The Bayān-e-Ghālib Show: kahte haiñ ki Ghālib kā hai andāz-e-bayāñ aur

A sagacious senior once shared with me a piece of advice that became an anchor in my life: while it is natural and noble to have dreams, four things must precede them—your family, your friends, your health, and your spirit. This counsel was a stark departure from the loud chorus of worthies who relentlessly urge youngsters to "chase their dreams." Instead, he urged patience, advising me to nurture the fire of my dreams, to let them simmer, not extinguish, and to wait for the opportune moment to bring them to life. When that moment arrives, he said, seize it with all your commitment and passion, guided by the timeless words of the people's President, Dr. APJ Abdul Kalam: "Dream is not what you see in sleep but is the thing which doesn't let you sleep."

“Go wisely and slowly. They stumble that run fast”,  Shakespeare warns through Friar Lawrence in Romeo and Juliet, a reminder that dreams pursued recklessly can falter before fruition. The wisdom of measured patience is a lesson I have indeed cherished.

Everyone has dreams. I have mine too. I am a railway engineer by profession but an untrained aficionado of Urdu and English literature by passion. My heart beats for the soulful cadence of Ghālib's timeless ghazals and the immortal verses of Shakespeare, those twin titans of poetic genius. Though I lack formal education in these disciplines, my love for their work has been unwavering. Ghālib, while not a prose writer in the conventional sense, left behind letters so poignant, so evocative, that they are celebrated as masterpieces of Urdu prose.

The allure of these two greats lies in their universality. Countless admirers, like me, find themselves on the same ship—drawn to their creations despite the absence of formal training. One of my dreams, shimmering in the recesses of my mind for years, was to juxtapose their genius, comparing their essence, imagery, and metaphors. After retiring from active service, I finally breathed life into one of my cherished dreams—a book titled ‘Shakespeare and Ghālib: a collation by their self-styled nephew’ (available at Amazon: Links in the end), a true labour of love. But dreams, like flames, have a way of igniting others. No sooner had this one been realized than another took root—a playful and whimsical idea. I envisioned these two titans of literature, Shakespeare and Ghālib, engaging in a lively, tongue-in-cheek tête-à-tête, exchanging wit and wisdom on contemporary issues with their timeless charm and piercing insight, employing their poetry, at times with hypercorrection. What began as a fanciful notion soon blossomed into a series of humorous blogs, each one a delightful interplay of their imagined banter. This venture, too, now stands on the cusp of transformation, ready to reincarnate as a book that, I hope, shall tickle minds and stir hearts alike.

Yet, my most audacious dream was something larger—a spectacle. I envisioned a unique ensemble, blending the ghazals and letters of Ghālib with the mesmerizing power of recitation, narration, rendition, music, and Kathak dance. I dreamt of bringing his works alive in a way that resonated visually and audibly, capturing hearts that beat for poetry accompanied with music and dance.

To transform this dream into reality, I turned to my friend and fellow railway man, Mr. Syed Kabeer Ahmad, otherwise an Urdu scholar with a remarkable accomplishment to his name: the meticulous translation of Ghālib's intricate ghazals into Hindi verse—a feat that few can claim. When I shared my vision with him, he embraced it with enthusiasm, embarking on an extraordinary journey to craft the script. His task was nothing short of an expedition—delving deep into the treasure trove of Ghālib’s letters to extract their essence and weave them into a compelling narrative. Later, we together worked to intertwine the text with Ghālib’s ghazals, creating a seamless tapestry of exquisite beauty—a creation that celebrated the master’s genius in his life and poetry, with romance, pathos, humour, prosody, clever wordplay and enchanting melody.

Next, I reached out to others in the culturally vibrant city of Lucknow, a cradle of artistic creativity. Choosing the right collaborators was paramount, and I was fortunate to find ideal custodians for this dream. Dr. Kumkum Dhar, a renowned Kathak exponent, and Dr. Prabha Srivastava, a celebrated ghazal singer, graciously joined the endeavor, bringing their unmatched artistry and dedication. A team of accomplished dancers, all disciples of Dr. Dhar—Aditi Thapliyal, Roshny Anushrita Ghosh, Ranjana Sharma, Parthavi Rai, Shivangi Barwal, and Misha Singh—came together to breathe life into the vision. Alongside them, a group of accomplished musicians added the soul-stirring soundscape: Zeeshan Abbas on the sarangi and assisting vocals, Niteesh Bharti on the tabla, Naman Singh on the harmonium and assisting vocals, and Rinku Raj on the keypad/synthesizer. The team’s cohesion was further strengthened by the invaluable expertise of Mr. Gopal Sinha, a fellow engineer and a seasoned theatre personality, widely regarded as a fine stage-set and lighting designer. Adding another crucial layer to the effort, Mr. Gynaesh Tiwari, a veteran journalist, volunteered to oversee the staging of the show, ensuring its seamless execution. 

With this ensemble of talent and dedication, the dream began to take shape, transforming into a harmonious blend of music, dance, recitation and narration—a befitting tribute to the enduring legacy of Ghālib and with the promise to captivate the hearts of the audience. The journey, however, was far from easy. Passion became our steadfast fuel, as commercial gains were the last thing on anyone’s mind. Daily setbacks tested our resolve, and disappointments loomed large, yet the fire within us refused to be extinguished. Shakespeare so poignantly declares through Hamlet, “... If it be now, yet it will come—the readiness is all...”.  And ready we were—undaunted by obstacles, driven by an unshakable commitment to breathe life into this vision. This readiness was not about grandeur or glory but the fiery passion to craft something that could ignite the hearts and imaginations of those who bore witness.

Finally on a sweltering evening on 19th May 2024 in Lucknow, we presented our show to an appreciative audience with my poet friend, Mr. Chandrashekhar Varma consenting to be the MC. The air-conditioning failed spectacularly, but the spirits of our audience remained unwavering. Two sponsors, Frontier Springs Ltd. and Ved Sassomeccanica (India) Pvt. Ltd., both based in Kanpur, supported us generously, but I, too, had to dip into my own pocket albeit sans hesitation. The warmth of the response in Lucknow spurred us to dream bigger. (Do watch on YouTube: https://www.youtube.com/watch?v=lN89oXuD6U4&t=964s

Our next destination was Hyderabad, as Dr. L.S. Patil, the Executive Chairman of the Patil Rail Group, extended his gracious support and deputed Ms. Chandrika to manage the nitty gritty. Under the aegis of the Maanaviya Kalyan Trust, which he so passionately oversees, we staged the show on the 18th January 2025, with Zeeshan, another railway officer doing the MC’s duty. The audience turnout was nothing short of extraordinary, their applause resounding like a cascade of reverberations, filling the hall with an electrifying energy. In that moment, the dream felt gloriously fulfilled once more, reaffirming the power of Ghālib to touch hearts and transcend boundaries.

(L to R: Gopal Sinha, Niteesh Bharti, Rinku Raj, Naman Singh, Zeeshan Abbas, Syed Kabeer Ahmad, Sudhanshu Mani, Prabha Srivastava,  Anushrita Ghosh, Roshny, Kumkum Dhar,  Aditi Thapliyal, Shivangi Barwal, Ranjana Sharma, Parthavi Rai, Gyanesh Tiwari and Chandrika P.)

हैं और भी दुनिया में सुख़न-वर बहुत अच्छे

कहते हैं कि 'ग़ालिब' का है अंदाज़-ए-बयाँ और

Haiñ aur bhī duniyā meñ suḳhan-var bahut achchhe 

kahte haiñ ki Ghālib kā hai andāz-e-bayāñ aur 

(suḳhan-var: eloquent poet, andāz-e-bayāñ: style of narration. Although there be in this world many great poets but the style of narration of  Ghālib stands unparalleled.)

This aur (different, special), that something different, that something special, is not very easy to delineate; the essence of his works is ineffable, a unique blend of the ordinary and the extraordinary. Capturing this elusive quality is no simple task, but it is precisely this that this production endeavours to convey to the audience. 

As I reflect on this journey, Shakespeare’s words, delivered through Prospero in The Tempest, echo in my mind: “...We are such stuff as dreams are made on; and our little life is rounded with a sleep.”;  Our lives may be like a circle beginning and ending with darkness and while you live, dreams, indeed, are the very essence of our being. But what makes them remarkable is when they transcend the realm of imagination and come alive, weaving their magic in the lives of others.

Looking back, I feel blessed beyond words. This was not just my dream but a collective triumph of a team driven by passion, artistry, and the spirit of collaboration. The fire that ignited this journey burns brighter still. We are now exploring opportunities to stage the show in other cities, bringing the magic of Ghālib's words and Kathak's rhythm to more hearts across the country.

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