aaj ik aur baras biit gayā us ke baġhair

jis ke hote hue hote the zamāne mere


Author : Dagh Dehlvi

Publisher : Matba Mufeed-e-Aam, Lahore

Origin : Lahore, Pakistan

Language : Urdu

Categories : Poetry

Sub Categories : Ghazal

Pages : 317

Contributor : Jamia Hamdard, Delhi, Dr. Aditya Behl

mahtab-e-dagh ma' zameema yadgar-e-dagh

About The Book

داغؔ کی شاعری عشق کے محور پر گھومتی ہے۔ ظاہر ان پرورش وپرداخت میں شاہی قلعے اور محلوں کی کارفرمائی رہی ہے۔ اس لئے جنسی محبت کے باوجود ان کی زندگی میں عاشقانہ جذبات خاصہ دخل ہے۔ داغؔ کی شاعری میں حسن وشباب، عیاشی وعیش کوشی بلکہ ہوسناکی کی حد تک پائی جانے والی کیفیت کا دخل ہے۔ عام طور عشقیہ جذبات کے متعدد رنگوں سے قاری کبھی اچھل پڑتا ہے، کبھی آزردہ ہوتا ہے اور کبھی ان حالات کو اپنے دل کی گہرائیوں میں بھی تلاش کرتا۔ زیر نظر کتاب ’مہتاب داغ مع ضمیمہ یدگار داغ‘ میں شامل غزلوں سے بہت اندازہ کیا جاسکتا ہے۔

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About The Author


Nawab Mirza Khan Dagh Dehlavi  (1831-1905), was born and brought up in the red fort of Delhi where his mother was married to prince Mirza Mohammad Sultan, son of Bahadur Shah Zafar. After his father’s death, he had to leave the red fort, and after the fall of Delhi in 1857, he had to move to Rampur where he lived in comfort for more than a decade. Later, his changing conditions, for good or bad, took him to other centres of renown like Lucknow, Patna, Calcutta, and Hyderabad.

As a disciple of Zauq himself, and with a large number of eminent disciples to his own credit, Dagh deliberated upon the aesthetic principles of ghazal as a form of intimate poetic conversation. He charged the common speech and combined the poetic manners of the Lucknow and Delhi schools. In its totality, Dagh’s poetry is idiomatic and appealing, laden with emotions and good humour. He did not take the idea of love to philosophical heights but engaged with the experience of love at a human level, bringing it close to eroticism. Cumulatively, he is playful with language, least Persianised in his diction, witty in turns of phrases, urbane in addressing, and full of gaiety and simplicity in his essential approach to his material. Apart from his four divaans, representing the last hallmarks of classical poetry, he has left behind a bunch of letters and a long narrative poem.


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