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GHAZAL DARAKHT
(A Tree of Ghazal - An Urdu Poetry Collection)
By IFTEKHAR RAGHIB
Price: Rs. 200/- (QR. 20/-) ; EDITION: 2014
arshia publications
A-170, Ground Floor-3, Surya Apartment, Dilshad Colony, Delhi - 110095 (INDIA)
Mob: (0) 9899706640, 9971775969 Email: arshiapublications@gmail.com
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y 3 1 0 2 Y k
A x T ? z { Q p {
V Z g g V Z .
Accomplished ones, are gifted with the virtue of modesty
The nature, and the content of fruit-bearing trees, is atypical
Z . w [ ~
Z . Z i
'
,
Z ~ $. z . Z .
Each of my coupl et s i s at t r i but abl e t o you, my l ove
My s t y l e of di c t i on, becaus e of you, i s at y pi c al
C V ~ ). w 7 g Z
Z k z g ~ | Z Z .
How shall I convince others, that I'm not a coward, Raghib
The sense of decency, and civility, in our age, is atypical
The intelligent reader is more concerned about the substance in
the poetry, and appreciates the artistic side of it. Coherent
structure, and thematically connected parts are, however, the
basic requirements that make poetry worth reading. Raghib, in this
book, has succeeded in providing a feast of keen delight to the
readers. His thoughts are bright and clear. He has expressed
complex sensibilities in appropriate manners with his unique style
marked by elegant terseness, precision, and density of expression.
Raghib has skillfully and boldly experimented with words. This
book's title 'Ghazal Darakhat' is Raghib's own coined term.
'Ghazal Darakhat' is not another run-of-the-mill poetry book. The
variety and scope of Iftekhar Raghib's poetry topics are truly
remarkable. Raghib has previously published two poetry books
namely 'Lafzon Main Ehsas (Emotions in Words)' and 'Khayal
Chehrah (Face of Imaginati on)'. His newest book 'Ghazal
Darakhat' is atypical of his previous poetry work. The name fits the
book perfectly for the reason that it presents new themes, and also
touches on familiar themes, but with variation. I, therefore, feel that
it holds special allure for the Urdu poetry enthusiasts. Please enjoy
the book; you will certainly appreciate depth, and originality of it.
Dr. Faisal Hanif
Founder and President - Guzergah-e-Khayal Urdu Forum
Doha, Qatar
September 25, 2013



The above three couplets give an impression of Raghib's poetry,
from the point of view of his approach towards creating themes
with intense integrity and sincerity. He has exhibited quick
sensibil ity, and expressed his thoughts involvi ng different
philosophical dimensions to the world he lives in.
~ e L ? . W V L 1
3 Y V p ] 7 e L ~
I n e v e r wa n t e d t o wi n a g a i n s t y o u , b u t
To lose against my own self, is not what I wanted either
H q w Z [ } ~ Z } ]
- V W , ] 7 e L ~
What a distressing state I'm in, in pursuing success
I get you ef f ort l essl y, i s not what I want ed ei t her
Raghib is one of the very few genuine and original poets of Qatar.
He is a star poet of Dabistan-e-Qatar. Distinctive aesthetic
pleasure and thoughtfulness is what Raghib's poetry is about. In
support of my views, I quote below a fine sample from Raghib's
poetry with its English translation.
Z . Z 0 Q y . _. Z .
`. g ~ w 6. z { Z .
Her style to cause an emotional anguish and distress, i s atypical
Tragedy and pain, I have been through, and barely survived, is atypical
Y V e Z Q h Z
I L
V _. Z .
The wind, like the hand of destiny, sweeps away the leaves
The tale of the leaves plucked from the trees, is atypical
6. ~ g { H 0.
F
)
| ~ Y w Z .
How woul d one set t l e down i n a f or ei gn l and?
Destiny of the flower planted in flower-pot, is atypical
!. 4 Z [ +
Z . g S u d q . Z .
From surface, it appears a blossom garden of exquisiteness
In fact, the inner state of each tree (forsaken hearts), is atypical

expression, deserve to occupy a significantly vital place in
contemporary Urdu poetry.
In a similar situation, it is interesting to note how different poets
select words and expressions that suit their purpose most and
employ special connotations to deepen implication and association.
Ghalib on the way to Calcutta to plead for the case of his hereditary
pension, wrote a ghazal in which he described, in his unique style,
his keen perception and lived experience. Maqta' is:
z ~ y H _. ". ~ g
"
. .
.
,
V z {
!
.
,
,
l
| .
.
.
~ 7
Ghalib, was I dignified at home so I should expect to be valued abroad?
Frankly, I'm that fistful of garden-waste that is not in the waste-container
A specimen from Raghib's 'Ghazal Darakhat':
. z V ~ , B ~
c Z V V
With the oppressor, I'm determined to fight with pen in hand
My foe, even so, is provoking me to pick up the sword
'
Z q w z z 4
k . H e u e u ~
Try not t o pat ch up my ext remel y t at t ered cl ot hs
The state of my garb is no different than our friendship
'
Q k ~ V g Z
T ? . x Z z g 7
I ' m l o c k e d i n a n e n v e l o p e , Ra g h i b
Wh i c h h a s n o n a me a n d a d d r e s s
In the first couplet, he handles the situation with an alarming sense
and succeeds in exhibiting robust optimism in his faith and himself.
It is faith that he has expressed so well and so authentically.
The second couplet is a perfect specimen of deep simplicity and
passion with rich decorative quality. Ornamental imagery of relating
'dosti (relationship)' to 'daman (garb)' is exquisite, representative,
and quintessential of Raghib's poetic art. The expression, the sweep
and the flow of the couplet, is reminiscent of the glorious diction of
the great eighteenth century classical Urdu poet Mir Taqi Mir.


On nostalgia, and in the state of hardship and pain, noted Urdu
poet Fani Badayoni said:
Y z { r " g z
". T g Z k . W Z z g z g ^ .
Fani, while being alive, I'm a shroudless unburied corpse
Who is expatriated from homeland and couldn't settle abroad
Being a stranger, away from home has its own unique experience.
Raghib has gone through that experience being an expatriate in
Qatar for many years. He too handled a similar situation, like Fani,
in a masterly fashion by creating imagery of sensation which is
quite prominent in his couplets below. It clearly suggests the quick
and acute sensuous perception reaching the heart of the reader
with overpowering effect.
Y V e Z Q h Z
I L
V _. Z .
The wind, like the hand of destiny, sweeps away the leaves
The tale of the leaves plucked from the trees, is atypical
6. ~ g { H 0.
F
)
| ~ Y w Z .
How woul d one set t l e down i n a f or ei gn l and?
Destiny of the flower planted in flower-pot, is atypical
Raghib has employed the technique of throwing up a shower of
translucent images to depict the helplessness and the state of
being hapless, which can coalesce into a meaningful obvious
reality. His distinctive poetic technique, simple use of words, and
remarkable originality exhibit quick sensibility to the world around
him, where he himself suffers and sees others in nostalgic pain too.
Fani, whose poetry largely revolves around the theme of death,
and sorrowfulness runs through all of his compositions, his poetical
pondering on underlying theme is certainly a remarkable one.
Raghib with wide variety of themes, however, expresses this reality
with freshness. I can, with confidence, make a case that the above
couplets are among the best poetry created in our time. These
couplets show Raghib's deep sensibility. He could not have written
such couplets if he was not sensitive and observant.
The above couplets, due to their deep simplicity and authentic
many religious and philosophical reverberations. The first striking
quality of this ghazal is that it is teeming with thoughts. It has
strong intellectual appeal. It clearly appears to be the product of a
philosophical mind and is remarkable for its chaste simplicity and
for the beauty of the diction employed.
We would agree that every work of literature has two aspects,
form and substance. Great poetry is produced when poet takes
due care of both form and substance. Most poets disturb the
balance in favour of form and devote too much attention to formal
perfection, thus producing poetry which 'looks good' but 'tastes
bitter'. Iftekhar Raghib has been successful in maintaining the
balance between form and substance. The poet himself says:
e c p z | x .
s 7 Z p V .
Essenti al i s a rainbow of imagi nati on and emotions
Met ri cal composi t i on al one, j ust does not suf f i ce
Raghib is an 'aroozi' poet who is noted for strict observance of the
rules of language. Today many people are of the opinion that
writing poetry according to the standards and rules laid down by
the classical Urdu poets, results in repression of emotion and
imagination and in correctness and elegance of expression. It is
true that regular ghazal and nazm (when compared with prose and
particularly with nasri nazm) restrict spontaneity, but it guarantees
the beautiful, most desired, and appropriate structure. Raghib's
poetry is demonstrative of a skillful poet who says new and
significant while following the basic rules of prosody.
In Doha Qatar, 'Guzergah-e-Khayal Forum' organizes symposium
on Mirza Ghalib every month to enhance understanding of Ghalib,
where prominent literary personalities of Qatar, poets, writers, and
Ghalib-experts discuss, interpret, and critically appraise Mirza's
ghazals. Iftekhar Raghib, in first symposium, made an earnest
attempt to compose a humorous ghazal using a verse from
Ghalib's couplet and adding his own to the next. His poetic
creativity and 'aroozi' skillfulness was greatly appreciated and
much liked by the participants and attendees so much so that he
was requested to continue with his endeavour to present such
composition at every Ghalib-symposium.


Z , z Z . 7 g . z 1
Z + W @ p Z [ . z Z .
There are flowers that are deprived of beauty and fragrance
There are minds that suffer from the lack of imagination and thought
'
Z . z . 7 g Z
S u C
Madness, on the one hand, pushes towards devastation
Love, on the other, cal l s for happi ness and rebui l di ng
'
? H } g ~ q
W z Z i } 6.
.
.
.
N.
Separ at i on f r om you t ook away my exuber ance
S o mu c h t h a t i mp a s s i v e n e s s mo c k s me
Chief features of Raghib's poetry are the use of skillful language,
originality, organized ideas, simplicity, concentrated expressions,
and re-creation of experience. In general, poets, who acquire an
intellectual tone, become deficient in emotion and imagination. In
this sense, Raghib stands unique among the crowd of poets. He
has presented intellect in his poetry, but not at the expense of
emotions and imagination, which are the true substance of poetry.
Thus, his poetry is delightful and thoughtful at the same time. This
delight is not just confined to momentary aesthetic pleasure; it
rather leaves indelible mark on readers' mind.
Q Q V . Y V
!
~ Y
. p V Z . Y
I wi l l be rest ored t o l i f e af t er I am ext i ngui shed
I am, however, restless after my foundation is wrecked
p s W @. ~ s m. _
, . g { Y @ . Y
The t hought of cl i mbi ng upwar d i s f r i ght eni ng
As del i ques c e al way s f ol l ows ef f l or es c enc e
S k b Z y . N g Z =
W . x Y
Everyone i s ast oni shed t o see me, Raghi b, as i f
Someone has come back after permanent departure
While giving a peep into poet's thinking, above couplets have
The above statement is reminiscent of those who have an eye for
the fine qualities of poet's genius for balancing the form (beauty)
and the substance (thought) in poetry. This is an extension to
Bertrand Russell's quote used expounding on Plato, "the man who
only loves beautiful things (form) is dreaming, whereas the man
who knows absolute beauty (form and substance) is wide awake.
The former has only opinion; the latter has knowledge."
I'm sifting through the pages of Iftekhar Raghib's new book 'Ghazal
Darakhat' while keeping in mind all the characteristics of good
poetry. I could say that this book is made of fantastic Urdu
ghazals. The intelligent question to ask is "so what?" In other
words, an intelligent reader would like to know the value of the
book. Will this book repay his reading? Hundreds or perhaps
thousands of books in the name of Urdu poetry are published
every year. It is becoming increasingly difficult for the readers to
make a distinction between an artist and a non-artist. In my note
below, I have aimed to show the reader the value of this book by
highlighting the fine points in Iftekhar Raghib's poetry in general,
and this book in particular.
A poet must be sensitive and observant. Raghib's observation is
very keen. The first thing that strikes us about Raghib as a poet is
his lyric intensity and his thematic variety. His principal themes are
love, pain, nostalgia, hope, peace, spirituality, betrayal, humanity,
and values. Therefore, his poetry appeals to every mood. His
approach to these aspects of human life differs from that of other
contemporary poets. What will surprise the reader, is Raghib's
variety of topics, situation, and treatment of the typical themes with
novelty and genuineness.
, B g
. g } w 6. Q k Z . !. g
7 x Z. w g Z V
My bel oved, once l ooked at me wi t h ki ndness
Si nc e t he n, i n ec s t a s y , I h a v e l o s t my s e l f
'
Z , 7 } z Z . 7 Z !
Z + . . V c [ . z Z .
T h e r e a r e b u d s t h a t n e v e r b l o s s o me d
Ther e ar e r i ver s t hat have not met t he st or m


} Z z u ]
\ . . 7 . } Z [ }
O' wine-cupbearer, pour into my cupped-hands, if you hate me
If you do not like giving me a cup, so be it, but give me wine
A large number of contemporary Urdu poets skillfully exhibit
metrical achievement. They, however, disgracefully fail on the
account of originality, imagination, and philosophy. The result is
substandard poetry that lacks all the necessary characteristics of
good poetry. The inherent weakness in the idea of Urdu poetry is
the rule which dictates that a metrical composition makes two-lines
a couplet. What about, imagination, expressions, knowledge,
reasoni ng, emoti ons, feel ings, i ntel l ect, anal yti cal abil i ty,
musicality, delightfulness, re-creation of experience, and intuition?

Poetry, by no means is just composition of words in a meter. It
deals with facts, experiences, and problems that we human beings
face in our day-to-day life. It does two things to complete the
process; fi rst, i t rel ates them to our emoti ons. Second, it
transfigures and transforms them by employing the power of
imagination. Here one might ask that, since all above qualities
characterize prose also, how poetry differs from prose? Where is
the dividing line? The answer is simple--certain form of expression
i.e. rhythmical l anguage or poeti c meter where thought is
condensed in a few words where reader's attention is caught at
once, distinguishes poetry from prose. In poetry, the poet adds
layer after layer of meaningful expressive words, powerful
metaphors, varied and translucent images, and other vehicles for
perception. It all builds up into one holistic perception. In fine, the
poetry originates directly in that impassioned intuition which is the
main requisite of poetry. It is the intuition, and the power of
imagination that distinguish the work of a gifted artist from that of a
mediocre mind. Without afore-mentioned qualities any subject
treated in poetic meter will not be worthy of being classified as
'poetry'. Raees-ul-Mutaghazaleen Jigar Moradabadi has rightly
said:
g v Z 7 i
. 1 Y V Z W. ~
I mus t as k poet r y - t ec hni c i ans ( poet s ) , J i gar
with all ingredients, why poetry fails to create impact
Poetry enthusiasts know that good poetry is a source of delight
and fulfillment. If you try to define the utility of poetry in your
ideal state, ignoring its aesthetic function and value, you might
end up banishing poets. Plato's approach towards poetry was
fundamentally utilitarian, and for that reason he condemned poetry
as immoral and untruthful. Aristotle took up the challenge of Plato
and asserted the superiority of poetry over philosophy. We often
make general statements in regards to poetry and in judging the
excel l ence and meri t of someone' s l i terary work. In today's
fast-paced environment and knowledgeable world, where literature,
particul arl y Urdu poetry i s on the decli ne, one needs a less
ambivalent approach in assessing poetic work. It is essential to
recognize that the poet's universe is different. Therefore, looking at
it through our existing paradigms would result in flawed judgment.

Albert Einstein, one of the greatest physicists of all time, whose
scientific and intellectual accomplishments have made his name
synonymous with genius, considers imagination more important than
knowledge for the reason that imagination is evidently infinite in
nature whereas knowledge is limited. Einstein was an artist. Being a
very fine pianist and violinist, he relates his approach and thoughts to
imagination by saying: "when I examine myself and my methods of
thought, I come close to the conclusion that the gift of imagination
has meant more to me than any talent for absorbing absolute
knowledge."
Mirza Asadullah Khan Ghalib, the greatest and the most versatile
poet of Urdu language, whose poetry and prose represent the
highest artistic achievement of Urdu language and literature, in his
letter to his fri end Munshi Hargopal Tufta, wri tes: "poetry is
imagination, not metrical composition."
Altaf Hussain Hali, Ghalib's famous disciple, a remarkable poet,
critic, and prose-writer, who is among one of the 'five-pillars' of
Urdu, (others are Sir Syed Ahmed Khan, Maulana Mohammed
Hussain Azad, Deputy Nazeer Ahmed, and Allama Shibli Nomani)
also sees imagination as the most important feature of a great
couplet. He believes that imagination is a source of sophistication
and f i neness. To Hal i , the power of i magi nati on i s what
distinguishes a poet from a non-poet. He quotes Ghalib's following
couplet as one of the examples of power of imagination where a
simple thought transforms itself into extremely fine poetry when
imagination is employed.


Raghib - A Poet of Atypical Diction
Dr. Faisal Hanif
Z . w [ ~
Z . Z i
'
,

Z ~ $. z . Z .
Each of my coupl ets i s attri butable to you, my love
My st yl e of di ct i on, because of you, i s at ypi cal
Iftekhar Raghib, in the above couplet, attributes his style of diction
to his beloved. I, on the contrary, attribute his atypical and
elevated style of diction to his astonishing originality, integrity and
sincerity, his distinctive poetic techniques, his impassioned
intuition, and his romantic and philosophical sensibility.
These comments are intended to provide the reader a peek into
Iftekhar Raghib's poetry, and his new book 'Ghazal Darakhat'
whilst highlighting and emphasizing some important aspects of the
poetry as an art. The preamble of considerable length is aimed to
set the stage for the purpose of 'differentiation', as it deems
indispensable for the introduction of a poet like Raghib who, as I
know, is one of the very few poets of our age who employs no
'marketing tools and techniques' but his poetry as a vehicle to
showcase his poetic talent. Despite his humble person, he is
distinguishable as a genuine literary artist. Ghalib's below couplet
appropriately applies:
t g . g
.
,
,
.
u z V
. 6. } ~ . V
Passion, in every form appeared rival to the material possessions
Qais appeared undisguised even in the guise of an image



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