Tag Archives: Zeenat Mahal

What happened to the Mughals after the fall of the Mughal Empire?

INDIA :

MughalsMPOs07nov2018

An intense curiosity led me to research on the life of the dynasty after the British took over Delhi on September 14, 1857.

We read and commemorate the heroes who gave their lives in the first war of Indian Independence, every year on their death anniversaries. But spare a thought for those who lived and lived a life worse than death.

Ahmed Ali in his book Twilight in Delhi describes the Delhi Darbar held in 1911 to celebrate the coronation of King George V a few months earlier.

The British Emperor and his wife Queen Mary left the Red Fort, as the Qila-e-Mubarak, was called by the British in a state procession. Almost every prince and ruler and notable attended it and presented tribute to King George V.

In the background as this princely convoy is moving a beggar known as Bahadur Shah is dragging himself on useless legs, begging on the streets of Shahjahanabad.

Who was this beggar? Why was he named Bahadur Shah?

An intense curiosity led me to research on the life of the Mughals after the fall of Delhi into the hands of the British on September 14, 1857.

Though hardly any English book bar Ahmed Ali’s describes the remaining Mughals, Urdu books of late 19th and early 20th century are full of it.

Ghalib himself describes it in two of his works, Dastanbu and the other is Roznamcha-e-Ghadar. Even though Ghalib was not critical of the British and hoped for their patronage and a pension, he still portrays the desolation of Shahjahanabad.

The major description of the plight of the innocents is found in Khwaja Hasan Nizami’s Begmaat ke Aansu, Zahir Dehalvi’s Dastan-e-Ghadar, Mirza Ahmad Akhtar’s Sawaneh Dehli, Syed Wazir Hasan Dehlvi’s Dilli ka Aakhiri Deedar and from Fughan-e-Dehli or the dirges written by many Urdu poets on the condition of royals left in Delhi.

The prince found begging on the streets of Delhi in 1911 finds mention in Khwaja Hasan Nizami’s (1873 – July 31, 1955) Begmaat ke Aansoo. His name was Mirza Nasir-ul Mulk and after escaping the British wrath in the immediate aftermath of the Uprising he had taken up employment along with his sister in a merchant’s house in Shahjahanabad.

The last Mughal emperor, Bahadur Shah Zafar. (Photo credit: Google)
The last Mughal emperor, Bahadur Shah Zafar. (Photo credit: Google)

Later when the British government fixed a pension of Rs5/pm for the Mughal prince and princesses he had stopped working. Soon the pension was squandered away and he was in debt.

After a few years later a peer baba, who looked as if he was from the Timurid-Chengezi lineage used to drag himself around Chitli Qabr and Kamra Bangash area. His legs had been struck by paralysis. He had a bag tied around his neck and he would look at passersby mutely to ask for help. Those who knew who he was would throw in a few coins in his bag.

Someone asked who he was and was told that his name is Mirza Nasir-ul-Mulk and he is the grandson of Bahadur Shah.

Another prince, son of Bahadur Shah Zafar’s daughter Quraishia Begum was also begging on the streets of Shahjahanabad.

Known once as Sahib-e-Alam Mirza Qamar Sultan Bahadur, after the British took control of Delhi he was reduced to begging.

He would come out only at nights as he felt ashamed and embarrassed to be begging on the roads where people bent low to salute him when he rode in the streets.

Mirza Qamar Sultan asked for alms with an aristocratic air. He doesn’t address anyone just cried out, “Ya Allah please get me enough that I can buy provisions for myself.”

Khwaja Hasan Nizami wrote innumerable books on the events of 1857, all based on eyewitness accounts of survivors. One story which I found particularly moving was the story of the daughters of Mirza Kavaish who had been appointed the Heir Apparent of Bahadur Shah Zafar by the British overturning the claims of Mirza Jawan Bakht, the son of Bahadur Shah Zafar’s favourite wife Begum Zeenat Mahal.

In Begmaat ke Aansoo, Khwaja Hasan Nizami has described the story, which he heard from the princess herself.

Her name was Sultan Bano and she was the daughter of Mirza Kavaish Bahadur. When she met Khwaja Hasan Nizami she was 66-years-old but still remembered everything vividly. He recorded it in Begmaat ke Aansoo as Shahzadi ki Bipta.

She tells her story to Khwaja Hasan Nizami:

Although the ghadar took place 50 years ago I still remember it as clearly as if it was yesterday. I was 16-years-old then. I was two years younger than my brother Mirza Yavar Shah and six years older than my sister Naaz Bano, who died.

My name is Sultan Bano. My father Mirza Kavaish Bahadur (he was appointed the Crown Prince by the British in 1856, over the claims of Zeenat Mahal’s son Mirza Jawan Bakht). He was a favorite and able son of Hazrat Bahadur Shah.

We sisters were very fond of our brother Yawar Shah and it was reciprocated fully.

Aqa Bhai had a whole range of tutors who taught him every range of subject and various arts. He had expert calligraphers, Arabic and Persian scholars and ace archers teaching him.

We learnt embroidery, stitching and other household arts from Mughlanis.

The children that Huzur-e-Wala was very fond of would partake breakfast with him every morning. Zill-e-Subhani was very fond of me and I was always called for breakfast with him.

We didn’t observe purdah then or now. Strangers would come and go from the zenana mahal without a problem. But I was shy and I always kept my head covered and didn’t like coming in front of strange men. But I had to obey the orders of the Huzur, even though various male cousins also came there.

The saving grace for me was that because they were in the presence of the Emperor they all kept their gaze lowered. No one could look up or speak out of turn.

As per custom, Huzur-e-Moalla would offer a morsel from some special dish to a few of his children, that person whether young or old, male or female, would get up from their seat and go close to him and present three salams by bending from the waist.

Shahjahanabad, Old Delhi. (Photo credit: Wikimedia Commons)
Shahjahanabad, Old Delhi. (Photo credit: Wikimedia Commons)

One day I was called and Huzur gave me a portion of a special Irani dish that had been mde that day. He said, “Sultana, you only peck at your food. It’s good to be respectful but you should not go to the extent that you get up hungry from the dastarkhwan.”

I presented three salams to him but only I know how I went there and came back. I was quaking and tripping over my feet.

Alas! Where did those happy days go? What happened to that era?

We would be roaming about in our palaces without a concern. Zill-e-Subhani’s shadow was on our head and we were addressed as Malika-e-Alam. Such are the ups and downs of life.

I remember the day clearly when Huzur-e-Moalla was arrested in Humayun’s maqbara and a gora shot my Chachajaan Mirza Abu Bakr Bahadur then Mirza Sohrab ran towards him with a naked sword. But he was shot by another gora and he fell down with an aah on chahchajaan’s corpse and died. I was standing there, still as a statue watching it mutely.

A khwaja Sara came and said, “Begum why are you standing here? Your Abbajaan is calling you.”

In a state of stupor I followed him.

Near the river gate, my father, Mirza Kavaish Bahadur was seated on a horse, bare headed and anxious. Abbajan’s hair was covered in dust and straw. He started crying when he saw me and said, “Farewell Sultana, I too am leaving. The light of my life, my young son, who I wanted to see with a sehra of pearls and flowers hiding his face in his wedding, was killed in front of my eyes by a Sikh soldier. ” I screamed loudly and started calling out, “O my brother Yawar.”

He dismounted and pacified naaz Bano and me and said, “Beti, now the goras are looking for me. I don’t know how much longer I can escape them or how much longer I have before my life is snuffed out. You are Masha Allah young and sensible pacify your younger sister and place your trust in God and be patient.

“I don’t know what will happen to either of us. I don’t want to leave you both alone but one day or the other you will be orphaned. Naaz Bano is a child, look after her and live a righteous life.

“Naaz Bano you are no longer a princess don’t throw tantrums or make demands. Just give thanks to Allah and eat whatever you can get. If someone is eating, don’t look at them or people will say Princesses are very greedy.”

He put us in charge of the Khwaja Sara and said, “Take them to where the other members of our family have gone.”

He embraced us and spurred his horse into the jungle. That was the last we saw of him and have no idea what happened to him after that. The Khwaja Sara was an old servant of our family and he set of with us. Naaz Bano walked for a little while but she had never walked in her pampered and protected life and soon her legs gave way.

She started crying. I had never walked much myself but somehow I managed and pulling Bano along stumbled my way through the streets where we once rode elephants in state processions.

A thorn pricked Naaz Bano’s foot and she fell down crying. I picked her up and tried to remove the thorn. The accursed Khwaja Sara kept watching, making no effort to help. He started pushing us to hurry up.

Naaz said, “Apajan I can’t walk anymore. Please ask the steward to send a palanquin for us.”

I started pacifying her through my tears. My heart felt as if it would burst with sorrow.

The Khwaja Sara said rudely, “That’s enough. Make a move now.”

Naaz Bano was high-spirited and was used to obeisance from servants and would always keep them in their place. She scolded the Khwaja Sara. The accursed man flew into a rage and slapped the poor orphaned princess.

Bano trembled with shock. No one had ever laid a hand on her. Even I started crying along with her. The Khwaja Sara walked off leaving the two of us crying there.

Somehow the two of us stumbled our way to the dargah of Hazrat Nizamuddin Auliya rahmatallah alaihe.

Thousands of people from Delhi and our family had taken refuge here. Each was caught up in their own troubles and fears. No one was talking to the other or enquiring after them.

A wave of epidemic diseases, which spread in the wake of the ghadar, claimed my sister’s life.

I was now all-alone.

Though peace returned to Delhi, there was no peace for me.

The British govt fixed a pension of Rs 5/pm for all of us and I still get that.

source: http://www.dailyo.in / DailyO.in / Home> Art & Culture / by Rana Safvi  / November 18th, 2016

How a royal wedding erupted into an epic battle of wits between Ghalib and the court poet

DELHI :

Zauq and Ghalib took digs at each other through a sehra penned for a prince’s wedding and the Red Fort reverberated with this clash of titans.

The sehra, or prothalamion, (song to celebrate a wedding) is now a vanishing genre. I remember while I was growing up that almost all nikahs would have a sehra read by a relative with poetic aspirations, after the ceremony.

Though sehras are supposed to be in praise of the groom and a prayer for his wedded life, these would be witty and laudatory at the same time, usually a humorous dig at all relatives. A copy of this would then be distributed to the wedding guests.

Sehras fall into the category of nazms and have to be in meter.

The most famous sehra, of course, is the one penned by Mirza Ghalib (1797-1869) for a royal wedding, in which he took a dig at the emperor’s Ustad, Sheikh Ibrahim Zauq (1788/9-1854).

Zauq and Ghalib were contemporaries in Delhi, and their rivalry was legendary. Zauq had been given the title of Khaqani e Hind and drew a nominal salary of Rs 4 per month. The respect and position that he gained as a result was immense. It also gave him free access to the Qila e Moalla (Red Fort).

This was a constant thorn in the side of Mirza Ghalib, who felt he was better and deserved a royal position too. Thus, he never let go of any chance to score poetic points over his rival.

One such chance came at the last grand Mughal wedding, on April 2, 1852 – that of Jawan Bakht, Badshah Bahadur Shah Zafar’s son by his favourite and youngest wife Zeenat Mahal, to Nawab Shah Zamani Begum.

Begum Zeenat Mahal asked Ghalib to write a ‘sehra’ for her son’s wedding. The honour should have gone to Sheikh Ibrahim Zauq, but he was reportedly unwell.

William Dalrymple in his book The Last Mughal writes: “The marriage procession of Prince Jawan Bakht left the Lahore Gate of the Red Fort at 2 am on the hot summer night of 2 April, 1852.”

Dalrymple goes on to write that what was remembered longest and discussed most about the wedding was not so much the festivities or the feasting or the fireworks, but “the marriage odes recited by the Poet Laureate Zauq, and his rival Mirza Nausha, now more widely known by his pen-name Ghalib.”

Ghalib wrote a ‘sehra’ whose maqta (the last couplet in an Urdu ghazal which contains the poet’s pen name) was:

  • ‘hum suKhan_fahm haiN, Ghalib ke tarafdaar nahiN
  • dekheN keh de koi is sehre se baRh kar sehra’

We are connoisseurs of poetry, not partial to Ghalib

Let’s see if there’s anyone who can write a better ‘sehra’

The emperor, realising that this was a dig at his mentor Zauq, is said to have been displeased with the maqta. A slight to his mentor was seen as a slight to the emperor himself. Zafar asked Zauq to write a ‘sehra’ too. Not one to let go of an opportunity, Zauq included these line.

  • jin ko daawa ho suKhan ka yeh sunaa do unko
  • dekh is taraH se kehte haiN suKhanwar sehra

Tell those who claim to be eloquent

This is how poets write a sehra

The fort reverberated with this clash of titans and it is recorded that the Crown Prince Mirza Fakhruddin (also a disciple of Mirza Zauq) exclaimed, “Ustaad ne maidan maar liya“.Dalrymple writes: “The squabble at the wedding was over a single verse in Ghalib’s sehra (or wedding oration) where he appeared – characteristically – to suggest that no one in the gathering could write a couplet as well as he…. Zafar [the king] also encouraged Zauq to reply to Ghalib’s unprovoked sally. The fine sehra that the Poet Laureate came up with ended with a couplet tossing the challenge back to Ghalib:

The person who claims poetic skills,Recite this to him and say,”Look-this is how a poet”

This round went to Zauq as the singers in attendance picked up the verse and spread it all over Shahjahanabad. By next day it was in the newspapers.”

Ghalib then wrote his celebrated qat’a-e-ma’azerat’ (letter of apology), in response to the emperor’s reaction. However, the egoistic poet left no ‘verse’ unturned in adding insult to injury, using poetry as a medium to prove his supremacy and take a dig at Zauq’s humble origins and the Emperor’s negligence of him.

The maqta of this ghazal became even more famous.

      • manzoor hai guzaarish-e-ahvaal-e-waaqa’aii
      • apna bayaan-e-Husn-e-tabii’yat nahiN mujhe
      • I accept the request to state the facts, To praise oneself is not a habit of mine
      • sau pusht se, hai pesha-e-aaba sipahgarikuchh shayari,
      • zari’ye-e-izzat nahiN mujhe
      • My forefathers have been warriors for hundred generations
      • By writing poetry, fame I seek not
      • aazaadah rau huN, aur mira maslak hai sul
      • H-e-kulhargiz kabhi kisi se adaawat nahiN mujhe
      • I am a free spirit and my conduct is always peaceful,I bear malice against no one
      • kya kam hai yeh sharaf ke Zafar ka Ghulaam huN
      • maana ke jaah-o-mansab-o-sarwat nahiN mujhe
      • Is the privilege not enough that I serve Zafar,
      • Agreed rank, position and affluence I have not
      • ustaad-e-shah se ho mujhe par Khaash ka Khayaal
      • yeh taab, yeh majaal, yeh taaqat nahiN mujhe
      • The thought of a row with the king’s mentor
      • This arrogance, this audacity, this strength I have not
      • jaam-e-jahaaN_numa hai shahenshaah ka zameer
      • saugand aur gawaah ki Haajat nahiN mujhe
      • The king’s conscience is all encompassing,
      • The need for an oath and witness I have not
      • sehraa likhaa gaya ze_rah-e-imtiSaal-e-amr
      • dekhaa ke chaarah Ghair ita’at nahiN mujhe
      • The sehra was written in obedience of orders,
      • Non compliance with that order I dare not
      • maqt’e meiN aa paRi hai suKhan gustaraana baat
      • maqsood is se qat’a-e-moHabbat nahiN mujhe
      • I wrote something in the maqta’ which became popular,
      • A reason to ending friendship I want not.
      • ruu-e-suKhan kisi taraf ho, tau ruu_siyaah
      • sauda nahiN, junooN nahiN, veHshat nahiN mujhe
      • If I aimed it at someone in particular then may my face beblackened,
      • I am neither mad, nor crazed nor so deprived of sense.
      • qismat buri sahii, pa tabii’yat buri nahi
      • Nhai shukr ki jagah, ke shikaayat nahiN mujhe
      • Although my luck is bad, but my habits aren’t bad,
      • I’m in a place of thankfulness and complain I do not.
      • saadiq huN apne qaul meiN Ghalib Khuda_gawaah
      • kehta huN sach ke jhooT ki a’adat nahiN mujhe
      • Always true to his word is Ghalib, as God is my witness,
      • I tell you the truth as lie I do not.

This is the original sehra written by Ghalib for Mirza Jawan Bakht:

      • Khush ho ai baKht ke hai aaj tere sar sehraabaa
      • Ndh shahazada Javaa.N baKht ke sar par seharaa
      • [baKht = luck; pun on Groom’s name]
      • kyaa hii is chaaNd se mukhaDe pe bhalaa lagataa hai
      • hai tere husn-e-dil_afroz kaa zevar sehraa
      • [husn-e-dil_afroz = beauty that lights up the heart]
      • sar pe chaDhnaa tujhe phabataa hai par ai tarf-e-kulaah
      • mujhko Dar hai ke na chhiine tera lambar sehraa
      • [phabataa = suits]
      • nav bhar kar hii piroye gaye honge motii
      • varnaa kyun laaye hain kishtii mein lagaakar sehraa
      • saat dariyaa ke faraaham kiye honge motii
      • tab banaa hogaa is andaaz kaa gaz bhar sehraa
      • ruKh pe dulhaa ke jo garmii se pasiinaa Tapakaa
      • hai rag-e-abr-e-guharabaar saraasar sehraa
      • ye bhii ik be’adabii thii ke qabaa se baDh jaaye
      • rah gayaa aan ke daaman ke baraabar sehraa
      • jii me.n itaraaye.N na motii ke hamii.n hai.n ik chiiz
      • chaahiye phuulon ko bhii ek mukarrar sehraa
      • jab ke apane mein samaave’n na Khushii mein maare
      • guu.Ndhe phuulon kaa bhalaa phir koii kyuu.Nkar sehraa
      • ruKh-e-raushan kii damak gauhar-e-Galtaa kii chamak
      • kyuN na dikhalaaye faroG-e-maah-o-aKhtar sehraa
      • taar resham kaa nahii.n hai ye rag-e-abr-e-bahaar
      • laayegaa taab-e-giraa.Nbaari-e-gauhar sehraa
      • ham suKhan_faham hain “Ghalib” ke tarafadaar nahii.n
      • dekhe.n is sehare se kah de koii ba.Dhakar sehraa
      • [suKhan_faham = patron of poetry]
      • Zauq’s sehra
      • Ai Javaan Bakht mubarak tujhe sar par sehra
      • Aaj hai Yaman wa Sada’t ka tere sar sehra
      • Aaj woh din hai ke laaye durr e anjum se falak
      • Kashti e zar mah e nau ke lagakar sehra
      • Tabish husn se manind shua e khursheed
      • Rukh e pur noor pe hai tere munawwar sehra
      • Woh kahe Salle Alay eh kahe SubhanAllah
      • Dekhe mukhade pe jot ere mah o akhtar sehra
      • Taa banni aur banne mein rahe ikhlas baham
      • Goondhiye sura e ikhlas padhkar sehra
      • Dhoom hai gulshan e afaaq mein is sehre ki
      • Gaaye’n marghaan e nava sanj na kyunkar sehra
      • Ru e farkh pe jo hain tere baraste anwar
      • Taar e barish se bana ek sarasar sehra
      • Ek ko ek pe tazai’n hai dam e araaish
      • Sir pe dastar hai, dastar ke oopar sehra
      • Ek gauhar bhi nahin sadgaan e gauhar mein choda
      • Tera banwaaya hai le leke jo gauhar sehra
      • Phirti khushboo se hai itraayi huyi baad e bahaar
      • Allah Allah re phoolo’n se moatta’r sehraa
      • Sar pe turra hai muzaiyyan to gale mein baddhi
      • Kangana haath mein zeba hai to munh par sehra
      • Runumayi mein tujhe de mah o khurshid o falak
      • Khol de munh ko jot u munh se uthakar sehra
      • Kasrat e taar e nazar se hai tamaashiyo’n ke
      • Dam e nazara tere ru e niko par sehra
      • Durr e khush aab e mazameen se banakar laaya
      • Waaste tere tera Zauq sanagar sehra
      • Jis ko daawa hai suKhan ka yeh sunaa de usko
      • Dekh is taraH se kehte haiN suKhanwar sehra

 

(This article first appeared on the author’s blog.)

source: http://www.dailyo.in / Daily O / Home> Arts & Culture / by Rana Safvi  @iamrana / December 27th, 2017