GHALIB AND FIRAQ GORAKHPURI
The following ghazal, shown in the last post “FIRAQ GORAKH PURI” is in fact unique in that at least 7 of its 10 shers have one misra from a sher of Ghalib, the other misra is made by Firaq. Generally some shayers do use a misra from Ghalib or some other Ustad, but only one sher in a ghazal; and they acknowledge this fact by enclosing the borrowed misra between the inverted commas. Here he has gone as far as 7 shers out of ten in a single ghazal and never enclosed any one misra in inverted commas. But I am sure he believed the readers will recognize and treat the ghazal as such, and did not intend to deceive any one. I also think it was his way of paying a rich tribute to the great master that Ghalib really is. (I have a feeling that the other three shers are also similarly ‘half borrowed’ but I cannot say for sure. My readers now have a job of finding whether my feeling is correct!) Also the real shers of Ghalib convey much sweeter and clearer meaning and more beautifully. Clearly it is futile to make any comparison because even as great a shayer as Firaq stands hardly any chance when it comes to face Ghalib. To support my saying this I will below quote the following sher of Ghalib:
JI DHOONDHTA HAI PHIR WOHI FURSAT KE RAAT DIN
BAITHE RAHEIN TASAWWUR-E-JANAN KIYE HUEY. (GHALIB)
BAITHE RAHEIN TASAWWUR-E-JANAN KIYE HUEY
DIL DHOONDHTA HAI PHIR WOHI AYYAM-E-ZINDAGI (FIRAQ)
(1) Ji (to me) is more powerful than dil.
(2) Fursat ke raat din conveys the ‘fraghat’ which ayyaam-e-zindagi has failed to do.
Now I will first give the main ghazal of Firaq (1-10) followed by the shers of ghalib
HERE SHER NOS: 1, 2, AND 9 HAVE NO MATCH (SO FAR)