{"id":130698,"date":"2022-10-20T00:00:00","date_gmt":"2022-10-20T00:00:00","guid":{"rendered":"https:\/\/nursingstudybay.com\/2022\/10\/20\/some-words-about-mirza-asadullah-baig-khan-english-literature-essay\/"},"modified":"2022-10-20T00:00:00","modified_gmt":"2022-10-20T00:00:00","slug":"some-words-about-mirza-asadullah-baig-khan-english-literature-essay","status":"publish","type":"post","link":"https:\/\/www.studyproessays.com\/help\/some-words-about-mirza-asadullah-baig-khan-english-literature-essay\/","title":{"rendered":"Some Words About Mirza Asadullah Baig Khan English Literature Essay"},"content":{"rendered":"
\n

Mirza Asadullah Baig Khan, who wrote under the Takhallus, or pen-name, of Ghalib is still the most influential poet in Urdu. \u2018Ghalib \u2018 agencies \u2018conqueror \u2018 . In the Urdu\/Persian tradition, a Takhallus is besides a self-declaring name. At first he wrote under the name \u2018Asad \u2018 , but he consulted a \u2018sher, \u2018 a set of riming pairs in which he sought to epitomize his individuality.<\/p>\n

The pairs read ;<\/p>\n

\u2018Asad prayed to graven images, yet he was betrayed. Now my shers are glorious, by God \u2018s clemency. \u2018<\/p>\n

He commented \u201c Asad receives clemency, but by this rubric I am shamed. \u201d<\/p>\n

This displacement gives a critical hint to the significance of Ghalib \u2018s puzzling manner. To idolize graven images under the semblance they are God may accrue clemency, but Ghalib writes with the earnestness of one who piously prays to idols as God, non as a heathen, but as one who embraces semblance in order to seek God.<\/p>\n

Sexual love, the pleasances of drink and the risky insecurity of chancing were therefore semblances whose really contradiction embodied a desire for God. No other poet moves so fleetly from concrete life to mystical devotedness than Ghalib. Ghalib was unfeignedly unconventional as a Muslim, though this creates a job for the devout. His earnestness is embodied in his life and work.<\/p>\n

Ghalib was born to parents of Turkish blue descent in 1796 in Agra. He lost his male parent and an uncle in early young person. He began to compose early. At 13, a matrimony was arranged with an upper center category household. His married woman was a devout Muslim, who bore him three, or four kids, all of whom died immature. He so moved to Delhi, where his house still stands. Ghalib devoted his life to composing and it was to poetry that he gave most attending. His historical work is a letdown, despite its unrecorded informant of the Mutiny, though this is non a settled opinion. His letters are singular for their conversational easiness and witty sarcasm.<\/p>\n

All his life Ghalib depended, in turn on upkeep from friends, the Royal Durbar, the British Government and the Nawab of Rampur, with the stop-start consistence Doctor Johnson would hold wryly understood. Ghalib was suspected of back uping the Mutiny ( or First War of Independence ) , but reinstated his repute. His esteem of the British literary tradition was every bit strong as his disdain for the barbarous world of British regulation. He died on 15th February, 1869.<\/p>\n

Tradition implied every poet should hold a instructor. To be \u2018be-ustad \u2018 was a shame. Ghalib either invented or expanded his contact with Abdulsamad, a Iranian coach from Iran. Like the modern European authors, Paul Celan and Samuel Beckett, Ghalib wrote in two linguistic communications, in his instance, Persian and Urdu. Like them, he intentionally exploited the ambiguities between the contrasting enunciation of the two linguistic communications. However the two traditions portion a similar rhetoric. The ghazal tradition was focussed on tormented love for a distant, or unachievable adult female. To this Ghalib added a broad pallet of metaphysical question, theological speculation, scenes from his practical life and an about dissident temper. While the Iranian tradition seems to hold influenced the Provencal, the European strain of courtly love espoused, valour, criminal conversation and therefore the secretiveness of the senhal, a anonym. The defeat of love prevarications in chance, whereas in the ghazal tradition, it lies in apparent un-attainability. The similarities contrast and do non meet.<\/p>\n

To understand Ghalib is to hold on foremost that the individuality of the beloved is rarely defined. It could ever be God, in which instance the properties of the unanswered relationship are upturned to metaphysical consequence. If it is a individual, the love could be brotherly, sisterly, familiar or sexual. The darling became an increasing abstraction in Urdu poesy after the Sixteenth Century. Ghalib \u2018s stylistic revolution was to retain the abstraction, yet turn conceptional desire back to the concrete.<\/p>\n

There is a singular analogue between Ghalib and his younger European coeval, Stephane Mallarme. Like Ghalib he had a devout upbringing, marred by loss of male counsel. Like Ghalib, he married a devout and inflexible married woman. Like Ghalib, he mourned the loss of an baby. Like Ghalib he used the complexness of a related tradition ( in his instance the German Idealistic tradition ) to enrich a reversal of poetic conceptional desire, focused on a construct of void, however to be discerned in the most concrete and spiritual item. Like Ghalib, his technically accomplished poesy ne\u2019er reached its audience during his life-time. Like Ghalib, his manner challenges great rational sleight in its reading. Like Ghalib, his place as an influence on later poesy is powerful, though unostentatious.<\/p>\n

The theory of correspondences, stemming from Swedenborg, is a distraction here. It is the usage made by Mallarme by consecutive Symbolist, Expressionist, Surrealist, Modernist and Post-Modernist poesy than provides the existent analogue with Ghalib. I do non claim cognition of modern-day Urdu poetry, but at that place seems to be a rich vena of convergence between the European and Urdu traditions to be found in the comparing.<\/p>\n

At present, the dynamism of cultural reclamation lies more on the Eastern side than in the West. Recent attempts to understand the tradition of Mallarme seem to hold run into the sand. I quote the attempts of Jonathan Culler. In, Chapter Eight of \u2018Stucturalist Poetics, \u2018[ 1 ]<\/span>he states, mentioning to Mallarme \u2018s Soupir[ 2 ]<\/span><\/p>\n

\u201c say that the adult female is to autumn as the psyche \u2018s aspiration is to its inevitable, but unmentioned failure. \u201d<\/p>\n

Yet failure is conditionalised by Mallarme.<\/p>\n

The psyche is to the sister, as fall is to the Sun. Both the psyche and fall have the power to maintain decease at bay. Winter could be no more concluding than decease. The frozen Big Dipper paths harbour seeds. The push of white H2O seeks to sow the clouds. ( la monte is a Gallic rural look for the genteelness season ) Mallarme keeps pessimism and optimism as unfastened if semi-blasphemous constructions. This is unless one prejudices the issue by claiming that no reading is possible that allows for the world of the transcendent. Jonathan Culler does this later in his dumbfounding statement that \u201c Modern critics who concur on small else, seem to hold that this side of Baudelaire- the Baudelaire of Satan, Demons and Evil with a capital E- is of small involvement or importance, non portion of Baudelaire \u2018s, or our modernness, but the stale leftover of a Gothic Romanticism which boldly invoked infernal powers. \u201d[ 3 ]<\/span>In fact, the opposite defines his modernness. By taking the stale Satan of Milton, Goethe and Hugo and fusing imitation to scruples, he clears the manner for Mallarme \u2018s upside-down scruples of void. Yet even negation is unfastened to faith. A parallel position affects the relationship between Islam and secular post-Modernism. Any reading that starts with the impossibleness of religion, implies the impossibleness of a devout reading of either Mallarme, or Ghalib. One interesting way lies in the links between Jansenism in Mallarme[ 4 ]<\/span>and Sufi mysticism in Ghalib[ 5 ]<\/span>. Secular readings should non and make non depend on presuppositions extinguishing the possibility of religion.<\/p>\n

This is where my relationship to both poets begins. I used to read Mallarme under the desk in my A Level Gallic lessons, non that I despised the music of his coevalss, but that the adult male \u2018s undertow of unanswered love was a strong inspiration for my ain authorship at that clip. A twelvemonth or so subsequently, while Helping Fakhir Hussain edit his interlingual rendition of Abdul Harim Sharar \u2018s infusions from the Avadh Punch[ 6 ]<\/span>, I encountered Ghalib, in the versions of Malik Ram.[ 7 ]<\/span><\/p>\n

Like all interlingual renditions, mine are a treachery, every bit good as a interlingual rendition. A necessity for undercover agents, the dead missive bead enables the poet to pick up a revealing message from a impersonal topographic point, without bias to its location. Yet every communicating betrays some significance. The eight ghazals I present are a Mallarmean court to Ghalib ; a converse treachery would be to interpret Mallarme into Urdu[ 8 ]<\/span>.<\/p>\n

The ghazal is made up of pairs, conventionally five to fifteen, in all. Each sher stands on its ain. A ghazal need non turn to the same construct. All pairs should be independent and follow the same scansion, or behr. There are many different meters in Urdu poesy. They are divided into three kinds- short, medium and long. The tradition seems to hold stopped short of presenting meter as an built-in portion of traditional ghazal pattern, which allows the author in English a necessary freedom, with free poetry off-shoots, such as W. S. Merwin \u2018s.[ 9 ]<\/span>The pairs stick to the rhyming form set by the first sher, or matla. The rhyme strategy begins with a rime word or qafia followed by a chorus or radif which may be a word or set of words. The first pair has the rime in both lines and the others, merely in the 2nd lines. If the radif is I\u02c6 and A B C are qafias, the form of the ghazal would be AI\u02c6 and BI\u02c6 in the first pair, and CI\u02c6 , DI\u02c6 , EI\u02c6a\u02c6\u00a6 etc in every 2nd line of the others. The last pair is called the maqta and the poet can include his takhalus. Like Mallarme \u2018s early verse form, many ghazals are written in the first individual. Too near an attachment to this strategy sounds insistent in English.<\/p>\n

Ghalib uses about 19 of the quantitative meters used in the Urdu tradition. In Ghazal 4, I have chosen a single-minded signifier of Chapman \u2018s 14 syllable meter. In the others I have chosen the irregular meters of Tennyson and Clough \u2018s imitation of Roman quantitative meter. As in the rime strategy, I have used the construction slackly, but I hope recognisably. I have given either a page mention in Malik Ram, or a day of the month to place the original.<\/p>\n

In the terminal my \u2018Homage to Mirza Ghalib \u2018 demands to be judged as a verse form in its ain right.<\/p>\n

Ghazal 1 ( p225 )<\/p>\n

Your expression \u2018s flight surged through bosom and psyche.<\/p>\n

Both now hired retainers, whom your beauty stole.<\/p>\n

Your absence is a welcome lesion that Burnss.<\/p>\n

Sweet gustatory sensation of night-time joy, you vanish whole.<\/p>\n

Get up now. Bedded forenoons lose their temptingness.<\/p>\n

My ashes swirl across pathwaies her pess assure.<\/p>\n

State the zephyr I \u2018m happy she ne\u2019er ran off.<\/p>\n

See how curving, how graceful her soft pace, so demure.<\/p>\n

The beat of her walking has shattered all my hopes.<\/p>\n

Now every man-about-town at her chic communion table gropes.<\/p>\n

Praise for the brave falls on deafened ears.<\/p>\n

My eyes turn at a lacing drape \u2018s splash. See, it copes!<\/p>\n

The drunken oculus \u2018s excitement clouds your face.<\/p>\n

What was and shall be clip will now obliterate,<\/p>\n

for the cleft of day of reckoning came on the dark you left.<\/p>\n

So Master, times like this clasp you in inexorable embracing!<\/p>\n

Where so are the daydreams immature work forces hold in topographic point?<\/p>\n

24\/02\/1975-14\/08\/03.<\/p>\n

Ghazal 2 ( 1819 )<\/p>\n

Recently so strong my now far fallen bosom<\/p>\n

will shout no longer in unschooled art.<\/p>\n

Run through by curst hope in a jambon battle,<\/p>\n

I crawl, vile, to the wings, a exhausted upstart.<\/p>\n

Rehearse a lesser function, a amusing lover \u2018s decease,<\/p>\n

and hang no more on my miss \u2018s enraged breath.<\/p>\n

Six entrywaies make sense. The floodlighted phase,<\/p>\n

where light-years mingle at my twentieth.<\/p>\n

The organic structure of my loved one stands undressed.<\/p>\n

Merely my sightlessness shames her truth expressed.<\/p>\n

My contract bosom is signed to circumstance,<\/p>\n

yet ever seeks her in desire \u2018s hurt.<\/p>\n

I have cancelled the hope of religion \u2018s crop<\/p>\n

Crops gathered from decease \u2018s Fieldss are non best.<\/p>\n

Immune to more hurting, I make unafraid my name.<\/p>\n

Yet a once-strong bosom lies incapacitated under my chest.<\/p>\n

The hero of love unrequited<\/p>\n

falls into love \u2018s dark uninvited.<\/p>\n

Ghazal 3 ( 111 )<\/p>\n

Few dead carnival faces come alive once more in fresh tulips or the rose.<\/p>\n

The remainder prevarication sunken in a quag of slender lips crushed in rest.<\/p>\n

I remember the public violence, the sheer carouse of festival assemblages.<\/p>\n

Now silence shelves their forms in limbo none would expose.<\/p>\n

A secret in the daylight sky, the dazzling girls shine<\/p>\n

seven fixed visible radiations at twilight ; who taught them to deprive in chorus line?<\/p>\n

None brought Judah newss of captive Joseph \u2018s slumber.<\/p>\n

His eyes made opened walls see and stone seeded fanlights redefine.<\/p>\n

My challengers anger me, though Zulaika neither mourned nor raged,<\/p>\n

when Egyptian misss were fainting for her Moon of Caanan caged.<\/p>\n

Blood should spring from my eyes, for I lie apart in partitioned dark.<\/p>\n

In foreign darkness and tearful visible radiation, two tapers burn encouraged<\/p>\n

I shall happen those providential misss and be avenged their attenuation bangs.<\/p>\n

Peace now and pride. Night \u2018s arm strewn tresses soothe my ailments.<\/p>\n

Is this a grove? The Luscinia megarhynchoss would hold a cantabile school<\/p>\n

Birds mimic my calls. This one thinks it \u2018s a ghazal she trills.<\/p>\n

The bosom of her looking is to lance my bosom, O God.<\/p>\n

It beats a downcast pulsation, under wretchedness \u2018s and bad luck \u2018s rod.<\/p>\n

Endlessly these suspirations good up my pharynx. I gag them back.<\/p>\n

They swell as stitches, torn from my unfastened neckband as I nod.<\/p>\n

I went to her house, but could I reply her contempt?<\/p>\n

I wearied her doorkeeper with eternal supplication. I woke him at morning.<\/p>\n

Now wine elates me. The manus that holds the cup<\/p>\n

is running with venas, in jugular blood it has sworn.<\/p>\n

I believe in God, yet spurn all rites to take them up devout,<\/p>\n

when religion across the universe is dead and all faith \u2018s out.<\/p>\n

When a adult male had carries every bit much as I, such loads are light.<\/p>\n

Passion becomes a void, a shadow of a uncertainty.<\/p>\n

Ghalib if you go on like this the people will take attentiveness<\/p>\n

and small towns and towns will neglect, the land will blow so.<\/p>\n

30\/11-1\/12\/1975-14\/08\/2003<\/p>\n

Ghazal 4. ( p.486 )<\/p>\n

To emancipate life \u2018s torpidity, I have blent<\/p>\n

another universe of life visible radiation and aroma.<\/p>\n

Though the austere would take no pleasance,<\/p>\n

I would tumble the forenoon star and invent<\/p>\n

a plaint that would so travel my girlfriend \u2018s bosom<\/p>\n

that her weaponries would wither and her watchbands portion.<\/p>\n

and hurtling snake pit \u2018s fury to humanity,<\/p>\n

I would long to capture the rational art.<\/p>\n

A date-palm, I ripen with macaws \u2018 strident hilarity.<\/p>\n

A cloud, I summon hailstorms of pearl to the Earth.<\/p>\n

That would state soldiers of chagrin,<\/p>\n

should agitate up their arms, put blades in their position.<\/p>\n

I censure the prayerful their dogmatism<\/p>\n

that even the faithless would follow me.<\/p>\n

My wickednesss convey me here on high to the Ka\u2019aba.<\/p>\n

She so stretched her supplication, I curled up sleepily<\/p>\n

Here I would rest and travel no farther,<\/p>\n

strengthen my drink and chastise my excitement.<\/p>\n

I would toss off the liquefied goblet in one spell,<\/p>\n

the entryway to paradise being my loot.<\/p>\n

Into the sacred spring, I pour my wine-filled glass.<\/p>\n

I am the heresiarch of the \u2018God entirely \u2018 category.<\/p>\n

I am he who raises the call, \u201c I am God \u2018s king of beasts. \u201d<\/p>\n

No pearl more cherished than one I fling at the Imam so crass.<\/p>\n

Maestro I have founded new words to praise Your tallness.<\/p>\n

Worship like mine puts ennui to flight.<\/p>\n

Ghazal 5 ( From Persian ) ( pp 483-4 )<\/p>\n

Cruel heathen, she strips my bosom of grace.<\/p>\n

She is tall and her robe lays bare her face.<\/p>\n

Hell is the ferociousness of her Acts of the Apostless<\/p>\n

and paradise the icon of her face.<\/p>\n

She wears you to torpor with her reserved ways.<\/p>\n

The quicker your death: the Oklahoman her congratulations.<\/p>\n

A Parsee, she worships those ungratified fires,<\/p>\n

keeping green subdivisions to the old God she prays.<\/p>\n

Harsh as sudden decease, she is as faithless<\/p>\n

as the joys of this life we live in surplus.<\/p>\n

She blesses like an covetous Lord.<\/p>\n

A obstinate hobo, she \u2018d steal your bosom for less.<\/p>\n

She spurs audaciousness, but orders wretchedness.<\/p>\n

Hard, she is a lonely, wasted district.<\/p>\n

A cloistral garden is her stamp attention.<\/p>\n

Her curls\u2019curtained temptingness appeals enigma.<\/p>\n

A glance of her organic structure varnishes her gift,<\/p>\n

She sings Isolde to herself, yet she will raise<\/p>\n

me down to play Tristan when she \u2018s miffed.<\/p>\n

Ghazal 6<\/p>\n

Freed from conclusiveness, cornet glad newss, your hilarity,<\/p>\n

fling your shadow to the Sun, your H2O to the sea.<\/p>\n

Bare your dorsum to the head covering of her temptingness.<\/p>\n

Wine \u2018s fire suffices. Your chest wounds all can see.<\/p>\n

Give flints to jewelry makers ; your bosom to her furies.<\/p>\n

From the beginning of your cryings soften lover \u2018s pages.<\/p>\n

Regret our moans, comfort and admit her appeals.<\/p>\n

Dew-wakened blooms, brimming with balm and sage,<\/p>\n

the rain-clouds and reapers mature your aroma.<\/p>\n

Do non disperse your favors from a high acclivity,<\/p>\n

but do me, unknowing, your wrath \u2018s exclusive purpose.<\/p>\n

Shoots informed of spliting out, florescent,<\/p>\n

learn her lissome, fascinated alder how to walk.<\/p>\n

Though she forbid my stolen, tearful bosom to speak<\/p>\n

Allow me the right to condense its passion,<\/p>\n

the right to maintain a silence she can ne\u2019er resist.<\/p>\n

You who envy my joy so absurd,<\/p>\n

travel cut the wings of the humming bird.<\/p>\n

Ghazal 7. ( 22 ) ( 1847 )<\/p>\n

Beloved our brush shall non be.<\/p>\n

Given epochs, no hope lives of you and me.<\/p>\n

Yet I feed on where hope is light.<\/p>\n

Death lies certain, for you must be.<\/p>\n

Fragile, your comeliness, your word, retrieve,<\/p>\n

with watchbands fixed, you might give up.<\/p>\n

Ask me to claim your expression \u2018s tight bow.<\/p>\n

Had the bolt struck, no hurting would it render.<\/p>\n

What times are these when friends make me take a firm stand<\/p>\n

and non to simmer down my passion \u2018s effect?<\/p>\n

The deep stone \u2018s venas would hold bled abundantly,<\/p>\n

were my afflictions triping my psyche to its schist.<\/p>\n

Mercilessly, my grieving seeps out.<\/p>\n

Not sorrowing your loss, grieves addition as uncertainty.<\/p>\n

Should I talk of the long dark \u2018s yearning?<\/p>\n

I \u2018d sooner speak of decease if it had some clout.<\/p>\n

Yet others would dish the dirt of cowardliness<\/p>\n

so I \u2018ll submerge with no organic structure or building.<\/p>\n

Who can see God, the lone unique one?<\/p>\n

Mysticism now, what accomplishment, what office!<\/p>\n

We \u2018d canonize you were you non a rummy!<\/p>\n

You \u2018d be our saint to whatever deepnesss you \u2018d drop.<\/p>\n

Ghazal 8 ( p196 )<\/p>\n

Your silence non to be breached by the mouthed word ;<\/p>\n

merely the lesion \u2018s natural lips can express ideas non erred.<\/p>\n

The universe is all that lover \u2018s moans have listed<\/p>\n

on Laila \u2018s forehead, an endless enchantment, infinitely heard.<\/p>\n

Passion and grief invite no gaiety.<\/p>\n

These you will non detect, to my hurt.<\/p>\n

But deeper torment may spur compassion.<\/p>\n

Do n\u2019t reprimand my heartache ; to this quandary<\/p>\n

all turn at length. The rending of my bosom<\/p>\n

gives no entree. Why rupture your shirt apart<\/p>\n

and be the butt of those who jeer?<\/p>\n

How much longer can this digest start<\/p>\n

from the fragments of my scattered psyche<\/p>\n

and H2O wastes to do the thorn shrub whole?<\/p>\n

Ageless loved-one, you hide in your blaze fire.<\/p>\n

The earthly oculus can non gestate your function<\/p>\n

Insane, I am the cesspool of the universe.<\/p>\n

Break unfastened my caput, with the rock you hurled<\/p>\n

and you will happen pearls with a tear \u2018s luster.<\/p>\n

If such is my addition, what loss if my humor \u2018s unfurled?<\/p>\n

The promise of ecstasy shortens my life with its fire.<\/p>\n

Who has the hours to incorporate such a pyre?<\/p>\n

This cruel, wild hungering for truth<\/p>\n

forces affliction that new things transpire.<\/p>\n

My effusions are spent. They have shattered my caput.<\/p>\n

I have merely my custodies what can I do alternatively?<\/p>\n

I shall raise a visible radiation that the faultfinders can non see.<\/p>\n

I shall inflame a fire that the Phoenix has fled.<\/p>\n

The unaccessible morning of this poet \u2018s joy felt<\/p>\n

wages excessively high a monetary value ; for his bosom would run.<\/p>\n

Duncan McGibbon was born in Greenock Scotland in 1949. He lived in Wolverhampton, Middlesbrough, Kent and Twickenham. He attended St Mary \u2018s College, Strawberry Hill and King \u2018s College London. He was a member of the Poet \u2018s Workshop which ran through the Sixtiess to the Nineties where his wise mans were among others, the late Philip Hobsbaum, George MacBeth and Leonard Clark, and Peter Porter and Alan Brownjohn. He began printing in diaries in the 70 \u2018s. He presently lives and works in Geneva, transposing between his British and Genevan workshops.<\/p>\n<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Mirza Asadullah Baig Khan, who wrote under the Takhallus, or pen-name, of Ghalib is still the most influential poet in Urdu. \u2018Ghalib \u2018 agencies \u2018conqueror\u2026<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[8827,10099,10540,10536,10892,10538,10539,10537,10891],"tags":[10549,10616,10615,7687,10627,8857,10552,10295,10548,10622,8907],"class_list":["post-130698","post","type-post","status-publish","format-standard","hentry","category-australia-essays","category-buy-essay","category-cheap-essay-writers","category-get-assignments-done","category-page-paper","category-phd-essay-writers","category-research-paper-writing-service-for-any-topic","category-study-bay-essay","category-write-my-assignment-ireland","tag-ai-plagiarism-free-essay-writing-tool","tag-australian-best-tutors","tag-best-trans-tutors","tag-buy-essay-uk","tag-cheap-dissertation-writer","tag-help-with-writing-an-essay","tag-help-write-my-paper-ai-free","tag-homework-for-you","tag-online-essay-writers","tag-phd-essays","tag-write-my-essay-for-me"],"_links":{"self":[{"href":"https:\/\/www.studyproessays.com\/help\/wp-json\/wp\/v2\/posts\/130698","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.studyproessays.com\/help\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.studyproessays.com\/help\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.studyproessays.com\/help\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.studyproessays.com\/help\/wp-json\/wp\/v2\/comments?post=130698"}],"version-history":[{"count":0,"href":"https:\/\/www.studyproessays.com\/help\/wp-json\/wp\/v2\/posts\/130698\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.studyproessays.com\/help\/wp-json\/wp\/v2\/media?parent=130698"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.studyproessays.com\/help\/wp-json\/wp\/v2\/categories?post=130698"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.studyproessays.com\/help\/wp-json\/wp\/v2\/tags?post=130698"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}