: Zauq: A pioneer of poetic existentialism, not a Ghalib detractor (IANS Column: Bazm-e-Ghazal) #IndiaNEWS #National,SPOTLIGHT,Art/Culture/Books By Vikas DattaHis portrayal as an insecure and devious

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Zauq: A pioneer of poetic existentialism, not a Ghalib detractor (IANS Column: Bazm-e-Ghazal) #IndiaNEWS #National ,SPOTLIGHT,Art/Culture/Books
By Vikas DattaHis portrayal as an insecure and devious court poet, jealous of emerging talent, in TV serial Mirza Ghalib may be termed artistic license, but is actually disservice to Zauq. While most historic accounts depict him as a courteous and contemplative man, his poetry also shows a loftiness of thought, that makes him an early stand-bearer, if not pioneer, of what would later become existentialism.
No doubt there was some rivalry between Zauq and Ghalib, as is between leading practitioners of any craft, but it did not lend itself to such snide behaviour from him as in the serial. His depiction in the film Mirza Ghalib is more balanced, where he does not lose his equanimity as audience beating him to complete some of his best known shers, and then, goes on to introduce Ghalib when the latters turn comes.
Sheikh Mohammad Ibrahim Zauq (1789/90-1854) hailed from modest circumstances, being the son of a mere soldier in what was left of the once-glorious Mughal Army. His elementary education was at the house of a nearby cleric, who also wrote poetry and was consulted by aspiring poets. Their discussions made an impression on young Zauq.
As I used to hear them, many verses stuck in my memory. My heart received a sort of spiritual pleasure from the reading and hearing of poetry. And I used to wander around, always reciting to myself. My heart was full of enthusiasm, and I used to pray to God, Oh God, may I learn to compose poetry! author Mohammad Hussain Azad, who personally knew Zauq, quoted him as saying in his magisterial Aab-e-Hayat, the first-ever history of Urdu poetry (1880).
The self-learnt Zauq also got some guidance from a senior poet, before the latter grew indifferent, and then envious. A showdown ensured when he wrote a ghazal on the metre of celebrated poet Mirza Mohammad Rafi Sauda and was roundly abused for his presumptuousness. As the Aab-e-Hayat recounts, Zauq went and reflected in a shrine where he ran into another senior poet of his acquaintance, who asked why he was so downcast. As Zauq revealed what had happened, the poet asked him to recite his ghazal, praised it, and told him to go ahead with it at a mushairah, saying If anyone makes an objection, it will be my responsibility to answer it.
And as Azad writes, Zauq did and it was a turning point: Now his poetry began to be more widely spoken of. The liveliness of his temperament and the energy of his verses began to run through listeners hearts like electricity Venerable elders of pure temperament, who were the living memorials of the masters of the past, saw him in the mushairah and graciously praised him and lifted his heart. In fact, if they arrived after he had recited his ghazal, they made him recite it again.

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