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The best of poetic city

Poet Raghupati Sahay aka ‘Firaq’ Gorakhpuri has rightfully described Delhi, “Hai aisi kuchh makhsoos baat saba-e-Dilli mein/Asha’ar nikalte hain qalam se aabshaar bankar” (There’s something special about the air and ambience of Delhi that couplets ensue from the quill like a waterfall).

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Sumit Paul  

Poet Raghupati Sahay aka ‘Firaq’ Gorakhpuri has rightfully described Delhi, “Hai aisi kuchh makhsoos baat saba-e-Dilli mein/Asha’ar nikalte hain qalam se aabshaar bankar” (There’s something special about the air and ambience of Delhi that couplets ensue from the quill like a waterfall). The capital city has nurtured and produced a slew of remarkable Urdu poets like Ghalib, Momin, Mir, etc. among others.

Seat of Mughal grandeur and fulcrum of creativity, Delhi provided the perfect clime for the nourishment of Urdu/Persian poetry. That’s why Ghalib, Mir, Momin, Zauq, Daagh, Sauda, to name but a few, could pen such sublime poetry that still enthrals. 

The author, Saif Mahmood, has dwelt upon the linguistic heritage of Delhi and also rued its decline in politically-polluted times. But it’s not a futile lamentation. However, the author is optimistic about the resurgence of that estranged culture of delectable finesse belonging to Mughal era. Delhi saw the belle epoque (the fine period). It also saw decadence. 

To quote W H Auden, ‘ In the dichotomy of up and down/Lies the fate of the crown.’ For, the crown of Mughal Empire as well as Urdu/Persian poetic traditions shuffled to and fro across the spectrum of Delhi. And that engendered the best of poetry and creativity. 

The author has been extremely discerning and eclectic and has chosen the best written by the eight masters. Mahmood has rightly selected those verses which appropriately represent every poet in this anthology. Through his judicious selection of verses, he has brought out every poet’s metier in a convincing manner. 

The English renditions of Urdu poetry are praiseworthy. One must appreciate the author for not including obscure ghazals, couplets and verses of any poet. The book is neither pedantic nor didactic. It is for those who are genuinely interested in Urdu poetry and are fond of the classical (ravayati) genre of it, displayed and exemplified by Mir, Ghalib, Daagh, Sauda, Momin, Zafar etc. Scholars will also find it handy because of its quick and apposite references. 

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