#Mirza Muhammad Rafi Sauda

[lovrsleft]

I think that Ramiz Rafi Mirza (Ramy) having a name similar to the Urdu poet Mirza Muhammad Rafi Sauda, him talking about Ghazals which are precisely Sauda's area of expertise (including Qasidas) and him having been to Lucknow the death place of Sauda might not have been unintentional. I wish I could hold R.F. Kuang's hand and kiss it.

If it was unintentional, what an accidental genius.

[muhammad-ubaidullah-khan]

Mirza Muhammad Rafi Sauda (مرزا محمد رفیع سودا)

فرماؤ گے جو تم تو اٹھاؤں گا میں پہاڑ

پر غیر کی نہ جائے گی مجھ سے اٹھائی بات

(سودا)

[novemberchild]

Kahiyo saba salam hamara bahaar se

Hum to chaman ko chhod ke sūe-qafas chale.

کہیو سبا سلام ہمارا بھار سے

ہم تو چمن کو چھوڑ کے سوئے قفس چلے۔

"Convey my greetings to the spring, O breeze

I have left the garden and gone towards the cage."

– Mirza Muhammad Rafi Sauda

[siyyahposh]

Kehty hai wo jo hai sauda ka kaseeda hi khob

Kehty hai wo jo hai sauda ka kaseeda hi khob

Kehty hai wo jo hai sauda ka kaseeda hi khob – Urdu Poetry /Mirza Muhammad Rafi Poetry/Two Line Shayari/ Kehty hai wo jo hai sauda ka kaseeda hi khob In ki khidmat mein liye mein yeh ghazal jan ga کہتے ہیں وہ جو ہے سوداؔ کا قصیدہ ہی خوب ان کی خدمت میں لئے میں یہ غزل جاؤں گا

[odishaphotos]

Ghazal

Ghazal

Ghazal is a well-known poem in Arabic literature. It has since become very popular in Persian, Urdu and Hindi literature. In Arabic, "ghazal" means a woman or a woman. It has some special grammars, like other sections of literature. Ghazal is a poetic poetic poem. There are many words related to ghazals, such as qwasida, kafiya, ser, radif, mukhta, takhalus, beher, which have enriched the grammar and style of ghazals. Similarly, the sound of ghazals is full of royalty and gentleness. Numerous words such as dard, barpa, hungama, awaz, awari, nasha, chand, zamin, isk, aina, hotho, tasbir, jaman, anshu, asik have been used frequently. But ghazals are made in the heart, not in words. A listener who is not familiar with the word can understand it only in the language of ‘love’. In other words, love experiences, emotions, and attractions bind ghazal listeners.

Ghazal and Sayari-- What is the difference between a ghazal and a sari? According to many, ghazal is a form of poetry, where Sayari is a poem. Ghazal is serious, Sayari is romantic. One ghazal is made up of many lions. A ghazal can have 5 to 25 lions. These sherds are all different from each other. Earlier, Sher was called Matli. The lion in which Sire puts his name is called Makhta. But sometimes more than one lion shares the same meaning. Such a lion is called a cotton band. Diwan calls such collections of ghazals. The first dean of Urdu is Sayer Cooley Qutb Shah. Ghazal can be said to be a wonderful poetic expression of both reunion and separation and a wonderful expression of love. It is said to have originated in the sixth century AD. Others argue that it was created in the tenth century. In the twelfth century, Ghazal was influenced by the new Islamic sultanate court and Sufi mysticism in South Asia. The main creators of the ghazal will be the 13th-century Persian poets and poets Jalal al-Din Muhammad, the 14th-century Rumi and Hafiz, and the 16th-century Azeri poet Fuzuli. Later, Mirza Ghalib (1997-1869) and Mohammad Iqbal (1877 to 1938) wrote ghazals in both Persian and Urdu. Ghazal became popular in Germany through Johann Bok Nangyang van Gate (1749-1832). Federerick (1788-1866) and Augusta van Patten (1796-1835) also became famous in Germany during this time. Urdu famous ghazal writer --- Famous Urdu ghazal writers include Atish, Mir Taki Mir, Mirza Rafi Sauda, ​​Mirza Ghalib, Momin Khan Momin. Ghazals have been collected in Persia, Turkey and Urdu for more than a thousand years. Ghazal's performance in Ghazal singers, singing and Indian classical music is very old. Many more singers, such as Ustad Barakat Alli, have contributed. There is no record of all ghazal singers in history either. Ustad Amanat Alli Khan, Begum Akhtar, Mehndi Hassan, Jagjit Singh, Farida Khanam and Ghulam Alli are popular classical ghazal singers. Understanding ghazal's complexity and sound has been simplified, while it was once intended for the educated and the upper class. Some other ghazal singers like Jagjit Singh, Ahmed, Mohammad Hussain, Hariharan, Mohammad Rafi, Pankaj Udhas have given the ghazal a new look by incorporating Western music theory. Just as Jagjit Singh used the guitar in ghazals. Ghazal is quite popular in Gujarati, with the exception of Hindi and Urdu in India. Gujarati writers like Barkat Birani, Asim Randeri and Shunya Palanpuri have created many ghazals. The Telugu ghazal of the famous ghazal singer Dr. Ghazal Srinivasan is quite popular. Srinivasa also sang ghazals in Kannada. Markandapuram has composed many ghazals in Kannada.

[urduclassic]

Nazeer Akbarabadi

Nazeer Akbarabadi  (real name "Wali Muhammad") (1735–1830) was an 18th-century Indian poet known as "Father of Nazm", who wrote Urdu ghazals and nazms under nom de plume (takhallus) "Nazeer", most remembered for his poems like Banjaranama (Chronicle of the Nomad), a satire. [1] His father was Muhammad Farooq and his mother was the daughter of Nawab Sultan Khan who was the governor of Agra Fort. Agra, the Indian city, was known as Akbarabad after Mughal emperor Akbar at that time. He used simple, everyday language in his poems, which made them popular in the masses.

Birth, early years and migration to Akbarabad

Nazeer's date of birth is not certain but most of his biographers believe that he was born in Delhi (then called "Dihli") in 1735 AD. The period of his birth coincided with the decline of the Mughal empire in India. In 1739 Nazeer was still a child when Nadir Shah attacked Delhi and Muhammad Shah Rangeela was arrested. He was later released but countless people were mercilessly killed in Delhi. The horrors of this plunder were still fresh in the minds of people when 18 years later, in 1757 AD, Ahmad Shah Abdali attacked Delhi. People left Delhi for safer cities. Nazeer along with his mother and grandmother also abandoned Delhi and migrated to Akbarabad. At this time Nazeer was 18 years old.

Poetry

It is said that Nazeer’s poetic treasure consisted of about 200,000 verses but unfortunately a bigger portion of it is destroyed and only 6000 verses are available in printed form. No other Urdu poet used as many words as Nazeer did. Nazeer’s poetry conveyed the plight of the common people in their own everyday language and was very popular among the masses. It was due to this lack of the "elite" element perhaps that Nazir's genius was not recognized until much later. But in spite of this neglect, some of his poetic treasure is still available and some of his poems, such as “Banjaranama” (chronicle of a nomad/gypsy), “Kaljug nahin karjug hai yeh”, “Aadmi Naama” (chronicle of man), etc., became immortal. Such poems find their place in school text books and discerning fans of Urdu poetry will not fail to recognize the greatness of Nazeer's verse.

 He left for us about 600 ghazals, although his nazms are said to be more worthy of admiration. In fact, Nazeer’s growing popularity is due to his nazms. He was purely a "People’s poet" and his nazms reflected various aspects of the daily life of his age, all types of religious and social events with even minor details in which common people can be seen laughing, singing, teasing, playing. He wrote nazams about religious and social festivals, such as Diwali, Holi, Eid, Shab-e-baraat, about fruits and about animals and birds, about seasons and even inanimate objects, such as paisa, rupaiaa, rotiyaan, aata-daal (meaning "flour" and "lentils"), "pankha" (meaning "fan") and "kakrhi" (a kind of cucumber). He wrote nazms about different aspects of human life, such as "muflisi" (Urdu word meaning "poverty") and "kohrinamah" (chronicle of a leper). The canvas of Nazeer’s nazms is so vast that it encompasses all aspects of human behavior and every person can find nazms that can suit his taste.

 Nazeer Akbarabadi’s contemporaries were Mirza Muhammad Rafi Sauda, Mir Taqi Mir, Sheikh Qalandar Bakhsh Jur’at, Insha Allah Khan Insha, and Ghulam Hamdani Mushafi. He was young during the age of Sauda and Mir and might be a middle aged man during the age of Jur'at, Insha and Mushafi. Nazeer died in 1830 AD, at 95. Though the era of modern nazm credits Altaf Hussain Hali and Muhammad Husain Azad, Nazeer could arguably be considered “Father of Urdu Nazm” because he preceded them.

Sample poem

بنجارا

ٹک حرص وھوا کو چھوڑ میاں، مت دیس بدیس پھرے مارا

قذًاق اجل کا لوٹے ہے دن رات بجا کر نقًارا

یہ دھوم دھڑکًا ساتھ لیے کیوں پھرتا ہے جنگل جنگل

ا ک تنکا ساتھ نہ جاے گا، موقوف ہوا جب ان اور جل

سب ٹھاٹھ پڑا رہ جاے گا جب لاد چلے گا بنجارا

مغرور نہ ہو تلواروں پر، مت پھول بھروسے ڈھالوں کے

سب پٹاً توڑ کے بھاگیں گے، منہ دیکھ اجل کے بھالوں کے

ہو ڈھیر اکیلا جنگل میں تو خاک لحد کی پھانکے گا

اس جنگل میں پھر آہ نظیر اک بھنگا آن نہ جھانکے گا

سب ٹھاٹھ پڑا رہ جاے گا جب لاد چلے گا بنجارا

The Angel of death Discard greed and temptations, forget your travels to near and far; The bandit of death is blowing his trumpet and indulging in looting day and night; Why are you roaming from place to place with all your paraphernalia; Not even a twig will eventually go with you when your death arrives; Your riches and grand life style are all left behind when the angel of death loads you on his back; Do not feel proud of your swords and shields; They will abandon you on seeing the spear of death; Alone in a desert would you then eat the dust of the grave; In that desert, indeed Nazeer, not even an insect would care to visit you; Your riches and grand life style are all left behind when the angel of death loads you on his back. - Nazeer Akbarabadi

In popular culture

In 1954, Habib Tanvir, wrote and directed his first significant play Agra Bazar, based on the works and times of Nazir Akbarabadi. It used local residents and folk artist from Okhla village in Delhi and students of Jamia Millia Islamia as actors, a play not staged in a confined space, rather a bazaar, a marketplace.[2]

[muhammad-ubaidullah-khan]

Mirza Muhammad Rafi Sauda (مرزا محمد رفیع سودا)

الغرض مطبخ اس گھرانے کا

رشک ہے آبدار خانے کا

آبدار خانہ میں آگ نہیں جلتی۔ جب آگ نہیں جلے گی تو لازم ہے کہ کھانا نہیں پکے گا، کھانا نہیں پکے گا۔ تو لازم ہے کہ وہ شخص نہ خود کھانا کھاتا ہے نہ ہی ک��ی کو کھلاتا ہے۔ نتیجہ یہ نکلا کہ اس کا مالک بہت کنجوس ہے۔

[muhammad-ubaidullah-khan]

Mirza Muhammad Rafi Sauda (مرزا محمد رفیع سودا)

وہ اس کا خوان نعم ہے کہ جس کے مطبخ میں

صدا کھڑکنے کی ہے دیگ کے صدائے عام

اس شعر میں دیگ کھڑکنے کی آواز سے مراد سخاوت ہے کیونکہ جس مطبخ میں دیگ کھڑکے گی وہاں بہت سا کھانا پکے گا اور کھانا زیادہ پکنے کا مطلب یہ ہے کہ وہاں بہت سے لوگ کھانا کھائیں گے اور جو شخص بہت سے لوگوں کو کھانا کھلائے گا وہ یقیناً سخی ہوگا۔ یہاں صفت سے موصوف تک پہنچنے میں کئی واسطے آئے ہیں۔

[muhammad-ubaidullah-khan]

Mirza Muhammad Rafi Sauda on sleeplessness

سودا، تری فریاد سے آنکھوں میں کٹی رات

اب آئی سحر ہونے کو، ظالم کہیں مر بھی

[muhammad-ubaidullah-khan]

Mirza Muhammad Rafi Sauda

اس چشم خوں چکا کا احوال کیا کہوں میں

گر زخم ہے تو یہ ہے ناسور ہے تو یہ ہے

[muhammad-ubaidullah-khan]

Mirza Muhammad Rafi 'Sauda'

چمن میں کس کی مدارت تھی، بتا تو نسیم

کہ صبح، غنچوں کے سب عطردان کھول دئیے

[siyyahposh]

Kafiyat chasmy  is ki mujhe yaad hai sauda

Kafiyat chasmy  is ki mujhe yaad hai sauda

Kafiyat chasmy  is ki mujhe yaad hai sauda – Urdu Poetry /Mirza Muhammad Rafi Poetry/Two Line Shayari/ Kafiyat chasmy  is ki mujhe yaad hai sauda Sagar ko mary hath se lejiyo ke chala mein کیفیت چشم اس کی مجھے یاد ہے سوداؔ ساغر کو مرے ہاتھ سے لیجو کہ چلا میں

[siyyahposh]

Na kar sauda tu shikwa hum se dil ki bekarari ka

Na kar sauda tu shikwa hum se dil ki bekarari ka

Na kar sauda tu shikwa hum se dil ki bekarari ka – Urdu Poetry /Mirza Muhammad Rafi Poetry/Two Line Shayari/ Na kar sauda tu shikwa hum se dil ki bekarari ka Mhabat kis ko deti hai miyan aaram duniya mein نہ کر سوداؔ تو شکوہ ہم سے دل کی بے قراری کا محبت کس کو دیتی ہے میاں آرام دنیا میں