WHEN one talks about Urdu ghazal (poetry) one personality definitely figures in the cream of poets in the 20th century. That poet is fondly known as Jigar. And any history of Urdu ghazal in this era would be incomplete without Raeesul Mutaghazzalin (Prince of Urdu Ghazal) Jigar Moradabadi (1890-1960).
The poet hailed from the city of Moradabad in the state of Uttar Pradesh in modern day India. But for Jigar, it would have remained one of the other sundry cities abounding the nation, and it is to this unique poet that the city owes its fame, despite the fact that Jigar moved from Moradabad early in his life and resided in Gonda for the rest of his life.
Jigar was much admired and read by many and his works launched him into a realm of his own, such that he was more popular than the princes and regents of the 500 former Indian princely states. The popularity could be gauged by the huge following he had among the masses, to the extent that many of his fans would besiege stations just to get a glimpse of their favorite son passing through their towns and cities.
The respect he got transcended religious and language barriers that were prevalent at that time. Though his poetry was in Urdu, he was called on to recite his works in varied platforms earning the commendations and love of both the Hindu and Muslim communities. His poetry was such that even Pandits from Sanskrit maths (schools) conferred varied honors on him.
Though his work was very much in the traditional ghazal form, he was nonetheless a trendsetter and indeed, some maintain that he reinvigorated Urdu ghazal. He works just as other masters of the form do but his choice of words and his expression lends his creations something new.
Like Persian poets, his diction was precise, that, along with the meaning and essence of the words gave the effect of fulfillment. He is a natural poet, producing the sense of drama, tweaking the range of emotions and evoking the highs and lows of happiness and sadness with his pauses and repeated renditions of the lines of poetry. His words are filled with music and he knows full well that for a poet, words are like coins: They must not be wasted. They must be used economically. In his brevity is both music and rich meaning; his rhythm touches the heart.
Jigar himself was as melodious as his ghazals. Both princes and paupers were his fans. Though he did not seek riches or fame, he became unexpectedly rich and was able to help the needy.
Many books dealing with Jigar’s poetry are available but proper and careful selection and research is still scarce. Jigar’s individuality still has great appeal. And it is this unique feature that has secured a special place for him in the field of ghazal.
The special feature of his ghazals is that they contain his life story. His life was never different from his poetry. His nature, inclination, tone and all the colors of his being are there in his poetry.
Jigar was a great admirer of beauty and was successful in painting a live picture of his earthly beloved in his ghazals but he does not stop there. His description of beauty carries us to a different timeless land where eternal beauty is supreme. The reflection of this eternal beauty is found everywhere in his ghazals. The presence of this beauty gives him ecstasy. And this ecstasy secured recognition for his ghazals.
Jigar does not follow either the so-called Lucknow or Delhi schools that were rigidly applied by many maestros of his time. His ecstatic style, careful selection of words, peculiar similes and metaphors make him unique. With his distinguished style, he creates a unique world of beauty.
His poetry is an example of Robert Frost’s definition — “beginning in delight” and “ending in wisdom.” He describes the nature of beauty:
Kahan Ka Husn, Agar Uth Jaye Purdah
Haqiqat Kya? Agar Mubham Nahin Hai
“If the veil is lifted revealing all, then reality is grim.” Here he applies the metaphor of a woman in veil, whose hidden attributes act seductively, as does life where real beauty lies in the veiled attributes that accentuates reality.
He goes on to say:
Jab Ishq Apne Markaze Asli Pe Aa Gaya
Khud Bun Gaya Hasin Do Aalam Pe Chhaa Gaya
This couplet lends a sonorous ending to the life and love when linked to the above verse.
Then in another line Jigar touches on the range of moods that paints life. He says
Ghum Mein Bhi Hai Suroor Woh Hungaam Aaa Gaya
Shayed Ki Daure Baadae Gulfam Aa Gaya.
Which in a nutshell means, even sorrow has ecstasy in it. This intoxicates him. How delicate this couplet is!
In another verse,
Dil Ko Na Poochh Marakaye Husno Ishq Mein
Kya Jaaniye Gharib Kahan Kaam Aa Gaya
Jigar enlightens the heady battle that our heart is caught in between beauty and love, mirroring life’s challenges in one swift blow. His gentle touch of the second line renders the heart low in this consummate battle enhancing the poetry to unique levels.
The poet’s passion for love and beauty enables him to bring to the fore complex thoughts in simple terms. Even death is treated with the same ecstasy that he reserves for every single aspect of life.
The poet approaches the time-worn subject of the beloved in the same tenor, but adds his own twist by sending the readers on a different tack when they are hit by the inner meaning whereby in seeking nearness one only gets separation.
His couplet:
Kamaale Qurb Bhi Shaayed Hai Ain Bu’d Jigar
Jahan Jahan Wo Mile Main Wahan Wahan Na Raha, says it all. The person finds the beloved only to lose his existence. There is this subtle irony of ethereal and sublime in the more direct meanings of the line. Just as in Persian poetry, the description of the beloved’s beauty and its influence on the heart and material objects are often present in Urdu poetry as well.
Jigar’s place among 20th century ghazal poets is unique because he has touched on different topics, shades and dimensions. His contemporary ghazal writers, of course, had their importance but Jigar’s art excels them all. By publishing articles about Jigar’s poetry and a selection of his ghazals, Chaudhry Ali Mubark Usmani has done a great service to Urdu literature.
