![]() These conceits include the as the embodiment of agency and the woman as a mere object, represented as a feckless beloved, who was endowed with heavenly beauty. As Rukhsana Ahmad points out in her introduction to ‘Beyond Belief’ (the first collection of feminist poetry published in Pakistan), “The bulk of the published Urdu poetry is still love poetry bound in old traditional idioms and conceits. Women feature mostly as an abstraction and as the object of the male protagonist’s desire. Second, the predominant themes and metaphors of the genre assume the poet-as-male (and consequently the reader as male) and revolve around the themes of the beauty of the beloved, the plight of the lover and the pains of un-requited love. First most of the poets are men virtuosity in verse is still considered to be a male purview and women poets, even well-known ones, continue to be marginalised. ![]() ![]() ![]() Anyone who is familiar with the field of Urdu poetry will readily recognise and acknowledge that it is extremely gendered. ![]()
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