Bashir Badr has passed away, this news may well be the headline of the day; yet for lovers of poetry, his own words, spoken in the language of the ghazal, remain the final, definitive truth:“When I am gone, the very culture of the ghazal shall vanish too.”And this ‘culture of the ghazal’ – whether we term it refinement, grace, the sweetness of tone, or view it as an embodiment of cultural beauty and splendour – is a legacy uniquely associated with Bashir Badr in our times whose fragrance still lingers, deeply woven into countless breaths.Indeed, the heritage of poetry illuminated by the light of Bashir Badr’s lamp reassures us that he will long remain with us as a towering figure – a hallmark – of the modern ghazal tradition. For a reader like me, the demise of this Goldsmith of Urdu poetry would only occur if the language of our daily conversations were to vanish or if we were to be stripped of the ‘consciousness of the new human being.’ Here, the ‘consciousness of the new human being’ must be interpreted through the lens of the ‘city with a new temperament’ and the philosophy of the ‘distances’ emerging within it; for the reader, this serves as the primary intellectual key to the emotional currents flowing through Bashir Badr’s work.Although it is true that Bashir Badr’s alter ego – Syed Mohammad Bashir (1935–2026) – has left us, Bashir Badr himself remains, much like his timeless poetry. Speaking from my own experience of reading his work and watching him recite it for nearly three decades, I find that he has shaped the Urdu ghazal into the vernacular of our interactions, becoming, in many ways, a part of our habits.A pierrot butterfly perches on a flower in the Aravalli mountain range, in Gurugram, Haryana on June 6, 2026. Photo: PTI.One might say that within his poetry reside the language of our love, the metaphor of a butterfly that symbolises our innocence, our moments of happiness and grief, and even the vivid portrait of our political landscape. How, then, could a poet of such stature truly depart from us?Manto once said about himself, “It is possible that Saadat Hasan might die, but Manto will not…” Today, I echo those very words for Bashir Badr. Indeed, death often falls short before us, and we persist in extracting the hues of our existence from the eternal works of figures like Manto and Bashir Badr.Bashir Badr had been battling dementia for a long time; his memories were fading, so there was little chance of new verses emerging. Yet, even during this period, his poetry remained an integral part of our lives and interactions – much like a daily necessity – and it is destined to remain so for ages to come. In fact, it often feels that if one were to characterise the ghazal of our times in terms of proverbs, folk sayings, and idioms, Bashir Badr’s poetry would be the finest example.The specific aspect of his poetry I wish to highlight here is not merely verse composed of commonplace words, but rather a form of ‘conversation.’ It is ‘conversational’ to such an extent that when a critic like Shamsur Rahman Faruqi pointed out that in Bashir Badr’s work the letter ا) Alif – a letter of the Urdu alphabet) gets dropped and the letter ی (Yay – another Urdu alphabet) vanishes, Badr – instead of accepting this as a flaw or lack of polish – replied: “My past is linked to Ayodhya; I hail from Basti, where fully elongating the ی and pronouncing the Urdu ا with full force would turn the Awadhi dialect into Punjabi…”How, then, could death truly claim a man like Bashir Badr, who had so deeply embraced our everyday speech infusing it with the very fragrance of the soil? The body that departed was merely that of Syed Mohammad Bashir – the Bashir who was gradually fading away amidst the crumbling fragments of his memory, yet who, even within his failing frame, often strove to hold fast to the words of Bashir Badr.A poetry of conversationThe soul, let me then add, that permeates his poetry which resonates with the vernacular of the common people is attributed to Bashir Badr – a voice that continues to converse with our present world. It is true that this poet, who enriched Urdu with the hues of Awadhi and Hindi, also crafted verses within the ornate styles deeply influenced by the Persian ghazal tradition. However, when it came to his own creative expression, there were instances when he chose to write ‘chand’ (moon) as ‘chand’, effectively eliminating the need for words rooted in Arabic-Persian conventions.As for Persian tarakeeb (compound phrases) and izafat (genitive constructions), he began to distance himself from them as well, opting instead to craft the simple language of everyday speech into the rhythmic cadence of the ghazal. While many others before and after him had adapted colloquial speech into the ghazal form, where else has a poetic voice arisen – that possesses a fresh grammar and contemporary sensibility touching the common human experience while simultaneously upholding the dignity of the ghazal – as effectively as Bashir Badr’s?Kuch to majbooriyan rahi hongiYun koi bewafa nahin hotaJi bahut chahta hai sach bolenKya karen hausla nahin hota(Some compulsions were there, no doubt,One is not unfaithful just like that;My heart aches to speak the truth,But oh! The courage I lack.)Do these verses not reflect the sensibilities of the contemporary spirit of every era? Even after assuming the form of an eternal truth, is it not still a melody sung in our very own language? True, it evokes memories of Momin’s legendary ghazal, yet the distinction from that tradition is clear. Here, the flavour of the Hindustani vernacular shines far more vividly than the Persian influence. Perhaps this style suited him so well because he was grappling with the challenges of a ‘new world’ and the ‘new human being’ – challenges that were often inspired from his own life experiences. The fact is that the trauma of the Meerut communal riots – which led to the destruction of his poetry and made him suffer the pain of displacement – represents the anguish in his consciousness that he bore with immense patience and restraint. A lesser poet might have allowed such turmoil to turn their verse into a loud manifesto of victimhood. Instead, Bashir Badr narrated his suffering with such composure and transformed the ghazal into such a masterful art of storytelling that it became a chronicle of human sorrow across generations.While Bashir Badr certainly poured his life story into his work, he never allowed his poetry to become a mere advertisement for his own victimisation. Indeed, the presence of sorrow – and, to some degree, of victimhood – cast a shadow over the solitary corners of his poetic expression, reminiscent of the following couplet:Aaj ham sab ke sath khoob hanseAur phir der tak udas rahe(Today, I laughed my heart with everyone,And then for a long while became melancholy.)In other words, the melancholy and sense of victimhood in his poetry do not clamour for attention; rather, they subtly deepen the recesses of his solitude. This layered depth of reclusiveness likely emerged because he listened closely to the pauses in the conversations around him and sensed the stillness within them; he then captured the rising waves of the ghazal – akin to a vivid image – onto the page, infusing them with a poignant, soulful quality.This is precisely why I have often called him the Goldsmith of Urdu’s naturalness, simplicity, and fluidity. One might describe this quality as an unpretentious ease in his tone – the very same informality found in the conversations at a village chaupal – a community gathering place. In this sense, while he speaks of the ‘new man’ and the ‘new world,’ he draws the very tone of his expression from the familiar setting of his village chaupal. And this is less a melody born of the confluence of two cultures, and more a song celebrating the ecstasy of sorrow – a melody drawn from the soil of a conversational countryside and anointed upon the tears of the ‘new man’ confined within closed rooms.In essence, Bashir Badr’s entire body of work is a poetry of conversation – of intimate dialogue – wherein layers of the ‘clamour of solitude’ reside deep within, moving with the stealth of hushed footsteps. Regarding this quality that richly endowed his poetry, one might observe that as Bashir Badr’s popularity at mushairas (poetic symposiums) grew, his language became increasingly accessible. Yet, the matter is not quite that simple.Despite the simplicity of his language and the often populist nature of mushaira poetry, he remained a significant – indeed, a representative – poet within Urdu literary criticism. How did this come to pass? A straightforward answer might be that, unlike his contemporaries, he avoided the deconstruction of language and the fashionable pursuit of obscurity. Instead, he focused on making the uniqueness and originality of expression the true ornaments of his poetry. Within this distinctiveness, his use of language – characterised by natural ease, fluidity, and a rhythmic quality – stands out as a remarkable virtue.Goldsmith of the Urdu ghazalLet me reiterate here that his craftsmanship with simple words is so exquisite that when I refer to him as the Goldsmith of Urdu poetry, it evokes the image of a potter who, while dancing with raw clay, conjures a golden magic through his gaze. Bashir Badr is the poet of this very magic. Indeed, he introduced fresh imagery to the ghazal and articulated his thoughts in such novel ways that in his own words:Koi phool dhoop ki pattiyon men hare ribbon se bandha huaWo ghazal ka lahja naya naya na kaha hua na suna hua(Like a flower bound by a green ribbon amidst leaves of sunlight, The cadence of the ghazal is utterly new; neither spoken, nor heard before.)Apart from his verse, his personality also had its own charisma. When he recited his poetry, the manner and rhythm were unique with subtle pauses and many a times, he created such an aura that it appeared as if he was about to utter something very delicate or something unprecedented in poetry. It was something different from the Mushaira-baazi of today with its noisy revelry that is considered poetry.A paper boat. Photo: Delphine Savat/Flickr CC 2.0.Bashir Badr’s fame is largely public. However, when need arose to comment on diplomatic relations with the neighbouring country or to take a dig during parliamentary debates – one often found his couplets being quoted. What makes him remarkable is that despite being a poet of the masses, the world of literature recognised his poetry in some way or the other, though Urdu criticism avoided accepting him as a great poet.On the contrary, he was criticised for being boastful and critics found faults with his poetry. Shamsur Rehman Farooqui once wrote, ‘If Bashir Badr avoids the unnecessary use of words and technical flaws [in his case, the letters are suppressed so much that it hurts the rhythm of the couplet], then he can write a limited kind of but good romantic poetry.’The criticism may have raised certain valid points, but have our critics ever considered the fact that there were flaws in Ghalib’s writings too? To pass such a remark that he can ‘write a limited kind of but good romantic poetry’ is nothing but irrational arrogance. I would even call it meaningless intellectualism, which merely issues guidelines.In fact, such criticism has also had its reasons in our country because of which it could not gather the courage to learn any lesson other than the one already memorised. And then there have been personal rivalries too.New direction to Urdu ghazalI do not intend to suggest that Bashir Badr never produced weak or inferior poetry. He has indeed, and in considerable quantity. However, to evaluate his entire worth based on such poetry and try to prove him as a lesser poet in that manner, despite the fact that he explored a hundred different themes, is, in my view, merely parroting the opinion of a select few.Despite some of his unimpressive poetry, his frequent mushaira appearances and his boastfulnesss, I personally regard Bashir Badr as one of the few great poets who gave a new direction to Urdu ghazal, and transformed it in various ways. Indeed, his poetry does not lose sight of its time and as Bashir Badr himself stated, ghazal which once indulged in alcohol, has taken to consuming neem juice with him.Beyond all the good and bad poetry of Bashir Badr, there are those couplets that are so renowned they do not require any record. Let me tell you about one such couplet whose fame surpasses that of its poet. Here’s the couplet first:Ujale apni yadon ke hamare sath rahne doNa jane kis gali men zindagi ki sham ho jaye(Leave me with the radiance of your memories Who knows in which street in life dusk sets in.)This couplet which is often seen inscribed on buses, trucks and even in shops selling spectacles and glasses, was often recited by Bollywood legend Dilip Kumar. It was also found preserved in Meena Kumari’s diary and was also displayed on the wall of one of the rooms belonging to our former Prime Minister Indira Gandhi. It is said that Meena Kumari cherished this couplet to such an extent that she had it published in her own handwriting in an English magazine.Also read: Fathers, Nazms and Lullabies: A Lost Spiritual WorldBefore labelling it simply as an ‘awami’ or ‘popular’ poem, it is important to note that even a distinguished critic like Shamim Hanfi despite sensing the unceremonious nature of the verse, commended it with the following remark: ‘When compared to Bashir Badr in terms of renown, the couplet will stand four yards ahead of its poet.’It seems that this couplet, despite having mass appeal, has been lauded for its candidness by critics. The thing is that Bashir Badr’s superior poetry surpasses his less impressive works, and this superior poetry exhibits greater originality than that of any other contemporary poet.Bashir Badr is both a poet and a litterateur who engages in literary criticism. However, when he excessively cites his couplets as examples in his critical writings, it tends to become tedious.Badr elevated the status of MushairasNonetheless, considering the quality and volume of poetry he produced, it is but natural to anticipate a degree of arrogance from him. However, critics were reluctant to fully acknowledge his prominence, even as every other person in the country seemed to have committed his couplets to memory. In such a situation, it was his pride that led him to assert that only Mir and Ghalib stood as his rivals and competitors.While we are on this subject, let me also allude to the humorous poet Sagar Khayyami, who, when Bashir Badr called Ghalib and Mir his rivals, sarcastically recited the following verses in a Mushaira held at the Red Fort:Hai taalluq Kabir ke ghar seRishta rakhte hain Meer ke ghar seDaaka Ghalib ke ghar pada SagharMaal nikla Bashir ke ghar se(He hails from the clan of KabirBut bears kinship with Mir.Sagar, when the bandits looted GhalibThe plunder was found at the house of Bashir.)Numerous such comments were directed at Bashir Badr, making him perhaps the most scrutinised figure of his era. A major drawback of this was that even his serious observations were overlooked. It reminds me of one of his statements: ‘True ghazal had two adversaries: the first were those who considered Urdu to be a slave of Arabic and Persian, and the second were those who danced and sang at Mushairas.’When it is claimed that Mushairas wasted the talent of a poet like Bashir Badr, I believe that this is not the complete reality. In truth, he elevated the status of Mushaira by transforming it into a platform that was not mere spectacle but allowed the masses to foster a closer connection with the language.However, affiliation with a Mushaira tends to oust good poetry from the literary canon. As a result, Bashir Badr has, to some extent, continued to find mention in critical works alongside Firaq, Sardar Jafri, Jazbi, and Majrooh.While it is true that Bashir Badr’s works exhibit boastfulness and make grand claims, but some of his assertions have indeed stood the test of time somehow. For instance, in the ghazal collection Aamad published in 1985, he penned a letter to the readers of 2035, claiming that anyone who knows Urdu and Hindi cannot evade my ghazals – a reality that is undeniable today.Bashir Badr’s ties with the Bharatiya Janata Party (BJP)In fact, the simplicity and ease of language which he took pride in, led him astray on a couple of occasions. He once even attempted to write a nasri ghazal (prose ghazal), but quickly realised that the true beauty of ghazal lay in its own form, so he reverted back to the traditional style. In fact, he did not make any significant effort to explore other poetic forms and dedicated all his creative energy to writing Ghazal. One must not place excessive emphasis on the pride and narcissism of a poet. However, in the case of Bashir Badr, his claims garnered more attention than his poetry. Though, the fact that he is one of our few distinguished and great poets needs no evidence.Apart from these things, due to his purported political self-interest, he referred to himself as Kalidas and Mir, and exceeded all bounds of arrogance when he proclaimed, ‘I have received the light of humanity from BJP.’In my attempt to trace its origin, it appears that it all started at the Kavi Sammelan in Jabalpur, following the Meerut riots in 1989, when former Prime Minister Atal Bihari Vajpayee embraced Bashir Badr and said, ‘I am deeply saddened that your house was burned down.’In response, Bashir Badr offered a poetic reply: ‘My house was not burned down… My house resides within your heart and the heart of millions of poetry lovers around the world. Have no fear, by the grace of God, it remains entirely safe…’Later, the story of devotion and affection for Vajpayee took a pivotal turn when Bashir Badr and several other poets founded the Atal Fan Club, aimed at supporting Vajpayee’s election campaign for the Lucknow seat. His appointment as the President of Madhya Pradesh Urdu Academy in such a situation was perceived as being the reward for his loyalty to the BJP.Also read: Urdu Literary Fashion, the Discourse of Decline, and the Myth of the Disappearing ReaderDuring the then Lok Sabha elections, Bashir Badr also joined the BJP and numerous accounts have been shared regarding his campaigning for Vajpayee in Lucknow. At that time, his love for the BJP led him to participate in the propaganda that targets Allama Iqbal, for composing ‘Tarana – e – milli’ which includes the verse ‘Muslims we are, and the whole world is our country’ following his earlier work ‘Tarana-e-Hindi’.Bashir Badr went two steps ahead of the BJP and the RSS by labelling ‘Saare Jahan Se Achcha…’ as a lesser work of Iqbal. He proclaimed himself a superior Muslim compared to Iqbal and even said that he loved the nationalist BJP. Surprisingly, he referred to Vajpayee as his ‘literary and cultural father’. This may reflect a self-serving political agenda that he simultaneously expressed his devotion to the BJP and Vajpayee while also showcasing his patriotism through this political lens.However, he left Vajpayee’s election campaign and returned from Lucknow upon learning of Narendra Modi’s arrival. He remarked, ‘Narendra Modi is a bad person, I could never like him…’ This decision may have also been a strategic move to evade the increasing criticism directed at Modi following the Gujarat riots. Perhaps he realised that his vocal admiration of the BJP and Vajpayee had already alienated a significant section of the population, and that campaigning for Modi could lead to direct accusations of harbouring hostility towards Muslim.Nonetheless, the reality is that Bashir Badr, who held a disdain for Modi, felt that the BJP had ‘given him humanity’. As a reader, reflecting on his arrogance, political stance and his attempts to be recognised as a cultural icon, I wish to reiterate his own couplet to express my admiration for the remarkable poet that he was:Khuda ham ko aisi ḳhudai na deKi apne siwa kuch dikhai na de(May God not grant such Godliness to one That one sees nothing beyond the self.)Instead, I wish to honour the Bashir Badr whose ghazals were taught as part of the curriculum at Aligarh Muslim University while he was still a student there. I wish to honour that Bashir Badr who, as the editor of the university’s Aligarh Magazine, presented us with a memorable issue featuring Ghalib.To be honest, I honour Bashir Badr only because he envisioned that raw, unrefined songs of the villages could be adapted in the language of ghazal. As far as his poetry is concerned, he has both good and exceptional poetry, where our criticism needs to tread with caution.Translated from Hindi by Naushin Rehman.This article was first published on The Wire Hindi. This article is updated with Urdu verses and republished at 11.59 am IST on June 17, 2026.