This selection of poetry and prose by Ghalib provides an accessible and wide-ranging introduction to the preeminent Urdu poet of the nineteenth century. Ghalib's poems, especially his ghazals, remain beloved throughout South Asia for their arresting intelligence and lively wit. His letters—informal, humorous, and deeply personal—reveal the vigor of his prose style and the warmth of his friendships. These careful translations allow readers with little or no knowledge of Urdu to appreciate the wide range of Ghalib's poetry, from his gift for extreme simplicity to his taste for unresolvable complexities of structure. Beginning with a critical introduction for nonspecialists and specialists alike, Frances Pritchett and Owen Cornwall present a selection of Ghalib's works, carefully annotating details of poetic form. Their translation maintains line-for-line accuracy and thereby preserves complex poetic devices that play upon the tension between the two lines of each verse. The book includes whole ghazals, selected individual verses from other ghazals, poems in other genres, and letters. The book also includes a glossary, the Urdu text of the original poetry, and an appendix containing Ghalib's comments on his own verses.

'A riveting resurrection of the city of poets, the city of history, Saif Mahmood's learned and evocative book takes us to the heart of Delhi's romance with Urdu verse and aesthetics.'--Namita Gokhale Urdu poetry rules the cultural and emotional landscape of India--especially northern India and much of the Deccan--and of Pakistan. And it was in the great, ancient city of Delhi that Urdu grew to become one of the world's most beautiful languages. Through the 18th and 19th centuries, while the Mughal Empire was in decline, Delhi became the capital of a parallel kingdom--the kingdom of Urdu poetry--producing some of the greatest, most popular poets of all time. They wrote about the pleasure and pain of love, about the splendour of God and the villainy of preachers, about the seductions of wine, and about Delhi, their beloved home. This treasure of a book documents the life and work of the finest classical Urdu poets: Sauda, Dard, Mir, Ghalib, Momin, Zafar, Zauq and Daagh. Through their biographies and poetry--including their best-known ghazals--it also paints a compelling portrait of Mughal Delhi. This is a book for anyone who has ever been touched by Urdu or Delhi, by poetry or romance.

Mirza Ghalib is to the Urdu language what William Shakespeare is to the English language. And the most widely read Urdu book in the world is a collection of the Love Sonnets of Ghalib. These sonnets resonate with the voices of maestros through the corridors of history. Ghalib is not just an Asian phenomenon and his sonnets are loved and studied worldwide.

Manuscript of Mirza Ghalib's 1821 Divan discovered in Bhopal in 1917. Contains twice the number of verses compared to his previously published "official" Divans. Includes notes and additions in Ghalib's own hand. Rediscover Mirza Ghalib through his "unknown" Ghazals contained in this manuscript which was Ghalib's personal copy for over a decade. A treasure for all Ghalib lovers! Dr. Farooqi explains: "In 1918, some fifty years after Ghalib's death, a manuscript was discovered in the Hamidiyya Library in the princely state of Bhopal that was beyond doubt a Divan of the great poet. The colophon revealed that it had been calligraphed (in 1237 hijri, corresponds to1821CE) by Hafiz Mueenuddin. The manuscript or nuskha (as we call it in Urdu) was written in a pleasing hand and the text enclosed with red, gold and blue margins. Unlike the general practice of beginning a Divan with a ghazal, this Nuskha begins with a qita' in Farsi followed by two qasidahs in Urdu. The page marking the first ghazal, the famous, naqsh faryadi hai kiski shokhi-e tahrir ka, is elaborately embellished with gold and blue. Ghalib had composed much more than the 1800 verses presented in the mutadavil (official) Divan. The discovery of the Nuskha -e Hamidiyya was phenomenal in that it revealed a large number of verses that were not included in Ghalib's Divan! Of the 1900 verses that were presented in the Hamidiyya, only 700 had ever been included in the Divan. Of the 1900 verses, 1883 are from ghazals. According to Maulana Arshi, the Nuskha was prepared for Ghalib's personal use. It was given away most likely to a shagird after another copy had been made. It is possible that after Ghalib had made selections for Gul-ra'na (1828), he gave away this Nuskha. It is also possible that he had got another copy made (Nuskha-e Sherani, 1826) for safekeeping while he journeyed to Calcutta with the Nuskha-e Hamidiyya. One of the controversial features of the Nuskha is the addition of ghazals in the margins in a consistent but somewhat unpolished hand. The question is: Who made those additions? Maulana Arshi is of the opinion that the writing is in Ghalib's hand. Some scholars think the handwriting is not sophisticated enough to be Ghalib's. According to Gyan Chand Jain, the corrections and additions to the Hamidiyya were done after the circulation of the Nuskha -e Sherani and are not in Ghalib's hand. New ghazals and verses added to older ghazals were copied from the Sherani in the margins of the Hamidiyya. The Nuskha was last seen by Maulana Arshi in 1944. In the tumultuous events of India's Partition, the original Nuskha was lost. What is currently available in print is Hamid Khan sahib's 1969 edition that was assembled with the help of notes that the latter took in 1938, along with Mufti Anvarul Haq's edition and the Nuskha-e Sherani. The re-appearance of the original Nuskha-e Hamidiyya after nearly 75 years is a momentous event for Ghalibians all over the world.." The current publication is a full digital facsimile reproduction of the Nuskha-e-Hamidiya. A "must-have" publication for anyone interested in urdu poetry and especially the works of the legendary Mirza Asadullah Khan Ghalib.

A befitting tribute to the poet who once described himself as 'collyrium for men's eyes', freely offering to make their vision cleaner.

Includes a brief biographical sketch.