حواشی

(1) E.M. Forster, Aspects of the Novel, (Penguin Book) p. 76, 56, 85

مصنف کے اصل الفاظ یہ ہیں:

We divide characters into flat and round. Flat characters were called ‘humours’ in the seventeenth century and are sometimes called types and sometimes caricatures. In their purest form they are constructed round a single idea or quality, when there is more than one factor in them, we get the beginning of the curve towards the round. The really flat character can be expressed in one sentence…….. the princess’s sentence being, ‘ I must be particularly careful and those of the other characters who are more complex than herself easily see through the kindness, since it is only a by product of the carefulness. ……….. The test of a round character is whether it is capable of surprising in a convincing way, if it never surprises it is flat. If it does not convince, It is flat pretending to be round

(2) Ibid, p. 80-81

مصنف کے اصل الفاظ یہ ہیں:

We must admit that flat people are not in themselves as big achievements as round ones and also that they are best when they are comic. A serious or tragic flat character is apt to be a bore. Each time he enters crying ‘Revenge’ or ‘My heart bleeds for humanity!’ or whatever his formula is, our hearts sink . . . . it is only round people who are fit to perform tragically for any length of time and can move us to any feelings except humour and appropriateness.

(3) E.M Forster, Aspects of novel, Penguin book, 1970. P. 54

مصنف کے اصل الفاظ یہ ہیں:

…… he asserts that each human being has two sides, appropriate to history and fiction. All that is observable in a man that is to say his actions and such of his spiritual existence as can be deduced from his actions…. falls into the domain of history. But his romanceful or romantic side includes the pure passions that is to say the dreams, joys, sorrows and self communing, which politeness or shame prevent him from mentioning and to express this side of human nature is one of the chief functions of the novel.

(۴) آغا بابر، اڑن طشتریاں، باجی ولایت (لاہور: گوشہٴ ادب، ۱۹۸۵ء) ص ۲۲

(۵) ایضاً           (۶) ایضا                     (۷) ایضا: ص۴۳

(۸) آغا بابر، لب گویا، بیوگی (لاہور: فیروزسنز لمیٹڈ ۱۹۵۶ء) ص ۸۱

(۹) آغا بابر، لب گویا، غلام زہرہ مذوب (لاہور: گوشہٴ ادب۱۹۵۶ء) ص ۱۲۸

(۱۰) آغا بابر، لب گویا، مریض (لاہور: گوشہٴ ادب۱۹۵۶ء) ص۱۱۷

(11) Charles Chadwick, symbolism, USA: Mathew & Co. Ltd., 1971, p. 1

مصنف کے اصل الفاظ یہ ہیں:

T.S. Eliot pointed out in an essay on Hamlet. The only way of expressing emotion in the form of art is by finding what he calls, not a symbol, but an ‘objective correlative’ that is a set of objects, a situation, a chain of events which shall be the formula of that particular emotion.

(۱۲) آغا بابر، لب گویا، چارلس ہیجڑا ( لاہور: گوشہٴ ادب۱۹۵۶ء) ص ۲۳۵۔ ۲۳۶

(۱۳) آغا بابر، اڑن طشتریاں، عزارہ (لاہور: گوشہٴ ادب، ۱۹۵۸ء) ص ۲۸۔۲۹

(۱۴) آغا بابر، اڑن طشتریاں، باجی ولایت(لاہور: گوشہٴ ادب، ۱۹۵۸ء) ص ۲۸

(۱۵) آغا بابر، کہانی بولتی ہے، خالہ تاج (لاہور: فیروزسنز لمیٹڈ، ۱۹۸۹ء) ص ۸۱

(۱۶) آغا بابر، کہانی بولتی ہے، دلاور علی (لاہور: فیروزسنز لمیٹڈ، ۱۹۸۹ء) ص ۱۳۳

(۱۷) ایضا: ۱۳۹

(۱۸) آغا بابر، کہانی بولتی ہے، روشنی کا ڈبا (لاہور: فیروزسنز لمیٹڈ،۱۹۸۹ء) ص۹۹

(۱۹) آغا بابر، چاک گریباں، زندگی کی شام (لاہور: مکتبہٴ جدید، ۱۹۴۸ء) ص ۱۲۳

(۲۰) آغا بابر،کہانٰی بولتی ہے،نسوانی آواز (لاہور: فیروزسنز لمیٹڈ، ۱۹۸۹ء) ص ۱۹۰

(۲۱) آغا بابر، لب گویا، مسیحائی(لاہور: گوشہٴ ادب، ۱۹۵۶ء) ص ۲۵۵

(۲۲) آغا بابر، لب گویا، ہم بدلے نہ وہ بدلے (لاہور: گوشہٴ ادب، ۱۹۵۶ء) ص۱۸۸