The story that the language we now name as Urdu came to life around the battlefield campfires of the Mughal empire is now considered junk history.  But like so much junk food, it is a tasty tale.

All across northern and central Hindustan, soldiers of fortune from Turkey, Arabia, Ferghana, Sistan and Bengal gather in the evening to tell stories of home, recite poetry, say their prayers, sing songs and create battle cries.  Several linguistic templates (Kaurvi Hindi, Persian, Arabic with Turkic filigree) gradually coalesce into an opulent lingual tapestry which one day allows humble rickshaw walas in Lucknow and Lahore to request patrons to "bring your respected self" into their rickety vehicles.

Undoubtedly, one of humanity’s grandest confections, Urdu is arguably the most rapturous language in the world. Her internal melodies and elegant phonetics fire the minds of lovers and draw their lips near.  The grit and grind of political scheming is hidden in the skirts of her euphemisms and diplomatic phrases.  I cannot think of any occasion or social setting where Urdu would not enhance and elevate the discourse.

Zia Mohyeddin, Pakistan’s grand man of stage and screen, is also esteemed for his recitations and readings in Urdu. I initially fell under his spell when I bought a cassette of Zia’s recitations of the poetry of Faiz Ahmed Faiz. Ever since whenever I need my mind to relax and untangle itself from the worries of mundane life I turn to Zia sahib for some "dawa-e-zubaan".

Toba Tek Singh (Part 1)



Toba Tek Singh (Part 2)



In two parts Zia reads Sa’adat Hasan Manto’s masterpiece of Partition Literature. A story that tells of the transfer of the insane between the madhouses of Pakistan and India and of one particular inmate’s confusion as to which of the two countries his ancestral village, Toba Tek Singh is allocated. Hilariously wicked as well as touching in equal measure Zia brings this very human tale of the flotsam of grand politics vividly to life.

Mulaqaat (Faiz Ahmed Faiz)



Faiz remains the standard bearer of modern Urdu poetry not simply because of his ability to create an emotional world within a few lines but for his rich draw on the depths of classical Urdu and Persian vocabulary.  While there are many instances of the poet reading his own work available on the internet there is a special flavor when another does the honours.  Zia’s sonorous voice and exquisite pronunciation make nearly any lyric of Faiz a thrilling thing to experience.

Chacha Chhakkan ka Khat (Part 1)



Chacha Chhakkan ka Khat (Part 2)



Zia was trained as an actor in London at the Royal Academy of Dramatic Arts and has built a bejeweled CV of roles in films and television, including David Lean’s Lawrence of Arabia and the mega mini BBC series The Jewel in the Crown. His ability to lend his voice to drama as well as comedy with equal effect is demonstrated in this quotidian domestic drama of writing a response to a dinner invitation.

Lala-e-sehra (Mohammad Iqbal)



We end (way too quickly) with a wonderful reading of Iqbal’s Lala-e-sehra (Poppy of the Desert).  But be assured the readings and recitals of this outstanding South Asian dramatist are available in abundance on the internet and music shops all over South Asia. They will be an enduring companion and source of immense and seemingly unending pleasure for many years.