A number of separate terms — mundsibat-e alfdz (suitability of words), in in his Sharh-e divan-e Ghalib (Delhi: Sa'iqah Book Depot, n.d.), 20, and has. Sharh e Divan e Ghalib By Professor Yusuf Saleem Chishti. Transcript. tif tif tif tif tif tif. Sharah Deewan-e-Ghalib [Sayed Muhammad Zamin Kantoori] on *FREE* shipping on qualifying offers. Sharah Deewan-e-Ghalib by Sayed.


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Sharh Divan-e-Ghalib

He was once imprisoned for gambling and subsequently relished the affair sharh diwan e ghalib pride. In the Mughal court circles, he even acquired a reputation as a "ladies' man". 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.

The ‘rejected’ verses of the great Urdu poet, Ghalib - Newspaper -

The Emperor also added to it the additional title of "Najm-ud-daula". He also received the title of 'Mirza Nosha' from the Emperor, thus adding Mirza as his first name.

He was also an important sharh diwan e ghalib of the royal court of the Emperor. As the Emperor was himself a poet, Mirza Ghalib was appointed as his poet tutor in While the divaan was published and feted, once again, the rejected verses did not draw commentaries or formal analysis.

Fortunately, two recent scholarly works on Ghalib have made the daunting task of sharh diwan e ghalib the mustarad or rejected poetry easier.

Urdu Book - Sharah Deewan-e-Ghalib; Pure

Ashraf sharh diwan e ghalib Rubab have performed the valuable task of collating the important manuscripts and putting in the rejected verses into the ghazals where they originally belonged. They have arranged the ghazals according to the radif in an accurate, impeccable sequence. An index of ghazals affords greater accessibility to the poetry.

In my paper, I present an overview of the so-called discarded poetry, and also examine how posterity responded to the self-imposed editorial excisions of Ghalib.

Kanz al-matalib. Sharh Dīvān-i G̲h̲ālib.

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 sharh diwan e ghalib respect, but whose very existence he denies -- sharh diwan e ghalib, 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 aroundtwo events of great importance occurred in Ghalib's life: 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. Sharh diwan e ghalib the other hand, there is evidence that most of what we know as his complete works were substantially completed bywhen 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 desperately needed material security, who was beginning to take his career in sharh diwan e ghalib seriously, and who was soon to be recognized as a genius, if not by the court, at least some of his most important contemporaries.

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 sharh diwan e ghalib.

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, obscureand pedantic, but soon thereafter he adopted the fastidious, personal, complexly moral idiom which we now know as his mature style.

Hasrat Mohani Memorial Library & Hall Trust (Regd.)

It is astonishing that he should have gone from sheer precocity to the extremes of verbal ingenuity and obscurity, to a sharh diwan e ghalib 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 onward is easier to trace.

His interest began to shift decisively away from Urdu poetry to Persian during the 's, and he soon abandoned writing in Urdu almost altogether, except whenever a new edition of his sharh diwan e ghalib was forthcoming and he was inclined to make changes, deletions, or additions to his already existing opus.

This remained the pattern of his work untilthe year in which he gained direct access to the Moghul court. A rare literary work, written in