HISTORY OF URDU LITERATURE AND IT’S IMPACT ON INDIAN CULTURE –

CLASSICAL PERIOD

By

DR RIZVANUL HAQUE, Asst Prof, RIE-Bhopal, NCERT

________________________________________________________________

Dear Friends and students, today’s topic for discussion is Impacts of Urdu

Language and Literature on Indian culture. This lecture is divided into two parts

in first part we will discuss about classical period and in second part we will

discuss about the modern period.

CLASSICAL PERIOD

•DETERMINATION OF PERIOD

•DEFINITION OF THE PERIOD

DETERMINATION OF THE CLASSICAL PERIOD:

Friends, classical period of Urdu language and literature is supposed to

start from Amir Khusro (1253-1325) and ends with first freedom struggle in 1857,

we can say classical period up to Mirza Ghalib, because major work Ghalib’s

poetry was completed up to 1857.

DEFINITION OF THE CLASSICAL PERIOD:

Friends, generally we supposed our old period is classical period however

in some sorts this is true but this is not a complete picture, all the old period of

Urdu Language and literature is not a classical period. When a language and

literature starts developing, with this some rules, regulation of poetics and

linguistics’ also starts developing, when the poetics reaches on a certain level

then classical period starts.

To call something classical it is also necessary that some masterpieces of

the poetry or other forms of literature must have been developed, and their

relevance should be for all time and space.

ARRIVAL OF MUSLIMS IN INDIA

•ARRIVAL AS BUSINESSMAN

•ARRIVAL AS RULER

ARRIVAL AS BUSINESSMAN

Much before arrival of Mahmood Ghazani and Mohd Ghauri as rulers

India’s relation with Arabs were established in 3rd and 4th century, at that time

Arabs came to India as business man, they were doing business with India,

specially India’s spices were very popular in the Arab world.

These Arabs influences were limited to South India especially in Kerala

that time Arabs did not came to north India.

ARRIVAL AS RULER

When Muslims came to India as ruler before that many Sufi came to India,

they lived in India, learned Indian languages, culture and philosophy at that time

in India Bhakti movement was getting popularity specially Nirgun branch of

Bhakti and Sufi’s views about the world and god were very close, there was long

discussions between two.

About one thousand years ago Muslims started to visit India as victorious king

then large no. of people started to come India, among these most important was

armed forces, diplomats, administrators and Sufis as well, after their arrival a

new phase of amalgamation was started between two cultures and a new culture

started to developing.

IMPACTS OF MULIMS ON DIFFERENT FIELDS OF LIFE

After the Arrival of Muslims there were many changes in Indian life and impacts

were very wide, they were influencing the following fields of life and culture.

•COMPOSIT CULTURE

•FAITH, MYSTICISM AND BHAKTI

•MUSIC

•ARCHITECTURE

•PAINTINGS

•LANGUAGE

COMPOSIT CULTURE

These Muslims were from different places, mostly they were Persian,

Arab, Turkish and Afghan, but Persian culture was dominating figure, and

Persian was not a totally different culture from Indian culture, because they had a

same Aryan root. However they were meeting to each other after many

thousands years, during these thousands of years there were lots of changes.

So after meeting again in India both cultures started developing in a different way

and basically this was an amalgamation of Indo-Persian culture. They started

living together and form again a new culture which is broadly known as Ganga-

Jamuni Tehzib.

During this amalgamation a new understanding was developed in the field

of faith, which was broadly based on Mysticism and Bhakti, Persian Music was

also fused with Indian music and developed in new forms. Architecture and

Paintings also took a new shape with mixing. In this way a new culture was

developed. But in this process the highest impact was seen in Language.

BEGINNING OF URDU LANGUAGE

At the time of arrival of Muslims in India, most of Indian languages were

passing through a transitional period and these languages were different in

different parts of India. At that time in Delhi and its surroundings especially in

Merrut and Haryana region, Khadi Boli was being developed which was basically

derived from Shoor Saini Praktrat.

When the Muslims reached to Delhi, they accepted the Khari Boli as their

language of expression, but at the same time they also started the mixing of

Persian, Arabic, Turkish and some Pushtu also in Khadi Boli. This way a new

language developed which called Hindavi or Hindustani etc. This language

became very popular and very soon it spread almost all parts of North India, with

local effects, which later divided into Urdu and Hindi.

URDU SCRIPT

Urdu Script is based on basically Persian-Arabic script, but it adapted

many letters as per Indian sounds, There was no concept of sounds like e.g. Pa,

Gh, Ta, Tha, Da, Dha, Na, Cha and many more in Persian or Arabic. Urdu

developed these sounds and it also dropped many Arabic-Persian sounds, which

were not relevant in Indian context.

EARLY URDU LITERATURE

After the long process of developing the language, the first reference of

literary piece is found, at about 1066, which was Diwan of Ghazals, compiled by

Khwaja Masud Sa’d Salman of Lahore. Unfortunately! This book of Ghazals in

Urdu could not be traced; only two references are available about the existence

of this book, Amir Khusro’s Gharatul Kamal and Mohd Aufi’s Lubab ul Albad

describes about this book.

AMIR KHUSRO

(1253-1325)

The second most important Urdu literary piece came in Khusro’s work.

Amir Khusro was one of the most important personality of his period, his

contribution to Indian Culture is very wide. He influenced the Music, Poetry and

faith. His sample of poetry is as following, by this copulate we can understand the

flavour of that period’s language.

GORI SOVE SEJ PE MUKH PE DARE KES

CHAL KHUSRO GHAR AAPNE RAIN BHAI CHANHU DES

(MY Beauty is resting on the bed, face covered with long tresses, Hurry, O

Khusro, homeward, for night has engulfed all the four corners. Trans. Ali Jawad

Zaidi)

DIFFERENT VIEWS ON DEVELOPMENT OF URDU LANGUAGE

•MOHD HUSAIN AZAD

•MAHMOOD SHIRANI

•SYED SUELMAN NADVI

•PROF MASOOD HUSAIN KHAN

MOHD HUSAIN AZAD

Mohd Husain Azad was the first person who expressed his view on the origin and

roots of Urdu in his famous book Aab-e-Hayat, he wrote that Urdu is developed

from Brij Bhasha, his argument is that there are lots of common words in Urdu

and Brij, and structure is also almost same.

MAHMOOD SHIRANI

As per Mahmood Shirani Urdu developed from Panjabi, Shirani wrote a book

“Panjab mein Urdu” in that he argued that before reaching to Delhi Muslim rulers

almost 200 years stayed in Panjab, during this period they developed a language

that is Urdu. He researched many similarities between Panjabi and Urdu.

SYED SUELMAN NADVI

As per Syed Salman Nadvi Urdu developed from Sindhi, His argument is similar

to Mahmood Shirani, he wrote that, before reaching to Panjab Muslims were

limited to Sindh for the almost 200 years during that period they developed a

language, that is Urdu.

PROF MASOOD HUSAIN KHAN

Prof Masood Husain’s view regarding origin and roots of Urdu is most important

and most widely accepted. In His book “Muqadma-e-Zuban-e-Urdu” he argued

that Urdu is developed from Khadi boli, he widely researched the structure and

sound system of Urdu and Khadi Boli and reached to the conclusion that Urdu is

closest to Khadi Boli, Now generally Prof Masood Husain Khan’s view is

accepted, however other views also had a little truth.

GENRES OF URDU LITERATURE

•GHAZAL

•QASIDA

•MASNAVI

•MARSIYA

GHAZAL

Ghazal is one of the most important genre of Urdu poetry, in classical

period this was unchallenged most important genre. A famous Urdu critic Rashid

Ahmad Siddiqui said that “Ghazal Urdu shairi ki aabru hai” (Ghazal is spirit of

Urdu poetry)

Ghazal is based on 5 or more couplets, each couplet has a different topic or

content, but that is connected with Rhyme, Radif and Quafiya e.g.

Dil hi to hai na sang o khisht dard se bhar na aai kyon

Roenge ham hazar bar koi hamen rulai kyon

Ghalib

(It’s heart, dear no brick or stone, why should it not brim up with pain? Let no one

then oppress this heart or I shall cry and cry again. Trans. H C Saraswat)

In above couplet Aai and rulai are Qafiyas and Kyon is Radif.

QASIDA

Qasida is content-based genre, which is specified for panegyric poetry

and mostly written in praise of some great personality, such as sufis and kings

etc. Mostly it is written in the Ghazal’s form, in fact Ghazal’s form is derived from

Qasida itself.

Uth gaya bahman va di ka chaministan se amal

Tegh Arvi ne kiya sehan-e-chaman mustasil

(Bahman and Di no longer rule the garden; the sword of Urdi has subdued the

entire green land. Transl. Ali jawwad Zaidi)

MASNAVI

Masnavi is another important genre of Urdu poetry, this is basically a long

poem form, this is narrative poetry form, any story can be narrated in Masnavi

but during classical period fairy tales were narrated however in later masnavis

some realistic stories also narrated.

Masnavi has a specific form, in Masnavi in all couplets Radif and Quafiya

is used however use radif is not a conditions there could be few couplets with

Radif and some without Radif also but use Quafia is must in Masnavi. Masnavi

has fixed seven rhymes the poet can use any of these seven rhymes.

Dekha to woh gul hava hua hai

Kuch aur hi gul khila hua hai

Dayashankar Naseem

(When saw the flower, was no more there, some thing else has happened)

MARSIYA

Marsiya is a genre for an elegiac epic poetry; this is also a narrative form.

However, earlier it was not specified for the narration of Karbala and this genre

was used in praise of any person’s holy demise but in later stage, it was specified

only for the martyrdom of Imam Hasan, Husain and their family.

Kis sher ki aamad hai ki ran kanp raha hai

Ran ek taraf charkh-e-kuhan kanp raha hai

Rustam ka jigar zer-e-kafan kanp raha hai

Khud arsh-e-khuda vand –e-zaman kanp raha hai

Shamsheer bakaf dekh ke haidar ke pisar ko

Jibrail larazate hain samete hue par ko

Yoon barchiyan thin char taraf us Janab ke

Jaise kiran nikalti hain gird aaftab ke

The honourable, was surrounded by the javelin, in a way, Like Sun is surrounded by the its rays

OTHER GENRES OF URDU LITERATURE

Following are the important genres of prose and poetry of this period.

•RUBAI

•QITA’

•SHAHR AASHOB

•HAMD

•NA’T

•DASTAN

•TAZKIRA

•BIOGRAPHY

•LETTER WRITING

DECCAN’S LITERATURE

In the history of Urdu Language and Literature after the first impression of

Khwaja Masud Sa’d Salman and Amir Khusro’s elementary work. Deccan’s

Literature is very important, in fact continuous evolution of Urdu Literature started

at Deccan only. The first literary piece of Deccan is Fakhr-e-din Nizami’s Masnavi

Kadam Rao Padam Rao, which was written between 1421-1434.

Since then up to Arrival of Wali Deccani’s Deewan to Delhi (around 1707) Urdu’s

most of the literature is found here only. During this period of about three

hundred years, hundreds of Urdu writers contributed to Urdu Literature, some of

the most important writers are as following.

•FAKHR-e-DIN NIZAMI

•ASHRAF BAYABANI

•HASAN SAUQI

•QULI QUTUB SHAH

•MULLA WAJHI

•WALI DECCANI

•SIRAJ AURANGABADI

Among these Mohd Quli Qutub Shah, Mulla Wajhi and Siraj Aurangabadi are very important and played a major role in the History of Urdu literature.

MOHD QULI QUTUB SHAH

1525-1612

Mohd Quli Qutub shah is one of the most popular kings of Deccan. His

contribution as a king, as a patron of Urdu literature and as a poet is highly

precious. He is the first Urdu poet, who compiled his deewan of Ghazal. Dewan

means a collection of Ghazals as per alphabetic order of Radif.. Qutub Shah’s

sample of poetry is as following:

Piya baj pyala piya jaye na

Piya baj yak pal jiya jae na

(Without beloved it is hard to have a beer

Without beloved living even for a moment is very tough)

Mohd Quli Qutub shah’s court poet Mulla wajahi wrote a Masnavi Qutub

Mushtary, which is considered the best Masnavi of Deccan, Wajhi also wrote the

first fiction in Urdu, it was a dastan known as “Sab Ras”

WALI DECCANI

(1668-1707?)

Wali is not just a good poet but he played historical role in the development of

Urdu literature, it is said that Wali’s Deewan came to Delhi around 1707, before it

in all the poets of the Delhi use to write poetry in Persian only and they had a

believe Urdu is competent enough only for day to day communication.

Urdu is capable for serious issues such as poetry. When the poets of Delhi saw

the Deewan of Wali, only then they realized that good poetry is possible in Urdu

too, therefore, after very short time of arrival of Wali’s Deewan into Delhi many

poets started writing poetry in Urdu. Sample of poetry:

Ada o naz soon aata hai voh roshan jabin ghar soon

Ke jyon mashriq soon nikale Aaftab ahista ahista

(She emerges from her doorway, her forehead sparkling bright

Like the rising sun glides from the East, slowly and gracefully, trans Ali Jawwad

Zaidi)

IMPACTS OF DECCAN’S LITERATURE

There are wide and multi layered impacts of Deccan’s Literature on the

development of Urdu literature and Indian Culture. Some of the main impacts are

as following.

•Indian land and it’s culture dominated in Urdu culture

•Development of a composite culture started in deccan.

•Many new genres of Urdu as well as Indian literature started for the first time in

Deccan.

URDU POETRI IN DELHI

After the arrival of Walis Deewan in Delhi many poets who earlier use to write

poetry in Persian, they stated writing poetry in Urdu also. But the new and

emerging poets started writing poetry in Urdu with full concentration and they

made the first choice Urdu. Some of the important poets of this period are as

following:

KHAN –E- ARZU

ABRU

FA’IZ

HATIM

MAZHER JAN-E-JANAN

TEK CHAND BAHAR

GREAT POETS OF THE ERA

Within very short time many Urdu poets emerged in Delhi but three poets

will never forgot in history of Urdu literature. They are classic as per all aspects,

they have a very wide appeal; they are relevant even in today’s life and their

language is very developed.

•MIRZA MOHD RAFIH SAUDA

•MEER TAQI MEER

•KHWAJA MIR DARD

MIRZA MOHD RAFIH SAUDA

(1713-1780)

Mirza Sauda is highly vigour and versatile poet of this era, he wrote in

different forms of Urdu poetry e.g. Qasidah, Ghazal, Shahr Ashob etc. but he is

basically known for his Qasidahs. Many scholars believe that he is the greatest

Qasidah writer poet of Urdu, Sauda was rival of Meer in Ghazal. A couplet

Gul phenke hain auron ki taraf balki samar bhi

Aei khana bar andaz-e-chaman kuch to idhar bhi

(Towards others you tossed flowers even fruits

Something to my side as well, O garden leveler, Trans Ali Jawad Zaidi)

MEER TAQI MEER

(1722-1810)

Meer is supposed to be one of the two greatest of poet of Urdu with Mirza

Ghalib, though he was most versatile poet of his age, but now he is basically

know for his Ghazals. He has command over almost all forms of Urdu poetry

especially on Masnavi. Due to this versatility and mastery over the Ghazal he

was called khuda-e-Sukhan it means god of poetry.

Senior Hindi poet and critic Vishnu Khare after analyzing word poetry in

18th Century he reached to this decision that Meer is the greatest poet of the

world in 18th century. His Ghazals are yet very popular and often people use to

recite them in their day-to-day life.

Meer Taqi Meer is the first Urdu poet who wrote an anthology of Urdu

poets with name of Nikatushoara in alphabetical order, this genre is called

“Tazkira”. Meer also wrote an autobiography with the name of Zikre-Meer , this

is also first autobiography of any Urdu writer.

Despite of the fact that two century has been passed but his poetry is yet

fresh, his poetry is being taken in the films; even today’s singers feel relevance to

sing his poetry.

Dikhai diye yoon ki bekhud kiya

hamen aap se bhi juda kar chale

This is a Ghazal of Meer, which was sung by Lata Mangeshkar for Bazar

film.

Dekh to dil ka jaan se uthata hai

Ye dhuan sa kahan se uthata hai

Is also a Ghazal of Meer, which was sung by mehdi hasan with great

enthusiasm and feelings:

Mat sahal hamen jano phirta ha falak barson

tab khak ke parde se insan nikalte hain

(Do not consider us to be men of easy attainment. The skies revolve for years

before man emerges out of the earth’s womb.

Eng Trans. Ali Jawwad Zaidi)

KHWAJA MIR DARD

(1720-1784)

Dard belongs to a well-known Sufi saint family of Delhi, His schooling was

done in all forms of knowledge as per that period, but mysticism was his main

field. He was well versed in classical theories of vocal and instrumental music.

He uses to play the Sitar and sing also.

Dard was one of the most respected person of the city, his shrine still exist

in old Delhi near Zakir Husain College. As a poet his deewan consists of

Ghazals and Rubais. In his poetry all the shades of life are found including

eroticism but he is basically known for his extraordinary mystic poetry. Some of

his couplets are as following.

Arz-o-saman kahan teri wusat ko pa sake

Mera hi dil wo hai ko jahan tu sama sake

(The eart and skies cannot measure thy vastness, this my heart alone that can

contain thee)

wai nakami ke waqt-e-marg ye sabit hua

Khwab tha jo kuch ke dekha jo suna afsana tha

(What great disappointment it is to have it proven at the last moment

that all we saw was a dream and all we heard a pleasing tale)

sair kar duniya ki ghafil zindgani phir kahan?

zindagi gar kuch baqi rahi nav jawani phir kahan?

(Enjoy the world’s pleasure, for this life would not return,

what if some life still remains, the youth will have vanished for good)

OTHER POETS

Other than these trio greats, there are many poets who are significant but in this

brief history we are not able to give their detail, but this picture can’t be

completed without their reference, here we are giving just a few names.

YAQEEN DEHALVI

ANAND RAM MUKHLIS

QAIM CHANDPURI

MEER SOZ

JAFAR ALI HASRAT

ADUL HAI TABAN

ASHRAF ALI FUGHAN

DECLINE OF DELHI SCHOOL OF POETRY

At the start of 18th Century the great Mughal Empire was spread almost the

whole present India and Pakistan, Bangladesh and Afghanistan were also part of

Mughal Empire. But when the 19th Century started a line was famous about

Mughal empire, it was Hukumat-e-Shah Alam, Dehali ta Palam. It means

Empire of Shah Alam is limited from Delhi to Palam.

AT that time Shah Alam was the Mughal Empire. Even Shah Alam could n’t

maintained that, in 1803 East India Co. took over the Charge of Delhi

Administration too, and one times great Mughal emperor became the pensioner

of East India Company. During hundred years Delhi faced dozens of attacks both

from inside and outside the country.

Life in Delhi became unbearable and many poets and other artists started to

migrate at safer places. In these circumstances most poet found Lucknow best

place. There, they not only found the peace but also honour and wealth, and it

was nearest place also to get such hostage.

DEVELOPMENT OF URDU PROSE

Like poetry elementary pieces of Urdu prose are also found in South, in north

only some Malfoozat and lexicons are found. Till the end of seventeenth century

Urdu was mostly only a spoken language in north.

First full length Urdu prose book in north is Karbal kath, which was written in

1732 or 1733 by Syed Fazl-e-Ali Fazli. Then till the end of 18th Century, many

works in Urdu prose are found, some religious especially translation of Holy

Quran and Bible. The most important literary work of this era is Ata Husain

Tahseen’s Nau Tarz-e-Murassah that was written in 1775.

FORT WILLIAM COLLEGE

The East India Company founded Fort William College in 1800 with the

purpose of training of newly appointed British officer in Indian languages. John

Gilchrist was the head of the college; he himself was well versed in Urdu.

Now the problem was it that study material was not available for such new

students, who were totally unknown to Urdu. Till that time many kinds of poetry

including some masterpieces were available but simple and communicative

prose, grammar books and dictionaries were not available. To fulfill these

requirements Gilchrist invited many authors and scholars from all over the India.

These authors wrote about 50 books, mostly were independent

translations from Persian and Sanskrit. These books developed a new style of

Urdu prose, which was simple but impressive. Mir Amman’s Bagh-o-Bahar,

Hyder Bakhsh Hyderi’s Araish Mehfil and Tota Kahani, Nihal Chand Lahori’s

Mazhab-e-ishq, Kazim Ali Jawan’s Shakuntala and Singhasan Battisi etc. are

some of the important books written in Fort William College.

These books got a place in Urdu prose much later, at that time this simple

and communicative style was not accepted in Urdu literary circle. In reaction of

these books Rajab Ali Beg of Lucknow wrote a dastan, Fasana-e-Ajaib and few

others in ornate decorative style. These books were more acceptable in Urdu’s

Literary Circle.

But at that time the most popular trend of Urdu prose were Dastan, which is close

to fables and early romance in English literature. This was oral and performing

form of prose. People use to gather on a fix place at nights and storyteller starts

telling the story. The storyteller use to tell the story whole night.

These Dastans were often stories of prince and princess, which were very

imaginative and creative. The greatest piece of this series is Dastan Ameer

Hamza, which was very popular at that time; it was compiled only at the end of

19th Century. Amir Hamza is collection of few Dastans, which is based on 46

volumes and about 45 thousand pages. This is one of longest book in history of

world literature.

DELHI COLLEGE

Delhi College was established in 1825 after almost quarter century of Fort

William College. In contrast to Fort William College, Delhi College was

established for the Indian students.

Here in Delhi College Science, Mathematics, Humanities and other fields of

modern knowledge were taught through Urdu Medium. To fulfill this purpose of

the college many books of Mathematics, Biology, Botany, Chemistry, Philosophy,

geography, Law, Medicine etc. were translated into Urdu.

Master Ram Chander was the most prolific writer and translator of this college;

he also edited two magazines Ajaib-e-Rozgar and Tazkiratul Kamilin. His work in

Mathematics was highly recognized in Britain also. Molvi Mamlook Ali, Moti Lal

Dehalvi, Master Husaini, Dharam Narayan and Ayodhya Prasad were some

other important translator of this college. Sir Syed Ahmad Khan, Deputy Nazir

Ahmad, Wiqar-ul Mulk etc. were the most outstanding students of this college.

LUCKNOW TRANSLATION BUREAU

Awadh was the first Indian state, which established Shahi (Royal)

translation bureau, which was known as the Shahi Press. Lucknow Translation

bureau was established in 1827 by it’s ruler Nasiruddin Hyder. Kamaluddin Hyder

was declared the supervisor of this Bureau.

Main objective of this bureau was providing modern and scientific education and

knowledge through Urdu Medium. Very soon a press was also established to

publish the books translated here, this press was known as Sultan-ul Matbe.

This press was run in the supervision of Mehdi Ali Khan Qubul. Shahi Translation

bureau commissioned many translators from different places they prepared at

least nineteen books.

This step shows that the rulers of Awadh was not only keen interested in

Art and culture, but things were not in their favour, the grip of British ruler was

getting strong to stronger

A DIFFERENT POET - NAZEER AKBARABADI

(1735-1830)

Wali Mohd Nazir Akbarabadi was born in Delh but he was shifted to Agra,

which is also known as Akbarabad with his parents in his early age. Nazir

Akbarabadi was a teacher and he lived the life with it’s fullest, He use to

celebrate and enjoy all the festivals, traditions, faiths, weather conditions and

every thing whatever was happening in the Agra.

He followed another tradition of Urdu poetry, which was almost vanished

at that time; He followed the rich tradition of Amir Khusro, Kabir and Quli Qutub

shah etc. that was genuinely a composite culture of India. At that time Urdu

poetry was dominated by the classical tradition, which was very sophisticated by

rules and regulations of forms of poetry and language.

In this era of classical poetry Nazir Akbarabadi followed the folk traditions

of Urdu, he wrote the poems on the all occasions of the life, about the festivals,

celebrations, hawker’s items like Kakari, (cucumber), Laddu (sweet), tarbooz

(Watermelon) etc.

He was a person who was really connected to his soil and wrote the

poetry, which was directly related to the life of ordinary people. Poems, such as

Holi, Janam Kanhaiya ji, pairaki, barsat ki baharen, Banjara Nama and Aadmi

nama are the most representative poems of Nazir Akbarabadi. He also wrote a

few Ghazals.

Maghroor na ho talwaron par mat phool sahare dhalon ke

Sab patta tod ke bhagenge, munh dekh ajal ke bhalon ke

Kya dibbe moti heeron ke, kya dher khazane malon ke

Kya baghache tash tamami ke, kya takhte shal doshalon ke

Sab thath pada raha jayega jab lad chalega banjara

(Pride not yourself on the swords, don not be arrogant on the shields

They will break all bonds and run away on seeing the death’s spears

Whether it’s the of pearls and diamonds, or heaps of treasures,

Bundles of brocades, or bales of shawls and double shawls

All the pomp will be left behind when the wandering merchant decides to pack

up.

URDU POETRY IN LUCKNOW

With the decline of Mughal Empire many semi-independent governors

declared themselves independent. In this series Awadh also became an

Independent state. During the period of Burhanul Mulk Sa’dat Khan, Safdar Jung

and Shuja’uddaulah Faizabad was the centre of their empire; his successor

Asifudaullah shifted his capital to Lucknow.

The Nawab’s of Awadh invited many poets, intellectuals and nobles from

Delhi and gave them due honour and livelihood. In this context it can be said that

the culture and literature of Lucknow was basically an extension of Delhi, but in

later stage it developed in a little different way.

Poets such as Khan-e-Arzu, Fughan, Mirza Mohd Rafih Sauda, Meer Taqi Meer,

Meer Zahik, Meer Hasan were already established and matured in Delhi, they

came to Lucknow at last stage of life.

There is an, another category of poets who shifted to Lucknow from Delhi at early

stage, Insha Allah Khan Insha, Ghulam Hamdani Mushafi, Jurrat. These poets

started writing poetry in Delhi and were being well received but they lived a long

life in Lucknow and their basic identity is as poet of Lucknow.

Later they developed a new genre of poetry called Rekhti, which is women’s

feeling based poetry. Credit goes to Insha and Rangin for starting and developing

Rekhti.

Aatash and Nasikh are the most representative Ghazal’s poet of Lucknow.

All the earlier Ghazal’s poet mentioned in this category were born and brought up

in Delhi later they shifted to Lucknow, but Atash and Nasikh belongs to Awadh

only and established themselves in Lucknow. Both poets has a deep study of life,

they expressed their feeling and experiences in very sophisticated and but

communicative style. Atash was influenced with mysticism; this gives him a

philosophical solution of life.

Here are some examples of Atash’s couplet.

Sun to sahi jahan mein hai tera afsana kya

Kahti hai tujh ko khalq-e-khuda ghaibana kya

(Hark how your story goes rounds in the wide world and how they speak

of you behind your back. Tran. Ali Jawad Zaidi)

Hijra mein vasl ka milta hai maza aashiq ko

Shouq ka martaba jab had se guzar jata hai.

(The lover tastes union in moments of separation too

But only when passion has overcome limitations.

Trans. Ali Jawad Zaidi)

Here is an example of Nasikh’s Poetry

Pooch ae nasikh na kuch meri udasi ka sabab

Aap main din rat hairan hoon, hua hai kya mujhe

(Don’t ask me, Nasikh, why I feel so forlorn

I myself wonder day and night

What must have happened to me!

Trans. Ali Jawad Zaidi)

RISE OF MASNAVI GENRE

Though Masnavi was not a new genre, first it was developed in Deccan, and then

in Delhi but in Lucknow it reached to new heights, three greatest poet of Masnavi

emerged in Luknow. Meer Hasan (1727-1786) is basically famous for his

Masnavi, Saharul Bayan, his other masnavi’s are Rumuz ul Afrin and Gulzar-e-

Eram. Though Meer Hasan belongs to Delhi, he migrated to Lucknow like many

other poets of his age.

Daya Shankar Naseem is known for his masnavi ‘Gulzar-e-Nasim’, this is very

fine example of creativity and compactness. Nawab Mirza Shouq’s Masnavi

‘Zehr-e-Ishq” is most important, his other masnavi’s are Fareb-e-Ishq and Bahar-

e-Ishq. Meer Hasan and Daya Shankar Naseem’s Masnavis are in traditional

fairy tale form but Mirza Shouq’s Masnavi is realistic.

GREAT POETS OF MARSIYA

Like Masnavi, Marsiah is also an old form of Urdu poetry; it was started in

Deccan and developed in Delhi. Marsiah reached to it’s peak in Lucknow the

credit goes to two great Marsiah poet Meer Anis and Mirza Dabir. This is most

developed and attractive form of narrative poetry in Urdu.

Marsiah is based on the following components.

1. Chehra (Introduction)

2. Rukhsat (Parting from family for battle)

3. Aamad (Entry into battlefield)

4. Rajaz (Narrating the greatness of family, self and swords etc.)

5. Jang (combat)

6. Shahadat (Martyrdom)

7. Dua (pray and epilogue)

MEER ANEES

(1801-1874)

Meer Anees is supposed to be greatest poet of Marsiah. He mastered in

almost every component of Marsiah. His command over accurate use of words in

poetry is exceptionally good. Whatever he narrates it could be an emotional

separation from family or combat with the enemies it is almost perfect.

Taair hawa men mast hiran sabza zar men

Jangal ke sher goonj rahe the kachhar men

-Meer Anees

(Birds were juggling in the air, Deer were grazing in grassland

And the lion of the forest were roaring in the bushes of riverbank)

MIRZA DABIR

(1803-1875)

Mirza Salamat Ali Dabir was a contemporary of Meer Anis, as both poets were

specialized in Marsiah and were living in the same city. Both poets were

established master, with lots of disciples, therefore, often they had a rivalry, there

was always a comparison between two. Mirza Dabir had a different style of

expression, his metaphors and similes were far from routine life, therefore, it was

little tough to understand them, but there is no doubt that he is one of the

greatest two poets of Marsiah.

Kahiye na mehar subah ke seene pe dagh tha

Ummeed-e-ahal-e-bait ka ghar, be charagh tha

- Mirza Dabir

(Don’t say it sun, it was a blemish on the chest of the morning

Now! The hope of Prophet’s family was, without luminosity)

AMANAT LUCKNOWI

(D. 1858)

In extend to Wajid Ali Shah’s Rahas, Syed Agha Husain Amanat wrote an opera

Inder Sabha in 1952, which is based on a Hindu Mythology, This is not only

Urdu’s but also north India’s first full length play in modern period, it played a

very important role to revive the great tradition of Sanskrit plays.

This play got an exceptional popularity its shows were held village to village and

it also crossed the boundaries of the country. It was translated and Transcripted

into many Indian languages and German also, even before the end of the

nineteenth century.

WAJID ALI SHAH

(1823-1887) Wajid Ali Shah was the last nawab of Lucknow, he was highly multifaceted

person, and he wrote about fifty books including some edited books. These

books are on the wide range of topics, such as poetry, even in poetry he wrote in

the genre of Masnavi, Marsiah, Ghazal, Salam and Geet.

His two collections of Geet Najo and Dulhan are based on the different forms of

singing such as Dhrupad, Sargam, Hori, Khyal, Tarana, Tappa, Thumri, Dadra

and folk. He wrote autobiography both in prose and poetry. He also wrote books

on religion, Rhyme, constitution, and history. His book Banni is highly

appreciated which is based on music and dance.

His books also include many collections of letters and diary. During his prince

hood (1842 to 1847) he prepared music and dance based play Radha Kanhaiya,

This series of plays called Rahas, in which himself played role of Krishna. This

first play in North India, and history of Urdu and Hindi plays starts with this play.

During his rule he paid seventeen hundred poets and writers. He became the

king of Lucknow in 1847 and was removed in 1856 after that he lived his whole

life in Kolkata in custody of Britain. Here I present a couplet of king poet.

Dhal rakhta nahin talwar nahin, Shair hoon

Chal bhi meri faqirana hai, azad hoon main

(I don’t keep shield, don’t have sword, I am a poet

I walk like wandering, and I am independent.)

DELHI BEFORE SIEGE

AT that time Shah Alam was the Mughal Empire. He couldn’t maintained

Hukumate-e-Shah Alam, Dili ta Palam also, in 1803 East India Co. took over

the charge of Delhi Administration, and one times great Mughal emperor became

the pensioner of East India Company. Now his administration remained limited

within the boundries of Red Fort.

But the cultural life in Delhi continued, and before the final end of the great

Mughal culture in 1857, it produced it’s greatest personality of cultural life.

Ofcourse! it was Ghalib, yes! Mirza Asadullah Khan Ghalib. But he was not all

alone in Delhi.

His contemporaries such as Hakim Momin Khan Momin, Saikh Ibrahim Zauq,

Shefta, Azurdah and Fazl-e-Haque Khairabadi are very important. But the most

important name, who was in the centre of all cultural activities, is a different poet

and the last Mughal Empire Bahadur Shah Zafar himself.

SHAIKH IBRAHIM ZAUQ

(1789-1854)

Shaikh Ibrahim Zauq is famous of Qasidah a panegyric form of poety, in Qasidah

is supposed to be second best poet after Saudah, but in Ghazal too he was

mentor of many poets, the lucidity, excellent use delhi’s idiom and

impressiveness are the most important qualities of his poetry. During his life he

got honour more than Ghalib for poetry, but later things changed.

This is his famous couplet.

Ab to ghabra ke ye kahte hain ki mar jayenge

Mar ke bhi chain na paya to kidhar jayenge

(In desperation I cried out, “I would rather die”

Where shall I go if peace eludes even death?

Trans. Ali Jawad Zaidi

BAHADUR SHAH ZAFAR

(D1868)

During the first war of intendance he was announced the national leader of

impendent India, he faced more oppression he witnessed the execution of his all

sons, he watched the women of his Royal family are running in the streets of

Delhi. He himself was force to leave Delhi and lived remained life in Rangoon. All

his agony is reflected in his poetry.

Na kisi ki ankh ka noor hoon na kisi ke dil ka qarar hoon

Jo kisi ke kam na aa sake main woh ek musht-d-ghubar hoon.

My life givens out no ray of light

I bring no solace to heart or eye

Out of dust to dust again-

Of no use to any one am I.

Trans. Ali Jawad Zaidi

MOMIN KHAN MOMIN

(1800-1851)

Other than being a poet Momin khan Momin was a master physician, he also has

a good knowledge of mathematics and astrology, Music was his passion he was

master in the game of chess also. Some times his knowledge in these fields

enriches his poetry also. He is basically known for his Ghazals and love Masnavi.

Umar sari to kati ishq-e-butan mein momin

Aakhiri waqt mein kya khak musalman honge.

-Momin

(Having spent a whole life in the loves of the beauteous, deies

Where’s the fun in Momin’s becoming a Muslim in these last moment of life

Trans. Ali Jawad Zaidi

MIRZA ASADULLAH KHAN GHALIB

(1797- 1869)

Mirza Asadullah Khan Ghalib is one of the best poet, which yet has born on the

Indian soul, He was born at time when the Mughal Culture was on high decline,

western culture was rising, Ghalib was brought up in purely Mughal Culture but

later he found strange their own culture during his youth Ghalib visited to Kolkata

and saw the changing world.

Ghalib is the first poet not only in Urdu’s but also among all Indian languages,

who has expressed modern thinking; he was much advance than his time. He is

asking too much questions from life, from beloved, from god itself. He is in

search of the meaning of life, existence and value of mankind.

Rat din gardish mein hain sat asman

Ho rahega kuch na kuch ghabrain kya

(The seven skies are revolving night and day

something is bound to happen, why worry then?)

Trans. Ali Jawad Zaidi

Hai kahan tamanna ka doosra qadam ya rab

Ham ne dasht-e-imkan ko ek naqsh-e-pa paya

(Where, O lord, is the next hop to check of my yearnings

I find the wilderness of limit to be just a footprint.)

Trans. Ali Jawad Zaidi

Dil hi to hai na sang O khisht dard se bhar na aaye kyon

Royenge ham hazar bar koi hamein rulae kyon

(It’s a heart, dear, no brick or stone,

Why should it not brim up with pain?

Let no one then oppress this heart

Or I shall cry and cry again

Trans. H C Saraswat.

-Ghalib

1857

On the 11th May 1857 the anger and sufferings of Indian exploded against British

rule, very soon they took over the charge of Merrut camp and marched towards

Delhi, and took over to Delhi also. They announce Bahadur Shah Zafar as king of

India; this war of independence caught the fire in almost the entire north and

western parts of India.

But this war could not sustained too long, in September Britishers got success in

Delhi, then one by one they took back every battle field, now they were

unchallenged king of India. Now there oppression intensified more rudely, they

killed and prosecuted thousands of people on every front. They brought more

divisive policies for Indians.

In the short period of Indian rule during war of Independence, many positive

results are found, now Hindu Muslims were more united, in Delhi, Mohd Bahkt

Khan drafted a constitution for the future ruling, for a better and prosperous life of

Indian people, it was written in Urdu and yet available.

URDU ON THE CENTRE STATE OF INDIAN CULTURE

During The period, the whole classical period, Urdu was the only

Language, which was widely spoken in a major part of India, though there are

many languages in India, but mostly they are limited to one are two states.

If a person of Delhi meets to another person from Hyderabad, Kolkata or

Mumbai, then Urdu was the only language in which, they can exchange their

views. Hindi got this status very late only last quarter of nineteenth century. Till

that time Hindi was limited different local dialects.

Other than language and literature, Urdu has a culture, which influenced whole

India as well as world also. In Urdu culture, there are architecture such as Taj

Mahal, Red Fort in Agra, Red Fort and Jama Masjid in Delhi, Rumi Darwazah

and Imambada in Lucknow, Char Minaar and Golkunca in Hyderabad.

Mughlai fashion, food habits, music, paintings, all developed and presented world

class foods are still supposed to be one of the best foods of Indian and these

foods are famous world wide, again foods of Delhi, Lucknow and Hyderabad are

highly popular. Similarly the fashion developed in the Urdu culture, it’s festivals,

and lifestyles etc. still today are one of the finest mosaics of India.

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