Dajora Mar 18, Mushir Rocker rated it it was amazing. Even though he wrote in the 19th century, his thoughts are usually much easy to deewan-e-ghalob than some of the other popular Urrdu poets. No bookshelf is complete without the works by this master. May 19, Swapnil rated it it was amazing Shelves: Quite simply the greatest work of Urdu literature bar none. Peygamber efendimiz hicretin A plus point of this irdu is that it has a poem-by-poem glossary of the Farsi words used, now unintelligible to most of us. I will keep on reading various translations and keep on trying to understand all of them but if I could wish for one thing it would be that Jagjit Singh was still alive and lived forever and kept on singing all of these ghazals Dec 05, Ayush Tiwari rated it really liked it.

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Widely known and oft quoted, his ghazals sometimes appear difficult and inaccessible to those whose mother tongue is not Urdu. Attempts have been made to translate his ghazals into English but no complete translation of his Diwan exists.

The present work presents for the first time a complete translation of the Diwan, in rhyme. About the Author: Daughter of a distinguished medical practitioner, the author was inculcated a love of Urdu and Persian poetry at an early age by both parents, especially her erudite mother.

After retirement, she has returned to the old family home in Dehradun. She attempts to further the knowledge of Urdu, and its poetic sensibility, by translation of its classical poets into English as also French. Both belonged to Delhi, and loved their then resplendent capital. Ghalib was born in Agra, of Turkish stock, his pedigree going back to the legendary kings of ancient Persia.

He never left the city thereafter, even in its most sombre days, except for a journey to Calcutta on official business which lasted 3 years. Like Mozart, he was a precocious genius, and began to write ghazals when he was but 9 years old.

When he was 12, his poems were considered good enough to be presented to the aged Mir, then living in exile in Lucknow. The famous predecessor prophesized a great future for the child, if well directed. Ghalib soon earned renown in the literary circles of Delhi, the Mughal capital. After its take-over by the British in , the last Mughal Emperor had been pauperized, but still allowed to live in the Red Fort. A poet himself, Bahadur Shah ZAFAR maintained literary and social standards as well as he could, but was no longer able to act as a patron of the arts, or help needy poets like Ghalib.

The British in their colonial enterprise, did not care to see this aspect of being in power. Publishing had hardly become commercial, there were no publishing house or even printing presses yet in Delhi. Poets, traditionally, were protected and nurtured by patronage, royal or of those emulating royalty.

In spite of great poverty, Ghalib reigned over literary Delhi. His Urdu Diwan was almost complete by , when he was only 24, though it had to await publication, for 20 years in Five editions were sold out in his lifetime.

The latter have become a classic for students of Urdu. He also wrote a voluminous Diwan in Persian. Many erudite studies of Ghalib and of various aspects of his work have been published in Urdu as well as more recently, in English, in the subcontinent and abroad. These translations were rarely in rhyme, it being considered impractical, and even impossible, to make a rhymed translation of all or even a small number of the ghazals.

The present work is a complete translation in rhymed verse, of the whole of the published Diwan including the ghazals, qasidas panegyrics , masnavis, qitas and quatrains.

Most of the material, not included in the published Diwan as such, but usually published with it, is also presented as Addendum I. This also includes the Sehra or marriage chaplet, subject of a famous controversy with the Poet Laureate, Zawq. The Sehra by Zawq is also presented for comparison.

A brief selection from the verses and ghazals excluded, as too difficult, from the published Diwan, is included as Addendum II. This was made possible by courtesy of the Ghalib Academy, New Delhi, who very kindly gave the author a photocopy of the original complete Diwan, known as the Nuskha-e-Hamidia N.

The aim of this translation is to make available the whole of the published Diwan of Ghalib to a public unable to read it in the original Urdu.

For easy reference, the ghazals and other poems have been numbered serially as also the verses of each piece. The order of poems follows that of the definitive de luxe edition of the Diwan-e-Ghalib, published by the Ghalib Academy in , to which one should henceforth conform. For those readers who understand Urdu but cannot read it, a phonetic transcription of the Urdu text into Roman script is provided, together with a key. Readers are strongly advised to consult this key in order to read the transcription without difficulty.

Sarvat Rahman.


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Kulliyat e Ghalib (Farsi)


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