See the script bar at the bottom of the page for viewing choices. I have corrected obvious calligraphic errors, and have adjusted the punctuation for clarity.The original long paragraphs have been numbered (#1# and so on) and then broken into shorter ones. Sectional numbers have been inserted. Qamar Ra'is, ed., pp. 239-240.

[(4) How the modern author writes]

vuh afsānah likhtā hai magar vāqiʿyat ke sāth vuh mujassamah banātā hai -- magar is t̤araḥ kih us meñ ḥarkat bhī ho aur quvvat-e iz̤hār bhī ho , vuh fit̤rat-e insānī kā bārīk naz̤aroñ se mushāhidah kartā hai - vuh nafsiyāt kā mut̤āliʿah kartā hai aur koshish kartā hai kih [240] us ke kerekṭar har ḥālat meñ , har mauqaʿ par , is t̤araḥ bartāʾo kareñ kih jaise gosht-post ke insān karte haiñ - vuh apnī t̤abaʿī hamdardī aur apnī ḥusn-pasandī se zindagī ke un nikāt par jā pahuñchtā hai jahāñ insān apnī insāniyat se maʿżūr ho jātā hai - aur vāqiʿah-nigārī kā rujḥān yahāñ tak rū bah taraqqī hai kih āj kā afsānah mumkin ḥad tak mushāhadah se bāhar nahīñ jātā -

ham maḥaẓ is ḳhayāl se taskīn nahīñ pāte kih nafsiyātī ětibār se yih sab hī kerekṭar insānoñ se milte julte haiñ - balkih ham yih it̤mīnān chāhte haiñ kih vuh vāqʿī insān haiñ aur muṣannif ne ḥuttī al-imkān un kī savāniḥ-ʿumrī likhī hai - kyūñ-kih taḳhāyul ke insān meñ hamārā ʿaqīdah nahīñ hai , ham us ke faʿloñ aur ḳhayāloñ se mutāṡir nahīñ hote - hameñ yih taḥqīq ho jānā chāhiʾe kih muṣannif ne jo taḳhlīq kī hai vuh mushāhadāt kī binā par yā vuh ḳhvud apnī kerekṭaroñ kī zabān bol rahā hai -

isī liʾe adab ko baʿẓ naqqādoñ ne muṣannif kī nafsiyātī savāniḥ-ʿumrī kahā hai - ek hī vāqiʿah yā kaifiyat se sabhī insān yaksāñ t̤aur par mutāṡir nahīñ hote - har shaḳhṣ kī żahniyat aur zāviyah-e naz̤ar alag hai - muṣannif kā kamāl isī meñ hai kih vuh jis żahniyat yā zāviyah se kisī amr ko dekhe , us meñ us kā paṛhne-vālā bhī us kā ham-ḳhayāl ho jāʾe - yihī us kī kāmyābī hai - isī ke sāth ham adīb se yih tavaqquh bhī rakhte haiñ kih vuh apnī bedār-maġhazī , apnī vusʿat-e ḳhayāl se hameñ bedār kare , ham meñ vusʿat paidā kare - us kī nigāh itnī bārīk , itnī gahrī , aur itnī vasīʿ ho kih hameñ us ke kalām se rūḥānī surūr aur taqviyat ḥāṣil ho -

[(4) How the modern author writes]

He writes a story, but he fleshes it out with reality -- but in such a way that there would be movement and power of expression as well; he views human nature with a subtle scrutiny. He examines psychology, and tries to make his 'characters' such that in every situation, on every occasion, he would make their behavior like that of flesh-and-blood people. Through his innate sympathy and his love of beauty, he arrives at those aspects of life where a human could not be expected to go. And the movement of realism has made enough progress so that today's story does not go outside the limit of possible observations.

We are do not rest content simply with the thought that from a psychological perspective all these 'characters' resemble human beings. Rather, we want the assurance that they are real people, and the writer has, to the extent possible, written their biography. Because we don't believe in imaginary people, we are not influenced by their actions and thoughts. We ought to investigate whether the writer, in making his creation, is speaking on the basis of observation, or is himself speaking through the tongues of his characters.

For this reason some critics have called literature the psychological biography of the writer. By the same single event or emotional state, not all people are influenced in the same way. Every person's attitude and point of view is separate. The writer's accomplishment is in this: that from whatever attitude or viewpoint he would see some action, his reader too would come to share his view. This is his success. Along with this, we also hope/expect that the author will, through his awakened intelligence, his breadth of thought, awaken us and create breadth in us -- that his gaze would be so subtle, so deep, and so broad that through his writing we would obtain spiritual joy and strength/confidence.

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