Syed Nasir Raza Kazmi was a renowned Urdu poet from Pakistan. He must be ranked among those of our writers who were not destined to live long but who, during their short period, wrote a lot and touched the heights of creativity before dying. Say no to plagiarism. Get a tailor-made essay on 'Why violent video games should not be banned'?Get the original essay Shortly after Kazmi's death, Ahmad Mushtaq sat down to compile what had been written about his poetry and his personality and published a collection titled Hijr Ki Raat ka Sitara. Today, after almost 40 years, Mushtaq, in cooperation with Basir Kazmi, has published the revised edition of the book. During these years, much has been written about Kazmi's poetic achievements. A strict 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. This now gives the impression that critics were able to access what Kazmi had written after 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 covered in Berg-i-Nai. Of course, this period has great importance and a lot of charm. Kazmi had become a new voice in Urdu poetry, trying to capture the unique experience of his times. And it was a time which, under the pressure of partition, had become fraught with consequences for the people on both sides of the dividing line. It remained for 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 with this experience, Kazmi's ghazal acquired an alluring 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 trapped in one way of expression or 'a mode of feeling, whatever its nature. popular. He must go further in search of 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 flavor. Not only that, but in Kazmi's poetic journey, there comes a point where he says goodbye to the ghazal and turns to the 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, tries to understand his experience through the traditional form known as hikayat or parables. These experiments seem to point to his childhood experiences and to the cultural region where the Ajami temperament mingled with the Hindi temperament. Others seem to ignore any attempt by Kazmi to write a play in verse. In fact, only two critics in the entire collection, Suhail Ahmad and Shamim Hanafi, have examined Kazmi's various attempts to break out of what Ghalib called the narrow alley of the ghazal and discover a vast field of poetic expression. The others seem determined to treat him simply and solely as a ghazal writer. Shamim Hanafi has attempted 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 with the same title. According to Hanafi, this is a wonderful piece of poetry. As he interprets it, the poem brings to life a cultural atmosphere that has faded under the pressure of circumstances, so that two traditions.