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Inside the hut, Sabira is busy with her prayers, and tells the messenger "Sabar" ('patience'). The messenger reports back to the king that his daughter uttered the word "Sabar", which they think is the name of the object she wants to be procured. The king goes abroad and meets a person named Prince Sabar, who gives him a chest with a fan inside.
Dhuan (Smoke), from which the collection takes its title, was first published in the Urdu magazine Saqi. The story deals with the awakening of sexual urges in a twelve-year old boy, Masud. [6] In Cuhe daan (Mousetrap), Manto depicts the early discovery of romantic love by teenagers. [6]
from charpoy चारपाई,چارپائی Teen payi (तीन पाय) in Hindi-Urdu, meaning "three legged" or "coffee table". [26] Thug from Thagi ठग,ٹھگ Thag in Hindi-Urdu, meaning "thief or con man". [27] Tickety-boo possibly from Hindi ठीक है, बाबू (ṭhīk hai, bābū), meaning "it's all right, sir". [28]
Aye Musht-E-Khaak (Urdu: اے مُشتِ خاک, lit. 'Oh Handful of Dust') is a Pakistani television series produced by Abdullah Kadwani and Asad Qureshi under banner 7th Sky Entertainment, directed by Aehsun Talish.
Dastaan (Urdu: داستان, lit. ' The tale ') is a Pakistani television series based on the 1971 novel Bano by Razia Butt. [1] Dramatized by author and screenwriter Samira Fazal, it originally aired on Hum TV in 2010.
Guest House (Urdu script: گیسٹ ہاؤس) is a 1991 Pakistani comedy-drama series directed by Rauf Khalid that was produced and shown by PTV in the early to mid-1990s. [1] The setting is a fictional guest house named Welcome Guest House, located in a posh area of Islamabad. It is run by Mr. Shameem and his wife with the help of three ...
The house turns out to be in the middle of a big garden out in the rural areas of Palashi. Due to the absence of electricity , the entire house is dark, with lanterns kept here and there. The duo meet with Kalikinkar who turns out to be a 73-year-old bedridden man.
Pakistani feminists are usually concerned about depiction of women in Pakistani drama TV serials, they receive many of those with skepticism & reservation. [11] [12] UK based Pakistani feminist Tasneem Ahmar, whose research institute focuses on the women-media relationships, complaints 99.99% of TV drama in Pakistan is misogynist, patriarchal medieval in its depiction and treatment of women ...