Ghalib Urdu Poetry Biography
Source:- Google.com.pkMirza Asadullah Beg Khan -- known to posterity as Ghalib, a `nom de plume' he adopted in the tradition of all classical Urdu poets, was born in the city of Agra, of parents with Turkish aristocratic ancestry, probably on December 27th, 1797. As to the precise date, Imtiyaz Ali Arshi has conjectured, on the basis of Ghalib's horoscope, that the poet might have been born a month later, in January 1798.
Both his father and uncle died while he was still young, and he spent a good part of his early boyhood with his mother's family. This, of course, began a psychology of ambivalences for him. On the one hand, he grew up relatively free of any oppressive dominance by adult, male-dominant figures. This, it seems to me, accounts for at least some of the independent spirit he showed from very early childhood. On the other hand, this placed him in the humiliating situation of being socially and economically dependent on maternal grandparents, giving him, one can surmise, a sense that whatever worldly goods he received were a matter of charity and not legitimately his. His pre-occupation in later life with finding secure, legitimate, and comfortable means of livelihood can be perhaps at least partially understood in terms of this early uncertainity.
The question of Ghalib's early education has often confused Urdu scholars. Although any record of his formal education that might exist is extremely scanty, it is also true that Ghalib's circle of friends in Delhi included some of the most eminent minds of his time. There is, finally, irrevocably, the evidence of his writings, in verse as well as in prose, which are distinguished not only by creative excellence but also by the great knowledge of philosophy, ethics, theology, classical literature, grammar, and history that they reflect. I think it is reasonable to believe that Mulla Abdussamad Harmuzd -- the man who was supposedly Ghalib's tutor, whom Ghalib mentions at times with great affection and respect, but whose very existence he denies -- was, in fact, a real person and an actual tutor of Ghalib when Ghalib was a young boy in Agra. Harmuzd was a Zoroastrian from Iran, converted to Islam, and a devoted scholar of literature, language, and religions. He lived in anonymity in Agra while tutoring Ghalib, among others.
In or around 1810, two events of great importance occured in Ghalib's life: he was married to a well-to-do, educated family of nobles, and he left for Delhi. One must remember that Ghalib was only thirteen at the time. It is impossible to say when Ghalib started writing poetry. Perhaps it was as early as his seventh or eight years. On the other hand, there is evidence that most of what we know as his complete works were substantially completed by 1816, when he was 19 years old, and six years after he first came to Delhi. We are obviously dealing with a man whose maturation was both early and rapid. We can safely conjecture that the migration from Agra, which had once been a capital but was now one of the many important but declining cities, to Delhi, its grandeur kept intact by the existence of the moghul court, was an important event in the life of this thirteen year old, newly married poet who desparately needed material security, who was beginning to take his career in letters seriously, and who was soon to be recognized as a genius, if not by the court, at least some of his most important comtemporaries. As for the marriage, in the predominantly male-oriented society of Muslim India no one could expect Ghalib to take that event terribly seriously, and he didn't. The period did, however mark the beginnings of concern with material advancement that was to obsess him for the rest of his life.
In Delhi Ghalib lived a life of comfort, though he did not find immediate or great success. He wrote first in a style at once detached, obscure, and pedantic, but soon thereafter he adopted the fastidious, personal, complexly moral idiom which we now know as his mature style. It is astonishing that he should have gone from sheer precocity to the extremes of verbal ingenuity and obscurity, to a style which, next to Meer's, is the most important and comprehensive styles of the ghazal in the Urdu language before he was even twenty.
The course of his life from 1821 onward is easier to trace. His interest began to shift decisively away from Urdu poetry to Persian during the 1820's, and he soon abandoned writing in Urdu almost altogether, except whenever a new edition of his works was forthcoming and he was inclined to make changes, deletions, or additions to his already existing opus. This remained the pattern of his work until 1847, the year in which he gained direct access to the Moghul court. I think it is safe to say that throughout these years Ghalib was mainly occupied with the composition of the Persian verse, with the preparation of occasional editions of his Urdu works which remained essentially the same in content, and with various intricate and exhausting proceedings undertaken with a view to improving his financial situation, these last consisting mainly of petitions to patrons and government, including the British. Although very different in style and procedure, Ghalib's obsession with material means, and the accompanying sense of personal insecurity which seems to threaten the very basis of selfhood, reminds one of Bauldeaire. There is, through the years, the same self-absorption, the same overpowering sense of terror which comes from the necessities of one's own creativity and intelligence, the same illusion -- never really believed viscerally -- that if one could be released from need one could perhaps become a better artist. There is same flood of complaints, and finally the same triumph of a self which is at once morbid, elegant, highly creative, and almost doomed to realize the terms not only of its desperation but also its distinction.
His geniusness considered the profound ability in the art of
expressionalizm. The master-artist of modern poetry and
philosophy, the one who is all Urdu-speaking world's pride, an
artist who gave it the reason to be proud of the Urdu language,
immortalized himself and caused a revolution in Urdu for generations
after him to remember. Known most among all for his greatness he
displays by an extraordinary sense of self-image, and even wrote:
Nevertheless, `Ghalib' represents a remarkable aera, an age when poetry
existed for the cause of poetry and not for more commersialized motives.
At the peak of Urdu's development in mid-1800, `Ghalib' is counted as
the peak of classical Urdu poetry. At time when the poets like `Durd',
`Daagh', `Aatish', `Husrat', `Zouq', `Sowdaa', `Momin', `Aarzoo', `Zafar',
`Saahir', `Haafiz' and `Jigar' existed and claimed their right on poetry's
chair, `Ghalib', as being what his pseudonym also as clearly figures,
devoured the entire classical poetry and reached a level no one ever had,
since the time of `Meer' 50 years earlier.
There are many examples of profound thinking of `Ghalib', and the material
for providing the proof is more than enough. Still I see no point in
writing all his poetry here, nor is that possible with the limitation of
space and time. Although we present a remarkable collection of his great
work, taken from:
"... Shah-e-Shuara... "
Mirza Asadullah Khan Beg `Ghalib's
showq, hur rung, raqeeb-e-sur o samaan niklaa
rehyay ab aisi jagah chal kur, jahaan koi nah ho
hazaaroN KHwahishaiN 'eisee ke har KHwahish pe dam nikle
ye na thee hamaaree qismat ke wisaal-e-yaar hotaa
buskeh doshwaar he hur kaam kaa asaan honaa
ghair lein mehfil mein, bose jaam ke
lurztaa he meraa dil, zehmat-e-mehr-e-darakhshaan pur
nokta-cheen he ghum-e-dil iss ko sonae na bane
sub kahaan koch lalah o gol mein nomaaian ho gaeen
naqsh-e-faryaadi he kiss ki shoakhi-e-terhreer kaa
For such great poet as `Ghalib', it is a shame not being able to write more
of him. The limitations of space and time are the reasons. However, in case
more information about Ghalib should be required, mail to the address below
and it will be done the best to provide the information you need. Thank you
for reading or sending suggestions/constructive critique regarding the page
in advantage. Another problem is Urdu transciption with latin alphabets. As
being a language with foreign scriptures, it is hard to find deciplined and
systematically satisfying explaination for how the word's being pronounced.
The pronounciation here given is the best or closest as possible to normal.
Should there be any problems or doubt of any kind, please mail and confirm.
Ghalib Urdu Poetry Urdu Poetry Sad SMS Pic Wallpapers 2 Lines Dosti In Urdu In English Wasi Shah 2 Lines Faraz Pictures
Ghalib Urdu Poetry Urdu Poetry Sad SMS Pic Wallpapers 2 Lines Dosti In Urdu In English Wasi Shah 2 Lines Faraz Pictures
Ghalib Urdu Poetry Urdu Poetry Sad SMS Pic Wallpapers 2 Lines Dosti In Urdu In English Wasi Shah 2 Lines Faraz Pictures
Ghalib Urdu Poetry Urdu Poetry Sad SMS Pic Wallpapers 2 Lines Dosti In Urdu In English Wasi Shah 2 Lines Faraz Pictures
Ghalib Urdu Poetry Urdu Poetry Sad SMS Pic Wallpapers 2 Lines Dosti In Urdu In English Wasi Shah 2 Lines Faraz Pictures
Ghalib Urdu Poetry Urdu Poetry Sad SMS Pic Wallpapers 2 Lines Dosti In Urdu In English Wasi Shah 2 Lines Faraz Pictures
Ghalib Urdu Poetry Urdu Poetry Sad SMS Pic Wallpapers 2 Lines Dosti In Urdu In English Wasi Shah 2 Lines Faraz Pictures
Ghalib Urdu Poetry Urdu Poetry Sad SMS Pic Wallpapers 2 Lines Dosti In Urdu In English Wasi Shah 2 Lines Faraz Pictures
Ghalib Urdu Poetry Urdu Poetry Sad SMS Pic Wallpapers 2 Lines Dosti In Urdu In English Wasi Shah 2 Lines Faraz Pictures
Ghalib Urdu Poetry Urdu Poetry Sad SMS Pic Wallpapers 2 Lines Dosti In Urdu In English Wasi Shah 2 Lines Faraz Pictures
Ghalib Urdu Poetry Urdu Poetry Sad SMS Pic Wallpapers 2 Lines Dosti In Urdu In English Wasi Shah 2 Lines Faraz Pictures
Ghalib Urdu Poetry Urdu Poetry Sad SMS Pic Wallpapers 2 Lines Dosti In Urdu In English Wasi Shah 2 Lines Faraz Pictures
Ghalib Urdu Poetry Urdu Poetry Sad SMS Pic Wallpapers 2 Lines Dosti In Urdu In English Wasi Shah 2 Lines Faraz Pictures
Ghalib Urdu Poetry Urdu Poetry Sad SMS Pic Wallpapers 2 Lines Dosti In Urdu In English Wasi Shah 2 Lines Faraz Pictures
Ghalib Urdu Poetry Urdu Poetry Sad SMS Pic Wallpapers 2 Lines Dosti In Urdu In English Wasi Shah 2 Lines Faraz Pictures
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