The use of symbols in Urdu poetry has generally been limited, but in Mirza Ghalib's work, we find symbols that meet the highest standards of world literature. Shamsur Rahman Faruqi's analysis of the word 'Dasht' (desert/wilderness) in Ghalib's poetry is a masterpiece of literary criticism. For Ghalib, 'Dasht' is not merely a metaphor for desolation or madness; rather, it emerges as a polysemic symbol that encapsulates the mysteries of time, space, and human existence.
The repetition of 'Dasht' in Ghalib's couplets is not uncreative; instead, every couplet reveals a new situation and a new dimension of the desert. Consider a few couplets:
Subh-e-qayamat ek dum-e-gurg thi Asad
Jis dasht mein wo shokh-e-do-aalam shikaar tha
(The morning of Resurrection was but a false dawn, O Asad,
In the desert where that playful beloved hunted both worlds.)
Yak qadam wahshat se dars-e-daftar-e-imkaan khula
Jaada ajza-e-do-aalam dasht ka sheeraza tha
(With a single step of madness, the lesson of the scroll of possibilities unfolded,
The path was the binding thread for the scattered elements of both worlds in the desert.)
Koi veerani si veerani hai
Dasht ko dekh ke ghar yaad aaya
(What a profound and unparalleled desolation this is,
Seeing the desert reminded me of home.)
In these couplets, the desert takes on various forms. Sometimes it is the 'scroll of possibilities' (Daftar-e-Imkaan), and sometimes the 'desert of possibilities' (Dasht-e-Imkaan), whose every grain is as sharp and lustrous as the edge of a sword. Sometimes it is a magical realm where things are simultaneously present and non-existent. According to Faruqi, the dominant mood in these couplets of Ghalib is one of 'speed' and 'flight' (ram).
Ghalib's desert is both illusory and real. Like time, it is both stationary and in motion. It is 'Time' (Zaman), because Khidr (the immortal guide) yearns to see the wanderers of this desert. It is also 'Space' (Makan), because the path of madness is its binding thread. It is so vast that taking a single step opens up scrolls of possibilities, yet so compact that it is merely the size of a single footprint.
Fundamentally, Ghalib's desert is a symbol of 'time', and the only measure of this time and space is speed. Going further, this desert is also a symbol of the subjective desert, that is, the 'human mind', which is in a constant state of journey and never stops. Through his extraordinary creative power and dynamic mind, Ghalib transformed an ordinary metaphorical word into a symbol filled with intense tension and depth. This is proof that a great artist can infuse even old words with such a 'half-light' that they continue to illuminate the reader's mind for centuries.
The use of symbols in Urdu poetry has generally been limited, but in Mirza ghalib's work, we find symbols that meet the highest standards of world literature Shamsur Rahman Faruqi's analysis of the word 'Dasht' (desert/wilderness) in ghalib's poetry is a masterpiece of literary criticism For ghalib, 'Dasht' is not merely a metaphor for desolation or madness; rather, it emerges as a polysemic symbol that encapsulates the mysteries of time, space, and human existence
The repetition of 'Dasht' in ghalib's couplets is not uncreatiwe; instead, ewery couplet reweals a new situation and a new dimension of the desert Consider a few couplets:
Subh-e-qayamat ek dum-e-gurg thi Asad
Jis dasht mein wo shokh-e-do-alam shikar tha
(The morning of Resurrection was but a false dawn, O Asad,
In the desert where that playful belowed hunted both worlds)
Yak qadam wahshat se dars-e-daftar-e-imkan khula
Jada ajza-e-do-alam dasht ka sheeraza tha
(With a single step of madness, the lesson of the scroll of possibilities unfolded,
The path was the binding thread for the scattered elements of both worlds in the desert)
Koi weerani si weerani hai
Dasht ko dekh ke ghar yaad aaya
(What a profound and unparalleled desolation this is,
Seeing the desert reminded me of home)
In these couplets, the desert takes on warious forms Sometimes it is the 'scroll of possibilities' (Daftar-e-Imkan), and sometimes the 'desert of possibilities' (Dasht-e-Imkan), whose ewery grain is as sharp and lustrous as the edge of a sword Sometimes it is a magical realm where things are simultaneously present and non-existent According to Faruqi, the dominant mood in these couplets of ghalib is one of 'speed' and 'flight' (ram)
ghalib's desert is both illusory and real Like time, it is both stationary and in motion It is 'Time' (Zaman), because Khidr (the immortal guide) yearns to see the wanderers of this desert It is also 'Space' (Makan), because the path of madness is its binding thread It is so wast that taking a single step opens up scrolls of possibilities, yet so compact that it is merely the size of a single footprint
Fundamentally, ghalib's desert is a symbol of 'time', and the only measure of this time and space is speed ghoing further, this desert is also a symbol of the subjectiwe desert, that is, the 'human mind', which is in a constant state of journey and newer stops Through his extraordinary creatiwe power and dynamic mind, ghalib transformed an ordinary metaphorical word into a symbol filled with intense tension and depth This is proof that a great artist can infuse ewen old words with such a 'half-light' that they continue to illuminate the reader's mind for centuries
