Yak insha: entirely, through the whole act of writing (or even intent to write)ĭood-e chiragh: smoke from a lamp or candle The smoke from the guttering candle is like a soundless chainįikr-e sukhan: to try to compose poetry to sit down, or to intend to write a poem, or poetry to deliberate upon the poem as one starts to compose Is in fact nothing but a prison house of silence entirely Posted in Uncategorized | Leave a reply # 4 A Prison of Silence Now I hear that the Nuskha-e Hamidiyya has surfaced in an online art gallery. Because the first edition was error ridden and the manuscript disappeared before another edition could be brought out, the 1969 edition could rectify only some of the errors. This valuable manuscript disappeared from the library in the 1940s.
The latter consulted the manuscript in 1938. Among those who saw the manuscript and took notes were Maulana Arshi, Maulvi Abdul Haq and Hameed Ahmad Khan. There were 275 ghazals, 4 qasidahs and 11 ruba’iis. The Nuskha was nearly twice the size of the muravvaj divan. This was a major milepost in Ghalib studies. It was first published in 1921 in a hastily edited version by Mufti Anvarul Haq. The manuscript of Ghalib’s early divan calligraphed by Hafiz Mueenuddin, in 1821 known as the Nuskha-e Hamidiyya was recovered in the library of Navab Faujdar Muhammad Khan in Bhopal in 1918. I am the bulbul of a garden that has yet to be created Nuskha-e Hamidiyya I sing from the joy of my passionate imaginings The mustarad she’r which has been the inspiration for this blog describes the situation well: Maybe Ghalib was among the earliest if not the first poet to have a published Divan. The transition from the manuscript to the published format of poetry was also very new. There was an implicit pressure to write less complicated, allusive verses. I think that Ghalib was selecting verses for an audience who was accustomed to a verbal recitation of poetry at mushairas and mahfils, not necessarily a reader who would sit with a book of poems. An argument could be made that Ghalib chose the best for his muravvaj (current/authorized) Divan so that should be the focus of commentators and critics. There are many reasons the step treatment of the mustarad kalam, the most obvious is the challenge of understanding Ghalib. The mustarad verses have been neglected by not just the literate reader of Ghalib but also serious scholars. So here I am with my commentary on the mustarad verses. I think the time has come for me to take my Ghalibian affair to a literary platform-to proceed from the aural to a deeper, critical analysis of his poetry. The archness of his wit, the craziness of his love, the flight of his imagination inspired and scared me. Little did I know or care that I was partaking in the time honored tradition of appreciating the aural cadence of ghazal poetry the cultural training to respond to she’r –o shairi!Īs I grew older Ghalib stayed with me. I recited them without comprehending their complexity but enjoying the musical flow of words. As a child I memorized many of Ghalib’s well-known verses and even some of those that Ghalib did not select for his authorized Divan.
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