Bahadur shah zafar poetry

Bahadur Shah Zafar was the last king of the Mughal Empire. Kulliyat-e-Zafar is a collection of poetry that came out after his death. He spent the last days of his life in Exile. The pain of the fall of his beloved city is clearly visible in his poetry. This selection includes some of the famous couplets of Bahadur Shah Zafar.

Though known as the ruler of the Moghul Empire during its time of decay and decline, Bahadur Shah Zafar and much of his court were poets of ample merit, as demonstrated by this compendium of Urdu masterpieces. Featuring the best ghazals and other works of Zafar and his contemporaries -- including Ghalib, Zauq, Momin, Shefta, and Azurda -- the anthology offers simple and appropriate English translations presented in eloquent rhymed verse, as well as transliterations of the original Urdu into the Roman script. Title Bahadur Shah Zafar and His Contemporaries: Zauq, Ghalib, Momin, Shefta : Selected Poetry : Text, Translation, and Transliteration Editor K. C. Kanda Contributor Muhammad Bahadur Shah II (King of Delhi) Publisher Sterling Publishers Pvt. Ltd, 2007 ISBN 8120732863, 9788120732865 Length 425 pages Subjects

Bahadur Shah Zafar II (October 24, 1775-November 7, 1862), the last Mughal king of Delhi, died in Rangoon, Burma (Yangon, Myanmar), exiled by the British. He lies buried there today and his tomb has become a popular shrine, to which devotees congregate in large numbers. However, Zafar had always wanted to be buried in his beloved Delhi, having earmarked his gravesite in Mehrauli next to the Shrine of Khwaja Qutbuddin Bakhtiyar Kaki (1173-1235), the original Sufi (Chishti) saint of Delhi. Zafar and his predecessor Akbar Shah II had gotten a summer palace constructed here – including a remarkable small mosque in marble, the Moti Masjid – which has since come to be known as the Zafar Mahal complex. This monument by the last Mughal king, along with his famous Urdu poetry, are the final direct cultural products of the remarkable empire. Zafar’s ghazals, as well as the modestly grand summer palace he built to shelter what he thought would be his final resting place, symbolise the tension between nostalgia for a golden past and the profound sense of its loss already available to its last legatee and agent. These images of the monument and three translations from his Urdu ghazals reflect upon Zafar’s acute awareness of his lack of power in the affairs of the state as only a titular head, but also his extreme prowess as a poet king at the zenith of the advanced cultural landscape of his time. I wish you had made me the master of royals, Or made my crown the bowl for alms and betray...

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