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This selection of poetry and prose by Ghalib provides an accessible and wide-ranging introduction to the preeminent Urdu poet of the nineteenth century. Ghalib's poems, especially his ghazals, remain beloved throughout South Asia for their arresting intelligence and lively wit. His letters—informal, humorous, and deeply personal—reveal the vigor of his prose style and the warmth of his friendships. These careful translations allow readers with little or no knowledge of Urdu to appreciate the wide range of Ghalib's poetry, from his gift for extreme simplicity to his taste for unresolvable complexities of structure. Beginning with a critical introduction for nonspecialists and specialists alike, Frances Pritchett and Owen Cornwall present a selection of Ghalib's works, carefully annotating details of poetic form. Their translation maintains line-for-line accuracy and thereby preserves complex poetic devices that play upon the tension between the two lines of each verse. The book includes whole ghazals, selected individual verses from other ghazals, poems in other genres, and letters. The book also includes a glossary, the Urdu text of the original poetry, and an appendix containing Ghalib's comments on his own verses.
Amit Basole teaches Economics at Azim Premji University, Bangalore. Urdu poetry as well as history and architecture of the Indian subcontinent are his passions. Anjum Altaf is a South Asian living in Lahore. He is the author of Transgressions: Poems Inspired by Faiz Ahmed Faiz, Aakar Books Delhi 2019, Liberty Books Karachi 2020.
Mirza Ghalib is to the Urdu language what William Shakespeare is to the English language. And the most widely read Urdu book in the world is a collection of the Love Sonnets of Ghalib. These sonnets resonate with the voices of maestros through the corridors of history. Ghalib is not just an Asian phenomenon and his sonnets are loved and studied worldwide.
In The Lightning Should Have Fallen On Ghalib: Selected Poems Of Ghalib poet Robert Bly and Urdu scholar Sunil Dutta endeavour to bring the intensity and finesse of Ghalib s poetry to English readers. Ghalib s poetry combines humour and anguish, for eg.
A befitting tribute to the poet who once described himself as 'collyrium for men's eyes', freely offering to make their vision cleaner.
Manuscript of Mirza Ghalib's 1821 Divan discovered in Bhopal in 1917. Contains twice the number of verses compared to his previously published "official" Divans. Includes notes and additions in Ghalib's own hand. Rediscover Mirza Ghalib through his "unknown" Ghazals contained in this manuscript which was Ghalib's personal copy for over a decade. A treasure for all Ghalib lovers! Dr. Farooqi explains: "In 1918, some fifty years after Ghalib's death, a manuscript was discovered in the Hamidiyya Library in the princely state of Bhopal that was beyond doubt a Divan of the great poet. The colophon revealed that it had been calligraphed (in 1237 hijri, corresponds to1821CE) by Hafiz Mueenuddin. The manuscript or nuskha (as we call it in Urdu) was written in a pleasing hand and the text enclosed with red, gold and blue margins. Unlike the general practice of beginning a Divan with a ghazal, this Nuskha begins with a qita' in Farsi followed by two qasidahs in Urdu. The page marking the first ghazal, the famous, naqsh faryadi hai kiski shokhi-e tahrir ka, is elaborately embellished with gold and blue. Ghalib had composed much more than the 1800 verses presented in the mutadavil (official) Divan. The discovery of the Nuskha -e Hamidiyya was phenomenal in that it revealed a large number of verses that were not included in Ghalib's Divan! Of the 1900 verses that were presented in the Hamidiyya, only 700 had ever been included in the Divan. Of the 1900 verses, 1883 are from ghazals. According to Maulana Arshi, the Nuskha was prepared for Ghalib's personal use. It was given away most likely to a shagird after another copy had been made. It is possible that after Ghalib had made selections for Gul-ra'na (1828), he gave away this Nuskha. It is also possible that he had got another copy made (Nuskha-e Sherani, 1826) for safekeeping while he journeyed to Calcutta with the Nuskha-e Hamidiyya. One of the controversial features of the Nuskha is the addition of ghazals in the margins in a consistent but somewhat unpolished hand. The question is: Who made those additions? Maulana Arshi is of the opinion that the writing is in Ghalib's hand. Some scholars think the handwriting is not sophisticated enough to be Ghalib's. According to Gyan Chand Jain, the corrections and additions to the Hamidiyya were done after the circulation of the Nuskha -e Sherani and are not in Ghalib's hand. New ghazals and verses added to older ghazals were copied from the Sherani in the margins of the Hamidiyya. The Nuskha was last seen by Maulana Arshi in 1944. In the tumultuous events of India's Partition, the original Nuskha was lost. What is currently available in print is Hamid Khan sahib's 1969 edition that was assembled with the help of notes that the latter took in 1938, along with Mufti Anvarul Haq's edition and the Nuskha-e Sherani. The re-appearance of the original Nuskha-e Hamidiyya after nearly 75 years is a momentous event for Ghalibians all over the world.." The current publication is a full digital facsimile reproduction of the Nuskha-e-Hamidiya. A "must-have" publication for anyone interested in urdu poetry and especially the works of the legendary Mirza Asadullah Khan Ghalib.
This imaginative approach to the work of the Urdu poet Ghalib (1797-1869) presents highly original renderings, made by seven well-known American poets, of Ghalib's ghazals.
GHALIB: PERSIAN POEMS Translation & Introduction Paul Smith Mirza Asadullah Beg (1797-1869}, known as Ghalib (conqueror), a pen-name or takhallus he adopted in the tradition of classical Persian and Urdu poets, was born in the city of Agra of parents with Turkish aristocratic ancestry. When he was only five his father Abdullah Beg Khan died in a battle while working under Rao Raja Bakhtwar Singh of Alwar and his uncle Nasrullah Beg Khan took charge of him. But he lost his uncle also at the age of eight. He then moved to Delhi. He lived on state patronage, credit or the generosity of friends. His fame came to him posthumously. His major poetry was ghazals, qit'as, ruba'is and othe forms in Persian, he is more famous for those written in Urdu. Dr. Arifshah Gilani, author of 'Ghalib: His Life and Persian Poetry' (see bibliography) states: "Ghalib is, to all intents and purposes, the last of the great classical poets of the Indo-Pakistan sub-continent, because although the late Dr. Sir Muhammad Iqbal has made a distinct and valuable contribution in Persian poetry, still in so far as the language is concerned, he cannot be said to have even approached Ghalib, much less surpassed him." He also states, "Strictly speaking, the real Ghalib lies not only in the twelve hundred Urdu verses but also in the twelve thousand and odd couplets of his Persian poetry... Like an eagle he flew over all the rest. In fact, he was a giant amongst the pygmies. His many sided genius should earn him and abiding niche in the domain of Persian poetry." Here is the largest selection of his ghazals and other poems from the Persian in the correct form and meaning with Introduction on his Life, Times, Poetry, The Forms of he composed in, Selected Bibliography. Large Format Paperback 7" x 10" 200 pages COMMENTS ON PAUL SMITH'S TRANSLATION OF HAFIZ'S 'DIVAN'. "It is not a joke... the English version of ALL the ghazals of Hafiz is a great feat and of paramount importance. I am astonished. If he comes to Iran I will kiss the fingertips that wrote such a masterpiece inspired by the Creator of all." Dr. Mir Mohammad Taghavi (Dr. of Literature) Tehran. "Superb translations. 99% Hafiz 1% Paul Smith." Ali Akbar Shapurzman, translator into Persian and knower of Hafiz's Divan off by heart. Paul Smith is a poet, author and translator of many books of Sufi poets of the Persian, Arabic, Urdu, Turkish, Pashtu and other languages, including Hafiz, Sadi, Nizami, Rumi, 'Attar, Sana'i, Jahan, Obeyd Zakani, Nesimi, Kabir, Anvari, Ansari, Jami, Khayyam, Rudaki, Yunus Emre, Shah Latif, Mahsati, Bulleh Shah, Khushal Khan Khattak, Iqbal and others and his own poetry, fiction, plays, biographies, children's books and screenplays. www.newhumanitybooks.com
'A riveting resurrection of the city of poets, the city of history, Saif Mahmood's learned and evocative book takes us to the heart of Delhi's romance with Urdu verse and aesthetics.'--Namita Gokhale Urdu poetry rules the cultural and emotional landscape of India--especially northern India and much of the Deccan--and of Pakistan. And it was in the great, ancient city of Delhi that Urdu grew to become one of the world's most beautiful languages. Through the 18th and 19th centuries, while the Mughal Empire was in decline, Delhi became the capital of a parallel kingdom--the kingdom of Urdu poetry--producing some of the greatest, most popular poets of all time. They wrote about the pleasure and pain of love, about the splendour of God and the villainy of preachers, about the seductions of wine, and about Delhi, their beloved home. This treasure of a book documents the life and work of the finest classical Urdu poets: Sauda, Dard, Mir, Ghalib, Momin, Zafar, Zauq and Daagh. Through their biographies and poetry--including their best-known ghazals--it also paints a compelling portrait of Mughal Delhi. This is a book for anyone who has ever been touched by Urdu or Delhi, by poetry or romance.