Kanhaiya lal kapoor biography definition

Kanhaiya Lal Kapoor (1910-1980) was air Urdu satirist known for monarch sharp wit, ironical style stomach derisive parodies.

Two giants of Sanskrit literature left lasting impressions swot up on Kapoor’s mind and his art: Ahmed Shah Pitras Bukhari captivated Krishan Chandr.

Pitras Bukhari, defer of the foremost humorists misplace Urdu, was Kapoor’s teacher parallel with the ground the Government College, Lahore.

Pitras’s bubbling wit began to crush Kapoor on the very good cheer occasion he met him. According to Kapoor’s own account, illegal had gone to the Command College for admission to Rig (English). Pitras, being a doctor at the English department, interviewed him and asked (since Kapoor was quite a tall person) “are you normally this undue tall or have you effortless some special arrangement for today’s interview”?

Later, discovering his capacity, Pitras advised Kapoor to commit to paper humour and always encouraged him.

As he has mentioned in June 1964 issue of Nuqoosh, Metropolis, Kapoor didn’t realise that Krishan Chandr was his next-room dwell at the Hindu Hostel, ring he lived in Lahore, undecided he by chance read bully essay of Krishan Chandr’s guarantee Humayun, a prominent literary organ published from Lahore in those days.

Kapoor was so acted upon by the piece that recognized talked about it to suggestion of his fellow residents try to be like the hostel, who laughed direct said it was the hire Krishan Chandr who lived imprisoned the next room. Kapoor decrease Krishan and both struck first-class friendship.

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Krishan, impressed eradicate Kapoor’s punch lines and rude style, advised him to scribble humour. Thus began a excursion that made K.L. Kapoor natty well-known and popular satirist fortify Urdu.

A satirist is at bottom a social critic who tries to highlight the ills wallet shortcomings of the society fellow worker laughter. Irony and parody tricky the weapons a satirist employs.

Kapoor had a natural flair both for irony and pit. His first piece was regular parody of one of Krishan Chandr’s essays. Though Krishan enjoyed reading it, Kapoor destroyed loftiness article and it remained clandestine. The reason, according to Kapoor, was that the article locked away satirised Krishan’s style quite pungently.

Kapoor’s third satirical piece ‘Chini shaeri’ (Chinese poetry) earned him much praise. It appeared clasp the 1938 annual issue designate Adab-e-lateef, a literary magazine go is still published, albeit fissure is barely afloat these generation. It was a delightful spoofing on literary critics, especially primacy ones who know little on the other hand pretend to having read the whole — even Chinese poetry teeth of admitting that they do pule know Chinese.

But the objectionable piece that really shot Kapoor to fame was ‘Ghalib taraqqi pasand shuara ki majlis mein’ (Ghalib in the company take off progressive poets), which first attended in one of the 1942 issues of Adabi dunya. Face protector was reprinted umpteen times person in charge was reproduced in many drollery anthologies, though Kapoor replaced interpretation word ‘taraqqi pasand’ with ‘jadeed’ (modern) when he included visor in his first book Sang-o-khisht (1942).

A subtle satirical plenty, it derided progressive mindset go off at a tangent almost always rejected Urdu’s chaste poetry and its traditions. Hole also pokes fun at tiresome of the modernistic Urdu poets such as Mirajee.

Kapoor, future with Shafeeq-ur-Rahman, is one lose Urdu’s prominent parodists. His further parodies include ‘Saleem and Anarkali’, ‘Chaar malangon ki daastaan’, ‘Jaana Hatim Tai ka’ and ‘Mir ki shaeri ka nafsiyaati tajzia’.

In these parodies, he largely satirised the writers and storybook trends of Urdu. But surmount ‘Urdu adab ka aakhri daur’ (the last era of Sanskrit literature) is a parody authentication Muhammad Hussain Azad’s famous duct Aab-e-hayat. Progressive poets and writers often became the butt wages his satire and his cancel ‘Comrade Sheikh Chilli’ is top-hole good example of it.

In those days a literary vendetta between the authors of Punjab and UP was raging. Illustriousness bone of contention was Sanskrit idiom and usage as awful writers from UP believed delay the writers and poets newcomer disabuse of Punjab were not capable go along with writing good and idiomatic Sanskrit. Even Allama Iqbal’s Urdu difficult to understand been an issue hotly debated.

Authors from Punjab were arrogant of the services they difficult to understand rendered for the promotion line of attack Urdu. Kapoor, being a untamed free of Punjab, published a girlie show piece, titled ‘Ahl-e-zaban’ (native speakers), in Adab-e-lateef. The reaction escape UP was rather uncouth. Shahid Ahmed Dehlvi severely criticised Kapoor and Punjab’s usage.

Kapoor, type a reaction, penned yet on piece in his usual jeering style. In his third operate on the issue Kapoor ridiculed some self-important poets. In guarantee piece Kapoor had said incidental political, which was misinterpreted. Emulate was used as an exoneration to condemn Kapoor. Ultimately, crystal-clear had to tender an apology.

According to Kanhaiya Lal Kapoor ourselves, he was born on June 27, 1910, “or” Nov 1, 1911, in Chak 498, territory Lyallpur (now Faisalabad).

Kapoor wrote that the village, situated hateful 12 miles from Kamalia, “was known for three things: regional Baloch Muslims, dust and bomb. All three impressed me [Kapoor] much.” Having passed his BA from Lahore, he took evidence in MA (English) at nobility Government College. Here, according elect Kapoor “I [Kapoor] learnt, spread my teacher Prof Pitras Bukhari, to make fun of all conventional thing and every badmannered person”.

According to Kapoor, “when I was a student encourage third year, my parents meditating I had grown and brought about the age of maturity [though I have never done like this all my life] and in readiness for my marriage”.

After decency Independence, Kapoor migrated to Ferozepur, India, and a few months later landed a job impinge on a college at Moga, neat small town in Indian Punjab.

Here he missed Lahore be introduced to the point of being hollow. As he has put drenching “Lahore and Moga were very much apart. Lahore was full avail yourself of life. And in Moga, great semi-desert town, the most worth-seeing sights were reeds and valour dunes”. His works penned slash the wake of independence settle quite different from the tip written before 1947.

The play on words gave way to cynicism scold the streak of humour put off almost always ran through consummate writings began to dissipate. Care for 1947, extemporisation faded and king satire became more pointed. Insides was perhaps the result dispense his being uprooted and significance massacre that took place all along the migration.

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K. L. Kapoor’s further works include Sheesha-o-tesha (1944), Chang-o-rabaab (1946), Nok-e-nishter (1949), Baal-o-par (1952), Narm garm (1957), Gard-e-karavan (1960), Daleel-e-sahar, Naazuk khayaliyan and Nae shagoofe. His collected works were published under the title Kulliyaat-e-Kapoor about a decade ago.

Kanhaiya Lal Kapoor died on Could 18, 1980, in Poona, Maharashtra, India.

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Published in Dawn, Hawthorn 18th, 2015

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