Syed Nasir Raza Kazmi was a famous Urdu poet of Pakistan. He should be counted among those writers of ours who were not destined to live long but who, during their limited period of time, wrote much and touched the heights of creativity before they died. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Soon after Kazmi's death, Ahmad Mushtaq sat down to compile what had been written about her poetry and personality and published a collection titled Hijr Ki Raat ka Sitara. Now, after almost 40 years, Mushtaq, in collaboration with Basir Kazmi, has published the revised edition of the book. Much has been written about Kazmi's achievements in poetry in recent years. A rigorous selection of these writings is now part of the revised edition of Hijr Ki Raat ka Sitara. This addition to the collection adds a lot of value to the volume. There is now the impression that critics have been able to access what Kazmi had written since the publication of his first collection Berg-i-Nai and are in a better position to evaluate his work. The articles included in the first edition show that critics of Kazmi's poetry were still under the spell of his early period described in Berg-i-Nai. Of course that period has great significance and brings with it a lot of charm. Kazmi had emerged as a new voice in Urdu poetry, seeking to capture the unique experience of his era. And it was an era that, under the pressure of Partition, had emerged as fraught with far-reaching consequences for people on both sides of the dividing line. It was up to Muhammad Hasan Askari to point out that Nasir Kazmi is the only poet who was able to capture this great experience in his ghazal. Enriched by this experience, Kazmi's ghazal acquired a seductive quality that was much appreciated by readers. But as Suhail Ahmad Khan pointed out in his article, Kazmi's admirers, in their immense admiration for the poet, have forgotten the fact that a true poet never likes to be a prisoner of any mode of expression or any mode of feeling , Anyway. popular. It must go beyond searching for something different or new. So the ghazals in his second Diwan collection tend to be a little different, giving way to a sense of maturity in place of romantic flavour. Not only that, but there comes a point in Kazmi's poetic journey where he bids farewell to the ghazal and turns to nazm. So his Nishat-i-Khwab collection has something different to offer us. Ahmad tried to explain the kind of nazm he wrote. Kazmi, according to Ahmad, is trying to understand his experience through the traditional form known as hikayat or parables. These experiments seem to point to his childhood experiences and the cultural region where the Ajami temperament mixed with the Hindi temperament. Others seem unaware of any attempt by Kazmi to write a work in verse. Indeed, only two critics in the entire collection, Suhail Ahmad and Shamim Hanafi, have considered Kazmi's various attempts to break out of what Ghalib called the narrow alley of Ghazal and discover a broad field for his poetic expression. Others seem intent on treating him simply and exclusively as a ghazal writer. Shamim Hanafi tried to take into consideration all of Kazmi's writings. He paid attention to the poems collected in the volume Nishat-i-Khwab, especially his long poem of the same title. According to Hanafi, this is a wonderful piece of poetry. According to his interpretation, the poem revives a cultural atmosphere that had darkened under the pressure of circumstances in such a way that.