MIR TAQI MIR AND VEDANTA

                                         

MIR AND VEDANTA..

Vedanta discusses in detail the various questions of the human mind such as who I am, why and where do we originate from, what is the cause of all these creations, what is the reason for this world, where do we go after death, what are the relationship of our mind and inner self with the body, why is there so much sorrow or happiness in our lives, how is it possible to get rid of sorrow forever, etc. Eventually, the essence of Vedanta thinking has come to answer all these questions.

Mir Taqi Mir ( 1723-1810 ) also gives you glimpses and echoes of Vedantic thoughts in his poetry.Both Ghalib and Mir possessed entire divans or collections of poetry in Persian that are variously traced by Bedil’s legacy. And Bedil had studied Upanishads, Yog Vashita and Nagarjuna .

Ye tavaahum ka kaarkhaana hai

Yaan vohi hai jo eitebaar kiya

( Mir Taqi Mir)

(In a world of never ending illusions,

the real is what you believe is real.)

Boodh naqsh o nigaar sa hai kuchh

Soorat ikk eitebaar sa hai kuchh 

( Mir Taqi Mir ) 

( Forms and images appear as works of art,

If you trust them, they are there for you .)

"kaha maine kitna hai gul ka sabaat

kali ne ye sun kar tabassum kiya"

(Mir Taqi Mir ) 

(I asked the rose bud, 

“How long is the life of a flower?”

The bud listened and smiled.)

" Bekhudi le gai kahaan humko, 

Der se intezaar hai apna"

(Mir Taqi Mir ) 

(Where has selflessness taken me, 

I’ve been waiting for myself for long)

" Le Saans Bhi Ahista Ki Nazuk Hai Bahut Kaam,

Afaaq Ki Is Kargah-e-shishagari Ka."

(Mir Taqi Mir ) 

(Breathe here softly as with fragility here all is fraught 

in this workshop of the world where wares of glass are wrought)

"Tujhi Par Kuch Ae Buut Nahi Munhasir

Jisay Hum Ne Pooja Khuda Kar Diya.."

(Mir Taqi Mir ) 

( O idol, everything isn't dependent on you,

Whatsoever we worshipped , it became almighty .)

Gopi Chand Narang is perhaps the first Urdu critic to have viewed Mir through the perspective of syncretic linguistic, socio-religious and literary practices and hailed him as Urdu’s first complete poet .This is what Gopi Chand Narang writes about Mir :-

" There were many misconceptions about Mir that I had to raise my voice to correct those fallacies. Mir was a multidimensional poet (“a poet of countless delights”). Critics tried to put him in a box. That was unfair and wrong. The label of simplicity was framed in a way that it degraded Mir’s work. This had to be corrected. Mir had a good mastery of Persian, but he was right in his assessment that a time had come to create a synthesis of Persian and Rekhta. He had the mastery of style and lyricism and he could create magic using his words. In fact, he was the first “ustaad poet” of Urdu, as he claimed in one of his couplets. Furthermore, he is not only a love poet as other love poets are, he is a metaphysical poet par excellence reflecting rainbow like synthesis of the Bhakti and Islamic Sufi thought.Mir’s greatness as a poet does not depend on one or two factors. A serious critical look into Mir’s work must go beyond traditional theses of simplicity and flow and a synthesis of Persian segments with Prakritik Rekhta. There is much more to Mir’s simplicity. A quick assessment does not complete the picture. Mir was the first great Indian poet who used multiple lenses in his work. His deceptive simplicity was in fact his “multiplicity.” There is an impression that simplicity of the syntactic structure equals simplicity of poetic meaning which is not correct."

( Avtar Mota)

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