Poets Directory (شعرائے کرام)

The soldier-poet who gave Delhi its first Urdu impulse — and purified its diction a century before the Lucknow reformers. Shah Hatim (1699–c. 1783), born Shaikh Zahuruddin in Delhi, was a soldier who became one of the founding voices of Urdu poetry in Delhi. When Wali Dakhni's diwan reached the capital around 1720, Hatim and his friends Naji, Mazmun and Abru took up Rekhta poetry — Delhi's answer to the Deccan. By profession a sepoy (he served as an inspector under Nawab Amdat-ul-Mulk of Allahabad and in the households of several nobles), he spent his last days in seclusion near the Delhi Fort. His lasting act was editorial: mid-century he discarded his early diwan and recompiled his work in a purified, standardised Rekhta idiom, naming it *Divan Zadeh* ("Descendant of the Diwan") — the first conscious program of Urdu poetic reform, a century before Nasikh and Aatish are credited with it. Deeply influenced by Khan Arzu (though not formally his disciple), he was proudest of his own pupil: Mirza Muhammad Rafi Sauda. His *Divan Zadeh* holds ghazals, mukhammas, rubais, a saqi-nama, two masnavis in praise of tobacco and qehwa, and a shehr-ashob on Muhammad Shah's Delhi.

Shah Mubarak Abro (birth year disputed — 1683 or 1685, Gwalior; died 1733, Delhi) is one of the founding fathers of Urdu poetry. A grandson of the saint Muhammad Ghaus Gwaliori, he came to Delhi as a young man and became a disciple of the great scholar-poet Siraj-ud-Din Ali Khan Arzu — in whose circle the young Khwaja Mir Dard also studied. Abroo's place in history rests on a surviving fact: his Diwan-e-Abroo endures, making him the first authenticated sahib-e-diwan — master of a collected divan — of Rekhta in northern India. His art was iham, the double meaning: a single line that says two things at once, witty, idiomatic, rooted in Hindustani and Braj speech rather than Persian loftiness. He pioneered a whole genre on the grace of an imaginary beloved — love addressed to a beauty who never existed, and all the truer for it. He died in Delhi in 1733 — one tazkira says, kicked by a horse — and lies near Syed Hasan Rasul Numa. Where he stands in the line is clear: the generation that taught Urdu to smile and to mean two things at once.

Shah Nasir (1756–1838) — also spelled Shah Naseer — was a prominent poet and Sufi of 18th-century Delhi. Born Mohammad Naseeruddin, known as Mian Kallu, he succeeded his father as Sajjada Nashin of the family dargah in 1768, and learned his craft as the pupil of Shah Mohammad Mail, a disciple of Qayem Chandpuri, in the company of Khwaja Mir Dard. He travelled to Meerut and Lucknow, meeting Jur'at, Mushafi, Aatish and Nasikh, and became master guide to members of the royal family. He was a trend-setter of his age, famed for complicated metres and difficult radifs — and the teacher of the next generation: Momin, Zauq and Zafar were his pupils. His ghazal holds the Sufi and the lover in one voice: the beloved's name as rosary and meditation, the mosque and the temple both set aside, and the heart's pain measured out in proverbs. 71 of his ghazals and 97 of his sher survive.

Shah Niyaz Ahmad Barelvi (1742–1834), takhallus 'Niyaz', was a Chishti-Sufi saint, scholar and poet who founded the Niyaziya Silsila and the Khanqah-e-Niyazia in Bareilly. Born in Sirhind, Punjab, into an Alvi-Rizvi Syed family, he moved with his family to Delhi, where by his teens he had mastered Qur'an, Hadith, Tafsir, Fiqh and Arabic at Madrasa Faqriya, and became a leading disciple and khalifa of Fakhr-ud-Din Dehlvi (Fakhr-e-Jahan) in the Chishti-Nizami order — also receiving initiation in the Qadiri, Suhrawardi and Naqshbandi orders. On his master's direction he settled in Bareilly, where his khanqah became a major centre of Sufi teaching whose deputies carried his message to Badakhshan, Samarqand, Kabul and Mecca. His *Diwan-e-Niyaz* — published more than fifty times — holds poetry in Persian, Urdu, Arabic and Hindavi on divine love and Wahdat-ul-Wujood; his Urdu ghazals, in simple, direct diction, remain favourites of qawwali gatherings across India and Pakistan. He died in Bareilly in 1834; his shrine at Khanqah-e-Niyazia is a living pilgrimage site.

Akhlaq Mohammed Khan "Shahryar" (16 June 1936 – 13 February 2012) was one of modern Urdu poetry's defining voices and the fourth Urdu poet to receive the Jnanpith Award (2008). Born at Aonla in Bareilly district, Uttar Pradesh, he studied at Aligarh Muslim University, where he taught Urdu for decades — becoming professor in 1986 and retiring as chairman of the Urdu Department in 1996 — and co-edited the literary magazine Sher-o-Hikmat. His collections include Ism-e-Azam (1965), Satvan Dar (1969), Hijr ke Mausam (1978) and Khwab ka Dar Band Hai (1987), which won the Sahitya Akademi Award. He also wrote lyrics for Muzaffar Ali's films Gaman (1978) and Umrao Jaan (1981). He died in Aligarh on 13 February 2012.

Shahzad Ahmad (1932–2012) was a Pakistani Urdu poet, psychologist and translator, and a prominent voice of the new Urdu ghazal. Born on 16 April 1932 in Amritsar, he migrated to Pakistan after Partition and took an MSc in Psychology (1956) and an MA in Philosophy (1958) from Government College, Lahore. He wrote about thirty books of poetry — including Sadaf, Jalti Bhujti Aankhein, Tuta Hua Pal, Utray Meri Khak par Sitar and Bichar Jane Ki Rut — alongside books on psychology, and translated non-Urdu poetry into Urdu. As director of Lahore's Majlis-e-Taraqqi-e-Adab he tended one of Pakistan's oldest literary libraries, and in the 1990s he received the Pride of Performance for his contributions to Urdu literature. He died in Lahore on 1 August 2012.

Poet laureate of the Mughal court and ustaad of Bahadur Shah Zafar — master of crystal-clear classical Urdu.

Shakeel Badayuni (1916–1970), born Shakeel Ahmed on 3 August 1916 in Badayun, Uttar Pradesh, was the celebrated Urdu poet and film lyricist of the 1950s and 60s — Hindi cinema's definitive poet of love. Educated at home in Arabic, Urdu, Persian and Hindi, he graduated from Aligarh Muslim University (B.A., 1942), where mushaira successes and the encouragement of Jigar Moradabadi shaped his poetic voice. After a clerical job in Delhi's Supply department, he moved to Bombay in 1944 and broke through with Dard (1947), beginning the legendary partnership with composer Naushad that produced Baiju Bawra (1952), Mother India (1957) and Mughal-e-Azam (1960); he also wrote for Hemant Kumar and Ravi. His pen gave Hindi cinema Chaudhvin Ka Chand, Sahib Bibi Aur Ghulam and Mere Mehboob, and immortal songs — 'Chaudhvin ka chand ho', 'Pyar kiya to darna kya', 'Suhaani raat dhal chuki', 'Kahin deep jale kahin dil', 'Husnwale tera jawab nahin' — the last three winning him three consecutive Filmfare Best Lyricist awards (1961, 1962, 1963), a record. Beyond films he published poetry collections including Ranaaiyan (1950), Sanam-o-Haram (1950), Ranginiyan (1961), Naghma-e-Firdaus (1968) and Shabistan. He died in Mumbai on 20 April 1970, aged 53; India Post honoured him with a commemorative stamp in 2013.

Shamsur Rahman Faruqi (1935–2020) was an Indian Urdu poet, author, critic and theorist, above all the critic who ushered modernism into Urdu literature. Born at Pratapgarh on 30 September 1935 and raised in Azamgarh and Gorakhpur, he took his M.A. in English from Allahabad University in 1955 and served in the Indian Postal Service from 1960 to 1994, rising to chief postmaster-general. In June 1966 he founded the modernist literary journal Shabkhoon, which he edited and published for nearly four decades. He formulated fresh models of literary appreciation that joined Western criticism to the aesthetics of Arabic, Persian and Urdu, most famously in his four-volume study of Mir Taqi Mir, Sher-e-Shor Angez. He also wrote the novel Kai Chand The Sar-e-Aasman (translated by himself as The Mirror of Beauty) and, with his nephew Mahmood Farooqui, revived the storytelling art of Dastangoi. He received the Sahitya Akademi Award in 1986, the Saraswati Samman in 1996 and the Padma Shri in 2009, and died at Allahabad on 25 December 2020.

Shauq Bahraichi was a humor and satire poet from Bahraich in Uttar Pradesh, remembered as one of Urdu's most prominent poets of tanz-o-mizah. Born into a middle-class Shia Muslim family, he lost his father early, which cut short his higher education, and he took small jobs in the municipality. He began by singing ghazals and gradually worked in all forms of poetry, but his lasting mark is laconic, audacious verse that lampooned social evils, corrupt leaders and hollow pieties with sarcasm rather than sermonising. He was a critic of government and of a desolate society who turned poverty and public life into sharp comedy. His collection *Toofan* (also spelled *Thoofaan*) was collected and published after his death by Shameem Iqbal Khan and Mohammad Shafqat Nadvi.

The Deccan's Sufi ascetic — one immortal ghazal that dissolves lover, beloved, and self into pure unknowing. Siraj Aurangabadi (1715–1763), born Syed Sirajuddin in Aurangabad, is the Deccan's great Sufi ghazal-voice. He began in Persian, under the spell of Hafiz, then turned to Urdu and wrote over five thousand shers — a bridge between the old Deccani style and the new idiom taking shape in the north. In 1734, at about twenty, he took bai'at with Shah Abdul Rahman Chishti; on his murshid's order he renounced poetry after 1740 and lived as an ascetic — younger poets still gathered at his house for instruction. His youth had its own wandering: he left home as a mendicant and was brought back and kept under guard. His fame rests on one ghazal, "Khabar-e-tahayyur-e-ishq" — hear the wonder-tale of love, where neither madness nor the beloved remains — sung in our own time by Abida Parveen and others. His *Kulliyat-e-Siraj* gathers ghazals, qasidas and rubais, and his masnavi *Bostan-e-Khayal* is a long narrative in verse. Divine love is the centre of everything he wrote. He died in Aurangabad in 1763.

Siraj-ud-Din Ali Khan Arzu (1687–1756), born in Agra, was the great scholar-poet of eighteenth-century Delhi — a Persian poet of the first rank, a pioneering linguist and lexicographer, and the mentor of a whole generation of Urdu poetry. Writing mainly in Persian (seven divans, five masnavis), he nevertheless championed rekhta — early Urdu — at a time when Persian still ruled the literary world: he urged poets like Sauda to compose in the vernacular, and groomed his own nephew Mir Taqi Mir alongside Mazhar Jan-e-Janan and Shah Mubarak Abroo. His home mushaira in Delhi was the city's literary court; poets sent their manuscripts to him for correction, and Mir wrote that every master of rekhta was, in effect, Arzu's student. As a scholar he stood a century ahead of his time: his dictionaries — *Siraj-ul-Lughat*, the Urdu–Persian *Nawadir-ul-Alfaz* (1751), and the *Chiragh-e-Hidayat* glossary of poetic idiom — laid the foundations of Urdu lexicography, and in his philological treatise *Muzmir* he was the first scholar to place Sanskrit in the Indo-European language family, decades before Sir William Jones. He moved to Lucknow in 1754 and died there in 1756.

Sufi Ghulam Mustafa Tabassum (1899–1978) was a Pakistani poet, scholar and translator, universally known by his pen name Tabassum. Born in Amritsar on 4 August 1899 to parents of Kashmiri ancestry, he earned a master's degree in Persian from Forman Christian College, Lahore, and spent his whole career at Government College Lahore, rising to head the Department of Persian Studies. He wrote in Urdu, Persian and Punjabi, created the beloved children's character Tot Batot, and translated many poetical works from Persian into Punjabi and Urdu, including Shakespeare's *A Midsummer Night's Dream* into Punjabi. He received Iran's Tamgha-e-Nishan-e-Sipas in 1966 and Pakistan's Sitara-i-Imtiaz, and died in Lahore on 7 February 1978.

The founding voice of the modern Urdu nazm — a patriot's pen, a mourner's heart, and sher that turned dust into philosophy. Suroor Jahanabadi (December 1873 – 3 December 1910), born Munshi Durga Sahai in Jahanabad, a town of the Pilibhit district (then the North-Western Provinces), was one of the chief architects of the modern Urdu nazm. Studious from childhood, he learned Arabic and Persian and taught himself elementary English; he signed his early verse "Wahshat" before settling on the takhallus "Suroor". He worked in the editorial department of *Zamana*, the Kanpur literary magazine, and his ghazals and nazms found their way into prestigious journals — *Adeeb*, *Makhzan*, *Ismat*, *Urdu-e-Mualla*. While he wrote ghazals, he chose the nazm as his favourite form, and critics credit him with authenticating the new Urdu nazm through his thematic concern and stylistic innovations. His poetry uses Hindi and indigenous words freely and draws imagery from Hindu mythology; much of it is written in six-line musaddas stanzas. He wrote patriotic poems — *Khak-e-Watan*, *Madar-e-Hind*, *Hasrat-e-Watan* — and historical ones — *Padmani*, *Sitaji-ki-Giria-o-Zari*, *Nur Jahan ka Mazar*. The deaths of his wife and his only son broke him; he drank heavily and died at thirty-seven. His collections — *Khumkhana-e-Suroor* and *Jam-e-Suroor* (1911), *Khumkada-e-Suroor* (1931, posthumous) — keep his work alive.

Syed Muhammad Jafari (1905–1976) was a humorist and satirist of Lahore, a poet who made laughter do the work of reform. The son of Mohammad Ali, principal of Government College, Lahore, he passed his Munshi Fazil examination at fourteen and his matriculation at seventeen, took a B.Sc. (Honours) in Chemistry from Islamia College, Lahore, and then turned to the arts for an M.A. and M.O.L. in Persian from Oriental College, Lahore. The great humorist Pitras Bukhari was one of his teachers, and he also trained in painting and fine art at the Mayo College of Arts. He served first in the Department of Education and then in the Department of Publicity and Information, retiring in 1966. He wrote nearly nine hundred nazms on political and social subjects, and wove the lines of Ghalib and Iqbal into his own verse. His satire was sharp and unsparing — corruption in public and private life, elections, politics, the promises of the great powers — yet free of rancour and personal malice: the joke was always aimed at the fault, never at the man. His collections include Teer-e-Neem Kash, and his best-known book of humorous verse, Shokhi-e-Tahreer, was published after his death by his sons. He died in 1976. No birthplace is recorded for him; Lahore was the city of his education, his service and his verse.

Syed Zameer Jafri (1916–1999) was a Pakistani poet, humorist, columnist and retired army officer, the best-known name in Urdu humorous poetry. Born on 1 January 1916 at Chak Abdul Khaliq, near Dina in district Jhelum, he began his working life as a journalist, then served in the Pakistan Army Education Corps — in the Far East during the Second World War and in the wars of 1947–48 and 1965 — retiring as a Major in 1965. He then became the first Director of Public Relations of the Capital Development Authority in Islamabad. Across some 78 books of poetry and prose in Urdu, Punjabi and English, above all the humorous collection Ma Fi-Zamir, he made laughter a vehicle for patriotism, common sense and love of mankind. He received the Tamgha-e-Quaid-e-Azam in 1967 and the Pride of Performance in 1984, and the Presidential Iqbal Award for his Urdu poetry in 2001. He died in New York on 12 May 1999.

The founder of Rekhti — the 18th-century Delhi poet who gave Urdu poetry a woman's voice.