THE DRUM MAJOR: MLK
Reaping his harvest,
Nourished spirits marching on–
King's voice echoing:-
With the Drum Major,
Up the mountaintop we go;
Our eyes on the prize:-
King lies within us,
Shepherding us on the way;
Mountaintop climbing:-
King’s nature blooming…
Guided spirits blossoming…
We...overcoming…
When Mort
is kind the weakened levy
breaks the sound releases
solace abound the masters
of the game fallen to soon
left over gripes payoffs bribes
threatening the poet beckoning
the brilliant mind to covenant
haste the meaningful lessons
of truth how a poet spends a
lifetime in solitude of the mind
witnessing giving birth to true
poetry that can’t be taught poetry
is profound letters between
the poets own soul to the poets
own heart it can never ever be
extorted my assassins gathered
in my midst to retrieve my poetry
for fraudulent means masterfully
sending hitmen to Mort me
trust as I kneel over
my own killers mercy and Grace
provides redemption of the mind
poetically Mort is kind
Jo log dosron ki jaan MAAL ko nuqsan pohanchatay hain.
Jo log dosron ki property ko jalatay hain.
Jo log mandron or girjon ko giratay hain.
Jo roads block kartay hain tires jalatay hain.
Jo goliyan chalatay hain fire marwatay hain.
Ye log Kaisay musalman hain Zafar Supari?
Abu ge chalain sair karnay??
Sidhi tarah dus goli ya teka?
DON,DAD ko tang kyun kartay ho?
Yani mein tum say bada tang hun..
Me to tumhain bada gairat mand samajhta tha,
Tum to bay gairti mein meray bhi baap niklay..
I learned from Speaker Shaikh sahib's lecture that the Quran contains the recorded Sunnah(practices)of all times.The essence of the Quranic verses conveys the Sunnah of Allah,the Sunnah of all Messengers and Prophets.
These aspects are briefly mentioned in the Quranic verses.Additionally,I discovered that the most beautiful events and Hadiths(sayings and their Actions)of all the Prophets and Messengers,including the events of the Day
of Judgment,are also briefly mentioned in the Quranic verses.The Quran truly manifests these Ahsanul Hadeeths(excellent most beautiful narratives for the Guidance of Mankind).International Islamic Propagation Centre Canada.IIPC.
Wilayat(sainthood)is a special spark which
God bestows upon His chosen men only by
virtue of His grace and favour.According to
me sainthood is the active stage of divine energy
which is found in divine spark also known as Huzoori
which means presence of activated divine energy.
Note.Najeeb Sultan sahib kya haal hai ap ka??.
Peeri Mureedi kaisa chal raha hai hahahahaha?
Q.What flexibility Islam has given to women???
only women are permitted to wear silken garments.
only women may wear gold ornaments,jewellery etc.
Islam gave women the right to education,to marry
someone of their choice,to retain their identity after
marriage,to divorce,to work,to own,to buy and sell
property.Islam gives respectful status to women.
No nation can rise to the height of glory unless
your women are side by side with you.(Quaid Azam)
Greek Philosopher Anaximander proposed that
all life began in the sea.Allah"made from water
every living thing"And We created from water
every living thing.Darwin did not know genetics.
He also did not know about genetic mutation.
Humans and monkeys are both primates But
humans are not descended from monkeys or
any other primate living today.Humans and
chimps share a surprising 98.8 percent of their
DNA.How can we be so similar and yet so different?
Here is your answer in Surah Baqarah verse 66.
You are already aware of those of you who broke
the Sabbath.We said to them,“Be disgraced apes!”
Ape species include,gorillas,chimpanzees,orangutans,
gibbons,and bonobos.The source from which existing
things derive their existence is also that to which they
return at their destruction.
1.The judicial system is on the verge of destruction.
2.It is on the mercy of dirty rich,corrupt & resourceful criminals.
3.Pakistan is a safe heaven for the criminals of all kind.
4.We are lost without any hope for redemption.
5.Criminals and gangsters should be punished.
6.The same criteria shall be imposed on violators of the constitution.
7.What about those who wore and abuse uniform,
in the guise of emergency and patriotism.
Note.Rule of law cannot be selective.
The case report of a serial killer who worked at several hospitals as a respiratory therapist is presented.The suspect was initially labeled a benevolent Angel of Death who ended the suffering of elderly patients through mercy killing. However,his subsequently declared motive for homicide was very different from other similar cases in medical settings. The application of new analysis techniques for the detection of pancuronium bromide injection in a series of aged exhumation tissues gave positive results and led to the resultant conviction of the therapist.
Note.Dr Zafar Supari killer.
Symptoms of envenomation include headache, nausea, vomiting, abdominal pain, collapse and paralysis.(putar tenu dasan ga)(oye na dasin)
Note.Oye DON Hun dus goli ya Teka??
1.Pesa shaadi apna ghar,
Supari Killer say dar(222)
2.Pesa shaadi apna ghar,
Zafar Supari say dar(222)
3.Pesa shaadi apna ghar,
Pagal Pathan say dar(222).
Note.Gunfire or injection??
Engineer MA Mirza
Against ALL ODDS
Wiped out BABAS.
Introduction
The most compelling pleasure of reading a tazkira-minded piece is the double attention it asks of us: we meet a life through the act of selecting its poetry, and we meet the poetry through a frame shaped by memory, judgment, affection, or distance. The represented writer and the presenting voice remain in quiet conversation. That relationship can make a brief detail feel consequential and a short passage carry the weight of an entire career, friendship, or vanished world.
As you browse the community poems, look for the range of scales available to writers. One submission may concentrate on a single poetic figure, while another may arrange several presences into a miniature literary community. Some poets may favor documentary clarity; others may use dramatic address, imagined recollection, elegy, humor, or lyrical portraiture. The form also permits fruitful uncertainty: the speaker may admire, question, admonish, mourn, or reconsider the person being presented.
Reading beyond the first example matters because every tazkira involves choices about inclusion, emphasis, order, and framing. A single submission reveals one set of choices; several reveal how differently writers can balance life and work, commentary and presentation, fact and imaginative response. Compare what each poet gives the reader before a selected passage, what is deliberately withheld, and how the surrounding voice changes the passage that follows. The collection becomes most rewarding when approached not as a row of interchangeable examples, but as a conversation about how poets preserve other poets in language.
Reading Guide
Read each submission as both a poetic composition and an act of curation. The writer is not merely presenting a person, a name, or a passage; the writer is directing attention. Details are admitted or omitted, voices are placed in relation, and the reader is given a particular route into another poet's imaginative world. Because contemporary interpretations may compress an anthology-sized impulse into a short standalone piece, small decisions can carry unusual weight. As you read the community poems, consider not only what appears on the page but also why this material may have been chosen.
- Examine the framing voice. Notice whether the presenter sounds intimate, ceremonial, skeptical, scholarly, playful, or mournful. That tone affects how the represented poet is received. Ask: does the frame invite independent judgment, or does it tell the reader what to admire?
- Connect life details to the poetry. A biographical fact earns its place when it sharpens, complicates, or unsettles the selected language. Decorative facts can make the piece feel like a résumé. Ask: which detail changes my understanding of the words attributed or given to the poet?
- Watch the boundaries between voices. Pronouns, diction, spacing, and tonal shifts may distinguish the curator from the person being presented. Ambiguity can be expressive, but accidental confusion weakens both voices. Ask: when does authority pass from one speaker to another, and is that passage clear?
- Study selection as interpretation. A chosen lyric moment can imply a whole identity even though no excerpt can represent an entire body of work. Ask: what qualities does this selection emphasize, and what different portrait might another selection create?
- Consider order and pacing. If several figures, episodes, or passages appear, their arrangement can create chronology, contrast, accumulation, or surprise. Ask: what emotional or intellectual journey does the sequence produce that a different order would not?
- Attend to closure. An ending may return to the presenter, leave the represented poet's language resonating, or widen toward collective memory. Ask: does the final movement preserve a living presence, deliver a verdict, or acknowledge what cannot be recovered?
Compare several poets' approaches before deciding what the form can do. The most revealing differences often lie not in subject matter alone, but in the relationship each writer creates between portrait, passage, and reader.
Writing Tips
Begin by deciding what act of remembrance or literary attention your piece must perform. A tazkira draft becomes compelling when its selections are governed by an idea larger than inclusion itself: perhaps a poet's public reputation conflicts with a private struggle, several writers illuminate one another, or a surviving line changes meaning when placed beside a life event. Formal recognizability is only the framework. The real workshop question is whether biography, poetic language, and arrangement create insight together.
- Choose material with a governing question. Do not begin with every fact you possess. Ask what you want to understand about the represented poet: an artistic transformation, a moral contradiction, a lineage, a loss, or a lasting influence. Let that question determine what belongs.
- Control the scale early. A single portrait allows intimacy and development; several figures offer comparison and communal scope. Trying to include too many names in a short piece often produces a roll call rather than an anthology with emotional shape.
- Select revealing particulars. Replace broad praise with an image, gesture, setting, habit of speech, or decisive circumstance. A concrete detail can suggest a life without reducing the person to a label. Use only details that deepen the reader's encounter with the poetry.
- Make the presented lines indispensable. Do not insert a passage merely to satisfy expectations. It should answer, resist, or complicate the surrounding account. If the frame says the poet was defiant while the selected language reveals tenderness, that friction can create a fuller portrait.
- Differentiate voices without caricature. Give the presenting voice its own syntax and attitude, then let the represented voice retain a distinct verbal character. Forced archaism, exaggerated dialect, and generic loftiness can make both speakers feel invented rather than encountered.
- Turn order into argument. When the draft contains several entries or moments, experiment with arrangement. Chronology can show development, juxtaposition can reveal affinity or disagreement, and delayed identification can create discovery. The sequence should do interpretive work rather than function as storage.
- Shape sound and pace across transitions. Read prose-like framing for cadence as carefully as overtly lyrical passages. Dense biographical sentences may need a short line, pause, or image afterward. Repeated sounds can connect voices, while a deliberate change in rhythm can signal the arrival of another presence.
- Avoid the beginner's catalogue trap. Names, dates, virtues, and titles can accumulate without producing a poem. Another common weakness is over-explaining the selected language. Trust a strong juxtaposition to communicate more than a paragraph of praise or interpretation.
- Earn the ending. Resist concluding with a generic declaration that the poet will be remembered. Return instead to a transformed image, an unresolved tension, a surviving phrase, or the present-day consequence of the encounter. Closure should alter how the preceding portrait is held.
During revision, read the entire draft aloud and mark every point where energy falls between frame and presented voice. Test whether listeners can identify who is speaking, why each detail matters, and what the ordering adds. Then remove explanatory language that merely repeats what an image or passage already conveys. The finished piece should feel selected rather than reduced, shaped rather than mechanically assembled, and respectful without surrendering the editor's discerning intelligence.
Interesting Facts
- Selection is already criticism. Even when a writer offers no explicit evaluation, choosing one life detail or poetic passage over another directs the reader's judgment. A seemingly modest act of preservation therefore carries interpretive power.
- The frame can transform the framed language. The same lyric passage may sound triumphant after an account of struggle, troubling after evidence of contradiction, or elegiac after a loss. Context does not merely explain the poetry; it changes the emotional conditions under which it is heard.
- Compression increases the importance of omission. A short portrait cannot contain an entire life or body of work. Its success depends on making limited details resonate while avoiding the false impression that one anecdote or passage exhausts the person.
- Order can create an implicit literary community. When several poets or voices are placed together, adjacency may suggest inheritance, disagreement, shared experience, or contrast. The arrangement can make figures appear to answer one another even without direct dialogue.
- Silence has archival force. White space, a withheld explanation, or a pause before a represented voice can acknowledge distance and uncertainty. Such restraint may feel more responsible than filling every gap with confident narration.
- A contemporary interpretation can be intimate without becoming casual. Addressing a poet as mentor, ancestor, rival, or absent companion can enliven the form, provided the relationship is developed through precise language rather than unearned familiarity.
- Several examples reveal the form's interpretive range. As you read the community poems, notice how one writer may emphasize preservation while another emphasizes encounter, argument, or imaginative reconstruction. Comparison shows which qualities belong to a particular poem rather than to every tazkira.
Popular Themes
Subject matter shapes the balance between portrait, selection, and commentary. The themes below are literary possibilities rather than measured popularity rankings. Each works because it gives the presenting voice a reason to recover, arrange, or reconsider another poetic presence.
- Literary inheritance. A writer can trace how one poet's imagery, convictions, or verbal habits enter another generation. Presented passages become evidence of influence rather than decorative tribute, allowing continuity and resistance to appear together.
- Remembrance and grief. The movement between biographical detail and surviving language suits elegiac work. A voice may be absent, yet its words remain present, creating a productive tension between mortality and verbal endurance.
- Mentorship and apprenticeship. The form can preserve not only published language but also advice, correction, encouragement, and artistic example. The presenting poet may show how admiration matured into independence rather than offering uncomplicated praise.
- Exile, migration, and belonging. Changes of place can be approached through names, remembered scenes, languages, and portable lines of poetry. The selected words may function as a homeland, a contested inheritance, or evidence of divided identity.
- Faith and moral witness. A poet's spiritual or ethical commitments can be placed beside moments of doubt, courage, admonition, or social pressure. The form allows belief to emerge through both lived context and crafted utterance.
- Artistic awakening. A portrait may focus on the event, encounter, or inner turn that made writing necessary. Rather than covering a whole life, the piece can concentrate on the moment when perception became poetic practice.
- Overlooked voices and communal memory. Writers may recover people whose influence survives locally, privately, or through fragments. Careful presentation can honor limited evidence without inventing certainty, turning absence itself into part of the emotional design.
Browse the poems in this collection to see how similar concerns can produce very different structures and tones. Compare who speaks, what is preserved, and whether the represented poet appears as an influence, a mystery, a companion, or a challenging presence. Shared themes become most revealing through contrasting acts of selection.
Editorial Insights
The central artistic tension lies between documentary responsibility and lyric transformation. A technically recognizable piece may supply a person, contextual information, and representative language, yet remain inert if those elements merely sit beside one another. A memorable work makes their relationship consequential. The life changes how the poetry is heard; the poetry complicates the account of the life; and the presenting voice reveals why this encounter matters now. None of the three components feels interchangeable.
Structure becomes necessary when arrangement embodies interpretation. A chronological movement might expose development, but chronology alone is not a dramatic shape. A sequence of several poets might create a lineage, but proximity alone does not establish connection. Strong work uses recurrence, contrast, pacing, tonal change, and carefully placed detail to make the order felt. Editors notice when an early image acquires new meaning after a presented passage, when one voice quietly revises another, or when a final omission acknowledges the limits of what can be known.
Weak drafts often confuse accumulation with depth. Lists of accomplishments can crowd out personality; predictable praise can flatten a complicated artist; mechanical entry patterns can make every figure sound alike. Forced elevated language may imitate importance instead of creating it, while over-explanation prevents readers from discovering the connection between context and poetry. The opposite problem is insufficient development: a name and a few attractive lines may gesture toward a portrait without establishing why this person, selection, or arrangement deserves attention. Responsible compression should create resonance, not thinness.
Individuality remains visible through the curator's intelligence. One writer may create intimacy through direct address, another through spare documentary restraint, and another through a polyphonic sequence in which voices challenge each other. What matters is not novelty detached from the form's purpose, but a distinctive reason for preserving and presenting these words. Comparing multiple community poems sharpens this judgment. Readers begin to distinguish informative framing from dramatically active framing, respectful tribute from generalized admiration, and orderly presentation from meaningful sequence. Quality becomes easier to recognize when several solutions to the same artistic tension can be held side by side.
Read, Write & Share
Read beyond the first example and let several community poems revise your sense of what a tazkira can accomplish. Compare how each writer frames a poetic life, selects revealing language, manages the distance between voices, and turns arrangement into meaning. A thoughtful comment might identify a particularly effective transition, detail, contrast, or ending while remaining open to the poet's chosen interpretation.
Then try composing your own piece. Choose a poetic presence worth preserving, questioning, or bringing into conversation, and publish the result on PoetrySoup. Your approach can add another perspective to this evolving community collection.
Collection Statistics
The collection currently contains 6 poems. This size gives readers multiple interpretations to examine closely without making careful comparison unwieldy. As you move among the submissions, consider how poets may follow established conventions, adapt an anthology impulse to a self-contained poem, or challenge expectations through voice, sequence, and framing. Each piece offers an opportunity to ask which choices make its act of poetic remembrance coherent and affecting.
Tazkira Categories
Definition | What is Tazkira in Poetry?
Looking for the formal definition, structure, and history of this poetry form? Visit the Poetry Dictionary entry below. Then return to explore how PoetrySoup members bring the form to life through their own poems.