Browse through Mirza Ghalib's poems and quotes. 26 poems of Mirza Ghalib. Still I Rise, The Road Not Taken, If You Forget Me, Dreams, Annabel Lee. Mirza Asadullah Baig Khan (Urdu/Persian: مرزا اسد اللہ بیگ خان) was a classical Urdu and Persian po.
It’s tempting to read Aijaz Ahmad’s approach to translating Mirza Ghalib, giant of the modern Urdu-language ghazal, against his later Marxist criticism. Ahmad’s intro lays stress on Ghalib’s role as witness of a declining Mughal world being steamrolled by the British, and lends a postcolonial shading to the poet’s special brand of wistfulness. But his politics is really in the book’s approach to translation. Other translators have only interpreted the poems; Ahmad’s point is to change them. His It’s tempting to read Aijaz Ahmad’s approach to translating Mirza Ghalib, giant of the modern Urdu-language ghazal, against his later Marxist criticism.
Ahmad’s intro lays stress on Ghalib’s role as witness of a declining Mughal world being steamrolled by the British, and lends a postcolonial shading to the poet’s special brand of wistfulness. But his politics is really in the book’s approach to translation. Other translators have only interpreted the poems; Ahmad’s point is to change them. His apparatus for each ghazal includes an open-ended “literal translation”; a section explaining the key Urdu vocabulary he’s brought over into English; a General Explanation of each couplet, revealing the philosophy and theology behind the imagery; and two or three different translations from a pool of seven English-language poets. The poets aren’t ones I’d think of for an exploratory project like this: W.S.
Merwin, William Stafford, Mark Strand, and Adrienne Rich don’t conjure up visions of radical advances in poetics. The beauty of Ahmad’s project though is that you can call them out for their complacencies and distortions, since you’re privy to the same text they worked from. By the same token, you end up giving credit where credit is due—Adrienne Rich stands out as especially deft at catching the thought at work behind the rainbows and flowers. The book’s interest finally extends beyond Ghalib to the possibilities of translation in general, though the ghazals appear here with a beauty and accuracy that’s hard to find anywhere else. This is an amazing volume based on the ghazals of Mirza Ghalib.
I just love the literal translation of the verses followed by the exciting ways that poets like Thomas Fitzsimmons, William Hunt, W.S Merwin, David Ray, Adrienne Rich, William Stafford, and Mark Strand interpret them using their own words.Here's a fascinating example (Ghazal XIX)—first, the literal translation by Aijaz Ahmad:On every step, the distance of the goal from me is evident;At my own speed, the desert runs from me.which W. This is an amazing volume based on the ghazals of Mirza Ghalib. I just love the literal translation of the verses followed by the exciting ways that poets like Thomas Fitzsimmons, William Hunt, W.S Merwin, David Ray, Adrienne Rich, William Stafford, and Mark Strand interpret them using their own words.Here's a fascinating example (Ghazal XIX)—first, the literal translation by Aijaz Ahmad:On every step, the distance of the goal from me is evident;At my own speed, the desert runs from me.which W.S. Merwin turns it into:Where I'm going is farther at every stepthe desert runs from mewith my own feetwhile Adrienne Rich expresses it thus:Every step I take unrolls the distance further;racing the desert, it lengthens underfoot.Mark Strand, however, takes a more active role:With every step I took, my goal seemed farther away.I ran fastest, but the desert ran faster. PERSIAN MASTERPIECES OF WORLD LITERATURE-RUMI'S 'BOOK OF LOVE & SUFI POEMS,' OMAR KHAYYAM'S 'RUBAIYAT,' ATTAR'S 'PARLIAMENT OF THE BIRDS,' NIZAMI'S 'LAYLA & MAJNUN,' FIRDUSI'S 'SHAHNAMA,' POEMS AND GHAZALS OF HAFIZ & GHALIB -FROM THE WORLD LITERATURE FORUM RECOMMENDED CLASSICS AND MASTERPIECES SERIES VIA GOODREADS—-ROBERT SHEPPARD, EDITOR-IN-CHIEFGoethe honored Persian Literature as one of the four great literary traditions of World Literature, or 'Weltliteratur' as he named it. I PERSIAN MASTERPIECES OF WORLD LITERATURE-RUMI'S 'BOOK OF LOVE & SUFI POEMS,' OMAR KHAYYAM'S 'RUBAIYAT,' ATTAR'S 'PARLIAMENT OF THE BIRDS,' NIZAMI'S 'LAYLA & MAJNUN,' FIRDUSI'S 'SHAHNAMA,' POEMS AND GHAZALS OF HAFIZ & GHALIB -FROM THE WORLD LITERATURE FORUM RECOMMENDED CLASSICS AND MASTERPIECES SERIES VIA GOODREADS—-ROBERT SHEPPARD, EDITOR-IN-CHIEFGoethe honored Persian Literature as one of the four great literary traditions of World Literature, or 'Weltliteratur' as he named it.
In his 'West-Oestlicher Divan' or (West-East Divan) he celebrated a German translation of the poems of the immortal Persian poet Hafiz (1326-90)as a major revelation of the genius of Persian poetry and its place in World Literature. He called on all writers in Germany and the West to rise to their cosmopolitan duty to widen their cultural horizons globally beyond their own familiar tradition of the West in order to strengthen their own creative powers and participate in the globalization of literature and human consciousness:'I am more and more convinced, that poetry is the universal possession of mankind, revealing itself everywhere and at all times in hundreds and hundreds of men. I therefore like to look about me in foreign nations, and advise everyone to do the same. National literature is now a rather unmeaning term; the epoch of world literature is at hand, and everyone must strive to hasten its approach.' CAVEAT LECTOR.
Goodreads reviews should carry that warning. I read a review of 'Ghazals of Ghalib' that was marked as 'a review of another edition'. The book reviewed sounded great, offering different renditions of Ghalib ghazals by several different poets.
Alas, this was NOT that book.It was not a case of 'another edition', it was in fact another BOOK, one that just happened to share the not uncommon lead title 'Ghazals of Ghalib' This book was a thin compilation of a few Ghalib ghazals with wh CAVEAT LECTOR. Goodreads reviews should carry that warning. I read a review of 'Ghazals of Ghalib' that was marked as 'a review of another edition'. The book reviewed sounded great, offering different renditions of Ghalib ghazals by several different poets. Alas, this was NOT that book.It was not a case of 'another edition', it was in fact another BOOK, one that just happened to share the not uncommon lead title 'Ghazals of Ghalib' This book was a thin compilation of a few Ghalib ghazals with what seemed to be pretty pedestrian at times almost prosaic (don't get to use that narrow meaning often) translations.
Mirza Ghalib (Urdu: مرزا غالب) born Mirza Asadullah Beg Khan (Urdu/Persian: مرزا اسد اللہ بیگ خان) was a classical Urdu and Persian poet from India during British colonial rule. He used as his pen-name Ghalib (Urdu/Persian: غالب, ġhālib means dominant) and Asad (Urdu/Persian: اسد, Asad means lion.
His honour title was Dabir-ul-Mulk, Najm-ud-Daula.During his lifetime the Mughals were eclipsed and f Mirza Ghalib (Urdu: مرزا غالب) born Mirza Asadullah Beg Khan (Urdu/Persian: مرزا اسد اللہ بیگ خان) was a classical Urdu and Persian poet from India during British colonial rule. He used as his pen-name Ghalib (Urdu/Persian: غالب, ġhālib means dominant) and Asad (Urdu/Persian: اسد, Asad means lion. His honour title was Dabir-ul-Mulk, Najm-ud-Daula.During his lifetime the Mughals were eclipsed and finally deposed by the British following the defeat of the Indian Revolt of 1857, events that he wrote of. Most notably, he wrote several ghazals during his life, which have since been interpreted and sung in many different ways by different people. In South Asia, he is considered to be one of the most popular and influential poets of the Urdu language. Ghalib today remains popular not only in India and Pakistan but also amongst diaspora communities around the world.Mirza Ghalib is also known as the last great poet of the Mughal Era.
This article needs editing for compliance with Wikipedia's. Please if you can.
( February 2016) Ghalib (: غاؔلِب), born Mirza Asadullah Baig Khan (: مِرزااسَدُاللہ بیگ خان), 27 December 1797 – 15 February 1869), was a prominent and during the last years of the. He used his of Ghalib (: غالِب, ġhālib means 'dominant') and Asad (: اسَد, Asad means 'lion'). His honorific was Dabir-ul-Mulk, Najm-ud-Daula. During his lifetime, the already declining was eclipsed and displaced by the Colonial and finally deposed following the defeat of the, are some of the events that he described through his work.Most notably, he wrote several (Urdu: غزلیات) during his lifetime, which have since been interpreted and sung in many different ways by different people.
Ghalib, the last great poet of the, is considered to be one of the most famous and influential poet of the and languages.Today, Ghalib remains popular not only in and but also among the around the world. A special commemorative cover of Ghalib released in India.Mirza Ghalib was born in Kala Mahal, into a family descended from Aibak who moved to (in modern-day ) after the downfall of the kings. His paternal grandfather, Mirza Qoqan Baig, was a Seljuq Turk who had immigrated to from Samarkand during the reign of (1748–54). He worked in, and, was awarded the sub-district of and finally settled in, UP,.
He had four sons and three daughters. Mirza Abdullah Baig and Mirza Nasrullah Baig were two of his sons. Mirza Abdullah Baig (Ghalib's father) married Izzat-ut-Nisa Begum, an ethnic, and then lived at the house of his father-in-law. He was employed first by the of and then the,. He died in a battle in 1803 in Alwar and was buried at Rajgarh (Alwar, Rajasthan). Back then, Ghalib was a little over 5 years of age. He was raised by his Uncle Mirza Nasrullah Baig Khan.At the age of thirteen, Ghalib married Umrao Begum, daughter of Nawab Ilahi Bakhsh (brother of the Nawab of Ferozepur Jhirka).
He soon moved to Delhi, along with his younger brother, Mirza Yousuf, who had developed at a young age and later died in during the chaos of 1857.None of his seven children survived beyond infancy. After his marriage, he settled in. In one of his letters he describes his marriage as the second imprisonment after the initial confinement that was life itself. The idea that life is one continuous painful struggle which can end only when life itself ends, is a recurring theme in his poetry. Ghalib poem inAlthough Ghalib himself was far prouder of his poetic achievements in, he is today more famous for his s.
Numerous elucidations of Ghalib's ghazal compilations have been written by Urdu scholars. The first such elucidation or Sharh was written by of Hyderabad during the rule of the. Before Ghalib, the ghazal was primarily an expression of anguished love; but Ghalib expressed philosophy, the travails and mysteries of life and wrote ghazals on many other subjects, vastly expanding the scope of the ghazal. In keeping with the conventions of the classical ghazal, in most of Ghalib's verses, the identity and the gender of the beloved is indeterminate. The critic/poet/writer Shamsur Rahman Faruqui explains that the convention of having the 'idea' of a lover or beloved instead of an actual lover/beloved freed the poet-protagonist-lover from the demands of realism. Love poetry in Urdu from the last quarter of the seventeenth century onwards consists mostly of 'poems about love' and not 'love poems' in the Western sense of the term.The first complete English translation of Ghalib's ghazals was Love Sonnets of Ghalib, written by Sarfaraz K.
Niazi and published by Rupa & Co in India and Ferozsons in Pakistan. It contains complete Roman transliteration, explication and an extensive lexicon. A page from Ghalib's letters( in his own hand)Mirza Ghalib was a gifted letter writer. Not only Urdu poetry but prose is indebted to Mirza Ghalib. His letters gave foundation to easy and popular Urdu. Before Ghalib, letter writing in Urdu was highly ornamental. He made his letters 'talk' by using words and sentences as if he were conversing with the reader.
According to him Sau kos se ba-zaban-e-qalam baatein kiya karo aur hijr mein visaal ke maze liya karo (from a hundred of miles talk with the tongue of the pen and enjoy the joy of meeting even when you are separated).His letters were very informal; sometimes he would just write the name of the person and start the letter. He was very humorous and wrote very interesting letters. In one letter he wrote, 'Main koshish karta hoon ke koi aisi baat likhoon jo padhe khush ho jaaye' (I want to write lines such that whoever reads them would enjoy them). Some scholars say that Ghalib would have the same place in Urdu literature on the basis of his letters only. They have been translated into English by in The Oxford Ghalib.Ghalib was a chronicler of a turbulent period. One by one, Ghalib saw the bazaars – Khas Bazaar, Kharam-ka Bazaar, disappear, and whole mohallas (localities) and (lanes) vanish.
The havelis (mansions) of his friends were razed to the ground. Ghalib wrote that Delhi had become a desert. Water was scarce. Delhi was 'a military camp'. It was the end of the feudal elite to which Ghalib had belonged.
He wrote:'An ocean of blood churns around meAlas! Were this all!The future will showWhat more remains for me to see.' Pen name His original was, drawn from his given name, Asadullah Khan. At some point early in his poetic career he also decided to adopt the pen-name of Ghalib (meaning all conquering, superior, most excellent).At some places in his poetry Ghalib also used the pen name of Asad Ullah Khan. Mirza Ghalib and Sir Syed Ahmed Khan.
Sir Syed Ahmed Khan1855, finished his scholarly, well researched and illustrated edition of. Having finished the work to his satisfaction, and believing that Mirza Asadullah Khan Ghalib was a person who would appreciate his labours, Syed Ahmad approached the great Ghalib to write a taqriz (in the convention of the times, a laudatory foreword) for it. Ghalib obliged, but what he produced was a short Persian poem castigating the Ai’n-e Akbari and, by implication, the imperial, sumptuous, literate and learned Mughal culture of which it was a product. The least that could be said against it was that the book had little value even as an antique document.
Ghalib practically reprimanded Syed Ahmad Khan for wasting his talents and time on dead things. Worse, he highly praised the 'sahibs of England' who at that time held all the keys to all the a’ins in this world.This poem is often referred to but had never been translated into English. Shamsur Rahman Faruqi wrote an English translation. The translation is accurate if lacking the felicity of the original:“Good news my friends, this ancient book's doorIs now open, because of the Syed's grace and fortune,1The eye began to see, the arm found strengthThat which was wrapped in ancient clothes,now put on a new dress. 2And this idea of his, to establish its text and edit the A’inPuts to shame his exalted capability and potential, 3He put his heart to a task and pleased himselfAnd made himself an auspicious, free servant.4One who isn’t capable of admiring his qualityWould no doubt praise him for this task, 5For such a task, of which this book is the basisOnly an hypocrite can offer praise. 6I, who am the enemy of pretenceAnd have a sense of my own truthfulness, 7If I don’t give him praise for this taskIt's proper that I find occasion to praise.
8I have nothing to say to the perverseNone know what I know of arts and letters, 9In the whole world, this merchandise has no buyer.What profit could my Master hope from it? 10It should be said, it's an excellent inventorySo what's there to see that's worth seeing? 11And if you talk with me of Laws and RulesOpen your eyes, and in this ancient halting-place 12Look at the Sahibs of England.Look at the style and practice of these, 13See what Laws and Rules they have made for all to seeWhat none ever saw, they have produced. 14”“Science and skills grew at the hands of these skilled onesTheir efforts overtook the efforts of the forebears.
15This is the people that owns the right to Laws and RulesNone knows to rule a land better than they, 16Justice and Wisdom they’ve made as oneThey have given hundreds of laws to India. 17The fire that one brought out of stoneHow well these skilled ones bring out from straw! 18What spell have they struck on waterThat a vapour drives the boat in water!
19Sometimes the vapour takes the boat down the seaSometimes the vapour brings down the sky to the plains. 20Vapour makes the sky-wheel go round and roundVapour is now like bullocks, or horses. 21Vapour makes the ship speedMaking wind and wave redundant. 22Their instruments make music without the bowThey make words fly high like birds: 23Oh don’t you see that these wise peopleGet news from thousands of miles in a couple of breaths? 24They inject fire into airAnd the air glows like embers, 25Go to London, for in that shining gardenThe city is bright in the night, without candles.
26Look at the businesses of the knowledgeable ones:In every discipline, a hundred innovators! 27Before the Laws and Rules that the times now haveAll others have become things of yesteryears, 28Wise and sensitive and prudent one, does your bookHave such good and elegant Laws? 29When one sees such a treasure house of gemsWhy should one glean corn from that other harvest? 30Well, if you speak of its style, it's goodNo, it's much better than all else that you seek 31But every good always has a better tooIf there's a head, there's also a crown for it. 32Don’t regard that Generous Source as niggardlyIt's a Date-Palm which drops sweet light, like dates. 33Worshipping the Dead is not an auspicious thingAnd wouldn’t you too think that it'sno more than just words? 34The Rule of silence pleases my heart, GhalibYou spoke well doubtless, not speaking is well too.
35Here in this world your creed is to worship all theProphet's children,Go past praising, your Law asks you to pray: 36For Syed Ahmad Khan-e Arif JangWho is made up entirely of wisdom and splendour 37Let there be from God all that he might wish forLet an auspicious star lead all his affairs. 38”The poem was unexpected, but it came at a time when Syed Ahmad Khan's thought and feelings were already inclining toward change. Ghalib seemed to be acutely aware of a EuropeanEnglish-sponsored change in world polity, especially Indian polity. Syed Ahmad might well have been piqued at Ghalib's admonitions, but he would also have realized that Ghalib's reading of the situation, though not nuanced enough, was basically accurate. Syed Ahmad Khanmay also have felt that he, being better informed about the English and the outside world, should have himself seen the change that now seemed to be just around the corner.
Sir Syed Ahmad Khan never again wrote a word in praise of the Ai’n-e Akbari and in fact gave up taking active interest in history and archaeology, and became a social reformer. Tombstone of Mirza GhalibReligious views Ghalib placed a greater emphasis on seeking of God rather than ritualistic religious practices. Ghalib states:“The object of my worship lies beyond perception's reach;For men who see, the is a compass, nothing more.' : 79”Like many other Urdu poets, Ghalib was capable of writing profoundly religious poetry, yet was skeptical about some interpretations of the Islamic scriptures done by certain religious leaders.: 41 On the idea of paradise, he once wrote in a letter to a friend:“In paradise it is true that I shall drink at dawn the pure wine mentioned in the, but where in paradise are the long walks with intoxicated friends in the night, or the drunken crowds shouting merrily?
Where shall I find there the intoxication of Monsoon clouds? Where there is no autumn, how can spring exist? If the beautiful are always there, where will be the sadness of separation and the joy of union? Where shall we find there a girl who flees away when we would kiss her?: 41”He staunchly disdained the practices of certain, who in his poems represent narrow-mindedness and hypocrisy:: 41 “What's the relation between the Preacher and the door of the tavern,but believe me, Ghalib,I am sure I saw him slip inAs I departed.' Cover Page of Ghalib's Qaat'i-e Burhaan' Kulliyat-e-Ghalib Farsi', an anthology of of well-known Mirza Asadullal Khan Ghalib first released at (MANUU) and later released at by of and jointly at a function sponsored by of Arts and Culture in on 20 September 2010. The collection contains 11,337 verses of Ghalib, was compiled by.Speaking at the occasion, Dr.
Abidi said that the study of Ghalib would be incomplete without his. 'Although Ghalib had earned his reputation in, the poet of was more inclined towards and produced high-order in that. At the literary 'ru-ba-ru session' ( English: Face to Face Sitting, Urdu: ' روبرو) organized by the Urdu Academy, where Dr. Abidi offered an analytical study of the works of legendary poet Mirza Ghalib, both in as well as, he informs that Ghalib wrote 1,792 in Urdu by the year 1865 as against the 11,340 in Persian.
He also opined that Ghalib was a visionary, a poet of whose works are popular even after three centuries.Contemporaries and disciples Ghalib's closest rival was poet, tutor of, the then emperor of with his seat in Delhi. There are some amusing anecdotes of the competition between Ghalib and Zauq and exchange of jibes between them. However, there was mutual respect for each other's talent. Both also admired and acknowledged the supremacy of, a towering figure of 18th century Urdu Poetry. Another poet, whose ghazals had a distinctly lyrical flavour, was also a famous contemporary of Ghalib. One of the towering figures in Urdu literature was a shagird (Urdu: شاگرد, meaning disciple) of Ghalib.
Hali has also written a biography of Ghalib titled Yaadgaar-e-Ghalib.Ghalib was not only a poet, he was also a prolific prose writer. His letters are a reflection of the political and social climate of the time. They also refer to many contemporaries like Mir Mehdi Majrooh, who himself was a good poet and Ghalib's lifelong acquaintance. The poems written by Ghalib were tough to understand. He sometimes made the sentence syntax so complex that people had difficulty in understanding them.
Ghalib on a 1969 stamp of IndiaIndian cinema has paid a tribute to the legendary poet through a film (in sepia/black and white) named (1954) in which plays Ghalib and plays his courtesan lover, Chaudvin. The musical score of the film was composed by and his compositions of Ghalib's famous ghazals are likely to remain everlasting favorites.Pakistani cinema also paid tribute to the legendary poet, through another film also named Mirza Ghalib (1961). The film was directed and produced by M.M. Billoo Mehra for S.K. The music was composed by Tassaduq Hussain. The film starred Pakistani film superstar playing Ghalib and Madam playing his courtesan lover, Chaudvin.
The film was released on 24 November 1961 and reached average status at the box-office, however, the music remains memorable in Pakistan to this day.produced a TV serial, (1988), telecast on that was immensely successful in India. Played the role of Ghalib in the serial, and it featured ghazals sung and composed.
The serial's music has since been recognised as Jagjit Singh and Chitra Singh's, enjoying a cult following in the Indian subcontinent.Stage plays on Ghalib Ghalib's life is the subject of hundreds of plays regularly performed in Northern India and Pakistan. These plays are based on his life and his personal and professional relationships. Starting from the Parsi Theatre and Hindustani Theatre days, the first phase of his stage portrayal culminated in 's production, written by Mehdi Saheb. Mohd Ayub performed this role so many times that many theatre-goers used to call him Ghalib. The Sheila Bhatia production celebrated his famous ghazals which used to be presented one after another. Ghalib's character lacked subtlety and he was shown philandering with the courtesan, Chaudvin, famously played by Punjabi singer Madan Bala Sandhu. Later, wife of the late President, supported many very costly productions.
This was perhaps the golden period of plays celebrating Ghalib's life, including many other productions such as 's play which was performed by the. Qaid-e-Hayat (Imprisonment of Life, 1983), written by Surendra Verma, talks about the personal life of the poet Ghalib, including his financial hardships and his tragic love for Katiba, a woman calligraphist, who was working on his diwan. Over the years, it has been directed by numerous theatre directors, including in 1989, at the National School of Drama. This period also saw numerous college and university productions performed by students' groups.
Writers whose scripts were popular during this period include Jameel Shaidai, Danish Iqbal. Ghalib also inspired a chain of comedies. One such classic comedy is Ghalib in New Delhi which has been staged more than three hundred times by Dr. Danish Iqbal's play Main Gaya Waqt Nahin Hoon and Sayeed's play Ghalib Ke Khutoot are still being performed at various Indian cities. The late Sheila Bhatia began this trend on productions about Ghalib, in Delhi.
Ghalib in today's culture Ghazal maestros like, Madam Noor Jehan, have sung his ghazals. Many singers from all over South Asia have sung many of his ghazals.Ghalib's poetry in films The 2015 film contains various examples of poetry and shaayari by Ghalib, along with works by,.
Explaining this as a conscious tribute, the film's lyricist explained that he wanted to showthe character of Shaalu (played by Shweta Tripathi) as a person whose hobby is to read Hindi poetry and, as this is a common hobby of young people in Northern India, especially when in love, but this aspect is rarely shown in Hindi films. Google Doodle Ghalib was commemorated on his 220th birth anniversary by Search Engine which showed a special doodle on its Indian home page for him on 27 December 2017. See also. Varma (1989). Ghalib, The Man, The Times. New Delhi: Penguin Books. Retrieved 12 July 2014.
Cite web requires website=. Nicole Dastur (12 May 2007). The Times of India. Ras H. Siddiqui (27 July 2003). Retrieved 20 May 2013.
Cite web requires website=. 27 December 2013. Encyclopedia Britannica.
Archived from on 3 November 2012. Retrieved 20 May 2013. Cite uses deprecated parameter deadurl= ; Cite web requires website=. Byjameela Siddiqi. Retrieved 20 May 2013.
Cite web requires website=. ^ William Dalrymple (2009). Bloomsbury. Omkar Nath Koul (2008).
Archived from on 3 November 2012. Retrieved 20 May 2013.
Cite uses deprecated parameter deadurl= ; Cite web requires website=. Wheeler McIntosh Thackston (1994). Ibex Publishers, Inc. P. 98. (PDF). Columbia University.
Cite web requires website=. Cite web requires website=. with English translation of uncommon words.
Ali Asghar (6 May 2003). Retrieved 20 May 2013. G. Amur (1992). Calcutta: Writers Workshop. Retrieved 18 September 2017.,'.,'Sir Syed Today'.
^ Shamsur Rahman Faruqi (2006). In Sir Syed Ahmed Khan: Memorial Lectures. Viva Books. Hayat-i-Javed (A Biography of Sir Sayyid) by Altaf Husain Hali (1901), translated by David J. Matthews (New Delhi: Rupa and Company, 1994),. The word a’in can mean all or any of the following: character, convention, temperament, habit, rule, path, law (ecclesiastical or secular), creed, praxis, quality, intention, organization, management, system, decoration, beauty. (Lughat Nama-e Dehkhoda).
There are about eighty meanings in all, which seem to have developed over the centuries. Most were available to Abul Fazl; all were available to Ghalib.
He did edit another two historical texts over the next few years, but neither of them was anything like the Ai’n-e Akbari. Altaf Hussain Haali (1897). 39. ^ Annemarie Schimmel (1985). University of North Carolina Press.
P. 115. Annemarie Schimmel (1985). University of North Carolina Press.
P. 81. Ralph Russell; Khurshidul Islam (1994).
Oxford University Press India. Ramachandra Guha (2011). Pan Macmillan., Publications of Ghalib Institute, New Delhi. The Hindu (20 March 2009). Retrieved on 2018-12-18. Cite web requires website=. Mutaala-e-Ghalib, 2nd edition, Danish Mahal Aminuddaula park publisher Lakhnow, 1987, p.
Cite web requires website=. Sir Abdul Qadir (1947). 'Ghalib as a master of Urdu prose'.
New Book Society. Retrieved 12 June 2014. Cite web requires website=. on. 11 January 2008., Zaib Azkaar Hussain, The International News, 18 December 2011. Lakhani, Somya (11 September 2016).
The Indian Express. Retrieved 17 April 2019. 'Hindi Kavita - Kuch ban jaate hain - Uday Prakash: Varun Grover in Hindi Studio with Manish Gupta'.
Hindi Kavita. 25 October 2015. Cite news requires newspaper=.
Pal, Sanchari. The Better India.
Retrieved 17 April 2019. Grover, Varun. The Indian Express. Retrieved 17 April 2019. 27 December 2017.
Retrieved 27 December 2017.Further reading. Urdu letters of Mirza Asaduʼllāh Khan Galib, tr. By Daud Rahbar. SUNY Press, 1987.External links Wikimedia Commons has media related to.Wikiquote has quotations related to:. at.