Mirza Ghalib has more modern interpretations and studies in Urdu than any other poet. I learned a few months ago that a book list of articles and books related to Ghalib used to run for more than 300 pages and had more than a thousand entries. I say that Ghalib is written about the poet not only in Urdu, but also in any Indian language. In the last two years, in English alone, we had the complete translation of Mirza Ghalib couch Najeeb Jung in English, which I wrote about here. https://www.hindustantimes.com/Books/reViewDeewaneghalib- Sariiriri- E- Khaama- TRANSLATED- TRANSLATED- NY- NY- NY- NY- Jung-1016651515222222222222687.html
In the last few years, a part of amazing books has been seen by Meher Afshan Farooqui, which is taught in Virginia and is a perfect heir for the amazing boycott of Ghalib’s amazing boycott by the great Shamsur Rahman Farooqui. Without doubt, Ghalib is inscribed in our memory as a poet who stands alone in his talent and alone in his personality. A study published in The Indian Express a few years ago mentioned that the most frequently quoted poetry in the Indian Parliament was Urdu poetry, and the poet often mentioned Mirza Ghalib. For this reason, perhaps, he also remains the most wrong poet as shallow verses have been told to gain authority. As Shamsur Rahman Farooqui wrote, Ghalib is unique not only because he is the last of the classical poets and the first of the modern. He is also unique because the circumstances of his life, and his experiences suspected everything about ancient rule and values. Thus he became doubtful and thus became modern. But he was also modernist, in the sense of not being direct, due to not being representative, in disintegration, in irony, and being multilingual. In his introduction of this amazing new book, Kabir scholar Vinay Dharwadkar writes that Ghalib is necessary, because,
“During his career, he is contemporary with colonial modern in a separate field – not only with Rammohun Roy not only from the 1810s to the 1830s, but also with Madhusudan Dutt in the 1840s and Sir Syed Ahmed Khan in the 1850s and 1860s. RiziaWritten in Madras in 1848–49; Razia sultana Mazar Gali Kasim was standing just one kilometer away from the mansion of Ghalib in the people ”
Certainly, Ghalib has been translated earlier. Respected CM NAIM, father, then to say, modern Urdu studies in the US, by heavenly spectacular Ajj Ahmed, and by brilliant Francis Protecate. In this crowded ground, Aneesur Rahman’s new work Necessary ghalib To look different. It is for his immense credit that he mark his place with his novel approach and his presentation. He has selected 200 verses of Ghalib, which is a lion. Compared to the average Urdu poet’s general abundance, Ghalib wrote restraint. He was also special about what he presented to the world. He was the first Urdu poet to understand the importance of print and focus on brevity. He brutally landed all ghazals or couplets within the ghazal, which he thought would not appeal for the postor. He was very fast about protecting his heritage, so he edited with the purpose and wrote a public announcement displacing all the verses that were not authorized or chosen by him. Meher Afshan has written extensively about the unpublished verses of Ghalib. Rahman selects a poem, and presents it to Urdu origin, followed by a Nagari version and then a Roman rendering. He then provides a literal translation. On the page facing this poem, he then presents a full detail of poetry, its beauty, its brevity, its lineage and why it is striking. This method of presentation is a novel in both technology and appearance. Using this, Rahman revealed three different types of readings to the average reader of Ghalib, which is not familiar with Urdu. I dare to say that these are the majority of Ghalib readers in India. The reader can read the poem directly, read its English rendering, and then find a deep meaning through Rahman’s presentation. The professor has a long experience of translating verses, and prose, which he brings to bear to this work. His previous work of translation Hazar Rang Shahari: The Wonderful World of the Urdu Nazam 140 key selection and presentation Nazme That is, story poems, unlike Ghazal, from 300 years of Urdu poetry. It was before Thousand Khwishin IC: The Wonderful World of Urdu Ghazal (Harper Collins, 2019) and Socio-literary cultures in South Asia (Niagi Books, 2019). I was lucky to know her when I was a young colony student and she was only between a handful of Urdu for English translations in the world. I used to visit my beautifully done house in Jamia, where he taught his whole life and was reflected in his urbanism and sophistication decoration, while his Sharafat There was a piece with the values of that magnificent university, where it was possible to be cultured and impure, like the theme of this book.
This vertical reading is important in appearance. Dharwadekar explains that digital scrolling eliminates symmetry and prose, while reading in prints “human brain activates neurons in a different way, and keeps different forms of meditation in motion that are central for our interaction with poetry texts. In case of our interaction with poetry texts. In case of Urdu poetry, a copy of Urdu poetry (for example, for eg, or goddesses), or romantic, or romantic, or romantic, or romantics in Lythrops), or Roman The subtle feature of capturing the form of meditation in the script transcription (traditionally in the cast metal type) is that A Lion During inviting a ghazal Mushairah… print on paper allows repetition to a poem and its meanings that protect in a oral performance. ,
Ghalib, of course, excessive brain, is often spiritual and philosophical. Rahman commented on the ratio of the conflict in his introduction, and how he balanced it with his exaggeration and ‘artificially interacted between thoughts, love, death and special context of God with special references to God.’ This pithiness, combined with her intelligence, and her ability to ridicu, makes her ghalib unique and contemporary. Ghalib converts his ghazal, Rahman correctly into a theater of situations, sounds and echoes, as by other classical poets. This was, as Shamsur Rahman Farooqui reminded us repeatedly, a poem of traditions that were less love poems than poems about love. This means that he described the transaction of love, which was often a public relationship and invited audiences, cows, rumors, stone thrower and general busyness. Here, the poet does not describe his experiences, but his hero, which is different from the poet. The hero suffers in love, sometimes unbearable, in this love, from suffering to divine light. Nayak’s personality strongly reminds VirmaniFemale lover, as is depicted in most of medieval devotion and Vaishnav poetry.
Here is a poem randomly chosen, just to portray the Modus Aperandi of Rahman,
Bulbul’s Kaar-Baar Pe Hain Khanda Haaye Gu
They say
Here is the explanation of Rahman’s poetry:
“Bulbul and Blossom are often configured as radical symbols in the Urdu ghazal. Ghalib attracts these symbols to mark his relationship as a lover and dear. If Bulbul, who is known for its sweet notes, sings the song of their love to bloom, blossom smiles. But here in this poem, it smiles not with love but with some ridicule for Bulbul. This is because Bulbul is so obsessed with his love to bloom that the blossom thinks that Bulbul has gone mad. This suggests that love fails many times, and that too due to the rejection of the lover’s dear. ,
There is a lot on that poem, but I only want to portray his attitude. Ghalib was vigorously about the fact that the poem was about making meaning, not only Wordplay, although Wordplay was also important. Meaning means with readers, not with creators. Allama Fazle Haq, a close friend of Ghalib, is a wonderful story for Khairabari, a close friend of Ghalib, one of the first people to be deported to the Andaman for his perceived role in the 1857 rebellion. Fazl E Haq was one of the most famous Arabists of the 19th century. One day, a young man came to him in a situation of disturbances to complain about Ghalib. He was upset with an explanation that Ghalib provided for a poem by Nasir Ali Sarhindi, a great Persian poet of the 18th century. The person complained that there was no way that Sirhindi would have intended the clarification that Ghalib gave. Allama Fazal E Haq said that if Sarhindi has not intended to include that clarification for his poem, he made a serious mistake. For all his ego, Ghalib also said that
Ai ki dar rah e Sukhan Hamachu from Hajar Aamad O Rft
Thousands of you have come and gone under the purview of poetry
I don’t think we are likely to be another ghalib, of course not with the same disgrace, as Ghalib said that if the Kaaba does not open his door for him, he will immediately take back his steps. This disgrace can last long and their interpreters keep updating them for all ages.
Mahmud Farooqui completed 20 years of reviving Dastangoi this year.
