Shah Mubarak Abru: The First Sahib-e-Diwan Poet of Rekhta

Shah Mubarak Abru belonged to the earliest generation of Urdu poets who gave the language its distinct identity in northern India. At a time when Persian dominated the literary circles of Delhi, Abru helped transform Urdu into a language that ordinary people could embrace and enjoy. His work was not simply about composing verses.

He captured the spirit of his times and brought it alive through words that resonated with ordinary folk. While the elite preferred Persian, Abru and his fellow poets chose to work in Urdu, giving it a character and dignity it had never possessed before. Born as Najamuddin Shah Mubarak Abru in Gwalior in 1683, he descended from the celebrated Sufi saint Muhammad Ghaus Gwaliyari.

This family connection also linked him to Khan Arzu, a renowned scholar of Urdu and Persian, under whom he studied. Abru moved to Delhi as a young man and entered royal service, which brought him both wealth and respect. He became known as a prosperous man who lived comfortably during his years in the capital.

From Persian Dominance to Rekhta Revolution

The arrival of Wali Deccani’s diwan in Delhi around 1720 marked a turning point for Urdu poetry. Before this moment, people viewed Urdu verse as something frivolous, a mere diversion from serious literary work. Wali demonstrated to Delhi that Urdu could convey depth and beauty equal to Persian. Inspired by this revelation, poets like Abru, Faiz, Sharafuddin Mazmun, and Muhammad Shakir Nazi embraced Rekhta wholeheartedly.

Scholars have long debated who deserves recognition as the first sahib-e-diwan poet of northern India. This title refers to someone whose complete collection of poetry has survived. Dr Muhammad Husain and other researchers point out that no solid evidence exists of Faiz’s diwan, and Hatim’s complete collection has also not survived.

This leaves Abru’s diwan as the first authenticated collection of Urdu poetry from the north. The distinction gives him a special place in literary history. His work represents a bridge between the old Persian tradition and the emerging Urdu voice that would later flower into one of the richest poetic traditions in the world.

A Colourful Personality Reflecting Muhammad Shahi’s Glory

Abru’s poetry mirrors the Muhammad Shahi period in which he lived, a time marked by celebration, prosperity, and uninhibited enjoyment of life. His verses display the same frankness, the same vibrant spirit, and the same playfulness that characterised his era. He became one of the most important poets to popularise iham (double meaning) in Urdu poetry.

Many critics have faulted him for this, but the technique served both practical and artistic purposes. Abru and his contemporaries sought to have their poetry reflect Hindustani culture rather than Iranian influences. By using slesha (the Hindi equivalent of iham), they made their work accessible to ordinary listeners. Lucknow poets later adopted this same approach. His work offers a clear window into the social and cultural life of his time.

Love in that period was not confined to heartbreak and suffering. Courtesans and handsome young men held a position of great esteem in society. Abru mentioned famous courtesans like Panna Mamola and Jamal in his verses, women who enjoyed celebrity status in their day. He praised not only their beauty but also their artistic accomplishments and talents as performers.

Life Beyond Conventions: Devotion and Mischief Combined

Very little information about Abru’s personal life has survived, but the available details paint an intriguing picture. He had lost the use of one eye, wore a long beard, and walked with a stick in his hand. In his later years, he adopted the life of a dervish and qalandar, following a path of spiritual wandering. His relationships with contemporary poets were marked by playful rivalry.

Poets like Mazhar Jan-e-Janan and Benwa often mocked his physical disability rather than engaging with his poetry. Despite this, Abru maintained his distinctive personality. He enjoyed fine clothes and expensive garments. He played ganjifa (a card game) and kept pigeons as hobbies. His love for music and dance was well known.

He maintained a close friendship with Sadarang, the famous court musician. Moved to Agra for some time, Abru composed verses expressing his longing for his friend. His character remained as bold and colourful as his poetry throughout his life. He refused to conform to expected behaviour, choosing instead to live according to his own principles and pleasures.

A Legacy That Shaped Urdu’s Future

According to Mushafi, Abru lived only fifty years and died in 1733 after being kicked by a horse. His grave lies in Delhi near Syed Hasan Rasul Numa. Abru worked during a difficult transitional period and showed Urdu poetry a new direction. Through his verses, he broke free from Persian constraints and gave Urdu a distinctly Hindustani flavour. He did not restrict poetry to royal courts but carried it to ordinary people.

His work serves as a mirror to the society of his time, reflecting every shade of life in that period. His contribution extended far beyond writing one diwan. He strengthened the foundation of Urdu poetry at a critical moment in its development. He was the first poet to freely incorporate words and styles from Hindi and Braj Bhasha into Urdu, enriching the language and making it more expressive. This openness to multiple linguistic influences became one of Urdu’s greatest strengths in later centuries.

Also Read: Tahzeeb Hafi: Simple Words, Deep Emotions, and the Modern Urdu Poetry Revolution

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