DMSUNDERLINES: Ghalib: Part -17 : Dadasaheb Sanadi
Na Tha Kuch To Khuda Tha , Kuch Na Hota To Khuda Hota
Duboya Muzako Hone Ne, Na Hota Mai To Kya Hota
This part takes you to the Mazar E Ghalib, located in Aulia Nizamuddin Dargah province, Delhi. The narrator finds it strange to see that, visitors to Amsterdam are blind to Van Gogh, and Stratford Upon Avon is not visited by people visiting England. The same is the case with Lake District, Virginia Woolf house. The narrator thinks that the places of burial, and the places of work of all these great persons should be seen and they should be part of one’s conscience. The above' sher' has been engraved on a marble stone slab just opposite Ghalib Tomb. That itself talks about the importance of this sher in Ghalib Works. The narrator calls it an area of ‘Talking Stones’. This sher is an effort of Ghalib to outgo his own existence like the river that disappears in a sea and thereby achieves an enormous state to its existence. This sher is widely known but perhaps not popular the way ‘Hazaron Khwahishe…” is. The 'sher' is simple and straight but poignant of meaning. One can find a mystic element in this' sher'. Everything is associated with the concept of God. He is Omniscient, Omnipotent and Omnipresent. However, this one god has been divided conveniently by human beings seldom understanding that God/ Nature has blessed the same things to all. Two hands.. One head...etc. Ghalib sees himself as being secluded from his own self and understands the truth. At a certain point he tells his wife that this world appears to him as the ‘Children’s Playground’. It is even said that Ghalib became deeply philosophic at the end of his life. The present Sher represents that thought.