Throughout history, Urdu poetry has mirrored the kaleidoscope of human emotions, and ‘gharoor’ (pride) occupies a fascinating space within this tapestry. Two lines from Faiz Ahmed Faiz encapsulate the essence of a proud persona: “Sarfaroshi ki yeh tamanna hai agar meray nafs mein hai, woh mujh se mujh ko chheen le zara, na mujh se hai khud ko churana” (This yearning for sacrifice lives in my soul, snatch me away from myself momentarily, but don’t steal myself from me). Beyond mere arrogance, Faiz delves into the complex mix of defiance and self-worth inherent in true pride.
2 Lines Urdu Poetry on Proud Attitude
jab se aap mere hai.n faKHr se mai.n likhtaa huu.n
naam aap kaa apnii milkiyat ke KHaane me.
AMIR AMEER
mujhe faKHr hai isii par ye karam bhii hai mujhii par
tirii kam-nigaahiyaa.n bhii mujhe kyuu.n na ho.n gavaaraa
SHAKEEL BADAYUNI
ab unhe.n pahchaante bhii sharm aatii hai hame.n
faKHr karte the kabhii jin kii mulaaqaato.n pe ham
JAAN NISAR AKHTAR
jis ta.alluq pe faKHr thaa mujh ko
vo ta.alluq bhii ik vabaal hu.aa
HASAN NAIM
Gharoor or Takabbur in Urdu Shayari
aane vaalii nasle.n tum par faKHr kare.ngii ham-asro
jab bhii un ko dhyaan aa.egaa tum ne ‘firaaq’ ko dekhaa hai
FIRAQ GORAKHPURI
baap kaa hai faKHr vo beTaa ki rakhtaa ho kamaal
dekh aa.iine ko farzand-e-rashiid-e-sa.ng hai
MEER MOHAMMADI BEDAR
Urdu shayari delves deeper, exploring the nuances of ‘gharoor’ and its close cousin, ‘takabbur’ (haughtiness). Mirza Asadullah Khan Ghalib, the undisputed master of Urdu verse, paints a nuanced picture: “Aayi to baat gham ki hamesha gham ki tarah aayi, haathon mein naaz tha lekin aankhon mein gham chhupa tha” (Sorrow came, always in the guise of sorrow, with pride in its hands but hidden grief in its eyes). Ghalib masterfully portrays the co-existence of pride and melancholy, revealing the vulnerability beneath the outward facade.
Naaz Personality in Ghazal of Famous Poets
Proud or pride can also morph into hubris, as warned by Mir Taqi Mir: “Naz karne ki nahin hai gharib par hukumat se, ye sultanat-e-alam hai baqi hai na fani hai” (Don’t take pride in ruling over the weak, this worldly domain neither lasts nor remains). Mir reminds us of the transient nature of power and the dangers of excessive pride, echoing a sentiment shared by countless societal reformers across generations.
Urdu poetry transcends mere condemnation of pride, instead exploring its introspective potential. The concept of ‘naaz’ (dignity) finds beautiful expression in Fahmida Riaz’s verse: “Naz o naz se chalna nahi meri fitrat hai, zamin meri apni hai ispe mera qad hai buland” (Walking with dignified pride isn’t my nature, this earth is mine, on it my stature stands tall). Riaz reclaims a rightful sense of pride, rooted in self-respect and connection to the earth. This redefinition of pride resonates with contemporary audiences grappling with issues of cultural identity and self-worth.
Even in the digital age, Urdu poetry’s love affair with pride continues. Platforms like Instagram become a stage for vibrant declarations, like Mir’s timeless “Dil jo jigar pe ghaur se rakkhe nishana, wohi to hai qawwal-e-zaman, wohi to hai sultan-e-dhoom” (The heart that sets its aim firmly on its resolve, he is the singer of the age, he is the king of splendor). Modern poets like Munir Niazi and Parveen Shakir offer insightful reflections on navigating pride in a complex world.
Conclusion
Whatever it is, whether Faiz’s indomitable spirit, Ghalib’s subtle outlook, Mir’s admonishing words or Riaz’s assertive attitude, there is a colorful world of faces of pride and in Urdu poetry. Reading the lyrics, always remember, genuine self-pride isn’t a front. It comes with self-awareness, courage, and a sense of belonging that is one’s due.
