Mir Taqi Mir

Urdu poet of Mughal era Mir Taqi Mir
Born	1723     Agra
Died	1810 (aged 87)    Lucknow
Pen name	Mir
Occupation	Urdu Poet
Nationalty	India subcontinent
Writing period	Mughal era
Genres	Ghazal
Subjects	Love, Philosphy

Khuda-e-Sukhan Mir Taqi Mir (Urdu: میر تقی میر) (born 1723 - died September 20, 1810), whose original name was Muhammad Taqi (Urdu: محمد تقی) and takhallus (pen name) was Mir (Urdu: میر) (sometimes also spelt as Meer Taqi Meer), was the leading Urdu Poet of the eighteenth century, and one of the pioneers who gave shape to the Urdu language itself. He was one of the principal poets of the Dehli School of the Urdu ghazals and remains arguably the foremost name in Urdu poetry often remembered as Khuda-e-Sukhan (god of poetry).

Early life

Born in Agra, India (called Akbarabad at the time), ruled by the Mughals at the time. He left for Delhi, at the age of 11, following his father's death. His philosophy of life was formed primarily from his father, whose emphasis on the importance of love and the value of compassion remained with him through his life and imbued his poetry. At Delhi, he finished his education and joined a group of nobility as a courtier-poet. He lived much of his life in Mughal Delhi. However, after Ahmad Shah Abdali's sack of Delhi each year starting 1748, he eventually moved to the court of Asaf-ud-Daulah in Lucknow, at the king's invitation. Distressed to witness the plundering of his beloved Delhi, he gave vent to his feelings through some of his couplets. He remained in Lucknow for the remainder of his life. He died in Lucknow, of a purgative overdose, on 20 September 1810.

Literary life

Mir's literary reputation is anchored on his ghazals. Mir lived at a time when Urdu language and poetry was at a formative stage - and Mir's instinctive aesthetic sense helped him strike a balance between the indigenous expression and new enrichment coming in from Persian imagery and idiom, to constitute the new elite language known as Rekhta or Hindui. Basing his language on his native Hindustani, he leavened it with a sprinkling of Persian diction and phraseology, and created a poetic language at once simple, natural and elegant, which was to guide generations of future poets.
After his move to Lucknow, his beloved daughter died, followed by his son, and then his wife. This, together with other earlier setbacks (including his traumatic stages in Delhi) lends a strong pathos to much of his writing - and indeed Mir is noted for his poetry of pathos and melancholy.
Another noted feature of his work is his pederastic poetry:

When I had some wealth, even then I spent it on boys-- And now that I wander as a mendicant, Mir, it is thanks to them.
Evil days have come to me through friendship with boys; My father often used to warn of this day. Was it a disaster that I gave my heart to boys? In the city all, old and young, are discussing it.

'Andalib Shadani claims that If anyone undertakes a thorough inquiry into the works of Mir, without being influenced by the opinions of others, he will certainly arrive at the conclusion that Mir's poetic subject is 'the love of beardless youths,' and that Mir is absolutely unique in this quality. You will not find 'the lads of Delhi' in such abundance anywhere else.
Mir made no secret of his attachments, and wrote of his passing fancy for Attar Ka Launda — the son of a perfumer — and Memar Ka Larka — son of a mason.
While some historians have read into Mir's verse his own feelings and experiences, whether that be love for boys or love for women, others hold that "Such contradictory visions of Mir's life and times arise from the effort to extract from Mir's ghazals information that they simply do not contain."

Faith

“	"Mir ke deen-o-mazhab ka, poonchte kya ho unne to kashka khaincha dair mein baitha kab ka tarq Islam kiya" What can I tell you about Mir’s faith or belief ? A tilak on his forehead in a temple he resides, having abandoned Islam long ago	”
—

What Mir was practicing was probably the “Malamati” or “Blameworthy” aspect of the Sufi tradition. Using this technique, a person ascribes to oneself an unconventional aspect of a person or society, and then plays out its results, either in action or in verse. He was a prolific writer. His complete works, Kulliaat, consist of 6 dewans, containing 13,585 couplets comprising all kinds of poetic forms: ghazal, masnavi, qasida, rubai, mustezaad, satire, etc.

Mir vs Mirza Ghalib

Mir's famous contemporary, also an Urdu poet of no inconsiderable repute, was Mirza Rafi Saudha. Mir Taqi Mir was often compared with the later day Urdu poet, Mirza Ghalib. Lovers of Urdu poetry often debate Mir's supremacy over Ghalib or vice versa. It may be noted that Ghalib himself acknowledged, through some of his couplets, that Mir was indeed a genius that deserved respect. Here are two couplets by Mirza Ghalib on this matter.

“	Reekhta kay tumhi ustaad nahi ho Ghalib Kehte hain agle zamane me koi Mir bhi tha You are not the only master of Urdu, Ghalib They say there used to be a Mir in the past	”
—Mirza Ghalib

“	Ghalib apna yeh aqeeda hai baqaul e Nasikh Aap bey bahrah hai jo muataqid e Mir nahi Ghalib! Its my belief in the words of Nasikh*, "He that vows not on Mir, is himself unlearned!"	”
—Mirza Ghalib

^*Shaikh Imam Bakhsh Nasikh of Lucknow, a disciple of Meer.

Major Works

• "Nukat-us-Shura" Description about urdu poets of his time
• "Faiz-e-Mir" Collection of five stories about beggars, said to have been written for the education of his son Mir Faiz Ali.
• "Zikr-e-Mir" Autobiography written in Persian language.
• "Kulliyat-e-Farsi" Collection of poems in Persian language
• "Kulliyat-e-Mir" Collection of urdu poetry consisting of six diwas (volumes).

Famous Couplets

Some of his impeccable couplets are:

“	Dikhaai diye yun ke bekhud kiya Hamen aap se bhi juda kar chale'' (She appeared in such a way that i lost myself And went by taking away my 'self' with her)	”

“	Gor kis diljale ki hai ye falak Shola ek subh yaan se uthta hai'' (What heart-sick sufferer's misery is the sky? an Ember rises hence at dawn)	”

“	Ashk aankh mein kab nahi aata Lahu aata hai jab nahi aata'' (From my eye, when doesn't a tear fall Blood falls when it doesn't fall)	”

“	Bekhudi le gai kahaan humko Der se intezaar hai apna (Where has selflessness taken me I've been waiting for myself for long)	”

“	Ibtidaa-e-ishq hai rotaa hai kyaa Aage aage dekhiye hotaa hai kyaa (Its the beginning of Love, why do you wail Just wait and watch how things unveil)	”

“	Likhte ruqaa, likh gae daftar Shauq ne baat kyaa badaai hai (Started with a scroll, ended up with a record How pursuit escalated the whole thing)	”

“	Deedni hai shikasgi dil ki Kya imaarat gamon ne dhaai hai (Worth-watching is my heart's siege What a citadel have sorrows seized)	”

“	Baad marne ke meri qabr pe aaya wo 'Mir' Yaad aai mere Isa ko dawa mere baad'' (O Mir, She came to my grave after i'd died My messiah came to my aid after i'd died)	”

Mir Taqi Mir in fiction

Khushwant Singh's famous novel Delhi: A Novel gives very interesting details about the fictional life and adventures of the great poet. His fictional memoirs and confessions, especially those about his illicit relations with elite women, mainly with the wife of the aristocrat Rias Khan who employed him as tutor to teach his children, are not only very entertaining but also provide a lot of insight into his mind and heart.

References

1. ^ 'Andalib Shadani, Mir sahib ka ek khas rang ("A Special Mood of Mir's")
2. ^ "Baisakhi of the Khalsa". The Tribune India. http://www.tribuneindia.com/1999/99may08/saturday/aboveall.htm. Retrieved 2007-06-27. 
3. ^ Frances W. Pritchett, Convention in the Classical Urdu Ghazal: The Case of Mir, Journal of South Asian and Middle Eastern Studies VoI. III, No.1, Fall 1979, pp. 60-77
4. ^ Article in The Asian Age by Javed Anand husband of Teesta Setalvad
5. ^ Foreword by Dr. Masihuzzaman in Kulliyat-e-Mir Vol-2, Published by Ramnarianlal Prahladdas, Allahabad, India.