When we compare two different languages, we get to know about several interesting factors. Be it the grammatical forms or the similarity of words, it is important to compare the structures of different languages to know how closely related they are. Modern Turkish is the successor of the Ottoman Turkish, which gradually absorbed Arabic and Persian words and even grammatical forms, whereas Urdu itself was heavily influenced by the languages such as Persian, Arabic, Sanskrit, Hindi as well as Turkish. In this article we will analyse how Urdu and Turkish share considerable similarities in structures as well as vocabularies.

The world of languages possesses its own complexities. When it comes to comparing two different languages, we encounter several interesting factors. Be it the grammatical structures or the common vocabulary, it is significant to analyse different languages in order to see how closely associated they are. Here we’ll see how 

, two of the most spoken languages of the world share considerable similarities.

 and it is spoken by more than 90 million people worldwide, on the other hand Urdu is spoken by more than 230 million people worldwide. It is the official language of 

, whose status and cultural heritage is recognised by the Constitution of India.

 language family, whereas Urdu is an Indo-Aryan language. Modern 

, which gradually absorbed Arabic and Persian words and even grammatical forms to a considerable degree. When we talk about the development of Urdu, it was heavily influenced by the tongues such as 

 as well as Turkish and also borrowed a number of words from them. The word “Urdu” itself is derived from a Turkic word “

” which means army. According to a latest linguistic research, both Urdu and Turkish have thousands of words in common, most of which are those of Arabic and Persian origin. 

Kitap/kitab (book), begüm/begum (mistress), bacı/baji (sister), hanım/khanam (lady), duvar/divar (wall), kalem/qalam (pen), mümkün/mumkin (possible), masum/masum (innocent), Şair/shayar (poet), adalet/adalat (justice), helva/halva (sweetdish), perde/parda (curtain), ceza/jaza (punishment), baba/baba (father), çay/chai (tea), dost/dost (friend), bahar/bahar (spring), her/har (every), dünya/duniya (world), incir/injir (fig), mum/mom (wax/candle), sabah/subah (morning), şikayet/shikayat (complain), şehir/sheher (city), şarap/sharab (wine), nehir/neher (river), düşman/dushman (enemy), hükümet/hukumat (government), akıl/aql (intelligence) etc

According to the academicians who are teaching Turkish language and literature at Jamia Millia Islamia in New Delhi, such similarities to Urdu make them easier to learn for the students who are studying them as foreign languages. The students with a mother tongue Urdu especially found it convenient to learn Turkish because of the commonalities between the two. Tuba, a student of Urdu language and literature at the Selçuk University (Konya, Türkiye) says- “Urdu is very similar to Turkish in structure and has a lot of similar words too. As a result, it is relatively easy for a Turk to learn Urdu”. Whereas Hilal, who just graduated in Urdu from Istanbul University (Istanbul, Türkiye) finds the pronounciation of Urdu a hard nut to crack. Derya, a student from Gaziantep (Türkiye) too shared her views regarding same stating, “Actually it is very easy and fun for me to learn Urdu language because their sentence structure is just like Turkish”.

Understanding these subjects helps us to learn new linguistic facts. Even common words can have interesting origins that provide fascinating insights into the histories and cultures. The study of commonalities of languages is nothing but an admirable path of making people realize that they’re the members of a same family. These studies result in enlightening the people by giving them a good insight to better understand and respect each other’s cultures and traditions.

The Influence of Turkish on Urdu Language

Syed Sajjad Haider Yaldaram, a scholar and writer, is credited with founding the modern Urdu short story. He received his education at Aligarh Muslim University and later worked as a translator for the British in Baghdad, where he honed his Turkish language skills. Yaldaram’s greatest contribution lies in translating Turkish literary works, including short stories and novels, into Urdu. These translations, known for their fluency, exposed Urdu readers to new styles and broadened their literary horizons. His writings left a significant influence on Turkish literature in Urdu. Through his translations, Yaldaram played a significant role in bridging the gap between Urdu and Turkish literature, enriching both literary landscapes.

Literature is a vibrant tapestry, woven from the contributions of numerous voices across generations and continents. Each author or poet adds a thread, a unique perspective that enriches the overall design. Among these threads, some stand out for their transformative power, shaping the very fabric of a language’s literary tradition. Such is the case with 

 Yaldaram was an influential writer, translator, humorist, linguist, and essayist who wrote in the Urdu language and is considered to be the founder of modern Urdu short stories.

 where he later served as the Registrar of the university. He is said to have been sent to the Ottoman Empire by the British Government to support the ‘Young Turks’. His daughter 

’ of Urdu literature) tells in her book ‘

 who lived in Ottoman Arabia and had a sound knowledge of Turkish language, literature, and culture. He started a literary magazine, 

 (The Wealth of Knowledge). He taught Yaldaram the Turkish language and in return, Yaldaram taught him English. After graduating from Aligarh in 1901, he went to work as a translator and interpreter for the British embassy in 

, where he received his fluency in the language. Later, Yaldaram along with Haji Ismail Khan translated and transcreated several Turkish literary works and serialized them in 

Yaldaram’s primary contribution lies in introducing Urdu readers to Turkish literature. When his contemporaries were translating Western literature into Urdu, he thought of doing the same with Turkish literature by using his language skills and knowledge of the cultural life of Turks. He translated short stories, novels, and other literary works by renowned Turkish writers and enriched the Urdu literary landscape. Yaldaram helped bridge the gap between the two literary traditions. His translations were known for their fluency, making them look like original Urdu works rather than translations. His book 

 is regarded to be one of the masterpieces in Urdu literature. His translations include some works by famous writers like 

Aaseb-e-Ulfat, Zehra, Kharistan-o-Gulistan, Matloob Haseena, Salis Bakhair,

 etc. are some of his major translations and transcreations which brought new flavors to Urdu literature, introducing fresh narrative styles and themes that resonate with readers.

He played a crucial role in promoting cultural exchange between Urdu and Turkish literature by exposing Urdu readers to new literary styles and broadening the perspectives of the audience. His role lies in not only borrowing the elements but in adapting them into his literary masterpieces. He was influenced by romanticism which was prevalent during his time. In his work 

 he incorporated a wider range of Urdu vocabulary and used figures of speech extensively. Khayalistan displayed a clear influence of Turkish literary styles and themes. Literary translation, like Yaldaram’s work, is essential. It breaks down language barriers, allowing readers to experience the beauty and ideas of other cultures’ literature. This enriches their literary landscape by introducing new styles and perspectives, fostering a richer and more diverse world of stories.

Yaldaram passed away in 1943, leaving behind a legacy that continues to inspire generations of writers and readers. He is remembered as a pioneer of the modern Urdu short story. His masterful translations of Turkish works opened new literary worlds for the audience of Urdu literature. A true scholar, he bridged cultures through the power of language.

Yaldaram and His Literary Landscape

While the Ottoman Empire is known for its military and architectural achievements, a lesser-known aspect was their surprisingly progressive attitude towards animals. This article explores their innovative approach to animal welfare, including legal protections against cruelty, the construction of bird hospitals and houses, and a general respect for living creatures. These practices, influenced by both religious beliefs and a practical understanding of the benefits of animal well-being alike, serve as an inspiration for our own treatment of animals today.

When we navigate the history books we come across a number of interesting facts about different dynasties. The Ottoman Empire, one of the most powerful empires in the world during the 15th and 16th centuries, spanned more than 600 years. The Ottomans left an undeniable mark on history, and are remembered for their formidable military, rich ethnic tapestry, artistic achievements, and tolerance in religious matters. Their architectural wonders continue to inspire awe today. And, when we talk about animal coexistence, the Ottoman standards reign supreme.

During the 15th century, Sultan Bayezid II passed a law stating the regulations for the protection of animals. This included preventing the use of injured horses for work and limiting the weight carried by donkeys and camels. Afterwards, in the 16th century, Sultan Murat III issued a comprehensive animal rights decree, the first of its kind in the world. They showed their gratitude towards the animals that pulled heavy cannons. These animals were retired and cared for until their death. This sharing of our world with animals in a peaceful way is called ‘animal coexistence’. This is important because it benefits both humans and animals.

The Turkish love for birds transcends the boundaries of time. Purchasing birds from the market and setting them free was a common practice. World’s first stork hospital was established in Bursa to treat the injured birds during migration. The bird houses were one of the most significant contributions of the Ottomans. They built them for sparrows, swallows and even storks. These miniature houses weren’t just mini-architectural marvels, but they reflected the Ottomans’ respect for nature and animals. The bird houses were constructed on the high walls of mosques, inns, palaces, tombs and even fountains. Apart from the bird houses, it was compulsory to include water bowls and drinking basins in new constructions especially for birds, ensuring easy access to water in summers. The carved cobblestones were placed for collecting water to quench the thirst of birds and street animals (cats, dogs etc.) as well. Another astonishing feature for access to clean water for the animals were the public fountains which were also used by the humans.

The Ottomans emphasized animal welfare and enacted laws for protecting them, such as prohibition on the hunt of young and pregnant animals. They even designated the caretakers to feed deer and other wild animals during harsh climates. One of the main reasons for the generosity towards animals by the Ottomans was their religious beliefs. Generosity towards animals is a multifaceted concept in Islam which encourages Muslims to be compassionate towards all the living beings. There are teachings about reward for good deeds towards animals and punishment for cruelty towards them. Beyond the religious beliefs, there was a common sense of empathy and love for animals which was manifested in the acts of charity, such as building structures and caring for sick and injured animals. After all, animals play a significant role in society. They provide food, transportation and various other benefits. Caring for them helps in increasing their longevity, productivity and financial benefits.

The Ottomans stand out in history for their progressive approach to animal coexistence. From legal protections to architectural marvels like bird houses and water sources, they actively ensured animal welfare. This stemmed from both religious beliefs promoting compassion and a general respect for the role animals played in society. Their efforts to create a harmonious world for humans and animals serve as an inspiration even today.

Feathered Friends and Working Beasts: Unveiling the Ottomans’ Progressive Animal Agenda

Jamia Millia Islamia is in itself a milestone in India’s modern history. The formation of the university was the result of unforgettable efforts by many. Halide Edib Adıvar was a famous novelist and women’s rights activist. Said to be one of the most important writers of Turkish literature, Edib was born in Istanbul in 1884. In 1935, she came to India, and delivered a series of lectures at Jamia Millia Islamia, and also donated a generous amount for the university. As a writer and activist, she is known for her efforts for the upliftment of the women in her society. She emphasized the importance of women being on equal footing with men and defined women as “human”, not “female”. Let us remember her for her contributions to the literature and women of her country, as well as her efforts for Jamia.

, a lot of events come to our minds. The university was born out of the 

. The Khilafat movement was launched by the 

, one of the founders of Jamia Millia Islamia, in defense of the 

 and to influence the British in India during the aftermath of the 

. Whereas, the Non-Cooperation Movement was started by 

) in India, through the boycott of British goods, services and institutions, which led to the foundation of Jamia. On 19 January 1935, Mahatma Gandhi delivered a speech at Jamia Millia Islamia, where he, while referring to 

“I do not know whether, while you listened to the story unfolded by the Begum Saheba, you were, like me, drawing a comparison between the history of Turkey and India. I could not fail to draw many parallels between the two stories. No birth comes without agony… I listened to the story of Turkey, I derived hope that, if we modeled our actions according to the Right and nothing but the Right, there would be nothing but a bright future for us all. There is an indissoluble tie that binds India to Turkey, not because we have suffered alike, but because Turkey has a Muslim population which has so much in common with India because of her millions of Muslims, who are flesh of our flesh and blood of our blood and bone of our bone. May Begum Saheba’s coming in our midst result in binding Hindus and Muslims in an indissoluble bond.”

Halide Edib was a pioneer in the emancipation movement of women in Turkey. She became friends with 

 who was one of the founders of Jamia Millia Islamia, while Ansari was volunteering in Istanbul with the 

 during the First World War. In 1935, she delivered several lectures in Jamia during her trip to India and was also praised by Mahatma Gandhi. Her lectures were later published under the title- 

‘Conflict of East and West in Turkey’

. Halide is one of the members of the funding committee of Jamia and she also donated a large amount for the university’s benefit. She also attended the foundation ceremony of Jamia’s new building, after the university shifted its campus from Karol Bagh to Okhla in 1935 and recorded her impressions in her book 

“The last I saw of Jamia was when its members assembled outside Delhi to lay the foundation stone of their new building. [The students] behaved well…but after a while they became fidgety and began to talk… A little girl of seven restored order. She was a puny creature with sharp black eyes. Her eyes glared and certain ribs felt her sharp elbows stuck into them. She seemed to me a symbol of the modern Indian woman, asserting her rights by proving her ability to make her men behave.”

She devotes an entire chapter in her book to Jamia Millia Islamia’s glorious beginning. In the preface of 

“One must study [the] Jamia if one wishes to grasp the forces at work in India. The institution has two purposes. First, to train the Muslim youth with definite ideas of their rights and duties as Indian citizens. Second, to coordinate Islamic thought and behavior with Hindu. The general aim is to create a harmonious nationhood without Muslims losing their Islamic identity. In its aims, if not always in its procedure, it is nearer to [the] Gandhian movement than any other Islamic institution I have come across.”

Halide received her early education at home, by private tutors from whom she learnt several subjects like European and Ottoman literature, religion, philosophy and languages. After that she was sent to the famous 

, Istanbul. She carried out studies that gave out importance to women’s education and professional development and also encouraged Turkish women to participate in the nationalist movements and was herself at the forefront. She started her literary life with publishing articles on women, education and social issues in newspapers and magazines, and later wrote several novels, stories, memoirs, plays and poems.

Independent female characters were common in her novels, which were mostly about the condition of women in her society. She is considered one of the pioneers of realistic novel in Turkish literature of the 

. For her works, she was awarded the prestigious 

 by the Ottoman Sultan. She also taught at the famous 

 in 1950, resigning in 1954. This was the only formal political position she ever held.

As a professor, author, journalist, activist and politician, she worked her finger to the bone. She never hesitated to criticize the backwardness of women in her community. For her contributions to literature and society, she is remembered as one of the most important women in the history of modern Turkey. She passed away due to kidney failure on 9 January 1964 in Istanbul.

BA Hons. in Turkish Language and Literature

Halide Edib: Jamia’s Friend from Turkey

Sadequain remains one of the most distinguished artists ever born in the subcontinent who brought a revolution in the field of calligraphy. He was the most prolific painter in the period following independence. He used to make it clear that he was not interested in decorating drawing rooms of the rich and powerful. He worked on large murals for public buildings, symbolic of the collective labour of humanity, and his work was mostly donated to the public.

 by admirers, Syed Sadequain Ahmed Naqvi remains one of the most talented artists that the subcontinent has ever produced. He was born in 1930 in Amroha, Uttar Pradesh. During his school days he used to draw lines and pictures on the walls and the floors of his neighbourhood which made the elders lose their temper. He was born in the family of calligraphers, and in a way art was always ingrained in his blood. Growing up, he started to work part-time as an art teacher at 

, where some of his art works exist to this day.

After partition, his family eventually emigrated to Pakistan. During the 1940s, he joined the Progressive Writers’ and Artists’ Movement. His skills and true talent gained the attention of 

, Prime Minister of Pakistan (1956-1957) who was a patron of arts. Sadequain worked his finger to the bone producing over 15000 artworks. The influence of Picasso can be felt in his works from the late 1950s and early 1960s.

Sadequain was the first artist to paint the artworks inspired by 

 where he profoundly used his exceptionally gifted calligraphic and artistic skills. He made the most unique combination of poetry and art which had never happened before, thus making poetry easily intelligible to the common man. He also illustrated French author Albert Camus

. He repeatedly said that he wasn’t interested in decorating the drawing rooms of the rich. Most of his works were donated to the public.

Though he was a Pakistani, he never failed to recall his birthplace. In 1982, Sadequain arrived in India where he went to meet the then Prime Minister Mrs. 

 and had a conversation with her on various topics. When he told the ‘

 that he was there on a visa of about half a month, she said that he could stay as long as he wanted. Soon, he got engaged in a lot of exhibitions, one of which was at the 

 co-hosting the event. This was followed by programs at esteemed institutions like 

 (New Delhi). He also paid a visit to his hometown, 

Meanwhile, he decided to work for the educational institutions by painting murals but he didn’t expect any charges in return because he wanted to present them as a gift to show his affection and attachment to his birth country. Making those murals required funds for which he wrote a letter to the President Gen. Zia-ul Haq, where he stated his desire to make murals and asked for funds.

Surprisingly, he got a sum of One Lakh Rupees within two days. He worked at several institutions like the prestigious 

Aligarh Muslim University, Banaras Hindu University, Jamia Hamdard, New Delhi, Geological Institute of India, Bangalore etc

. Many of those murals survive to this day. While he was living in Delhi, he used to visit the mausoleums including those of 

Sarmad Kashani, Qutubuddin Bakhtiyar Kaki, Nizamuddin Auliya and Ghalib

 to feel the serenity and silence which can be felt in his works. He was also a poet who wrote 

 (Four-lined stanzas; Quatrains) in the poetic style of 



(“When I entered the lane of quatrains;
Like in the woods Rama came;
Seeing this awed the inhabitants of the city of eloquent speech;
Who could be this mystic who came.”)

Sadequain is the only Pakistani artist to receive all of the four civilian awards of Pakistan i.e. Tamgha-i-Imtiaz 

(1960), Pride of Performance (1962), Sitara-i-Imtiaz (1980) and Nishan-i-Imtiaz (2021, Posthumously).

 He was also honoured with several international awards including 

Government of France’s Biennale de Paris award (1961) and Australian Government’s Cultural Award (1975

). In 2006, the Pakistani Government also released a postage stamp in his honour in the ‘

’ series. Google also remembered him through a doodle on 30th June 2017.

He made his last mural in 1986 titled “

 and dedicated it to the citizens of Karachi. This mural became a popular sighting at 

 He was a people’s painter; he showcased the issues in the life of a common man through his art. When he was interrogated about his inspiration, he replied: “What inspires me is a person who has gone hungry for hours and is struggling for survival. The expression that lights his face at the end of the day when he has finally found some scraps, that is what touches me. I am a painter of the expression of reality.” 

Sadequain: The People’s Painter

Parveen Shakir and Forough Farrokhzad are one of the leading women in their respective literatures. As their readership and popularity continues to expand, it is significant to have an insight over the comparative study of both the poetesses. Not only the works but their lives have a lot in common. A thousand miles apart, having different cultures, languages, eras and regions both the women faced a considerable number of same events in their lives and expressed their feelings through poetry basically Ghazals on various themes.

Poetry possesses the feelings and emotions by capturing the impressions of life in the web of their elegant expressions. Since classical times, women have been contributing towards this field with great fervor. When we talk about women in poetry, the names of 

 was an influential Iranian poet and film director often called 

 poet and civil servant who is credited to bring a distinctive feminine voice to Urdu poetry. The lives and works of both have been said to have similar elements. Parveen was born in 1952 in 

. Unfortunately, both of them passed away at a younge age in a traffic collision, Parveen died in 1994 and Forough said goodbye to this world in 1967. Both of them are said to have begun writing poems in their childhood, but it is peculiar to note that Parveen is said to be the 

 in urdu literature while Forough attended school until class 9, after which she was sent to art and embroidery classes.

Parveen was highly educated. She received two undergraduate degrees, one in 

 and another in linguistics including masters in both the fields followed by a Ph.D. from the 

 for M.A. in Bank Administration. Parveen taught for 9 years before she qualified 

 and became a civil servant. Professionally Forough was also a filmmaker and she is credited to have made one of the most prominent films of Iranian cinema. She completed a documentary film on Iranian lepers(1962)

Both Parveen and Forough married as per their choices. Forough married 

, a satirist, her neighbor and distant relative. Parveen married 

, who was a doctor in military. Sadly, the marriages didn’t last long and ended up in divorce. Parveen had a son 

, with whom she lived until her last breath, but Forough lost the custody of her son, 

Parveen and Forough wrote on almost same topics. A thousand miles apart in different times, both of them left an immortal impression in the universe of poetry using the themes and metaphors never used before. Fearlessly, Forough went on to create history as Iran’s first modernist poet where the society was male dominated. In a similar manner, Parveen sought to break this cast on Urdu poetry of being male dominated since its inception. Parveen hosted 

 and performed frequently. Both the poetesses hailed as the most prominent ones in their regions and aroused a freedom of expression in the women.

 poetry was the poetry of protest through revelation of innermost world of women, their secrets desires, sorrows and longings and aspirations. Both of them wrote 

 (a form of poetry having a fixed number of verses, traditional in 

), and their poems were unique in the sense that they encouraged the freedom of expression in women.

They left the world at an early age, leaving behind their legacy in their literary masterpieces which inspire the young generations, especially women, to think, feel, express, act, write and live.

Articles by Abdullah Khan

The Influence of Turkish on Urdu Language

Yaldaram and His Literary Landscape

Feathered Friends and Working Beasts: Unveiling the Ottomans’ Progressive Animal Agenda

Halide Edib: Jamia’s Friend from Turkey

Sadequain: The People’s Painter

Love, Desires and Sorrows: A Comparative Analysis of the Lives of Parveen Shakir and Forough Farrokhzad

The Influence of Turkish on Urdu Language

Yaldaram and His Literary Landscape

Feathered Friends and Working Beasts: Unveiling the Ottomans’ Progressive Animal Agenda

Halide Edib: Jamia’s Friend from Turkey

Sadequain: The People’s Painter

Love, Desires and Sorrows: A Comparative Analysis of the Lives of Parveen Shakir and Forough Farrokhzad