About Ghalib...

Biography of Mirza Ghalib

Mirza Ghalib poet

Mirza Asadullah Baig Khan (Urdu/Persian: مرزا اسد اللہ بیگ خان) was a classical Urdu and Persian poet from India during British colonial rule. His also known as 'Mirza Asadullah Khan Galib', 'Mirza Galib', 'Dabir-ul-Mulk' and 'Najm-ud-Daula'. His pen-names was Ghaliband Asad or Asad or Galib. During his lifetime the Mughals were eclipsed and displaced by the British and finally deposed following the defeat of the Indian rebellion of 1857, events that he wrote of. Most notably, he wrote several ghazals during his life, which have since been interpreted and sung in many different ways by different people. He is considered, in South Asia, to be one of the most popular and influential poets of the Urdu language. Ghalib today remains popular not only in India and Pakistan but also amongst diaspora communities around the world.

Family and Early Life 

Mirza Ghalib was born in Agra into a family descended from Aibak Turks who moved to Samarkand after the downfall of the Seljuk kings. His paternal grandfather, Mirza Qoqan Baig Khan was a Saljuq Turk who had immigrated to India from Samarkand (now in Uzbekistan) during the reign of Ahmad Shah (1748–54). He worked at Lahore, Delhi and Jaipur, was awarded the subdistrict of Pahasu (Bulandshahr, UP) and finally settled in Agra, UP, India. He had 4 sons and 3 daughters. Mirza Abdullah Baig Khan and Mirza Nasrullah Baig Khan were two of his sons. Mirza Abdullah Baig Khan (Ghalib's father) got married to Izzat-ut-Nisa Begum, and then lived at the house of his father in law. He was employed first by the Nawab of Lucknow and then the Nizam of Hyderabad, Deccan. He died in a battle in 1803 in Alwar and was buried at Rajgarh (Alwar, Rajasthan). Then Ghalib was a little over 5 years of age. He was raised first by his Uncle Mirza Nasrullah Baig Khan. Mirza Nasrullah Baig Khan (Ghalib's uncle) started taking care of the three orphaned children. He was the governor of Agra under the Marathas. The British appointed him an officer of 400 cavalrymen, fixed his salary at Rs.1700.00 month, and awarded him 2 parganas in Mathura (UP, India). When he died in 1806, the British took away the parganas and fixed his pension as Rs. 10,000 per year, linked to the state of Firozepur Jhirka (Mewat, Haryana). The Nawab of Ferozepur Jhirka reduced the pension to Rs. 3000 per year. Ghalib's share was Rs. 62.50 / month. Ghalib was married at age 13 to Umrao Begum, daughter of Nawab Ilahi Bakhsh (brother of the Nawab of Ferozepur Jhirka). He soon moved to Delhi, along with his younger brother, Mirza Yousuf Khan, who had developed schizophrenia at a young age and later died in Delhi during the chaos of 1857. 

In accordance with upper class Muslim tradition, he had an arranged marriage at the age of 13, but none of his seven children survived beyond infancy. After his marriage he settled in Delhi. In one of his letters he describes his marriage as the second imprisonment after the initial confinement that was life itself. The idea that life is one continuous painful struggle which can end only when life itself ends, is a recurring theme in his poetry. One of his couplets puts it in a nutshell: 

"The prison of life and the bondage of grief are one and the same 
Before the onset of death, how can man expect to be free of grief?" 

Royal Titles 

In 1850, Emperor Bahadur Shah Zafar II revived upon Mirza Ghalib the title of "Dabeer-ul-Mulk". The Emperor also added to it the additional title of Najm-ud-daulah.The conferment of these titles was symbolic of Mirza Ghalib’s incorporation into the nobility of Delhi. He also received the title of 'Mirza Nosha' by the emperor, thus adding Mirza as his first name. He was also an important courtier of the royal court of the Emperor. As the Emperor was himself a poet, Mirza Ghalib was appointed as his poet tutor in 1854. He was also appointed as tutor of Prince Fakhr-ud Din Mirza, eldest son of Bahadur Shah II,(d. 10 July 1856). He was also appointed by the Emperor as the royal historian of Mughal Court. 

Being a member of declining Mughal nobility and old landed aristocracy, he never worked for a livelihood, lived on either royal patronage of Mughal Emperors, credit or the generosity of his friends. His fame came to him posthumously. He had himself remarked during his lifetime that although his age had ignored his greatness, it would be recognized by later generations. After the decline of Mughal Empire and rise of British Raj, despite his many attempts, Ghalib could never get the full pension restored. 

Poetry Career 

Ghalib started composing poetry at the age of 11. His first language was Urdu, but Persian and Turkish were also spoken at home. He got his education in Persian and Arabic at a young age. When Ghalib was in his early teens, a newly converted Muslim tourist from Iran (Abdus Samad, originally named Hormuzd, a Zoroastrian) came to Agra. He stayed at Ghalibs home for 2 years. He was a highly educated individual and Ghalib learned Persian, Arabic, philosophy, and logic from him. 

Although Ghalib himself was far prouder of his poetic achievements in Persian, he is today more famous for his Urdu ghazals. Numerous elucidations of Ghalib's ghazal compilations have been written by Urdu scholars. The first such elucidation or Sharh was written by Ali Haider Nazm Tabatabai of Hyderabad during the rule of the last Nizam of Hyderabad. Before Ghalib, the ghazal was primarily an expression of anguished love; but Ghalib expressed philosophy, the travails and mysteries of life and wrote ghazals on many other subjects, vastly expanding the scope of the ghazal. This work is considered his paramount contribution to Urdu poetry and literature. 

In keeping with the conventions of the classical ghazal, in most of Ghalib's verses, the identity and the gender of the beloved is indeterminate. The critic/poet/writer Shamsur Rahman Faruqui explains that the convention of having the "idea" of a lover or beloved instead of an actual lover/beloved freed the poet-protagonist-lover from the demands of realism. Love poetry in Urdu from the last quarter of the seventeenth century onwards consists mostly of "poems about love" and not "love poems" in the Western sense of the term. 

The first complete English translation of Ghalib's ghazals was written by Sarfaraz K. Niazi and published by Rupa & Co in India and Ferozsons in Pakistan. The title of this book is Love Sonnets of Ghalib and it contains complete Roman transliteration, explication and an extensive lexicon. 

His Letters 

Mirza Ghalib was a gifted letter writer. Not only Urdu poetry but the prose is also indebted to Mirza Ghalib. His letters gave foundation to easy and popular Urdu. Before Ghalib, letter writing in Urdu was highly ornamental. He made his letters "talk" by using words and sentences as if he were conversing with the reader. According to him Sau kos se ba-zaban-e-qalam baatein kiya karo aur hijr mein visaal ke maze liya karo (from hundred of miles talk with the tongue of the pen and enjoy the joy of meeting even when you are separated). His letters were very informal, some times he would just write the name of the person and start the letter. He himself was very humorous and also made his letter very interesting. He said Main koshish karta hoon keh koi aesi baat likhoon jo parhay khoosh ho jaaye (I want to write the lines that whoever reads those should enjoy it). When the third wife of one of his friends died, he wrote. Some scholar says that Ghalib would have the same place in Urdu literature if only on the basis of his letters. They have been translated into English by Ralph Russell, The Oxford Ghalib. 

Ghalib was a chronicler of this turbulent period. One by one, Ghalib saw the bazaars – Khas Bazaar, Urdu Bazaar, Kharam-ka Bazaar, disappear, whole mohallas (localities) and katras (lanes) vanish. The havelis (mansions) of his friends were razed to the ground. Ghalib wrote that Delhi had become a desert. Water was scarce. Delhi was now “ a military camp”. It was the end of the feudal elite to which Ghalib had belonged. He wrote: 

“An ocean of blood churns around me- 
Alas! Were these all! 
The future will show 
What more remains for me to see”. 

His Pen Name 

His original Takhallus (pen-name) was Asad, drawn from his given name, Asadullah Khan. At some point early in his poetic career he also decided to adopt the Takhallus Ghalib (meaning all conquering, superior, most excellent). 

Popular legend has it that he changed his pen name to 'Ghalib' when he came across this sher (couplet) by another poet who used the takhallus (pen name) 'Asad': 

The legend says that upon hearing this couplet, Ghalib ruefully exclaimed, "whoever authored this couplet does indeed deserve the Lord's rahmat (mercy) (for having composed such a deplorable specimen of Urdu poetry). If I use the takhallus Asad, then surely (people will mistake this couplet to be mine and) there will be much la'anat (curse) on me!" And, saying so, he changed his takhallus to 'Ghalib'. 

However, this legend is little more than a figment of the legend-creator's imagination. Extensive research performed by commentators and scholars of Ghalib's works, notably Imtiyaz Ali Arshi and Kalidas Gupta Raza, has succeeded in identifying the chronology of Ghalib's published work (sometimes down to the exact calendar day!). Although the takhallus 'Asad' appears more infrequently in Ghalib's work than 'Ghalib', it appears that he did use both his noms de plume interchangeably throughout his career and did not seem to prefer either one over the other. 

Mirza Ghalib and Sir Syed Ahmed Khan 

1855, Sir Syed Ahmed Khan finished his highly scholarly, very well researched and illustrated edition of Abul Fazl’s Ai’n-e Akbari, itself an extraordinarily difficult book. Having finished the work to his satisfaction, and believing that Mirza Asadullah Khan Ghalib was a person who would appreciate his labours, Syed Ahmad approached the great Ghalib to write a taqriz (in the convention of the times, a laudatory foreword) for it. Ghalib obliged, but what he did produce was a short Persian poem castigating the Ai’n-e Akbari, and by implication, the imperial, sumptuous, literate and learned Mughal culture of which it was a product. The least that could be said against it was that the book had little value even as an antique document. Ghalib practically reprimanded Syed Ahmad Khan for wasting his talents and time on dead things. Worse, he praised sky-high the “Sahibs of England” who at that time held all the keys to all the a’ins in this world. 

This poem is often referred to but has never translated in English. Shamsur Rahman Faruqi wrote an English translation. 

The poem was unexpected, but it came at the time when Syed Ahmad Khan’s thought and feelings themselves were inclining toward change. Ghalib seemed to be acutely aware of a European[English]-sponsored change in world polity, especially Indian polity. Syed Ahmad might well have been piqued at Ghalib’s admonitions, but he would also have realized that Ghalib’s reading of the situation, though not nuanced enough, was basically accurate. Syed Ahmad Khan may also have felt that he, being better informed about the English and the outside world, should have himself seen the change that now seemed to be just round the corner. Sir Syed Ahmad Khan never again wrote a word in praise of the Ai’n-e Akbari and in fact gave up taking active interest in history and archaeology, and became a social reformer. 

Personal Life 

Mirza was born in Kala Mahal in Agra. In the end of 18th century, his birthplace was converted into Indrabhan Girls' Inter College. The birth room of Mirza Ghalib is preserved within the school. Around 1810, he was married to Umrao Begum, daughter of Nawab Ilahi Bakhsh Khan of Loharu (younger brother of the first Nawab of Loharu, Nawab Mirza Ahmad Baksh Khan, at the age of thirteen. He had seven children, none of whom survived (this pain has found its echo in some of Ghalib's ghazals). There are conflicting reports regarding his relationship with his wife. She was considered to be pious, conservative and God-fearing. Ghalib was proud of his reputation as a rake. He was once imprisoned for gambling and subsequently relished the affair with pride. In the Mughal court circles, he even acquired a reputation as a "ladies man". Once, when someone praised the poetry of the pious Sheikh Sahbai in his presence, Ghalib immediately retorted: 

“How can Sahbai be a poet? He has never tasted wine, nor has he ever gambled; he has not been beaten with slippers by lovers, nor has he ever seen the inside of a jail." 

He died in Delhi on February 15, 1869. The house where he lived in Gali Qasim Jaan, Ballimaran, Chandni Chowk, in Old Delhi has now been turned into 'Ghalib Memorial' and houses a permanent Ghalib exhibition. 

Religious Views 

Ghalib was a very liberal mystic who believed that the search for God within liberated the seeker from the narrowly Orthodox Islam, encouraging the devotee to look beyond the letter of the law to its narrow essence. His Sufi views and mysticism is greatly reflected in his poems and ghazals. As he once stated: 

“The object of my worship lies beyond perception's reach; 
For men who see, the Ka'aba is a compass, nothing more." 

Like many other Urdu poets, Ghalib was capable of writing profoundly religious poetry, yet was skeptical about the literalist interpretation of the Islamic scriptures. On the Islamic view and claims of paradise, he once wrote in a letter to a friend: 

“In paradise it is true that I shall drink at dawn the pure wine mentioned in the Qu'ran, but where in paradise are the long walks with intoxicated friends in the night, or the drunken crowds shouting merrily? Where shall I find there the intoxication of Monsoon clouds? Where there is no autumn, how can spring exist? If the beautiful houris are always there, where will be the sadness of separation and the joy of union? Where shall we find there a girl who flees away when we would kiss her?” 

He staunchly disdained the Orthodox Muslim Sheikhs of the Ulema, who in his poems always represent narrow-mindedness and hypocrisy: 

“The Sheikh hovers by the tavern door, 
but believe me, Ghalib, 
I am sure I saw him slip in 
As I departed." 

In another verse directed towards the Muslim maulavis (clerics), he criticized them for their ignorance and arrogant certitude: "Look deeper, it is you alone who cannot hear the music of his secrets". In his letters, Ghalib frequently contrasted the narrow legalism of the Ulema with "it's pre-occupation with teaching the baniyas and the brats, and wallowing in the problems of menstruation and menstrual bleeding" and real spirituality for which you had to "study the works of the mystics and take into one's heart the essential truth of God's reality and his expression in all things". 

Ghalib believed that if God laid within and could be reached less by ritual than by love, then he was as accessible to Hindus as to Muslims. As a testament to this, he would later playfully write in a letter that during a trip to Benares, he was half tempted to settle down there for good and that he wished he had renounced Islam, put a Hindu sectarian mark on his forehead, tied a sectarian thread around his waist and seated himself on the banks of the Ganges so that he could wash the contamination of his existence away from himself and like a drop be one with the river. 

During the anti-British Rebellion in Delhi on 5 October 1857, three weeks after the British troops had entered through Kashmiri Gate, some soldiers climbed into Ghalib's neighbourhood and hauled him off to Colonel Burn for questioning. He appeared in front of the colonel wearing a Turkish style headdress. The colonel, bemused at his appearance, inquired in broken Urdu, "Well? You Muslim?", to which Ghalib replied, "Half?" The colonel asked, "What does that mean?" In response, Ghalib said, "I drink wine, but I don't eat pork." 

Views on Hindustan 

In his poem "Chirag-i-Dair" (Temple lamps) which was composed during his trip to Benaras during the spring of 1827, Ghalib mused about the land of Hindustan (the Indian subcontinent) and how Qiyamah (Doomsday) has failed to arrive, in spite of the numerous conflicts plaguing it. 

“Said I one night to a pristine seer 
(Who knew the secrets of whirling time) 
"Sir, you well perceive 
That goodness and faith, 
Fidelity and love 
Have all departed from this sorry land 
Father and son are at each other's throat; 
Brother fights brother, Unity and federation are undermined 
Despite all these ominous signs, Why has not Doomsday come? 
Who holds the reins of the Final Catastrophe? 
The hoary old man of lucent ken 
Pointed towards Kashi and gently smiled 
"The Architect", he said, "is fond of this edifice 
Because of which there is color in life; He 
Would not like it to perish and fall." 

Contemporaries and Disciples 

Ghalib's closest rival was poet Zauq, tutor of Bahadur Shah Zafar II, the then emperor of India with his seat in Delhi. There are some amusing anecdotes of the competition between Ghalib and Zauq and exchange of jibes between them. However, there was mutual respect for each other's talent. Both also admired and acknowledged the supremacy of Meer Taqi Meer, a towering figure of 18th century Urdu Poetry. Another poet Momin, whose ghazals had a distinctly lyrical flavour, was also a famous contemporary of Ghalib. Ghalib was not only a poet, he was also a prolific prose writer. His letters are a reflection of the political and social climate of the time. They also refer to many contemporaries like Mir Mehdi Majrooh, who himself was a good poet and Ghalib's life-long acquaintance.

Mirza Ghalib's Works:

Urdu Letters of Mirza Asadullah Khan Galib, Translated by Daud Rahbar, SUNY Press, 1987.

Blog Posts

परिक्षा

Posted by Hemshila maheshwari on March 10, 2024 at 5:19pm 0 Comments

होती है आज के युग मे भी परिक्षा !



अग्नि ना सही

अंदेशे कर देते है आज की सीता को भस्मीभूत !



रिश्तों की प्रत्यंचा पर सदा संधान लिए रहेता है वह तीर जो स्त्री को उसकी मुस्कुराहट, चूलबलेपन ओर सबसे हिलमिल रहेने की काबिलियत पर गडा जाता है सीने मे !



परीक्षा महज एक निमित थी

सीता की घर वापसी की !



धरती की गोद सदैव तत्पर थी सीताके दुलार करने को!

अब की कुछ सीता तरसती है माँ की गोद !

मायके की अपनी ख्वाहिशो पर खरी उतरते भूल जाती है, देर-सवेर उस… Continue

ग़ज़ल

Posted by Hemshila maheshwari on March 10, 2024 at 5:18pm 0 Comments

इसी बहाने मेरे आसपास रहने लगे मैं चाहता हूं कि तू भी उदास रहने लगे

कभी कभी की उदासी भली लगी ऐसी कि हम दीवाने मुसलसल उदास रहने लगे

अज़ीम लोग थे टूटे तो इक वक़ार के साथ किसी से कुछ न कहा बस उदास रहने लगे

तुझे हमारा तबस्सुम उदास करता था तेरी ख़ुशी के लिए हम उदास रहने लगे

उदासी एक इबादत है इश्क़ मज़हब की वो कामयाब हुए जो उदास रहने लगे

Evergreen love

Posted by Hemshila maheshwari on September 12, 2023 at 10:31am 0 Comments

*પ્રેમમય આકાંક્ષા*



અધૂરા રહી ગયેલા અરમાન

આજે પણ

આંટાફેરા મારતા હોય છે ,

જાડા ચશ્મા ને પાકેલા મોતિયાના

ભેજ વચ્ચે....



યથાવત હોય છે

જીવનનો લલચામણો સ્વાદ ,

બોખા દાંત ને લપલપતી

જીભ વચ્ચે



વીતી ગયો જે સમય

આવશે જરુર પાછો.

આશ્વાસનના વળાંકે

મીટ માંડી રાખે છે,

ઉંમરલાયક નાદાન મન



વળેલી કેડ ને કપાળે સળ

છતાંય

વધે ઘટે છે હૈયાની ધડક

એના આવવાના અણસારે.....



આંગણે અવસરનો માહોલ રચી

મૌન… Continue

जिन्दा हों तो जिंदगी कि मिसाल बनो

Posted by Pooja Yadav shawak on July 31, 2021 at 10:01am 0 Comments

जिन्दा हों तो जिंदगी कि मिसाल बनो

झूठ का साथी नहीं सच का सवाल बनो

यूँ तो जलती है माचिस कि तीलियाँ भी

बात तो तब है जब धहकती मशाल बनो



रोक लो तूफानों को यूँ बांहो में भींचकर

जला दो गम का लम्हा दिलों से खींचकर

कदम दर कदम और भी ऊँची उड़ान भरो

जिन्दा हों तो जिंदगी कि मिसाल बनो

झूठ का साथी नहीं सच का सवाल बनो



यूँ तो अक्सर बातें तुझ पर बनती रहेंगी

तोहमते तो फूल बनकर बरसा ही करेंगी

एक एक तंज पिरोकर जीत का हार करो

जिन्दा हों तो जिंदगी… Continue

No more pink

Posted by Pooja Yadav shawak on July 6, 2021 at 12:15pm 1 Comment

नो मोर पिंक

क्या रंग किसी का व्यक्तित्व परिभाषित कर सकता है नीला है तो लड़का गुलाबी है तो लड़की का रंग सुनने में कुछ अलग सा लगता है हमारे कानो को लड़कियों के सम्बोधन में अक्सर सुनने की आदत है.लम्बे बालों वाली लड़की साड़ी वाली लड़की तीख़े नयन वाली लड़की कोमल सी लड़की गोरी इत्यादि इत्यादि

कियों जन्म के बाद जब जीवन एक कोरे कागज़ की तरह होता हो चाहे बालक हो बालिका हो उनको खिलौनो तक में श्रेणी में बाँट दिया जता है लड़का है तो कार से गन से खेलेगा लड़की है तो गुड़िया ला दो बड़ी हुई तो डांस सिखा दो जैसे… Continue

यूँ ही मिल जाती जिंदगी तो क्या बात थी

Posted by Pooja Yadav shawak on June 25, 2021 at 10:04pm 0 Comments

यूँ ही मिल जाती जिंदगी तो क्या बात थी
मुश्किलों ने तुझे पाने के काबिल बना दिया
न रुलाती तू मुझे अगर दर्द मे डुबो डुबो कर
फिर खुशियों की मेरे आगे क्या औकात थी
तूने थपकियों से नहीं थपेड़ो से सहलाया है
खींचकर आसमान मुझे ज़मीन से मिलाया है
मेरी चादर से लम्बे तूने मुझे पैर तो दें डाले
चादर को पैरों तक पहुंचाया ये बड़ी बात की
यूँ ही मिल जाती जिंदगी तो क्या बात थी
मुश्किलों ने तुझे पाने के काबिल बना दिया
Pooja yadav shawak

Let me kiss you !

Posted by Jasmine Singh on April 17, 2021 at 2:07am 0 Comments

वो जो हँसते हुए दिखते है न लोग अक्सर वो कुछ तन्हा से होते है पराये अहसासों को लफ़्ज देतें है खुद के दर्द पर खामोश रहते है जो पोछतें दूसरे के आँसू अक्सर खुद अँधेरे में तकिये को भिगोते है वो जो हँसते…

Posted by Pooja Yadav shawak on March 24, 2021 at 1:54pm 1 Comment

वो जो हँसते हुए दिखते है न लोग
अक्सर वो कुछ तन्हा से होते है
पराये अहसासों को लफ़्ज देतें है
खुद के दर्द पर खामोश रहते है
जो पोछतें दूसरे के आँसू अक्सर
खुद अँधेरे में तकिये को भिगोते है
वो जो हँसते हुए दिखते है लोग
अक्सर वो कुछ तन्हा से होते है

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