Bang-e-Dara · 1905

Mirza Ghalib

Mirza Ghalib

Mirza Ghalib is the poem in which one of Urdu's greatest poets pays homage to another. Written early in Iqbal's career and placed in Bang-e-Dara, it is his tribute to Mirza Asadullah Khan Ghalib, the towering poet of nineteenth-century Delhi whose work cast a long shadow over everyone who followed.

The poem is built as praise, but it is praise of a particular, ambitious kind. Iqbal does not simply call Ghalib a fine poet; he treats him as a phenomenon — a voice so original that it seemed to belong to a wider world than the one it was born into. Ghalib, in Iqbal's portrait, is a genius slightly out of place in his own time, too large for the era that produced him.

Iqbal lingers on the universality of Ghalib's imagination. He suggests that the music and depth of Ghalib's verse were not merely Indian achievements but belonged to the company of the world's greatest poetry — that the same spirit that spoke through the masters of other languages and lands also spoke through this poet of Delhi.

There is also tenderness for place. Iqbal turns to Delhi, the city that held Ghalib through his hard later years and finally his grave, and addresses it with feeling. The city becomes a kind of reliquary — ordinary dust made precious because a great soul rests in it. The passage carries the bittersweet awareness that genius is often honoured only after it is gone.

Underneath the homage runs a quiet self-recognition. In praising Ghalib's restless, world-spanning imagination, the young Iqbal is also describing the kind of poet he himself hoped to become. The tribute is, in part, a statement of aspiration — a younger artist measuring himself against the height he means to reach.

Formally the poem is dignified and warm, written in the elevated register suited to homage. It is less philosophical than Iqbal's later work and more purely celebratory.

Mirza Ghalib endures both as a poem and as a piece of literary history — the moment one great Urdu poet formally acknowledged his debt to another, and in doing so quietly announced his own ambition.

The lines that endure

The most famous verses

Fikr-e-insaan par teri hasti se yeh roshan hua
hai par-e-murgh-e-takhayyul ki rasaai ta kuja
फ़िक्र-ए-इंसाँ पर तेरी हस्ती से ये रौशन हुआ
है पर-ए-मुर्ग़-ए-तख़य्युल की रसाई ता कुजा
Through your existence it became clear to human thought just how far the wing of imagination's bird can reach.
Aah! tu ujri hui Dilli mein aaramida hai
gulshan-e-Weimar mein tera ham-nawa khwabida hai
आह! तू उजड़ी हुई दिल्ली में आरामीदा है
गुलशन-ए-वीमर में तेरा हम-नवा ख़्वाबीदा है
Alas — you lie at rest in a ruined Delhi, while in the garden of Weimar your kindred spirit sleeps.
Lutf-e-goyaai mein teri hamsari mumkin nahin
ho takhayyul ka na jab tak fikr-e-kaamil ham-nasheen
लुत्फ़-ए-गोयाई में तेरी हम-सरी मुमकिन नहीं
हो तख़य्युल का न जब तक फ़िक्र-ए-कामिल हम-नशीं
In the charm of speech no equal of yours is possible — not until perfect thought becomes the companion of imagination.