona. From this strategic position of moral self-exile, he is able to both provide a platform for dissenting voices and suggest the therapeutic potential of writing during times of suffering. This study explores how one writer's depiction of the trauma of dehumanization navigates and illuminates the nuanced boundary between the human and the nonhuman as understood at this time. By investigating the complex interplay of dehumanization and trauma, and their manifestation in literature, this study invites consideration of culturally specific nuances within trauma theory and opens up avenues for comparative analysis.

峿堂 李象秀의 <歸去來辭句解>와 林雲銘의 영향

Yi Sang-soo is a Neo-Confucianist of the Horon Faction and wordsmith of the Nongam Faction of Joseon in the 19th century. <Guigeoraesa Guhae (‘Returning Home’ with Commentaries)> is a literary criticism he wrote at 30. In <Guigeoraesa Guhae>, he left several traces of accepting the view of 『Gu Wen Xi Yi(Analysis of the Significance in Old-style Prose)』, a criticism by Lin Yunming, a stylist of the Late Ming and the Early Qing. 『Gu Wen Xi Yi』 is an analysis of the selective old literary masterpieces of China based on the section-chapter composition method. This is where a literary person of the Nongam Faction accepted the criticism from the Late Ming and the Early Qing; it provides a clue to peek into the influence relationship of its composition and criticism. <Guigeoraesa Guhae> shows a similar composition due to the influence of Lin Yunming’s view. In the case of 『Gu Wen Xi Yi』, it added related explanations in small letters to each phrase in the text of <Guigeoraesa(Gui Qu Lai Ci)> and added an end note at the end of the text in large letters. Yi Sang-soo referred to this and supplemented and improved his view by dividing the first and second paragraphs, abridging or elaborating parts of the end note, and moving them to footnotes. The commentaries can be divided into theme, composition, technique, and elaboration. Composition and technique are related to the organic order and change between sentence elements belonging to the work, and they are devices to highlight the theme of the entire work effectively. This must be understood in the organic context of the theme and is influenced by the section-chapter composition method. The elaboration is the supplementary explanation of the implication of certain wording. This can be divided into the acceptance of the explanation of wording and the criticism of popular interpretation. It tends to agree with Lin Unming’s view based on the theme and context.

“Ma semblable, ma soeur”: Negative Capability and Self-Fashioning in “The Quilt Maker” by Angela Carter and Flights by Olga Tokarczuk

ABSTRACT Reading fiction by Angela Carter and Olga Tokarczuk side by side is a fascinating but eerie experience: the celebrated British fabulist and the Nobel-winning Polish writer-cum-public intellectual share some indefinable quality – their oeuvres resonate. My aim in this paper is to add to the critical debate on self-fashioning in Carter and Tokarczuk by comparing how they script their lives as reflected in their fiction. The following discussion of Carter’s short story “The Quilt Maker” and Tokarczuk’s Flights points to how they portray the ambiguities involved in being a female writer. Both writers emphasize the extreme subjectivity of their projects, both script their lives as reflected in their fiction, both create their literary personas with allusions to their real biographies, and both make these personas create constellations and patchworks of narrative fragments employing negative capability to suggest – rather than – tell stories.

Russian Literary Theories in Italy: Translations and Research (1991-2023)

This article provides an overview of the state of translation and research on Russian literary theories published in Italy from 1991 to 2023. Particular attention is given to the wide range of perspectives and activities put forward by national literary criticism, especially the role played by Italian journals specialising in Slavic studies such as “Studi Slavistici”, “Europa Orientalis”, “Russica Romana” “Ricerche Slavistiche”, “Slavica Tergestina”, “AvtobiografiJA”, “eSamizdat”, and publishers such as “Bompiani”, “Einaudi”, “Laterza”, “Marsilio”, “De Donato”. Notably, some journals, for instance “Strumenti critici”, “Enthymema”, “Letterature e Letteratura”, “LEA”, “Kamen’”, “Tincontre. Teoria Testo Traduzione” and “La parola del testo”, have shown a significant engagement with Russian literary theories, despite not being devoted to the field of Slavic studies. By taking into account the theoretical trends of the last three decades, I demonstrate that a great deal of consideration has been given to OPOJAZ, the Moscow Linguistic Circle, the so-called “Bakhtin Circle” and the gachn (State Academy of Art Studies), with a renewed interest in literary personalities such as Michail Petrovskij, Grigorij Vinokur, and Lev Pumpjanskij, but also in key figures linked to sociology of literature such as Boris Arvatov.

Писатель и критика русского зарубежья: Георгий Адамович в истории романа Алексея Ремизова «Учитель музыки»

The article considers a significant aspect of the history of literature, namely the communication between a writer and a critic. The author describes the literary relationships of two well-known figures from Russian abroad, A. Remizov and G. Adamovich, as a long-term dialogue that reveals discussion on different literature problems. While Adamovich’s critical feedback about Remizov’s literary person has long entered scientific circulation, Remizov’s position towards the evaluative judgments of the representative of the so-called “middle generation” of emigration appeared only in his letters to N.V. Kodryanskaya. The article reconstructs the literary context of Remizov’s communication with Adamovich and reveals its motivations. Based on previously unknown epistolary documents and Adamovich’s publications, forgotten in the pages of the emigrant periodicals, the article analyzes the subtext layer of the stories of the early 1930s that formed the core of the novel Music Teacher. The research outcomes significantly contribute to the history of Remizov’s novel and the commentary in some chapters.

The Creation of the Literary Personality of Bharathidasan

Poet Bharathidasan’s poems, who described himself as Tamil and Tamils, influenced deeply into Tamil society. Bharathidasan, who wrote poetry in favor of the Tamil national consciousness as Tamil, Tamils, Tamil race, was against Vedic Sanathana. He felt that all the religions of the world were against human development. He believed that economic emancipation was possible only through true social emancipation, freed from immediate problems and respecting man. Bharathidasan’s poetry, which records the vicissitudes and exaltations of daily life, has retained its place in Tamil history.

“The Last Tram Has Gone”:

Jibanananda Das remains one of the major post-Tagore literary personas whose works are still open to interpretation. Torn between nurturing literary aestheticism and the responsibility to be a bread-earner, the complex dichotomy of Das’ life has shaped his writings significantly. The fictional writings also guide towards the complex labyrinth Das himself is. Like a mysterious kaleidoscope, he reflects light in the unexplored regions, and his writings bear the paradox a modern man faces when he is homeless. Likewise, according to György Lukács, the philosophical term “transcendental homelessness” expresses the yearning for a soulful and emotional home that is no longer available in this world. Nonetheless, Das’ oeuvre carries a fervent longing to be at home everywhere, and the yearning to find roots in a time of restlessness has left a permanent mark on his personal life as well. The identity crisis and alienation from society have forced him to continuously search for belongingness in a world full of fragmentation. Das’ alienation and innate desire to belong somewhere in Bengal portray the finest example of transcendental homelessness, which is evident in his collection of poems and stories. This research aims to study the inherent urge of Das to be at home everywhere and the sense of belongingness illustrated in his poems and stories.

Easy but Difficult's Literary Structure in Rahi Moeiri's Poetry

The use of Easy but Difficult's literary structure in Rahi Moeiri's poetry is the subject of this study. This literary device appears straightforward and easy to understand at first, but if you try to state it that way, you may run into a lot of difficulties and roadblocks. Several well-known poets have utilized it in their works, most notably Saadi. This study's primary goal is to examine, identify, and quantify the significance of this literary device in Moeiri's poetry. An attempt is made to address the subject of what influences Moeiri's usage of this literary device in this essay. The descriptive-analytical techniques used in this study are based on library materials. It has been suggested that Rahi Moeiri has incorporated more of the art of abstinence into his poetry. What part does this art play in the poetry's power? Numerous studies have been conducted on Rahi Moeiri's literary persona; these include the well-known Parvin Dekht's article on the topic and theme of Rahi Moeiri's sonnets and Akbar Sayad Koh's analysis of Rahi Moeiri's status among modern poets as well as some of the poetic elements of his speech. But as far as the researcher search is concerned, no particular book or paper has been written regarding Rahi Meiri's usage of the simple yet challenging style in his poems. The results of this study demonstrate that he wrote in a straightforward manner, staying away from Saadi's quirks, and adhered to Saadi's style by not using easy yet difficult words. Although it is quite difficult to produce in this fashion, the poet seems to have represented very vast issues smoothly and eloquently, and the elegance of his poems has made his words appealing. has cemented his unique position among today's poets; conversely, his poetry has found an audience among the general public and garnered a large following.

A Contrarian Muʿtazilite Theologian/Poet’s Guide to Fine Poetry: Al-Nāshiʾ al-Akbar (d. 293/906) and How to Write Inimitable Poems

Abstract Boasting of one’s poetic talents was hardly an uncommon feature in Arabic poetry. Poets sang praises for their craft and exalted themselves over their rivals. They sometimes moved beyond braggadocio, however, explaining the particular attributes that made their poetry of unmatched quality. Al-Nāshiʾ al-Akbar (d. 293/906) was one such poet who declared his poetry to be an inimitable product defined by standards that he outlined in his didactic poems. He also penned at least one book on the criticism of poetry which only survives now as excerpts in a number of fourth/eleventh century works of adab. Fine poetry, according to al-Nāshiʾ, is the harmonious articulation of sounds and meanings presented in an accessible way to its audience but is impossible to reproduce. In this respect, I propose that, in expounding the standards of excellent poetry, al-Nāshiʾ alluded to theories of inimitability (iʿjāz) based on composition (naẓm) and divine prevention (ṣarfah). He was a Muʿtazilite theologian who was both celebrated and vilified by his contemporaries, and later scholars. His theological writings have been examined; however, his literary persona is still little-known. In contrast to most considerations of him, this study examines al-Nāshiʾ as a poet and critic foremost.

沈亞之 문학 창작 배경 및 유형 小考

ShenYaZhi(781-832) was one of the literary writers, who belonged to the person of the Mid-Tang period. The genre of his literary works were so eclectic that it ranges from ChuanQi[傳奇] to proses[散文] or poems[詩歌]. He also belonged to HanMenDizi[韓門弟子], but despite of the position, he does not seem to be the center of attention since then, and this is quite an interesting one. In this essay, I researched ShenYaZhi himself and his background, especially the background of his whole life and of the atmosphere of literary world during Mid-Tang, and tried to find out the connection between his literary works and some backgrounds around him, and by extention, find out the reason why he was undervalued and why he has little historical data. If we take a look at his whole life, his short life was full of agonies and mischances, and it is certain that these factors affected him and his writings. And according to the collection of ShenYaZhi's works [沈下賢集], we can sort his works into five form groups. In this essay, the form of poems was more lighlighted than other genres, because there have been a tendency that his poems attract less attention than other genres, such as ChuanQi [傳奇]. In this essay, I tried to find out not only the clue about literary person ShenYaZhi himself, but the clue about ShenYaZhi as a human being. I hope this research will be able to be the background data for the following convergence researches regarding ShenYaZhi.

A LITERARY ANALYSIS OF LOVE POEMS BY ÖZDEMIR ASAF

Özdemir Asaf is considered one of the most important poets in the Turkish Literature in the twentieth century. He was born on 11th of June, 1923 in Ankara and died on 28th of January 1981 after a life lasted for 57 years. His grave is in AĢiyan Asri in Istanbul. He was famous in the Turkish literature during the republic period especially in National Literature. Although her published several short stories, he was well-known by his poetry that won several prizes and left a great influence among Turkish Nation. One of the best works among Özdemir Asaf’s poetry is Love poems published under the title Lafinia which includes 70 short poems. These poems collected some of his literary works and published them in a book by Paynar Akenci after several years after his death. Lafinia or Love Poems express its scope of importance in a way that reflects its title according to what has been written. The collection of poems were considered of high importance and one of the most well-read and published poems which makes them more brilliant. Literature is an attempt of writing including all discourses that must use a literary diction. In addition, literature has several types such as poetry, novel, short story, and drama. What makes the writings of the poet distinctive is his use of a high level of literary diction. The poetry of the poet is divided into several types like poetry, novel, short story, and drama. The common and unique point of all of his literary writings, as mentioned above, is that they have been written carefully both literary and technical in that period. The poet was considered a simple productive writer by his close use of ordinary daily life language faraway from the difficult academic language. Moreover, he uses the common aesthetic side. By nature, man hives a two-dimensional life. He has two different sides in his life, materialistic and spiritual. Man is materialistic by supporting his life, and spiritual by feelings and emotions. In addition, the psychological aspects that deal with the internal side of man like sadness, happiness, dejection, reproach, ecstasy, anger and surprise are concepts that cannot be completely described and difficult to interpret. Although there were different courses to understand such feelings, the literary interpretation is one of the most essential methods. In fact, poetry is spiritual shows the spiritual effect and it is a deep and sensitive expression of these effects. It is clear in the poetry of our poet by transforming the spiritual air into words through the diction of poetry. Özdemir Asaf is one of professors of poetry which expresses feeling and emotions. The basis of the subject of the research is a literary analysis of the love poems by the poet Özdemir Asaf. He is one of the poets whom we can see their literary style in its powerful meaning in all of the poems. The main subject of our research paper is this concept. We introduce the life of the poet Özdemir Asaf and his literary personality as well as his writings as he is considered one of the important poets in the twentieth century. We will give a detailed interpretation of the book of Love poems – Lafinia in its literary concept by introducing a literary analysis for Love poems of Özdemir Asaf.

امجداسلام امجد کا حمدیہ اور نعتیہ اسلوب:"اسباب" کا خصوصی مطالعہ

Amjad Islam Amjad He (1944-2023) the recipient of Presidential Award for Best Performance, Sitara-e- Imtiaz and numerous domestic and foreign awards, was not only a versatile creator but also a very reliable reference in Pakistani Urdu literature. As a poet, play writer, travel writer, columnist, critic and translator, his literary services are unforgettable. In 2019, he was awarded the highest national literary award by the President of Turkey, Tayyip Erdogan. The main reference of his literary personality is poetry. He developed Urdu ghazal and poetry. In the same way, he achieved a prominent position among contemporary writers by presenting Hamd and Naʻat in the form of ghazal and poem. In this research article, an analytical study of his Hamdiya and Naʻtiya style adopted in “Asbāb” has been discussed.

The Life, Literary Personality and His Poetry Journal of Ilgazlı Naili

Âşık edebiyatı, İslamiyet öncesi ozan-baksı geleneği ile İslamiyet’in kabulünden sonra teşekkül eden tekke edebiyatının biçimsel ve tematik verimlerinden yararlanarak yeniden yapılanmıştır. XVI. yüzyılda bağımsız bir sosyo-kültürel kurum kimliği ile karşımıza çıkan âşık edebiyatı, bu asırdan itibaren önemli temsilciler yetiştirmiştir. Zamanla gelişip zenginleşen bu edebî geleneğin XIX. yüzyıldaki temsilcilerinden biri de Nâilî (Mustafa/ D. 1865-Ö. 1936)’dir. Çankırı’nın Ilgaz ilçesinde doğan Nâilî, belli bir süre medrese eğitimi almış daha sonra dönemin bazı önemli âşıkları ile tanışarak onların izinden gitmeyi tercih etmiştir. Nâilî, ömrünün büyük bir kısmını Çankırı ve Kastamonu gibi âşık edebiyatının XIX. yüzyıldaki önemli merkezlerinde geçirmiş, Kastamonulu Kemâlî ile Geredeli Figânî’ye çıraklık etmiştir. Halk edebiyatı geleneği içinde yetişen şair, hece vezninin yanı sıra aruz vezniyle de şiirler yazmış, şiirlerinde divan edebiyatı unsurlarını başarıyla kullanmıştır. Sanatını saz eşliğinde diyar diyar gezerek icra eden Nâilî, büyük bir çoğunluğu çağdaşı olan âşıkların şiirleri olmakla birlikte divan edebiyatı şairlerinin şiirlerine ve kendi şiirlerine de yer verdiği bir mecmua derlemiştir.
 Nâilî’nin hayatı, edebî kişiliği ve derlediği şiir mecmuası hakkında bilgilerin verildiği bu çalışma üç kısımdan oluşmaktadır. İlk bölümde gerek kaynaklarda yer alan gerek Nâilî’nin üçüncü kuşak torunu Mehmet Kayılı’nın verdiği bilgilerden istifade edilerek şairin hayatı ve şiirlerinden yola çıkılarak edebî kimliği ele alınmıştır. İkinci bölümde şairin bizzat kendisinin derlediği şiir mecmuası tanıtılmış, üçüncü bölümde ise söz konusu mecmuada yer alan Nâilî’ye ait şiirlerden bir kısmı transkripsiyon yöntemiyle neşredilmiştir.

STORIES OF CATASTROPHE IN REFIK HALIT KARAY’S MEMLEKET HIKÂYELERI

Refik Halit Karay is considered one of the most important novel and short story writers in the Turkish Literature in the 20th century. He was born on 15 of March 1888 in Istanbul, the capital of the Ottoman State at that time. He died on 18 of July 1965 after a life lasted for 77 years. He was buried in his birthplace Istanbul in the cemetery of Zincirlikuyu. He wrote and published several works in different fields of literature. He added a great deal of contribution to Turkish literature especially in the republican period. Memleket Hikâyeleri is one of the books of the second stories of Refik Halit Karay. It is the most important and famous short story for the writer in the field of stories. Among other important stories are: the Poor Amina, Peach Gardens, the Big Bull, Wahbi Afandi Doubts, Yellow Honey, The Joke, The Brown Donkey, Neighbor‟s honor, the Deposit, Omar‟s Contest, Once a Year, a Teacher‟s Painting, Strange Gift, Attack, and the Destiny of Angry Aisha which contains about 18 short stories. It is undoubtedly the most interesting book in the field of short stories in Turkish Literature. The first edition of this book published in 1919 while the second edition published in 1947 received a revision by the writer himself. Although the subject of the story changes from one story to another, the book comes in the first place among stories of depression and sorrow. Depression is a state of being unable to exit from the current situation in addition to suffering from difficulties and hence feeling exhausted. Depression has its own concept and its own details. It reflects the dilemma in facing the unsolved problems or impossible to be solved. It has been studied earlier by the writers themselves. Depression, as humane and psychological concept, appears repeatedly in the book Memleket Hikâyeleri by the Turkish writer Refik Halit Karay and analyzes deeply this concept through accurate original expressions. This paper starts with this detailed abstract. After presenting life of the writer Refik Halit Karay and his literary personality as well as his works, there is an emphasis on his work entitled Memleket Hikâyeleri. After the introduction about the concept of depression, the paper studies this concept in Refik Halit Karay‟s Memleket Hikâyeleri

중세 문인들의 굴원(屈原) 수용 양상을 바탕으로 한 인물 비평 글쓰기 교육

This study analyzed the aspects of how Korean medieval literary person of nobility accepted and evaluated China's character ‘Gulwon(屈原)’ and sought to be applicable to current character criticism writing education. There were three main aspects of character acceptance in the Gulwon(屈原) criticism: first, comparison with old characters, second, citation of others' evaluation, and third, urging the formation of a consensus. This can be said to be the principle of character criticism writing, and based on this, a total of six specific goals of character criticism writing education could be presented at the bottom of the current curriculum 'Reading and Writing' achievement standards.

عبدالستار دلوی کی "علی سردار جعفری، شخص، شاعر اور ادیب" : ایک تجزیاتی مطالعہ

Abdul Sattar Dalvi enjoys a remarkable position in Urdu language and literature, research and criticism and in translation and linguistics. He devoted all his life to teach in different universities of the world. He is admired due to his intellectual and literary abilities not only in India but in Pakistan also. His literary master piece “Do Zubanain Do Adab (Urdu Hindi kay Tanazur Main)” is a part of the syllabus of Ph.D. Urdu in various universities of Pakistan. Progressive movement produced many sincere, able, intellectual and honest literary personalities e.g., poets, fiction and prose writers and critics. A prominent name among them was Ali Sardar Jafri. Abdul Sattar Dalvi was well aware of the status of his multifaceted personality, understanding his position and status he saved various articles, written an him, from the hands of the time. In this research work he has presented the articles of eminent writers on the personality, poetry and prose of Ali Sardar Jafri as evidence. This research article is an analysis of Abdul Sattar Dalvi’s work on Ali Sardar Jafri.