Tedhi Qabar (Lucknow)

India / Uttar Pradesh / Lakhnau / Lucknow / Nakkhas.
 grave, place with historical importance, islam, interesting place
Grave of Munshi Chunoolal (Dilgeer Lucknowi) A hindu poet who wrote "Ghabraye Gi Zainab" and other Marsiyas.

Dilgeer was born in 1780 and died in 1848. He was alive during the reign of Nawab Saadat Ali Khan. He also witnessed the coronation of Badshah Ghazi Uddin Haider. In ‘Shahan-E-Awadh –Haqeeqat ke Aine Mein’, (Rulers of Awadh in the Mirror of Reality)

The most prominent composition of Dilgeer is ‘Ghabraegi Zainab- Ghabraegi Zainab- Bhaiya ko Madine mein Kahan payegi Zainab’. This famous dirge is recited all over the world after almost every Shaam-e Ghareeban Majlis.His composition titled ‘Majmua Marasi Mirza Dilgeer’, was printed by Munshi Nawal Kishore Press, Lucknow. His creative best is also reflected when he says “
“Akbar Hai Na Qasim Hai Na Abbas-e Dilawar,
Yeh Meri Rihaee To Hai Ab Qaid Se Badtar”
( This release is worst then prison without Akbar, Qasim and Abbas)

People from all faiths revere a ‘Terhi Qabr’ (Tilted Qabr) near famous ‘Chiriya Bazar( Birds’ Market) in ‘Nakhas’ area of Lucknow as a shrine of ‘Shaheed Mard’(Martyr). Who floated the theory of ‘Tehri Qabr’ as that of a martyr is not known but there is no doubt that one of the greatest marsiya writers and devotee of Imam Husain lies buried in the grave. His name was Jhunnu Lal( Mentioned also as Chunnu Lal in the accounts of certain historians) and he composed his marsiyas with ‘Takhallus’ (pen name) ‘Dilgeer’. Some people addresses him as Channu Lal also. He was brother of Raja Jhau Lal who was deputy chief Minister during the regime of Nawab Asaf Ud Daula.

As usually happens in the case of men with poetic talents, Jhunnu Lal also began as a romantic poet and concentrated on Ghazals, Masnavi and vasokht. But once he started praising the prophet and his progeny , he gave up writing ghazals or other forms of romantic poetry completely .Not only this, he destroyed all his earlier compositions by throwing them into Moti Jheel and dedicated himself to marsiya and salam writing.
History records that he was one of the most favorite disciple of one of the most celebrated poets of Urdu’ Nasikh’ and contemporary of Mir Khaliq and Mirza Fasih. Another version says that Mirza Khani Nawazish was his first Ustad and Nasikh replaced him at a later stage. Poet Mushafi has praised his poetry but stated that ‘Tarab’ was his takhallus.
He did not recite marsiyas himself due to speech defect but his compositions were quite popular during the regime of King Muhammad Ali Shah and were recited in Majlises. The researchers are of the view that he used Tarab as takhallus so long as he composed Ghazals but once he started composing poetry in praise of Ahle-bait-E-Athar, he always used Dilgeer as pen name.
His reputation as a marsiya writer soared so high that a large number of people used to believe that he was Ustad of one of the greatest Marsiyago Mirza Dabeer. At the time of his death, the entire Lucknow was engulfed in the rumor that the Ustad of Mirza Dabeer had breathed his last. Mirza Dabeer however did not brush aside the rumor and just remarked “It indeed would have been a great honor for me, had Dilgeer been my Ustad.”
Wikipedia article: https://en.wikipedia.org/wiki/List_of_Marsiya_writers_in_Urdu
Nearby cities:
Coordinates:   26°51'30"N   80°54'24"E

Comments

  • The famous dirge (Noha) ‘Ghabraaey gi Zainab’ was written by a Hindu poet Munshi Channulal Dilgeer. Munshi Channulal Dilgeer lived before Anees and also penned 417 marsias. ‘Ghabraaey gi Zainab’ used to be recited in Lucknow since long, especially on ‘Shaam e Gharibaa’n,’ but in a quick momentum. When Nasir Jahan first recited it on radio in 1956, he changed the delivery to a slow rendition that became highly appreciated and widely emulated. http://ghabrayegi-zainab.blogspot.com/ May God rest Channulal Dilgeer and Nasir Jahan on a pedestal among the lovers of incomparable Imam Hussain. Amen. Channulal’s brother Raja Jhau Lal had genuine deep affection for the martyrs of Karbala. He also built an Imambara in Thakurganj locality, which is still in use. It is a simple structure but impressive in spirit of its builder. Inspired by his brother’s affection towards Ahle- Bait, Channulal studied the tragic narratives of Karbala in detail and he was captivated by the sublime sacrifice of Imam Hussain and his small band of determined and brave followers. He did not recite marsiyas himself due to speech defect but his compositions were quite popular and were recited in Majlises. Channulal began as a romantic poet and concentrated on Ghazals, Masnavi and vasokht. But once he started praising Imam Hussain, he gave up writing ghazals or other forms of romantic poetry completely and obliterated all his earlier compositions by throwing them into Moti Jheel and dedicated himself to marsiya and salam writing. History records that he was one of the most favorite disciples of a celebrated poet of Urdu’ Nasikh’ and a contemporary of Mir Khaliq and Mirza Fasih. Poet Mushafi has praised his poetry but stated that ‘Tarab’ was his takhallus. However, the truth is that Channulal used Tarab as takhallus so long as he composed Ghazals but once he started composing poetry in praise of Ahle-bait, he always used Dilgeer as his pen name. His reputation as a marsiya writer soared so high that a large number of people used to believe that he was the Ustad of one of the greatest Marsiya writers Mirza Dabeer. That is not factually correct, though. Mirza Dabeer instead of refuting this impression once quipped “It indeed would have been a great honor for me, had Dilgeer been my Ustad.” These words from the haughty Dabeer are a tribute to the stature of Dilgeer as a marsiya writer. Historical accounts reveal that Dilgeer was born in 1780 and died in 1848. He was alive during the reign of Nawab Saadat Ali Khan. He also witnessed the coronation of Badshah Ghazi Uddin Haider. In ‘Shahan-E-Awadh –Haqeeqat ke Aine Mein’, (Rulers of Awadh in the Mirror of Reality) Dilgeer has been praised by its writer Akbar Haideri for constructing an imposing Imambara during the period of Ghazi Uddin Haider. The author has also appreciated Dilgeer for placing a Good looking Tazia. His composition titled ‘Majmua Marasi Mirza Dilgeer’, was printed by Munshi Nawal Kishore Press, Lucknow. His genius can be seen in the following couplet “Akbar Hai Na Qasim Hai Na Abbas-e Dilawar, Yeh Meri Rihaee To Hai Ab Qaid Se Badtar” ( This release is worst then prison without Akbar, Qasim and Abbas) While no trace or exact location of his imambara is available details of his house are known. Historian Agha Mehndi has mentioned the location of his house in Kanghi wali Gali that is untraceable now. It is however believed that he resided near the Tiraha merging with Victoria Street near Nakhas. The apathy of our scholars to Dilgeer, a prolific marsiya writer who had detached himself from worldly affairs to become an Azadar considering the message of Imam Husain as a true path to tread upon to attain salvation, is indeed deplorable.
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