Literature owes its pioneers for all inspirations taken. It always remembers those architectural experiments, which begin in delight and ends in wisdom. Even the followers of a particular trait are respected but the status of the inventors remains supreme. The domain of poem saying gets similar treatment in the Western, Chinese, Persian, Urdu and Arabic languages and culture. Ironically the pioneers of Nasari (prose) Poem have not been yet accepted with open arms in Urdu literature. Baudelaire (French), Mallarme, Hoshi ( Chinees) , Nima Yushig (Persian), Tagore (Bengali) , Mira Ji (Pakistan) and Badar Shakir Alsiyab(Arabic)  have given respect to their poems in their respective languages. Arabic Poems were born in Mesopotamia and its style remained close to ‘Nazm e Aazad’ right from the beginning. The students of literature and history are aware that like Yellow River Civilization, the poets used the metaphors of the civilization close to  Tigiris and Ephurates Rivers reflecting fertility that exists in its agriculture. Poet Badar Shakir Al-Siyaab was born in village Jekore (Basra) near River Buwayb and poet of “Matan Dar Matan Maut” (the title of the book under review) was born in Babul City. The Arabic poetry therefore encompasses this river-city culture and Arabic poets discovered new symbols for their poetry that depicts their psyche. They therefore did a dialogue with the rivers in the poetry and created outstanding pieces of poetry. This reviewer shall quote just one example of such poetry. Its title is ‘Baaham Ik Bister Par’ (together in bed) (Page 119). It says ‘Dhara Hei/Mere Dayen Haath Pei Ik Samunder/Bayein Haath Pei Maut/Thak Jaaun Tau/Dayein Haath Pei Maut/Samunder Bayein Pei Rakh Laita Hun/Jab Sota Hun/Tau Bister Par Mere Hamrah Samunder Sota Hei/Par Maut Nahi Hota/Woh Mere Saanson Ko Ginti Ginti/Pehra Daiti Hei/Mere Janib Takde Chale Jaati Hei/Jab Mere Bister Pei/Woh Laiti Hoti Hei’. (There is a sea/I carry with my right hand/there is a death/I carry with my left hand/when I get tired/I put the sea on my left hand/and the death on my right hand/when I sleep the sea sleeps restful beside me on the bed/ but the death remains pretending to sleep/ continuing my breaths/ looking at me with suspicion and doubt/ lying beside me as well as the bed) Al-Siyaab has used Buwayb River, Qabani has used city Damascus, Adonis has used River Nile in their dialogues. Adeeb Kamal was born in Babul City. Even in Urdu Literature Babul City is a familiar metaphor Here one issue needs to be laid emphasis upon. That is independence of Urdu Nazm. It is not obligated to Arabic or Ajami tradition. The style of saying modern Urdu, Farsi and Arabic free verse took birth almost simultaneously. The words ‘Azad Nazm’ took its name from the word ‘Azad’ from Persian language and ‘Nazm’ from the Arabic language. Urdu itself is outcome of a combination of various cultures emanating from the sub-continent soil. Modern Urdu Nazm has not followed the traditional route that has been followed by Urdu Ghazal. Its origin is different in the three languages. That is why their respective styles are different. Arabic poem holds a special place in all the languages of the world because of its large capacity of meanings, combination of vocabulary, experiences and treatment. No other language has been blessed with so many poets saying free verse as is available to this language. This group is led by Adonis, Adeeb Kamal Ad-Deen (Iraq), Muhammad Alfitory (Sudan), Abdullah Alriyami (Oman), Riyan Alchakaki (Syria), Wada Saadi (Lebanon), Khalid Mattawa (Libya), Qasim Haddad (Bahrain), Alsadiq Alrazi (Sudan), Fatima Naout (Egypt),  , Another generation came into existence in 1990s. Once Ali Ahmad Alseer Adonis (spending time in exile in Paris) was asked as to why he did not write what masses understood. He quoted the saying of Abu Tamam “why don’t you understand what he said”. His thesis was that the world was created to debate on an issues and question them. That is why he asked the readers in a poem ‘New York Ka Janaza’ (The funeral of New York) as ‘Zameen Ki Tasveer/Nashpati Jaisi Tasveer/Ya Aurat Kei Gol Paire Ki Tarha/Phalon Aur Maut Kei Darmayan/New York/Engineering Ka Aik Shoabda Hei/Usse Chaar Taangon Wala Sheher Kaho/Jo Qatl Par Amada Hei’ (Earth’s picture is like a pear or like a round wheat ball before flattened for making a bread. Between fruits and death, New York is an engineering feat, ready to kill). The book titled ‘Matan Dar Matan Maut’ by Iqtidar Javed is an attempt to introduce Arabic free verse poets to Urdu literature readers. The translation of poetry is the most difficult and challenging task for every translator. Translation is to make an art from art, maintaining the aesthetic value of the work. Robert Frost once described poetry as ‘what gets lost in translation’. Its a process from translation skills to mastering poetic structure, form, revising and editing.Keeing in view the complexity of translation activity, one can easily understand that only a poet can accomplish this task. The claim of the Armenian prominent writer and translator Eghishe charents is widely accepted, who is sure that a poem is to be translated by a poet.Iqtidar not only accepted this challenge but proved to be a poet of diversified experiences and expressions. Its title takes inspiration from one of Adeeb Kamal’s poem ‘Tum Kis Tarha Marna Chaho Gei/Jaise/Parinda/Khuda Ki Zameenon Mein Gum Ho Jata Hei/Jaise Machli Khuda Kei Samunder Main Gum Ho Jati Hei/Aur Parinda/Khuda Kei Samunder Sei Machli Utha Laita Hei’ (well how will you die/if the bird gets lost in the hand of God/And?/ if the fish gets lost in the sea of Gods/And?/ if the bird picks up the fish/Amazing). Arabs are too familiar with deaths due to internal turmoil and external invasions.  Iqtidar chose the book titled ‘Tama Khata’ by Adeeb Kamal which is prose poetry. Iqtidar has tried to convert these poems in free verse, basically because of least interest of Urdu poetry lovers for this domain and secondly because of translator’s own choice to do so. He is grateful to Muhammad Saleem ur Rehman for his advice during translation and to Tauqir Ahmad Faiq and Ali Shehzad Tauqir for their advice too. The book contains forty one translated poems of Adeeb Kamal Ad-Deen. ***************************************************************