Mirat-ul-Uroos [Deputy Nazir Ahmad] on durchcomppumalchi.ga Be the first to review this item; site Best Sellers Rank: #2,, in Books (See Top in Books). Mirat-ul-Uroos is an Urdu language novel written by Muslim author Nazir Ahmad Dehlvi Punjabi, Kashmiri and other languages of the Indian subcontinent. The book sold over , copies within a few years of its initial publishing. Mirat ul Uroos / مراۃ العروس book. Read 7 reviews from the world's largest community for readers. مراۃ العروس اردو زبان کا پہلا ناول ہے۔مولوی نذیر احمد.

Mirat Ul Uroos Book

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Mirat Ul Uroos By Deputy Nazeer Ahmad. byDeputy Nazeer Ahmed. Topics Deput Nazeer Ahmad, Deputy Nazeer Ahmed, Novel, Urdu Novel. Book Source: Digital Library of India Item durchcomppumalchi.ga: Nazeer durchcomppumalchi.gaioned. Read Book Mirat-ul-Uroos by Deputy Naziir Ahmad on Rekhta Urdu books library . Navigate to next page by clicking on the book or click the arrows for previous.

Prof shuja Ahmed, The work is so closely connected to the field that it could have been adopted as the first textbook in Home Economics www.

V, Issue II, April. Nazir realizes that women occupy pivotal position in the formation of society. And society can only flourish if the women are highly knowledgeable of domestic activities and capable of performing them rightly. It is only possible if women are formally trained for such activities since the beginning.

With this frame of mind Nazir searched for books on household education but he faced disappointment to find such books in Urdu literature. He was dreaming of development of such society and people whose foundation were on the training of social interaction and intimacy and for that equilibrium family training is the first clause.

He had strong feeling for the shortage of books on women education and domestic training.

The most important point was that Nazir, highlighting domestic and social responsibilities through the interesting stories of leading characters Asghari and Akbari, unfolded the mysteries and secrets of Home Economics and household education.

Though this book did not gain popularity as an inventive textbook; however, it is admired as the First Novel and Deputy Nazir Ahmed as the First Novelist in Urdu.

Stubbornness, peevishness, ill disposition and ill-tempered behavior ruined her domestic life. In this story Nazir showed that how lack of knowledge and training in domestic education ruined a home life. And simultaneously gave details of the importance of domestic and household education. She is well behaved and well mannered. She turned her house into home, a peaceful place, using her skills and abilities.

Through this character Nazir unfolds secrets and enigmas of Home Economics education.


In reality, it is this part of the book which is based on household and Home Economics education. Here Nazir has explained housekeeping issues resourcefully and tactfully which makes him distinguished among other authors. And therefore, it is important for a woman to have skills and abilities of a ruler, for smoothly running her kingdom and also to be the best mother, wife, sister, and daughter. That is why he attempts to rebuke the downfall of female segment and their problems through his novel.

Its main themes are household chores, home-management education and character building. This tale is very important in terms of Home Economics education. The core themes, inter- related to each other, are emphasized through personification of Asghari. This interrelation is persistently eminent as the story proceeds with another character, Husn Ara.

In both stories Nazir emphasizes domestic and social issues along with skills of household technology. Home Economics education, financial dealings, wedding styles, food and nutrition, and clothing and textile are being discussed all through the plot.

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Surprisingly, even to this day his books are useful for women to gain knowledge if formal education is unreachable. Eventually he turned his attention toward religious reform, and composed a number of thoughtful, candid, liberal-minded essays. He died of a stroke in But his influence lived on, and not just through his writings: The Bride's Mirror was for teaching household arts, The Daughters of the Bier for teaching useful facts, and The Repentance of Nasuh for teaching piety.

There is certainly, as C. Naim notes, 'some internal evidence to suggest that the series was planned'--or at least, that a series was planned, though it may have evolved in the course of its writing. Nevertheless, the quality and reputation of the three tales differ markedly. The second tale is much the weakest--it consists largely of an account of the school run by Asghari--while the first and third are the author's most famous works, with most critics preferring the third.

The Bride's Mirror , the one that started it all, became such a popular favorite that in the days of its greatest fame it was, like a fairy tale, 'simply known as the story of Akbari and Asghari'. The influential religious scholar Maulana Ashraf Ali Thanvi took a dim view of the work. His own famous didactic work Bihishti Zevar Heavenly Jewels was commonly given to brides, since it contained encyclopedic advice for every part of their domestic and religious lives.

And in his list of harmful books that should not be read, the Maulana included both The Bride's Mirror and The Daughters of the Bier , along with two later tales by Nazir Ahmad. Perhaps realizing how odd this would seem to his readers, he added a note of explanation: The Bride's Mirror is not only 'the most popularly beloved of the books Thanawi condemns', but also 'a story that seems in many ways a fictional account of the girl the Bihishti Zewar was meant to produce'.

Metcalf emphasizes Asghari's exemplary combination of moral qualities and practical abilities: It is the story of two sisters, the elder a mean-tempered, uneducated failure and the younger, Asghari, a literate, competent, and pious source of blessing to everyone she encounters.

Asghari brings order to household accounts and to people's lives--and is able to correspond with her wise father, who is posted away from home. Patient and sober, she controls her self and her environment.

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Naim speculates on some possible reasons for the Maulana's dislike of the tales: Nazir Ahmad's 'equating of Islam with other religions', his 'praise of the Christian English, at the cost of Muslim Indians', his mockery of certain types of Muslim religious figures, and 'his portrayal of highly capable and dynamic women, who tower over the men around them'. Such a book describes and illustrates good and bad possibilities, providing many moral maxims along the way, so that the prince can see himself as reflecting the virtues and not the vices possible to his office.

Just to make sure she takes the point, the author introduces his tale with a long exhortation addressed to the girls who will be reading his book. He points out to them that women are 'preserved from the toil of earning a livelihood, or making money', but that 'it is the women who do the entire work of housekeeping'.

Thus 'the world is like a cart which cannot move without two wheels--man on one side, and woman on the other' [7]. Women have faculties like those of men, and can become famous like men. It may be true that 'too much learning is unnecessary for a woman', but still--'how many women are there who acquire even so much as is absolutely necessary? Looking at 'the common practice of the whole country', we see ' no value set upon women' italics Ward's. Yet, 'oh women of India'--and the Urdu has only 'oh women'--you should realize that the blame lies with you: If you acquire more capacity, it will be recognized.

Yet living in purdah, how can you acquire it? For this you desperately need literacy.

For better or worse, the practice is solidly entrenched: Literate, knowledgeable women can educate their children at home, care for them properly, and manage large households more successfully.

Everything points to the need for girls to read, to learn! He concludes his long introduction enticingly: In fact, Nazir Ahmad divides his tale into two sections.

The initial part, Akbari's story, is marked only by the traditional romance-like opening title Aghaz-e qissah The Beginning of the Story , and indeed the author claims in his introduction to have composed Akbari's story first. But Akbari's story constitutes less than a fifth of the whole narrative. The second section, over four-fifths of the whole, is called Asghari Khanam ka bayan An Account of the Lady Asghari ; this is the part that the author claims he later added at the insistence of his daughters [2].

In his translation G.

Ward breaks up the text into thirty-one short chapters, of which the first six tell Akbari's story. Akbari, newly married, behaves in every unsuitable way: She sews so sloppily that her aunt not only pinches her, but even runs a needle into her hand by way of punishment. She goes out without her husband's permission, tells her mother false stories of ill-treatment, and spitefully demands an establishment of her own, independent of the joint family home in which she and her husband have been living.

When she does get her own separate household, she is quite unable to run it. She cannot cook, so she feeds herself and her undesirable girlfriends on expensive takeout food from the bazaar. Her girlfriends steal from her, a female con artist and her allies fleece her and run off with her jewels, her unaired clothes are gnawed by ants and rats, and so on.

Why is Akbari such a disaster? We aren't left in any doubt at all. Akbari is awful, her own mother acknowledges, because she was 'her grandmother's spoilt pet', and her childish disobedience and destructive fits of temper went unchecked [38]. The author endorses this verdict: The story is told by a reliable first-person narrator, but his voice is impossible to distinguish from that of the author. Nazir Ahmad helpfully makes the comparison between the sisters' lives as explicit as possible.

Although Akbari was sixteen when she was married, he tells us, Asghari was married at the tender age of thirteen--to the less capable, less knowledgeable younger brother of Akbari's husband. Moreover, Asghari had a child in the second year of her married life though we are later given to understand that this child died soon after birth ; and her husband's career obliged her to spend much time away from home.

In short, he points out, her situation was worse than Akbari's in every way except one: For although her mother is 'a very hot-tempered woman', Asghari herself is 'intelligent, sensible, and kindly dispositioned'. She is a paragon: Her father, Durandesh 'Far-seeing' Khan, sends to her as a wedding present a very long and particularly patriarchal letter of advice about how to behave in her marital home: Asghari makes it her practice 'to read it and meditate upon its contents regularly every day' [66].

In fact, it appears that Asghari has been educated chiefly by her father []. Although she finds her life as a new daughter-in-law difficult, Asghari behaves commendably. She cultivates her young sister-in-law, Mahmudah, and gradually becomes a valued member of the household. But she still runs into trouble. She falls foul of Mama Azmat, a venerable female servant who has been presiding over the household for decades, controlling all downloads, all loans and debts, all transactions involving the women's jewels--and, in the process, cheating and stealing to her heart's content.

When Asghari catches her out, Mama Azmat conspires to get Asghari into trouble with her in-laws. To make herself indispensable, she exploits the illiteracy and credulousness of Asghari's mother-in-law to persuade her that a harmless sign on the wall is a notice of a lawsuit over the family's chronic indebtedness.

But Asghari has written to her brother, asking him to arrange for her father-in-law to return briefly to Delhi from his post in Lahore. In the meantime, she works quietly to reduce the family's expenses. When her father-in-law arrives, he and she together ensure that Mama Azmat's fraud is exposed and the debts are paid. Asghari's father-in-law addresses her with real respect: The whole second half of the story Chapters XVII-XXXI is an account of how cleverly Asghari manages to restore and increase the family's wealth, while also greatly improving their social connections.

She organizes all domestic affairs 'as if the house were a machine, with all its works in good order' [], and persuades her husband to stop gambling and start working seriously to learn Arabic and accounting.

Her reputation is such that Husnara, a spoiled young girl from a distantly related aristocratic family of the neighborhood, is sent to her for training. Before long Asghari is running a small girls' school in her home: We learn a lot about her teaching methods including a recipe for zardah , and about the evils of other schools they are boring, cruel, and exploitative. Asghari's girls dress dolls thus learning about fabrics, clothes, and festivals , and also have 'doll feasts' that they themselves cook and eat, and for which they keep careful accounts of the costs.

In the girls' lessons, Queen Victoria and the Begams of Bhopal serve as inspirations; so do English women who send their children away for schooling, for their love is 'tempered with reason' and is not 'a mad fondness like that of mothers here' who spoil their children and let them run wild [].

Through Asghari's shrewd advice, discreet politicking, and energetic prodding she 'put the yoke on' him 'by force' [] , her husband gets a well-paid appointment in service with the English, in Sialkot.

At first all is well, but then he falls into bad company and bad habits, and Asghari decides to travel to Sialkot by train, uninvited, to join him. Before her departure, she brings Akbari and her husband who, like his father, calls Asghari 'brother' [] back to the joint family home.

She reforms her husband, then returns to Delhi a year and a half later and arranges for her father-in-law to retire and for his older son, Akbari's husband, to take his place. Her final coup is to take advantage of the love and gratitude felt for her by her now well-trained pupil Husnara and other female allies in that family, in order to get her young sister-in-law Mahmudah married to Husnara's younger brother.

She points out, 'Wealth, good qualities, good looks, these are the three main things', and of them all Mahmudah lacks only wealth []; but in accomplishments she is in fact superior to the proposed bridegroom []. After much diplomacy and not-so-subtle emotional blackmail, Asghari has her way. She proclaims the virtues of simple marriages; but then, through a number of clever contrivances, she produces far more of a dowry than anyone had expected, so that the marriage takes place in the handsomest style.

Because Mahmudah remains devoted to her and constantly seeks her counsel, Asghari now has a chance to manage huge estates, which she does to perfection. In a brief conclusion we learn that Asghari has left monuments in the world: We have already had a list, in fact, of a mansion, a mosque, a sarai, and various charitable trusts left by her in Delhi [].

She has trials to bear as well: The death of one much-loved daughter is especially painful to her; however, she endures the blow with dignity and proper religious fortitude. She is consoled by another extremely long and didactic letter from her father that takes up the whole last chapter of the tale.

One of her sons lives to adulthood, and is then married to Mahmudah's only daughter. Nazir Ahmad's introduction to The Bride's Mirror is so full of complex feelings for women that it almost shoots out sparks. The reader can easily tell that this writer has spent time with women and girls, and that he genuinely likes them and enjoys their company.

He cares enough about them to respect them; he values their potential and wants them to achieve fine things. Thus he is led into a torrent of reproach. Wanting women to be admirable and admired, he is distressed by the shortcomings he sees in them: He illustrates and denounces these faults, trying to hector his young female readers into overcoming such embarrassing, humiliating, even shameful traits.

Yet he also knows that the deck is stacked against women. The first part of the book describes the life of Akbari, who is raised in privilege. She is depicted as lazy and poorly educated.

When she moves to her husband's house after her marriage, she has a very difficult time and brings all manner of unhappiness upon herself by her poor judgment and behavior. The book's second part is centered on Asghari, who is modest, hardworking and educated well in a school.

She despises idle chatter and is the beloved of all in her mohalla neighborhood. When she is married, she too undergoes a difficult transition, but through her hard-work, winsome manners and good education is able to form solid bonds with her husband's family and the people of her new mohalla.

The story goes through a number of twists and turns that describes the experiences of the two women at various stages in their lives. It depicted Asghari running a girls' school in her mohalla. In , this story was once again adapted into a comedy television drama, by the name of Akbari Asghari , which aired on Hum TV.Such a book describes and illustrates good and bad possibilities, providing many moral maxims along the way, so that the prince can see himself as reflecting the virtues and not the vices possible to his office.

Nazir Ahmad's 'equating of Islam with other religions', his 'praise of the Christian English, at the cost of Muslim Indians', his mockery of certain types of Muslim religious figures, and 'his portrayal of highly capable and dynamic women, who tower over the men around them'.


Matthew Kempson, the Director of Public Instruction, maintains that the work is unique of its kind: The whole second half of the story Chapters XVII-XXXI is an account of how cleverly Asghari manages to restore and increase the family's wealth, while also greatly improving their social connections. Before her departure, she brings Akbari and her husband who, like his father, calls Asghari 'brother' [] back to the joint family home.

The Bride's Mirror takes place in a historically accurate, minutely detailed social space, and all the events in it are brought about by normal, rationally explicable and explicated causes. In beginning of the story Mehmooda teaches Husn Ara stitching, embroidery, and Home Economics through doll house.

What can now be done by persuasion, can't be done later even by big quarrels.

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