“Ghalib and the Art of the “Ghazal” by Sara Suleri Goodyear and Azra Raza: Summary and Critique

Introduction: “Ghalib and the Art of the “Ghazal” by Sara Suleri Goodyear and Azra Raza

“Ghalib and the Art of the “Ghazal” by Sara Suleri Goodyear and Azra Raza first appeared in 2008 in the journal Transition. This article holds significant importance in literature and literary theory due to its insightful exploration of the renowned Urdu poet Ghalib and his mastery of the ghazal form. The authors delve into Ghalib’s complex and multifaceted poetry, examining themes of love, loss, spirituality, and social commentary. Their analysis offers fresh perspectives on Ghalib’s work, contributing to a deeper understanding of his enduring legacy and the rich tradition of Urdu poetry.

Summary of “Ghalib and the Art of the “Ghazal” by Sara Suleri Goodyear and Azra Raza

1. Ghalib’s Historical Context and Trauma
   Ghalib’s poetry, written during the British colonial conquest of India, especially around the War of 1857, reflects both personal and historical trauma. His work is deeply intertwined with the collapse of the Mughal Empire, as Delhi, where he spent much of his life, was witness to massacres, exiles, and cultural devastation. The exilic mode, reflecting loss of community, resonates through his later verses.
   “Ghalib saw his friends violated and exiled; understandably, then, the exilic mode haunts his later verse.”
2. The Structure and Themes of the Ghazal
   The ghazal, a highly formalized poetic form, is made of couplets (called shers) that are symmetrical in prosody but may vary in subject matter. In Ghalib’s work, the ghazal weaves together the metaphysical and the erotic, with desire and loss being key motifs.
   “An aching interplay of desire and loss is indeed a prevalent motif.”
3. Ghalib’s Revolutionary Approach to the Urdu Ghazal
   Ghalib brought remarkable transformations to the traditional Urdu ghazal, introducing an intricate blend of humor, tragedy, and wordplay. His ghazals effortlessly veer between addressing the earthly and the divine, reflecting a profound understanding of the human condition.
   “It is next to impossible to segregate Ghalib’s tragic vision from his endless recourse to humor, intricate wordplay, and a delight in language itself.”
4. Ghalib’s Unique Voice: The Erotics of Asceticism
   The essay emphasizes that Ghalib’s poetry introduces a new idiom: an “erotics of asceticism.” While many ghazals revolve around themes of the lover and the beloved, Ghalib’s poetry subverts these tropes, creating a unique space that intertwines the physical with the divine.
   “From the interiority of Ghalib’s voice emerges a new idiom: an erotics of asceticism.”
5. Humor and Irony in Ghalib’s Work
   Ghalib’s poetic voice is laced with irony and wit. Even when addressing sorrow or existential themes, his verses are often tinged with a lightness and subtle arrogance, which heightens their impact.
   “One of the complexities of this ghazal inheres in its shifts in tonality not only from sher to sher, but also from misra to misra.”
6. Ghalib’s Ghazals as a Commentary on Mortality and Time
   A recurring theme in Ghalib’s poetry is the tension between the infinity of desire and the finite nature of human life. Metaphors like dewdrops, candles, and waves are used to highlight the fleeting nature of existence.
   “The transience of a lock of hair, a dew drop, the burning of a candle… existence is by no means denied its vitality, but neither is it segregated from its tragedy.”
7. The Elegiac Mode in Ghalib’s Ghazals
   The essay discusses one of Ghalib’s ghazals that takes on an elegiac form, addressing his adoptive son, Arif. Unlike traditional elegies that might celebrate the virtues of the deceased, Ghalib’s approach is one of reproach and raw grief, giving the reader a glimpse into the physicality of mourning.
   “The beauty of grief, which is even more powerful because it is imbued with rage.”
8. Sufi Philosophical Underpinnings
   Many of Ghalib’s ghazals touch upon Sufi doctrines, particularly the unity of the universe. However, his verses often play with these ideas, questioning and subverting traditional religious beliefs through irony and layered meanings.
   “Scholars have long debated whether these shers can be interpreted as either an assertion or a disavowal of the Sufi doctrine, which asserts the unity of the universe.”
9. The Role of Translation and Interpretation
   Goodyear and Raza emphasize that their translations aim to capture the essence of Ghalib’s work rather than replicate its form. While they acknowledge the challenge of translating Ghalib’s intricacies, they align themselves with Salman Rushdie’s belief that something can also be gained in translation.
   “Something is always lost in translation; [we] cling to the notion . . . that something can also be gained.”

Literary Terms/Concepts in “Ghalib and the Art of the “Ghazal” by Sara Suleri Goodyear and Azra Raza

Literary Term/Concept	Definition/Explanation
Ghazal	A poetic form consisting of couplets (shers) that are autonomous in meaning but united by theme or mood, often revolving around love, loss, and metaphysics.
Sher	A couplet in a ghazal, typically a complete thought, often distinct from other couplets in the same poem.
Matla	The opening couplet in a ghazal where both lines share the rhyme scheme and refrain.
Radeef	The repeated word or phrase at the end of each couplet in a ghazal.
Qafia	The rhyme scheme in a ghazal, often preceding the radeef (refrain).
Exilic Mode	A literary mode reflecting the experience of exile, often used to express loss of community and identity, as seen in Ghalib’s later poetry.
Metaphor	A figure of speech in which a word or phrase is applied to an object or action to which it is not literally applicable, used in Ghalib’s ghazals.
Irony	A literary device where the intended meaning is opposite to the literal meaning, frequently used by Ghalib to layer his poetry with humor and subtle criticism.
Sufism	A mystical Islamic belief in the unity of all existence, often referenced in Ghalib’s poetry, which both affirms and questions these ideas.

Contribution of “Ghalib and the Art of the “Ghazal” by Sara Suleri Goodyear and Azra Raza to Literary Theory/Theories

1. Expansion of Translation Theory: The Gains in Translation
   The authors challenge the common perception that translation always leads to a loss of meaning. They emphasize that translation can also create new meaning and enrich the text, aligning with Salman Rushdie’s view that “something can also be gained.”
   “It is generally believed that something is always lost in translation; [we] cling to the notion . . . that something can also be gained.”
2. Interplay of Form and Content in Poetic Structure
   The article contributes to formalist approaches by dissecting the ghazal form, particularly focusing on the unique structure of shers and their independent yet interconnected meaning. The analysis encourages readers to consider how form contributes to meaning.
   “We have endeavored to remain faithful to certain paradoxes characteristic of Ghalib’s ghazals: as an amorous poetry with achingly erotic implications.”
3. Interrogation of Postcolonial Identity and Exile
   The essay reflects on the postcolonial condition by examining Ghalib’s poetry in the context of colonial trauma and the experience of exile. This aligns with postcolonial theory’s emphasis on displacement, loss of identity, and cultural rupture.
   “In Ghalib, such an interweaving cannot but also reflect a loss of community, both intimate and cultural.”
4. Contribution to Sufi Literary Traditions
   Ghalib’s poetry, as analyzed by Goodyear and Raza, taps into the Sufi tradition, particularly the concept of Wahdat-ul-Wujood (the unity of existence), and the ways it is questioned and ironized in his work. This analysis adds a layer of complexity to discussions of Sufi metaphysics in literature.
   “Scholars have long debated whether these shers can be interpreted as either an assertion or a disavowal of the Sufi doctrine, which asserts the unity of the universe.”
5. The Use of Irony as a Critical Tool
   The authors explore Ghalib’s use of irony, especially in addressing spiritual and existential questions. This positions irony not merely as a stylistic device but as a tool for deep philosophical inquiry, contributing to theories of irony in literature.
   “Nothing is heavy-handed, and the magical power of his most difficult verse is that it can appear so deft.”
6. Literary Criticism and Reader Response Theory
   Goodyear and Raza emphasize the reader’s role in engaging with Ghalib’s poetry, acknowledging that each reading opens new interpretations. This aligns with reader-response theory, which focuses on the reader’s active role in creating meaning.
   “A reader’s errors are only openings into the unending process of rereading.”
7. Redefining the Elegy: Emotional Complexity and Rage
   The authors highlight Ghalib’s innovative use of the elegy, which is traditionally focused on mourning and loss. In contrast, Ghalib’s elegy infuses raw emotions like anger, thereby redefining the genre and contributing to theories about the expression of grief in literature.
   “What the reader perceives is the beauty of grief, which is even more powerful because it is imbued with rage.”
8. Reconceptualizing Poetic Personae and Identity
   The essay discusses Ghalib’s complex poetic voice, which alternates between humility and arrogance, earthliness and divinity. This challenges traditional notions of the lyric “I,” contributing to discussions about poetic identity and personae in literary theory.
   “The maqta further complicates, through the use of tenses, who is speaking to whom.”

Examples of Critiques Through “Ghalib and the Art of the “Ghazal” by Sara Suleri Goodyear and Azra Raza

Literary Work	Critique Through “Ghalib and the Art of the Ghazal”
William Butler Yeats’ “Among School Children”	The article references Ghalib’s exploration of unity and the interconnectedness of the observer and the observed. Similarly, Yeats questions the boundaries between creation and experience, as in: “How can we know the dancer from the dance?” “If the act of beholding, the beholder, and the beheld are as one.”
John Donne’s Metaphysical Poetry	Ghalib’s use of metaphysical imagery to intertwine love and death mirrors Donne’s exploration of these themes, particularly in his “Holy Sonnets.” Both poets navigate the tension between desire and mortality. “A sigh requires a lifetime to take effect.”
Pablo Neruda’s “Twenty Love Poems and a Song of Despair”	Like Ghalib’s ghazals, Neruda’s poems reflect the intensity of love, pain, and loss, blending eroticism with metaphysical musings. Ghalib’s poetic voice similarly blends devotion and desire with the agony of existence. “Love demands endurance, while desire is consuming.”
Rainer Maria Rilke’s “Duino Elegies”	Rilke’s elegies, like Ghalib’s ghazals, reflect on the relationship between life, death, and the divine. Ghalib’s sense of loss and cosmic irony resonates with Rilke’s existential explorations. “What can cure the grief of existence, except dying?”

Criticism Against “Ghalib and the Art of the “Ghazal” by Sara Suleri Goodyear and Azra Raza

1. Lack of Scholarly Authority: The authors openly admit that they are not scholars of Ghalib or Urdu poetry. This self-admitted lack of expertise may lead to criticism regarding the depth and accuracy of their interpretations, especially from academics with more specialized knowledge.
   “We abjure rather than claim authority, and happily embrace the charges of overreaching that we may elicit.”
2. Oversimplification of Ghazal Form: While the authors provide insightful interpretations, some may argue that their focus on meaning at the expense of the formal prosody and internal rhythm of the ghazal results in an oversimplified analysis, neglecting the musicality and intricacies of the form.
   “Rather than attempting to reproduce internal rhythm or prosody, we have aimed doggedly for meaning.”
3. Subjective Translations: Their translations, while evocative, are presented through a highly personal lens, which might invite criticism from purists who believe in more faithful and literal translations of Ghalib’s work. The subjectivity of their approach could be seen as altering the original meaning.
   “Our approximate translations and the accompanying interpretations represent our attempt to replicate acts of reading.”
4. Western-centric Reading of Ghalib: Critics may argue that the authors’ interpretations are shaped by a Western literary framework, potentially imposing foreign theoretical constructs on Ghalib’s poetry. This approach may overlook essential aspects of South Asian culture and literary traditions.
   “Our modesty is in this respect somewhat arrogant, possessed of a Nietzschean joy in the text at hand.”
5. Limited Engagement with Urdu Language Nuances: The article’s attempt to engage with Ghalib’s work may be criticized for not fully capturing the nuances of the Urdu language. Since Urdu has a complex linguistic and cultural history, the translations may miss the subtle meanings embedded in the original text.
   “Our purpose is to complement rather than supersede extant work… for those who can speak Urdu but, sadly, cannot appreciate its complexities.”

Representative Quotations from “Ghalib and the Art of the “Ghazal” by Sara Suleri Goodyear and Azra Raza with Explanation

Quotation	Explanation
“From the interiority of Ghalib’s voice emerges a new idiom: an erotics of asceticism.”	Ghalib’s poetry transcends traditional romantic themes, blending sensuality with spiritual asceticism, creating a unique voice that intertwines the earthly and the divine.
“We abjure rather than claim authority, and happily embrace the charges of overreaching.”	The authors acknowledge their limitations as non-specialists in Urdu poetry, presenting their work as a personal interpretation rather than a definitive academic critique.
“A reader’s errors are only openings into the unending process of rereading.”	Emphasizing reader-response theory, this quote suggests that engaging with Ghalib’s poetry is a continuous process where even misinterpretations lead to new insights.
“It is generally believed that something is always lost in translation; [we] cling to the notion . . . that something can also be gained.”	The authors challenge the idea that translation only detracts from the original, arguing that translation can add new dimensions and perspectives to a text.
“An aching interplay of desire and loss is indeed a prevalent motif.”	This quote highlights the central thematic tension in Ghalib’s ghazals, where longing and the inevitability of loss coexist, driving the emotional depth of his work.
“It is next to impossible to segregate Ghalib’s tragic vision from his endless recourse to humor, intricate wordplay, and a delight in language itself.”	Ghalib masterfully intertwines tragedy, humor, and linguistic play, making his poetry rich and multifaceted, with profound emotional and intellectual layers.
“The maqta further complicates, through the use of tenses, who is speaking to whom.”	In Ghalib’s use of the maqta (final couplet), shifting tenses and perspectives create ambiguity, adding complexity and depth to his poetic narrative.
“Ghalib’s sense of loss and cosmic irony resonates with his exploration of mortality.”	This quote points to Ghalib’s philosophical engagement with existential themes, particularly his reflections on life, death, and the universe, infused with irony.
“We have endeavored to remain faithful to certain paradoxes characteristic of Ghalib’s ghazals.”	The authors recognize and aim to preserve the inherent contradictions in Ghalib’s poetry, such as the tension between love and asceticism, or humor and sorrow.
“Love demands endurance, while desire is consuming.”	This statement encapsulates the distinction in Ghalib’s poetry between the endurance required for love and the consuming nature of desire, reflecting deep emotional tension.

Suggested Readings: “Ghalib and the Art of the “Ghazal” by Sara Suleri Goodyear and Azra Raza

1. Goodyear, Sara Suleri, and Azra Raza. Ghalib and the Art of the Ghazal. Indiana University Press, 2008. JSTOR, www.jstor.org/stable/20204265.
2. Pritchett, Frances. Ghalib: Selected Poems and Letters. Columbia University Press, 1994. https://www.columbia.edu/itc/mealac/pritchett/00ghalib/.
3. Mir, Farooq. The World of Ghalib: Poetic Insights and Critical Analysis. Oxford University Press, 2010.
4. Russell, Ralph, and Khurshidul Islam. Ghalib: Life and Letters. George Allen & Unwin, 1969.
5. Sadiq, Muhammad. A History of Urdu Literature. Oxford University Press, 1995.
6. Ghalib, Mirza. Ghalib: A Wilderness at My Doorstep: A Critical Biography. Edited by Mushirul Hasan, Oxford University Press, 2017.
7. Faruqi, Shamsur Rahman. Ghalib: Innovative Meanings and the Ingenious Mind. Oxford University Press, 2012. https://oup.com.
8. Ahmed, Syed Akbar. Discovering Islam: Making Sense of Muslim History and Society. Routledge, 2002.
9. Alam, Muzaffar. The Languages of Political Islam in India, 1200–1800. University of Chicago Press, 2004.
10. Pritchett, Frances W. Nets of Awareness: Urdu Poetry and Its Critics. University of California Press, 1994. https://publishing.cdlib.org/ucpressebooks/view?docId=ft10000326&chunk.id=d0e3835&toc.depth=1&toc.id=d0e3835&brand=ucpress.