Wikipedia

Rekhti

Rekhti (Urdu: ریختی, Hindi: रेख़ती), is a form of Urdu feminist poetry. A genre developed by male poets,[1] it uses women's voices to talk about themselves.[2][3][4] It was formed in 19th-century Lucknow, then part of the State of Awadh (now in Uttar Pradesh, India).[1] The poet Saadat Yaar Khan Rangin is credited with its creation.[5][6][7]

Written generally in ghazal form, it uses women's special idioms, mannerism and accents.[1] Their topics include women-women and women-men affairs and also women's sensual desires and sexual urges.[1]

History

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Prior to the 17th century, Persian was the main language of literature and poetry in Northern Hindustan, as well as a local language for many. As a gender-neutral language, the romantic and sexual aspects of its poetry were often ambiguous and open to interpretation. In contrast, Hindustani's emerging predecessor Hindavi/Dehlavi/Khariboli, used as a medium of oral communication in many parts of the Indian subcontinent, distinguished between genders. The nascent ghazal style of poetry was a popular mode of composition in this language. However, in the north, ghazals tended to be an expression of love from a male to a female.[6]

The practice of writing poetry in the woman's voice was pioneered in the Deccan, by Muhammad Quli Qutb Shah, fifth ruler of the Golconda Sultanate.[6][7] Here, the Khariboli dialect was known as Deccani due to some of its regional quirks. Qutb Shah composed ghazals in Deccani but used its gender-specific nature to write them from the female's perspective, which reversed the roles in the ghazal medium.[6] This role-reversal was popular in the Deccan, employed by poets like Hashmi Bijapuri, Asadullah Wajhi, and Hasan Shauqi. Some examples:[8]

The conquest of the Deccan by Aurangzeb brought the region into the fold of northern literary traditions, which spurred the development of the dialect in Delhi into Rekhta. The process also brought the role-reversal trend to the north, and it was only at this time (early 18th century) that the term Rekhti was coined. Here it was furthered by northern Indian poets.

Famous exponents

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  1. Saadat Yaar Khan 'Rangeen'[1]
  2. Meer Yaar Alii 'Jaan Sahib'[3][1]
  3. Mohsin Khan 'Mohsin'[1]
  4. Insha Allah Khan 'Insha'[1]
  5. Qalandar Bakhsh Jurat[6]

See also

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References

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  1. ^ a b c d e f g h Rekhti Rekhta Foundation, Retrieved 10 May 2016
  2. ^ Review of Ruth Vanita's "Gender, Sex and the City: Urdu Rekhti Poetry in India, 1780–1870" Intersections: Gender and Sexuality in Asia and the Pacific Issue 31, December 2012. Retrieved 10 May 2016
  3. ^ a b Shamsie, Muneeza (7 May 2023). "POETRY: REKHTI, ETHNOGRAPHY AND TIME PAST". DAWN.COM.
  4. ^ Long, J. (1875). "Oriental Proverbs in Their Relations to Folklore, History, Sociology; With Suggestions for Their Collection, Interpretation, Publication". Journal of the Royal Asiatic Society of Great Britain and Ireland. 7 (2): 339–352. ISSN 0035-869X.
  5. ^ But Muhammad Quli Qutub Shaw (1580 _1611)was also credited with the composition of rekhtis. Sajid Sajni: The last poet of Rekhti Blog: The World of Urdu Poetry, Literature and News. 12 May 2009. Retrieved 10 May 2016
  6. ^ a b c d e Petievich, Carla (January 2001). "Rekhti: Impersonating the feminine in Urdu poetry". South Asia: Journal of South Asian Studies. 24 (sup001): 75–90. doi:10.1080/00856400108723437. ISSN 0085-6401.
  7. ^ a b حسینی, بدیع. دکن میں ریختی کا ارتقا. انجمن ترقی اردو، حیدرآباد.
  8. ^ Shaheen, Shagufta; Shahid, Sajjad (2018). Azam, Kousar J (ed.). The Unique Literary Traditions of Dakhnī. Routledge. pp. 108–111. ISBN 9781351393997. {{cite book}}: |work= ignored (help)

Further reading

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  • Ruth Vanita, Gender, Sex and the City: Urdu Rekhti Poetry in India, 1780–1870, London: Palgrave Macmillan, 2012
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