"... अम्मा- ये (बकरी) मारती रहती है छोटी वाली को सौतेली की तरह, बेग़ैरत
चिंकी – वो (बेग़रत) क्या होता है ? तुम कभी कभी अजीब ‘शब्द’ बोलती हो अम्मा
अम्मा -शब्द ? मतलब लफ्ज़ ?
चिंकी -वो (लफ्ज़) क्या होता है ?
अम्मा -मुई ज़बान ही ख़राब हो गई ज़माने की .एक हमारा वक़्त था जबां से तहज़ीब का पता चलता था...."
श्री. गुलझार यांना हिंदीतील एक सुंदर शब्द 'शब्द' सुद्धा सहन होत नाही!
*
पृष्ठ २१, '... इं कसरा मुहाफिजते वतन खुद लाजिम', "शक्तिसौष्ठव", दत्तात्रय गणेश गोडसे, १९७२
* एरवी मराठी भाषिक पण उर्दू भाषा समजणाऱ्या किंवा बोलणाऱ्या काही लोकांना एक प्रकारचा अहंगंड यायचे कारण काय?
विकिपीडिया सांगतो: Urdu was chosen as the language of East India Company rule across northern India in 1837 when the Company chose it to replace Persian, the court language of the Indo-Islamic empires.
हे तर त्याचे एक कारण नव्हे? कारण तसाच प्रकार नंतर इंग्लिश बाबत झाला आणि ब्राउन साहिब भारतभर निर्माण झाले!
Richard Eaton, 'India in the Persianate Age: 1000-1765', 2020: "...Persian in India would experience a fate similar to that of Sanskrit, though somewhat later and for very different reasons. Critical to this process was the reception of Europe’s ‘one nation, one language’ ideology in nineteenth-century Iran and India, and the rise of nationalist movements in both countries. In Iran, Persian was vigorously promoted as that country’s national language, for which purpose classical poets such as Firdausi were appropriated as proto-national Iranian poets. This seriously compromised Persian’s former status as a transregional, cosmopolitan medium, thereby eroding an historic cultural bridge between India and Iran..."
(मी म्हणतो इराण मधील राष्ट्रवादाला पोषक ठरली म्हणून तर इंग्रजांना कदाचित पर्शियन नको झाली नसेल ना?)
"... as Delhi’s economic and political importance continued to decline after the mid eighteenth century, many of the city’s poets migrated to the empire’s former provinces – Bengal, Bihar, Awadh, Punjab, Hyderabad – where they acquired students wishing to emulate the new metropolitan poetic style called rekhtah. Written in Persian script and appropriating Persian literary models, this new style was composed in the vernacular dialect of the Delhi region and evoked the lustre of the Mughals’ remembered, glorious past. In particular, it was associated with the prestige of the imperial Mughal camp, or urdu, by which name the language would be known...."
"... My father always insisted that Persians basically did not have a home, except in their literature, especially their poetry. This country, our country, he would say, has been attacked and invaded numerous times, and each time, when Persians had lost their sense of their own history, culture and language, they found their poets as the true guardians of their true home. Citing the poet Ferdowsi and how, after the Arab invasion of Persia, he rescued and redefined his nation’s identity and culture through writing the epic of Persian mythology and history in his Book of Kings, my father would say, We have no other home but this, pointing to the invisible book, this, he would repeat is our home, always, for you and your brother, and your children and your children’s children...."
(foreword, 'Shahnameh: The Persian Book of Kings' , by Abolqasem Ferdowsi, translated by Dick Davis 2006)
