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Your views are as narrow as your tie.

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Tie your bulls

Man beat man with whom
His wife or daughter has slept.
Woman beat woman with whom
Her husband has affairs.
Who strays is spared and
The respondents are attacked.
My cow roams; tie your bulls.
It is barbarism to show
Violence at consensual sex.
25.02.2012

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All In Your Mind

Who am I, what am I, why am I here,
As you accumulate knowledge all will become clear,
You ask, ‘' Who Am I '' be it daughter or son,
Remember you're unique the only one.

Throughout your existence all life you must treasure,
When you think, I am me, it will give you pleasure,
Only you can decide who you will be,
Take a look in the mirror who is it you see.

You can be what you want regardless of others,
Respect your ideals bad influence smothers,
By listening and digesting much more will be learned,
Discard all evil and respect you'll have earned.

Whatever you're told do not always believe,
The truth will lie more in what you perceive,
Choices you make now and throughout your life,
Will determine if living is with joy or strife.

Family are precious as are good friends,
Ensure their relationship never ends,
True allies are scarce so please be aware,
If you keep them close for you they'll be there.

You will come across others whose aim is to change,
How you are swayed is for you to arrange,
Evil will follow your life from afar,
If you stay true to yourself you'll find out,

Who You Are

You ask, ‘'What Am I'' you're a human being,
Don't ever believe that you are all seeing,
You're here for a reason and like it or not,
What you will be can never be bought.

Learn all you can and to yourself stay true,
If you ignore this lesson chaos will ensue,
There will be those who will try to deceive,
If you allow them their corruption they'll weave.

Our views are for sharing but if you remain wise,
You'll recognise truth and dispel any lies,
You have your own mind and you have a choice,
Think before speaking there's trouble in voice.

Actions have consequences they have a knock on effect,
Think of all others show them respect,
Go through your options with careful precision,
Be aware of the outcomes before making that decision.

When the time comes to make them be fully aware,
Those choices you make will show if you care,
Always admit it when mistakes are made,
That is how sound foundations are laid.

By showing compassion giving others a chance,
You will feel fulfilment your life you'll enhance,
Try to judge yourself from afar,
If you like what you see you will know,

What You Are.

It's now time to ask, ‘' Why Am I Here '',
This is a question you need never fear,
You're here because of two loving people,
Whose love climbed higher than the tallest steeple.

By sharing this passion with you they were gifted,
Their life was complete their spirits were lifted,
You gave them a reason to love forever,
Their bond for you nothing can sever.

Their love is a gift which is not one way,
Your respect for them will forever stay,
Their aim in life now is for you to succeed,
You will if you're honest and never mislead.

We all long for happiness that's why we're living,
It's not all about taking it's also about giving
So never be preoccupied by the lure of vast wealth,
It's far more important to look after your health.

As your knowledge grows you'll learn about love,
One day you'll find out it's a gift from above,
When you meet the right person then true love will flow,
That awesome feeling will bring on a glow.

As you then mature and your life's unfurled,
You will learn yes this can be a wonderful world,
Those answers you've sought I'm sure you'll now find,
Are no longer a mystery they are,

'' All In Your Mind ''

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Solomon on the Vanity of the World, A Poem. In Three Books. - Power. Book III.

The Argument


Solomon considers man through the several stages and conditions of life, and concludes, in general, that we are all miserable. He reflects more particularly upon the trouble and uncertainty of greatness and power; gives some instances thereof from Adam down to himself; and still concludes that All Is Vanity. He reasons again upon life, death, and a future being; finds human wisdom too imperfect to resolve his doubts; has recourse to religion; is informed by an angel what shall happen to himself, his family, and his kingdom, till the redemption of Israel; and, upon the whole, resolves to submit his inquiries and anxieties to the will of his Creator.


Come then, my soul: I call thee by that name,
Thou busy thing, from whence I know I am;
For, knowing that I am, I know thou art,
Since that must needs exist which can impart:
But how thou camest to be, or whence thy spring,
For various of thee priests and poets sing.

Hearest thou submissive, but a lowly birth,
Some secret particles of finer earth,
A plain effect which Nature must beget,
As motion orders, and as atoms meet,
Companion of the body's good or ill,
From force of instinct more than choice of will,
Conscious of fear or valour, joy or pain,
As the wild courses of the blood ordain;
Who, as degrees of heat and cold prevail,
In youth dost flourish, and with age shalt fail,
Till, mingled with thy partner's latest breath,
Thou fliest, dissolved in air and lost in death.

Or, if thy great existence would aspire
To causes more sublime, of heavenly fire
Wert thou a spark struck off, a separate ray,
Ordain'd to mingle with terrestrial clay,
With it condemn'd for certain years to dwell,
To grieve its frailties, and its pains to feel,
To teach it good and ill, disgrace or fame,
Pale it with rage, or redden it with shame,
To guide its actions with informing care,
In peace to judge, to conquer in the war;
Render it agile, witty, valiant, sage,
As fits the various course of human age,
Till, as the earthly part decays and falls,
The captive breaks her prison's mouldering walls,
Hovers awhile upon the sad remains,
Which now the pile or sepulchre contains,
And thence, with liberty unbounded, flies,
Impatient to regain her native skies?

Whate'er thou art, where'er ordain'd to go,
(Points which we rather may dispute than know)
Come on, thou little inmate of this breast,
Which for thy sake from passions'l divest
For these, thou say'st, raise all the stormy strife,
Which hinder thy repose, and trouble life;
Be the fair level of thy actions laid
As temperance wills and prudence may persuade
By thy affections undisturb'd and clear,
Guided to what may great or good appear,
And try if life be worth the liver's care.

Amass'd in man, there justly is beheld
What through th whole creation has excell'd,
The angel's forecast and intelligence:
Say, from these glorious seeds what harvest flows?
Recount our blessings, and compare our woes:
In its true light let clearest reason see
The man dragg'd out to act, and forced to be;
Helpless and naked, on a woman's knees,
To be exposed or rear'd as she may please,
Feel her neglect, and pine from her disease:
His tender eye by too direct a ray
Wounded, and flying from unpractised day;
His heart assaulted by invading air,
And beating fervent to the vital war;
To his young sense how various forms appear,
That strike this wonder, and excite his fear;
By his distortions he reveals his pains;
He by his tears and by his sighs complains,
Till time and use assist the infant wretch,
By broken words, and rudiments of speech,
His wants in plainer characters to show,
And paint more perfect figures of his wo,
Condemn'd to sacrifice his childish years
To babbling ignorance, and to empty fears;
To pass the riper period of his age,
Acting his part upon a crowded stage;
To lasting toils exposed, and endless cares,
To open dangers, and to secret snares;
To malice which the vengeful foe intends,
And the more dangerous love of seeming friends:
His deeds examined by the people's will.
Prone to forget the good, and blame the ill;
Or, sadly censured in their cursed debate,
Who, in the scorner's or the judge's seat
Dare to condemn the virtue which they hate:
Or would he rather leave this frantic scene,
And trees and beasts prefer to courts and men,
In the remotest wood and lonely grot
Certain to meet that worst of evils, thought,
Different ideas to his memory brought,
Some intricate, as are the pathless woods,
Impetuous some, as the descending floods;
With anxious doubts, with raging passions torn,
No sweet companion near with whom to mourn,
He hears the echoing rock return his sighs,
And from himself the frighted hermit flies.

Thus, through what path soe'er of life we rove,
Rage companies our hate, and grief our love;
Vex'd with the present moment's heavy gloom,
Why seek we brightness from the years to come?
Disturb'd and broken, like a sick man's sleep,
Our troubled thoughts to distant prospects leap,
Desirous still what flies us to o'ertake;
For hope is but the dream of those that wake:
But looking back we see the dreadful train
Of woes, anew, which, were we to sustain,
We should refuse to tread the path again:
Still adding grief, still counting from the first,
Judging the latest evil still the worst,
And sadly finding each progressive hour
Heighten their number and augment their power,
Till by one countless sum of woes oppress'd,
Hoary with cares, and ignorant of rest,
We find the vital springs relax'd and worn,
Compell'd our common impotence to mourn:
Thus, through the round of age, to childhood we return;
Reflecting find, that naked, from the womb
We yesterday came forth; that in the tomb
Naked again we must to-morrow lie,
Born to lament, to labour, and to die.

Pass we the ills which each man feels or dreads,
The weight or fall'n or hanging o'er our heads;
The bear, the lion, terrors of the plain,
The sheepfold scatter'd, and the shepherd slain;
The frequent errors of the pathless wood,
The giddy precipice, and the dangerous flood;
The noisome pestilence, that in open war
Terrible, marches through the mid-way air,
And scatters death; the arrow that by night
Cuts the dank mist, and fatal wings its flight;
The billowing snow, and violence of the shower,
That from the hills disperse their dreadful store,
And o'er the vales collected ruin pour;
The worm that gnaws the ripening fruit, sad guest,
Canker or locust, hurtful to infest
The blade; while husks elude the tiller's care,
And eminence of want distinguishes the year.

Pass we the slow disease, and subtile pain
Which our weak frame is destined to sustain;
The cruel stone with congregated war,
Tearing his bloody way; the cold catarrh,
With frequent impulse, and continued strife
Weakening the wasted seeds of irksome life;
The gout's fierce rack, the burning fever's rage,
The sad experience of decay and age,
Herself the sorest ill, while death and ease,
Oft and in vain invoked, or to appease
Or end the grief, with hasty wings recede
From the vex'd patient and the sickly bed.

Nought shall it profit that the charming fair,
Angelic, softest work of Heaven, draws near
To the cold shaking paralytic hand,
Senseless of Beauty's touch, or Love's command,
No longer apt or able to fulfil
The dictates of its feeble master's will.
Nought shall the psaltery and the harp avail,
The pleasing song, or well-repeated tale,
When the quick spirits their warm march forbear,
And numbing coldness has unbraced the ear.

The verdant rising of the flowery hill,
The vale enamell'd, and the crystal rill,
The ocean rolling, and the shelly shore,
Beautiful objects, shall delight no more,
When the lax'd sinews of the weaken'd eye
Day follows night; the clouds return again
After the falling of the latter rain;
But to the aged blind shall ne'er return
Grateful vicissitude; he still must mourn,
The sun, and moon, and every starry light,
Eclipsed to him, and lost in everlasting night.

Behold where Age's wretched victim lies;
See his head trembling, and his half-closed eyes;
Frequent for breath his panting bosom heaves;
To broken sleeps his remnant sense he gives,
And only by his pains awaking finds he lives.

Loosed by devouring Time, the silver cord
Dissever'd lies; unhonour'd from the board
The crystal urn, when broken, is thrown by,
And apter utensils their place supply.
These things and thou must share one equal lot;
Die and be lost, corrupt and be forgot;
While still another and another race
Shall now supply and now give up the place.
From earth all came, to earth must all return,
Frail as the cord, and brittle as the urn.

But the terror of these ills suppress'd,
And view we man with health and vigour bless'd.
Home he returns with the declining sun,
His destined task of labour hardly done;
Goes forth again with the ascending ray,
Again his travail for his bread to pay,
And find the ill sufficient to the day.
Haply at night he does with honour shun
A widow'd daughter, or a dying son;
His neighbour's offspring he to-morrow sees,
And doubly feels his want in their increase:
The next day, and the next, he must attend
His foe triumphant, or his buried friend.
In every act and turn of life he feels
Public calamities, or household ills;
The due reward to just desert refused,
The trust betray'd, the nuptial bed abused:
The judge corrupt, the long-depending cause,
And doubtful issue of misconstrued laws:
The crafty turns of a dishonest state,
And violent will of the wrong-doing great;
The venom'd tongue, injurious to his fame,
Which nor can wisdom shun nor fair advice reclaim.

Esteem we these, my friend, event and chance,
Produced as atoms form their fluttering dance?
Or higher yet their essence may we draw
From destined order and eternal law?
Again, my Muse, the cruel doubt repeat?
Spring they, I say, from accident or fate?
Yet such we find they are, as can control
The servile actions of our wavering soul;
Can fright, can alter, or can chain the will;
Their ills all built on life, that fundamental ill.

O fatal search! in which the labouring mind,
Still press'd with weight of wo, still hopes to find
A shadow of delight, a dream of peace,
From years of pain one moment of release;
Hoping, at least, she may herself deceive,
Against experience willing to believe,
Desirous to rejoice, condemn'd to grieve,

Happy the mortal man who now at last
Has through this doleful vale of misery pass'd,
Who to his destined stage has carried on
The tedious load, and laid his burden down;
Whom the cut brass or wounded marble shows
Victor o'er Life, and all her train of woes:
He happier yet, who privileged by Fate
To shorter labour and a lighter weight,
Received but yesterday the gift of breath,
Order'd to-morrow to return to death:
But, O! beyond description happiest he
Who ne'er must roll on life's tumultuous sea;
Exempt, must never force the teeming womb,
Nor see the sun, nor sink into the tomb.

Who breathes must suffer, and who thinks must mourn!
And he alone is bless'd who ne'er was born.

'Yet in thy turn, thou frowning Preacher, hear;
Are not these general maxims too severe?
Say, cannot power secure its owner's bliss?
Are victors bless'd with fame, or kings with ease?'

I tell thee, life is but one common care,
And man was born to suffer and to fear.

'But is no rank, no station, no degree,
From this contagious taint of sorrow free?'

None, mortal, none: yet in a bolder strain
Let me this melancholy truth maintain:
But hence, ye worldly and profane, retire,
For I adapt my voice and raise my lyre
To notions not by vulgar ear received;
Yet still must covet life, and be deceived;
Your very fear of death shall make you try
To catch the shade of immortality,
Wishing on earth to linger, and to save
Part of its prey from the devouring grave;
To those who may survive ye to bequeath
Something entire, in spite of time and death;
A fancied kind of being to retrieve,
And in a book, or from a building live.
False hope! vain labour! let some ages fly,
The dome shall moulder, and the volume die.
Wretches, still taught! still will ye think it strange
That all the parts of this great fabric change.
Quit their high station and primeval frame,
And lose their shape, their essence and their name?

Reduce the song; our hopes, our joys, are vain;
Our lot is sorrow, and our portion pain.

What pause from wo, what hopes of comfort bring
The name of wise or great, of judge or king?
What is a king? a man condemn'd to bear
The public burden of the nation's care;
Now crown'd, some angry faction to appease,
Now falls a victim to the people's ease;
From the first blooming of his ill-taught youth
Nourish'd flattery, and estranged from truth:
At home surrounded by a servile crowd,
Prompt to abuse, and in detraction loud;
Abroad begirt with men, and swords and spears,
His very state acknowledging his fears;
Marching amidst a thousand guards, he shows
His secret terror of a thousand foes;
In war, however prudent, great, or brave,
To blind events and fickle chance a slave;
Seeking to settle what for ever flies,
Sure of the toil, uncertain of the prize.

But he returns with conquest on his brow,
Brings up the triumph, and absolves the vow:
The captive generals to his car are tied;
The joyful citizens, tumultuous tide,
Echoing his glory, gratify his pride.
What is this triumph? madness, shouts, and noise,
One great collection of the people's voice.
The wretches he brings back, in chains relate
What may to-morrow be the victor's fate.
The spoils and trophies borne before him show
National loss and epidemic wo,
Various distress which he and his may know.
Does he not mourn the valiant thousands slain,
The heroes, once the glory of the plain,
Left in the conflict of the fatal day,
Or the wolf's portion, or the vulture's prey?
Does he not weep the laurel which he wears,
Wet with the soldiers' blood and widows tears?

See where he comes, the darting of the war!
See millions crowding round the gilded car!
In the vast joys of this ecstatic hour,
And full fruition of successful power,
One moment and one thought might let him scan
The various turns of life, and fickle state of man.
Are the dire images of sad distrust,
And popular change, obscured amid the dust
That rises from the victor's rapid wheel?
Can the loud clarion or shrill life repel
The inward cries of Care? can Nature's voice,
Plaintive, be drown'd, or lessen'd in the noise,
Though shouts, as thunder loud, afflict the air,
Stun the birds, now released, and shake the ivory chair?

Yon crowd, (he might reflect) yon joyful crowd,
Pleased with my honours, in my praise loud,
(Should fleeting victory to the vanquish'd go,
Should she depress my arms and raise the foe)
Would for that foe with equal ardour wait,
At the high palace or the crowded gate,
With restless rage would pull my statues down,
And cast the brass anew to his renown.

O impotent desire of worldly sway!
That I who make the triumph of to-day,
May of to-morrow's pomp one part appear,
Ghastly with wounds, and lifeless on the bier!
Then, (vileness of mankind!) then of all these
Whom my dilated eye with labour sees,
Would one, alas! repeat me good or great,
Wash my pale body, or bewail my fate?
Or, march'd I chain'd behind the hostile car,
The victor's pastime, and the sport of war,
Would one, would one his pitying sorrow lend,
Or be so poor to own he was my friend?

Avails it then, O Reason, to be wise?
To see this cruel scene with quicker eyes?
To know with more distinction to complain,
And have superior sense in feeling pain?

Let us resolve, that roll with strictest eye,
Where safe from time distinguish'd actions lie,
And judge if greatness be exempt from pain,
Or pleasure ever may with power remain.
Adam, great type, for whom the world was made,
The fairest blessing to his arms convey'd,
A charming wife; and air, and sea, and land,
And all that move therein, to his command
Render'd obedient: say, my pensive Muse,
What did these golden promises produce?
Scarce tasting life he was of joy bereaved;
One day I think in Paradise he lived,
Destined the next his journey to pursue
Where wounding thorns and cursed thistles grew.
Ere yet he earns his bread, adown his brow,
Inclined to earth, his labouring sweat must flow;
His limbs must ache, with daily toils oppress'd,
Ere long-wish'd night brings necessary rest:
Still viewing with regret his darling Eve,
He for her follies and his own must grieve.
Bewailing still afresh their hapless choice,
His ear oft frighted with the imaged voice,
Of Heaven when first it thundere'd, oft his view,
Aghast, as when the infant lightning flew,
And the stern cherub stopp'd the fatal road,
Arm'd with the flames of an avenging God,
His younger son on the polluted ground,
First fruit of death, lies plaintive of a wound
Given by a brother's hand; his eldest birth
Flies, mark'd by Heaven, a fugitive o'er earth:
Yet why these sorrows heap'd upon the sire,
Becomes nor man nor angel to inquire.

Each age sinn'd on, and guild advanced with time;
The son still added to the father's crime;
Till God arose, and, great in anger, said,
Lo! it repenteth me that man was made.
And from your deep abyss, ye waters, rise!
The frighted angels heard th' Almighty Lord,
And o'er the earth from wrathful vials pour'd
Tempests and storm, obedient to his word.
Meantime his providence to Noah gave
The guard of all that he design'd to save:
Exempt from general doom the patriarch stood,
Contemn'd the waves, and triumph'd o'er the flood.

The winds fall silent and the waves decrease;
The dove brings quiet, and the clive peace;
Yet still his heart does inward sorrow feel,
Which faith alone forbids him to reveal.
If on the backward world his views are cast,
'Tis death diffused, and universal waste.
Present, (sad prospect!) can he ought descry
But (what affects his melancholy eye)
The beauties of the ancient fabric lost,
In chains of craggy hill, or lengths of dreary coast?
While to high heaven his pious breathings turn'd,
Weeping he hoped, and sacrificing mourn'd;
When of God's image only eight he found
Snatch'd from the watery grave, and saved from nations drown'd;
And of three sons, the future hopes of earth,
The seed whence empires must receive their birth,
One he foresees excluded heavenly grace,
And mark'd with curses fatal to his race.

Abraham, potent prince, the friend of God,
Of human ills must bear the destined load,
By blood and battles must his power maintain,
And slay the monarchs ere he rules the plain;
Must deal just portions of a servile life
To a proud handmaid and a peevish wife;
Must with the mother leave the weeping son,
In want to wander and in wilds to groan;
Must take his other child, his age's hope,
To trembling Moriah's melancholy top,
Order'd to drench his knife in filial blood,
Destroy his heir, or disobey his God.

Moses beheld that God; but how beheld
The Deity, in radiant beams conceal'd,
And clouded in a deep abyss of light!
While present too severe for human sight,
Nor staying longer than one swift-wing'd night
The following days, and months, and years, decreed
To fierce encounter, and to toilsome deed:
His youth with wants and hardships must engage,
Plots and rebellions must disturb his age:
Some Corah still arose, some rebel slave,
Prompter to sink the state than he to save,
And Israel did his rage so far provoke,
That what the Godhead wrote the prophet broke.
His voice scarce heard, his dictates scarce believed,
In camps, in arms, in pilgrimage, he lived,
And died obedient to severest law,
Forbid to tread the Promised land he saw.

My father's life was one long line of care,
A scene of danger and a state of war.
The bear's rough gripe and foaming lion's rage,
By various turns his threaten'd youth must fear
Goliath's lifted sword and Saul's emitted spear.
Forlorn he must, and persecuted, fly,
Climb the steep mountain, in the cavern lie,
And often ask, and be refused to die.

For ever from his manly toils are known
The weight of power and anguish of a crown.
What tongue can speak the restless monarch's woes,
When God and Nathan were declared his foes?
When every object his offence reviled,
The husband murder'd and the wife defiled,
The parent's sins impress'd upon the dying child!
What heart can think the grief which he sustain',d
When the King's crime brought vengeance on the land,
And the inexorable prophet's voice
Give famine, plague, or war, and bid him fix his choice?

He died; and, oh! may no reflection shed
Its poisonous venom on the royal dead:
Yet the unwilling truth must be express'd
Which long has labour'd in this pensive breast;
Dying he added to my weight of care;
He made me to his crimes undoubted heir;
Left his unfinish'd murder to his son,
And Joab's blood entail'd on Judah's crown.

Young as I was, I hasted to fulfil
The cruel dictates of my parent's will:
Of his fair deeds a distant view I took,
But turn'd the tube upon his faults to look;
Forgot his youth spent in his country's cause,
His care of right, his reverence to the laws,
But could with joy his years of folly trace,
Broken and old in Bathsheba's embrace
Could follow him where'er he stray'd from good,
And cite his sad example, whilst I trod
Paths open to deceit, and track'd with blood.
With smiles I could betray, with temper kill;
Soon in a brother could a rival view,
Watch all his acts, and all his ways pursue:
In vain for life he to the altar fled;
Ambition and Revenge have certain speed.
Even there, my soul, even there he should have fell,
But that my interest did my rage conceal:
Doubling my crime I promise and deceive,
Purpose to slay, whilst swearing to forgive.
Treaties, persuasions, sighs, and tears, are vain
With a mean lie cursed vengeance I sustain.
Join fraud to force, and policy to power,
Till of the destined fugitive secure,
In solemn state to parricide I rise,
And, as God lives, this day my brother dies.

Be witness to my tears, celestial Muse!
In vain I would forget, in vain excuse,
Fraternal blood by my direction spilt;
In vain on Joab's head transfer the guilt:
The deed was acted by the subject's hand,
The sword was pointed by the King's command:
Mine was the murder; it was mine alone;
Years of contrition must the crime atone:
Nor can my guilty soul expect relief
But from a long sincerity of grief.

With an imperfect hand and trembling heart,
Her love of truth superior to her art,
Already the reflecting Muse has traced
The mournful figures of my actions past,
The pensive goddess has already taught
How vain is hope, and how vexatious thought;
From growing childhood to declining age,
How tedious every step, how gloomy every stage,
This course of vanity almost complete,
Tired in the field of life, I hope retreat
In the still shades of death; for dread, and pain,
And grief, will find their shafts elanced in vain,
And their points broke, retorted from the head,
Safe in the grave, and free among the dead.

Yet tell me, frighted reason! what is death?
Blood only stopp'd, and interrupted breath?
The utmost limit of a narrow span,
And end of motion, which with life began?
As smoke that rises from the kindling fires
Is seen this moment, and the next expires;
As empty clouds by rising winds are lost,
Their fleeting forms scarce sooner found than lost,
So vanishes our state, so pass our days,
So life but opens now, and now decays;
The cradle and the tomb, alas! so nigh,
To live is scarce distinguish'd from to die.

Cure of the miser's wish and coward's fear,
Death only shows us what we knew was near,
With courage therefore view the pointed hour,
Dread not Death's anger, but expect his power,
Nor Nature's law with fruitless sorrow mourn,
But die, O mortal man! for thou wast born.

Cautious through doubt, by want of courage wise,
To such advice the reasoner still replies.

Yet measuring all the long continued space,
Every successive day's repeated race,
Since Time first started from his pristine goal,
Till he had reach'd that hour wherein my soul
Join'd to my body swell'd the womb, I was
(At least I think so) nothing; must I pass
Again to nothing when this vital breath
Ceasing, consigns me o'er to rest and death?
Must the whole man, amazing thought! return
To the cold marble or contracted urn?
And never shall those particles agree
That were in life this individual he?
But sever'd, must they join the general mass,
Through other forms and shapes ordain'd to pass,
Nor thought nor image kept of what he was?
Does the great word that gave him sense ordain
That life shall never wake that sense again?
And will no power his sinking spirits save
From the dark caves of death, and chambers of the grave?

Each evening I behold the setting sun
With downward speed into the ocean run;
Yet the same light (pass but some fleeting hours)
Exerts his vigour and renews his powers;
Starts the bright race again: his constant flame
Rises and sets, returning still the same.
I mark the various fury of the winds;
These neither seasons guide nor order binds;
They now dilate, and now contract their force;
Various their speed, but endless is their course,
From his first fountain and beginning ooze,
Down to the sea each brook and torrent flows;
Though sundry drops or leave or swell the stream,
The whole still runs, with equal pace the same;
Still other waves supply the rising urns,
And the eternal flood no want of water mourns.

Why then must man obey the sad decree,
Which subjects neither sun, nor wind, nor sea?

A flower that does with opening morn arise,
And flourishing the day at evening dies;
A winged eastern blast, just skimming o'er
The ocean's brow, and sinking on the shore;
A fire, whose flames through crackling stubbles fly;
A meteor shooting from the summer sky;
A bowl adown the bending mountain roll'd;
A bubble breaking, and a fable told;
A noontide shadow, and a midnight dream,
Are emblems which with semblance apt proclaim
Our earthly course; but, O my Soul! so fast
Must life run off, and death for ever last!

This dark opinion sure is too confined,
Else whence this hope and terror of the mind?
Does something still, and somewhere, yet remain,
Reward or punishment, delight or pain?
Say, shall our relics second birth receive?
Sleep we to wake, and only die to live?
When the sad wife has closed her husband's eyes,
And pierced the echoing vault with doleful cries,
Lies the pale corpse not yet entirely dead,
The spirit only from the body fled,
The grosser part of heat and motion void,
To be by fire, or worm, or time, destroy'd;
The soul, immortal substance, to remain
Conscious of joy and capable of pain?
And if her acts have been directed well,
While with her friendly clay she deign'd to dwell,
Shall she with safety reach her pristine seat,
Find her rest endless, and her bliss complete?
And while the buried man we idly mourn,
Do angels joy to see his better half return?
But if she has deform'd this earthly life
With murderous rapine and seditious strife,
Amazed, repulsed, and by those angels driven
From the ethereal seat and blissful heaven,
In everlasting darkness must she lie,
Still more unhappy that she cannot die?
Amid two seas, on one small point of land,
Wearied, uncertain, and amazed, we stand;
On either side our thoughts incessant turn,
Forward we dread, and looking back we mourn,
Losing the present in this dubious haste,
And lost ourselves betwixt the future and the past.

These cruel doubts contending in my breast,
My reason staggering and my hopes oppress'd,
Once more I said, once more I will inquire,
What is this little, agile, pervious fire,
This flattering motion which we call the Mind,
How does she act? and where is she confined?
Have we the power to give her as we please?
Whence then those evils that obstruct our ease?
We happiness pursue: we fly from pain;
Yet the pursuit and yet the flight is vain;
And while poor Nature labours to be bless'd,
By day with pleasure, and by night with rest,
Some stronger power eludes our sickly will,
Dashes our rising hope with certain ill,
And makes us, with reflective trouble, see
That all is destined which we fancy free.

That power superior then which rules our mind,
Is his decree by human prayer inclined?
Will he for sacrifice our sorrows ease!
And can our tears reverse his firm decrees?
Then let religion aid where reason fails,
Throw loads of incense in to turn the scales,
And let the silent sanctuary show,
What from the babbling schools we may not know,
How man may shun or bear his destined part of wo.

What shall amend, or what absolve our fate?
Anxious we hover in a mediate state
Betwixt infinity and nothing; bounds,
Or boundless terms, whose doubtful sense confounds:
Unequal thought, whilst all we apprehend
Is, that our hopes must rise, our sorrows end,
As our Creator deigns to be our friend.

I said, - and instant bade the priests prepare
The ritual sacrifice and solemn prayer.
Select from vulgar herds, with garlands gay,
A hundred bulls ascend the sacred way:
The artful youth proceed to form the choir,
They breathe the flute, or strike the vocal wire.
The maids in comely order next advance,
They beat the timbrel and instruct the dance:
Follows the chosen tribe, from Levi sprung,
Chanting by just return the holy song.
Along the choir in solemn state they pass'd,
- The anxious King came last.
The sacred hymn perform'd, my promised vow
I paid, and, bowing at the altar low.

Father of heaven! I said, and Judge of earth!
Whose word call'd out this universe to birth,
By whose kind power and influencing care
The various creatures move, and live, and are;
But ceasing once that care, withdrawn that power,
They move (alas!) and live, and are no more;
Omniscient Master, omnipresent King,
To thee, to thee my last distress I bring.

Thou that canst still the raging of the seas,
Chain up the winds, and bid the tempests cease,
Redeem my shipwreck'd soul from raging gusts
Of cruel passion and deceitful lusts;
From storms of rage and dangerous rocks of pride,
Let thy strong hand this little vessel guide,
(It was thy hand that made it) through the tide
Impetuous of this life, let thy command
Direct my course, and bring me safe to land.

If, while this wearied flesh draws fleeting breath,
Not satisfied with life, afraid of death,
It haply be thy will that I should know
Glimpse of delight, or pause from anxious wo,
From now, from instant now, great Sire! dispel
The clouds that press my soul; from now reveal
A gracious beam of light; from now inspire
My tongue to sing, my hand to touch the lyre;
My open'd thought to joyous prospects raise,
And for thy mercy let me sing thy praise:
Or, if thy will ordains, I still shall wait
Some new hereafter and a future state,
Permit me strength my weight of wo to bear,
And raise my mind superior to my care.
Let me, howe'er unable to explain
The secret lab'rinths of thy ways to man,
With humble zeal confess thy awful power,
Still weeping hope, and wondering, still adore:
So in my conquest be thy might declared,
And for thy justice be thy name revered.

My prayer scarce ended, a stupendous gloom
Darkens the air; loud thunder shakes the dome:
To the beginning miracle succeed
An awful silence and religious dread.
Sudden breaks forth a more than common day,
The sacred wood, which on the alter lay
Untouch'd, unlighted glows -
Ambrosial odour, such as never flows
From Arab's gum or the Sabaean rose,
Does round the air evolving scents diffuse:
The holy ground is wet with heavenly dews:
Celestial music (such Jessides' lyre,
Such Miriam's timbrel would in vain require)
Strikes to my thought through admiring ear,
With ecstasy too fine, and pleasure hard to bear:
And, lo! what sees my ravish'd eye? what feels
My wondering soul? an opening cloud reveals
A heavenly form embodied and array'd
With robes of light, I heard; the angel said,

Cease, Man, of women born, to hope relief
From daily trouble and continued grief.
Thy hope of joy deliver to the wind:
Suppress thy passions, and prepare thy mind.
Free and familiar with misfortune grow;
Be used to sorrow, and inured to wo.
By weakening toil and hoary age o'ercome,
See thy decrease, and hasting to thy tomb.
Leave to thy children tumult, strife, and war,
Portions of toil, and legacies of care:
Send the successive ills through ages down,
And let each weeping father tell his son
That, deeper struck, and more distinctly grieved,
He must augment the sorrows he received.

The child to whose success thy hope is bound,
Ere thou art scarce interr'd or he is crown'd,
To lust of arbitrary sway inclined,
(That cursed poison to the prince's mind!)
Shall from thy dictates and his duty rove,
And lose his great defence, his people's love:
Ill counsell'd, vanquish'd, fugitive, disgraced,
Shall mourn the fame of Jacob's strength effaced:
Shall sigh the King diminish'd, and the crown
With lessen'd rays descending to his son:
Shall see the wreaths his grandsire knew to reap
By active toil and military sweat,
Rining incline their sickly leaves, and shed
Their falling honours from his giddy head:
By arms or prayer unable to assuage
Domestic horror and intestine rage,
Shall from the victor and the vanquish'd fear,
From Israel's arrow and from Judah's spear:
Shall cast his wearied limbs on Jordan's flood,
By brothers' arms disturb'd, and stain'd with kindred blood.

Hence labouring years shall weep their destined race,
Charged with ill omens, sully'd with disgrace;
Time, by necessity compell'd, shall go
Through scenes of war, and epochas of wo:
The empire lessen',d in a parted stream
Shall lose its course -
Indulge thy tears; the Heathen shall blaspheme;
Judah shall fall, oppress'd by grief and shame,
And men shall from her ruins know her fame.

New Egypts yet and second bonds remain,
A harsher Pharaoh, and a heavier chain.
Again, obedient to a dire command,
Thy captive sons shall leave the promised land;
Their name more low, their servitude more vile,
Shall on Euphrates' bank renew the grief of Nile.

These pointed spires that wound the ambient sky,
Inglorious change shall in destruction lie
Low, levell'd with the dust, their heights unknown,
Or measured by their ruin. Yonder throne,
For lasting glory built, design'd the seat
Of kings for ever bless'd, for ever great,
Removed by the invader's barbarous hand,
Shall grace his triumph in a foreign land:
The tyrant shall demand yon' sacred load
Of gold and vessels set apart to God,
Then by bile hands to common use debased,
Shall send them flowing round his drunken feast,
With sacrilegious taunt and impious jest.

Twice fourteen ages shall their way complete,
Empires by various turns shall rise and set,
While thy abandon'd tribes shall only know
A different master and a change of wo;
With downcast eyelids, and with looks aghast,
Shall dread the future or bewail the past.
Afflicted Israel shall sit weeping down,
Fast by the streams where Babel's waters run,
Their harps upon the neighbouring willows hung,
Nor joyous hymn encouraging their tongue,
Nor cheerful dance their feet; with toil oppress'd,
Their wearied limbs aspiring but to rest.
In the reflective stream the sighing bride,
Viewing her charms impair'd, abash'd shall hide
Her pensive head, and in her languid face
The bridegroom shall foresee his sickly race,
While ponderous fetters vex their close embrace
With irksome anguish then your priests shall mourn
Their long neglected feasts despair'd return,
And sad oblivion of their solemn days:
Thenceforth their voices they shall only raise,
Louder to weep. By day your frighted seers
Shall call for fountains to express their tears,
And wish their eyes were floods: by night, from dreams
Of opening gulfs, black storms, and raging flames,
Starting amazed, shall to the people show
Emblems of heavenly wrath, and mystic types of wo.

The captives, as their tyrant shall require
That they should breathe the song and touch the lyre,
Shall say, Can Jacob's servile race rejoice,
Untuned the music, and disused the voice?
What can we play, (they shall discourse) how sing
In foreign lands, and to a barbarous king?
We and our fathers, from our childhood bred
To watch the cruel victor's eye, to dread
The arbitrary lash, to bend, to grieve,
(Outcast of mortal race) can we conceive
Image of ought delightful, soft, or gay?
Alas! when we have toil the longsome day,
The fullest bliss our hearts aspire to know,
Is but some interval from active wo;
In broken rest and startling sleep to mourn,
Till morn the tyrant and the scourge return:
Bred up in grief, can pleasure be our theme?
Our endless anguish does not nature claim?
Reason and sorrow are to us the same.
Alas! with wild amazement we require
If idle Folly was not Pleasure's sire?
Madness, we fancy, gave an ill-timed birth.

This is the series of perpetual wo
Which thou, alas! and thine, are born to know.
Illustrious wretch! repine not nor reply;
View not what Heaven ordains with reason's eye;
Too bright the object is, the distance is too high.
The man who would resolve the work of fate
May limit number and make crooked straight:
Stop thy inquiry, then, and curb thy sense,
'Tis God who must dispose and man sustain,
Born to endure, forbidden to complain:
Thy sum of life must his decrees fufil;
What derogates from his command is ill,
And that alone is good which centres in his will.

Yet that thy labouring senses may not droop,
Lost to delight, and destitute of hope,
Remark what I, God's messenger, aver
From him who neither can deceive nor err.
The land, at length redeem'd, shall cease to mourn,
Shall from her sad captivity return:
Sion shall raise her long-dejected head,
And in her courts the law again be read,
Again the glorious temple shall arise,
And with now lustre pierce the neighbouring skies:
The promised seat of empire shall again
Cover the mountain and command the plain;
And from thy race distinguish'd, One shall spring
Greater in act than victor, more than king;
In dignity and power sent down from heaven
To succour earth. To him, to him, 'tis given
Passion, and care, and anguish, to destroy;
Through him soft peace and plenitude of joy
Perpetual o'er the world redeem'd shall flow;
No more may man inquire or angel know.

Now, Solomon, remembering who thou art,
Act through thy remnant life a decent part:
Go forth; be strong; with patience and with care
Perform and suffer; to thyself severe,
Gracious to others, thy desires suppress'd,
Diffused thy virtues, first of men, be best.
Thy sum of duty let two words contain,
O may they graven in thy heart remain!
Be humble and be just. The angel said:
With upward speed his agile wings he spread,
Whilst on the holy ground I prostrate lay,
By various doubts impell'd, or to obey
Or to object; at length (my mournful look
Heavenward erect) determined, thus I spoke:

Supreme, all-wise, eternal Potentate!
Sole author, sole disposer, of our fate!
Enthroned in light and immortality,
Whom no man fully sees, and none can see!
Original of Beings! Power divine!
Since that I live, that I think, is thine;
Benign Creator! let thy plastic hand
Dispose its own effect: let thy command
Restore, great Father, thy instructed son,
And in my act may thy great will be done.

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Elegy On Jigar Moradabadi

INTRODUCTION

Mr. Aziz Ahmad has written an Elegy on the Poet Haji Ali Sikander, commonly known as Jigar Moradabadi. The poem is in 48 stanzas of Eight lines each followed by 48 paragraphs of notes, one for each stanza. They explain the real mood of the stanzas. This is perhaps the first time that an Elegy in English on an Urdu Poet has been attempted. Elegiac poems in Urdu are common. The marsais of Anis and Dabir are long elegiac poems of unsurpassed beauty. An Elegy is literally a song or poem of mourning. The English examples are Lycidas, Adonais and Thyrsis. They are true elegies although Gray's well-known Elegy, which was written in a country churchyard does not mourn anyone in particular and deals with 'the pathos of mortality'.

English Elegies, like Latin Elegies before, were written in a metre called elegiac. Any poem written in that metre was called an Elegy irrespective of the subject matter. Later the point about metre was dropped and any poem was considered an elegy if the subject matter was what I have described, irrespective of the metre. Today the subject and metre must coincide to make a proper elegy.

The metre must be hexameter or pentameter. A hexameter is of six measures the fifth being a dactyl and the sixth either a spondee or a trochee. The other four may be either a dactyls or spondees. An example is Longfellow's Evangeline. Homer's two epic poems and Virgil's Aeneid are in hexameter. Pentameter verse is in two parts, each of which ends with an extra long syllable. The first half consists of two metres, dactyls or spondees, the latter half must be two dactyls.

I have said this because metre-wise this poem in English will not be regarded as a proper Elegy but subject-wise it is. Perhaps Mr. Aziz Ahmad can cast the lines again. *

Subject-wise the poem is excellent. Jigar who wrote of himself:

Jigar main ne chhupaya lakh upna dard o ghum lekin
Bayan kardeen meri surat nay sub kaifiyatein dilki

Was a poet in the front rank in India and in the days when there were Iqbal, Fani and Firaq and several others. Tabassum Nizami has done a great deal to bring his life before us, and his books Daghe Jigar, Shola- e- Toor and Aatishe Gul are poetry which is seldom equaled.

No wonder Mr. Aziz Ahmad's heart bleeds at the very thought of Jigar's death in 1960. Not only has he paid his sincere homage to his memory but he has described the anguish of the family and friends. Jigar would have said:

Meri roodad e ghum who sun rahe hain
Tabassum sa labon par araha hai
Jigar hi ka na ho afsana koi
Daro devar ko hal araha hai.

Mr. Aziz Ahmad's heart-rending verses do make even the doors and walls get into ecstasy!

23rd September,1981 M. Hidayatullah
6, Maulana Azad Road, Vice- President
New Delhi-110011. of India

*AUTHOR'S CLARIFICATION

I append here for ready reference the views of the reputed critics about modern poetry, which are printed on pages 223,224 and 225 of “The Study of Poetry” by A.R. Entwistle.

The reaction against metre in modern poetry is only another symptom of the dissatisfaction with things as they are. The movement towards “free verse” is, of course, no new thing. The experiment of Matthew Arnold, Henley, Walt Whitman and others occur readily to the mind.

Here it is useful to know how the new poetry affected Professor Churton Collins:

“If a man six feet high, of striking masculine beauty and of venerable appearance, chooses to stand on his head in the public streets….. he will at least attract attention, and create some excitement; secondly……..the law of reaction in literature, as in everything else, will assert itself, that when poetry has long attained perfection in form and has been running smoothly in conventional grooves, there is certain to be a revolt both on the part of poets themselves and in the public taste, and the opposite extreme will be affected and welcomed; and thirdly, ……… if a writer has the courage or impudence to set sense, taste, and decency at defiance and, posing sometimes as a mystic and sometimes as a mountebank, to express himself in the jargon of both, and yet has the genius to irradiate his absurdities with flashes of wisdom, beauty, and inspired insight, three things are certain to result, ……… namely, sympathy from those who favor the reaction, disgust on the part of those who belong to neither party, but who are quite willing to judge what they find on its own merits.”

For the frankly modernist view we turn to Mr. Robert Graves, who says:

“Poetry has, in a word, begun to 'go round the corner'; the straight street in which English bards have for centuries walked is no longer so attractive, now that a concealed turning has been found opening up a new street or network of streets whose existence tradition hardly suspected. Traditionalists will even say of the adventures: ' They have completely disappeared; they are walking in the suburbs of poetry called alternatively Nonsense or Madness.' But it disturbs these traditionalists that the defections from the highway are numerous, and that the poets concerned cannot be accused of ignorance of the old ways, of mental unbalance in other departments of life, or in insincerity.”

The spirit of the present generation is in marked degree anti-traditional, and it would easy, but tiresome, to show by copious quotations how welcome the spirit of revolt has become.

Similar tendency is found in modern Urdu Poetry. We should see, what Akbar Allahbadi says in connection.

Qaedon men husne mani gum karo
Sher main kehta hoon hijje tum karo

(Lose in rules beauty of meanings;
Verse I compose, you do spellings.)

Since this elegy consists of a mixture of a Urdu and English words, it is practically impossible to confine it to the conventional English metre.

Aziz Ahmad

FOREWORD

I have with interest gone through the Elegy on the death of the late Haji Ali Sikander, Jigar Moradabadi, presented to me for my comments by Mr. Aziz Ahmad, the author. I am impressed by his style and art. It shows his deep love for Jigar Moradabadi who was a poet of great genius. It seems that he has a good knowledge of the life and art of Jigar. As he has written in the Preface that no poet has so far written an elegy in English on the death of any Urdu poet is, as far as I know, correct. The endeavour is his own. Some points given in the Elegy have already become widely known, while some others are quite new. When I started reading it, I was so charmed that I could not leave it unfinished. It is a fine piece of literature and fascinates its readers. I appreciate the unity of the poem. The stanzas employed help to bind the parts of the poem together into a single whole, so that it becomes a

“Silver chain of sound
of many links, without a break.”

The choice of words and constructions are commendable. I feel that Mr. Aziz Ahmad make a very good use of rhetorical language. The poem is a rhymed product of the author's imagination. He has, no doubt, chosen a dignified subject- the death of a great poet, but the distinction lies in the fact that he has beautifully portrayed his life as well as art.

The poem is elaborate in workmanship and is long enough, with orderly development and fine descriptions. The interplay of emotion, reflection and spontaneity are commendable. At the same time he has no want of narrative force. His logical transition from one thought to another is praiseworthy. The description of scenes in the poem presents a clear picture before the eyes of the readers. The author exhibits his real respect fro Jigar and grief over his death.

In my view, the poem is great due to the following grounds: -

There is in the proposition- ' I weep for Jigar Moradabadi………'; the invocations to Jigar's dead mother and the Spirit of poetry etc.; the mourning of the relatives and friends; the procession of the mourners in concrete and abstract form;
The partaking of nature and Super-natural beings in grief; the praise of the distinctive traits of the life and art of Jigar; and the reward that the great poet has found a place in paradise and has become eternal in death. In the end, the note of personal lament shows his deep personal attachment.

While mentioning many good qualities of Jigar Sahib's personality Mr. Aziz Ahmad rightly emphasized in the last two lines of Stanza no.25 that he little bothered for money. Just to endorse his point I would like to relate one incident which vividly remember even today. In June,1947 an All India Mushaira was organized in Shahajan pur, U.P. Although a student of 10th Class, I happened to be one of the organizers of this function. Unfortunately because of extremely bad weather and sudden heavy rains, the Mushaira was a total failure. All was upset. Not a single poet could recite his poems. We lacked funds even to pay the traveling expenses of more than 12 poets who had arrived to participate in Mushaira, including such popular poets as Salam Machli Shahri and Khumar Barabankvi. Jigar Sahib was staying with one of his pupils Mr. Habab Tirmizi. The poets were demanding money and we were worries how to satisfy them. Jigar Sahib apprehended the whole situation. He got up quietly, went to the wall where his Sherwani was hanging, brought out some two hundred rupees and gave us saying, “Give it over to them.”

When in 1955 I met Jigar Sahib in Aligarh and reminded him of this incident, he smiled and pretended as if he did not remember. Many such events can be related which reveal rare moral qualities of his character.

To conclude my comments, I think it appropriate to quote a few lines from the Elegy which I like most.

The following lines remind us of Shelly's Adonais:

Ideals splendid, Desires, Adorations;
Joys blinded with Tears and Winged Persuasions;
In melancholy mood Love and Ties;
Sorrows with her family of Sighs;
With hair unbound and tears their eyes flow,
Came there in form of procession slow,
The slow moving procession might seem
Like pomp of ants in Summer near stream.

Beautiful imagination is presented subtle contrast of the following lines:

Angels waited his life-account to write;
But were dazzled, seeing him in white light.
Who knows not the reason for this light?
His body though dark, his soul was white.
The loveliest personification is found in stanzas no 12 and 13 where

Learning of his death, Wines held a meeting
To condole his death by hard breast-beating.

and where
Some Wines spirited came to his grave;
Their eyes were red, their hearts were brave.

Stanza no 19 testifies to the author's great skill in narration. Pathos is also beautifully given.

It is evident from stanza no.24 that Mr. Aziz Ahmad has been deeply influenced by Robert Frost, a famous American poet.

The superb description is found in stanza no 26 and 27 where Jigar's fondness for playing cards is shown.

In the following lines a fine smile has been used: -

His behavior was like verses laboured,
Every syllable of which is measured.
Respectful with his elders was he,
And with his friend intimate and free.
With his youngers reserved and fatherly,
He treated them kindly and politely.

In stanza no.33 it seems that the author wants to say that Jigar disliked ' Ghazals' composed by ladies; but the idea has been expressed by giving a beautiful definition of 'Ghazal'.

The following lines in stanza no.44 are very befitting: -

Beauty is the base in the lays of Asghar;
But love beautifies the verses of Jigar.

The following lines, though subjective, compel me to appreciate the author: -
Risen above the waves saw I a hand;
All of a sudden, it drew me to land.
It was the hand of Jigar- a rare man
Who is born once in centuries span.

In the following stanza I find a relish of sonnet. It is filled with sincere feelings.

The void so created cannot be filled,
The Hawk of death has the 'Ghazal Bird' killed.
But the time of death is fixed by Him
Who is our Lord without doubt and whim.
The only tribute to him I pay
Is to compose this sorrowful lay.
His features shall in these lines be seen;
If they live, he shall in them be green.

May this endeavour of Mr. Aziz Ahmad be crowned with success and glory! I wish him to give us many more such wonderful poetic pieces.


Dr. Qamar Rais
Reader,
Department of Urdu
University of Delhi

OPINION I

Janab Aziz Ahmad sahib has sent me a copy of an elegy he has composed in the memory of the late lamented Haji Ali Sikandar Jigar, the Doyen of Urdu poets in the Indian sub-continent.

I have gone through this elegy with deep interest and I find that Aziz Sahib loved and admired Jigar Sahib from the core of his heart. He pours out his heart in grief for Jigar whom he considers the zenith of muses. The elegy is a fitting tribute indeed to a person who lived and died for poetry and whose verses shall for ever continue to inspire generations to come.

Some of Aziz Sahib's stanzas are sublime and worth quoting. For instance he speaks from the unexplored depth of his heart when he says: -

For Jigar I weep. And you too weep
With me, for I plunge into the deep
Of pain and sorrow, of grief and tears.
O hapless Hour chosen from all years!
I ask you to rouse your other compeers;
Then together we will weep blood fro tears.
Till future dares forget the past
His name and fame shall ever last.

In stanza no 28 he has painted a true portrait of Jigar. Of such virtues was Jigar made and of such virtues his Ghazals are the outcome. He was noble both in mind and in action.

He was cordial and hospitable most,
And was to his guests a courteous host.
His behaviour was like verses laboured,
Every syllable of which is measured.
Respectful with his elders was he,
And with his friends, intimate and free.
With his youngers, reserved and fatherly,
He treated them kindly and politely.

I am sure that all those who knew and loved Jigar will enjoy the fine quality of the elegy and will realize that Aziz Sahib has for once not taken to poetic exaggeration.

Kunwar Mehender Singh Bedi

OPINION II

Mr. Aziz Ahmad' elegy on Jigar may be unconventional in metre but is wonderful in matter. The poem is the graphic account of the life, character and verse of a great Urdu poet, it has a great imaginative and emotional appeal and is remarkable for fine personification and vivid imagery. It reminds of Shelly's 'Adonais'.

B. K Kansal Ph. D
Chairman HINDU COLLEGE
Dept. of Post-graduate Studies MORADABAD
and Research in English
Banbata Ganj (Near Kamal Talkies) Dated 28th Sept.1981
Moradabad- 244001

PREFACE

The few lines I have put in this little book are nothing but a tribute I am obliged to pay to the memory of the Late Haji Ali Sikandar, Jigar Moradabadi, a relative of mine, to whom I am deeply indebted as the credit of my life's making goes to him.

He was born on 6th April 1890, in Mohalla Lal bagh, Moradabad, U.P., but from the boyhood he left his native city and roamed far and wide to make his life glorious. He was a natural poet of Urdu. If we peep into his life, we find it true that 'a poet is born, not made.'

Asghar Gondwi, a renowned poet of that time, on seeing him, understood full well that he was fated to be great. So, he owned him, guided him and showered his favors on him.

Jigar lived at Gonda, U.P., in the house of his wife, Nasim. Journey had become the part of his life. He reminded mostly out in connection with Mushairas. Whenever he returned home, he wanted us to remain with him. So, I have passed a portion of my life with him and observed him with love and reverence.

I wanted to write something about him in Urdu prose, and to get published some letters and poems written in his own hand, which I have kept safe with me like sacred things.

I started writing it, but by the force of some unknown power, my mind turned to a theme quite novel. In English, as far as I know, nobody has composed an elegy on the death of an Urdu poet. My purpose of writing in this language is that English will be a vehicle to convey my thoughts and outside this country, as English, being an international language, is read and spoken everywhere.

Jigar was acclaimed ' Ghazal King' in his lifetime. He died on September 9,1960 and was laid to rest at Gonda in the lap of his dear country.

He was truly poetic in his habits and disposition, character and conduct, thoughts and feelings, ways and manners, motions and gestures, dressing and clothing, gait and get-up. Moreover he was gifted by Nature with a throat extremely musical. I have poetized my feelings to pay him homage, as, I think, the homage paid to such a great poet should be musical. I hope that his soul will accept it.

When I was staying at Mecca after the performance of 'Haj' in the year 1975, one night I saw him in a dream. During my stay there I had not dreamed of anyone else save him. When I woke up, I felt a sort of restlessness. Then and there, I performed 'Umera' for him.

When he died, I felt a shock of grief. This Elegy is the outlet of the grief I felt then and have concealed so far.

This Elegy contains some points which are quite new, and which the lovers of Jigar Moradabadi are unaware of. Though the Elegy has parts comprising many traits of Jigar, I have tried to make it a unified whole.

I hope that for the lovers of Jigar Moradabadi, this work will be a Souvenir worth keeping.

How far my aims are fulfilled is for the readers to judge!

In the end, I express my thankfulness to Dr. B. K. Kansal, Head of the Department of English, Hindu College, Moradabad, who has been kind to me to give valuable suggestions for this composition.

I am highly grateful to Mr. M. Hidayatullah, Vice- President of India, for his very valuable and illuminating introduction, which throws sufficient light on elegy in English, Urdu and Latin literature, on its matter and metre. His judicial office he has held as the Chief Justice of the Supreme Court.

I also express gratitude to Dr. Qamar Rais and Kunwar Mehender Singh Bedi whose high praise of the poem gave me great encouragement.

Aziz Ahmad

1

I weep for Jigar Moradabadi- he is dead!
O weep for the poet who has beautifully wed
Love and Wine with verses of new time,
And has achieved a fame so sublime!
Wailing and weeping wets the air.
How so sad is the drum of the ear.
How so sad is the whole atmosphere!
There is none who is not in despair.

2

For Jigar I weep. And you too weep
With me, for I plunge into the deep
Of pain and sorrow, of grief and tears.
O hapless Hour chosen from all years!
I ask you to rouse your other compeers;
Then together we will weep blood fro tears.
Till future dares forget the past
His name and fame shall ever last.

3

Weep, O Spirit of poetry! Weep,
For he has gone for his final sleep.
His body though motion less; his soul's brain
Listens to your weeping with woeful strain.
At his death are sorrowful many more
Thank those who loved his poetry and lore.
As a poet he was great; as a man was he sublime.
He has lived life very fine; he is uneaten by time.

4

Alas! O Noble Mother, Mother great
Who bore a poet full many a trait!
You could not see him gathering fame,
Upraising your position and name.
In your grave you might have felt charm
When he would sing his rhymings warm.
Now he has gone into the gulf of death
From where nobody returns to this earth.

5

Angels bewail him as he is mortified,
And bless his three works to be immortalized.
He could not bear when his Motherland's pride
Was being crushed by the liberticide.
Communal ghosts when raised their heads,
Poison was filled in people's heads
By professional leaders' hired men;
Then sorrowful songs flowed his pen.

6

Ideals splendid, Desires, Adorations;
Joys blinded with Tears and Winged Persuasions;
In melancholy mood Love and Ties;
Sorrows with her family of Sighs;
With hair unbound and tears their eyes flow,
Came there in form of procession slow,
The slow moving procession might seem
Like pomp of ants in Summer near stream.

7

Rooms of his house began lamenting anew.
Their weeping was silent, though heard by a few.
Such mute voices rarely poets hear;
Others remain deaf, they do not care.
They heard the sound of his amorous lay
When he would sing there in wondrous way.
To him they responded with their echo.
Oh! he is dead, leaving them in great woe

8

One day before his death, he slowly murmured,
“A compartment of train for me be reserved
As life's journey has come to an end
And I have to go to Other Land.”
Some kin by him were standing silent;
Their eyes were tearful, their heads were bent.
Grief so much shattered his dear wife,
She lost all the pleasures of life.

9

When his bier was to be taken out,
Every one was weeping without doubt.
Short-lived though is general grief,
His wife's agony was not brief.
Till Nature is on its normal course,
Morning after night will nature force.
But his wife will weep, day and night,
As her dear soul has taken flight.

10

The eyes had since stopped their weeping;
Now came turn of the heart's bleeding.
The air had been filled with grief and sorrow;
People hurriedly made many a row
For the prayer with humble salutation,
They prayed to God for his soul's consolation.
Homage was paid to departed soul;
But Death was unmindful of the dole.

11

With open heart, his grave was ready
To welcome warmly his dead body.
Angels waited his life-account to write;
But were dazzled, seeing him in white light.
Who knows not the reason for this light?
His body though dark, his soul was white.
He, in dewy sleep, took his last fill
Of liquid rest, forgetful of ill.

12

Learning of his death, Wines held a meeting
To condole his death by hard breast-beating.
The meeting was attended by all the Wines
Of various colors, tastes and racial lines.
A resolution was proposed in the meeting,
And it was unanimously passed by standing.
Wines were weeping, as he was the one
Who once loved them more than any one.

13

Some Wines spirited came to his grave;
Their eyes were red, their hearts were brave.
They were the ones he had preferred once,
But later divorced them for nuisance.
They came ashamed and fully disguised;
They were by mourners not recognized.
Once he had been under the charm of wine;
Later, he broke all the bottles of wine.

14

His was not more than a twin will
Which he made known when he was ill.
He told his wife in presence of no other
Thank my mother, he anon called her thither.
“You won't break your bangles in my dole;
You won't give alms for balming my soul.”
His wife a gentle lady, told him anon
That these two conditions would not be undone.

15

A Wish lay suppressed within his heart,
Which remained unfulfilled in the last.
He desired his grave to be dug near
Those of his father and mother dear.
But once his mentor made a prophecy.
Every thing of Jigar, his house would see.
His prophecy strangely came to be true;
The dust of his grave him to Gonda drew.

16

His father, who was in paradise,
Heard the news of his son's demise.
The news proved to be dagger to his soul,
Though he was beyond the reach of the dole.
By angels there was a Naat being recited,
Composed by Jigar, the very Naat invited
God who rapt in listening to the numbers
Allotted Jigar one of heaven's chambers.

17

People were drowned in the ocean of grief;
They could not have time for nay relief.
Angels so warmly received his soul;
While Earth took his body as a whole.
Grave swore his body never to mar;
Angels wished his soul to shine like star.
God judged the situation, and then delivered
His body to Grave, and soul to heaven transferred.

18

First couplet he made, when eight years old,
Father scolded him, when he was told.
He said through he was to be a poet,
He should not poetise so early yet.
His father, an adapt in Marsia singing,
Taught him to sing verses in the beginning.
The art of singing he did well maintain;
Many a poet copied him in vain.

19

A lot to adversities came in his early teens;
After father's death, he had no sustaining means.
Kin were not ready to call him their own,
Save his step-uncle who helped him alone.
Relations condemned him; he was lorn;
Some called him poet, kin laughed in scorn.
No one knew then he would change the weather,
And would have in his cap a fine feather.

20

Compelled by the conditions, he drank wine
That gave impetus to his metres fine.
The more he drank, the more civilized;
Oft in shame he felt demoralized.
His hair was long, his beard neglected,
And by passions he was much affected.
Who can drink so much wine as the poet drank?
He was super-drinker, to be very frank.

21

What a great poet mystic was he
Who chose Jigar, and owned him dearly!
I praise his might, wisdom and insight;
He changed his life by dint of his light.
The plant dear he watered and reared
Grew to his prime and full flowered.
But alas the fruit was never given birth!
His dear is dead; and dead is the hope of mirth!

22

A land was inherited so fertile;
Some incidents sowed it, but not futile.
It was well watered by pure wine,
And was looked after eyes so fine.
There grew a garden of many plants green;
It was charming and worthy to be seen.
Colourful flowers, beautiful and fair,
Shall always lend smell to poetic air.

23

When he became the climax and crown
Of the poetic fame and renown,
A man became of him deadly jealous,
And mixed with his food something poisonous;
When caught, he confessed his crime,
And Jigar forgave him in no time.
Even such men are very very sorry.
What an exemplary character had he!

24

He was once staying with his friend,
And had enough money to spend.
He was, one night, lying on a cot;
A person smelled that he had a lot.
Presuming him asleep, he picked the pocket
Of his hanging Sherwani or his jacket.
He saw him doing this pernicious deed,
But let him go, thinking him in dire need.

25

Forgetting had been his habit since boyhood.
It is although bad, in his case was so good.
It was his habit doing for others good;
And having done it, he forgot it for good.
He recommended daily several men,
He had such wondrous power in his pen.
Who could find such a gentle friend?
He forgot money he would lend.

26

Playing cards was his hobby like rime;
In playing them he did not mind time.
He would play them till late at night
And oft forgot to take his diet.
He felt bitter when he lost his game,
And got irritated, with excuses lame.
Honesty reigned supreme over him,
So chances of win sometimes were dim.

27

His wife disliked his playing cards
With his intimate friends and bards.
How so interesting when she was angry!
And on it with him she did not agree!
He cooled her anger by burning the cards,
And swore he would never play them onwards.
But lo! The cards burnt and cremated
Were again born and animated.

28

He was cordial and hospitable most,
And was to his guests a courteous host.
His behavior was like verses laboured,
Every syllable of which is measured.
Respectful with his elders was he,
And with his friend intimate and free.
With his youngers, reserved and fatherly,
He treated them kindly and politely.

29

He talked often in a roundabout way;
Listeners had to guess point of his say.
He did not know the art of oratory,
He was although in the know of poetry.
Poetry even he could not debate;
He felt it though within, without combat.
The way he advised was very attractive.
Though he is dead, he is subtly instructive.

30

Humility was his noble trait,
What though he was a poet so great.
He was not narrow, nor arrogant at all,
So his was a gradual rise, not a fall.
Oft he would say that he was nothing,
But was an outcome of some blessing.
“Respect even the elders' shoes.”
He said, and did similar dos.

31

Sycophancy did not suit his nature;
Self-respect was his special feature.
He was witty, sensitive and fair;
To talk like him very few men dare.
Ills, our beauty, spoil and mar,
We are drawn from the goal afar.
He sincerely tried to kill
With his songs the germs of ills.

32

No poet ever earned as so much as did he,
For the highest was his royalty and fee.
He gave much money out of his income
To the needy he gladly did welcome.
When at homes currency notes he hid
In pillow, book or tin with a lid.
They were meant to be given to the needy,
And kept hidden from the view of his lady.


33

Ghazal was originally meant conversation
Lover had with his lady in imagination.
But later its definition was amended;
Now the scope of it is wide and extended.
It has a number of beautiful lines;
It has themes in lovely symbols and signs.
Jigar disliked it composed by a lady;
He said strangely, “Ghazal and a lady! ”

34

“The life and soul of Mushaira has flown; ”
The poets who love Jigar say and moan.
He was poet of so great a fame,
People swarmed him on hearing his name.
They came to listen to, from far and wide,
His honey-sweet rhymes; alas he has died!
The way he sang was singularly his own;
Nature had given him such bewitching tone.

35

He love much his country dear,
He did not leave it in greed or fear;
Though many a chance in his favour
In Urdu-loving Pak., India's neighbour.
He loved his country's gardens and bowers;
Thorns he bore, while leaving their flowers.
He was favourite of Indo-Pakistan;
He was moreover commended in Iran.

36

When muse goaded him, he made outlines
Of plants, flowers and the like designs.
From those shot out a natural couplet
Which was the outcome of passions' outlet.
He chose them after making his correction,
And made of them a beautiful creation.
Poems of his are wines of his liver,
We are drunk with the rhymes of Jigar.

37

His love was very pure and without lust,
Lady's-love respect for his was a must.
He gave 'love' many a colourful name;
According to him loving was no game.
He drank love from the cup of lady-love,
Then got communications from above.
Who could think then and who could judge
Such a hard drinker would do Haj?

38

He dipped in the oceans of passions,
And bathed with water of emotions.
He was so rapt in adoring the love,
Often he scaled the firmament above.
He was lost in his imagination,
He had a bliss of reciprocation.
He soared up high in versification
To have a bliss of amalgamation.

39

All the verses Jigar has wrought
Bear the stamp of what he thought.
The poetry he composed is a fine art;
Naturally it goes to the people's heart.
He had a very keen sense of beauty
Whose expression he considered his duty.
He made his critics bend so low
With poetic spells he would throw.

40

He was created by nature as a bard,
His ideas in verses are not so hard.
He did not put art for only art's sake;
He was the ‘Ghazal King’ of special make,
His poetry is made out of his life;
It belongs to life and exists for life.
He has often blended love and beauty
As if they were no separate entity.

41

He was by nature fitfully emotional;
Poems of his are novel, though conventional.
We hear the cries from within his heart;
Moods he garnered into words of art.
Concerned he was mainly with his feelings;
Oft they are filled with spiritual meanings.
He liked sorrow much more than delight
Which he viewed unstable as the night.

42

Such poetic ego he was given by Nature,
Imitation of others did not suit his nature.
As from bees, the bee-queen takes honey,
So he took much from sublime company.
Governed he was not by views of others;
If he liked, he dipped them in his colours.
If we took into his poetic glory,
We find beneath a current of Manglori.

43

On reading his poems, we find it evident,
He was influenced by many an incident.
Monetary lures could not him entice
To cease fire against political vice.
Fact and truth in them heartily we feel,
Which to young poets very much appeal.
This trend in Hasrat was just a start,
But it was Jigar's beating of heart.

44

Till then, most poets had poetized the feelings
Of lovers, their humble bowings and kneelings.
Nut now Jigar translated the feelings
Born in the hearts of the lovers' darlings.
'Loves' of common poets we do not love;
But the 'love' of Jigar who would not love?
Beauty is the base in the lays of Asghar;
But love beautifies the verses of Jigar.

45

We see the sun and shadow of realism
Blending with the dreams of romanticism
In a balanced and fine symmetry
In Jigar's beautiful poetry.
He was a love-poet over and above,
But he did not suffer from the ill of love.
The heart of his 'Love' was kind and cruel;
The role she played was double and dual.

46

He did not view life in a narrow way;
He wove his view-points in many a lay.
He was not afraid of his life's end;
Death he took for the call of his Friend.
For him, it was a meaningless thing;
He was life, so he found death nothing.
He has now reached a place of love
Where he lives life our world's above.

47

Once I was in hot water of life;
Many a hurdle came in my strife.
Risen above the waves saw I a hand;
All of a sudden, it drew me to land.
It was the hand of Jigar- a rare man
Who is born once in centuries span.
The soul of that great man, like a star,
Still guides my life when the hurdles bar.

48

The void so created cannot be filled,
The Hawk of death has the 'Ghazal Bird' killed.
But the time of death is fixed by Him
Who is our Lord without doubt and whim.
The only tribute to him I pay
Is to compose this sorrowful lay.
His features shall in these lines be seen;
If they live, he shall in them be green.

SUPPLEMENTARY NOTES

Stanza 1

I mourn the death of the Reverend Poet, Jigar Moradabadi. Let all of us weep for him who has very beautifully produced couplets after couplets on Love and wine.

In fact, love is the spirit of his poetry. Wine gave him frankness to bring out feelings of his heart, but it could not make him naked in expression. He had a wineful personality from where his poems came out as intoxicants.

Stanza 2

I weep for Jigar Moradabadi. I invoke the sad Hour of his death which has been selected from all the years for this unfortunate event to weep with me. I also ask unlucky Hour to wake up his other companions (i.e. the hours that have passed) . Then we all collectively will weep blood for the poet. So long as the future continues to remember the past, his name and fame as a poet shall be passed on from age to age.

Stanza 3

Spirit of poetry has been invoked in this stanza to weep over the death of the poet whose soul listens to its painfully musical weeping.

He was a man of distinctive qualities. He had a laudable character. He was liked by men of every religion. His nature was so good that sometimes he was liked by those who had no taste for poetry. Time, therefore, cannot spoil his fame.

Stanza 4

Jigar's dead mother is worthy of praise as she gave birth to a poet who had many qualities. But it is regrettable that she had died before he became famous. I imagine that the soul of his mother might have felt comfort when he achieved fame. Now he has departed from this world to a place from where nobody returns.

Stanza 5

Even the angels are sorry about his death. They are unable to save him. So they bless to immortalize his three books; namely, 'Daghey Jigar, ' ' Shaulaey Toor' and 'Aatishe Gul'. In the last of his books he has written some poems being moved by communal riots of those days.
Such communal riots are planned by the politicians in India from time to time and their mercenaries disturb the peace.

Stanza 6

There came in the form of procession mourners: the poet's Splendid Ideals, Desires, Adorations, Joys which were blinded with tears and Persuasions (whose wings are conspicuous feature) , his Love and Ties in melancholy mood, and Sorrows accompanied by Sighs. They were all with undressed hair, and tears were flowing from their eyes. The Procession was moving slowly and slowly. The whole procession looked like a train of ants seen near a stream in the summer season.

Stanza 7

Jigar sometimes composed lines of his poems after mid-night. Only his wife was present in the room where he slept. I slept in the other room. But his singing was so enchanting that it awakened me and made me lost. I sometimes felt that the rooms were also spell-bound. The rooms responded to him with their echo when he sang his loving poems in his house. It is now really painful that he has left the world, and has also left them in great woe.

Stanza 8

The words within inverted comas “A compartment of train for me be reserved as life's journey has come to an end, and I have to go to Other Land” are the actual words spoken by Jigar in depression one day before his death.
A few relatives of Jigar were present in his house in a very sorrowful condition when he was nearing death. His wife was very much aggrieved. She was bereft of pleasures of life.

Stanza 9

In this stanza actual scene of the house is depicted when his bier was being taken out for the funeral prayer. Every one who was present at that time was weeping.

The people who come to mourn the death of a man generally leave the house after some time. Similarly, the people who came to mourn the death of Jigar were also intending to leave house after some time.

Day and night, as usual, will go on happening by turns; but for his dear wife, both day and night will be gloomy, as her joy has taken flight in the death of her husband.

Stanza 10

Actual scene of the funeral prayer (Namaze-Janaza) before the burial is depicted in this stanza. The prayer was held near his house.

The weeping is stopped when the people offer funeral prayer. But the heart is sad. The whole atmosphere was surcharged with grief. People prayed for the consolation of his soul. But death was not the least affected by the grief.

Stanza 11

When Jigar was buried, his grave felt joyous to receive his body. The Muslims believe that after the burial, angels come to ask the dead a few questions. Angels asked Jigar some questions in his grave, but they were amazed to see in the grave a white dazzling light instead of darkness. The reason for this light was that Jigar was saintly at heart though once he was wine personified. Jigar was actually dark-coloured, but his soul was supposed to be white (a striking contrast) . He enjoyed the most tranquil rest in his grave, unmindful of the worries of life.

Stanza 12

Wines in this stanza have been figuratively portrayed to hold condolence meeting on his death by hard breast-beating. All sorts of Wines (Wines of different colors, of different tastes and of different races) attended the meeting. A resolution to mourn the death of Jigar was proposed in the meeting, which was agreed upon and then passed by standing, without a single vote of dissent. The reason why Wines mourned his death was that Jigar once loved them more than any other man. He was once a record-breaker in drinking wine.

Stanza 13

Some Wines were so much spirited that they came to his grave to pay him homage. Their eyes were red and their hearts were brave. (It is to be noted that after drinking spirited wine the eyes become red and heart becomes brave) . These were the Wines Jigar once preferred to other Wines. But when he realized later that they were the cause of nuisance, he divorced them. They came fully disguised and were ashamed because they were divorced by the poet. The mourners who were present at his grave could not recognize them.

In the last two lines, the figure changes into factuality because Jigar gave up drinking in his later age.

Stanza 14

When Jigar was on the death-bed, one day he called my mother, and told his wife who was sitting beside him that, after his death, she should neither break her bangles nor give anything in charity for the peace of his soul. When he was asked the reason be his wife for forbidding her from giving alms for the consolation of his soul, he said, “I have done much for myself. You need not to do any thing for me.” His wife who was a righteous and gentle lady promised him that she would fulfill his will.

Stanza 15

In fact, Jigar wanted to be buried at Moradabad, his birth-place; but Asghar Gondwi, his mentor, once said that every thing of him (Jigar) would be done at his (Asghar's) house at Gonda. His prophecy finally came to be true. Jigar died on September 9,1960 at Gonda and was buried there.

Stanza 16

I imagine that his father was in paradise. Hearing the news of his son's sad demise, he felt a shock of grief. The paradise is the place where ordinarily the news of this world does not reach. But the angels specially delivered the news of Jigar's death to his father.

In paradise some angels were reciting the NAAT (a poem in praise of the Prophet, Mohammed which Jigar composed after the performance of 'Haj' in the year 1953) in a very sweet voice. God who loves extremely his dear prophet was attracted by the singing of the NAAT and become so much rapturous that he allotted Jigar one of heaven's chambers.

Stanza 17

People were over head and ears in grief. They could not find any relief so far.

Earth claimed that the dead body of Jigar should be given to it. Grave (a sub-ordinate of Earth) swore that it would not spoil his body. Hearing the arguments of Earth, angels, the inhabitants of the sky declared that his soul would be put in the sky to shine like a star. So, it should be given to them.

God judged the case and then ordered that the body of Jigar be given to earth and Sky has a rightful claim over his soul. By this order, angels very warmly received his soul.

Stanza 18

It is true that Jigar in his childhood was trained by his father in singing and throat- controlling. Marsias are Elegiac verses in Urdu composed on the battle of Karbala in which Hazrat Imam Husain and others were beheaded mercilessly. He spoke out first couplet at the age of eight. When his father heard his couplet, he scolded him saying that he should not make couplets too early.

Many poets tried to copy his style of singing but in vain.

Stanza 19

When Jigar was in his early age, his father died. Thereafter, he was surrounded by many difficulties. He was condemned, disowned and deemed inferior by his paternal relatives. Only Maulvi Ali Asghar, his step-uncle who was a gentle and righteous man, supported him. His relatives in the initial stage of his career did not think that he would become so great. Some of the relatives even mocked when the people said that Jigar had become a poet.

Stanza 20

He was forced by the circumstances to drink wine, but wine could not spoil the sublimity of his character. His feelings and senses were all the more awakened when he was drunk. In that condition he did not utter foul words. He realized that drinking of wine was bad. His hair was long and he often neglected the dressing of his beard. He was an abnormal drinker of wine.

Stanza 21

A famous mystic poet of those days, Asghar Gondwi, owned Jigar and guessed at first sight that he was to become great.

Jigar was taken by his admirers, was offered drinks, and his Ghazals regaled them; but he was given nothing. Then Asghar urged him not to attend the Mushaira without his consultation. Now, when people wanted to take Jigar, Asghar asked them to give him atleast Rs.50, which was initially fixed as his fee for a Mushaira. His fee began swelling with his growing fame, and it went beyond Rs.1000 (a good sun in those days) excluding travelling expenses.

Asghar Gondwi married off his sister-in-law to Jigar on her condition that Jigar would have to give up drinking. On breaking his promise not to drink, the marriage got terminated resulting in divorce. After about 15 years he remarried the same lady. Then he gave up drinking for ever, and led a good conjugal life, but, unfortunately, remained childless.

Asghar Gondwi is worthy of praise as he helped Jigar a lot and tried to uplift him.

Stanza 22

Jigar inherited poetic talents from his father, Maulvi Ali Nazar, and his grand father, Maulvi Amjad Ali, as they were also poets. He also took blessings of some spiritual men. A few incidents of his life and wine gave a push to his muse with the result that many themes came out of his heart like green plants which make a plot of land beautiful, attractive and worthy to be enjoyed. The poems of Jigar are likened to the colourful, fresh and fair flowers of the garden. They shall for ever continue to please men of poetic tastes.

Stanza 23

The incident referred to in this stanza is true. Various books written on Jigar after his death corroborate the fact that when Jigar was staying at Bhopal, a man who was jealous of his because of his extra-ordinary fame, tried to give him some poison by mixing it with his food. But it was discovered, and the man was caught & questioned. He later on confessed that he had actually committed the heinous crime. At this, Jigar at once forgave him. It shows the sublimity of his character.

Even such men as were jealous of Jigar are very sorry.

Stanza 24

Jigar was staying at his friend's in Bombay. He had two thousand rupees in his pocket which were given to him as fee of a Mushaira. He was at night lying on a cot. A person, presuming him asleep, picked the pocket of his Sherwani which was hanging on a peg. He was not sleeping at that time and was noticing all the actions of the man. But he said nothing and let the thief go. In the morning, he asked for some rupees from a friend of his, but did not disclose the name of the person who picked his pocket. This incident is mentioned in various books.

Stanza 25

Forgetting had been Jigar's habit since boyhood. He used to do good to others and after doing good, he forgot it fro ever. He wrote several recommendatory letters daily for the men who approached him and wanted to get employment somewhere. He often gave the needy some money as loan, but did not think it proper to take money back.

Stanza 26

He was very fond of playing cards. He played at a stretch for hours together, and was so much engrossed in the game that he even forgot to take food. He got irritated when he lost the game, and put forth various lame excuses. Honesty was in his nature, so he wanted to play fair game and sometimes lost it owing to his honesty.

Stanza 27

When at home, Jigar was very often reprimanded by his wife, a strict and religious lady, for playing cards. Often an interesting quarrel arose in the house between them on this score, and he was compelled to please his wife by promising that he would never play them; but when the anger of his dear wife cooled down, he forgot all his abjurations and promises, and started playing cards again. Sometimes, he burnt the cards. But getting opportunity, he managed to buy them again.

The idea in the figure used in the last two lines of this stanza has been borrowed from the belief of the Hindus that the dead after cremation is born again and again until he attains salvation.

Stanza 28

He always welcomed his guests warmly. People came from far and near, and stayed in his house. He did not let even the unwanted guests feel that he did not like them. He treated the guests properly according to their position and gradation.

Stanza 29

Jigar's way of talking or advising was very peculiar. He did not come to the point directly, but started beating about the bush. He felt and enjoyed poetry, but lacked ability to discuss it. Though he is no more in the world, his verses are a source of instruction to us.

Stanza 30

Though he was very great, he did not consider himself so. He was neither narrow nor arrogant at all. Often he used to say that he had no qualities of his own but became great because of the blessings of spiritual men. He achieved greatness step by step, and therefore it was permanent.

For the interest of the readers I write here an incident that proves his humility.

Once it so happened that a number of men were sitting with him on the carpet in his sitting room. They put their shoes outside the room. After some time, drizzling began. I was standing outside the room, but it did not come to my mind that I should remove their shoes to the shade. Jigar at once stood up and began to pick up the shoes. Seeing him doing so, some men from within the room rushed, and did not let him do so. Then turning to me, he said,

“God will give you respect,
If you respect the elders' shoes.”

Stanza 31

Jigar hated flattery. In this connection an incident of his life is given below: -

Once he was staying at Hyderabad. He was at a place busy in playing cards. He was favourite of the Nawab of Hyderabad. A man came from the Nawab and requested him to compose some poem in praise of the Nawab to be recited on the occasion of his birth-day ceremony. Jigar at once retorted that he was a poet, not a clown. The Nawab, a wise man, was not displeased to know the reply. He valued him all more. It was only the scheme of those who were jealous of him, but it fell through.

He was witty, sensitive and very fair in his dealings. He had such frankness as is rarely found in men.

He did not like ills at all, and tried to annihilate them by means of his songs.

Stanza 32

He earned so much wealth that neither the poets prior to him nor his contemporaries could earn; but he was very generous and spent his money in helping the poor. When he was at home, he kept some money out of the knowledge of his wife. He often put some rupees under the pillow, sometimes in a tin with a lid, or in some book. This money ordinarily was meant to be given to the men who visited him to seek his help. It was very interesting to se Jigar searching for the money urgently and confusedly. He was not sure about the places where he had concealed the currency notes. Sometimes turned the bed upside down, sometimes he opened the boxes, and then shut them confusedly pronouncing Lahol (cursing the Shaitan) , sometimes he turned the pages of the books. This was all done stealthily lest wife should see his perplexity. She sometimes smelt the rat and enjoyed the sight.

Stanza 33

The literal meaning of Ghazal is to converse with the lady-love or to express something about her. In other words, it can be said that generally in it are expressed such emotions and experiences of life as are concerned with beauty and love. As these emotions are universal, so the presentation of them in Ghazal helped it much in becoming favourite of the people. But if Ghazal had stayed within the narrow bounds of the above definition, it would not have reached the present place. It was, therefore, necessary for it to take up different conditions and feelings. So, even after centering on beauty and love as their favourite themes, the poets took into its domain social, cultural, political, historical, religious, mystical, philosophical and psychological aspects of the life of man. At every stage, it went on changing according to the call of time. That is why it still survives, and has a life of its own.

The structure of Ghazal proved helpful to the poet in adopting different ideas. In each of the couplets which are between the first and the last ones, the poet presents a complete thought. Therefore every couplet is itself a unit. In this way, the poet presents different thoughts in different couplets. Thus, it becomes the beautiful product of the poet's imagination.

As Ghazal is very close to human feelings softness and delicacy are sure to appear in the language. When all these aspects of Ghazal are combined with music of its words, it all the more influences the people. The reason why it is liked so much is that it is expressed in lovely symbols and signs carrying deep and hidden meanings.

After looking into the development of Ghazal, we find that at different stages of life it served as translator of the time. Thus its shape is polished and scope extended.

I write here an interesting incident that caused me to compose this stanza. Once it so happened that Saghar Nizami, an Urdu poet, came along with his wife to meet Jigar who was then staying in the house of Maulvi Mohammed Ahmad in Mohalla Lal Bagh, Moradabad. Saghar Nizami's wife recited before Jigar a Ghazal composed by her. Jigar heared it and praised it a little; but when he was coming out, he smiled and said in a strange way, “Aurat aur Ghazal” (Ghazal and a lady!) .

Stanza 34

He was really the life and spirit of Mushairas. When he was alive, he was the only poet who won the hearts of his listeners with the magic of his poem sung by a painfully sweet throat he was gifted with. Ordinarily in the Mushairas he was given the chance of reciting his poems after all the other poets had sung their poems. During the singing of other poets the audience remained unserious, but when he started singing, there was perfect silence. Nobody dared disturb the decorum of the Mushairas. The audiences were rapt and lost while he sang. Not only this, but the people also remained eager to have a glimpse of him.

Stanza 35

Jigar was truly patriotic. His love for his Motherland is fully exhibited in his poems. In Pakistan also he was very famous. He attended the Mushairas on invitation from Pakistan. The Government of Pakistan once desired him to immigrate there, and promised to give him a beautiful building with a motor car if he settled their permanently; but he flatly refused to accept the offer.

He also wrote many poems in Persian due to which he earned fame in Iran. Some poems of his were translated in his lifetime, and were sent to english0speaking countries. This translation, I remember, was made by Mr. Mohammed Ahmad who was a judge posted at Gorakhpur at a certain time.

Stanza 36

The method of his composing poems was very peculiar. Although some of his couplets were extempore; generally it was his way to compose his poems when he was in his proper mood. He began humming in loneliness and made outlines of plants with leaves, flowers and buds. All of a sudden, from the buds or flowers he drew a line either slanting or straight and then wrote a couplet. In this way, when there were some couplets, he made of them a beautiful poem. After a few corrections, the poem was complete.

He has made his poems with the extract of his liver (the equivalent word for liver in Urdu is Jigar which is also the pen-name of the poet) , and therefore they make the listeners drunk.

Stanza 37

Jigar was not sensual. He was in fact a sensuous poet. His love was pure. He had a respect for his beloved in his heart. He started his loving his lady and when he reached the climax of his love of God. He was such a drinker as remained excessively intoxicated; but his will-power was so strong that when he made abjuration, he gave up drinking for ever. The giving-up of wine had a bad effect on his health, and the result was that he suffered from various diseases. After giving up drinking, he became spiritual and performed 'Haj'.

Stanza 38

Jigar was very sensitive and emotional. He had delicate feelings which sometimes became too intense. His wonderful flight of fancy, his sincerity, his passionate intensity, his piety of soul and purity of inspiration gave sometimes a spiritual colour to his poems.

He did not pass through the stages of beauty and love carelessly, but he full well experienced the hardships of the journey. He felt it so much that he absorbed their spirit in himself. Often he is lost in them too.

He composed his poems when his feelings were intense and when his thoughts inflamed his over quick imagination.

In the beginning he enjoyed various shapes of beauty but when he reached the last rung of his love, he found that every breath of his was filled with the air of beauty.

It is a fact that beauty is unlimited but to contract and absorb it in himself is called love. Jigar has tasted the relish of this love.

Stanza 39

Jigar's views are very clear in his poetry. His poetry is the image of his life. He was not in the habit of saying one thing and doing another. As his couplets came direct from his heart, they touched the hearts of the listeners. There is a flood of passions in his poetry, but it is a craftily dammed by his art. As he was the lover of beauty, his poetry is also a product of beauty. As is the tradition that in the beginning the critics are generally antagonistic to the artists, they criticized him also; but they fell into astonishment when he was appreciated by all and sundry.

Stanza 40

Jigar was a great poet. His poetry is a thing to be enjoyed. It is not an art without substance. Educated as well as uneducated persons can enjoy his poetry, according to their understanding. This was the reason why he got commendations of all and became the favourite of the masses. Even in his lifetime the title of 'Ghazal King 'was bestowed upon him. He had seen the ups and downs of life. So, his poetry is an outcome of his own experience.

In the opinion of jigar beauty and love are one and the same thing. Apparently the words, beauty and love seem very ordinary, but these are the only words in which the secret of both the words is hidden. In the poetry of Jigar we find several ideas about these terms. Sometimes he declares that beauty is the cause and love its effect and sometimes he calls love, the cause; and beauty, the effect. At some stages he passes through a place where he finds beauty and love mixed up. In other words, when love reaches its climax, it becomes beauty and when beauty is lost in seeing itself, it becomes love. In such a state of Love, Mansoor, a great Saint yore had uttered “Anal Haque” (I am God) .

Stanza 41

He did not like unrhymed verses. His poetry is modeled on the technique of the poets of old. His couplets are proportionate and rhythmical. This conventional form of poetry suited him best because he was extremely musical when he sang his poems. Many of his poems can be interpreted in spiritual sense. The quotation “Our sweetest songs are those that tell of saddest thoughts” comes true when we go through his poetry. He was over packed with feelings. Somebody has rightly said about him, “had he not been a poet, he would have been mad.”

Stanza 42

Jigar maintained self-respect in his life. He did not copy the ideas of the past or present poets. He was not a blind follower of any poet. He used to sit in the company of such great personages as Iqbal Suhel, Mirza Ahsan Beg, Suleman Nadvi and Rashid Ahmad Siddiqi but he did not dye himself in the color of any one of them. He put the influences he got from such august men into the glass of his own poetic wine. He had a God gifted quality to extract the essence from the views of others and drew the conclusion thereof according to his own taste. This made him all the more polished in beauty and art. If we read his poems, we find in them the influence of the blessings of his Pir (Spiritual Guide) , the late Maulana Abdul Ghani Manglori.

Stanza 43

Perhaps we can mention no other Modern Ghazal poet who was so much moved by adverse circumstances and great events as Jigar; but he remained optimistic and found hope in despair. Whatever he viewed and experienced, he poetized unhesitatingly. The Government of that time often tried to shut his mouth by monetary temptations but in vain. The young generation very much liked this tendency, which had been initiated by Hasrat (an Urdu poet) : but in Jigar we find it all the more prominent. Hasrat took it lightly, but in Jigar it is the beating of his heart. According to Prof. Rashid Ahmad Siddiqi, this is the place where character makes poetry high or low. Here we find actual difference between poetry and propaganda.

Stanza 44

Generally, it had been the tradition from yore that the poets translated the feelings of the lovers and showed them bowing before their lady-loves to invite

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Elegy on Jigar Moradabadi

ELEGY ON JIGAR MORADABADI

INTRODUCTION

Mr. Aziz Ahmad has written an Elegy on the Poet Haji Ali Sikander, commonly known as Jigar Moradabadi. The poem is in 48 stanzas of Eight lines each followed by 48 paragraphs of notes, one for each stanza. They explain the real mood of the stanzas. This is perhaps the first time that an Elegy in English on an Urdu Poet has been attempted. Elegiac poems in Urdu are common. The marsais of Anis and Dabir are long elegiac poems of unsurpassed beauty. An Elegy is literally a song or poem of mourning. The English examples are Lycidas, Adonais and Thyrsis. They are true elegies although Gray's well-known Elegy, which was written in a country churchyard does not mourn anyone in particular and deals with 'the pathos of mortality'.

English Elegies, like Latin Elegies before, were written in a metre called elegiac. Any poem written in that metre was called an Elegy irrespective of the subject matter. Later the point about metre was dropped and any poem was considered an elegy if the subject matter was what I have described, irrespective of the metre. Today the subject and metre must coincide to make a proper elegy.

The metre must be hexameter or pentameter. A hexameter is of six measures the fifth being a dactyl and the sixth either a spondee or a trochee. The other four may be either a dactyls or spondees. An example is Longfellow's Evangeline. Homer's two epic poems and Virgil's Aeneid are in hexameter. Pentameter verse is in two parts, each of which ends with an extra long syllable. The first half consists of two metres, dactyls or spondees, the latter half must be two dactyls.

I have said this because metre-wise this poem in English will not be regarded as a proper Elegy but subject-wise it is. Perhaps Mr. Aziz Ahmad can cast the lines again. *

Subject-wise the poem is excellent. Jigar who wrote of himself:

Jigar main ne chhupaya lakh upna dard o ghum lekin
Bayan kardeen meri surat nay sub kaifiyatein dilki

Was a poet in the front rank in India and in the days when there were Iqbal, Fani and Firaq and several others. Tabassum Nizami has done a great deal to bring his life before us, and his books Daghe Jigar, Shola- e- Toor and Aatishe Gul are poetry which is seldom equaled.

No wonder Mr. Aziz Ahmad's heart bleeds at the very thought of Jigar's death in 1960. Not only has he paid his sincere homage to his memory but he has described the anguish of the family and friends. Jigar would have said:

Meri roodad e ghum who sun rahe hain
Tabassum sa labon par araha hai
Jigar hi ka na ho afsana koi
Daro devar ko hal araha hai.

Mr. Aziz Ahmad's heart-rending verses do make even the doors and walls get into ecstasy!

23rd September,1981 M. Hidayatullah
6, Maulana Azad Road, Vice- President
New Delhi-110011. of India

*AUTHOR'S CLARIFICATION

I append here for ready reference the views of the reputed critics about modern poetry, which are printed on pages 223,224 and 225 of “The Study of Poetry” by A.R. Entwistle.

The reaction against metre in modern poetry is only another symptom of the dissatisfaction with things as they are. The movement towards “free verse” is, of course, no new thing. The experiment of Matthew Arnold, Henley, Walt Whitman and others occur readily to the mind.

Here it is useful to know how the new poetry affected Professor Churton Collins:

“If a man six feet high, of striking masculine beauty and of venerable appearance, chooses to stand on his head in the public streets….. he will at least attract attention, and create some excitement; secondly……..the law of reaction in literature, as in everything else, will assert itself, that when poetry has long attained perfection in form and has been running smoothly in conventional grooves, there is certain to be a revolt both on the part of poets themselves and in the public taste, and the opposite extreme will be affected and welcomed; and thirdly, ……… if a writer has the courage or impudence to set sense, taste, and decency at defiance and, posing sometimes as a mystic and sometimes as a mountebank, to express himself in the jargon of both, and yet has the genius to irradiate his absurdities with flashes of wisdom, beauty, and inspired insight, three things are certain to result, ……… namely, sympathy from those who favor the reaction, disgust on the part of those who belong to neither party, but who are quite willing to judge what they find on its own merits.”

For the frankly modernist view we turn to Mr. Robert Graves, who says:

“Poetry has, in a word, begun to 'go round the corner'; the straight street in which English bards have for centuries walked is no longer so attractive, now that a concealed turning has been found opening up a new street or network of streets whose existence tradition hardly suspected. Traditionalists will even say of the adventures: ' They have completely disappeared; they are walking in the suburbs of poetry called alternatively Nonsense or Madness.' But it disturbs these traditionalists that the defections from the highway are numerous, and that the poets concerned cannot be accused of ignorance of the old ways, of mental unbalance in other departments of life, or in insincerity.”

The spirit of the present generation is in marked degree anti-traditional, and it would easy, but tiresome, to show by copious quotations how welcome the spirit of revolt has become.

Similar tendency is found in modern Urdu Poetry. We should see, what Akbar Allahbadi says in connection.

Qaedon men husne mani gum karo
Sher main kehta hoon hijje tum karo

(Lose in rules beauty of meanings;
Verse I compose, you do spellings.)

Since this elegy consists of a mixture of a Urdu and English words, it is practically impossible to confine it to the conventional English metre.

Aziz Ahmad

FOREWORD

I have with interest gone through the Elegy on the death of the late Haji Ali Sikander, Jigar Moradabadi, presented to me for my comments by Mr. Aziz Ahmad, the author. I am impressed by his style and art. It shows his deep love for Jigar Moradabadi who was a poet of great genius. It seems that he has a good knowledge of the life and art of Jigar. As he has written in the Preface that no poet has so far written an elegy in English on the death of any Urdu poet is, as far as I know, correct. The endeavour is his own. Some points given in the Elegy have already become widely known, while some others are quite new. When I started reading it, I was so charmed that I could not leave it unfinished. It is a fine piece of literature and fascinates its readers. I appreciate the unity of the poem. The stanzas employed help to bind the parts of the poem together into a single whole, so that it becomes a

“Silver chain of sound
of many links, without a break.”

The choice of words and constructions are commendable. I feel that Mr. Aziz Ahmad make a very good use of rhetorical language. The poem is a rhymed product of the author's imagination. He has, no doubt, chosen a dignified subject- the death of a great poet, but the distinction lies in the fact that he has beautifully portrayed his life as well as art.

The poem is elaborate in workmanship and is long enough, with orderly development and fine descriptions. The interplay of emotion, reflection and spontaneity are commendable. At the same time he has no want of narrative force. His logical transition from one thought to another is praiseworthy. The description of scenes in the poem presents a clear picture before the eyes of the readers. The author exhibits his real respect fro Jigar and grief over his death.

In my view, the poem is great due to the following grounds: -

There is in the proposition- ' I weep for Jigar Moradabadi………'; the invocations to Jigar's dead mother and the Spirit of poetry etc.; the mourning of the relatives and friends; the procession of the mourners in concrete and abstract form;
The partaking of nature and Super-natural beings in grief; the praise of the distinctive traits of the life and art of Jigar; and the reward that the great poet has found a place in paradise and has become eternal in death. In the end, the note of personal lament shows his deep personal attachment.

While mentioning many good qualities of Jigar Sahib's personality Mr. Aziz Ahmad rightly emphasized in the last two lines of Stanza no.25 that he little bothered for money. Just to endorse his point I would like to relate one incident which vividly remember even today. In June,1947 an All India Mushaira was organized in Shahajan pur, U.P. Although a student of 10th Class, I happened to be one of the organizers of this function. Unfortunately because of extremely bad weather and sudden heavy rains, the Mushaira was a total failure. All was upset. Not a single poet could recite his poems. We lacked funds even to pay the traveling expenses of more than 12 poets who had arrived to participate in Mushaira, including such popular poets as Salam Machli Shahri and Khumar Barabankvi. Jigar Sahib was staying with one of his pupils Mr. Habab Tirmizi. The poets were demanding money and we were worries how to satisfy them. Jigar Sahib apprehended the whole situation. He got up quietly, went to the wall where his Sherwani was hanging, brought out some two hundred rupees and gave us saying, “Give it over to them.”

When in 1955 I met Jigar Sahib in Aligarh and reminded him of this incident, he smiled and pretended as if he did not remember. Many such events can be related which reveal rare moral qualities of his character.

To conclude my comments, I think it appropriate to quote a few lines from the Elegy which I like most.

The following lines remind us of Shelly's Adonais:

Ideals splendid, Desires, Adorations;
Joys blinded with Tears and Winged Persuasions;
In melancholy mood Love and Ties;
Sorrows with her family of Sighs;
With hair unbound and tears their eyes flow,
Came there in form of procession slow,
The slow moving procession might seem
Like pomp of ants in Summer near stream.

Beautiful imagination is presented subtle contrast of the following lines:

Angels waited his life-account to write;
But were dazzled, seeing him in white light.
Who knows not the reason for this light?
His body though dark, his soul was white.
The loveliest personification is found in stanzas no 12 and 13 where

Learning of his death, Wines held a meeting
To condole his death by hard breast-beating.

and where
Some Wines spirited came to his grave;
Their eyes were red, their hearts were brave.

Stanza no 19 testifies to the author's great skill in narration. Pathos is also beautifully given.

It is evident from stanza no.24 that Mr. Aziz Ahmad has been deeply influenced by Robert Frost, a famous American poet.

The superb description is found in stanza no 26 and 27 where Jigar's fondness for playing cards is shown.

In the following lines a fine smile has been used: -

His behavior was like verses laboured,
Every syllable of which is measured.
Respectful with his elders was he,
And with his friend intimate and free.
With his youngers reserved and fatherly,
He treated them kindly and politely.

In stanza no.33 it seems that the author wants to say that Jigar disliked ' Ghazals' composed by ladies; but the idea has been expressed by giving a beautiful definition of 'Ghazal'.

The following lines in stanza no.44 are very befitting: -

Beauty is the base in the lays of Asghar;
But love beautifies the verses of Jigar.

The following lines, though subjective, compel me to appreciate the author: -
Risen above the waves saw I a hand;
All of a sudden, it drew me to land.
It was the hand of Jigar- a rare man
Who is born once in centuries span.

In the following stanza I find a relish of sonnet. It is filled with sincere feelings.

The void so created cannot be filled,
The Hawk of death has the 'Ghazal Bird' killed.
But the time of death is fixed by Him
Who is our Lord without doubt and whim.
The only tribute to him I pay
Is to compose this sorrowful lay.
His features shall in these lines be seen;
If they live, he shall in them be green.

May this endeavour of Mr. Aziz Ahmad be crowned with success and glory! I wish him to give us many more such wonderful poetic pieces.


Dr. Qamar Rais
Reader,
Department of Urdu
University of Delhi

OPINION I

Janab Aziz Ahmad sahib has sent me a copy of an elegy he has composed in the memory of the late lamented Haji Ali Sikandar Jigar, the Doyen of Urdu poets in the Indian sub-continent.

I have gone through this elegy with deep interest and I find that Aziz Sahib loved and admired Jigar Sahib from the core of his heart. He pours out his heart in grief for Jigar whom he considers the zenith of muses. The elegy is a fitting tribute indeed to a person who lived and died for poetry and whose verses shall for ever continue to inspire generations to come.

Some of Aziz Sahib's stanzas are sublime and worth quoting. For instance he speaks from the unexplored depth of his heart when he says: -

For Jigar I weep. And you too weep
With me, for I plunge into the deep
Of pain and sorrow, of grief and tears.
O hapless Hour chosen from all years!
I ask you to rouse your other compeers;
Then together we will weep blood fro tears.
Till future dares forget the past
His name and fame shall ever last.

In stanza no 28 he has painted a true portrait of Jigar. Of such virtues was Jigar made and of such virtues his Ghazals are the outcome. He was noble both in mind and in action.

He was cordial and hospitable most,
And was to his guests a courteous host.
His behaviour was like verses laboured,
Every syllable of which is measured.
Respectful with his elders was he,
And with his friends, intimate and free.
With his youngers, reserved and fatherly,
He treated them kindly and politely.

I am sure that all those who knew and loved Jigar will enjoy the fine quality of the elegy and will realize that Aziz Sahib has for once not taken to poetic exaggeration.

Kunwar Mehender Singh Bedi

OPINION II

Mr. Aziz Ahmad' elegy on Jigar may be unconventional in metre but is wonderful in matter. The poem is the graphic account of the life, character and verse of a great Urdu poet, it has a great imaginative and emotional appeal and is remarkable for fine personification and vivid imagery. It reminds of Shelly's 'Adonais'.

B. K Kansal Ph. D
Chairman HINDU COLLEGE
Dept. of Post-graduate Studies MORADABAD
and Research in English
Banbata Ganj (Near Kamal Talkies) Dated 28th Sept.1981
Moradabad- 244001

PREFACE

The few lines I have put in this little book are nothing but a tribute I am obliged to pay to the memory of the Late Haji Ali Sikandar, Jigar Moradabadi, a relative of mine, to whom I am deeply indebted as the credit of my life's making goes to him.

He was born on 6th April 1890, in Mohalla Lal bagh, Moradabad, U.P., but from the boyhood he left his native city and roamed far and wide to make his life glorious. He was a natural poet of Urdu. If we peep into his life, we find it true that 'a poet is born, not made.'

Asghar Gondwi, a renowned poet of that time, on seeing him, understood full well that he was fated to be great. So, he owned him, guided him and showered his favors on him.

Jigar lived at Gonda, U.P., in the house of his wife, Nasim. Journey had become the part of his life. He reminded mostly out in connection with Mushairas. Whenever he returned home, he wanted us to remain with him. So, I have passed a portion of my life with him and observed him with love and reverence.

I wanted to write something about him in Urdu prose, and to get published some letters and poems written in his own hand, which I have kept safe with me like sacred things.

I started writing it, but by the force of some unknown power, my mind turned to a theme quite novel. In English, as far as I know, nobody has composed an elegy on the death of an Urdu poet. My purpose of writing in this language is that English will be a vehicle to convey my thoughts and outside this country, as English, being an international language, is read and spoken everywhere.

Jigar was acclaimed ' Ghazal King' in his lifetime. He died on September 9,1960 and was laid to rest at Gonda in the lap of his dear country.

He was truly poetic in his habits and disposition, character and conduct, thoughts and feelings, ways and manners, motions and gestures, dressing and clothing, gait and get-up. Moreover he was gifted by Nature with a throat extremely musical. I have poetized my feelings to pay him homage, as, I think, the homage paid to such a great poet should be musical. I hope that his soul will accept it.

When I was staying at Mecca after the performance of 'Haj' in the year 1975, one night I saw him in a dream. During my stay there I had not dreamed of anyone else save him. When I woke up, I felt a sort of restlessness. Then and there, I performed 'Umera' for him.

When he died, I felt a shock of grief. This Elegy is the outlet of the grief I felt then and have concealed so far.

This Elegy contains some points which are quite new, and which the lovers of Jigar Moradabadi are unaware of. Though the Elegy has parts comprising many traits of Jigar, I have tried to make it a unified whole.

I hope that for the lovers of Jigar Moradabadi, this work will be a Souvenir worth keeping.

How far my aims are fulfilled is for the readers to judge!

In the end, I express my thankfulness to Dr. B. K. Kansal, Head of the Department of English, Hindu College, Moradabad, who has been kind to me to give valuable suggestions for this composition.

I am highly grateful to Mr. M. Hidayatullah, Vice- President of India, for his very valuable and illuminating introduction, which throws sufficient light on elegy in English, Urdu and Latin literature, on its matter and metre. His judicial office he has held as the Chief Justice of the Supreme Court.

I also express gratitude to Dr. Qamar Rais and Kunwar Mehender Singh Bedi whose high praise of the poem gave me great encouragement.

Aziz Ahmad

1

I weep for Jigar Moradabadi- he is dead!
O weep for the poet who has beautifully wed
Love and Wine with verses of new time,
And has achieved a fame so sublime!
Wailing and weeping wets the air.
How so sad is the drum of the ear.
How so sad is the whole atmosphere!
There is none who is not in despair.

2

For Jigar I weep. And you too weep
With me, for I plunge into the deep
Of pain and sorrow, of grief and tears.
O hapless Hour chosen from all years!
I ask you to rouse your other compeers;
Then together we will weep blood fro tears.
Till future dares forget the past
His name and fame shall ever last.

3

Weep, O Spirit of poetry! Weep,
For he has gone for his final sleep.
His body though motion less; his soul's brain
Listens to your weeping with woeful strain.
At his death are sorrowful many more
Thank those who loved his poetry and lore.
As a poet he was great; as a man was he sublime.
He has lived life very fine; he is uneaten by time.

4

Alas! O Noble Mother, Mother great
Who bore a poet full many a trait!
You could not see him gathering fame,
Upraising your position and name.
In your grave you might have felt charm
When he would sing his rhymings warm.
Now he has gone into the gulf of death
From where nobody returns to this earth.

5

Angels bewail him as he is mortified,
And bless his three works to be immortalized.
He could not bear when his Motherland's pride
Was being crushed by the liberticide.
Communal ghosts when raised their heads,
Poison was filled in people's heads
By professional leaders' hired men;
Then sorrowful songs flowed his pen.

6

Ideals splendid, Desires, Adorations;
Joys blinded with Tears and Winged Persuasions;
In melancholy mood Love and Ties;
Sorrows with her family of Sighs;
With hair unbound and tears their eyes flow,
Came there in form of procession slow,
The slow moving procession might seem
Like pomp of ants in Summer near stream.

7

Rooms of his house began lamenting anew.
Their weeping was silent, though heard by a few.
Such mute voices rarely poets hear;
Others remain deaf, they do not care.
They heard the sound of his amorous lay
When he would sing there in wondrous way.
To him they responded with their echo.
Oh! he is dead, leaving them in great woe

8

One day before his death, he slowly murmured,
“A compartment of train for me be reserved
As life's journey has come to an end
And I have to go to Other Land.”
Some kin by him were standing silent;
Their eyes were tearful, their heads were bent.
Grief so much shattered his dear wife,
She lost all the pleasures of life.

9

When his bier was to be taken out,
Every one was weeping without doubt.
Short-lived though is general grief,
His wife's agony was not brief.
Till Nature is on its normal course,
Morning after night will nature force.
But his wife will weep, day and night,
As her dear soul has taken flight.

10

The eyes had since stopped their weeping;
Now came turn of the heart's bleeding.
The air had been filled with grief and sorrow;
People hurriedly made many a row
For the prayer with humble salutation,
They prayed to God for his soul's consolation.
Homage was paid to departed soul;
But Death was unmindful of the dole.

11

With open heart, his grave was ready
To welcome warmly his dead body.
Angels waited his life-account to write;
But were dazzled, seeing him in white light.
Who knows not the reason for this light?
His body though dark, his soul was white.
He, in dewy sleep, took his last fill
Of liquid rest, forgetful of ill.

12

Learning of his death, Wines held a meeting
To condole his death by hard breast-beating.
The meeting was attended by all the Wines
Of various colors, tastes and racial lines.
A resolution was proposed in the meeting,
And it was unanimously passed by standing.
Wines were weeping, as he was the one
Who once loved them more than any one.

13

Some Wines spirited came to his grave;
Their eyes were red, their hearts were brave.
They were the ones he had preferred once,
But later divorced them for nuisance.
They came ashamed and fully disguised;
They were by mourners not recognized.
Once he had been under the charm of wine;
Later, he broke all the bottles of wine.

14

His was not more than a twin will
Which he made known when he was ill.
He told his wife in presence of no other
Thank my mother, he anon called her thither.
“You won't break your bangles in my dole;
You won't give alms for balming my soul.”
His wife a gentle lady, told him anon
That these two conditions would not be undone.

15

A Wish lay suppressed within his heart,
Which remained unfulfilled in the last.
He desired his grave to be dug near
Those of his father and mother dear.
But once his mentor made a prophecy.
Every thing of Jigar, his house would see.
His prophecy strangely came to be true;
The dust of his grave him to Gonda drew.

16

His father, who was in paradise,
Heard the news of his son's demise.
The news proved to be dagger to his soul,
Though he was beyond the reach of the dole.
By angels there was a Naat being recited,
Composed by Jigar, the very Naat invited
God who rapt in listening to the numbers
Allotted Jigar one of heaven's chambers.

17

People were drowned in the ocean of grief;
They could not have time for nay relief.
Angels so warmly received his soul;
While Earth took his body as a whole.
Grave swore his body never to mar;
Angels wished his soul to shine like star.
God judged the situation, and then delivered
His body to Grave, and soul to heaven transferred.

18

First couplet he made, when eight years old,
Father scolded him, when he was told.
He said through he was to be a poet,
He should not poetise so early yet.
His father, an adapt in Marsia singing,
Taught him to sing verses in the beginning.
The art of singing he did well maintain;
Many a poet copied him in vain.

19

A lot to adversities came in his early teens;
After father's death, he had no sustaining means.
Kin were not ready to call him their own,
Save his step-uncle who helped him alone.
Relations condemned him; he was lorn;
Some called him poet, kin laughed in scorn.
No one knew then he would change the weather,
And would have in his cap a fine feather.

20

Compelled by the conditions, he drank wine
That gave impetus to his metres fine.
The more he drank, the more civilized;
Oft in shame he felt demoralized.
His hair was long, his beard neglected,
And by passions he was much affected.
Who can drink so much wine as the poet drank?
He was super-drinker, to be very frank.


21

What a great poet mystic was he
Who chose Jigar, and owned him dearly!
I praise his might, wisdom and insight;
He changed his life by dint of his light.
The plant dear he watered and reared
Grew to his prime and full flowered.
But alas the fruit was never given birth!
His dear is dead; and dead is the hope of mirth!

22

A land was inherited so fertile;
Some incidents sowed it, but not futile.
It was well watered by pure wine,
And was looked after eyes so fine.
There grew a garden of many plants green;
It was charming and worthy to be seen.
Colourful flowers, beautiful and fair,
Shall always lend smell to poetic air.

23

When he became the climax and crown
Of the poetic fame and renown,
A man became of him deadly jealous,
And mixed with his food something poisonous;
When caught, he confessed his crime,
And Jigar forgave him in no time.
Even such men are very very sorry.
What an exemplary character had he!

24

He was once staying with his friend,
And had enough money to spend.
He was, one night, lying on a cot;
A person smelled that he had a lot.
Presuming him asleep, he picked the pocket
Of his hanging Sherwani or his jacket.
He saw him doing this pernicious deed,
But let him go, thinking him in dire need.

25

Forgetting had been his habit since boyhood.
It is although bad, in his case was so good.
It was his habit doing for others good;
And having done it, he forgot it for good.
He recommended daily several men,
He had such wondrous power in his pen.
Who could find such a gentle friend?
He forgot money he would lend.

26

Playing cards was his hobby like rime;
In playing them he did not mind time.
He would play them till late at night
And oft forgot to take his diet.
He felt bitter when he lost his game,
And got irritated, with excuses lame.
Honesty reigned supreme over him,
So chances of win sometimes were dim.

27

His wife disliked his playing cards
With his intimate friends and bards.
How so interesting when she was angry!
And on it with him she did not agree!
He cooled her anger by burning the cards,
And swore he would never play them onwards.
But lo! The cards burnt and cremated
Were again born and animated.

28

He was cordial and hospitable most,
And was to his guests a courteous host.
His behavior was like verses laboured,
Every syllable of which is measured.
Respectful with his elders was he,
And with his friend intimate and free.
With his youngers, reserved and fatherly,
He treated them kindly and politely.

29

He talked often in a roundabout way;
Listeners had to guess point of his say.
He did not know the art of oratory,
He was although in the know of poetry.
Poetry even he could not debate;
He felt it though within, without combat.
The way he advised was very attractive.
Though he is dead, he is subtly instructive.

30

Humility was his noble trait,
What though he was a poet so great.
He was not narrow, nor arrogant at all,
So his was a gradual rise, not a fall.
Oft he would say that he was nothing,
But was an outcome of some blessing.
“Respect even the elders' shoes.”
He said, and did similar dos.

31

Sycophancy did not suit his nature;
Self-respect was his special feature.
He was witty, sensitive and fair;
To talk like him very few men dare.
Ills, our beauty, spoil and mar,
We are drawn from the goal afar.
He sincerely tried to kill
With his songs the germs of ills.

32

No poet ever earned as so much as did he,
For the highest was his royalty and fee.
He gave much money out of his income
To the needy he gladly did welcome.
When at homes currency notes he hid
In pillow, book or tin with a lid.
They were meant to be given to the needy,
And kept hidden from the view of his lady.


33

Ghazal was originally meant conversation
Lover had with his lady in imagination.
But later its definition was amended;
Now the scope of it is wide and extended.
It has a number of beautiful lines;
It has themes in lovely symbols and signs.
Jigar disliked it composed by a lady;
He said strangely, “Ghazal and a lady! ”

34

“The life and soul of Mushaira has flown; ”
The poets who love Jigar say and moan.
He was poet of so great a fame,
People swarmed him on hearing his name.
They came to listen to, from far and wide,
His honey-sweet rhymes; alas he has died!
The way he sang was singularly his own;
Nature had given him such bewitching tone.

35

He love much his country dear,
He did not leave it in greed or fear;
Though many a chance in his favour
In Urdu-loving Pak., India's neighbour.
He loved his country's gardens and bowers;
Thorns he bore, while leaving their flowers.
He was favourite of Indo-Pakistan;
He was moreover commended in Iran.

36

When muse goaded him, he made outlines
Of plants, flowers and the like designs.
From those shot out a natural couplet
Which was the outcome of passions' outlet.
He chose them after making his correction,
And made of them a beautiful creation.
Poems of his are wines of his liver,
We are drunk with the rhymes of Jigar.

37

His love was very pure and without lust,
Lady's-love respect for his was a must.
He gave 'love' many a colourful name;
According to him loving was no game.
He drank love from the cup of lady-love,
Then got communications from above.
Who could think then and who could judge
Such a hard drinker would do Haj?

38

He dipped in the oceans of passions,
And bathed with water of emotions.
He was so rapt in adoring the love,
Often he scaled the firmament above.
He was lost in his imagination,
He had a bliss of reciprocation.
He soared up high in versification
To have a bliss of amalgamation.

39

All the verses Jigar has wrought
Bear the stamp of what he thought.
The poetry he composed is a fine art;
Naturally it goes to the people's heart.
He had a very keen sense of beauty
Whose expression he considered his duty.
He made his critics bend so low
With poetic spells he would throw.

40

He was created by nature as a bard,
His ideas in verses are not so hard.
He did not put art for only art's sake;
He was the ‘Ghazal King’ of special make,
His poetry is made out of his life;
It belongs to life and exists for life.
He has often blended love and beauty
As if they were no separate entity.

41

He was by nature fitfully emotional;
Poems of his are novel, though conventional.
We hear the cries from within his heart;
Moods he garnered into words of art.
Concerned he was mainly with his feelings;
Oft they are filled with spiritual meanings.
He liked sorrow much more than delight
Which he viewed unstable as the night.

42

Such poetic ego he was given by Nature,
Imitation of others did not suit his nature.
As from bees, the bee-queen takes honey,
So he took much from sublime company.
Governed he was not by views of others;
If he liked, he dipped them in his colours.
If we took into his poetic glory,
We find beneath a current of Manglori.

43

On reading his poems, we find it evident,
He was influenced by many an incident.
Monetary lures could not him entice
To cease fire against political vice.
Fact and truth in them heartily we feel,
Which to young poets very much appeal.
This trend in Hasrat was just a start,
But it was Jigar's beating of heart.

44

Till then, most poets had poetized the feelings
Of lovers, their humble bowings and kneelings.
Nut now Jigar translated the feelings
Born in the hearts of the lovers' darlings.
'Loves' of common poets we do not love;
But the 'love' of Jigar who would not love?
Beauty is the base in the lays of Asghar;
But love beautifies the verses of Jigar.

45

We see the sun and shadow of realism
Blending with the dreams of romanticism
In a balanced and fine symmetry
In Jigar's beautiful poetry.
He was a love-poet over and above,
But he did not suffer from the ill of love.
The heart of his 'Love' was kind and cruel;
The role she played was double and dual.

46

He did not view life in a narrow way;
He wove his view-points in many a lay.
He was not afraid of his life's end;
Death he took for the call of his Friend.
For him, it was a meaningless thing;
He was life, so he found death nothing.
He has now reached a place of love
Where he lives life our world's above.

47

Once I was in hot water of life;
Many a hurdle came in my strife.
Risen above the waves saw I a hand;
All of a sudden, it drew me to land.
It was the hand of Jigar- a rare man
Who is born once in centuries span.
The soul of that great man, like a star,
Still guides my life when the hurdles bar.

48

The void so created cannot be filled,
The Hawk of death has the 'Ghazal Bird' killed.
But the time of death is fixed by Him
Who is our Lord without doubt and whim.
The only tribute to him I pay
Is to compose this sorrowful lay.
His features shall in these lines be seen;
If they live, he shall in them be green.

SUPPLEMENTARY NOTES

Stanza 1

I mourn the death of the Reverend Poet, Jigar Moradabadi. Let all of us weep for him who has very beautifully produced couplets after couplets on Love and wine.

In fact, love is the spirit of his poetry. Wine gave him frankness to bring out feelings of his heart, but it could not make him naked in expression. He had a wineful personality from where his poems came out as intoxicants.

Stanza 2

I weep for Jigar Moradabadi. I invoke the sad Hour of his death which has been selected from all the years for this unfortunate event to weep with me. I also ask unlucky Hour to wake up his other companions (i.e. the hours that have passed) . Then we all collectively will weep blood for the poet. So long as the future continues to remember the past, his name and fame as a poet shall be passed on from age to age.

Stanza 3

Spirit of poetry has been invoked in this stanza to weep over the death of the poet whose soul listens to its painfully musical weeping.

He was a man of distinctive qualities. He had a laudable character. He was liked by men of every religion. His nature was so good that sometimes he was liked by those who had no taste for poetry. Time, therefore, cannot spoil his fame.

Stanza 4

Jigar's dead mother is worthy of praise as she gave birth to a poet who had many qualities. But it is regrettable that she had died before he became famous. I imagine that the soul of his mother might have felt comfort when he achieved fame. Now he has departed from this world to a place from where nobody returns.

Stanza 5

Even the angels are sorry about his death. They are unable to save him. So they bless to immortalize his three books; namely, 'Daghey Jigar, ' ' Shaulaey Toor' and 'Aatishe Gul'. In the last of his books he has written some poems being moved by communal riots of those days.
Such communal riots are planned by the politicians in India from time to time and their mercenaries disturb the peace.

Stanza 6

There came in the form of procession mourners: the poet's Splendid Ideals, Desires, Adorations, Joys which were blinded with tears and Persuasions (whose wings are conspicuous feature) , his Love and Ties in melancholy mood, and Sorrows accompanied by Sighs. They were all with undressed hair, and tears were flowing from their eyes. The Procession was moving slowly and slowly. The whole procession looked like a train of ants seen near a stream in the summer season.

Stanza 7

Jigar sometimes composed lines of his poems after mid-night. Only his wife was present in the room where he slept. I slept in the other room. But his singing was so enchanting that it awakened me and made me lost. I sometimes felt that the rooms were also spell-bound. The rooms responded to him with their echo when he sang his loving poems in his house. It is now really painful that he has left the world, and has also left them in great woe.

Stanza 8

The words within inverted comas “A compartment of train for me be reserved as life's journey has come to an end, and I have to go to Other Land” are the actual words spoken by Jigar in depression one day before his death.
A few relatives of Jigar were present in his house in a very sorrowful condition when he was nearing death. His wife was very much aggrieved. She was bereft of pleasures of life.

Stanza 9

In this stanza actual scene of the house is depicted when his bier was being taken out for the funeral prayer. Every one who was present at that time was weeping.

The people who come to mourn the death of a man generally leave the house after some time. Similarly, the people who came to mourn the death of Jigar were also intending to leave house after some time.

Day and night, as usual, will go on happening by turns; but for his dear wife, both day and night will be gloomy, as her joy has taken flight in the death of her husband.

Stanza 10

Actual scene of the funeral prayer (Namaze-Janaza) before the burial is depicted in this stanza. The prayer was held near his house.

The weeping is stopped when the people offer funeral prayer. But the heart is sad. The whole atmosphere was surcharged with grief. People prayed for the consolation of his soul. But death was not the least affected by the grief.

Stanza 11

When Jigar was buried, his grave felt joyous to receive his body. The Muslims believe that after the burial, angels come to ask the dead a few questions. Angels asked Jigar some questions in his grave, but they were amazed to see in the grave a white dazzling light instead of darkness. The reason for this light was that Jigar was saintly at heart though once he was wine personified. Jigar was actually dark-coloured, but his soul was supposed to be white (a striking contrast) . He enjoyed the most tranquil rest in his grave, unmindful of the worries of life.

Stanza 12

Wines in this stanza have been figuratively portrayed to hold condolence meeting on his death by hard breast-beating. All sorts of Wines (Wines of different colors, of different tastes and of different races) attended the meeting. A resolution to mourn the death of Jigar was proposed in the meeting, which was agreed upon and then passed by standing, without a single vote of dissent. The reason why Wines mourned his death was that Jigar once loved them more than any other man. He was once a record-breaker in drinking wine.

Stanza 13

Some Wines were so much spirited that they came to his grave to pay him homage. Their eyes were red and their hearts were brave. (It is to be noted that after drinking spirited wine the eyes become red and heart becomes brave) . These were the Wines Jigar once preferred to other Wines. But when he realized later that they were the cause of nuisance, he divorced them. They came fully disguised and were ashamed because they were divorced by the poet. The mourners who were present at his grave could not recognize them.

In the last two lines, the figure changes into factuality because Jigar gave up drinking in his later age.

Stanza 14

When Jigar was on the death-bed, one day he called my mother, and told his wife who was sitting beside him that, after his death, she should neither break her bangles nor give anything in charity for the peace of his soul. When he was asked the reason be his wife for forbidding her from giving alms for the consolation of his soul, he said, “I have done much for myself. You need not to do any thing for me.” His wife who was a righteous and gentle lady promised him that she would fulfill his will.

Stanza 15

In fact, Jigar wanted to be buried at Moradabad, his birth-place; but Asghar Gondwi, his mentor, once said that every thing of him (Jigar) would be done at his (Asghar's) house at Gonda. His prophecy finally came to be true. Jigar died on September 9,1960 at Gonda and was buried there.

Stanza 16

I imagine that his father was in paradise. Hearing the news of his son's sad demise, he felt a shock of grief. The paradise is the place where ordinarily the news of this world does not reach. But the angels specially delivered the news of Jigar's death to his father.

In paradise some angels were reciting the NAAT (a poem in praise of the Prophet, Mohammed which Jigar composed after the performance of 'Haj' in the year 1953) in a very sweet voice. God who loves extremely his dear prophet was attracted by the singing of the NAAT and become so much rapturous that he allotted Jigar one of heaven's chambers.

Stanza 17

People were over head and ears in grief. They could not find any relief so far.

Earth claimed that the dead body of Jigar should be given to it. Grave (a sub-ordinate of Earth) swore that it would not spoil his body. Hearing the arguments of Earth, angels, the inhabitants of the sky declared that his soul would be put in the sky to shine like a star. So, it should be given to them.

God judged the case and then ordered that the body of Jigar be given to earth and Sky has a rightful claim over his soul. By this order, angels very warmly received his soul.

Stanza 18

It is true that Jigar in his childhood was trained by his father in singing and throat- controlling. Marsias are Elegiac verses in Urdu composed on the battle of Karbala in which Hazrat Imam Husain and others were beheaded mercilessly. He spoke out first couplet at the age of eight. When his father heard his couplet, he scolded him saying that he should not make couplets too early.

Many poets tried to copy his style of singing but in vain.

Stanza 19

When Jigar was in his early age, his father died. Thereafter, he was surrounded by many difficulties. He was condemned, disowned and deemed inferior by his paternal relatives. Only Maulvi Ali Asghar, his step-uncle who was a gentle and righteous man, supported him. His relatives in the initial stage of his career did not think that he would become so great. Some of the relatives even mocked when the people said that Jigar had become a poet.

Stanza 20

He was forced by the circumstances to drink wine, but wine could not spoil the sublimity of his character. His feelings and senses were all the more awakened when he was drunk. In that condition he did not utter foul words. He realized that drinking of wine was bad. His hair was long and he often neglected the dressing of his beard. He was an abnormal drinker of wine.

Stanza 21

A famous mystic poet of those days, Asghar Gondwi, owned Jigar and guessed at first sight that he was to become great.

Jigar was taken by his admirers, was offered drinks, and his Ghazals regaled them; but he was given nothing. Then Asghar urged him not to attend the Mushaira without his consultation. Now, when people wanted to take Jigar, Asghar asked them to give him atleast Rs.50, which was initially fixed as his fee for a Mushaira. His fee began swelling with his growing fame, and it went beyond Rs.1000 (a good sun in those days) excluding travelling expenses.

Asghar Gondwi married off his sister-in-law to Jigar on her condition that Jigar would have to give up drinking. On breaking his promise not to drink, the marriage got terminated resulting in divorce. After about 15 years he remarried the same lady. Then he gave up drinking for ever, and led a good conjugal life, but, unfortunately, remained childless.

Asghar Gondwi is worthy of praise as he helped Jigar a lot and tried to uplift him.

Stanza 22

Jigar inherited poetic talents from his father, Maulvi Ali Nazar, and his grand father, Maulvi Amjad Ali, as they were also poets. He also took blessings of some spiritual men. A few incidents of his life and wine gave a push to his muse with the result that many themes came out of his heart like green plants which make a plot of land beautiful, attractive and worthy to be enjoyed. The poems of Jigar are likened to the colourful, fresh and fair flowers of the garden. They shall for ever continue to please men of poetic tastes.

Stanza 23

The incident referred to in this stanza is true. Various books written on Jigar after his death corroborate the fact that when Jigar was staying at Bhopal, a man who was jealous of his because of his extra-ordinary fame, tried to give him some poison by mixing it with his food. But it was discovered, and the man was caught & questioned. He later on confessed that he had actually committed the heinous crime. At this, Jigar at once forgave him. It shows the sublimity of his character.

Even such men as were jealous of Jigar are very sorry.

Stanza 24

Jigar was staying at his friend's in Bombay. He had two thousand rupees in his pocket which were given to him as fee of a Mushaira. He was at night lying on a cot. A person, presuming him asleep, picked the pocket of his Sherwani which was hanging on a peg. He was not sleeping at that time and was noticing all the actions of the man. But he said nothing and let the thief go. In the morning, he asked for some rupees from a friend of his, but did not disclose the name of the person who picked his pocket. This incident is mentioned in various books.

Stanza 25

Forgetting had been Jigar's habit since boyhood. He used to do good to others and after doing good, he forgot it fro ever. He wrote several recommendatory letters daily for the men who approached him and wanted to get employment somewhere. He often gave the needy some money as loan, but did not think it proper to take money back.

Stanza 26

He was very fond of playing cards. He played at a stretch for hours together, and was so much engrossed in the game that he even forgot to take food. He got irritated when he lost the game, and put forth various lame excuses. Honesty was in his nature, so he wanted to play fair game and sometimes lost it owing to his honesty.

Stanza 27

When at home, Jigar was very often reprimanded by his wife, a strict and religious lady, for playing cards. Often an interesting quarrel arose in the house between them on this score, and he was compelled to please his wife by promising that he would never play them; but when the anger of his dear wife cooled down, he forgot all his abjurations and promises, and started playing cards again. Sometimes, he burnt the cards. But getting opportunity, he managed to buy them again.

The idea in the figure used in the last two lines of this stanza has been borrowed from the belief of the Hindus that the dead after cremation is born again and again until he attains salvation.

Stanza 28

He always welcomed his guests warmly. People came from far and near, and stayed in his house. He did not let even the unwanted guests feel that he did not like them. He treated the guests properly according to their position and gradation.

Stanza 29

Jigar's way of talking or advising was very peculiar. He did not come to the point directly, but started beating about the bush. He felt and enjoyed poetry, but lacked ability to discuss it. Though he is no more in the world, his verses are a source of instruction to us.

Stanza 30

Though he was very great, he did not consider himself so. He was neither narrow nor arrogant at all. Often he used to say that he had no qualities of his own but became great because of the blessings of spiritual men. He achieved greatness step by step, and therefore it was permanent.

For the interest of the readers I write here an incident that proves his humility.

Once it so happened that a number of men were sitting with him on the carpet in his sitting room. They put their shoes outside the room. After some time, drizzling began. I was standing outside the room, but it did not come to my mind that I should remove their shoes to the shade. Jigar at once stood up and began to pick up the shoes. Seeing him doing so, some men from within the room rushed, and did not let him do so. Then turning to me, he said,

“God will give you respect,
If you respect the elders' shoes.”

Stanza 31

Jigar hated flattery. In this connection an incident of his life is given below: -

Once he was staying at Hyderabad. He was at a place busy in playing cards. He was favourite of the Nawab of Hyderabad. A man came from the Nawab and requested him to compose some poem in praise of the Nawab to be recited on the occasion of his birth-day ceremony. Jigar at once retorted that he was a poet, not a clown. The Nawab, a wise man, was not displeased to know the reply. He valued him all more. It was only the scheme of those who were jealous of him, but it fell through.

He was witty, sensitive and very fair in his dealings. He had such frankness as is rarely found in men.

He did not like ills at all, and tried to annihilate them by means of his songs.

Stanza 32

He earned so much wealth that neither the poets prior to him nor his contemporaries could earn; but he was very generous and spent his money in helping the poor. When he was at home, he kept some money out of the knowledge of his wife. He often put some rupees under the pillow, sometimes in a tin with a lid, or in some book. This money ordinarily was meant to be given to the men who visited him to seek his help. It was very interesting to se Jigar searching for the money urgently and confusedly. He was not sure about the places where he had concealed the currency notes. Sometimes turned the bed upside down, sometimes he opened the boxes, and then shut them confusedly pronouncing Lahol (cursing the Shaitan) , sometimes he turned the pages of the books. This was all done stealthily lest wife should see his perplexity. She sometimes smelt the rat and enjoyed the sight.

Stanza 33

The literal meaning of Ghazal is to converse with the lady-love or to express something about her. In other words, it can be said that generally in it are expressed such emotions and experiences of life as are concerned with beauty and love. As these emotions are universal, so the presentation of them in Ghazal helped it much in becoming favourite of the people. But if Ghazal had stayed within the narrow bounds of the above definition, it would not have reached the present place. It was, therefore, necessary for it to take up different conditions and feelings. So, even after centering on beauty and love as their favourite themes, the poets took into its domain social, cultural, political, historical, religious, mystical, philosophical and psychological aspects of the life of man. At every stage, it went on changing according to the call of time. That is why it still survives, and has a life of its own.

The structure of Ghazal proved helpful to the poet in adopting different ideas. In each of the couplets which are between the first and the last ones, the poet presents a complete thought. Therefore every couplet is itself a unit. In this way, the poet presents different thoughts in different couplets. Thus, it becomes the beautiful product of the poet's imagination.

As Ghazal is very close to human feelings softness and delicacy are sure to appear in the language. When all these aspects of Ghazal are combined with music of its words, it all the more influences the people. The reason why it is liked so much is that it is expressed in lovely symbols and signs carrying deep and hidden meanings.

After looking into the development of Ghazal, we find that at different stages of life it served as translator of the time. Thus its shape is polished and scope extended.

I write here an interesting incident that caused me to compose this stanza. Once it so happened that Saghar Nizami, an Urdu poet, came along with his wife to meet Jigar who was then staying in the house of Maulvi Mohammed Ahmad in Mohalla Lal Bagh, Moradabad. Saghar Nizami's wife recited before Jigar a Ghazal composed by her. Jigar heared it and praised it a little; but when he was coming out, he smiled and said in a strange way, “Aurat aur Ghazal” (Ghazal and a lady!) .

Stanza 34

He was really the life and spirit of Mushairas. When he was alive, he was the only poet who won the hearts of his listeners with the magic of his poem sung by a painfully sweet throat he was gifted with. Ordinarily in the Mushairas he was given the chance of reciting his poems after all the other poets had sung their poems. During the singing of other poets the audience remained unserious, but when he started singing, there was perfect silence. Nobody dared disturb the decorum of the Mushairas. The audiences were rapt and lost while he sang. Not only this, but the people also remained eager to have a glimpse of him.

Stanza 35

Jigar was truly patriotic. His love for his Motherland is fully exhibited in his poems. In Pakistan also he was very famous. He attended the Mushairas on invitation from Pakistan. The Government of Pakistan once desired him to immigrate there, and promised to give him a beautiful building with a motor car if he settled their permanently; but he flatly refused to accept the offer.

He also wrote many poems in Persian due to which he earned fame in Iran. Some poems of his were translated in his lifetime, and were sent to english0speaking countries. This translation, I remember, was made by Mr. Mohammed Ahmad who was a judge posted at Gorakhpur at a certain time.

Stanza 36

The method of his composing poems was very peculiar. Although some of his couplets were extempore; generally it was his way to compose his poems when he was in his proper mood. He began humming in loneliness and made outlines of plants with leaves, flowers and buds. All of a sudden, from the buds or flowers he drew a line either slanting or straight and then wrote a couplet. In this way, when there were some couplets, he made of them a beautiful poem. After a few corrections, the poem was complete.

He has made his poems with the extract of his liver (the equivalent word for liver in Urdu is Jigar which is also the pen-name of the poet) , and therefore they make the listeners drunk.

Stanza 37

Jigar was not sensual. He was in fact a sensuous poet. His love was pure. He had a respect for his beloved in his heart. He started his loving his lady and when he reached the climax of his love of God. He was such a drinker as remained excessively intoxicated; but his will-power was so strong that when he made abjuration, he gave up drinking for ever. The giving-up of wine had a bad effect on his health, and the result was that he suffered from various diseases. After giving up drinking, he became spiritual and performed 'Haj'.

Stanza 38

Jigar was very sensitive and emotional. He had delicate feelings which sometimes became too intense. His wonderful flight of fancy, his sincerity, his passionate intensity, his piety of soul and purity of inspiration gave sometimes a spiritual colour to his poems.

He did not pass through the stages of beauty and love carelessly, but he full well experienced the hardships of the journey. He felt it so much that he absorbed their spirit in himself. Often he is lost in them too.

He composed his poems when his feelings were intense and when his thoughts inflamed his over quick imagination.

In the beginning he enjoyed various shapes of beauty but when he reached the last rung of his love, he found that every breath of his was filled with the air of beauty.

It is a fact that beauty is unlimited but to contract and absorb it in himself is called love. Jigar has tasted the relish of this love.

Stanza 39

Jigar's views are very clear in his poetry. His poetry is the image of his life. He was not in the habit of saying one thing and doing another. As his couplets came direct from his heart, they touched the hearts of the listeners. There is a flood of passions in his poetry, but it is a craftily dammed by his art. As he was the lover of beauty, his poetry is also a product of beauty. As is the tradition that in the beginning the critics are generally antagonistic to the artists, they criticized him also; but they fell into astonishment when he was appreciated by all and sundry.

Stanza 40

Jigar was a great poet. His poetry is a thing to be enjoyed. It is not an art without substance. Educated as well as uneducated persons can enjoy his poetry, according to their understanding. This was the reason why he got commendations of all and became the favourite of the masses. Even in his lifetime the title of 'Ghazal King 'was bestowed upon him. He had seen the ups and downs of life. So, his poetry is an outcome of his own experience.

In the opinion of jigar beauty and love are one and the same thing. Apparently the words, beauty and love seem very ordinary, but these are the only words in which the secret of both the words is hidden. In the poetry of Jigar we find several ideas about these terms. Sometimes he declares that beauty is the cause and love its effect and sometimes he calls love, the cause; and beauty, the effect. At some stages he passes through a place where he finds beauty and love mixed up. In other words, when love reaches its climax, it becomes beauty and when beauty is lost in seeing itself, it becomes love. In such a state of Love, Mansoor, a great Saint yore had uttered “Anal Haque” (I am God) .

Stanza 41

He did not like unrhymed verses. His poetry is modeled on the technique of the poets of old. His couplets are proportionate and rhythmical. This conventional form of poetry suited him best because he was extremely musical when he sang his poems. Many of his poems can be interpreted in spiritual sense. The quotation “Our sweetest songs are those that tell of saddest thoughts” comes true when we go through his poetry. He was over packed with feelings. Somebody has rightly said about him, “had he not been a poet, he would have been mad.”

Stanza 42

Jigar maintained self-respect in his life. He did not copy the ideas of the past or present poets. He was not a blind follower of any poet. He used to sit in the company of such great personages as Iqbal Suhel, Mirza Ahsan Beg, Suleman Nadvi and Rashid Ahmad Siddiqi but he did not dye himself in the color of any one of them. He put the influences he got from such august men into the glass of his own poetic wine. He had a God gifted quality to extract the essence from the views of others and drew the conclusion thereof according to his own taste. This made him all the more polished in beauty and art. If we read his poems, we find in them the influence of the blessings of his Pir (Spiritual Guide) , the late Maulana Abdul Ghani Manglori.

Stanza 43

Perhaps we can mention no other Modern Ghazal poet who was so much moved by adverse circumstances and great events as Jigar; but he remained optimistic and found hope in despair. Whatever he viewed and experienced, he poetized unhesitatingly. The Government of that time often tried to shut his mouth by monetary temptations but in vain. The young generation very much liked this tendency, which had been initiated by Hasrat (an Urdu poet) : but in Jigar we find it all the more prominent. Hasrat took it lightly, but in Jigar it is the beating of his heart. According to Prof. Rashid Ahmad Siddiqi, this is the place where character makes poetry high or low. Here we find actual difference between poetry and propaganda.

Stanza 44

Generally, it had been the tradition from yore that the poets translated the feelings of the lovers and showed them bowing before their lady-loves to invite their attention and favours; but Jigar opened a new chapter by translating the feelings of the lady-loves. He maintained equal respect of the lovers and the lady-loves. The character of the lady-love presented by the Urdu poets in general is not good. We do not like it, but the character of the lady-love presented by Jigar is so fine that we cannot help appreciate it. Urdu poetry is really grateful to him for this novelty.

Jigar is the poet of love. But he is opposed to purchase at low cost his beloved as most second rate poets do. He knows very well the delicate relation of beauty and love and wants to maintain it all costs.

Jigar's attachment with Asghar was personal, but in poetry he was quite different. In Asghar's verses, we find excess of thoughts, but lack of emotions. In Jigar's verses, we fi

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You can always tell when a man's well informed. His views are pretty much like your own.

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Coffee House

Where ever i lay my head

can only mean

that our time here

is sustanined by a new low

Are these narrow stairs

a way for lithium

to pure out your soul

This is a complete aura

to cry like an angel

as my chariot awaits

For me coming home

cause i'm gonna make it.

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Milingo

I want to ask and i want to know,
And like an info without a room;
But my views are like that of others around me!
For, i know what i am looking for from you.

I know how you love me and,
I am waiting for you in Missouri! !
Oh, my sweet Milingo;
So, come and take me inot your sweet arms of love.

Milingo my lover,
You are the sweetest thing that occurred to me in this life;
Quid-pro-quo!
Alacrity to the minor;
But, a woman in love needs only one man.

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Am I Humble?

Leaning towards my humble self,
We engage in conversation.
The views are expressed, the views appal,
And this admonition from the slanting person
Finishes here.
Such cautionary advice is frowned upon,
I prefer the happiness now, and the gadgets.

The gimmick or game is now to be aborted,
Like an afterthought always now fading.
Lean no more, just keep yourself,
Never take on hymns, never sing incantations,
For your health leave the sky and ground.
The advice leans too close to graciousness.

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Sonnet: Do the Right Things

Are you comfortable in your coat/suit?
Does your neck turn freely while wearing your tie?
Do you evince joy, eating others’ fruit?
Better be pauper than rich man and die!

The things we do must suit the occasion;
We must do those things that suit too, the clime;
What is the use of living in mansion?
You should be content earning just a dime!

Copy not others nor ape someone else;
Do things your brain tells rightly nev’rtheless;
Nothing that’s earthly all the time sells;
Think of the orphans, handicapped, homeless!

You love your brethren and love God through them,
Man’s soul is priceless: costliest the gem!

7-16-2002

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A 4th World

Here we are under these particular stars
Here we stand Victorian
Where the white folk can grow to no so
Very little about the black folk
The same folk who rightfully own
This piece of beauty that we call our home
Well negativity is often heard from society
With conviction they preach
Not even knowing of whom they speak
I guess its each to there own
Those that want to will know
I guess its each to there own
Because from the top the views are old and grey
Well I feel so ashamed
Of this system and these ways
The tiny hearts that lead our nation
And tiny minds that let them in
And I see your confusion
I see your pain
I see your pain and your confusion
And theres still some with my skin
Who still try and hide the reason

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Fight is no answer

I remind you why
The truth we should face and never shy
Life is to end one day
That is natural way

How can you fight for rented house?
Life is not given for misuse
You need not fight to stay alive
Life is meant to be enjoyed and lived

Why world is falling apart?
We fail to realize it as part
No one can stop you when time comes to depart
To understand and give love is fine art

Fight is no answer
Right doesn’t lie with fewer
You can’t force someone to be with you forever
As truth is keeping you away for ever

You are not simple fool
If know the of remaining cool
Think twice and stay firm
Your views are genuine and firm

Love is never had for asking
It must have full baking
Love for loved and help to deserved
This is simple law an d must be observed

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Little Ms. Perfect

In College, looks best, bought a good dress,
Flawless footsteps, Cinderella, from 1 to 10 a 10 forever
Wanted friends but then the weather came, special waves of;
Zephyrs, rain, pleasure-pain, she's a hurricane never named
Versus flame she's burning hot, a permanent cross between permafrost
Thoughts working from god, specially designed a few
A newer version of perfect, he took his time with you
Eyes are blue, your Isis views are timeless hues
By the moon that fly into the sky removed
Turn sandals to diamond shoes, curves, handles
Drew up unique, I like to do what you need, view what you speak
Thought-provoking open book, your thoughts are wrote in oaken wood
Invisible journals, every syllable circles and curves till its purple
When sentences merge; Victim for certain
Innocent version of Little Ms. Perfect

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The Lottery

"Young fellow, listen to a friend:
Beware of wedlock - 'tis a gamble,
It's MAN who holds the losing end
In every matrimonial scramble."

"Young lady, marriage mostly is
A cruel cross of hope's concealing.
A rarity is wedded bliss
And WOMAN gets the dirty dealing."

. . . Such my advice to man and maid,
But though they harken few will take it.
The parson plies his merry trade
The marriage seems much what you make it.

If Pa or Ma had counsel sought
Of me whose locks today are hoary,
And feared to tie the nuptial knot -
Would I be here to tell the story?

Nay, lad and lass, don't flout romance,
Nor heed this cynical old sinner;
Like bold Columbus take a chance,
And may your number be a winner.

Far be it from me to advise,
But in the marital relation
The safest bet is Compromise
And Mutual Consideration.

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Decree As Sacrilege

If I don't like what you say...
I don't like what you say!
I am not going to condemn you...
Because your views are not what I want them to be!
Or that I believe my outlook with values attached,
Are better than yours.
However...
If you do attack my values that are valid to me,
I will get angry!
Especially those I can not defend,
When I become offended by the embarrassment...
Of blatant hyprocisy I 'may' live or express openly!
'That' I will decree as sacrilege!
Even though your truth exposes my pretense!
And an obvious reality of your comments...
Based on actuality I would like to keep hidden!
There should be somethings kept and left respected,
As being totally false and a paradox of my existence.
And...
I just might hate you for that!
You have no right to interfere,
Or probe into my interpretations!
They are 'my' interpretations of truths.

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Vote For Me

This crappy west coast hippie scene is becoming quite a drag
It seems that all my freaky clothes are turning into rag
The time has come to break the strings
Free to form constructive things
Tear the world right off its hinges
Chorus
Vote for me
Vote for me
Sign across the line
Vote for me
Vote for me
We can overtake the world
For some millions in this place and their views are never heard
They take precautions just in case you say a dirty word
With adverts comments they promote
Re-elections antidote, just a game to catch your vote
Chorus
Take up your pen
You wont regret it
Never met such an opportunity
For the people who are in the way
Make a new election day
Please correct me if I seem to be making too much noise
In this profession people rush to cut you down to size
So after all the seats are played
Dig my brain with a golden spade
Theres a fortune to be made
Chorus and repeat

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Murder

Murder
Coming to get us
Theyre coming to get us for the way we are
Murder
See it all around us
See it all around us for the way we are
Murder
Coming to get us
Theyre coming to get us for the way we are
The way we hide
Tie me to a tree
Tie my hands above my head
Sing a song to me
Sing a song like what you said
Ohhhhh... (murder)
Ohhhhh... (murder)
Cause theyre gonna murder me
Theyre gonna drag me down
Even before I sleep
I cry murder
Come spit at us
Come and throw your weight around
Come and fight with us
Try and knock us to the ground
Cause theyre gonna murder me
Theyre gonna drag me down
Even before I sleep
I cry murder
Murder...
Oh now what can it possibly gain
Oh what could it possibly gain
Oh what could it possibly gain
And what could it possibly gain...
(Cry murder, murder, I cry murder)
Murder
Coming to get us
Theyre coming to get us for the way we are
Murder
See it all around us
See it all around us for the way we are

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Bloodstain

Alice temple :
They say if you took it all away
This love would fall apart
I say, no way
You dont know the size of my heart.
Vicious, suspicious
It doesnt matter what I say
Users and losers
Theres nothing here to make me stay.
Bloodstain on a blue vein
Take it with no shame
Love tracks on a loose train
Bloodstain
No gain with no pain
My scars are deeper than you think
Tie me, try me
One more time before I sink.
Big lies, big times
This love is not what were about
Its too late, and Im too straight
Its time to blow this fire out.
Bloodstain on a blue vein
Take it with no shame
Love tracks on a loose train
Bloodstain on a blue vein
Take me softly
Im going crazy for your touch.
Bloodstain on a blue vein
(blue....blood, blue....blood, blue...blood)
Take it with no shame
(no...take, no...take, no...take)
Be be k roche sample :
Im alone
And dissatisfied
And someone else is alone
And dissatisfied
Blade runner sample :
You are alone?

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Talk Talk Talk

A healthy argument to start the day, what better way
We chew the fat of life, we're moved to tears
Lend me your ears
But you spend all your time
Waiting in static shopping lines
And all your troublesome debates
Are solved in glossy magazines
Too much small talk leaves you with small minds
So tell me what your views are
And I will tell you mine
Well how's the weather
(grey and boring)
It's back to work on
(Monday morning)
Oh let it go
Tell me things I'd like to know
Frighten me, enlighten me, oh no
Opinion can be void if not presented from both sides
So speak your mind my dear, your loves and fears
And nothing in between
Initiate debate about
The way you hate the things I say
I'd rather that then spend another minute
Killing time
Too much small talk leaves you with small minds
So tell me all your secrets
I'll never tell you mine
Well how's the weather
(grey and boring)
It's back to work on
(Monday morning)
Oh let it go
Tell me things I'd like to know
Frighten me, enlighten me, oh no

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Mistress & Maid

She said
Come in my dear,
Youre looking tired tonight.
Your bath is drawn, let me loosen your tie
And fix you your usual drink.
He settles back,
Takes a magazine,
Kicks off his shoes, as he studies the form
Of every appealing soubrette.
But where are the flowers that he used to bring?
Every endearing remark
Reminds her of passionarte promises,
That he only made in the dark.
In her bed,
She wants to shout at the back of his head
Look at me, look at me, look at me Im afraid
See what its come to,
Im just your mistress and maid.
The wine is warm
But the dinner is cold.
The look in his eye tells her it wont be long
till the girls on the page come to life.
And theyll get the flowers that he used to bring
With every endearing remark,
And all of the passionate promises
Hell never fulfil in the dark.
In their bed,
She wants to shout at the back of his head
Look at me, look at me, now that Im not afraid.
See what its come to,
Im not your mistress and maid.
See what its come to,
Im not your mistress annf maid.

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