PSYCHOLOGICAL AND PHILOSOPHICAL INTERPRETATIONS OF GHALIB'S COMPOSITIONS AND IT'S IMPLICATIONS FOR EDUCATION

SUBMITTED DEGREE OF

Under fihe-SUperVKio.n of - PROF. ROQUIYA ZAINUDDIN

DEPARTMENT OF EDUCATION ALIGARH. MUSLIM UNIVERSITY ALIGARH (INDIA) cf .2013 M Department of Education T2r. i/u&a Zainuth n Aligarh Muslim University (Professor) Aligarh-202002 (U.P.), India

Dated: 24►_ a J.-2/

TO WHOM IT MAY CONCERN

This is to certify that the present research work entitled "Psychological and Philosophical Interpretations of Ghalib's Compositions and It's Implications for Education", has been completed by Shahia Khalid under my supervision in the Department of Education. The present work is an original contribution to the existing knowledge of the subject and is in my opinion suitable for submission and for the award of the degree of Doctor of Philosophy in Education.

Prof. Roquiya Zainuddin (Supervisor)

0 2(cI&awIe4emenf

First of a(( 9 Grow in reverence to (ie 74lm96i .4lla6 and

Iea tfui'( ti anI m for j1vin j me a~~ foie sfren jtl, ins~k and required' ea(for completion of this work; 9 am ahunhnt f (acI ny in eloquence to express the eartiest yatfude to my esfeernelsupervisas^ Pnrror IBja . mu n Oepff of Ea'ucafion for tier expert supervision, keen interest, critical

affitua'e, va~uah juihnce andsimpathetic aW(u throu..q bout m~ researcl work, 9n fact without her continuous encouragement and . elp, this sfu4 coulinot have peen comm((ei 9 etend' my sincere fhanis to ?Professor Na6i hmac Chairman, ?Jeptt. of Zduca6on for provian j me all the necessa y facilfies in completion of this tas6 9 express my deepest sense o fjrafitude to my beloved parents, Mr. Mohd 7

J must recas^im3 tieartfe(t tlianij to Mr. Mo6d.' 7&i f 7Urdu Section Maui'ana Azad £iiraay, and otter non teac~iny stafff members of T7epft of Zaucation for 6+nji me out in completion of this tas4

,Cast I ut not ttie (east, 9 owe mji specia(ttian to tie typist Mr. [Uu( 1{aIam azadrComputer ?Professional), #Wul Hannan, Mr, Y6a flat 4á and Mr. Sutiail for their strenuous effort in tpinj anr,Ie tiny of ti is thesis.

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ii PSYCHOLOGICAL AND PHILOSOPHICAL -INTERPRETATIONS OF GHALIB'S COMPOSITIONS AND IT'S IMPLICATIONS FOR EDUCATION - ABSTRACT NTH ES-S SUBMITTED THE AWARD-OF DEGREE OF rat

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Under`the=S Fvi`sion-of PROF. ROQUIYA ZAINUDOIN

DEPARTMENT OF EDUCATION ALIGARH MUSLIM UNIVERSITY ALIGARH (INDIA) 2013 'fi r. '~~ .. ~'~•'.` ~~"n.

~1 O'V 2O4 ABSTRACT

Mirza Ghalib is regarded as the most eminent and versatile poet of Urdu language. He was great in literary domain of Persian as well. Ghalib was not indifferent towards the deepest problems of human life. As he was a keen observer of life, he pondered over human existence. Ghalib's poetry reveals his philosophical and psychological views. His philosophy is often interpreted as Wandat-al-Wujood which means that everything will perish except the Being of God i.e. the permanent and Real Existence is only one, that of Gr,d. GhaIib's poetry and letters also reveal the psychological analysis of. human existence i.e. innumerable human feelings such as 'craving for love and belongingness, ceaseless desires and unending quest, feeling of sorrow, happiness, hope, wit and humour, death anxiety, and other emotions of love, hatred and jealousy etc.

People have understood and appreciated Ghalib 'as a poet, being delighted by the beauty of.his poetic imageries. Here, the researcher has tried to interpret his poetry from philosophical and psychological perspective and bring into light some hidden educational thoughts underlying those philosophical and psychological interpretations.

All of us know that Ghalib suffered lots of hardships during his life time. But Ghalib did not succumb to his miseries, rather bore all that befallen him wholeheartedly. Therefore, one of the objectives of the present study is to show how he faced and understood life. The purpose of studying all these aspects is to

I . 19 find some clues for adjustment in life. By reading this work, especially the young generation may be able to learn how to get adjusted in life and how to lead life.

Though lots of studies have been done on Ghalib's poetry- and letters but till today, no systematic work has been done to bring out the psychological, philosophical and educational aspects of his compositions together as an integrated* whole. All the three above mentioned aspects are interrelated with each other; hence should not be looked as a separate entity.

The present study "psychological and philosophical Interpretations of Ghalib's compositions and it's Implications for Education" is a modest attempt to understand Ghalib in terms of his ideas on man and God. This study has the following main objectives:

1. To bring out the psychological aspect of Ghalib's works.

2. To bring out the philosophical aspect of his works.

3. To find out the educational implications of Ghalib's works.

The study consists of eight chapters such as: Introduction, A Brief Biographical Background of Mirza Ghalib, Ghalib and

Existential Issues, Ghalib's Understanding of Heiman Nature, Wit

and Humour in Ghafib's Compositions, Ghalib as a Sufi and Educational Implications of Ghalib's Work along with the conclusion.

Chapter-I gives emergence, justification and importance of the present study. Chapter-II rives an account of a brief

1 biographical background of Mirza Ghalib. Chapter-III describes Ghalib's views on existential issues. In other words, in this chapter, he focuses on his views about the existence of man and God. The IV chapter deals with those couplets by Ghalib that reflect his psychological understanding of human beings.

Chapter -- V deals with the poet's use of wit and humour in poetry, letters and in day to day life. Ghaiib's use of wit and humour also reveals his intellectual maturity.

Chapter - VI presents the poet's Sufi thoughts in some of his couplets. Chapter--VII. is based on the educational implications of Ghalib's works and the Chapter - VIII consists of conclusion.

The subject of the study is mainly theoretical; hence it is a library based study. The researcher has made an analysis of the content of Ghalib's Poems and Letters as well as of written material on Ghalib.

Ghalib's view of existence is associated with the mystic philosophy of Wandat-al-Wujood which says that nothing exists except Allah (God). It was the prevalent philosophy of the poet's time which influenced him greatly. The circumstances of his personal as well as social life made him believe that other than God, the existence of worldly things including human being is not real, rather illusionary and imaginary. According to him, since every creature has a definite life span and a definite circle of activity, it is clear that their existence is not permanent, rather transitory.

3 Despite being aware of the mysteries of Wandat-al- Wujood, Ghalib does not escape from life. Rather, he looks eagerly and restlessly on every colour and forms of life. He is not escaping from life; rather he is involved in and associated • •4 with it. Besides, Ghalib is a devout humanist. Many of ,his letters and couplets reflect his views about humanism. When we analyze his works, we find secular as well as humanistic thoughts, both.

As far as the psychological interpretation of Ghalib's works in concerned, the researcher has reached to a conclusion that the poet (Ghalib) had penetrating insight into human nature. The poet has written on multiple aspects of human nature such as, love, hatred, jealousy, desires and longings, self respect, despair and gloom, self transcendence, courage, death anxiety, inner conflict and so on and so forth.

From the description of different states of man's life, it is evident that he understands the variety of emotions and he is aware of the multiple aspects of human life. In day to day life, he looks upon the ups and downs of emotions as if he is involved in psychoanalysis like any psychologist of the present age. Ghalib was a self conscious man. Being a thorough human being, the poet is aware of the strength and weakness of his personality. Ghalib has not developed these- principles on self made assumptions. Rather, after deeply studying human - nature, he has described different mental states of man. When we read his couplets, we feel as if `yeh bhi mere dil mein hai' (this too is in my heart).

4 The educational implications of Mirza Ghalib's compositions, in the light of his philosophical and psychological thoughts, may be described under the headings such as; Aims of education, Curriculum, Methodology of teaching, Role of teacher and students and School Discipline.

As the poet stresses on the importance of self respect, therefore, we can deduce that education should enable the child to gain self respect and self pride. It should also help the child to develop confidence in his own self. Another aim of Ghalib's education may also be to prepare the child to meet death with pleasure because in his opinion, death does not have just negative aspect, rather it has it's positive aspect as well, because the awareness of death, causes one to enjoy life. Yet another important aim of Ghalib's education may be to develop secular values among students. We find Ghalib emphasizing on the importance of universal brotherhood, love and affection with other human beings irrespective of colour, creed, race or religion.

As far as the curriculum is concerned, since each individual has his own potential, each would require his .own curriculum. The curriculum will therefore be varied, not uniform and according to the capacity of students.

Ghalib has also laid much stress on the importance of moral education in his poetry. Therefore moral education should also be included in the curriculum.

When we study Ghalib's letters, we find him. adopting the technique of distance and correspondence mode of learning. He had numerous disciples under his guidance whose poetic works were used to be corrected by the poet. Ghalib used to receive letters containing the works of disciples who sought corrections and Ghalib used to make corrections and give direction by replying those letters.

As far as the role of the teacher is ' concerned, if we observe Ghalib's way of dealing with his pupils, we can infer that in his scheme of education, the teacher must build positive relationship between himself and his student. We find that Ghalib had a very close and intimate relationship with his disciples. They felt free to share anything with him, be it through letters.

Ghalib in his poetry talks about human emotions i.e. emotion of love, amusement, desire and longing, hatred, jealousy, despair and disappointment and conflict in man etc. Therefore, the teacher should try to teach the children the art of managing the feelings and emotions as adequately as possible. Some students may be involved in some conflicts. The task of the teacher is to deal with those conflicts of the students, effectively.

Ghalib emphasizes on freedom of individuals. Therefore, we can conclude that his school provides free atmosphere to the children. The schedule must be flexible. Besides, the school should also provide leisure for creative writing so that the full development of students may be • possible.

6 Contents

Page No.

Acknowledgement i-ii

Chapter - I : Introduction 1-4

Chapter - II : A Brief Biographical Back - 5-15 ground of Mirza Ghalib

Chapter - III : Ghalib and Existential Issues 16-53

Chapter - IV Ghatib`s Understanding of 54-91 Human Nature

Chapter - V : Wit and Humour in Ghalib's 92-111 Compositions

Chapter - VI : Ghalib as a Sufi 112-139

Chapter - VII : Educational Implications of 140-166 Ghalib's Works

Chapter - VIII : Conclusion 167-184

References 185-189

Bibliography 190-199 Cpter— • I CHAPTER — I

INTRODUCTION

Mirza Ghalib is regarded as the most eminent and versatile poet of Urdu language. He was great in literary domain of Persian as well. He lived intensely and felt keenly. Brutally truthful, transparently candid, endowed with broad human sympathies and invested with liberal outlook, Ghalib was the guardian of self respect. Besides, he was independent of thought and action and had the passion for original, refusing to tread the beaten track of others.

Ghalib was not indifferent towards the deepest problems of human life. As he was a keen observer of life, he pondered over human existence. His study of life was vast. He writes: "By the time I had reached the age of seventy, apart from the jostling crowds of commoners, a cavalcade of seventy thousand men of consequence had passed before my weary eyes. Therefore,. I can call myself a fairly shrewd judge of human beigns." (lafri, Hyder, 1970)

Being extremely sensitive, Ghalib was a mature and highly intellectual person. He was a man of rich experience and comprehensive outlook, who thought and felt deeply. Ghalib's poetry reveals his philosophical and psychological views. His philosophy is often interpreted as Wandat-al-Wujood which means that everything will perish except The Being of God i.e. the permanent and Real Existence is only one, that of God. Ghalib's poetry and letters also reveal the psychological analysis

I of human existence i.e. innumerable human feelings such as craving for love and belongingness, ceaseless desires and unending quest, feeling of sorrow, happiness, hope, wit and humour, death anxiety, and other emotions of love, hatred and jealousy etc.

People have understood and appreciated Ghalib as a poet, being delighted by the beauty of his poetic imageries. Here, the effort of the researcher is to interpret his poetry from the philosophical and psychological perspective and bring into light some hidden educational thoughts underlying those philosophical and psychological interpretations.

Ghalib is a great and renowned personality and great personalities are not only inbuilt, rather developed especially under the influence of the atmosphere they live in. Ghalib's personality was also developed under the influence of his age and atmosphere. Even today, people read Ghalib at universal level. In Delhi, Ghalib Academy has been established which is the centre of books and magazines on Ghalib. Almost every

13 year, on Ghalib, National and International Seminars are held worldwide.

All of us know that the poet suffered lots of hardships during his life time. The death of his father and guardian uncle (when he was a child), of his seven children one after another, of his dearly loved brother and adopted son in young age, the scourge of poverty and constant danger of debtor's jail, non recognition of merit and vulgar vilification over literary controversies, the torture of disgrace of gambler's prison, the

0 pain and suffering of half a dozen diseases and above all bitter domestic life - what could be more miserable for a sensitive mind like Ghalib. But Ghalib did not succumb to his miseries ,rather bore all that befalled him wholeheartedly. Therefore, one of the objective of the present study is to show how he faced and understood life. The purpose of studying all these aspects is to find some clues for adjustment in life. By reading this work, especially the young generation may be able to learn how to get adjusted in life and how to lead life.

Though lots of studies have been done on Ghalib's poetry and letters but till today, no systematic work has been done to bring out the psychological, philosophical and educational aspects of his compositions together as an integrated whole. All the three above mentioned aspects are interrelated with each other; hence should not be looked as a separate entity.

Contrary to the general belief, this study disapproves the view that Ghalib was merely -a poet of love and wine or of gloominess and pessimisms. The present study "psychological and philosophical Interpretations of Ghalib's compositions and it's Implications for Education" is a modest attempt to understand Ghalib in terms of his ideas on man, God, and society, as well as his psychological analysis of human beings. In the light of the above discussions, the researcher started with humble investigation, with the following main objectives:

1. To bring out the psychological aspect of Ghalib's works.

2. To bring out the philosophical aspect of his works.

3 9

3. To find out the educational implications of Ghalib's works.

The study consists of chapters such as: Introduction, A Brief Biographical Background of Mirza Ghalib, Ghalib and Existential Issues, Ghalib's Understanding of Human Nature, Wit and Humour in Ghalib's Compositions, Ghalib as a Sufi and Educational Implications of Ghalib's Work along with the conclusion. It includes among other things, Aims, Curriculum, Methodology of Teaching, Role of Teacher and student and Discipline in School, in the light of Ghalib's philosophical and psychological thoughts.

The subject of the study is mainly theoretical; hence it is a library based study. The researcher has made an analysis of the content of Ghalib's Poems and Letters (primary data), as well as of secondary data in the form of written material on Ghalib. The researcher has tried to consult relevant material available in books, journals and magazines of different libraries and academies.

4 i CHAPTER - II A BRIEF BIOGRAPHICAL BACKGROUND OF MIRZA GHALIB

Mirza Asadullah khan Ghalib was born in Agra on 27 December,1797. His ancestors were from Turkey; hence he referred to himself as a Turk and was proud of his ancestry. His father Abdullah beg was married to Izzat-al-nisa, the daughter of Khwaja Mirza Ghulam Hussain, an army officer who came of an aristocratic family of Agra. "Ghalib's father was in the service of Nawab Asafuddaulah of Lucknow and then got an army job first in Hyderabad and later in Alwar, where he died in a skirmish to suppress a rebellion in 1802. Ghalib was then five years of age. His mother being herself educated, brought him up and looked him after in a proper way. His uncle Nasarullah beg who was married to the sister of Nawab Ahmad Bakhsh of Loharu was childless and undertook to support him (Ghalib) along with his elder sister Choti Khanam and his younger brother Yousuf Beg. After Nasarullah Beg's death, on the recommendation of Nawab Ahmad Baksh, Lord Lake had fixed pension for Ghalib's family. Money came from Alwar too in lieu of their father's death in harness. Their maternal grand parents were also well off and altogether they had a luxurious living at that time. Deprived of supervision and brought up with over indulgence, Ghalib fell into low and profligate company which he regretted all his life." (Kumar, 1982)

5 Despite his father's death, his education was not neglected, as his mother was very careful about it. Besides his mother tongue Urdu, he also excelled in Persian, which occupies the major part of his work both in poetry and prose. He knew a little Arabic as well. His first teacher was Moulvi Mohammad Muazzam who was stunned seeing his genius. "Besides, Mulla Abdul Samad, a learned tourist from Iran, was also very helpful to the poet's learning of Persian, whom the pet mentions with much regard and reverence in his books. He came to India as a tourist in 1810 when Ghalib was 14 years old. Mirza Ghalib stayed with him and got education from him for two years. Ghalib brought him to Delhi when shifted there and continued writing to him when Mulla left India". (Malik Ram, 1964)

Moreover, his real teacher was he himself and especially the atmosphere which influenced him greatly. During his childhood, he lived in a locality in Agra, known as Ghulab khana, which was also known as the centre of Persian language at that time. The atmosphere of Delhi where the poet shifted latter was also , very inspiring for him. There lived poets like Zauq and Mornin, scholars like Maulana fazl-e- Haque khairabadi, shah Ismail, Sayyad Ahmad Barelvi, critics like Nawab Mustufa khan Shaifta, and teachers like Shah Abdul Aziz.

Ghalib Started writing poetry at the age of ten or eleven years. In the beginning, he was inclined to Urdu and had written some two thousand verses till the age of twenty five. He was influenced by Asir and Shaukat and more particularly by Bedil in the beginning of his career. When Mir saw some of his verses he said: "if this boy gets some worthy teacher who guides him on

0 proper lines, he will become a unique poet, other wise, he will write nonsense". (Malik Ram, 1964) But infact Ghalib did not write nonsense and did become a great poet under Mir's own influence to some extent.

"Ghalib was married to Umrao Begum, the daughter of Nawab Ilahi Bakhsh, the younger brother of Nawab Fakhrul- Daula, at the age of thirteen. Ghaib shifted to Delhi within a few years of his marriage and lived in Delhi till his death" (Hali, 1996) Through his in laws, he was brought in immediate contact with a wide circle of aristocratic people in Delhi, the most influential being Moulvi Fazal Haq Khairabadi. In Delhi, Moulvi Fazal Haque Khairabadi reformed him to some extent and he not only gave up some of his bad habits, but also got deeply interested in religion. He also became involved in the religious controversies of the time, the most burning being the Wahabi Movement started by Sayyad Ahmad Barelvi. Though the poet was sympathetic towards the movement but could not express his sympathy because of being under pressure of moulvi Fazal Haque who was against that movement.

After the death of his childless uncle Nasarullah Beg. Lord Lake had fixed 10 thousand rupees as the annual Pension for his survivors to be paid by Nawab Ahmad Bakhsh khan. But Ghalib's family received only 750 per annum which he went on receiving for a long time. Ghalib was already annoyed at being deprived of original amount but now he was in great distress. "Used to luxurious living, he had already incurred heavy debts in the hope of discharging them through increase in his pension, but when it turned out to be nut, creditors started making insistent

7 demand for repayment. Over and above that, his brother of whom he was very fond and who may have been of help, became insane. The cup of his misery was full. In utter helplessness he thought of filing an appeal in Calcutta. The headquarters of British administration and incurred more debts. He left Delhi in 1827 to face many hardships. For a stay-at- home and comfort loving youth, the journey of these days proved extremely arduous". (Kumar, 1982)

The journey brought him in personal contact with men of letters and he continued to maintain this contact by letters in the years to come, "He first broke his journey at Lucknow, where he stayed for several months. In October he went on his way, passing through Banda, Allahabad ,Banaras, and finally reaching Calcutta on February 20, 1828 nearly after a whole year, from the time he had set out from Delhi. Banaras particularly enchanted him and he wrote a Persian poem in it's praise entitled chirag-i-dair (the lamp of the temple)." (Russel and Islam, 2000)

To begin with, his stay at Calcutta was pleasant. The place and it's climate appealed him and soon he made friends in literary circles, particularly Moulvi Sirajuddin, who was a man of considerable influence. Moulvi Sirajuddin persuaded Ghalib to collect his Urdu as well as Persian poems and as a result, "Gui-i- Ra'na" (the collection of Persian and Urdu poems) was written by Ghalib. He was warmly welcomed in Calcutta by English officers and being on the right path he was sure about the decision of the case of Pension to be taken in his favour. For this purpose he stayed in Calcutta for about two years. In a Mushaira, many poets, Ghalib being among, them had gathered to recite their verse. "When Ghalib recited his Persian poem, objections were raised to the language of some of his lines, and these were supported by reference to the authority of Qatil, an 18th century Indian poet and lexicographer who was generally acknowledged by Indian scholars of that day, as a great authority. Ghalib had to offer a sort of apology in a mathnavi `Bad-i- Mukhalif wherein besides replying to some of the objections he talked of his worries about the case of pension and pleaded to be left in peace. (Russel and Islam, 2000)

He returned to Delhi on19t1` November,1829. "Though nothing material came out of his trip to Calcutta, his stay there for a year and a half was very useful for his mental development. It widened his experience and brought him in touch with European thought and civilization. In Calcutta he saw ships, telegraph poles etc., for the first time. There he started reading news paper and this interest stuck to him for life. There, too, inspired by western rationalism and science, he declared the supremacy of intellect and wrote a hymn to it in Mathnavi- Abr-i-Goharbar. All this gave him a , comparatively modern outlook on life and literature. He now became what may be called a free thinker. He also came to know of Raja Ram Mohan Roy's activities which widened his vision further". (Kumar, 1982)

He also came in touch with the stylistic reforms towards simplicity and directness in Urdu prose and this has a tremendous influence on his own style of writing, particularly in letters: Th.e intellectual circle of friends, both in Lucknow and Calcutta became influential for attaining maturity in his poetic

0 powers. This was particularly the most fruitful period for his Persian poetry. This was the time when Ghalib compiled his Persian poetry and prose, entitled Maikhana-i-Aarzoo, in 1837.

Nawab Ahmad Bakhsh and Andrew sterling who had helped him in Calcutta died and the new Governor decided against him. "He filed an appeal first with the East India Company, and that, having been turned down in 1841, filed another with the Queen of England which too was rejected in 1844. His hopes were now completely shattered. The case had dragged on for 16 years (1828-44). His debts now mounted to about 40 thousand rupees, with an income of Rs. 62.8 annas per month and he spent the rest of his life clearing it off. The creditors pressed for payment and even obtained decrees against him. To add to his trouble, William Frazer, the resident of Delhi at that time was shot dead and the Nawab Shamsuddin being found guilty was hanged on a thoroughfare in Delhi. Ghalib being suspected to be instrumental in tracing the culprits, became the victim of general malice and ridicule". (Kumar, 1982)

During 1842,an interesting event took place which indicates that though Ghalib was in utter financial crises, still he did not shed the aristocratic vanity of a Nawab. He turned down the offer of professorship of Persian at Delhi College because when he went there, he was not received the way he used to be received at the durbars which Ghalib attended as a Jagirdar.

In 1847, his house was raided. He was arrested. on a charge of gambling, put to trial, and given a heavy sentence of a

10 fine of Rs. 200 and six months imprisonment with hard labour. Though the duration of imprisonment was reduced to three months on the recommendation of some influential person and he did not have to do hard labour there, still it's ill effect lasted on his mind throughout his life. In addition to the hardships of prison life, more painful was the effect of his sentence on his friends and relations. All except one, disowned and deserted him. One can imagine how miserable he must have felt at that time. "In one of his letters he wrote that he did not desire to live in the world any longer, not in India at any rate, but to migrate to Rome, Egypt, Iran or even to wilderness." (Hall, 1996) His close friend Nawab Mustufa khan Shaifta not only became instrumental in making him released from the prison but also helped him financially in the matter of his case. In prison, Ghalib wrote 'Asiria , which is one of his best Persian poems of eighty four verses.

Due to the incident of imprisonment, his dream for attaining a respectable job in any state or British government was shatterd. Thanks to Maulana Nasiruddin popularly known as kale Saheb, now he acquired occasional access to the durbar of Bahadur shah Zafar, the emperor of Delhi at that time, in 1850.

"At the same time, the king's physician Hakim Ahsanullh khan (an admirer of Ghalib's writing) secured for him a commission to write in Persian prose, the history of the Mughal dynasty. For this service, he was to receive a stipend of Rs.600 a year. Thus at the age of 52, he began to receive for the first time in his life, a regular income over and above his pension. At the same time the king conferred upon him a ceremonial robe,

11 and the titles Najam- al - Daula, Dabir-al-mulk, Nizam-i-Jang.In 1854, he was chosen as the ustad (teacher) of hir-apparent, Mirza Fakhruddin for which he was to, receive a stipend of Rs.400 a year. In the same year king of Oudh Wajid Ali shah directed that he should be paid a stipend of Rs. 500 a year. In 1854, Zauque died and Ghalib perhaps being only one of his (Zauque) standards was appointed to succeed him as the king's teacher. Thus at the end of 1854, his financial condition was better than it had been for many years". (Russel and Islam, 2000)

In 1855, the Nawab of Oudh was arrested and the next year when Mutiny occurred, the Emperor was deported to Rangoon. Ghalib's debts were mounting rapidly because he could not control his' extravagant needs. During the Mutiny, Ghalib remained in Delhi, confined to his house in a state of extreme financial crises and misery. His brother yusuf, of whom he was so fond, died. Ghalib despite being overwhelmed with sorrow could not even arrange for his burial. Neither had he any resources to perform his funeral rites. Ultimately he got him buried, somehow in a nearby Mosque.

"During this period, being .isolated from the rest of the world, he spent his time in writing a diary of day to day events from 11th may 1857 to 215t July 1858 entitled `Dastanbo'." (Hall, 1996) In Dastanbo,he also acknowledges the favours of his Hindu friends who supported him by their best possible means, Munshi Hargopal Tafta, Mahesh Das, Munshi Hira Singh Dard, Pt. Shiv Ram and his son Balmukend helped him as much as they could.

12 After the mutiny, Ghalib's afflictions reached their climax. His sources of income ceased. His pension had been stopped for a strange reason. It was alleged that though he was not actually among the rebellions, he had sympathy with them.

"In January 1860, after being disappointed in Delhi, he travelled to Rampur where he was treated with great respect and offered a salary of Rs. 200 per mensen if he stayed on there, that Ghalib could not do. He therefore got Rs.100 per mensem for life, besides occasional help in case of needs. His cringing letters and insisting demands continued and the Nawab continued satisfying them." (Kumar, 1982) In May 1860, his pension was restored and he got arrears of , more than two thousand Rupees, almost the whole of which he spent in paying his debts. In 1862, his darbar and khilat were also revived for which he himself applied for invitation but was rebuffed.

We should not forget the fact that Ghalib's poetic genius did not receive that much of recognition that it deserved. Because of his fondness for difficulty in style, generally people could not comprehend his work and therefore all his life he had been ridiculed as a writer of meaningless things. Though he pretended that he was least bothered by anyone's remarks and he sought neither praise nor reward, but we know how hurt he must have been to see inferior talents enjoying ample pension, and patronage. In his latter life, he became popular and disciples flocked to him from all parts of the country. His Urdu Diwan had been published five times in his life. Still Ghalib could not feel satisfied. In bitter despair, a man seeks shelter and

13 consolation at home but Ghalib could not feel any solace at home, even.

"In 1865, the Nawab of Rampur died and his son Kalb All khan ascended the throne. Ghalib went to the Nawab for condolence as well as congratulation, where he was warmly received. When he was returning, his palanquin had to cross Ganga. When it had gone across, the bridge of boats was washed away and the servants and luggage were left behind. He had to spend the cold December night in an inn at Moradabad without proper food and blankets. When Moulvi Mohammad khan came to know about it, he took care of him and nursed him to health. But it's ill effect lasted on him till his death." (Kumar, 1982). He wrote to zaka:

"Do you know, what has happened to me? I was weak before, now I am half- dead. I was deaf; now I am getting blind. This is the result of the journey from Rampur — paralysis and weak eyesight. As I write four lines, my fingers get crooked and words indecipherable." (Ghalib, 1899)

As Ghalib was getting old he suffered from lots of ailments and was confined to bed in extreme misery and pain. He wrote to Munshi Dad khan Sayyah: "physical weakness is at it's length. Old age has rendered me unfit for every task. Debility, languor, laziness, weariness, depression! My feet are in the stirrups, my hands hold the bridle. I am poised for a long, long journey to a far off land, and I am not equipped even with the bare necessities of travel. If I am pardoned without questioning, well and good, but if I am called upon to give an account of my

14 deeds, hell and damnation will be my fate. I will rot eternally in the Hades, with none to aid me. Someone has beautifully said: Ab to Ghabra ke yeh kahte ha/n, ki mar jaaenge. Mar ke bhi chain na paaya, to kidhar jaaenge. (Now we say, in dismay "we shall and our life". What shall we do, if death too, brings us no respite.)" (Kanda, 2004)

Talking of a prevailing epidemic he wrote: "where was the epidemic that I should write if it has abated or increased? A man of sixty six and a woman of sixty four if either of them had died, we would have known that an epidemic was raging. Fie on such epidemic." (Hall, 1996)

When his frequent calculations about the date of his death proved wrong, he said: "if this date also turns out to be incorrect, I shall knock my head and die". (Hall, 1996)

Ghalib expired on 15th February 1869. There was a mild controversy between Shias and Sunnies, on performing his funeral rites. Finally he was buried besides his father in law, Nawab Ilahi Baksh near the mausoleum of Hazrat Nizamuddin Aulia, Delhi.

15 ch,apter rn Chapter - III Ghalib and Existential Issues

Han, khaaiyo mat fareb-e-hasti, Har chand kahen ki hai, nahin hal.

Do not be cheated by this life/existence. People say it exists, infact, it does not exist.

Every poet is sensitive. Like other poets Ghalib also ponders over existence. Many of his couplets describe his views about existence. At times Ghalib thinks of the existence as a mirage. So, according to him, anyone who says that existence is real is wrong because existence is not real. This view is associated with the philosophy of Wandat-al-wujood which says that 'nothing exists except Allah' (God).

The experience of every success of life creates certainty of existence in us and when we analyse and ponder it over, we find it to be false. We should keep in mind the point that the first state (belief of success) is the result of our personal conception, due to the success that ' we have achieved. To comprehend it reality, is something wrong and misleading. The second state (thinking and reflecting) is based on the principle of investigation and knowledge, hence, it is right.

Ghalib has warned human beings from getting enthralled in the first state:

16 Na ho ba harzah, bayabaan noorad wahm-e-wujood Hanooz tere tasawwur me hain nasheb-o-faraz.

Do not keep trudging in life's wilderness because of ignorance i.e. do not waste your time in searching existence of things other than God. Things other than God's Being, are not real because their existence is based on illusion. However you still have in your imagination, the ups and downs. (believing in ups and downs you feel your existence to be real, when in reality, it is only a mirage).

In another couplet the poet says:

Jj ?»JY)/ ti

Hal mushtamil numood-e-sowar par wujood-e-bahr,

Yaan kya dhara hal, qatra-o-mauj-o-hobab mein.

The existence of the ocean (God) depends upon the N manifestation of forms. There is nothing in bubble, the wave and the drop.

The ocean is the Supreme Reality which is manifested in the form of bubble, the drop and the wave. The ocean symbolizes the Existence of God which is - unique and one, despite being manifested in different forms of things. The ocean (God's Being) is the only Reality from where the drop, the bubble and the wave are manifested. But, after coming out of the Ocean, all get perished. In such condition to believe in the

17 individual existence of things, is no more than to involve in fancy or imagination. (Hasan, 1987)

The different conditions of life provide us imagination and whims, and relying on those whims we take the existence of things to be real. Ghalib indicates towards that very state of man when he says:

z

M M

Kasrat aarai-e-wahadat hai parastari-e-wahm,

Kar diya kaa is asnaam khayali ne mujhe.

The Unity of God's manifestation in multiplicity is an illusion and believing in it is like worshipping imaginary idols (the multiple form and figure) which made me (the poet) an atheist.

The status of the existence of creatures is linked with life which is surrounded by the limitations of time and space. Since every creature has a definite life-span as well as definite circle of activity, it is clear that their existence is not permanent rather transitory.

Let us see what Shakespeare; the great poet of England has to say about life and existence. Following are some lines from his tragedy Macbeth:

Out, out brief candle!

Life is but a walking shadow, a poor player,

That struts and frets his hour upon the stage,

And then is heard no more. (Shakespeare, 1965)

18 The period of a candle is fixed which is known by everyone. For Shakespeare, life is as temporary as a moving shadow. According to him whatever attraction and interest we see in life, is not due to the reality of our existence. It depends upon time and space.

The concept of futility of our existence is presented by Meer Tagi Meer also when he says:

Hasti apni Hobab ki si hai, Ye nomaish sarab ki si hai. (Abbasi, 2003)

Our existence is like a bubble. All that we see is only a mirage.

Here, Meer holds that human existence is meaningless and whatever we see, make us believe that we exist while infact it is all a mirage.

If we take the existence of creatures to be real, it will be mandatory to accept it as influential and independent in being which is absolutely' wrong. Infact in this world there is nothing influential and effective in being except God. The life-span of every other thing is fixed and definite and after that it has to be perished. Infact believing in the reality of our existence is like getting involved in self deception.

Ghalib says:

J Ala '.;L7 'Lz (~

19 Hasti ke mat fareb me aajaaiyo Asad, Alam tamam halqa-e-daam-e-khayal hai.

Do not be deceived by existence, Asad (Ghalib, the poet). The whole world is the circle of web of imagination.

The belief of existence in us comes from observation which is wholly based on relativity and distinctiveness because we look at different things from different perspective. Therefore, it is difficult to reach to the reality through observation. The perception or imagination is very vast and the whole world is only a circle of web of imagination. Since Ghalib does not accept the existence of things around us to be real, he calls it deception illusion and web of imagination. (Sabzwari, 1969)

The same view is expressed in another couplet of Ghalib where he says:

Juz naam, nahin soorat-a-aalam mujhe manzoor, Juz wahm nahin hasti-e-ashiya ,mere aage.

To me the image of the world is nothing but a name. The existence of worldly things is not more than-a mere illusion, for

This is only man who gets involved in names, imaginations and illusions. Since it is only man, in the whole world, who has been endowed with the capacity of thinking, perceiving and acting, therefore this creature is the best and above all among other creatures. This creature (man) because

20 of his status has been captivated, by himself, in vein thought, that his existence is real. Ghalib inspite of accepting the excellence of human being, denies from the presence of his existence.

In another couplet, Ghalib says:

Baazeecha-e- atfal hai duniya mere aage, Hota hai shab-o-roz tamasha mere aage.

To me the world is a playground of children (where children play all types of sports). A show goes on before me, day and night.

Ghalib's intellectual/intuitive maturity gives him the perception of this world as a playground of children, where all types of scenes and behaviours of playful activities are being showed. People are playing their role but their behaviours are child's behaviours because they are ignorant. Here, Ghalib can be compared with Shakespeare because the latter also calls the world as a stage where people are playing their role. But Ghalib goes a step further that mostly it is child like activity. People are ignorant. They do not behave maturely.

We came across the thoughts of Ghalib and other thinkers about existence, which in a nutshell can be said as, existence is mere illusion. Here a question arises, that from observation it is proved that things have got consistent existence. Ghalib has thrown light on this perspective from pure philosophical

21 thinking and tried to answer the above question. Therefore, he says:

L) L- J4rucA As!-e-shahood-o-shahid-o-mashhood ek hai, Hairaan hoon, phir mushahida hai kis hisaab mein.

The seeing, the seer and the scene - when all are the self same things. I wonder then, that on what account lies the observation.

This means that the things observed,the reality of the observer and the origin of observation itself are same things and when we understand this fact then the possibility of observation comes to an end, because there is nothing that can observe itself by own. Therefore whatever is seen is based only on reliability and relativity because the eyes from which we see can not see it.

Since Ghalib is not only a believer of Wandat-al-Wujood (Unity of Being) but also a propagator of this 'doctrine, so he presents different illustrations to prove that in the whole world, only God's Being is real and present. According to the poet, it is only His Being (God) who was expansive and got expanded and different images of things were created from His Being. From these different forms and images,appeared multiplicity. But this multiplicity is only a matter of reliability, not the reality of different things. In yet another couplet by Ghalib, some light is thrown on the topic of reality of observation.

22 I1L4i J Hai Ghaib-e-ghaib, jisko samajhte hain hum shahood, Hain khwab mein hanooz, jo jaage hain khwab mein.

Whatever we think as manifest is under veil of veils. Those who wake in dreams are still in dreaming state.

Maulana Altaf Hussain Hall writes about this couplet that whatever we think as manifestation of God is infact under so many veils. In thinking so, we are like a person who sees in a dream that he is waking. Though, he considers himself to be awaked but infact he is still dreaming. (Hall, 1996)

In another couplet also, Ghalib talks from this perspective when he says:

,.,4 tom• ~ ~ JL~ c,J» ...l~'i~

Tha khwab mein khayal ko tujhse maamla, Jab aankh khul gal, na zayan tha na sood tha.

In a dreaming state my business with you was by imagination. The awakening made it plain; there was neither loss nor gain.

It should be made clear that in a dream, the existence of man is not active. Instead, it is only his imagination which is active, because all other strength is rendered ineffective. The famous poet of English and contemporary of Ghalib Edgar Allen Poe also present a similar view about human existence when he says:

23 "All that we see or seem,

Is but a dream within a dream." (Poe, 1966)

Edgar Allen Poe has called the observation and feelings, 'dream within a dream' because in his opinion,our notion of existence is itself a dream in which observations and feelings are born which are no less than the earlier dream. Therefore, man is involved in a state of dream within a dream.

The belief of existence mostly comes from hope and courage that are related with the- certaitly of existence which is present in the subconscious of man. These support us in the state of imagination in dream and in our imagination we make the empyrean (sky high) places which never come before us in waking state. The ocean of life continues and flood comes and goes. A point comes when the speed of flowing of ocean gets slow. When we look back on the past,we get startled and it seems that the hopes through which we were busy in making our lives prosperous, was nothing but a dream of an insane person. At this stage our belief in existence is shaken because we find ourselves to be ineffective. But this stage is not long lasting and if it is so, then all the struggles of life will come to an end, which is against the creation of this universe. Consequently, again we get involved in self deception. This is why Ghalib has said:

Kah sake kaun ki ye jaiwagari kiski hai Parda choda hai wo usne ki uthae na bane.

24 Can anyone say that whose manifestation lies all around? He (God) has veiled Himself as if behind a curtain which can not be lifted.

According to Ghalib, this universe is a manifestation of Husne-e-azal (Eternal Beauty/Gods' being) and that Eternal Beauty is infinite. This universe is not infinite,, still it is expansive and man has been sent here to rule on this universe. Infact Ghalib does not accept the individual existence of things and takes this world to be a collection of different states and conditions. These states and conditions appear on the scene because Eternal beauty (God) adopts new splendour. In this regard the poet opines that the reason of creation of this universe is that God wanted to see Himself; therefore, He created the world. (Hasan, 1987)

Dahr, juz jalwa-e-yaktaai-e-maashooq nahin. Hum kahan hote agar husn na hota khud been.

The world is nothing but the manifestation of the Beloved (God's) Unity of Being. Where would we have been if the Eternal Beauty (God) did not want to see Himself.

The subject of the above couplet has been derived by Ghalib from Hadith-e-Qudsi (words of God to the Prophet):

Kunto kanzan makhfeeyan fa ahbabto an oarafa fakhalaqtul khalqa".(Albani, 1992)

25 "I was a hidden treasure. I wanted to be known, therefore I created the creatures".

As if the purpose of creation was to create that consciousness in man from which he can gain the knowledge and proximity of God. Therefore, whatever knowledge we gain, is the reflection and manifestation of God's attributes.

Besides the above mentioned inllustrations, in the following we are presenting some other couplets by Ghalib which indicate that the existence of creatures is only relative. f f.-Lc) f

Naqsh faryaadi hai kiski shokhi-e-tahreer ka, Kaaghzi hai pairahan har paikar-e-tasweer ka.

Whose clever art has kindled the protest of engraving? Every image that we see is in paper robes dressed (It was a custome in Iran that the petitioners wore paper made dress and went into the court of the king to seek justice).

In creating everything, the Creator (God) has displayed his perfect talent. Still everything except His Being (God's being) is perishable. The words kaghazi parahan (paper dress) and paiker-e-tasweer (embodiment of image or picture) indicate towards the apparel and perishable existence of creatures.

26 Na thaa kuch to khuda thaa, kuch na hota to khuda hota, Duboya mujhko hone ne, na hota main to kya hota.

When nothing was, then God was there; had nothing been, God would have been. My being has defeated me. If I would not have been, what would I have been.

Here Ghalib equates his existence with defeat or failure because being involved In life, he has to suffer all the worries and problems like earning livelihood, fear of death, worldly tragedies, sorrow and pangs of love etc.

Yak nazar besh nahin fursat-e- hasti, .ghaafil, Garmi-e-bazm hai ek raqs-e-sharar hone tak.

0 negligent person! The life-span is not more than a glance (winking of an eye). The glamour of the assembly is nothing but glimmer of the dancing spark, or of dancing atoms momentarily.

Here the poet wants to convey a message that our life- span is as short as a winking of an eye or a dancing spark. Therefore, we should not take our existence to be permanent or real.

Ghalib keeps on contemplating about human existence. He is quite aware of human suffering, despair and death, that is why he says:

27 J/ 2Yc J I b1j*T (f

Gham-e-hasti ka Asad Kis se ho juz marg ilaaj, Shama har rang mein jalti hai, Behar hone tak.

The sorrow of life can be cured only by death (sorrow and sufferings of life will come to and end only after death). The candle has to burn anyway, till the morning's birth.

The above couplet means that as a candle keeps on burning in every condition till morning appears, similarly human beings have to face all that come to them in the form of sufferings, tragedies, pain etc. It is only after death that one can get rid of the problems of existence. This couplet is reflective of Ghalib's own life which was full of misery till his death. (Chishti, 1992)

GHALIB'S PHILOSOPHY OF LIFE

Ghalib's work is a blend of suffering, grief, affliction, yearning, desires and longings. Both the concepts (suffering and desire) are entangled with each other. Rather, it would not be wrong to say that his art contains the dilemma of both these feelings (suffering, sorrow and eagerness, desire).

The tale of suffering and sorrow is recorded on every page of Ghalib's Deewan (collection of poems).

11,1 LYfUx6L)!

28 Na gule naghma hun, na parda-e-saaz, Main hoon apni shikast ki aawaz,

I am not the cheering melody, nor the curtain of lute. I represent the voice of my own defeat.

Bas ki hoon Ghalib Aseeri mein bhi aatish zer-e-paa, Moo-e-aatish deeds hai haiga, men i zanjeer ka.

A fire burns under my feet even in prison (I am very restless). The burnt hair is like the circle (link) of my chain.

The sorrow and pain underlying these couplets is reflective of a person who wants to lead his life with eagerness, desire, zest and zea, but is unable to do so because of the sufferings and pain that he has to face now and then. In such condition, it is necessary to take shelter under some philosophical thought to face these tragic storms.

In words of Ghalib:

Dair-o-haram aaina takraar-e-tamanna, Wa mandgi-e-shauque tarashe hai panahen.

The monastery and other religious places reflect the conflict of desires. The thwarting of longings builds shelters.

29 Philosophy of life is the second name for this shelter or refuge through which a person leads his life.

Life is filled with different multicoloured experiences. Like others, Ghalib too had to face the problem of reaching to a consistent and organized philosophy of life, through these scattered experiences. Ghalib has dealt with the different forms of the current philosophy of life, but he could not find contentment on it. Inspite of being aware of the mysteries of Wandat-al-Wujood, he does not escape from life, rather he looks eagerly and restlessly on every colour and image of life. The poet also comes across with the topics of being and nothingness i.e. whether human life is real or only imaginative as we have cited earlier. But these leave a transitory influence on the poet's personality. The thing that symbolized Ghalib's personality and attraction of his art is his deep involvement in the different colours and forms of life and this involvement is embedded in his personality. He is not escaping from life; rather he is involved in and associated with it. He is the victim of sorrow of not being able to achieve the prosperities of life for which he always has a craving and this is the condition which makes the poet a human being like us. If we observe life, we will find lots of attraction in it. When the moon appears, man stretches out his hands to get it and he is equally attracted to the sunlight. If seems as if the relationship of man and the universe around him is of desire, longing, subjugation and control.

30 The desire and longings are the symbols of life and this is the reality which makes Ghalib a precursor of Iqbal. In twentieth century Iqbal made self/ego the base of human existence, while in the nineteenth century Ghalib made craving and longing to be real. life and which according to him is the first impression of self or ego. The stage beyond the desire and longing is the stage of defeat of desire which is responsible for creating all the pain and sufferings.

Infact Ghalib's philosophy of life consists of both the aspects of desire and longing i.e. desire and defeat of desire that are intertwined quite clearly. On one side, desire or longing is the phenomenon without which the life seems to be desolate, having no vigour and vitality.'Anjuman be Shama hai, gar barq kharaman mein nahin'. (A heart without the passion's fire is an. assembly without light). While, on the other hand, this very longing is a prelude to the defeated desires which creates pain and anxiety. As if, what is the reason of happiness is the reason of anguish, dread, and suffering. Ghalib builds his philosophy of life on these two above stated basis. (Hasan, 2005)

The multiple aspect of longing (wistfulness and regret) may be termed as his philosophy of life. On one hand, longing is the symbol of life and all the beauties of life are related with it. On the other hand this longing and yearning is the very cause of extreme anguish and misery. Due to it, human being is always restless for things that he can not get and he complains:

31 Hazaron khwahishen aisi ki har khwahish pe dum nikle.

Thousands of desires each took my breath away.

Yaas-o-ummeed ne ek arbada maidan manga, Ajz-e-himmat ne tilasm-e-dil-e- sael bandha.

Despair and hope demanded a battle field. The weakness of courage has made a magic world where the battle between despair and hope is heating up.

(I with all humbleness made my heart magical so that it became a seeker from God)

Na bandhe tishnagi-e- shauq ke mazmoon Ghalib,

Gar chah dil khol ke dariya ko bhi saahil bandha.

Ghalib in the above couplet says that although he brought the entire ocean to the shore with his heart so open, still his thirsty desires/longing could not be expressed.

One of the salient features of Ghalib's sorrowflness and eagerness is that he never departs from the excessive dilemma of pining and longing. Despite his sorrow, dejection, depression and defeated desires, Ghalib has safeguarded his eagerness, wistfullness and longings, and kept it alive and radiant. Apart

32 from some of his couplets like (`Rahiye ab aisi jagah chal kar jahaan koi na ho'/let me go away and live at a place where there is no one) that reflect his desire of getting isolated from the world, Ghalib is unaware of negation of longings.

Ghalib never gets tired of his earnest desire for getting involved in the struggles of life. He always wants to live life to its fullest with lots of fervour and zeal. This is why he says:

Taba hai mushtaq-e-lazzat, haae hasrat kya Karoon,

Aarzoo se hai shikast-e-aarzoo matlab mujhe.

The nature longs for pleasure but Ghalib regrets for it; as with having a desire, he really wants the defeat of desire. (So that he may keep on longing for things).

Na laai shokhi-e-andesha tab ranj-e-naumeedi, Kaf-e-afsos malna ahed-e-tajdeed-e-tamanna hal.

The fearfulness of naughtiness (of desires) could not tolerate the sorrow and hopefulness (caused by the thwarting of desires) Rubbing of one's hand (an expression of being sorrowful) is the promise of renewal of desire.

33 Ghalib agonizes and at the same time smiles from these two aspect i.e. wistfulness and regret. This smiling is not of a pessimist or masochist rather of a lively and mentally healthy person who does not forget the pleasure of longing even when he is dejected from defeated desires.

In so many couplets, Ghalib has assembled the pleasure and pain of longings and desires.

Achcha hai sar angusht-e-henaai ka tasawwur, Dil mein nazar aati to hai ek boond lahoo ki.

It is good to keep imagining the hennaed (coloured) finger tips (of the beloved). At least I am able to see a drop of blood in my heart.

Sarapaa rehan-e-ishq-o-naagazeer-e-ulfat-e-hasti, Ebaadat barq ki karta hun, our afsos hasil ka.

I pledge myself to love and love of life possesses me. I worship lightning and lament whatever I receive from it (lightning's handiwork).

Here Ghalib has interpreted desire and longing as love because human life is indebted to this very longing and craving which is essential, painful and delighting. Sorrow has been divided by Ghalib into two parts — sorrow of love and sorrow of

34 earning livelihood. One (sorrow of earning living), is the source for providing all the general necessities of life and due to it man runs after plenty of wishes to get them fulfilled. While the other one (sorrow of love) which though is mortifying but simultaneously has some delighting and rejuvenating factor. The relationship between sorrow of love and sorrow of living has been very beautifully described by the poet in these words. (Hasan, 2005) *Y)Ir' 'ifLT7 Gham agar chah jaan-gasal hai, pe kahan bachen, ki dil hai, Gham-e-ishq gar na hota, gham-e-rozgaar hota.

Grief wastes our life away - and yet how shall we flee the heart within us? Had we not known the grief of love, we would have known the grief of earning livelihood.

When one feels a little relived from sorrow of earning living, so that he may enjoy the pangs of love, in Ghalib's term it is called as leisure time or spare time.

S-06 'i11Lj~ Umr harchand ki hai barq khiraam, Dil ke khoon karne ki fursat hi sahi.

Though life is fleeting speedily like a flash, still it is enough to make one's heart bleed.

Ghalib has been able to keep himself away from pessimism because he is never negligent of the joy which is hidden under

35 the layers of grief. Besides, he never gives up his hopes even during the time when he passes through extreme mental agony, depression and sadness. There are plenty of couplets by Ghalib describing this mental state. For example:

Sambhalne de mujhe ai naa ummeedi kya qyamat hai, Ki damaan-e-khayal-e-yaar choota jaae hal mujhse.

Give me respite. 0 despair! Awesome is my state. Even the thought (remembrance) of my friend (the beloved) is slipping away from my mind. JJ $ l~r v!

Bas hujum-e-naumeedi khak mein mu jaegi, Yeh jo ek lazzat hamari sai-e-la hasil mein hai.

Relent o host of despairs! Or you will perish into dust, because I derive pleasure from my futile efforts (which could not bring

success).

The other state i.e. the joy derived from the desire and longing may be vividly observed in the following couplets by Ghalib.

Hoon main bhi tamashaai-e-nairang-e-tamanna, Matlab naheen kuchh is se, ki matlab hi bar aawe.

36 I too am the spectator of the wonders that my longing can perform. It matters nothing to me, whether I attain my wish or not.

_ ldaf, ~'4— Dil iagi ki aarzoo bechain rakhti hai humein, Warna yaan be raunagi dood-e-cheragh-e-kushta hal.

Ghalib is restless to have amusement and fun in life because he is quite ware of the dullness of life which he compares with the smoke of extinguished lamp.

Go haath ko jumbish naheen, aankhon mein to dum hai, Rahne do abhi saaghar-o-meena, mere aage.

Though the hands can not make movement, the eyesight is still sound. So let the cup and flask of ale lie before me.

To conclude, Ghalib's philosophy of life consists of rapture and agony of infinite desire. It is easy to visualize this kind of a philosophy of life, today. But if we look at it from the point of view of Ghalib's age we may say that it would not have been easy for the poet to formulate such a philosophy of life (keeping in mind the incidences of Ghalib's life including the Mutiny) at a time when at every step, there was desire and defeat of desire. Ghalib's philosophy of life is the philosophy of a lively, energetic and courageous person who inspite of storms of misfortunes,

37 never gives hope from life and this is the fact that keeps Ghalib so close to us, even today.

GHALIB AND HUMANISM

Mirza Ghalib was a devout humanist. In his practical life too, he kept in touch with people on the principles of humanism. According to him, Hindu, Muslim, Sikh, Christian and people from different religion were all men of God and he regarded all of them to be mankind. He did not believe in specialization, division and discrimination among humans because according to him, all are brothers among themselves. This point of view may be vividly discerned in his letters. Writing to his bosom friend and disciple Mirza Hargopal Tafta in one of his letters Ghalib says:

"I hold all human beings - Hindus, Muslims Christians dear to me and regard them as my brothers." (Ghalib, 1899)

The virtue of meekness and humbleness was a distinct quality that was embedded in his nature. At a place he writes about his own self as: "Among Muslims, I am the condemned of God, accursed of the world, old, infirm, sick,- beggar and abject person." (Kanda, 2004)

The attribute of religious tolerance was a characteristic feature of Mirza Ghalib so much so that it may be termed as an essential part of his life and his identity. Among his dear ones, there were people from all the religion, sects, community and race whom he loved very sincerely. Writing to his bosom friend and disciple Mirza Hargopal Tafta, he expressed his feelings in

9T these words: "Among the many English men who have been slain by the black faced Indians, some were my friends, some my benefactors, some my students and some patrons and acquaintances. Among the Indians who now lie buried in dust, many were my friends and dear ones, some were my pupils and some my darlings. All of them are now no more. The grief of even a single dear one is enough to unnerve one's heart. Imagine my plight when I have to mourn for so many of my departed mates. It is bound to make my life miserable. I have lost so many of my friends that there will hardly be anyone left to mourn for me when I am dead." (Ghalib, 1928)

In the whole life of Ghalib, there may not be find any incidence which was against tolerance. Whom he made friendship with, he stood by him. Along with the tolerance, the element of faithfulness and loyalty is also very much prominent in his character. According to him, faithfulness is an essential part of mankind without which man is incomplete. This faithfulness and loyalty should be with humanity, community, religion, and race but it should be in abundance. There should not be any loophole in it. For faithfulness, he holds constancy and firmness to be mandatory. At so many places in his poetry, he has expressed his views about faithfulness and constancy. For example:

Wafaadari bashart-e-istawaari asl-e-eemaan hal, Mare but khana mein to kabe me gaaro brahman ko.

39 One must be constant till the end; this is the essence of faith. It the priest dies in his temple - let the kaba be his burial place (because his death in temple shows how faithful he had been to his religion all his life).

L hi

Nahin kuchh subbah-o-zunnar ke phande mein geeral, Wafadaari mein sheikh-o-brahman ki aazmaish hai.

The rosary and the sacred thread have no strength because these are mere stranglehold. The Brahmin and the Sheikh are judged by their steadfast faith.

In the eyes of Mirza Ghalib, a man is incomplete, imperfect and unsound who is deprived of the beauty of loyalty and constancy.

Love of mankind and human sympathy was a distinct feature of the great poet's personality. He used to become restless on human misery and affliction. He profoundly expressed his emotions about human suffering and sorrow in his works. The description of different mental and emotional state of human being is also present in his works. "One cannot imagine server affliction than Ghalib had to go through but Ghalib was neither crushed by Grief, nor grew cynical. He becomes disillusioned but not cynical because innate kindness and good cheer always asserted themselves. He never allowed his failure to embitter him towards others. He was alive to the finger - tips and imbibed with extreme sensitivity, the varied experiences of his eventful life - a life of regret and wistfulness." (Kumar, 1982) Observing all the afflictions and hardships of his life, he expressed his feelings in these words:

UXILIP Ranj se khoogar hua insaan to mit jaata hai ranj, Mushkilen mujh par pareen itni ki aasan ho gayin.

When man is used to sorrow, sorrow vanishes. I have borne so many troubles that life has become easy now.

Kyon gardish-e-madaam se ghabra na jaae dii, Insaan hun, pyaala-o-saaghar nahin hun main.

Perpetual whirl unnerves the heart and why should it not be so, because, after all I am a man, not a flask or bowl. (I am not a vessel which is not conscious of suffering. Being human being I am sensitive enough to feel).

If we analyse the above mentioned couplets in the light of incidences and conditions of his life we can infer that the man who passes through such a life, was not a common man. Rather, we can say that he was a courageous, lively, energetic, discreet and experienced person.

For Ghalib, the most important factor of a man is to become accomplished with human virtues.

41 Ul~ I lly~

LJLL/ /Ij,r Bas ki dushwar hai har kaam ka aasan hona, Aadmi ko bhi mayassar nahin insaan hona.

To think that every task is easy is something misleading when even a man can not manage to become human. Alas! (For a human being it is not easy to become a human in the true sense of the term).

Moreover, from the expression of Ghalib's Sufi thoughts also we come to know that he believed in the universal brotherhood and human dignity. The concept of Sufism had created politeness, wisdom, love of God irrespective of religion and community, services of mankind, sincerity, and reverence for the leaders of all religion, and love and regard for their message. His whole life bears witness to the fact that despite having faith in the oneness of God and righteousness of prophet of Islam (P.B.U.H) he had equal regard and reverence for the people belonging to other religion and communities. (Quraishi, 1987) The underlying couplet illustrates this fact. For e.g:

Hum muwahhid hain humara kaish ha! tark-e-rasoom, Millaten jab mit gaeen ajzaae eeman hogaeen.

42 Our creed is `God is one.' We abandon rituals and this is our way of life. When the communities (religions) dissolve, they constitute one faith.

In Ghalib's works, due to human weakness, we find the confession of sins as well, but of course in a unique way. Though he repents for his sins, still he is glad for the uncommitted sins (those sins which he was craving to commit but could not). Therefore, according to him if he should be punished for the committed sins, then he should also be rewarded for those sins that he could not commit. JbLd,=~ lsL)r j1~ r r

Naa karda gunaahon ki bhi hasrat ki mile daad Yaarab! agar un karda gunaahon ki saza hai.

I should be praised for the longing of the sins that I could not commit. 0 God! If you would punish me for those committed sins.

Aata hai daagh-e-hasrat-e-dil ka shumar yaad, Mujh se mere gunaah ka hissab al khuda na maang.

I am reminded of the scars of thwarted yearning. So, 0 Gol Do not ask me to give an account of my sins.

Ghalib was liberal, warm hearted, and friendly with all and sundry. A man bearing such virtues would undoubtedly have

43 higher attributes of humanism. He became restless on seeing poor and downtrodden people who were in a deplorable condition. He used to help the poor even when he himself was starving. It is said that he never turned back a beggar without alms. To indulge in a fight with someone was adverse to his nature. In one of his couplets Ghalib says:

jo', - f/J)ILJ?V )UT

Azaad rau hun our mera maslak hai sulh-e-kul, Hargiz kabhi kise se adaawat nahin mujhe.

I am a man of independent will; my creed is `love and peace with all.' I never feel any malice or ill will for anyone.

Loyalty, sincerity and friendliness was embedded in his nature. He neither harboured a feeling of ill will or grudge, nor enmity or jealousy against some one, notwithstanding the fact he had some unpleasant experiences with others (he had been ill treated by some people).

Kahoon kya khoobi-e-auzaa-e-abnaa-e-zamaan, Ghalib, Badi ki us ne jis se hum ne ki thi baarha neki.

How can I tell you the virtue of the conduct of the men of this age? 0 Ghalibl They do me harm to whom I have done well, repeatedly.

44 Even in such circumstance he did not feel any enmity to anyone, rather said:

Yoonhi dukh kisi ko dena nahin khoob, warna kahta, Ki mere adoo ko yaarab, mile meri zindagani.

It is not good to torment others or else, I would say:'Give my life to my enemy.! 0 God".

Besides the above mentioned facts, in Ghalib's works there are plenty of couplets where we find an impression of human dignity, the images of evolution of mankind, delicacies of human philosophy of life, thoughts about downfall of mankind, realities about life and death, description of sorrow and happiness, the world and different aspects of world's realities, observations of man's psychology and the study - of pleasant and unpleasant experiences of society. All the above mentioned facts throw light on all the aspects of overall study of man and his philosophy of life. (Quraishi, 1987)

For example:

Hain aaj kyon zaleel ki kal tak na thi pasand, Gustakhi-e-farishta humani janaab mein.

WF Why are we so disgraced and base today, when till yesterday we could not bear the arrogance of the angles, (This alludes to the event of angel Iblees, disobeying God's order to prostrate Adam).

M~ MM Dono jahaan deke wo samjhe, ye khush raha, Yaan as pari ye sharm, ki takraar kya Karen.

Handing me both the world (life and hereafter) He (God) through that I was satisfied. When in reality, I was too embarrassed to ask repeatedly for more (God Himself).

Bas ki dushwaar hal har kaam ka aasaan hona, Aadmi ko bhi mayassar nahin, insaan hona.

To think that every task is easy is something misleading. When even a man can not manage to become human. Alas! (For a human being, it is not easy to become human in the true sense of the term).

Manzar ek bulandi par our hum bana sakte, Arsh se udhar hota kaash ki makaan apna.

If only we had our dwelling place beyond this sky so that we could stretch our vision beyond the starry space.

46 1~L b ~'vUllrf J LC Ranj se Khoogar hua insaan to mit jaata hai ranj,. Mushkilen mujh par padeen itni ki aasan ho gaeen.

When man is used to sorrow, sorrow vanishes. I have born so many troubles that life has become easy now.

Qaid-e-hayaat-o-band-a-gham asal mein dono ek hairs, Maut se pahie aadmi gham se nejaat paae kyon.

The prison of life and the den of sorrow, both are the same things. How can man get rid of sorrow before death? (As long as he lives, he has to suffer all that befalls him.)

Ghalib has variously talked about human greatness in his works. Reprimanding to those who wanted to take away the high status of man, he says that the very purpose - of creation of the world is the man and the whole world has been created for him (Begum, 1971).

Za aafreenash-e-aalam gharz juz aadam neest, Begird-e-nuqta-e-maa daur-e-haft par kaar-e-ast.

47 The creation of the world has no purpose but the existence of man (the world has been created for man). The seven heaven and earth are revolving like a compass round us as a centre.

Ghalib protests the fact that Mount Sinai had been chosen for showing the manifestation of God's Tajalli (radiation). He holds it against the status of man. He argues that Mount Sinai which was only a heap of stones was not worthy of bearing such a great responsibility. It is only man who had the capacity to bear it with wholeheartedness; therefore he should have been entrusted with such a responsibility.

Girni thi hum pe barq-e-tajalli na toor par, Dete hain baada zarf-e-qadah khwar dekh kar.

You should have chosen us (0 God) for the flash of your radiation not the Mount Sinai. The wine is given, according to the capacity of the drinker.

What is the secret of this fundamental power of man? Ghalib in reply presents Mansoor Hallaj's example. It is famous that Mansoor Hallaj in a state of intoxication claimed, 'Ana Al Haque' (I am the Truth (God)). Scholars having superficial knowledge objected to it and put upon him an allegation of Kufr (Heresy). Eventually he was hanged till death. Ghalib says that infact every human being is a manifestation of God's being. As in a drop of water all the qualities of a sea are present, similarly man is also a reflection of God's attribute. But this is against

48 human dignity that man should announce this fact so openly like that of Mansoor. The poet says:

Qatra apna bhi haqeeqat mein hai dariya lekin, Humko taqleed-e-tunak zarfi-e-Mansoor nahin.

Infact our drop is also a sea in itself. But Mansoor's narrow mindedness is not for us to emulate.

Since man has been blessed with such greatness he needs to put lots of efforts and labour. Unfortunately,some people do not pay due attention to gain subtle and appropriate education, therefore they fail in the attainment of the goal of life. As if they are unable to fulfill the purpose of their existence, hence they go away from the goal of life. Pointing towards this fact Ghalib says:

Bas ki dushwar hai har kaam ka aasaan hona, Aadmi ko bhi mayassar nahin insaan hona.

To think that every task is easy is something misleading. When even a man can not manage to become human. Alas! (For a human being, it is not easy to become human in the true sense of the term.)

One may possibly feel that in a situation when at every step one has to face the death, how and why a man can dare to do something? Man works in the hope of success but that success

49 can be attained only after passing through dread, anguish and fear; then it is a matter to think that how many of us would dare to go ahead. Ghalib would have borne such thoughts, when he wrote this couplet. (Malik Ram, 1985)

6...1-LJ2VLL » »~ Daam har mauj mein hai halqa-e-sad kaam-e-nahang, Dekhen kya guzre hai qatre pe guhar hone tak.

A hundred crocodiles lie ambushed in the web of every wave. Let us see, what the drop goes through before it becomes a pearl.

It can not be denied that the task is difficult and man has to face plenty of hardships in completing the task the more so because he had very little time. But inspite of all this, to give up hope is something wrong. It is our duty that we should try our best like a candle that keeps on burning till morning, though it knows that it's life is only for a night. Similarly man should also focus on the goal of his life and should never show carelessness. Let us see what Ghalib says about this:

i

Yak nazar besh nahin fursat-e-hasti, ghaafil, Garmi-a-bazm hai ek raqs-e-sharar hone tak.

5° 0 negligent person! The life span is not more than a glance (winking of an eye). The glamour of the assembly is,but glimmer of the dancing spark or dancing atoms momentarily.

The difficulty of the way can not be denied of, but loosing hope and courage is not appreciated. Instead, man should learn a lesson from the hardships of life and should go ahead under the guidance of his knowledge and experience.

Ahl-e-beenish ko hal toofan-e-hawadis, maktab, Lutma-a-mauj, kam az saili-e-ustaad, nahin.

For the wise men the stress and storm of life teaches a lesson. The surge of the tragic waves is no less than the slap of a teacher.

Man needs to understand his responsibilities, capacity and power. He also needs to learn self confidence and self reliance. Igbal has interpreted it as self/ego. Though Ghalib has not used the word self or ego but it bears the same meaning when he says, that man can not attain self realization until and unless he leaves to rely on others. Hence, for attaining success instead of looking outside, he should look into himself. (Malik Ram, 1985) Ghalib puts this in these words:

51 Utna hi mujhko apni haqeeqat se boad hai, Jitna ki wahm-a-ghair se hun pech-o-taab mein

The reality of my own self in beyond the grasp. I am very much far away from the understanding of my own self. Multiplicity or , otherness is an illusion. It is simply causing perplexity as it is a veil in the understanding of unity:

To conclude, according to Ghalib, man should accomplish himself with human attributes and should take care of the responsibilities of vicegerency of God. He will have to take care of his business and decide which of the work is necessary to be done and which is not. Moreover, he will have to put it into sequence according to the importance of the work. Ghalib says:

v » c f -J lfJtz f Mit-ta hai faut-e-fursat-e-hasti ka ghum kahin, U_mr-a-aziz sarf-e-ibadat hi kyon na ho.

We can never overcome regret for wasted life even if the whole of it is spent in worship.

The prospects of man's work are so broad that the whole universe despite being so ample, seems insufficient for him.

Hai kahaan tamanna ka doosra gadam yaarab! Humne dasht-e-imkaan ko ek naqsh-e-paa paya.

52 0 Lord! Where is the next step of our endless quest? We found the world of possibilities to be just an impression of the feet.

53 rh- ri

-~ C&ter

Aak4 i O2$d

Li CHAPTER-IV

GHALIB'S UNDERSTANDING OF HUMAN NATURE

Besides being a great poet, Ghalib had got multifaceted personality. At so many places in his poetry, he das expressed his views on the important issues of psychology, Though Ghaiib had not received any formal education of psychology, through his personal and natural observation, by 1869, he has presented such views that are based on reality and that can not be rejected even today. (Khan, 1969). Let us study Ghalib from a perspective where he had thrown light on different aspects of human psychology and reflected upon his (man's) instinct and natural demands. Ghalib has not developed these principles on self made assumptions. Rather, after deeply studying human nature, he has described different mental states of man.

Ghalib has led a full fledged cultural and social life. He was in contact with a variety of people from eminent person to unknowns. He saw the rise and fall of dynasties and pondered over those conditions. He came across prosperity as well as helplessness and saw both the sides of life (tragic and happy). This is why his experiences and observations are very close to reality and frequently we witness these things in our day to day life. These observations of Ghalib belong to different aspects of life and reflect different types of conditions of human existence.

In the following, we are presenting the poet's psychological observation (in poetry) under different headings.

54 EMOTIONAL OF LOVE

When Ghalib tries to understand the meaning of love with the help of intellect, sometimes he derives wrong conclusions and sometimes he accepts the weakness of intellect.

At times, he reaches to the conclusion that love (Ishq) is a frenzied state of mind. (Safipoori, 1969) r• ^,tan h..~~1~~ ~r ~;

Bulbul ke karobar pe hairs khanda hae gul, = . Kahte hairs jis ko ishq, khalal hai damagh ka.

The rose bemocks the nightingale's flutters and whines. What people call as `love' is a frenzied state of mind (Love is infact a mark of mind derailed).

At times, Ghalib regards love to be mere desire and so denies it's worship.

c I1~L Jl iV Khwahish ko ahmaqon ne parastish diya qarar, Kya poojta hun us but-e-bedaad gar ko main.

The fools have confused desire with devotion. Do I worship that heartless idol?

55 Then he feels that love is not merely a desire and he differentiates between the constancy of love and inconstancy of ust.

Farogh-e-Shola-e-Khas yak nafas hal, Havas ko pas-e-namus-e-vafa kya.

A straw on fire burns only for a moment. Can lust, be aware of the honour of fidelity?

Ghalib finds love to be distinct from lust the more so because contrary to lust, love is beyond human limits.

JLJ

Grp -_~;•J~f Ishq par zor nahin, hal yeh woh aatish, Ghalib, Ki lagaae na lage our bujhaae na bane.

There is no control on love, Ghalib. It is that fire which cannot be kindled or extinguished by our will.

Instead of considering love as a temporary feeling, he relates it with life and concludes that the joys of life are because of love. Though love itself is a pain without remedy, still in Ghaiib's opinion all the sufferings of life can be cured by love.

+ 1 w N

MM l

MM • M Ishq se tabieyat ne zeest ka maza paaya, Dard ki dawa paai, dar-e-be dawa paaya.

Love has added zest to life. Through love my nature has got an ache that has no cure, still love itself has been a cure of every ache.

Ghalib has also presented the stormy state of love in one of his couplets.

Paate nahin jab raah to charh jaate hain naale, Rukti hal meri taba to hoti hai rawaan aur.

When the streams do not find an outlet, they begin to overflow. When suppressed; the flow of my nature rises further up in state.

In the above mentioned couplet, Ghalib has presented an important point of human psychology. It is the specialty of emotions that emotions dominate a person with full force for the time being and soon these get suppressed. After remaining suppressed for some time, again a storm like condition emerges.

Sometimes it happens that a person looses his courage because of the deprivations and failures of love. Ghallb has drawn a picture of this feeling in a couplet when he says:

57 Hanooz ek partaw-e-naqsh-e-khayal-e-yaar baqi hai, Dil-e-afsurda goya hujra hai yusuf ke zindaan ka

I still retain in my heart an impression of the 'friend's thought. This gloomy and sad heart now resembles Yusuf's (The Messenger of God) prison.

On the other hand, Ghalib very forcefully expresses the courageousness of love in the following couplet. Love demands that courage and guts towards which Ghalib indicates in these words:

Dhamki mein mar gaya Jo no baab-e-naburd tha, Ishq-e-naburd pesha talabgaar-e-mard tha.

A coward on the battlefield caves in, to a mere threat. Love has always been a brave fighter and needs a man of iron guts.

In another couplet, Ghalib has reflected upon the psychology of frenzied state in love.

~~L4lC~JG-b~1~9~

Phir waza-e-ihteyaat se rukne lags hal dam, Barson hue hain chaak garibaan kiye hue.

Because of behaving cautiously (restraining myself), I am feeling suffocated. Since, for so many years, I have not torn my collar, (of clock).

58 The above couplet of Ghalib presents an image of the psychological state of frenzies. We feel suffocated only when we restrain ourselves. If there occurs any impediment in the expression of love, then spontaneously the feeling of love will get stronger. On account of it's forcefulness, true love enters into the limits of frenzy. Therefore, in another couplet Ghalib holds that love and frenzies are inseparable or in other words they are closely related with each other.

Haifi Us chaar girah kapre ki qismat Ghalib, Jiski qismat mein ho aashiq ka garebaan hona.

Oh, the fate of that piece of cloth, Ghalib, which is destined to become the collar of the lover. (Because the lover has torn his collar in a frenzied state of love).

Sometimes Ghalib derives pleasure from the hardships and sufferings caused by love:

Ishrat-e-paara-e-dil zakhm-e-tamanna khaana, Lazzat-e-reesh-e-jigar gharq-e-namakdan hona.

The heart takes delight in suffering caused by thwarted passion (love). The guts want life to submerge in the pail of salt.

On the whole, Ghalib has expressed different states of love in the above mentioned couplets.

59 HATRED

The emotion of hatred is even stronger than love. Sometimes we can not tolerate even our favorite person mentioning the one whom we hate badly. If a favourite person talks even in derogatory sense about the one whom we hate, we start disliking the favourite person also. (Khan, 1969)

ci4LI,I Zikr mera ba badi bhi use manzoor nahin, Ghair ki baat bigar jaae to kuch door nahin.

She (the beloved) does not want to hear me mentioned even in a derogatory way. If the other's (the rival's) matter gets spoiled, I would not be surprised.

Ghalib has full consideration of the positive aspects of hatred, malice, enmity and hostility. This has been his basic perception. According to him, hatred and enmity are infact the symbol of friendship and closeness. We can not feel hatred and enmity from a stranger or unknown person. These emotions get harbored about a person who has been a near and dear to us because hatred and enmity express a deep relation between two persons.

♦f

• ,~

Qata kijiye na ta'alluq ham se, Kuch nahin hai to adawat hi sahi. Do not cut off the bond uniting us. If there is nothing between us, grant me your enmity.

Again he says:

Warista us se hain ki mohabbat ki kyon na ho, Kijiye humare sath adaawat hi kyon na ho.

I do not insist that you must love me. Be in contact with me, though it be through enmity.

JEALOUSY

In social and cultural life, the feeling of competition is very common in human beings. Everyone wants to surpass others in excellence on account of personal qualities. As a result, malice and jealousy are born and the whole atmosphere stands against the person who has achieved success and prosperity in life. If anyone has to face such circumstances, then from Ghalib's point of view, it is the proof of his perfect talent and the bad circumstances are because of his worthiness.

Hasad Sazaae Kamaal-e-Sukhan hai kya kahiye, Sitam ba haae mataae hunar hai kya kahiye.

Jealousy is the punishment you •are sure to get for writing poetry. Hostility is what you get paid for talent.

61 Or

i

Hum kahan ke daana the, kis hunar mein yakta the Be sabab hua Ghalib Dushman aasmaan apna.

Was I among the world's wise men or was I a man of unique talent. Why then, Ghalib, should the heaven be my enemy?

If anyone gets subjected to the feeling of jealousy, Ghalib suggests him to broaden his horizon and look into the world, that how people strive hard and then get success.

LL? f tee'/tfLJJ —'

Hasad se dil agar afsurda hai, garm-e-tamasha ho, Ki chashm-e-tang shayad kasrat-e-nazzara se waa ho.

If your heart is sick with jealousy, fire it with the zeal to visualize. Keep looking at the variety of events/scenes so that your narrowed eyes may yet be opened wide.

ENVY AND RIVALRY IN LOVE

Envy and rivalry are the outcome of deep relation. The excess of love gives rise to this emotion. Ghalib has written innumerable couplets on this subjects and such a wonderful thought expression is on account of his deep awareness of the psychology of love. (Siddigi, 1969) We are presenting a few examples in the following.

62 After sending a love letter to the beloved, a notion comes in the lover's mind that the messenger would talk to the beloved. Since his envy can not tolerate it, he himself sets out to follow the messenger.

Ho lieye Kyon naama bar ke saath saath, Yaarab! Apne khat ko hum pahunchaaen kya?

Why do I go with the messenger all the way (because I was doubt full of the messenger, lest he should come in contact with her) 0 lord! How can then my letter be delivered.

At another place he says:

S0' tic,fla1J l,LIA

1t LIJ' Khuda ke waste daad is junoon-e-shuaq ki dena, Ki uske dar pe pahunchte hain, naama bar se aage hum.

V.- By God! You should applaud this craziness which brought me to the beloved's door before the messenger (who was going to deliver my letter to the beloved) could reach.

The beloved is ready to kill the messenger for his crime of apostleship. The lever's envy can not bear that this felicity can be gained by anyone else, except him (the lover).

fLJ1Uf1

63 Qaasid ko apne haath se gardan na mariye, Uski khata nahin hai, ye mera qusoor tha.

Please, do not slay my messenger with your hand (when I am ready to die at your bidding). It is not his fault, (that he went to you) rather the blame should be on me. (Hidden in this is the envy of the lover who is not able to tolerate the beloved's hand on the neck of the messenger.)

The lover is in search of the beloved's lane, but. he does not want to ask about it from anyone so that nobody else could reach to his beloved. (Alwi, 1941)

XL -ji11 Chora na raskh ne ki tere ghar ka naam loon, Har ik se poochta hoon ki "Jaaoon kidhar ko main".

Envy did not permit me to leak out your name. Therefore, (instead of asking about your address) I ask to every wayfarers where shall I g?

The main motto of the lover is to get buried in the lane of the beloved after death. Still, he feels reluctant to get this wish fulfilled, because in that case; people who would come to his grave would get acquainted with the beloved's house.

7 • cJ»c cSMl

Apni gali me mujko na kar dafn baad-e-qatl,

Mere pate se khalq ko kyon tera ghar mile.

64 Do not bury me in your street after I am slain. Why should anyone get a clue of your abode from my address?

Inspite of being sure of the beloved's fidelity, time and again envy comes in the lover's mind that lest the beloved should get attracted towards others. A very subtle point of psychology of love and envy has been presented by Ghalib in the underlying couplet.

I/ / « ~~il D f ✓ZD1,J G. ° (~ Raskh kahta hai ki "uska ghair se ikhlas, half"! Aql khti hai ki wo be mahr kis ka aashna?

Envy says, Alas! Her love is for other person (his rival). The reason says that she is so cold that she can not love anyone.

The arrival of beloved to the dwelling place of the lover is something that the lover aspires to. But he (the lover) does not pray for it, fearing lest the rival should come with the beloved.

~~ J. lr~L 3L6r•1J

Raat ke waqt mai pieye, sath raqeeb ko lieye, Aae woh yaan khuda kare, par na khuda kare ki yoon.

May the beloved comes to my place at night. But I pray for the beloved not to come in a drunken sate accompanied by my rival.

G Ghalib is fully aware of the fact about human nature that expression of compliant against somebody reflects a relationship. So, in one of his couplets he says that when the beloved complains about the rival, the lover instead of becoming happy becomes sad and gets offended.

eGr~ L

Hai mujhko turn se tazkera-e-ghair ka gila, Har chand, har sabeel-e-shikayat hi kyon na ho.

I have a complaint against you that you mention the other person (my rival) in your talk, even though it is on account of grievance.

Besides all the couplets, there is yet another couplet of Ghalib where envy of the lover does not let him entrust the beloved even to God. We can not find any other example of envy expressed in poetry, better than this.

~.~~LIv(~ t'.:•(~~' l.Ra~?~ Cep Qayaamat hai ki howe muddaee ka humsafar, Ghalib, Woh kaafir Jo khuda ko bhi na saunpa jaaey hai mujhse.

How terrible it is, to see my love as my rival's travel mate, Ghalib. This dear infidel (beloved), whom I can not entrust even to God. r SELF RESPECT

To stand firm on one's won manners, to act according to one's own will and to safeguard one from being debased is a symbol of self respect. Self respect is a highly appreciated quality in humans which indicates greatness of character. Ghalib's poetry is replete with couplets emphasizing on self respect of man. (Sandelwi, 1969)

'?Y(J,„ J1/ "1V/4 Woh apni khoo na chorenge, hum apni waza kyon choren, Subak sar ban ke kya poochen ki `hum se rargeran kyon ho'?

She will not change her nature and I have my own self esteem to maintain. Why should I let myself down and ask her the reason of her high disdain.

Dard minnat kash-e-dawa na hua, Main na achha hua, burn na hua.

My pain is not indebted to cure (medicine) I am not better, I am not worse.

Sometimes Ghalib expresses the sense of respect in these words:

67 G.r~v(~3 (J3~GJ~1(~JQJ~ • » M M

aJ~lIJ4 Hum pukaren our khule, yoon kaun jaae, Yaar ka darwaaza gar paean khula.

I would not like to go in the beloved's house where door opens only after I call. I can go in only if the doors of the friend (beloved) are kept opened.

L'tLLJ/J,UT, L'c

Bandagi mein bhi wo azaad-o-khud been hain ki hum, Ulte phir aae, dar-e-kaaba agar waa na hua.

I serve you, (God) yet my independent self-regard is such that I should at once turn back if I find the doors of Kaba closed.

DESIRES AND LONGINGS

Life is full of desires, longings and cravings. Even after the satisfaction of so many desires, our craving for attaining more and more never comes to an end.

~ r Hazaaron khwahishen aisi ki har khwahish pe dum nikie, Bahut nikle mere arman lekin phir bhi kam nikle.

Thousands of desires each took my breath away. Though I could quench many many of my longings, still I yearn for more.

T At times, we are in such a condition that inspite of not having the capability to achieve things; we still want to satisfy ourselves in one or the other way.

s cL •/•✓ 7 i7 -() N d J

~. I ~~~~tl~ • l~~~a Go haath ko jumbish nahin, ankhon mein to dum hai, Rahne do abhi saghar-o-meena mere aage.

Though the hands can not make movements, the eye sight is still sound. So let the cup and flask of ale lie before me.

It is the instinct of attainment in human beings which not only motivates them towards struggle and hardwork, but also makes them lively and energetic. The fulfillment of one desire leads to the other desires and this process continues till death. If we have no goal in life, it will become very difficult for us to pass this life because being involved in different kind of activities we feel satisfied and glad. This is why, despite being aware of the failure in our goal, we keep on trying hard and keep ourselves busy.

Taba hal mushtaq-e-lazzat, haae hasrat, kya harun, Aarzoo se hai shikast-e-aarzoo matlab mujhe.

The nature longs for pleasure, but Ghalib regrets for it as with having a desire, he really wants the defeat of desire (so that he may continue longing for things). In another couplet, the poet says:

Bas, hujum-e-na-umidi, Khak me mil jaaegi, Yeh Jo ek lazzat humani sai-e-be haasil mein hai.

Relent, 0 host of despairs! Or, you will perish into dust, because I derive pleasure from my futile efforts which could not bring success.

SADISM AND MASOCHISM

One of the interesting aspects of human nature is sadism. Sometimes, this emotion appears in the form of hurting others, where a person feels delighted by tormenting others. It also happens that sometimes one derives pleasures from tormenting one's own self. (Khan, 1969)

{LO~~flllvlM ~ ~f. G.L~ (1

Zakhm silwane se mujh par chara joi ka hai taan, Ghair samjha hai ki lazzat zakhm-e-sozan mein nahin.

I am accused of seeking cure when I got my wounds stitched. The other person (rival) has not known the pleasure that I derive from needle thrust.

70 Rafooe zakhm se matlab hai lazzat zakhm-e-sozan ki, Samajhiyo mat, ki pass-e-dard se deewana ghafil hai.

By stitching wounds I want to derive pleasure from the pain of needle thrust. Do not be misguided by thinking that this insane person (the poet himself) is ignorant of the regard for pain.

In yet another couplet, he expresses this sadistic tendency when he says:

LArJ Jis zakhm ki ho sakti ho tadbeer rafoo ki, Likh dijio yaarab! Use qismat mein adoo ki.

Let it fall to the enemy's lot. The wound that is possible to be healed. 0 God!

SENSE OF FREEDOM

L.. Human nature always demands freedom and it does not bear any external pressure. The body can be imprisoned but not the soul. The soul can not be suppressed by tyranny or cruelty.

jf L i Paate nahin jab raah to chadh jaate hain naale, Rukti hai meri taba to hoti hal rawan aur.

' 71 When the streams do not find an outlet, they begin to overflow. When suppressed, the flow of my nature rises further up in state.

Bandagi mein bhi wo aazad-o-khud been hain ki hum, Ulte phir aae dar-e-kaba agar waa na hua.

I serve you (God), yet my independent self-regard is such that I should at once turn back if I find the doors of kaba closed.

STRONG HABIT

In our daily life, consciously or unconsciously we get habitual of some behaviour. Despite being aware of the fact that our act will not bear any consequences, we keep on doing certain things repeatedly, just because of habit. The underlying couplet by Ghalib indicates towards this strong habit.

Ye janta hun ki too our pasikh-e-Maktoob, Magar Sitam zadah hoon zauq-e-khama farsa ka.

I know, you (beloved) will never respond to my letter. Yet, being pressurized by my artistic fervour, I will write to you.

DESPAIR AND DISAPPOINTMENT

The grief of deprivation, despair and failures creates depression in a person. When all worldly supports leave him, he

72 becomes hopeless even from God's help and mercy.- In the following couplets, Ghalib presents the state of human despondency. For example, he says:

Sambhalne de mujhe, ai na ummeedi, kya qayamat hai, Ki damaan-e-khayal-e-yaar choota jaae hai mujhse.

Give me respite. 0 despair? My state is terrible, Even the thought of my friend (beloved) is slipping away from my mind (I am too much overwhelmed with despair and gloom).

When the world seems dark and gloomy, the sorrow of life becomes unbearable. Therefore, the man becomes totally disillusioned from life.

Main ne chaha tha ki indoh-e-wafaa se chootun, Who sitamgar mere marne pe bhi raazi na hua.

I wanted to end my life to escape from pangs of love and faith. But, there was no end to my grief, as the dear tyrant (the beloved) did not even let me die.

Undergoing such conditions, a person himself realizes the fact that as far as he lives, he can not get rid of the hardships of life.

73 0 Qaid-e-hayat-o-band-e-gham, anal mein dono ek hain, Maut se pahie aadmi gham se nejaat paae kyon.

The prison of life and the den of sorrow are infact the self- same things. How can man get rid of sorrow before death? (As far as he lives he has to suffer all that befalls him.)

From this juncture, human consciousness acquires a special sort of forbearance because now the man regards the sorrow and affliction as an essential part of life. Even the song of sorrow seems a boon or blessing for him because at least it creates some kind of sound which is the symbol of life. (Khan, 1969)

Ek hangama pe mooqif hai ghar ki raunaq, Nauha-e-gham hi sahi, naghma-e-shaadi na sahi.

A house acquires it's splendour and glow from it's noise and bustle. If song of joy does not greet your, be content with wails of grief.

Moreover, if a person gets habitual of sorrow and forgets about happiness, he feels a little solace.

74 Ranj se khoogar hua insaan to mit jata hal ranj, Mushkilein mujh par pareen itni ki aasan ho gaeen.

When man is used to sorrow, sorrow vanishes I have borne so many troubles that life has become easy now.

From here, the emotion of contentment and satisfaction takes man under it's shelter. The state of penury seems a sort of wealth for him, because in such a condition, he feels free from so many worries and troubles.

~v fsvyL ~~CSl~{1,.rJ Na lut-ta din ko to yoon raat ko kyon bekhabar sota, Raha khatka na chori ka, dua deta hun rahzan ko.

If I were not robbed by day, how could I have slept at night? Now I am not afraid of theft, blessed be the robber's race (because by looting me at day they let me sleep with peace at night).

SELF TRANSCENDENCE

Self transcendence is such an aspect of human psychology where one is rendered unaware of his own senses. Ghalib puts this state of man in these words:

LA

Phir bekhudi mein bhool gaya raah-e-kooe yaar, Jaata wagarna ek din apni khabar ko main. r

75 In a state of self forgetfulness, I forgot the way to the street of the friend (beloved), or I would have gone there to get informed about my own self.

Hum wahaan hain jahan se hum ko bhi, Kuchh humani khabar nahin anti.

I am in such a state where even I myself have not the least awareness about where I am.

c c Bekhudi be sabab nahin, Ghalib, Kuchh to hai, jiski parda daari hai.

Your self transcendence is not without a cause, Ghalib. There is something lying hidden.

FEELING OF REMORSE

Remorse is the reaction of doing something wrong. One feels remorseful after some wrong deed. The kind of remorse depends upon the kind of action. One form of remorse is described below in the couplets of Ghalib.

Kabhi neki bhi uske jee mein gar aajae hai mujhse, Jafaaen kar ke apni yaad sharma jaae hai mujhse.

76 Even if some good intention melts his heart for me; , remembering his cruel conduct, he shies away from me.

41 fJi lrG'b

Jana para raqeeb ke dar par hazaar baar, Al kaash jaanta na teni rahguzar ko main.

I had to pass a thousand times by my rival's door. If only I

had not known your pathway. :.;~ ~ 1 ~f ,~

• Ki mere qati ke baad us ne jafaa se tauba, ?f ``' ~,,'` Haae us zood-e-pasheman ka pasheman hona.

He has vowed to abjure violence after I am slain. Oh, his quick-repentance, it came too late.

COMPLAINT AND GRIEVANCE

Complaining is an emotion which is generally found in every L human being and perhaps none is free from this emotion. Ghalib has expressed this human habit of complaining, in the following couplets.

bti4 L)t -L L) L)'-

Pur hun main shikwa se yoon raag se jaise baaja, Ek zara chediye phir dekhiye kya hots hai.

77 I am full of complaint, like a harp charged with music. Touch and tease me once and see what happens (I am full of complaint, though not saying anything and if you tease me, I will pour out all I have within me).

If Nikalna khuld se Adam ka sunte aae the lekin, Bare be aabroo ho kar tere kooche se hum nikie.

We have often heard of Adam's exile from heaven. But

more ignoble was my exile from your street. (I felt very disgraced when I was pushed out of your street.)

Sometimes a person feels so miserable that he puts his grievance before God.

Liy «J h.j7. L) Yaarab! zamana mujh ko mita-ta hai kis liye, Lauh-e-jahaan pe harf-e-mokarrar nahin hun main.

0 God! Why is the world set to wipe me out? I am not a word that may be written again on the earthly board.

4ch4 S 3 L$'! -/

Kis se mahroomi-e-qismat ki shikayat kijiye, Hum ne chaha tha ki mar jaaen, so who bhi na hua.

78 To whom should I complain about the deprivation of my fate. I wanted to die but even death did not oblige.

SARCASM

Sarcasm or taunting is also one of the aspect of human nature, that Ghalib has dealt with In his poetry. The lover retaliates beloved's infidelity with the help of sarcastic jibes:

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Turn unke wade ka zikr un se kyon karo, Ghalib, Ye kya ki turn kaho our who kahen ki, yaad nahin.

Why should you remind her (the beloved) of her promise, Ghalib. (If you do so) she will only say, 'I don't remember. (Then, - what is the use).

JL)'[JL(L( U U4 f.f irr Ga is Kaha tumne ki kyon ho ghair ke mime mein ruswai, Baja kahte ho, sach kahte ho, phir kahiyo ki, haan kyon.

You said, why should I be disgraced, if he (the rival) comes to meet me? Well said, and truly said, yes, ask you again `why should I be?

SUSPICION

Ghalib has also depicted the human attribute of suspicion and distrust in his couplets. For example, the poet says:

79 Jj TLc1 L

M , r

Baghal mein ghair ki aaj aap sote hain kahin warna, Sabab kya, khawab mein aakar tabassum haae pinhan ka.

You must be sleeping somewhere in my rival's arms tonight, otherwise, what is the cause of coming in my dream in a half smiling pose?

Hui taakheer to kuchh baais-e-taakheer bhi tha, Aap aate the magar kol anangeer bhi tha.

There must have been some cause behind your delay. You were coming (but I am sure) but someone barred your way.

Mujh tak kab unki bazm mein aata tha daur-a-jaam, Saaqi ne kuchh mila na diya ho, sharab mein.

When was I given a goblet in his assembly? (I doubt). The saqi (the drink maker) might have mixed something, in the bowl of ale.

EXPEDIENCY DISCERNMENT

In practical life, at every step a person acts prudently. He is never careless of expediency and behaves very cautiously especially when earlier; he has failed to achieve something.

80 Sometimes, inorder to distinguish between people and to know who the well wisher is and who is not, one has to act in disguise. (Khan, 1969)

etc ..• GVJ fL•.

Banakar faqeeron ka hum bhes Ghalib, Tamasha-e-ahl-e-karam dekhte hain.

I wander about in disguise of beggars (not to beg alms in the streets) to see the show of charitable people. (to see whether they really give charity.)

Sometimes a person makes friendship with his foe just to know about his weakness and take benefit from it.

Taa kare na ghammazi, kar Iiya hai dushman ko, Dost ki shikayat mein, hum ne hum zabaan apna.

Lest he should indulge in spying, I have induced even my enemy to add his voice to my own when I am complaining about my friend.

COURAGE

Courage and hardwork is necessary in life. Inorder to attain the goal of life, man has to bear plenty of troubles and afflictions.

81 Being tired, human nature demands for rest, but courage does not let him to rest because it pushes him forward.

Safar-e-ishq mein ki zoaf ne raahat talabi, Har qadam saae ko main apne shabistaan samajha.

In love's journey weakness demanded a place for rest. At every step I took my own shadow to be a bed chamber (a resting place).

ACCEPTANCE and FOREBEARANCE

Acceptance is also an essential part of human nature. Often there are circumstances when we have to accept certain facts that earlier we did not want to accept. Ghalib says:

Hum bhi tasleem ki khoo dalenge, Be nayazi teri aadat hi sahi.

I will also learn to bow and yield. Let indifference be your habit. (I have now accepted the fact that you will never leave your indifference towards me) .

82 DEATH ANXIETY

Ghalib expresses death anxiety in the following couplets.

Maut ka ek din moayyan hai,

Neend kyon raat bhar nahin aati.

There is a definite day that has been fixed for death. Why the steep does not come throughout the night (why am .I not able to sleep for the whole night)?

~l~l~oi~aab(~~I~~.tf»~•

. ` M Nazar mein hai humani jaada-e-raah-e-fana, Ghalib, Ki yeh sheeraza hai, aalam ke ajzaa-e-parishan ka.

The path of death is always before my sight, Ghalib. Here the world's dissipated parts unite to form a whole. (The path of death is never absent from my thought as I know that everything has to perish, so me too. - Apparently all the worldly things seem to be of different kinds but death stands them alike.)

CONFLICT IN HUMAN NATURE

Ghalib is also aware of the conflict in human nature. (Sandelwi, 1969) For example, he says:

83 Iemaan mujhe roke hal to kheeche hal mujhe kufr, Kaba mere peeche hal, kaleesa mere aage.

Faith tugs me back, heresy attracts me towards itself. Kaba lies behind me, while the church is in infornt of my eyes.

The conflict between eeman (faith) and kufr (heresy) indicates towards the inner conflict in human nature. The symbolic use of Kaaba (house of God) and church illustrates the fact that the couplet does not contain the conflict of a single individual. Rather, it is the analysis of the conflict of whole humanity.

GHALIB'S AWARENESS OF HIS OWN SELF

Ghalib was a self conscious man. In his works at so many places he analyses his own self which vividly shows that he had a deep understanding of his consciousness. Being a thorough human being, the poet is aware of the strength and weakness of his personality. For example, he says about himself:

IICj,aJLY L:

Yeh masaael-e-taswaauf, yeh tera bayaan, Ghalib,

Tujhe hum wall samajhte, jo na baada khwar hots.

84 These mystic thoughts and this style of expression, Ghalib. (Ghalib had deep knowledge about mysticism and he had a very beautiful style of expression). With all these qualities, we would have considered you a friend of God, had you not been addicted to wine.

At another place, he says:

Mai se gharaz neshaat hai kis rooseyah ko,

Ek gona be khudi, rnujhe din raat chahiye.

Who the notorious drinks wine for the purpose of getting pleasure from it. Rather, I drink wine so that day and night I may be involved in self transcendence.

Being a sensitive human being, he wants to forget his miseries, therefore takes refuge in wine.

Inorder to have a deep understanding of human nature, one has to be very realistic and unbiased in analyzing his own self. In so many couplets, Ghalib himself analyses his own personality. (Abdullah, 1974) For example, he says:

Jaanta hun sawab-e-ta'at-o-zohd,

Par tabieyat idhar nahin aati.

85 I know about the reward I would get if I were to abstain and pray. But (strange enough) my temperament is not inclined this side.

In some other couplets he talks about his inner self in these words:

La! ~J»1L►~iJpJl ±Ll,zf Aatish kada hai seena mera raaz-e-nihaan se, Al waae! Agar maaraz-e-izhaar mein aawe.

My heart has turned into a furnace because of the secrets, hidden underneath. Alas! The day comes when my heart spurts out it's burning heat.

~

: Be khudi be sabab nahin, Ghalib, Kuch to hai, jiski parda daari hai.

Your self forgetfulness is not without a causes, Ghalib. There is something lying hidden.

Towards the end of his life, most of the time, Ghalib used to recite the couplet.

~M+rL h...l+1`,.J L •

Dam-e-waapasin bar sar-e-raah hai,

AzeezolAb Allah hi Allah hai. (Hall, 1996)

86 I am going to return to my origin. My dears, now it is only God everywhere and nothing else is there.

EXPRESSION OF REACTION IN GHALIB'S COUPLETS

Emotion wants to be expressed. If circumstances are not adverse and emotions are being expressed properly, human nature finds satisfaction; otherwise the intensity in emotions gets even stronger. Consciousness wants to stay in limits but sometimes it becomes very difficult for a person to maintain patience and forebearance, and consequently his behaviour gets imbalanced. This is called reaction.

In such case, neither his action is in accordance with situation, nor does it seem appropriate. Instead, it shows a rebellion against the obedience of intellect and formalism of culture, both. But in reality, this very reaction reveals the inner mental conditions. It should not be measured by the events; rather it needs to be looked in the light of oneness of life. Deeply reflecting on the incongruity of reaction, we find a clue of coherence and congruity of life.

In Ghalib's works, we find an expression of reaction in abundance. It seems as if he is aware of meaningfulness of this condition and has adopted this style to make his description more impressive.It seems, he is aware of the stimulants of occurrences. (Quadri, 1969)

87 Main hun our afsurdgi ki aarzoo Ghalib ki dill Dekh kar tarz-e-tapak-e-ahl-e-duniya, jai gaya.

I am so much full of gloominess and sorrow, Ghalib, that my heart feels jealous, seeing the courteous behaviour of the people of the world. (I am so much habitual of world's unkindly behavior that my heart feels sad even seeing their courteous ways. )

Mohabbat thi chaman se, lekin ab yeh be dimaghi hai, Ki mauj-e-boo-e-gul se naak mein aata hai dum mera.

I was in love with the flower garden but now I feel such irritability that the waves of the fragrance of flower, suffocates me.

Getting jealous at seeing the courteous behaviour of people of the world or to feel suffocated by the fragrance of the flower garden, is not any common behaviour, rather it can be said as extraordinary. It is a matter to think that behind such an expression what kind of deprivations, and failures would been there due to which a time came when all the joys of life went off. Notwithstanding the fact that these things have not been described, yet intensity in emotions may be felt.

There is one more aspects of reaction. For example,Ghalib says: '

Hum bhi tasleem ki khoo dalenge, Be neyazi ter! aadat hi sahi.

I will also learn to bow and yield. Let indifference be your habbit. (I have now accepted the fact that you will always be indifferent towards me.)

The expression of poor state of the lover behind this couplet is extremely impressive. Despite being aware of the fact that the beloved's indifference is not embedded in her nature, rather it is a habbit, he is ready to put himself on the trial of acceptance and approval without any objection.

Not only reaction, but different aspect of emotions is eminent in Ghalib. In day to day life he looks upon the ups and downs of emotions as if he is involved in psychoanalysis like any psychologist of the present age. When we deeply analyse some of his couplets, we find that he is acquainted with the hold of unconscious. For example

Bekhudi be sabab nahin, Ghalib, Kuchh to hal, jiski parda dari hal.

Your self-forgetfulness is not without a cause, Ghalib. There is something lying hidden.

89 Infact our unintentional actions are the real interpreter of our heart and the work that we do unconsciously is the result of natural demands. It is free from all the plating or guiding of culture. Moreover, our action has it's own needs and expedience. Despite being causal it is not without cause. It is possible that at conscious level we may not be aware of the reason.

Therefore, if there is any impropriety in behaviour or if the behaviour seems abnormal, then necessarily there must be some reason for it. Ghalib also feels that real emotion can not be perished. It gets expressed some way or the other.

Ghalib seems aware of the fact that thoughts and action depends upon individual's knowledge and feeling. We are influenced by the occurrence and incidence according to our capability. This reflects the individuality. (Quadri, 1969)

Baqadr-e-zarf hai saagi khumar-e-tishana kami bhi.

The intoxication of thirst (of wine) the drinker feels, is in accordance with his capacity, saqi (the one who offers drink to the thirsty).

This capacity accupies the very psychic existence, which today we calf personality. One of it's attribute is that it is the den of thought due to which one finds company (of thought) even in solitude and in which changes occur due to the circumstances and incidences. For example, Ghalib says:

Jab tawaqqo hi uth gai Ghalib, Kyon kisi ka gila kare koi.

When all expectation is gone, Ghalib.Why to complain and cry (what is the use)?

ft A » -3:F ± .

LT Bedaad ishq se nahin darta magar Asad, Jis dii pe naaz tha mujh, wo dii nahin raha.

I do not get scared of love's oppressive ways. But the heart I was proud of is now more with me.

Our personality gets reflected by thought and action, be it the grief of love or living. The description of Ghalib is so subtle and appropriate when he says:

Main hun apni shikast ki aawaz.

I am the voice of my own defeat.

If seems as if the person (who) (deewana gar nahin hal, to hushiyar bhi nahin), if he is not insane, nor is he a clever guy is presenting the couplet like a psychologist.

91

CHAPTER-V

WIT AND HUMOUR IN MIRZA GHALIB'S COMPOSITIONS

Ghalib's poetry and letters are replete with wit and humour. Infact, in his.practical life too, he used to make witty remarks on things around him. This is the quality which made Ghalib dear among his friends. His humour neither bites nor stings and is still as effective as he meant it to be.

We can broadly categorize the use of wit and humour in Ghalib's compositions, under three headings: 1. Use of wit and humour in poetry. 2. - Use of wit and humour in letters. 3. His witty remarks in day to day life.

1. Use of Wit and Humour in Poetry:

It seems most of the well known writers in history were endowed with certain dose of wit and humour. "Two of the greatest English authors, William Shakespeare and George Bernard Shaw almost solely thrived in jests and jokes. But, Ghalib's humour is a class apart. It is neither akin to the buffoonery of Shakespeare, nor the farce of G.B. Shaw. It is something sublime, self effacing and highly subtle." (Sud, 1989)

There are plenty of verses in Ghalib's Urdu Deewan which show how light hearted he was.

92 "Whenever a special dish was prepared in the palace, the king used to send a share of it to his courtiers and companions among who was Ghalib as well. The poet used to thank the royal patron by writing a stanza on the subject; He wrote the following two verses when the king sent him a loaf made from Gram powder." (Sud, 1989)

d J(r1JLc ' 2A

4 r L JCr-'- e ~~I ~.pL ~? Na pooch iski haqeeqat huzoor-e-wala ne, Mujhe jo bheji hai besan ki roghani roti. Na khate gehun nikalte na khuld se bahar, Jo khate hazrat-e-Adam ye besani roti.

Do not ask me to describe the reality (real taste) of the buttered besan (gram power) loaf which his majesty has sent to me. Only if Adam had eaten this loaf made of besan (gram power), he would not have taken wheat and therefore not been thrown out of paradise.

Wit and humour occurs like a constant refrain in his works. He does not spare anyone, not even his beloved. About the beloved he says:

~L~l:l,~•~~ly~~~~~

93 Pooch mat, ruswaai-e-andaz-e-istighnaa-e-husn, Dast marhoon-e-hena, rukhsar, rehn-e-ghaza tha.

The beauty was complacent and over confident with the use of hina (colour) in her hands and blush on her cheeks. The poet feels this complacency is disgraceful.

Ghalib had the gift of saying the right thing at the right moment. Once, a creditor sued him for breaking his promise. Addressing the judge Ghalib said:

Qarz ki peete the mal, lekin samajhte the ki haan, Rang laaegi hamari faga masti ek din.

As I used to drink on borrowed funds, but I knew inside my heart that my revelry, hunger-haunted ways will one day bring me to my doom.

At this, the judge was so much delighted that he quitted Ghalib and paid his debt from his own pocket.

"Ghalib was at his humour best while describing his own poverty and plight. His house was in utter despair for lack of funds. During the rains, it leaked and the walls turned green due to the growth of moss on them. Ghalib wrote a couplet which typifies his sense of humour and at the same time tells us how hard up he was." (Sud, 1989)

94 Ug raha hai dar-o-deewar se sabza, Ghalib, Hum bayabaan mein hairs, our ghar me bahar aai hai.

Grass is growing on the door and walls of the house,, Ghalib. It is a pity that I happen to be in a desolate place just when the spring is visiting my house.

Ghalib pokes fun even on his own self which is not an easy task for any other person.

Hoga koi aisa bhi ki Ghalib ko na jaane, Shair to woh accha hai, pa badnaam bahot hai.

I doubt if there be anyone who does not know Ghalib by name. There is no doubt that he is an able poet, but he is known by ill fame.

During the last period of his life, Ghalib happened to live in a house which was situated behind a mosque. Someone asked •him about his residence and he says:

Jc Masjid ke zere saaya ek ghar bana liye hai, Ye banda-e-kameena humsaaya-e-khuda hai. He (Ghalib) has made a house under the shade of the mosque (just look at him)'. This wicked slave is now a neighbour of God.

Ghalib was not in a habit of performing religious worships. Therefore he laughs at himself in these words:

Janta hun sawaab-e-ta'at-o-zohd, Par tabieyat idhar nahin aati.

I know the reward that I would gain, if I were to pray and abstain. But strange enough, my nature is not inclined towards this side.

Wit and humour has always been used as a weapon for social reforms by eminent authors. In comparison to the age of Ghalib, today's society is in acute need of reforms. In the light of this if we look at Ghalib's verses, we find that these carry broad meanings in terms of social reforms. His delineation of wit and humour also shows how talented was he in understanding human psychology. Moreover, if we minutely observe some of his couplets, we find an indirect satire on the superficial religiosity and obsolete concepts of society. "In a jovial tone, Ghalib has tried to make people realize the real spirit of religious rituals by commenting meaningfully on the superficial following of religion like observing fast, prayer etc." (Umar, 1987) About fast,he says in a quatrain: Ll ~lb`~Z-1~.M M JB%IJ Aftar-e-saum ki kuch agar dast gaah ho, Us shakhs ko zaroor hall roza rakha kare. Jis paas roza khol kar khane ko kuch na ho, Roza agar na khaae to naachar kya kare.

Let those observe fast who can afford to feast in the evening (who have sufficient edible things available to eat). But he, who has nothing to eat when he breaks his fast, should be excused if he eats the fast itself.

The poet's casual references to the devotee and his satire at the priest show the real humourist in him. Moreover, it also presents a comment on those preachers who do not follow the religion in it's real sense. For example, Ghalib says about the preachers:

JJJUW J~f J(ca~I)J)L~,: L . J

Kahaan maikhana ka darwaaza Ghalib! Aur kahan waaez, Par inta jaante hairs, kal who jaata tha, ki hum nikie.

0 Ghalib! How apart are the preacher and the door of tavern. Yet I found the preacher entering there yesterday, as I was coming out.

97 Again, Ghalib says:

DI J ) !! & 4~.p VAS(L(J L(LJLI Hazrat-e-naaseh gar aaen, deeda-o-dil farsh-e-raah, Koi mujhko yeh to samjha do ki samjhaenge kya.

If the preacher must come here to preach, a hearty welcome to his grace. But will someone make me understand what has he got to preach?

M M

Waaiz na turn piyo, na kisi ki pila sako, Kya bast hai tumhari sharab-e-tahoor ki.

You can neither drink yourself, nor serve it to anyone of your mates, preacher. Then why should anyone care for your heavens pious wine (that you keep on. promising).

Ghalib, in some of his couplets, does not spare even Angels, heaven and hell.

M ~ / L;( Jf r31JICI( y(~jI Pakre jaate hain farishton ke Iikhe par naa haque, Aadmi koi humara dam-e-tahreer bhi tha

We are punished without a cause, on account of what angles write about us. Was there someone from our side, whe the angles sat down to write? About heaven the poet writes ironically:

I » ".fL6~Ja Jlh).*biJJ Taat mein taa rahe na mai-o-angabin ki Iaaq, Dozakh mein daal do koi lekar bahisht ko.

So that devotion should be freed from the greed of heaven's wine and honey, let someone take hold of paradise and cast it into hell. Because that devotion is hardly a devotion which is based on the greed of heaven's prise.

» t M Sataaish gar hag zaahid is qadar jis baagh-e-rizwaan ka, Wo ek guldasta hai hum bekhudon ke taaq-e-nisyaan ka.

The garden of paradise which the pious hermit keeps on praising so much is just a bunch of flowers, forgotten and out of sight, for us, the self-enthralled person.

Thus we see that Ghalib was fully aware of drawbacks of the society he lived in. He was annoyed at mere outward religious worship that was dissociated from it's real spirit. Therefore, with the help of witticism, the poet has tried to eradicate the above stated drawback.

USE OF WIT AND HUMOUR IN LETTERS

The Persian letters of Mirza Ghalib belonging to the early stages lack that subtle humour that became the distinctive feature of Urdu letters belonging to the latter period of his life. This is because with due course of time Ghalib attained maturity in thoughts and perceptions and gradually he started feeling the sweet and bitter realities of life. Almost throughout his life, the poet suffered a lot. During the later period of his life, wit and humour were the best weapons in his hands to safeguard himself from agonizing memories of life. (Anjum, 1991)

All his life, Ghalib was subjected to plenty of distress and miseries that are reflected in his delineation of wit and humour. He started facing problems of life when he was a youngster. With the passage of time those afflictions got increased. His defeat in the case of Pension, the tragedy of being in jail for twice, the failed revolution of 1857, the murder of lots of friends, relatives and disciples, separation from remaining other closed ones, the poverty of the whole life and the long lasting illness of the old age were sufficient for making such a sensitive person as Ghalib, mad. But, his senses were intact till the last days because he had an extraordinary will power which enabled him to make an adjustment with the ups and downs of life. Ghalib strongly belived that the plant of life gets nourished under the shades of sorrow and happiness. He looks at life and it's issues with a conscious and intellectual outlook. Therefore, inspite of being tired of hardships, he did not escape from life. Rather, those miseries created vigour, vitality, patience and courage in him, and at the same time teach us to face the problems of life whole heartedly.

100 Like a real humourist, the poet passes similing through the unevenness and ruggedness of life. We can not find shallowness in his humour. On the contrary, we find a blunt expression of inconsistencies of life. The source of his wit and humour lies in the deprivations of life. This is why his humour is so vigorous and lively.

While writing letters, Ghalib is fully aware of the fact that he should not bother others with description of his troubles. He describes his griefs very intrestingly. In one of his letters to Meer Sarfaraz, he laments his solitude and talks about those friends who have been separated from him. Then suddenly he turns the topic and says:

"0 God! I am the mourner of the thousands of people who have died. When I shall die, who will be there to cry for me? Listen, 0 Ghalib, why this lamentation and crying. Let us talk of intimacy and friendship." (Ghalib, 1899)

We can hardly find a person who writes a letter informing about somebody's death and who uses humourous tone to change the mood of the addresses. We see Ghalib using this technique of wit and humour in his letters so that the letters should not be filled with pathos. He loosed one of his relatives, who happened to be his aunt. Let us see how he informs Munshi Nabi Bakhsh Hageer about her death.

"Respected brother, I have also become a sympathizer with you. I mean to say that on Wednesday i.e. on 18th Rabi-ul- Awwal in the evening, my aunt passed away, whom I had taken

101 to be my mother since childhood and even she considered me as his son. Let me inform you, that, day before my nine people died. Three aunt, three uncle, one father, one grandmother. and a grandfather. I mean to say that with her presence (late aunt) I knew that these nine people were alive and because of her death I came to know that all of a sudden these nine: people have also died." (Anjum, 1987)

The poet passed whole life, safeguarding his ego. But practically when his ego gets hurt, he does not spare even his own self and makes fun of his own personality.

In one of his letters to Mirza Qurban All Beg Salik, Ghalib writes about his own self like this:

"There is no expectation even from God. None at all from men. Nothing seems to be possible. I am now my .own spectator. I have learnt to enjoy even my grieves and insults. I imagined myself as a different entity, separate from myself. Whatever pain I receive, I, say, well served. Ghalib receives another slap on his face. He was proud of being a great poet and a Persian scholar and thought that he has no peer far and near. Well, deal with the money lenders now. Good riddance! Ghalib has died. An infidel and an atheist have died." (Ghalib, 1899)

In the above letter we can hear an echo of the collapse of his ego. Apparently he has poked fun at his weakness and deprivations but underneath this lies the extreme sense of mental agony.

102 Using wit and banter in his letters, the poet used to solve his day to day problems. Once he wrote a preface of the first collection of poems by Mirza Tafta. But when Tafta compiled the second collection as well and requested to Ghalib for the preface, the latter sought excuse. Munshi Nabi Bakhsh pleaded on behalf of Tafta and in turn Ghalib writes to him like this:

"I swear, I consider Tafta as my son and I am proud that God has blessed me with such a worthy son as him. Regarding preface let me inform you, that you do not know of my condition. I am about to die. I believe that he (Tafta) and you (Nabi Bakhsh) will accept my excuse and pardon me. God has remitted fast and prayer for me. Would not you and Tafta remit me a preface?" (Anjum, 1987)

Ghalib was passionately fond of mangoes. Writing to a friend he says:

"I can not think of anything which I can ask you to send me from Surat. What is there to be had which can not be had here? No doubt I like mangoes very much, not less than grapes. But how can they reach here safely from Surat and Bombay? The Malda is known here as Pewandi and Vilayati. They are fine indeed and they would be finer still in Surat. But, it seems you would be going out of the way to send them from there to Delhi. The expense of sending mangoes worth a rupee would come to about four rupees by the parcel post and even then perhaps only ten out of four a hundred will arrive here in a sound condition. Please give up the idea of sending me any. Delicious mangoes of every kind can be had here in plenty. The

103

Nawab of Rampur often sends presents of fine fruit from his garden. While I am writing this I have just received two baskets of mangoes from a friend at Bareilly. They have been opened in my presence but all except 83 out of 200 have become rotten." (Sud, 1989)

On an inquiry from Meer Majrooh if he was receiving his pension properly, Ghalib wrote: "I have learnt the art of living without a livelihood. You do not need to have anxiety on that account. The month of Ramzan I spend eating fasts and as for the future, I leave it to God. If I get nothing else, I can easily live on sorrow." (Ghalib, 1899)

In his correspondence with friends and admirers, the poet was absolutely informal. He enjoyed cutting jokes. with them even in letters. Khwaja Bakhsh the tailor was very fat. He came to meet Ghalib for some purpose. Let us see how jovially Ghalib informs Yusuf Mirza about this event: "Yes Sir, yesterday Khwaja Bakhsh the tailor came to me in the afternoon. When I saw him, I knew that an elephant has climbed upstairs. He ~ (Khwaja Bakhsh) said, please convey my servitude to the venerable elder brother when you write to him." (Ghalib, 1899)

Munshi Hargopal Tafta wrote to Ghalib informing him about the death of the second wife of his disciple Umarao Singh and the depressed husband's desire to marry for the third time, so that the new wife could look after his children. Ghalib wrote back the following words: "I pity as well as envy Umarao Singh. My God, here is a man who twice got rid of his shackles and yet does not want to remain free. On the other hand, I have been

104 carrying a noose (referring to his own wife) round my neck for the last 51 years; it neither breaks nor does it strangle me to death. Tell this fellow, not to make this mistake again. I am willing to take care of his children." (Ghalib, 1899)

Mirza Tafta was insisting to publish his works. Ghalib did not like this idea and tried to persuade him not to get it published. Tafta could not abstain himself. His `Miratul-Sahaef' had been published and `Sumbulistan' was under publication. Tafta informed Ghalib about this and the latter got enraged but very patiently he writes to the former (Tafta): "I received your letter from Merrut. I became the spectator of "Miratul-sahaef'. God bless you with the publication of 'Suurbulistan' and let he be your protector. Most part of life has been finished. The rest is passing nicely and will pass on with peace. I think what benefit lJrfi got from the fame of his poetry, that I shall receive any from the publicity of my poetry. What reward did Sadi get from `Boostan', that you are expecting from `Sumbulistan'. Only • God's being is real and everything other than him is only illusionary and transitory. Neither there is any eloquent poetry nor any eloquent poet." (Ghalib, 1899)

Ghalib wrote to a friend in the last week of December 1858. The friend received his letter on the first January of 1859 and sent his reply the same day. In his next letter, Ghalib complained: "My dear...... you replied in 1859 to a letter sent to you in 1858. This I don't like and on the top of it I point it out. You will say: `I replied to your •letter the same day." (Anjum, 1991)

105 Writing to a friend about his house the poet says: "The sitting room is in a worse condition than the ladies apartment. I am not afraid of death. It is lack of rest that is worrying me. The roof has turned into a sieve. If it rains for two hours, the roof continues to leak for four hours." (Sud, 1989)

Ghalib had lots of reverence for human relations. He was always careful of the fact that he should not say anything that hurts someone. In the same way if any friend or disciple would say anything that hurt him mentally, the poet expressed his anger or disliking under the veil of wit and humour. Someone told Nawab Anwar-ul-Daula wrongfully that Ghalib is no more. The Nawab had not been in contact with Ghalib for a long time. When he came to know that the news of Ghalib's death was wrong, he wrote a letter to the poet and mentioned about the rumour. Ghalib comments on that event in these words: "May I be a sacrifice for you on this inquiry, that, as long as you did not listen about my death, you did not ask after me." (Ghalib, 1899)

The poet was so much weighed down by age and worries that he began to pray for death. Meanwhile a pestilence broke out in Delhi. Mir Majrooh made inquiries about it whether the pestilence has gone away or it is still prevailing in the city. Ghalib wrote: "Is there any pestilence that you are asking about? Fie on this pestilence that can not kill even a seventy years old man and woman." (Hall, 1996)

"A few years before the poet passed away, he wrote his own probable date of death. It was the year 1277 according to

106 the Islamic calendar. By a co-incidence, an epidemic broke out in the city, the same year but the poet survived it. He wrote to a friend: The prediction about my death was not wrong, i.e. I should have died in that year but I thought it is unbecoming of me to die in an epidemic. It was certainly below my dignity to do so. I shall now sort it out after the pestilence has blown over." (Sud, 1989)

The personal life of Ghalib was a tale of afflictions, sorrow and misfortunes. Moreover the whole society was a prey against grief and sadness. Though Ghalib could be able to escape from the murder, bloodshed, plunder and the resulting destruction of the failed revolution, but all these exerted great influence on his sensitive personality. Still the tragedies of life did not let the flames of his wit and humour extinguish.

GHALIB'S WITTY REMARKS IN DAY TO DAY LIFE

Wit and humour is the dominant feature in most of the talks of Mirza Ghalib. Though he was very lavable by heart,, he always enjoyed an edge over others, in witty retort. He did not spare even King Bahadur Shah Zafar and his courtiers, whenever they tried to be funny with him. He particularly enjoyed his witty retort at the rival poets and critics, whose criticism of his compositions was motivated more by wrongful intention than a genuine love of art.

The poet's rich sense of humour made him able to pass his life smiling which otherwise weighed heavily on him on account of his lavish nature, the ungenerosity of his patrons,

107 the stubbornness of Government officials, the death of his father and uncle when he had not entered his teens and the death of his seven children. His jovial and lively nature saved him many an awkward situation. There are hundreds of anecdotes which show how quick witted was he.

Ghalib was very fond of mangoes and would go to any length for it. His friends and admirers, among who were several Nawabs and noblemen, sent him baskets of the fine varieties of mangoes from very far off places as Surat, Rampur, and Bareilly. Yet his passion for mangoes was impossible to be satisfied. At a meeting where besides Ghalib, a number of other person were present, everybody was expressing his views about the qualities of various types of mangoes. When it was the poet's turn to express his views, he bluntly declared: "All mangoes must have two virtues — they must be sweet and plentiful." (Sud, 1989)

Once Ghalib was walking with the King Bahadur Shah Zafar, in a garden of mango trees, whereupon the king asked him what was he gazing at. Ghalib answered "I am looking at the mangoes to see if any of them bears my name on it." (Siddiqui and Aasi, 1968) The king was very much amused at the implied request; therefore he sent him a large quantity of different varieties of mangoes from the royal garden.

One day Ghalib was talking in the verandah of his house with a friend Hakim Razi-ul-Din Khan who had a strong disliking for mangoes. Suddenly a donkey passed by, smelt the mango skins thrown in the way and walked away. "You see Sir",

108 remarked Hakim "mango is a thing even donkey does not eat". "Quite true" replied Ghalib, "a donkey does not ear it." (Siddiqui and Aasi, 1968)

Ghalib was fond of playing chess and Chaucer with friends. He was once caught up on the charge of gambling and sent to prison. When he was released, he went to live with Kale Khan who was his well wisher. Someone congratulated Ghalib on his release to which he replied: "Before this I was a prisoner of gore (white skinned i.e. the British) and now I am a prisoner of Kale (Dark Skinned)". (Hali, 1996)

When the Munity was over and Ghalib's pension had not yet been restored Munshi Moti Lal who was a head clerk in Punjab Secretariat of the British Government, came to meet him. During the conversation a sensitive issue as pension, was raised. He therefore said to the visitor: "Call me a Kafir (non- believer) if I have remained without wine for a single day and a sinner if I have offered Namaz even once. Still I am being treated as a rebellion Muslim." (Hali, 1996) Ghalib's close friends and disciples used to assemble at his abode usually in the evening. These people were always ready to serve him. One day the poet was lying down on a cot and suddenly Meer Majrooh came to meet him. Majrooh started pressing the poet's feet. He dissuaded Majrooh from doing so and said: "You are a son of a sayyed. (high cast Muslim) why do you want to load me with a sin", said Ghalib. On the contrary Majrooh continued doing the same when the poet again asked him not to do so Majrooh said: "If you think so you may pay me for my

109 services". As Majrooh was about to leave after sometime, he asked jokingly for his wages. "What wages, you robbed me of my fatigue, and I robbed you of your's money. That squares it up." (Hali, 1996)

Ghalib used to receive anonymous letters that often contained filthy abuses from his rivals and critics. He read one of these letters infront of Hall. In the concerned letter, someone had abused the poet's mother. Ghalib laughed and said: "Look at this fellow. He does not know the art of abusing someone. It is the daughter who should be abused in the case of an old man like me; for the young man the abuse should be directed at his wife. The mother should be the target while abusing a child." (Shahabi, 1947)

Among his contemporaries, the court poet Zauq was his principle rival. In a gathering, Mirza Ghalib was praising Meer Tagi Meer, while Zaug was all praise for Sauda. Ghalib remarked: "I thought you were Meeri (Protagonist of Mir) but now'I find you are Saudal (an insane person)." (Hali, 1996)

Ghalib extended his hospitality to everyone who visited him, inspite of being in a poor financial condition. He never went out without his palanquin carried by four persons and met the nobles and elites of the city on equal terms. One day Deewan Fazal Allah Khan passed by his house without meeting the poet. When the poet came to know about it, he sent Fazal Allah a note saying: "I feel thoroughly ashamed today. What a greater offence can there be than that you should pass by my house and I should not be there to pay you my respects. When

110 Deewan got this note, he immediately came to visit Ghalib, in a carriage." (Siddiqui and Aasi, 1968)

Ghalib was sick of domestic affairs. On a winter morning he saw a parrot sitting in a corner of the cage with the head drawn between the wings. Addressing it the poet remarked: "0 sweet tongued, you have neither a wife nor children. What are you then worried about." (Sud, 1989)

To conclude, Ghalib's wit has multidimensional characteristics. It is not only humorous, but also filled with morality, sadness, natural habits, pleasure, pain and historical events etc. There are education and admonition, as well as a reflection of human relations. If we read each every word of Ghalib's conversation we find spontaneous and natural humorist in him. Besides, Ghalib's use of wit and humour also reflects his intellectual maturity. The above said remarks can be justified if we go though his poetical woks, letters, as well as daily conversation that have been dealt with, in the present chapter. ~ s ~~ s

~~ ~~, / / /~ / CHAPTER - VI'

GHALIB AS A SUFI

Mirza shalib had been endowed with philosophical thinking, which is reflected in his poetry. The Sufi concepts that we find in Ghalibs poetry are mostly based upon his belief in Wandat-al- Wujood (Unity of Being). Infact, the circumstances of life made him feel the helplessness and weakness of human being before God. This feeling gradually made him believe that the being of God and His will is prevalent and dominant on everything. The only truth is His being and all other things except Him are imaginary and relative. The more he pondered it over, the more this feeling became stronger.

It seems Ghalib was influenced intellectually by the philosophers and Sufis such as Boo All Sina, Ghazali, Iraqi, Roomi, and Ibn-e-Arabi. This is why be became inclined towards the belief of Wandat-al-Wujood which was the most discussed topic at that time. Besides; he was blessed with the company of Maulana fazl-e-Haq khairabadi, Mufti sadruddin Sheifta and Sahbai. Moreover, he was also blessed with the discipleship of Mulla Abdul Samad. (Ghauri, 1969)

Maulana Altaf Hussian Hall writes in his book "Yadgar-i-

Ghaib , that "Ghalib was deeply related with the knowledge of Sufism (mysticism). He used to study the books and journals on

112 gnosis, frequently. Infact this Sufi (mystic) thought made him distinguished and eminent, not only among his contemporaries but also among the poets of twelfth and thirteenth century." (Hall, 1996)

"From all the worships, prayers, duties and obligations, he took only two things: the unity of God's being and secondly, the love of the holy prophet (P.b.u.h) and the members of his family (Comprising Hazrat Fatima, Hazrat All and their children)." (Hall, 1996)

"There is no doubt that I am Unitarian (believing in the unity of God's being). In solitude and silence, I always keep on saying these words: "there is no God but Allah, nothing is influential in it's being except Allah" (God). (Hall, 1996)

Form the above mentioned extracts, it is proved that Ghalib, from the point of view of belief, was a Sufi. He deeply studied the books on Sufism (mysticism) and used to ponder over on the topic of Wandat-al-Wujood (Unity of Being).

In Ghalib's poetry, we find the traces of Sufi concepts very clearly. Sometimes he mentions the Absolute Being and at places we find him talking about universe, continuity of life, and relationship between God and man (Creature). Sometimes, he deals with the topics of good and evil and love of God.

In order to search the topics of Sufism, we will, analyse some couplets of Ghalib, containing Sufi thoughts.

113 CREATION

Naqsh faryaadi hai kiski shokhi-e- tahreer ka, Kaaghzi hai pairahan har paikar-e-tasweer ka.

Whose cleaver art has kindled the protest of engraving/ impression? Every image that we see is in paper robes dressed. (In old times there was a custom in Iran that the petitioner wore paper made dresses and went into the court of the king to seek justice).

This is the first couplet of Ghalib's Deewan (collection of poems) which has widely been interpreted by different authors, though all of them agree that it is very deep in meaning. In the above couplet, Ghalib has presented the relationship of God and his creation with depth and hold. In other words the poet has put the concept of Sufism in a nutshell.

Apparently, the couplet means that this universe is an engraving which is indicating towards the engraver (God/Creator) with applied language. What is creation? It is the manifestation of God's divine power. This interpretation has been given by Ibn-e- Arabi and Ghalib is influenced by him in his belief in the unity of being (Wandat-al-Wujood) (Saberi, 1977)

The whole universe is an engraving or impression which was present in the knowledge of God in the form of idea, right from the beginning, before creation. A painter before drawing a picture has the imaginary image in his mind. The imaginary

114 picture of the universe was present in God's knowledge before he created it. Therefore, Ghazali calls this universe to be complete because it is the revelation of the Creator (God). It is without any defect because the creator (God) is perfect.

Ghalib wants to say that the whole universe is an engraving of an engraver which is also a witness of his creation.

According to the respected Sufis and Muslim thinkers, even human being was not absolute absence, rather he was relative absence. Everything is in knowledge of the Creator (God) before,

its creation .Quran says: ,S s\" "Eza arada

shaeyan an yaqoola lahu kun fa yakoon." when God intends to create anything he just says `be' and the thing come into existence. (Al-Quran, Yaseen. verse, 82) According to Ibn-e- Arabi, that thing is already in relative absence which God says to come out and it comes according to his order. This is called creation. The engraving is limited and finite but the engraver is infinite and is free from all limits. (Ibn-e-Arabi, 1966)

In the above mentioned couplet, Ghalib has laid stress on he distinctness of Creator and the created. According to the )oet, everything including human being is an engraving designed )y the designer. This engraving is as weak as a photograph made )f paper. Since a paper may be torn, similarly human existence is also perishable. The status of engraving is like a petitioner while )n the other hand God or the Designer is like a king who listens :o the petitions. Therefore, the engraving and the engraver, both, are different from each other.

115 APPARENT AND HIDDEN JfI

Kah sake kaun ki ye jalwa gari kiski hai, Parda choda hai woh usne ki uthaae na bane.

Can anyone say whose manifestation lies all around? He (God) has veiled himself as if behind a curtain which can not be lifted.

God is apparent and hidden both. The Sufis who believe in Unity of Being (Wandat-al-Wujood) emphasize the point that when God is apparent, he is revealed /manifested under the veil of universe. His Noor (light) can not be seen through material eyes. Ghalib says that the splendid manifestation is all your's (God's) but this very manifestation itself has become a veil. At yet another place, Ghaib himself says:

Hain kitne be hijaab ki hain yoon hijaab mein.

Many a faces that apparently are unveiled are yet in viel.

Despite being manifested, one of God's attribute is to be baatin (hidden). Baatin (Hiddin) is His attributive name, therefore He should not been seen clearly. It's reference is present in Quran.when the prophet Moses asks God "~jl" "Areni" "let me see you" (God) the answer came" tit+ j " "Ian tarani" "you can not see me." (Al-Quran Aaraaf. Verse, 143) from this very answer it is evident that no one can see the sacred being of God clearly. The above couplet of Ghalib lays stress on this very concept that

116 inspite of being manifested God's being is still in veil and nobody can see Him(God).

DESTINY /FATE

.. N

/ M C

Taufeeq ba andaaza-e-himmat hai azal se, Ankhon mein hai woh gatra jo gauhar na hua tha.

It is from the very beginning that whatever a person actualizes or achieves is in accordance with his courage. The tear in eyes is the one which did not become a pearl in the shell. The real meaning is that the tear in the eye is greater. It is hard to tell if the tear in the eye is greater or the pearl ensconced in the shell.

Instead of a passive recipient of his destiny, man has got courage that helps him in reaching to his goal. But of course there are individual differences in the capacity of tolerance. We can juxtapose this couplet of Ghalib with that of Insha when he says:

Qismat me jo likha hai pahonchega aap se, Phailaiye na haath, na daaman pasariye.

117 Whatever a human being is destined to achiever will achieve ultimately. Hence, there is no need to make efforts or ask to someone.

It has been a general tendency in Muslims that relying on fate they have become passive. Some of them say that it is not useful to put ourselves to hazards because whatever is in destiny will come to us.

Seeing someone wealthy, foolish people believe that whatever they have is just because of their fate. Therefore, it is futile to struggle. Prophet Mohammad (P.B.U.H.) had full faith in destiny still he struggled a lot throughout his life.

The above mentioned couplet of Ghalib is as deep in meaning as Iqbal's couplet:

Khudi ko kar buland itna ki har taqdeer se pahie, Khuda bande se khud pooche, bata teri raza kya hai.

Exalt thy self (ego) to the extent that God himself will ask you before every decree, what do you wish.

In the above mentioned couplet of Ghalib the concept of Sufism is interwoven as if a sea into a pitcher. Man's origin was endowed with a particular capacity and his destiny was shaped according to his capacity (since nobody knows his original capacity, so man should never loose sight of courage and should have hope). Where one drop became a tear, the other one became a pearl in

118 a sheli.while, both the drops were destined according to their capacity.

To understand the meaning of original courage we should have some facts in our mind. The literal meaning of taqdeer (destiny) is estimate or measurement. God, before creating this universe, had estimated it. According to Ghalib, this very estimate is the seal or design which was in the mind of the Great Designer before creation and was manifested in the created world. Imam Ghazali's concept of destiny or fate is that it is not something which is written on the lauh-e-mahfooz (secret tablet) like a script on 'a paper, rather this writing is like a Quran written in the mind of hafiz-e-Quran (one who has learned Quran by heart). Still, no x-ray has been invented that may take the imprint of this writing (in the mind). (Ghazal, 1999)

It is generally believed by every Muslim that God is omniscient. The universe is like an open book for him. Whatever is hidden or manifested stands alike to him. Whatever a man does is in His(God) knowledge and man has been endowed with will power so that he can make his own actions. He is limited only by the fact that the result depends upon God's will.

Every human being has got his own origin. The drop that became a pearl had a different origin while the drop that became a tear had a different one. Every drop's original courage was in accordance with it's demands. King's progeny have naturally got territorial aggrandizement while an ordinary person can not wish to become a king. Sheikh Muhcyuddin Ibn-e-Arabi has described this concept in these words: "It is impossible for any origin that

119 he gets manifested personally in any other's existence, instead of his own specialties, worthiness and capabilities." (Ibn-e-Arabi, 1966) Therefore, everyone has to act according to his own natural capacity because everyone has got it's own capability. Whatever a man achieves is according to his capacity that is bestowed upon him by God. If every one is not dealt with according to his own capability, he may get ruined. Believing in destiny, man is satisfied that whatever he is going through is because of his destiny.

At this juncture, the question arises that if everything is from the side of destiny then what is the need to do actions? The companions of prophet Mohammad (p.b.u.h) asked him (the prophet) the same question, to which the prophet replied:

"4) L.4f 1:.,,.• ~ 1 "Iemaloo fa kullun mayassurun lema

khu[iga lahu" (A[-bukhari, 1422, H.) (Carry on doing actions. Everyone will reach easily to whatever is created for him). Quran

also says: y1 La. 1y" La yukallefullaho nafsan ilia

wusaha. (God takes trial of man but, he does not make anyone suffer more than what he can tolerate). (Al-Quran, Albaqara, verse, 286)

ANNIHILATION AND SUBSISTENCE

'i~liULa~ fJ~

» N » » DiI-e-har qatra hai saaz-e-ana albahr, Hum uske hain, humara poochna kya.

120 In his poetic ecstasy, Ghalib says that every drop of my heart sings the song of being the part of Ocean. I belong to (God) Him (God), therefore, what to ask about me.

This could be related to the Sufi concept of fana (annihilation) and baqa (subsistence) which is expressed to some extent in the above couplet. We do not know whether Ghalib was a Sufi but he was deeply impressed by Sufi concepts and was naturally inclined towards these concepts,

"Shimmel (1975) writes that there are three degrees of fana (self annihilation in the journey to God). The first degree of fana can be related to the saying of prophet of Islam: "Takhallq be akhlaq Allah" (quality yourself with the quality of God. Through constant mental struggle, exchange your own base qualities for the praiseworthy qualities by which God has described himself in the Quranic revelation). For example, a person instead of being miserly becomes generous. Impatience and impulsiveness is changed into patience and endurance. Another degree of fana comes when the seeker experiences the vision of Allah, when the soul is surrounded by the primordial light of God. The third degree of fana is "annihilation from one's vision of annihilation" in which one is immersed in the wujood, the existence of annihilation or rather the finding of God". (Zainuddin, 1995)

Ghalib's couplet saying that all the drops of my heart sing the song of being an ocean reflects the idea of the third degree of Tana in which one is immersed in the existence of God.

121 The origin of the Sufi concepts of fana and baga is to be found in Qurnic verse: "el-AT-3 c.1=~IJ cS j +-.9 -j -ou tr► JS" "wa yabga wajho rabbeka zul jelaal-i-walikraam." "All on the earth shall pass away (fana): there remains the face of thy lord resplendent with Majesty and Bounty." (Al-Quran, Rahman, vrese, 26-27)

"Fana is not Nirvana of Budhism which is absolute annihilation of the individual's existence. Fana is constructive and purposeful. It consists of refinement of individual's true personality rather than a complete cessation of personality." (Zainuddin-1995)

It is at this stage that Mansoor Hallaj said `Ana-al-haque' (I am the Truth (God) which has been understood as Mansoor Hallaj saying I am God which actually meant that I do not exist , only God exist. It is a state of Sufi, not a reality. A very good example has been provided by maulana Ismail Shaheed that if a piece of iron is put into fire, it becomes fire and looses its existence but when the fire cools down it again is a piece of iron. (Saberi, 1977)

Ghalib, in another couplet says:

Qatra apna bhi hagiqat mein hai dariya liken, Humko taqleed-e- tunak zarfi-e- Mansoor nahin.

122 Ghalib says that though it is ture that my drop in realty is an ocean, still I do not want to follow the narrowness of the container of Mansoor (Narrow mindedness of Mansoor).

This is another Sufi concept. When the content comes out of the concept, it is called `shatahiyat' (the mystic utterances). The spilling of the content shows the narrowness of the container.

UNITY IN MULTIPLICITY

Kasrat aarai-e-wandat hai parastari-e-wahem, kar diya kaafir, is asnaam khayali ne mujhe.

The unity of God's manifestation in multiplicity is an illusion and believing in it is like worshipping imaginary idols (the multitude form and figure) which made me (the poet) an atheist.

Ghalib's views are similar with those Sufles who believe in wahadat-ul wujood (Unity of Being) and take multiplicity as an illusion or mirage. The above couplet by Ghalib is reflective of this concept. For so many times the poet he acknowledged that only Being of God exists; the rest is all illusion and will perish. The same belief he presented in the above couplet. He believes that only His Being is reflected in everything of this universe. According to the poet, if we take multiplicity and different forms of thing to be real, it will be the worship of illusion. Here in the concerning couplet the poet asserts that in that case I would become a non believer. In other words he wants, to convey a

123 message that whatever is seen by us is all deception and it is only His (God's) Being which is existing.

Sufles believe that to become engrossed in the apparent images of things is negligence and this is the wisdoms of God. This negligence is necessary for the existence of human beings. God with his grace has made each individual careless or negligent according to his capacity and made him busy in such actions that are conducive to his nature. Someone is busy in singing and listening music or dancing while others are busy in writing books. There are some other people who are busy in different things.

Referring to Fusoos-al-Hakam by Ibn-e-Arbi, Sheikh Ahmad Sarhindi (Mujaddid Alfe thani) writes: "once upon a time I attained the real extinction (real state of annihilation in the journey to God) and the heart got such amplitude that I saw all world, sky, even myself, rather all the particles of the world as my own origin. I found the whole world lost into a single particle. Then I found myself and every particle to be the Noor (light of God). The image of worldly things became dimmer before that Noor (light of God). When I ask God almighty about it, the answer was that this is the state of having true faith in the Unity of God. After that I found these particles of the world to be deceptive which earlier I considered to be true. I was surprised at this state. Meanwhile I got reminded of a line in fusoos-ul- Hakam that there is a state when one can say that this world is Truth (God's being) and if he wants he can say that this world is creation. I got satisfied to some extent. After that I found the

124 True Existence (God) to be different from deceptive or illusionary things." (Sarhindi, 1996)

From the above lines it is proved that at every moment a Gnostic comes across to different stages of spiritual development. In the above couplet of Ghalib, there is an indication towards these spiritual stations.

Those who experience the state of seeing wandat-fil- kasrat

(unity in multiplicity) are the propagator of the slogan "4 'fl ~yyY la maujooda illallah. (Nothing exists except God or only God exists) Ghalib himself has written at a place that, in solitude, I keep on repeating these words "ail Yl 3 .rVn la maujooda illallah

(nothing exists except God). It is revealed through Ghalib's words and couplets that for a long period of time, he had been in a state of extinction or annihilation in the journey to God.

THE WORLD OF SIMILITUDE

Hain ghaib-e-ghaib, jisko samajhte hain hum shahood, Hain khwab mein hanooz, jo jaage hain khwab mein.

Whatever we think as manifest is under veil of veils. Those who wake in dreams are still in dreaming state.

This is one of the most difficult (in meaning) couplets of Ghalib. Infact Ghalib has written this couplet, being influenced

125 with the saying "people are sleeping in the world. They will wake after death." Whatever a man sees in his dream considers being real. When he gets awaked he says he was dreaming. Similarly whatever is happening in the world and whatever we are looking in it is like a dream. When we will die, and then will understand that whatever we saw in the world was merely a dream. The world into which human beings go after death is called Alam-e- Mithal (world of similitude).

Sufis believe that in between material and spiritual world, there is yet another world- the world of similitude or Alam-e- Mithal. Alam-e-Mithal or world of similitude is less subtle than the spiritual world and more subtle than the material world. Here, the reality of things appears in some form, for example evil in the form of an ugly woman and goodness in some form of beauty.

Ghalib as a poet also believes that the world is like a dream in dream. It means Ghalib is also talking about the reality of this world which means beyond this material world, there is a world of similitude. The reality appears from the spiritual world in some form. The spiritual world can not be grasped; neither the spiritual world can be understood in terms of this material world. The Sufis have formed a way to understand the spiritual world through the world of similitude.

Shah Waliullah Dehlwi in his book Hujjatullah-al-Baligha says: "there are plenty of Hadith illustrating the fact that beside this material world there is a world where Hidden things (Human attributes, worshipping, sins etc) appear in some form according to their attributes. Before their appearance in this material world,

126 these things are already present in that world which is called the world of similitude." (Dehlwi, 1302 H.) .

Shah Wall-Allah also says: "people were quarrelling, I prayed, then a particle of light came and spread among these people. They started talking in a friendly-way." (Dehlwi, 1302 H.)

Ghalib in the above mentioned couplet has indicated toward that world of similitude.

PURIFICATION AND ASSIMILATION

L»yyJ~vii (S(J1,l~ Use kaun dekh saktaa ki yagana hai wo yakta, Jo dooi ki boo bhi hoti to kahin do chaar hota.

Ghalib in this couplet expresses the idea that God is one and unique, having no duplicate, so nobody can see- him. If he has even an atom of duality, one could have met him.

Here Ghalib is talking about the stage of Ahdiyat (state of abstract unity). Sufies have tried to explain the stages of existence. The stage of Ahdiyat (state of abstract unity) which Ghlib is talking about is the stage where there was only God alone and no existence. After this stage come the stage of wandat (unity with God) where noor-e-mohmmdi (light of mohmmad) came into existence. In the third stage the spirits came into existence. So, spiritual world is the beginning of our existence. From there man came into alam-e- mithal (world of similitude) and in the last stage, came to his material world. The

127 sufi travels towards spirituality beginning from the material world to the world of similitude and then to the spiritual world. (Saberi, 1977)

Nobody can reach His being (God) in stage of Ahdiyat because he is under so many veils. God can not be known in Ahdiyat (state of abstract unity). This can be called Tanzeeh. There are two things: God's attributes and God's Being. As far as His Being is concerned, He is beyond approach and is totally different from His servants. The connection of God and human being is through this attributes. But there is yet another side of it, which can be called Tashbeeh (assimilation) because God is both apparent and hidden. As far as his attribute (Baatin/Hidden) is concerned He (God) is under veil and since He (God) is apparent also we know him through Tashbeeh (assimilation). Since God is apparent also his manifestation is at every place. Every atom of this universe is covered by His manifestation. Sufies have seen God in their dreams but it is in a Tashbeehi (comparative) form. When Prophet Moses saw as fire on the tree, he saw God in the form of Tashbeeh (assimilation).

GOOD AND EVIL

M ♦

L~~JWJL, IG.JaJ% Latafat be kathafat jalwa paida kar nahi sakti, chaman-e-zangaar hai aaina baad-e-bahari ka.

128 Subtlety can not manifest itself without density. The flower garden is rusted (full of dust and gloom) due to autumn, because the spring breeze has to come.

The above couplet indicates that Ghlib has got some part of Sufism. There are two ideas expressed in this couplet. One is, a thing is known only through it's opposite, the second idea is that of optimism.

Subtlety can not be revealed without density in this world. When a mirror gets rusty, the opposite side of it becomes clearer. Here , the poet wants to stress a point that everything has got it's opposite e.g, good and evil, day and night, density and subtlety, male and female, black-white, fragrance-bad ordour, warm and cold, autumn and spring etc. It is only when the man knows the opposite; he is able to understand the right path. In Marxist philosophy also, thesis and anti thesis are opposite to each other and only when combined in an intellectual manner give rise to synthesis.

When some of the western philosophers felt that evil can not be eradicated from the world, they became pessimist. They developed a feeling that there is nothing except evil, grief and sufferings in this world. Even they have doubt on God's divine power because in their opinion, if God is all powerful, then why can not he eradicate evil from this world, in spite of disliking it.

Sufis have well understood the depth of this mystery. They say that only God's being is existent permanently. There is nothingness in things other than Him (God). Infact the reality of

129 all other things is nothingness and nothingness is evil. Only God's being has real existence, therefore He is good. When the Absolute Existence (God) puts his reflection on nothingness, some part of it does not get the reflection (with God's will). The part that got the reflection became good while the other part that did not get the reflection of God's Tajalli (Radiation) became evil. In other words, the sun throws it's light everywhere but if a tree or any building comes in between, the shadow or darkness occurs. The task of sun is to spread light. The place which is enlightened is blessed with God's reflection and the place where there is shadow or darkness there is nothingness or evil. With the reflection of God's being goods and evil are created. Therefore in Islam God is called the creator of good and evil both. There is God's wisdom hidden behind it, because it is only when man knows and experiences evil, that he can understand the importance of goodness. The same has been emphasized by Ghalib in the above mentioned couplet.

LOVE (WITH GOD)

O N

ZJ(J1AJ/4-4f0J Yaa rab za junoon tarah ghame dar nazram rez, sad baadiya dar Qalib deewar -o- daram rez, Har khoon ki abath garam shood , dard-e-alam afgan, her barq ki be sarfa johad be asaram rez.

Ghalib is asking God for the madness of Ishq (Love) so that wherever he sees he finds the beauty of the beloved friend. 0 God! Give me your Ishq (Love) so much that the wilderness of

130 hundreds of deserts envelops my heart as well as body. With the pains and pangs of love my blood becomes warm and the effect of radiation aroused by your love enters my soul and my couplets.

The word Ishq though translated as love is not equivalent to it According to Imam Gahzali, it is the highest stage of love. Sufies believe that Ishque makes the path towards God. For Sufi, Ishq (love) is a ladder through which one reaches God's. proximity.

"One great sufi Junaid Baghdadi says that Ishq is .the love of the merciful and is an intuitive taste which has been endowed by Allah to the soul of man. That is why even a worldly love between man and woman which is pure can turn a man towards God's love." (Sabers, 1977) Therefore, the famous Sufi dictum is that the worldly love is a ladder towards real love, because Ishq makes human beings familiar with sufferings, pains, tears rolling form the eyes being indicator of ecstasy.

PROXIMITY AND TO GETHERNESS (WITH GOD)

ri .' J1

JJLf l913~ J Bar aawarad be kulfat simt-o-soo, Ba floor-u- samaawaat-e-walarz roo.

God is the light of heaven and earth. On earth His light (God's Noor) is coming without any difficulty from every direction.

131 Ghalib has drawn the concept underlying the above couplet from Quranic verse : "h71~y1" "Allaho noor ussamawat- e-walarz" (God is the light of heven/skies and earth). (Ai-Quran Noor, verse, 35) The poet has earlier said that God's Being is in the stage of Ahdiyat (Abstract Unity). Nobody can reach him. But since he is apparent also we can feel His proximity through His attributes particularly the attribute of light which is

knowledge also. At another place Quran says: cyf .may"

`wa hoa maakum aina ma kuntum" (He is with you wherever you are). (Al-Quran Hadeed verse, 4) The Noor (light) of God is present everywhere, be it sky, earth or any other direction. When man remembers God, he finds him because it is only His Being (God's Being) that can turn towards man, be it light or darkness, forest or a city. An Arabian illiterate person asked prophet Mohammad (P.b.u.h) whether our God is near us so that we can talk to Him (God) silently or He is far away so that we call Him loudly. At that time a verse was sent to the Prophet

" ) iA L5 LSJL "wa eza saalaka ebadi anni fa inni

qareeb" (when my slaves ask about me tell them that I am near them) (Al-Quran, Albaqara verse, 186)

From this verse, the proximity and togetherness of God with man is proved towards which Ghalib is indicating in the above couplet.

132 LOVE AND SINCERITY (IN INTENTION)

LJV")'J1'/ cr Donon jahaan de ke wo samijhe ye khush raha, Yan as pari ye sharm ki takraar.kya karein.

Handing me both the world (life and here after) He (God) thought thad I was satisfied. When in reality I was too embarrassed to ask for more (God himself).

The point that Ghalib -wants to emphasises is that God is so merciful that he can bestow upon man the success of both the world. (Life and hereafter). But a person who is deeply involved in God's love will not be satisfied because he wants to attain the proximity to God and His will.

God loves his slaves more than a mother loves his child. Infact the whole universe has been created by God, on the basis of love and affection. Therefore, the slaves should also be involved ln His (God) love. We should worship God being in love with His Being not because of greed for heaven and fear of hell. Infact God's being itself attracts virtuous and righteous slaves towards Him. Infact the awliya (friends) of God are of•two sorts: first, the salik-e-majzoob (the attracted way farer to God) and second, the mahboob (the one who is loved by God). Salik-e- majzoob (the attracted wayfarer to God) is the one who first bdgins to travel the path and is then captured by God while the mahboob is the one who is captured by God prior to his travelling the path. But both are in love with God.

133 Imam Al-Ghazali says: "A person does good works because of three reasons.(1) fearing hell (2) in the desire to attain heaven (3) only because of God's love. The person who worships God being scared of hell is like a slave who serves his master so that he may not punish him heaven. The one who worships God because he is attracted towards is like a servant who serves his master for getting reword. Though these two are not condemned, rather appreciated, still, the best is the one who serves his master because of his love, affection and appeasement. (Ghazali, 1999) Sufies desire heaven, because, it is the place of God's favour, contentment and satisfaction. They are scared of hell because it is the place of God's wrath.

In the above mentioned couplet, Ghalib emphasises on that pure love of God which is free from the desire of any reward or fear of Punishment.

• TO LEARN A LESSON FROM SOME EVENT

M

Ahl-e- beensh ko hal toofan-e- hawaadis, maktab, Lutma-a-mauj, kam az saili-e- ustaad nahin.

For the wise men, the stress and storm of life teaches a lesson. The surge of the tragic waves are no less than the slap of a teacher. (The flood of misery serves as a school for the wise men).

The above couplet by Ghalib is very thought provoking. He invites wise men to ponder over the happenings of their lives.

134 The poet equates the tragedies of life (suffering, hardships, sorrow, pain, anxieties etc.) with the punishment given by a teacher in a school.

God puts people on trial by making them face tragedies of life (sufferings, sorrow, and pain death). God does not let anyone pass his life without ups and downs, be it even a prophet. Sufies take afflictions, sorrow, suffering, hunger, poverty etc., to be a blessing from God because these tragedies make man inclined towards God. This is human nature that man forgets God when he is leading a life of pleasure and luxury and thinks that this is all because of him. On the other hand, when he comes across hardships and sufferings, he starts praying to God. Life and death, laughing and crying are all from God's side. Wise is the one who remains persistent even in bad times and who dose not forgets God and has faith that everything is from God.

TRUST ON GOD

Uski ummat mein hum main mere rahein kyon kaam band, Waaste jis shah ke Ghalib gumbad-e-be dar khula.

I am one of the followers of the prophet. (p.b.u.h). Why should my works get suffered? I am the follower of the great person for whom even the gates of Kaba got opened after remaining closed for a long time.

Ghalib has complete trust and faith in God. Trust is in fact a stage in Sufism. Trust on God and be satisfied and carefree.

135 Simultaneously, it is necessary to work hard. For example to strive for earning livelihood is not against tawakkul (trust on God) because God has given us hand, feet, eye, ear, and intellect etc so that these can be utilized by doing some work.

Imam Ghazali has described the concept of Tawkkul (trust on God) in Ahyaul uloom. He says: "Tawakkul (trust on God) is infact a belief in the unity and oneness of God. Believing in the unity of God, a person starts experiencing Tawkkul (trust on God). But Tauheed (belief in the oneness of God has four stages. (1) to admit it orally (2) to believe it by heart (3) to observe through revelation that all the thing come from God) (4). to observe that in this world nothing exists exept God's being. Tawakkul (trust on God) starts from the third stage i.e. through revelation it seems as if whatever is happening is just because of God. All the other reasons and sources are useless. All the other sources exept God get hidden from his eyes. In this state, whatever a man needs, asks from God, and this is called Tawakkul (reliance on God). (Ghazali, 1999)

One should take help from sources, but should not rely on sources completely. If a person has trust on God, He (God) becomes his lawyer and creates sources for him. The above couplet of Ghalib indicates this point

CAPACITY AND SUFFERING

136 Girni thi hum pe barq-e- tajalli, na Toor par, Dete hain baada, zarf-e- qadah-khwar dekh kar.

You should have chosen us (0 God) for the flash of your radiation not the Mount Sinai. The wine is given according to the capacity of the drinker.

The above mentioned couplet of Ghalib indicates towards a

Quranic verse "~____..voj~lJ " Ij.g. :.'y1 1~1" "inna arazna

alamanata alassamwauat-e- walarz". We offered our charge to skies and earth but they denied and got scared) it is the man who took that charge. (Al-Quran, Ahzaab, verse, 72)

This indicates the event when the mountain could not bear God's radiation and collapsed into dust, while Moosa (Moses) the prophet only got fainted. No creature except man has the capacity to carry on and fulfill God's orders is it even sky. Here the poet wants to emphasise the fact that God has entrusted everyone with such works that are in accordance with his capacity. It is the human being who has been endowed with intellect and reason. At another place Quran says: "l; ~1

y 'il" Ia yukallefullaho nafsan ilia wusaha" (God does not put

anyone on trial more than his capacity). (Al-Quran, Albaqara, verse, 286) For example, the cattles were not ordered to worship and offer religious rituals (offering prayers, observing fast etc)

Let us ponder over the creation of man. First God gave flexibility in his body then ordered for prayers. Man was able to feel hunger and thirst then only he was ordered to observe fast.

137 Man was endowed with the capacity to earn livelihood, then only zakat (the religious tax) was made compulsory. God bestowed upon man the strength in body and courage in heart and after that he was ordered to do Jehaad (religious war). Man was endowed with intellect then was entrusted with the task of worshipping. Whatever tasks are given to man by God is in accordance with their capacity.

Gar tujhko hai yageen-e- ijaabat, dua na manng, yani baghair yak dil-e-be muddaa na manng.

If you have faith that God will grant your prayer, then do not ask for anything at all. And if you ask, ask only for a heart that has no desire or no goal.

Keeping in mind Ghalib's fondness for difficulty in style of writing, we find the above couplet about prayer to be a unique one. Here, -the poet wants to say that if you are sure that your prayer will be heard, then do not pray for worldly things. If you want to ask something from God, ask for a heart which is free of lust-

The above couplet does not imply that we should not pray to God. Ghalib's words "Yageen-e-ijabat" (certainty of acceptance) indicate towards his vast knowledge. One of the Hadith (saying of the prophet of Islam) says:

6

138 Udullaha wa antum mooqenoona bi! ijaaba (pray to God believing that He (god) will grant your prayer.) (Mohammad Ibn-e-Iesaa, 1975)

Imam Gahzali writes in is his book "Ahyae wloom-al-din", "when Ibrahim (the messenger of God) was about to be thrown in fire Jibrail (Angel of God), came and said `do I help you'? Ibrahim replied: "He (God) knows my condition and I do not need any help fro you." (Ghalib, 1999) This shows how much faith the massager had on God that he thought, he should not ask for anything because God Himself will help him.

Shah Bahlool (a great man of knowledge) did not use to ask for anything to God in spoken language and used to say that everything is happening according to my own will. There is no need to ask because I have merged my own will into the will of God.

In the above couplet, the poet wants to present the same point that we should ask for a heart which should be filled with remembrance of God, because in that situation God will Himself grant us whatever we need, without asking in spoken language. It seems as if the poet has written this couplet keeping in mind the Quranic verse which says: "e.yo o1, ALti r a laisa Allho be

kaafln abdah (Is God Himself not sufficient for his Slaves) (Al- Quran, Zumur, verse, 35)

139

fr!1'

caa/ fnyVieai4/ Aah6 1k CHAPTER-VII

EDUCATIONAL IMPLICATIONS OF GHALIB'S WORKS

Mirza Ghalib has not expressed himself explicitly on education. In the absence of any clear cut commitment to education on Ghalib's part, the task of educational researcher, trying to work out on educational concepts and implications, becomes very difficult. One can only deduce educational concepts from far fetched inferences from the poet's life, psychological and philosophical interpretations of his compositions (including letters), and his general ideas and concepts of man and society.

The educational implications of Mirza Ghalib's compositions in the light of his philosophical and psychological thoughts are being discussed under the following headings:

1. Aims of Education.

2. Curriculum.

3. Methodology of Teaching.

4. 'Role of Teacher and Student.

5. School Discipline.

140 AIMS OF EDUCATION

The difficulty in formulating aims of education lies mainly due to the fact that Ghalib himself did not comment straightly on education. It is through psychological and philosophical ideas in his compositions, that one can formulate some aims of education.

Followings are some aims of education from his philosophical thoughts.

1. - "Education for happiness in a dangerous doctrine because there can be no happiness without pain and no ecstasy without suffering." (Seetharamu, 2004) Therefore in the light of Ghalib's couplets, we can say that the poet envisaged an education which throws open to children human sufferings, misery, anguish and the dreadful responsibilities of adult life. Ghalib, from childhood till death, suffered a lot and faced lots of responsibilities. In one of his couplets he says:

LC , L-lJ r Ranj se khoogar hua insaan to mit jaata hai ranj, Muskilen mujh par parein itni ki aasan ho gaeen.

When man is used to sorrow, sorrow vanishes. I have borne so many troubles that life has become easy now.

Through education, child should become acquainted with both the sides of life i.e. the bright as well as the dark side.

141 Educational should prepare the child to enjoy the bright side (joy, beauty, ecstasy) and to face boldly the darker side of life (pain, terror, brutalities of life). (Kneller, 1967)

2. Education should enable the child to gain self respect and self pride. It should also help the child to develop confidence in his own self. In the underlying couplets of Ghalib, the importance of that self respect is stressed distinctly when he says:

Dard minnat kash-e-dawa na hua, Main na acchaa hua, bura na hua.

My pain is not indebted to cure (medicine) I am not better, I am not worse. (I do not beg for my deprivation, as, I feel contented with whatever I have.)

ci f UL~f ~~f3ULib~f Deewar bar-e-minnat-e-mazdoor se hai kham, Al khaanman kharab na ehsaan uthaaiye. The wall constructed by the labourer, is under his obligation—even the wall is sinking down due to this obligation. Never o rootless man, be obliged to anyone in life.

faf1J,.Ii, »Lf

142 Bandagi mein bhi who aazad-o-khud been hain ki hum, Ulte phir aae, dar-e-kaba agar waa na hua.

I serve you (God), yet my independent self regard is such that I shall at once turn back if I find the doors of Kaba closed.

Again he says:

Woh apni khoo na chhodenge, hum apni waza kyon chhoden, Subak sar ban ke kya poochen ki hum se sar.geran kyon ho.

She will not change her nature and I have my own self esteem to maintain. Why should I let myself down and ask her the reason for her high disdain.

During his lifetime too, we find the poet maintaining his `self respect'. Maulana Hali writes in" Yadgar-i-Ghalib":

"Mirza Ghalib was very much conscious of his self respect and self pride. He paid visits to the noblemen and influential people of the time and in turn was called on by them. If anyone of them would not come to his abode, he too would stop going to meet him. He paid much attention to maintain his self respect. When' the old Delhi College was founded, the poet on someone's suggestion went to see a high'government official to apply for the post of professorship of Persian. But since on this occasion, he was not received with due respect as he used to be received earlier, he simply rejected the idea of applying for

143 the post and told the official that now he has changed his mind". (Hall, 1996)

3. Education should help the student in realizing himself by asserting his individuality. We find Ghalib also emphasizing the importance of this aspect, when he says:

. M Utna hi mujhko apni haqeeqat se boad hai, Jitna ki wahm-e-ghair se hun pecho-e-taab mein.

The reality of my own self is .beyond. grasp. I am very much far away from the understanding of my own self. Multiplicity or otherness is an illusion. It is simply causing perplexity, as it is a veil in the understanding of unity.

Ghalib in the above couplet is stressing on understanding of the self.

4. One of the other aims of Ghalib's education may also be "to prepare the child to meet death with pleasure." (Seetharamu, 2004) Everyone has to face many tragic situations in his or her own life. The most inevitable tragic event, of one's life is death. But death does not have just negative aspect. Instead, it has it's positive aspects too. We should be aware of death at every moment of our life. "If you are troubled by the tragedy of death and suffering, Ghalib comes to your rescue underscoring the positive aspect of

144 death, which, he tells us is the compliment to life and the cause of its glow and gusto." (Kanda, 2004)

N N Hawas ko hal neshaat-a-kaar kya kya, Na ho manna to jeene ka maza kya.

There is no limit to the lust of pleasure seeking. .Even the awareness of death causes one, to enjoy life.

5. Besides, one more aim of Ghalib's frame of education may be to inculcate the feeling of acceptance and forbearance among students as Ghaib says:

Hum bhi tasleem ki khoo dalenge,

Benayazi teri aadat hi sahi.

I will also learn to bow and yield. Let indifference be your habit (I have now accepted the fact that you will never leave your indifference towards me).

6. Another aim of Ghalib's education may be to develop secular values among students. We find Ghafib emphasizing on he importance of universal brotherhood, love and affection ith other human beings irrespective of colour, creed, race or igion. It is only on the basis of righteousness, loyalty,

145 steadfastness and humanism that he categorizes human beings as good or bad.

1LI J Ld

Nahin kuchh subbah-o-zunnar ke phande mein geerai, Wafadaari mein sheikh-o-brahman ki aazmaish hai.

Wafaadari bashart-e-istawaari asle-eeman hal, Mare butkhana mein to kaabe mein gaaro brahaman ko.

One must be constant till the end. This is the essence of faith. If a priest dies in his temple — let the Kaba be his burial place (because his death in temple shows how faithful he had been to his religion all his life).

In yet another couplet, he reiterates the similar point when he says:

Hum muwahhid hain, humara kaish hai tak-e-rasoom, Millaten jab mit gayein, ajzaae-eeman ho gayein.

Our creed is 'God is one.' We abandon rituals and this is our way of life. When communities (religions) dissolve, these constitute one faith.

146 CURRICULUM

Since Ghalib believed in individual freedom, we can infer that curriculum in his scheme of education should not be rigid. Since each individual has his own potential, each would require his own curriculum. The content of education will be determined by the needs of the individual themselves. The curriculum will therefore not be uniform but varied and according to the level of capacity of students as the poet says:

Taufeeq ba andaaza-e-himmat hai, azal se, Ankhon mein hai woh qatra, jo gauhar na hua tha.

It is from the vary beginning, that whatever a person actualizes or achieves is in accordance with his courage (potential). The tear in eyes is the one which did not become a pearl in the shell. (The drop of tear which is in my eyes, still needs to become a pearl).

jJJ3 ' f!

Girni thi hum pe barq-e-tajalli, na Toor par, Dete hain baada zarf-e-qadah-khawar dekh kar.

You should have chosen us ('0' God) for the flash of your radiation not the Koh-i-Toor (Mount Sinai). The wine is given, according to the capacity of the drinker.

147 The above two couplets indicate that curriculum should be framed keeping in mind the individual differences. From philosophical concepts we come to know that Ghalib has talked about human existence that it has to bear so many tragic incidences of life. Therefore, the curriculum should include bad as well as good experiences of life and the student should be taught to bear the incidences and hardships of life with courage.

In Ghalib's poetry and letters, we find traces of humanism which shows his concern over making a man, a perfect and complete human being. A being, who is fully aware of the purpose of his existence in this world. In one of his couplets Ghalib says:

Bas ki dushwar hai har kaam ka asaan hona, Aadmi ko bhi maysassar nahin insaan hona.

To think that every task is easy is something misleading. When even a man can not manage to become human.Alas!

(For a human, it is difficult to become human in true sense of the term)

Hence, humanities subjects occupy first place in Ghalib's frame of curriculum because these subjects are helpful in making human beings accomplished with human attributes.

148 Humanities (Arts, Music, Philosophy, Drama, and literature) should be made an important part of the curriculum, the more so because it reveals the inner feelings and thoughts of man i.e. his guilt, sin, suffering, tragedy, death, hate and love etc. Art reveals the true nature of man. (Taneja, 1997) It is found that most of the existentialists like Kierkeguard, Heidegger, Strindberg etc were interested in works of art. Ghalib himself is a great poet and his works of Art is amazing. Art is a power through which student uses the freedom of expression. Through Art man can retaliate against the well established but wrong norms and rules of the society. We find Ghalib commenting on the hypocrisies of his time in his verses.

Ghalib also emphasizes on earning livelihood. For example he says:

liL. i LJA3Cli Hai Khabar garm unke aane ki,

Aaj hi ghar mein boriya, na hua.

The news comes hot that she (the beloved) is on her way just on the day when the house is empty and bare. (There is nothing in the house; not even a mat for the beloved to sit.)

J)b')iJ ( Gham agar chah jaan ghasal hal, pe kahan bachen, ki dii hal, Gham-e-ishq gar na hota, gham-e-rozgaar hota.

149 Grief wastes our life away, and yet — how shall we flee the heart within us? Had we not known the grief of love, we would have known the grief of earning livelihood. (Because no- one can escape from the problem of earning living).

The above mentioned couplets of the poet indicate that in order to cope up with the problems of earning livelihood, the student should be imparted some vocational training.

Besides, the study of world's religion should also be included in the curriculum, in order to develop right attitude, tolerance and respect for other's religion. We find Ghalib having a great deal of respect and reverence for all the religion as in his friend circle, Hindu, Muslim, British, in other words, people from different creed and race were present and he had a very intimate relationship with them.

Moral judgment and personal character building has it's own place in the development of a complete personality. Therefore, religious and moral education should also be included in the curriculum.

GHALIB AND MORAL EDUCATION

Ghalib, being a philosopher, tried to make his poetry a weapon/tool for education and reformation of people. Some of his couplets reflect his thoughts about morality and character building. In these couplets, we find all the educative principles that are helpful in shaping the life of an individual. (Raza, 1973)

150 Following are some couplets that are quite helpful in character building of a child. i'L1JL fff j Na suno gar bura kahe koi, na kaho gar bura kahe koi. Rok lo gar ghalat chale koi, bakhsh do gar khata kare koi.

Ignore if someone evil speaks. Do not reply to evil deeds. Restrain the man who goes astray; forgive if someone errs in pride.

bar i~f v4

Han bhala kar tern bhala hoga, Aur darwesh ki sadaa kya hai.

Do good and you shall be blessed. What else is the mendicant's call?

If a person looses his temper on petty things, people complain about his rudeness and anger. According to Mirza Ghalib we should talk in a manner that nobody gets offended.

Garmi sahi kalaam mein lekin na is qadar, Kee jis se baat us ne shikayat zaroor kee.

And whenever you talk, you should be kind. For, if you are rude, people complain about your tone.

151 At another place ghalib says:

~f ` » I r

» M •

Har ek baat pe kahte ho turn, 'ki too kya hai', Turn hi kaho, ki ye andaaz-e-guftugoo kya hai.

You react with `what are you', to everything I say. You yourself tell me, what a style of speech is this?

With the help of this couplet Ghalib intends to give a moral lesson that everyone should adopt decent and courteous tone of talking.

., uL.' -J/' l J L1' L Wan gaya bhi main, to unki gaaliyon ka kya jawaab, Yaad theen jinti duaen, sarf-e-darbaan ho gayein.

Even if I call on him, how to answer his rebukes? All were lavished on the guard, the blessings that I had learned.

Neither the beloved always abuses his lover, nor there always a watchman on the gate of her house. Rather, through this couplet, the poet wants to convey a message that we should not retaliate with harsh words if, someone uses abusive words for us.

We should behave with politeness but that does not mean that we should abstain from saying the truth. We should always abide by the righteous _things, whatever be the consequences

152 and after effects. The poet teaches us to enjoy the freedom of expression when he says. (Nayyar, 1968)

J~J,r~LILLevf Jee hi mein kuch nahin hai humane, wagarna hum, Sar jaae ya rahe, na rahein par kahe baghair.

There is nothing in our heart, or else we do not stop from speaking out our mind, regardless of it's cost.

Besides, self respect is also an attribute that the poet highly appreciates and according to him, it should be safeguarded in every case.

Bandagi men bhi woh aazzad-o-khud been hain ki hum, Ulte phir aae, dar-e-kaaba agar waa na hua.

I serve you; yet my independent self regard is such that I should at once turn back if I find the doors of Kaba closed.

At •yet another place, Ghalib expressed the same views when he says:

!X° / JI,J,CJ~ Hum pukaren our khule, yoon kaun jaae, Yar ka darwaaza, gar paen khula.

153 I would not like to go in the beloved's house, where door opens only after I call. I can go in, only if the door of the friend (beloved) is kept opened.

The more one has the courage to face the hardships, the more people will appreciate his efforts.

Taufeeq ba andaaza-e-himmat hai azal se, Ankhon mein hai woh qatra, jo gauhar na hua tha.

It is from the very beginning that whatever a person actualizes or achieves is in accordance with his courage. The tear in eyes is the one which did not become a pearl in the shell (The drop of tear which is in my eyes, still needs to become a pearl.)

The drop of water becomes a pearl in the sea but if the same drop finds a place in the eyes, it has it's own importance. We can infer from this couplet that if you have the courage to face the hardships and could be able to do good deeds, you will find a place in the eyes of the world. Your self esteem will be elevated and you will acquire the bigger post according to your courage.

The world is full of multifaceted people. Some have excelled in knowledge and some in wealth; while same others have extraordinary physical power. There are of course some people who have excellent mental capacity. People, who are

154 lacking in these qualities, develop inferiority complex and consequently get jealous of others. To these people, Ghalib instructs in these words:

LL1 1 /ti

Hasad se di agar afsurda hai, garm-e-tamasha ho, Ki chashm-e-tang shaed kasrat-e-nazara se waa ho.

If your heart is sick with jealousy, fire it with the zeal to visualize. Keep looking at the variety of events/scenes so that your narrowed eyes may yet be opened wide.

It means, if you are jealous of someone, you should open up your eyes and look into the world and plenty of scope in it. It is expected that you will get rid of the feeling of jealousy and work hard for getting success in life.

L) " • Ulm T las J 6'-,rJL) I

Abhi hum qatl-e-gah ka dekhna aasaan samajhte hain, Nahi dekha shanwar joo-e-khoon mein tere tausan ko.

We do not find it hard, as yet, to gaze at the slaughter ground. For, we have not seen your steed through gory waters wade.

Here the message is that as much as possible, we should keep away from war.

155 Meharbaan hoke bula to mujhe chaho jis waqt, Main gaya waqt nahin hoop, ki phir as bhi na sakoon.

Once you are kind to me, you can send for me when you will. I am not like time past, that I can never come again.

The point that emerges from this couplet is that time never comes back; therefore, we should not waste it. From this couplet, we can also deduce the concept of education for the proper utilization of leisure time.

Zoaf me taana-e-aghyar ka shikwa kya hai, Baat kuch sar to nahin hai ki utha bhi na sakoon.

Why to complain about other's sarcastic jibes, when. we are weak. This (other's taunting) can not stop us from lifting our heads.

The open lesson that we get from this couplet is that complaining people's taunting is useless. It is better to bear it silently.

Zaher milta hi nahin mujh ko sitamgar, warna, Kya gasam hai tere milne ki, ki kha bhi na sakoon.

156 I just can not get the poison, tyrant (beloved). Otherwise is this (the poison) like an oath to meet you, that I can not take?

Some people have interpreted these couplets as Ghalib could not get poison to sacrifice his life for his beloved. But this is a narrow meaning. Infat, here the poet wants to give a moral lesson that to take oath is an indecent activity so much so that he can take poison but can not take oath.

Some couplets that reflect the poet's own self are rather universal. Infact in such couplets if any reformative point is there, the poet instead of relating it to any other person relates to himself, for the purpose of moral education. (Raza, 1973)

Qasam jaanaze pe aane ki meri khate hain Ghalib, Humesha khate jo the meri jaan ki qasam aage.

Those who used to swear by my life to express love for me, are now swearing not to come on my funeral,Ghalib.

Too ne qasam maikashi ki khaai hai, Ghalib,

Teri qasam ka kuchh aitebaar nahin hai.

You have taken an oath to abjure cup and flask of wine Ghalib. But we can not trust your oath (as it is so fragile).

157 Here, the poet wants to emphasize a point that taking oath is the manner of untrustworthy people.

From the above mentioned couplets we can conclude that Ghalib paid much attention to the moral education in his poetry. He wanted the individual to be well equipped with human attributes. Therefore, in Ghalib's frame of curriculum moral education occupies a great deal of significance.

METHODOLOGY OF TEACHING

We find Ghalib adopting the technique of distance and correspondence mode of learning. Infact the poet may be called a precursor of this mode of teaching and learning, because till then, this technique had not yet been explored. He had numerous disciples under his guidance whose poetic works were used to be corrected by the poet. He used to receive letters containing the works of disciples who sought corrections and Ghalib used to make correction and used to give direction by replying those letters. `

Replying one of the letters of Qazi Abdul Jameel who got his works corrected by the poet, Ghalib writes like this:

"Your two kind letters have reached my hands. The first letter had verses written on the reverse and on the margins. The ink was so dim that it was difficult to read to words. Though my eyesight is good and I do not need to wear glasses, I had to take extra pains to decipher your writing. In addition, there was hardly any space for making corrections. I am

158 therefore, returning the letter to you, lest you think that I have torn it apiece, and dumped it in dustbin. You will realize yourself that there is absolutely no space for inserting the corrections. Please write your stanzas more neatly in future and leave enough blank space between the lines and between the couplets for necessary corrections. The portion of the 'page containing your verses is sufficiently bright and legible, but where to write the correction? For your sake I am writing the two corrected gazhais all over again. You must be in possession of the original versions and by comparing the two you can find what improvements I have suggested and which verses I have deleted." (Ghalib, 1928)

If we examine the above lines, we find that Ghalib adopted the methodology of distance and correspondence education with his disciples. He is only guiding and suggesting rather than imposing his own views in the above letters.

Besides, personal reading is also suggested as Ghalib himself was very fond of reading books. He used to borrow books on fare and returned it after reading. He never bought any book because he did not have enough money to buy it.

THE ROLE OF TEACHER AND STUDENT

The teacher and student must in all case be a free personality of their own. The task of the teacher is to awaken the awareness in the student with the sense of freedom and responsibility. The role of the teacher is very important because he is the creator of such an educational institution in which the

159 student can establish contact with his self and achieve self realization.

If we observe Ghalib's way of dealing with his pupils, we can infer that in his scheme of education, the teacher must build positive relationship between himself and his student.

The poet had innumerable disciples from different parts of India. The ethical dimensions of his dispositions and general appreciation from people were the two important factors responsible for making the circle of his disciple large. If any of the disciples would send the poet his verses for correction, he would necessarily reply the letter and made corrections. Among his pupils, there were Nayyar Rakhshan, Aarif, Salik, Majrooh, Nawab Alauddin Alai, Hargopal Tafta etc., who were blessed with the great poet's company and used to get their works corrected by him. There were some others who were apparently not known as his disciples but who used to get favoured by the poet's company. Among these, Nawab Mustafa and Sayyed Ghulam All Khan (Wahshat) were very famous.

Ghalib had very close and intimate relationship with his disciples. They felt free to share anything with him (the poet) be it through letters and Ghalib used to respond very affectionately. The traces of free and intimate relationship with students. may be finding in his letters. Among. his disciples Hargopal Tafta was probably the most loved friend and pupil of the poet. He was endearingly called Mirza Tafta by Ghalib and the latter (the poet) used to call him as his son, friend, dear

160 brother, or sir etc. In one of his letters to Mirza Tafta, Ghalib writes these words:

"It is a matter of pride for me that I own one friend in India who is sincere and steadfast. His name is Hargopal and his poetic name is Tafta. I had one real brother who died after thirty years of madness. If he were alive and sane, and if he had spoken ill of you, I would have rebuked him and felt angry with him ...... I feel that you are now a mature and experienced writer, much beyond the age of apprenticeship. I do not think that I can find anything to correct in your verse." (Ghalib, 1899)

In another letter to Tafta, the poet writes:

"Dear Munshi Hargopal Tafta, the full moon of the house of my heart. What magical charms you display in your writing. It has now become imperative for me to write back to you in a similar vein ...... God knows that I treat you as my son." (Ghalib, 1899)

In yet another letter to his disciple Mir Mehdi Majrooh he writes:

"Wonderful Sayyed Saheb! What a prose style you have developed. What a knack you have acquired to display your literary skill. I 'wonder what tricks of style I should adopt to match your enchanting manner of writing of Urdu prose." (Ghalib, 1928)

161 The example of the above extracts of letters by Ghalib shows how friendly and affectionate relationship he had with his disciples.

Hence, from Ghalib's way of dealing with his students we can deduce that the teacher should promote the growth of free, creative and unique personality of the child. A teacher should present his views before the child and ask the child to comment on them. He should encourage creativity of students as well as their originality by praising their effort.

From psychological point of view we can say, that Ghalib in his poetry had talked about human emotions i.e. the emotion of love, amusement, desire and longing, hatred, jealousy, disappointment and conflict in man etc. "The teacher should try to practice and teach the children the art of managing the feelings and emotions as adequately as possible. This is especially important for the distressing emotions of jealousy, hatred, despair and gloom etc." (Mangal, 2011)

Hasad se dil agar afsurda hai, garm-e-tamasha ho, Ki chashm-e-tang shaed kasrat-e-nazzara se waa ho.

If your heart is sick with jealousy, fire it with the zeal to visualize. Keep looking at the variety of event/scenes so that your narrowed eyes may yet be opened wide.

162 Ghalib in the above couplet talks about the feeling of jealousy. Therefore if the child suffers from jealousy, the teacher should try to find out the reason and should be able to deal with inferiority complex which causes jealousy.

Zikr mera ba badi bhi use manzoor nahin, Ghair ki baat bigar jaae, to kuch door nahin.

She (the beloved) does not want to hear me mentioned even in a derogatory way. If the other's (the rival's) matter gets spoiled, I would not be surprised.

Similarly, hatred is also an emotion which the child should get rid off; therefore the teacher should be able to eradicate the feeling of hatred from students and the students should be made to love human beings and love God.

Hazaaron khwahishen aisi, ki har khwahish pe dum nikle, Bahot nikle mere arman, lekin phir bhi kam nikle.

Thousands of desires — each too my breath away, Though I could quench many of my longings; still I yearn for more.

In the above couplet, Ghaib also talks about desires and longings which should be developed in students, as, having desires in life one strives to fulfill those desires and the satisfaction of one desire leads to another and_ this process

163 goes on and on. Having desires, the child is motivated towards goal setting and goal getting, but the teachers should pay full attention towards the fact that the goal should be attainable. The level of aspiration should, be adequate; it should be neither too high nor too low.

Sambhalne de mujhe ai na ummeedi kya qayamat hai,

Ki daman-e-khayal-e-yaar choota jaae hai mujhse.

Give me respite, 0 despair! My state is terrible. Even the though of my friend is slipping away from my mind. (I am too much overwhelmed with despair and gloom.)

Ghallb in the above couplet talks about despair and disappointment which indicates that some students may be sad, depressed and disappointed. The task of the teacher is to bring hope in their life by removing their disappointment and to encourage them to lead a happy life.

Ghalib also talks about the complex nature of human being, in his poetry. For example, he talks about the inner conflict of man in the following couplet.

Iemaan mujhe roke hai, to kheenche hai mujhe kufr,

Kaba mere peeche hai, kaleesa mere aage.

164 Faith tugs me back, heresy attracts me towards itself. Kaba lies behind me, while the church is infront of my eyes.

Hence, the teacher should be able to deal with the student's complex nature. Some students may be involved in conflicts, so the task of the teacher is to deal with those conflicts effectively.

As far as the role of student is concerned, keeping in mind the behaviour of Ghalib with his students as well as some couplets emphasizing the importance of freedom of expression, it can be said that Ghalib gives full freedom to his students. But he does not want the child to become selfish, autocratic and irresponsible. Freedom is indeed only for natural development. Ghalib's disciples freely ask from him whatever they wanted to ask, but simultaneously they had all the regards, respect and love for the poet. They came for the poet's support whenever he was in need.

DISCIPLINE IN SCHOOL

Ghalib emphasizes on freedom of individual. Therefore we can conclude that his school provides free atmosphere to the children. The aim of school tasks should be to nurture self discipline and cultivate self evaluation. The schedule must be flexible and open. Each individual student should be paid full consideration and the time table should be adjusted in such a way that the individual should not feel restricted. (Taneja, 1997)

165 The school should also provide leisure for creative writing, so that the full and overall development of students may be possible. Therefore, the time table in school should be arranged keeping in mind the above stated points. Chapter CHAPTER-VIII

CONCLUSION

Ghalib's life was a long-drawn tragedy, interspersed with several milestones. With extreme sensitivity, he imbibed the varied experiences of his eventful life. In one of his couplets he says:

l~l~`aG-i~isz 6 r

Jise naseeb ho roz-e-seyaah mera sa, Who shakhs din na kahe raat ko, to kyon kar ho.

The one who is destined to have his day as black like that of mine; what else can he do, if not to call the night by the name of day.

Besides his own personal tragedies, the revolution of 1857 also left a profound influence on the poet's personality. Having a sharp intellect and a highly philosophic mind, he deeply pondered overhuman existence. Many of his couplets describe his views about existence. For example the poet says:

f ,

t c Han, khaiyo mat, fareb-e-hasti, Har chand kahen ki hai, nahin hai.

Do not be cheated by this life/existence. People say it exists, infact it does not exists.

167 Again he says:

Hasti ke mat fareb me as jaaiyo Asad, Aalam tamam halqa-e-daam-e-khayal hai.

Do not get deceived by existence, Asad (the poet). The whole world is the circle of web of imagination.

At times, Ghalib thinks of existence as a mirage. Therefore, he says:

Juz naam nahin soorat-a-aalarn mujhe manzoor, Juz wahm nahin hasti-e-aashiya mere aage.

To me the image of the world is nothing but a name. The existence of worldly things is not more than a mere illusion, for me.

The circumstances of his personal as well as social life made him believe that other than God, the existence of worldly things including human being is not real, rather illusionary and imaginary. According to him, since every creature has a definite life span and a definite circle of activity, it is clear that their existence is not permanent, rather transitory.

Ghalib's view of existence is associated with the mystic philosophy of Wandat-al-Wujood which says that nothing exists

168 except Allah (God). It was the prevalent philosophy of the poet's time which influenced him greatly.

We find the traces of Sufi thoughts in so many couplets of Ghalib. For so many times, Ghalib himself said: "There is no doubt that I am Unitarian (believing in the unity of God's Being). In solitude and silence, I always keep on saying these worlds: There is no God but Allah, nothing is influential in it's being except Allah." (Hali, 1996)

In one of his couplets, the poet says:

Kasrat aarai-e-wandat hai parastari-e-wahm, Kar diva kaafir, is asnaam khayali ne mujhe.

The unity of God's manifestation in multiplicity is an illusion and believing in it is like worshipping imaginary idols (the multitude forms and figure) which made me (the poet) an atheist.

Ghalib's views in the above couplet are similar with those Sufies who believe in the Unity of Being, and take multiplicity as an illusion.

According to the poet, if we take multiplicity and different forms of things to be real, it will be the worship of illusion. In other words, he wants to convey a message that whatever is seen by us is all deception and it is only His Being which is existing.

169 In another couplet, the poet says:

Naqsh fariyadi hai kiski shokhi-e-tahreer ka, Kaghazi hai parahan har paiker-e-tasweer ka.

Whose clever art has kindled the protest of engraving/impression? Every image that we see is in paper robes dressed. (In old times there was a custom in Iran that the petitioner wore paper made dresses and went into the court of the king to seek justice.)

In the above couplet, Ghalib has laid stress on the distinctness of Creator and the created. According to the poet everything including human being is an engraving designed by the Designer (God). This engraving is as weak as a photograph made of paper. Since a paper may be torn, similarly human existence is also perishable.

The poet came to conclusion that only God exists and His Being is real and other things including man are perishable. Therefore, man should endeavour to seek proximity of God.

When man has in mind "a1~1 ll sy.,~.a~ ~C " (La maqsooda illallah.

There is no destination but Allah). Then gradually he reaches to

a stage where he feels ("La maujooda illallah."

Nothing exists except Allah (God))..

170 Nevertheless, man is a responsible being. His is accountable for his deeds. Wujoodi people (people who believe in Wandat-al-Wujood) say that human existence is like a drop which mixes into the sea. People should not misunderstand it. The drop does not loose it's identity after going into the sea. The drop will only be a drop and the state of the sea remains intact. It is only a stage of intoxication. When one comes back to sobriety, he feels his element. In Sufism there is no cessation of existence or cessation of individuality. If it is so, like in Buddhism, then what is the heaven and hell? So nobody should misunderstand it.

Inspite of being aware of the mysteries of Wandat-al- Wujood, Ghalib does not escape from life. Rather, he looks eagerly and restlessly on every colour and forms of life. For example in one of his couplet the poet says:

Sarapa rehan-e-ishq-o-nagazeer-e-ulfat-e-hasti, Ibadat barq ki karta hun our afsos hasil ka.

I pledge myself to love and love of like possesses me. I ship lightning and lament whatever I receive from it, itning's handiwork).

He is not escaping from life, rather he is involved in and )ciated with it. Besides, Ghalib is a devout humanist. So iy of his letters and couplets reflect his views about ianism. When we analyze his works, we find secular as well lumanistic thoughts both. In one of his letters he says: "I

171 hold all human beings — Hindus, Muslims, Christians dear to me and regard them as my brother." (Ghalib, 1899) For Ghalib, the most important feature of a man is to become accomplished with human virtues. For example, the poet says in one of his couplet as:

Bas ki dushwar hal har kaam ka aasan hona, Aadmi ko bhi mayassar nahin insaan hona.

To think that every task is easy is something misleading. When, even a man can not manage to become human. Alas! (For a human being, it. is. not easy to become a human in the true sense of the term).

As far as the psychological interpretation of Ghalib's works in concerned, the researcher has reached to a conclusion that the poet (Ghallb) had penetrating insight into human nature. The poet has written on multiple aspects of human nature such as, love, hatred, jealousy, desires and longings, self respect, despair and gloom, self transcendence, courage, death anxiety, inner conflict and so on and so forth.

When Ghalib talks about love, instead of considering love as a temporary feeling, he relates it with life and concludes that the joys of life are due to love. He says: LLifb'~'~L~r

5).')

172 Ishq se tabiyat ne zeest ka rnaza paya, Dard ki dawa paai, dard-e-be dawa paya.

Love has added zest to life. Through love, my nature has got an ache that has no cure; still love itself has been a cure of every ache,

Though love itself is a pain without remedy, still in Ghalib's opinion all the sufferings of life can be cured by love.

About jealousy, the poet says:

• r~VCfrf~~e~~ff

I+-'

Hasad se dii agar afsurda hai, garm-e-tamasha ho, Ki chashm-e-tang shayad kasrat-e-nazzara se waa ho.

• If your heart is sick is with jealousy, fire it with the zeal to visualize. Keep looking at the variety of events/scenes, so that your narrowed eyes may yet be opened wide.

If anyone gets subjected to the feeling of jealousy, Ghalib suggests him to broaden his horizon and look into the world, that how people strive hard and then get success.

Ghalib's work has deeply impressed everyone. One of the reason for the extraordinary praise of his poetry is it's psychological importance. From the description of different states of man's life, it is evident that he understands the variety of emotions and he is aware of the multiple aspects of human life. In day to day life, he looks upon the ups and downs of emotions as if be is involved in psychoanalysis like any

173 psychologist of the present age. Ghalib was a self conscious man. Being a thorough human being, the poet is aware of the strength and weakness of his personality. For example he says about himself.

r "J ' j lr,_

Yeh masaael-e-taswaauf, yeh tern bayaan, Ghalib, Tujhe hum wall samajhte, jo na baada khwar hota.

These mystic thoughts,and the way you express yourself, Ghalib. (Ghalib had deep knowledge about mysticism and he had a very beautiful style of expression). With all these qualities, we would have considered you a friend of God, had you not been addicted to wine.

In so many couplets, Ghalib himself analyses his own personality. For example, he says:

Jaanta hun sawab-e-ta'at-o-zohd. Par tabieyat idhar nahin aati.

I know about the reward I would get if I were to abstain and pray. But (strange enough) my temperament is not inclined this side.

In some other couplets, he talks about his inner self in these words:

174 Aatish kada hal seena mera raaz-e-nihaan se, Al waael Agar maaraz-e-izhaar mein aawe.

My heart has turned into a furnace because of the secrets, hidden underneath. Alas! The day comes when my heart spurts out it's burning heat.

c c Be khudi be sabab nahin, Ghalib, Kuch to hai, jiski panda daari hat.

Your self forgetfulness is not without a causes, Ghalib There is something lying hidden.

Ghalib has not developed these principles on self made assumptions. Rather, after deeply studying human nature, he has described different mental states of man. When we read his couplets, we feel as if 'yeh bhi mere dil mein hai' (this too is in my heart). From the use of wit and humour also, it is evident that he deals with life intellectually.

Though till that time, people were not aware of psychology as a branch of knowledge, but Ghalib intuitively had psychological understanding.

Just as the problems of life are so complicated, similarly human nature is also very complex. Every moment, human intellect works as a shelter for different emotions and feelings.

175 Whatever the poet said, was based on close observation of people from different race and culture. His conclusions are more subtle in comparison to the western thinkers because western thinkers think only on intellectual level. While Ghalib, being influenced by Sufism, has intellectual as well as spiritual insight, both. In Ghalib, we find universal appeal and depth in thought, wherein lies the secret of his greatness.

The educational implications of Mirza Ghalib's compositions, in the light of his philosophical and psychological thoughts, may be described under the headings such as; Aims of education, Curriculum, Methodology of teaching, Role of teacher and students and School Discipline.

AIMS OF EDUCATION

Some • important aims of education in the light of interpretation of Ghalib compositions are as following:

Education should enable the child to gain self respect and self pride. It should also help the child to develop confidence in his own self. The following couplet of Ghalib emphasizes on this aspect when he says:

G Gill f ti: > iL ii Il.:1~.IT JL2b J Deewar bar-e-minnat-e-mazdoar se hai kham, Ai khaanman kharab na ehsaan uthaiye.

The wall constructed by the labourer is under his obligation. Even the wall is sinking down due to this obligation. Never o rootless man, be obliged to anyone in life.

176 Another aim of Ghaiib's education may also be to prepare the child to meet death with pleasure because in his opinion, death does not have just negative aspect, rather it has it's positive aspect as well, because the awareness of death, causes one to enjoy life. The poet says:

Hawas ho hai neshaat-e-kaar kya kya, Na do manna to jeene ka maza kya.

There is no limit to the lust of pleasure seeking. Even the awareness of death causes one to enjoy life.

Another important aim of Ghalib's education may be to develop secular values among students. We find Ghalib emphasizing on the importance of universal brotherhood, love and affection with other human beings .irrespective of colour, creed, race or religion. In one of his letters to Hargol Tafta, the poet says: "I hold all human beings—Hindus, Muslims, Christians, dear to me and regard them as my brothers". (Ghalib, 1899)

Besides, in a couplet he says:

Ii J) thcLd Lc)r,v" Nahin kuch subbah-o-zunnar ke phande mein geerai, Wafadari mein sheikh-o-brahman ki aazmaish hai.

177 The rosary and the sacred thread have no strength because these are mere stranglehold. The Brahmin and the Sheikh are judged by their steadfast faith.

CURRICULUM

Since each individual has his own potential, each would require his own curriculum. The curriculum will therefore be varied, not uniform and according to the capacity of students. The poet says:

)I L M al.~L ?

Taufeeq ba andaaza-e-hirnmat hag anal se, Aankhon mein hai wo qatra jo gauhar na hua tha.

It is from the very beginning that whatever a person actualizes or achieves is in accordance with his courage (potential). The tear in eyes is the one which did not become a pearl in the shell. (The drop of the tear which is in my eyes, still needs to become a pearl).

In another couplet the poet says:

Girni thi hum pe barq-e-tajalli, na Toor par, Dete hairs baada zarf-e-qadah khwar dekh kar.

You should have chosen us (0 God) for the flash of your radiation not the Koh-e-Toor (Mount Sinai). The wine is given according to the capacity of the drinker.

178 The above two couplets indicate that curriculum should be framed, keeping in mind the individual differences.

In Ghalib`s poetry and letters we find traces of humanism which shows his concern over making a man, a perfect and complete human being. A being, who is fully aware of the purpose of his existence in this world. In one of his couplets the poet says:

Bas ki dushwar hai har kaam ka aasan hona, Aadmi ko bhi mayassar nahin insaan hona.

To think that every task is easy is something misleading. When even a man can not manage to become human.Alas! (It is difficult to become human in true sense of the term.)

From the above couplet we can infer that humanities subjects (Arts, drama Music, literature, philosophy etc) occupy first place in Ghalib's frame of curriculum.

Ghalib has also laid much stress on the importance of moral education in his poetry. For example the poet says:

Na suno gar bura kehe koi, Na kaho gar bura kahe koi. Rok to gar ghalat chale koi, Bakhsh do gar khata kare koi.

179 Ignore if someone evil speaks. Do not reply to evil deeds. Restrain the man who goes astray. Forgive if someone errs in pride.

Therefore moral education should also be included in the curriculum.

METHODOLOGY OF TEACHING

We find Ghalib adopting the technique of distance and correspondence mode of learning. He had numerous disciples under his guidance whose poetic works were used to be corrected by the poet. Ghalib used to receive letters •containing the works of disciples who sought corrections and Ghalib used to make corrections and give direction by replying those letters. Replying one of the letters of Qazi Abdul Jameel who got his works corrected by the poet, Ghalib writes these words:

"Your two kind letters have reached my hands. The first letter had verses written on the reverse and on the margins. The ink was so dim that it was difficult to read to words. Though my eyesight is good and I do not need to wear glasses, I had to take extra pains to decipher your writing. In addition, there was hardly, any space for making corrections." (Ghalib, 1928)

If we examine the above lines, we find that Ghalib adopted the methodology of correspondence education with his disciples.

180 ROLE OF TEACHER and STUDENT

If we observe Ghalib's way of dealing with his pupils, we can infer, that in his scheme of education, the teacher must build positive relationship between himself and his student. Ghalib had a very close and intimate relationship with his disciples. They felt free to share anything with him, be it through letters. Among his disciples, Munshi Hargopal Tafta was the most loved one whom Ghalib calls as "my sons', `dear brother', or 'sir' etc.

In a letter to Tafta the poet writes:

"Dear Munshi Hargopal Tafta, the full moon of the house of my heart. What magical charms you display in your writing. It has now become imperative for me to write back to you in a similar vein ...... God knows that I treat you as my son." (Ghalib, 1928)

The example° of the above extract of letter shows how friendly and affectionate relationship he had with his pupils. Hence, we can deduce that the teacher should develop a close and intimate relationship with his student.

Ghalib in his poetry talks about human emotions i.e. emotion of love,, amusement, desire and longing, hatred, jealousy, despair and disappointment and conflict in man etc. "The teacher should try to practice and teach the children the art of managing the feelings and emotions as adequately as possible. This is especially important for the distressing

181 emotions of jealousy, hatred, despair and gloom etc." (Mangal, 2011) Jy*jrJ- Hasad se dil agar afsurda hai, garm-e-tamasha ho, Ki chashm-e-tang shayad kasrat-e-nazzarase waa ho.

If your heart is sick with jealousy, fire it with the zeal to visualize. Keep looking at the variety of events/scenes so that your narrowed eyes may yet be opened wide.

Ghalib in the above couplet talks about the feeling of jealousy. Therefore, if the child suffers from jealousy, the teacher should try to find out the reason and should be able to deal with inferiority complex which causes jealousy.

Ghalib also talks about the Inner conflict of man, in his poetry. For example, the poet says:

Ieman mujhe roke hai to keenche hai mujhe kufr, Kaba mere peeche hal, kaleesa mere aage.

Faith tugs me back, heresy attracts me towards itself. Kaba lies behind me, while the church is infront of me.

The above couplet indicates on the inner conflict of man. Some students may be involved in some conflicts. The task of the teacher is to deal with those conflicts of students effectively.

182 As far as the role of student is concerned, we can say that Ghalib gives full freedom to his student, because his disciples freely asked from him whatever they wanted to ask, but simultaneously they had all the regards, respect and love for the poet. They came for the poet's-support, whenever he was in need.

DISCIPLINE IN SCHOOL

Ghalib emphasizes on freedom of individuals. Therefore, we can conclude that his school provides free atmosphere to the children. The schedule must be flexible. Each individual should be paid full consideration and the timetable should be adjusted in such a way that the individuals should not feel restricted. Besides, the school should also provide leisure for creative writing, so that the full development of students may be possible.

DELIMITATIONS

In view of the investigator's lack of proficiency in Persian, mostly the authentic sources of information available in Urdu and English have been used. However, where ever needed, some Persian couplets have also been consulted with the help of dictionaries. Besides, the other limitation was scarcity of time.

SUGGESTIONS FOR FURTHER STUDY

The researcher has tried her level best to study most of Ghalib's works but due to the paucity of time some portion of his compositions are still left. Since Ghalib was a prolific writer, a thorough study of his compositions is required, which may reveal

183 some more psychological philosophical and educationa implications of his work.

Further, the study of Ghalib's Persian composition can be carried out by a person well versed in Persian, with the same objectives.

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60. Mohammad Ibn-e-Iesaa Abu Iesaa (1975): "Sonan-i- Tirmizee" Vol. V Maktaba Mustafa Albali Alhalabi, Misr.

61. Mohani Sayyed Mohammad Ahmad Bekhud (1970): "Sharah-i-Deewan-e-Ghalib", Nizami Press, Victoria Street, Lucknow.

62. Naqvi Noorul Hasan (2000): "Ghalib, Shaer-o-Maktoob Negar", Educational Book House, Aligarh.

63. Nayyar Shafiuddin (1968): "Ghalib Ki Ghazalon mein Ikhlaqi Taaleem", Etemadiyah Bayan-i-Bayan-i-Ghalib, Part-II, Aala Printing Press, New Delhi.

64. Poe Allen Edgar (1966) : "Complete Tales and Poems", Mladinska Knjiga-Liublijana, Yagoslakia.

195 65. Quadri Abdullah Wali Bakhsh (1969): "Ghalib ka Kalam- Nafsiyaati Zawiyah", Ghalib Number, Jamia, Feb and March, Jamia Nagar, New Delhi.

66. Quedwai Siddiqurrahman (2008): "Tamanna Kahen Jise", Ghalib Institute, New Delhi.

67. Qurashi Kamil (1987): "Ghalib Ka Misaali Insaan", Ghalib Namah, July, Ghalib Institute, New Delhi.

68. Rahbar Hasraj (1973): "Ghalib, Haqeeqat Ke Aaine Mein", Lajpat Rae and Sons Publishers, Urdu Bazar, Delhi 6.

69. Raza Ahmad (1973): "Phalsaphy Ghalib", Urdu Academy Lucknow.

70. Roussel Ralph and Khursheedul Islam (2000): "Ghalib, Life and Letters", Oxford University press, printed in India by Paul Press, New Delhi.

71. Saberi Sayyad Mohammad Mustafa (1977): "Ghalib Aur Tasawwuf", Darul Ishaat Islamia, Calcutta.

72. Sabzwari Shaukat (1961): "Ghalib, Fikr-o-Fan", Kul Pakistan Anjuman Taraqqi Urdu, Karachi.

73. Sabzwari Shaukat (1969): "Phalsapha-i-Kalam-i-Ghalib", Urdu Bazar, Karachi.

74. Safipoori shaheed (1969): "Ghalib ki Takhleeqi Takh'eei", Idara-i-Farogh-i-Urdu, Lucknow. 75. Sandelwi Dr. Salam (1969) : "Ghalib ki Shaeri ka Nafsiyaati Mutalah", Latoosh Road Lucknow.

76. Sarhindi Sheikh . Ahmad (Mujaddid Alf-e-Thani) (1975): "Maktoobat-i-Imam Rabbani Mujaddid Alf-e-Thani", vol.I, Eteqaad Publishing House, New Delhi.

77. Seetaramu A.S. (2004): "Philosophy of Education", Ashish Publishing House, New Delhi.

78. Shahabi Intezamullah (19471): "Ghalib Ke lateefe", Hall Publishing House, Delhi.

79. Shakespeare William (1965): "Macbeth", Longmans, London.

80. Siddiqi Sajid and Aasi Wali (1968): "Mirza Ghalib Ke Lateefe", Makhtaba Din-o-Adab, Kaccha Ahata, Lucknow.

81. Siddiqui Iftekhar Begum (1969): "Ghalib ki Shaeri Aur Mazameen-i-Rashk", Ghalib, Number, Aligarh Magazine, Achal Taal, Aligarh.

82. Sud K.N. (1989): "Eternal Flames, Aspects of Ghalib's Life and Works", Sterling publishers, Delhi 6.

83. Suroor Professor Aal Ahmad (1973): "Aks-i-Ghalib, Ghalib Ke Urdu Khutoot Ka Intekhab,"I University Publications division, Aligarh.

84. Suroor Professor Aal Ahmad (1973) : "Irfan-i-Ghalib", University Publications division, Aligarh.

197 85. Tabatabai Sayyed Hyder Ali Nazm (2012): "Sharah-i- Deewan-i-Ghalib", Maktaba Jamia, New Delhi.

86. Taneja Vidya Ratna (1997): "Educational Thought and Practice", Sterling Publishers, New Delhi.

87. Umar Dr. Yaqoob (1987): "Tanz-o-Mazaah, Ghalib Ki Pharsi Shaeri Mein", Ghalib Namah, July, Ghalib Institute, New Delhi.

88. Zainuddin Professor Roquiya (1995): "Islam and Modern Age", Zakir Hussain Institute of Islamic Studies, Jamia Nagar, New Delhi.

3OURNALS AND MAGAZINES

1. "Aaina-i-Ghalib", May (1969), Director Publications Division, Delhi.

2. "Aajkal", Ghalib Number, February (1973) Director Publications Division, Patyala House.

3. "Aligarh Magazine", Ghalib Number, Acchal Taal, Aligarh.

4. "AI-IIm", Ghalib Number, January, March (1969) Idara-i- Farogh-i-Urdu, Karachi.

5. "Ghalib Nama", July (1987), Ghalib Institute, Aewan-i-Ghalib Marg, New Delhi.

6. "Jamia", Ghalib Number, Feb and March (1969) Namia Nagar, New Delhi.

198 7. "Nugoosh", Ghalib Number, February (19.69) Idara-i-Farogh- i-Urdu, Lahore.

8. "Shaer" Ghalib Number, (1969), Maktaba Qasrul Adab, Mumbai.

9. "Urdu-e-Mualla", Ghalib Number, February (1969), Delhi University, Delhi.

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