One becomes a part of historical evolution. Succeeding generations, in addition to savouring the rewards of their own toil, also reap the fruits of the cumulative labour of preceding generations.
Post-death, one lives in the form of the work that one does during one’s life. So, life is to be lived to its fullest and savoured in all its varied hues, as death imparts impermanence and thereby charm to it.ĭeath, a natural phenomenon, is a complement of life it is a part of evolution. Life is infused with meaningfulness only through its negation, i.e., death. The life is to be savoured because of its impermanence. Ghalib tells that the life would lose all charm if it were eternal and terms the normal human desire to live longer (for ever!) as rapacity! (For him, the permanence – be that of verifiable earthly life or imagined heavenly bliss – is highly boring and unacceptable.) Were not to die, then what to savour life? In what-all delightful affairs, greed is engrossed? The following couplet reveals that Ghalib, in fact, derived meaning of life from death! Marg sey waihshat nah kar, raah-e a’dam paimoodah hai Jis taraf sey aaey hain, aakhir udhar hee jaaen gey
We are bound to return to the place from where we cameĭon’t fear death, road to non-existence has been traversed
He reassures the reader not to fear death, since the path to non-being – before arrival and after departure, i.e., pre-birth and post-death – is not only a well-charted course but also inevitable. Bequeathing epoch-making Urdu ghazals, on February 15, 1869, i.e., exactly one hundred and fifty years ago, Ghalib coolly returned to pavilion – because he realised the interconnection between creation and decimation, and considered the life-death cycle to be a natural process, which has been going on ever since the appearance of the human being on the world stage.
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