Tag Archives: Crown Prince Mirza Fakhruddin

Identity crisis… .the royal kind

Noida, UTTAR PRADESH / Hyderabad, TELANGANA :

Begum Laila Umahani, said to hail from the family of Bahadur Shah Zafar, is living a life of obscurity with her two sons. Film-maker Arijeet Gupta convinced her to talk of her pedigree for “The Living Moghuls”, a documentary on the descendants of the Moghuls. On the other hand, we have Pakeeza Sultan Begum asserting her case as the last known direct descendant. RANA A. SIDDIQUI reports… .

Arijeet Gupta: the documentary film-maker.
Arijeet Gupta: the documentary film-maker.

HE SCOOTS of to buy vegetables, leave his children at a local school and lives the life of a common man. He is Ziauddin Tucy. His mother tells fairy tales to her grandchildren. But those tales do not constitute fairies, who help people in their moments of distress. They talk of Moghuls, their grandeur, the last Moghul Emperor Bahadur Shah Zafar and his four wives till the period of what is called India’s First War of Independence – the Mutiny of 1857. All these not because the children have inclination for history of Moghuls but because their grandmother herself is said to be the last surviving member and direct descendant of Bahadur Shah Zafar and his first wife, Begum Ashraf Mahal.

Eighty-year-old Begum Laila Umahani, who lives in Asmangarh, a small city in Hyderabad, is this grandmother. She narrates the glorious family history to her grandchildren, knowing that it won’t have any takers if she goes to tell it to people beyond the periphery of her small house.

This is what Arijeet Gupta, the man behind the documentary “The Living Moghuls” screened at India Habitat Centre in New Delhi the other day, tries to prove. Said to be the first-ever archival documentary produced by Public Service Broadcasting Trust – PSBT and financed by Prasar Bharti, it traces the history of Moghuls from1857 to 2002 – a period of 145 years which saw the sudden disappearance of Moghuls from the historical centrestage. But Begum Laila Umahani helps tracing it when she reveals that after Bahadur Shah Zafar’s exile to Burma by the British in 1857, his son Mirza Quaish – the first generation — managed to save his life and fled to Kathmandu. After he secretly came back to India, he was given shelter by Maharana of Udaipur. His son Mirza Abdullah — the second generation — again a fugitive, went to Nagpur and then Aurangabad and finally Hyderabad. Here, Nizam of Hyderabad helped him. His son Mirza Pyre later married Habeeb Begum, hailing from the family of the sixth Nizam of Hyderabad. One “Habeeb Mahal” near Char Minar in Hyderabad, belongs to her which is occupied by one family and they have moved High Court for its possession. Begum Laila Umahani, daughter of Mirza is the fourth and only surviving Moghul from the family.

Begum Laila Umahani: Waiting for recognition.
Begum Laila Umahani: Waiting for recognition.

Begum Laila now lives in a rented house in Aamangarh with her two sons, Ziauddin Tucy and Masiduddin Tucy — the fifth generation. Her husband died earlier. While Ziauddin Tucy is retired marketing supervisor from Andhra Pradesh Government, Masiduddin Tucy is a food consultant in Welcome Group of Hotels in Hyderbad.

The family after several futile approaches made to Indira Gandhi and subsequent governments in Delhi, preferred to take a backseat “Who will listen to me now? Instead they will mock so it is better to remain silent to keep our dignity intact,” Begum Laila says in the documentary. She reportedly broke her silence before the camera after much coaxing from Arijeet Gupta.

There are historians who believe that it is difficult to trace that period after145 years. It simply because after Moghuls were deposed, many records also were destroyed. They were just fleeing for their lives and carried no identity cards.

Pakeeza Sultan Begum: known direct descendant of Bahadur Shah Zafar.
Pakeeza Sultan Begum: known direct descendant of Bahadur Shah Zafar.

The film-maker, Arijeet Gupta met the family in 1998 after he saw a letter from Ziauddin Tucy addressed to the powers that be requesting the family to grant benefits/ pensions to help them survive with dignity. Since Laila Begum was not ready to articulate her viewpoint, and there could not be many compromises on authenticity, this documentary took five years to complete, he says.

EVEN AS Begum Laila Umahani fights for recognition from the Government, she has to encounter another battle of words and letters – from Pakeeza Begum, claimed to be the only direct descendant of Bahadur Shah Zafar. A resident of Neeti Bagh in New Delhi — her ancestral house Chandni Mahal is in the Walled City — Begum Pakeeza denies that Begum Laila is a direct descendant of the last Moghul Emperor. “The entire Delhi knows that only I am only the direct descendant of the king and not she because only the heir apparent – Vali Ahad — was supposed to be one and Mirza Qwesh — whom she refers to as her forefather — was never a crown prince as reported in a Delhi daily earlier. He wanted to be one and to do that he also accepted the humiliating conditions of the British but never succeeded. While he was only attempting to become one, the 1857 Mutiny broke out. My great grandfather Mirza Fatehul Mulk was the heir apparent.”

She narrates the historical background that she says is found in record books too. It is reported that historians Maheshwar Dayal and Tara Chand also verified the same in their books. “Mirza Fatehul Mulk Bahadur alias Mirza Fakhruh was appointed the heir apparent in 1853. At the time of Mutiny, the son of Mirza Fakhruh, Mirza Farkhunda Jamal was only four or five year old. When Major Hudson killed the sons and grandsons of Bahadur Shah Zafar at Khooni Darwaza, Delhi on Bahadur Shah Zafar Marg, and soon after this news broke out, the nurse – Anna — of Mirza Farkhunda Jamal took the child secretly without even informing the family because those who were responsible for the Mutiny were among the family only. For years, she did not reveal his identity and nurtured him by doing different work at different places. That is how she managed to save the last successor.”

Begum Qamar Sultan with younger brother Hamid Shah in royal costume, 1963.
Begum Qamar Sultan with younger brother Hamid Shah in royal costume, 1963.

Some time after the Mutiny the British announced that there would be no killings and punishment, Anna brought the child back to the mother. The British Government released political pension in favour of Mirza Farkhunda Jamal as the heir apparent. After the death of Mirza Jamal, the pension was received by his sons and daughters — Qamar Sultan Begum — daughter of Mirza Jamal who kept receiving this share even after Independence. She refused to take it sometime after the Independence saying now we are free citizens and everyone is equal in this democratic country. Sultan Begum died in June 1993. She had two daughters, Begum Tahira Sultan and Pakeeza Sultan Begum. The former is settled in London while the latter lives in Delhi and is also an ex-director ICCR and an expert on Africa.

She questions the authenticity of Begum Laila’s statements: “Why was Mirza Qwesh running away even after the Mutiny? Despite the fact British announced that there would be no killings? Who was he afraid of? The British? Who, as her statements go that he was helped by the Indian soldiers of British Army to flee to Kathmandu? There were no Indian soldiers in British Army and even if there had been any, they were British soldiers and not from the King’s Army.”

She contends: “He was running away from his own people who got to know of his schemes and policies that he accepted the Britishers’ humiliating condition to become the successor of the Moghuls.”

The lady argues: “I don’t have any problem if she gets any help from the Government but she should not disturb the lineage by giving wrong statements.” She also expresses regret that without going to history books and records with the Government Arijeet Gupta went ahead to make his documentary film.

source: http://www.thehindu.com / The Hindu / Home> MetroPlus – Delhi / September 12th, 2002

Pakeeza Sultan Begum

Noida, UTTAR PRADESH :

PakeezaSultanMPOs02dec2018

PAKEEZA SULTAN BEGUM, daughter of  Princess Qamar Sultan Begum, the great-grand-daughter of the last successor of the throne of Mughal dynasty Mirza Fatahul Mulk Bahadur alias Mirza Fakhru (who was killed by the British after 1857), thus the direct descendent of the last Emperor of Hindustan Bahadur Shah Zafar, left for her heavenly abode on 20 September 2014.

She was born on 13 November 1937. She was married to the senior advocate of Supreme Court of India late Danial Latifi who had died on 17 June 2000.

She was educated at AMU and taught for some time at Lady Shriram College. Later she joined as librarian in the Indian Council of Cultural Relations under the Ministry of External Affairs where she worked at the Africa desk and retired as director of the foreign cultural centres in the capital. She had moved to Noida a few years back to live with a relative.

Princess Qamar Sultan Begum was recognized by Government of India as a direct descendant of the last Mughal emperor. She used to be invited to attend official functions in that capacity. Qamar Sultan Begum died in June 1993.

Begum Qamar Sultan with her younger brother Hamid Shah in 1963
Begum Qamar Sultan with her younger brother Hamid Shah in 1963

source: http://www.milligazette.com / The Milli Gazette / Home> Online News> Community News / Published online Oct 04th, 2014 / Print edition: 1 -15th Oct 2014

How a royal wedding erupted into an epic battle of wits between Ghalib and the court poet

DELHI :

Zauq and Ghalib took digs at each other through a sehra penned for a prince’s wedding and the Red Fort reverberated with this clash of titans.

The sehra, or prothalamion, (song to celebrate a wedding) is now a vanishing genre. I remember while I was growing up that almost all nikahs would have a sehra read by a relative with poetic aspirations, after the ceremony.

Though sehras are supposed to be in praise of the groom and a prayer for his wedded life, these would be witty and laudatory at the same time, usually a humorous dig at all relatives. A copy of this would then be distributed to the wedding guests.

Sehras fall into the category of nazms and have to be in meter.

The most famous sehra, of course, is the one penned by Mirza Ghalib (1797-1869) for a royal wedding, in which he took a dig at the emperor’s Ustad, Sheikh Ibrahim Zauq (1788/9-1854).

Zauq and Ghalib were contemporaries in Delhi, and their rivalry was legendary. Zauq had been given the title of Khaqani e Hind and drew a nominal salary of Rs 4 per month. The respect and position that he gained as a result was immense. It also gave him free access to the Qila e Moalla (Red Fort).

This was a constant thorn in the side of Mirza Ghalib, who felt he was better and deserved a royal position too. Thus, he never let go of any chance to score poetic points over his rival.

One such chance came at the last grand Mughal wedding, on April 2, 1852 – that of Jawan Bakht, Badshah Bahadur Shah Zafar’s son by his favourite and youngest wife Zeenat Mahal, to Nawab Shah Zamani Begum.

Begum Zeenat Mahal asked Ghalib to write a ‘sehra’ for her son’s wedding. The honour should have gone to Sheikh Ibrahim Zauq, but he was reportedly unwell.

William Dalrymple in his book The Last Mughal writes: “The marriage procession of Prince Jawan Bakht left the Lahore Gate of the Red Fort at 2 am on the hot summer night of 2 April, 1852.”

Dalrymple goes on to write that what was remembered longest and discussed most about the wedding was not so much the festivities or the feasting or the fireworks, but “the marriage odes recited by the Poet Laureate Zauq, and his rival Mirza Nausha, now more widely known by his pen-name Ghalib.”

Ghalib wrote a ‘sehra’ whose maqta (the last couplet in an Urdu ghazal which contains the poet’s pen name) was:

  • ‘hum suKhan_fahm haiN, Ghalib ke tarafdaar nahiN
  • dekheN keh de koi is sehre se baRh kar sehra’

We are connoisseurs of poetry, not partial to Ghalib

Let’s see if there’s anyone who can write a better ‘sehra’

The emperor, realising that this was a dig at his mentor Zauq, is said to have been displeased with the maqta. A slight to his mentor was seen as a slight to the emperor himself. Zafar asked Zauq to write a ‘sehra’ too. Not one to let go of an opportunity, Zauq included these line.

  • jin ko daawa ho suKhan ka yeh sunaa do unko
  • dekh is taraH se kehte haiN suKhanwar sehra

Tell those who claim to be eloquent

This is how poets write a sehra

The fort reverberated with this clash of titans and it is recorded that the Crown Prince Mirza Fakhruddin (also a disciple of Mirza Zauq) exclaimed, “Ustaad ne maidan maar liya“.Dalrymple writes: “The squabble at the wedding was over a single verse in Ghalib’s sehra (or wedding oration) where he appeared – characteristically – to suggest that no one in the gathering could write a couplet as well as he…. Zafar [the king] also encouraged Zauq to reply to Ghalib’s unprovoked sally. The fine sehra that the Poet Laureate came up with ended with a couplet tossing the challenge back to Ghalib:

The person who claims poetic skills,Recite this to him and say,”Look-this is how a poet”

This round went to Zauq as the singers in attendance picked up the verse and spread it all over Shahjahanabad. By next day it was in the newspapers.”

Ghalib then wrote his celebrated qat’a-e-ma’azerat’ (letter of apology), in response to the emperor’s reaction. However, the egoistic poet left no ‘verse’ unturned in adding insult to injury, using poetry as a medium to prove his supremacy and take a dig at Zauq’s humble origins and the Emperor’s negligence of him.

The maqta of this ghazal became even more famous.

      • manzoor hai guzaarish-e-ahvaal-e-waaqa’aii
      • apna bayaan-e-Husn-e-tabii’yat nahiN mujhe
      • I accept the request to state the facts, To praise oneself is not a habit of mine
      • sau pusht se, hai pesha-e-aaba sipahgarikuchh shayari,
      • zari’ye-e-izzat nahiN mujhe
      • My forefathers have been warriors for hundred generations
      • By writing poetry, fame I seek not
      • aazaadah rau huN, aur mira maslak hai sul
      • H-e-kulhargiz kabhi kisi se adaawat nahiN mujhe
      • I am a free spirit and my conduct is always peaceful,I bear malice against no one
      • kya kam hai yeh sharaf ke Zafar ka Ghulaam huN
      • maana ke jaah-o-mansab-o-sarwat nahiN mujhe
      • Is the privilege not enough that I serve Zafar,
      • Agreed rank, position and affluence I have not
      • ustaad-e-shah se ho mujhe par Khaash ka Khayaal
      • yeh taab, yeh majaal, yeh taaqat nahiN mujhe
      • The thought of a row with the king’s mentor
      • This arrogance, this audacity, this strength I have not
      • jaam-e-jahaaN_numa hai shahenshaah ka zameer
      • saugand aur gawaah ki Haajat nahiN mujhe
      • The king’s conscience is all encompassing,
      • The need for an oath and witness I have not
      • sehraa likhaa gaya ze_rah-e-imtiSaal-e-amr
      • dekhaa ke chaarah Ghair ita’at nahiN mujhe
      • The sehra was written in obedience of orders,
      • Non compliance with that order I dare not
      • maqt’e meiN aa paRi hai suKhan gustaraana baat
      • maqsood is se qat’a-e-moHabbat nahiN mujhe
      • I wrote something in the maqta’ which became popular,
      • A reason to ending friendship I want not.
      • ruu-e-suKhan kisi taraf ho, tau ruu_siyaah
      • sauda nahiN, junooN nahiN, veHshat nahiN mujhe
      • If I aimed it at someone in particular then may my face beblackened,
      • I am neither mad, nor crazed nor so deprived of sense.
      • qismat buri sahii, pa tabii’yat buri nahi
      • Nhai shukr ki jagah, ke shikaayat nahiN mujhe
      • Although my luck is bad, but my habits aren’t bad,
      • I’m in a place of thankfulness and complain I do not.
      • saadiq huN apne qaul meiN Ghalib Khuda_gawaah
      • kehta huN sach ke jhooT ki a’adat nahiN mujhe
      • Always true to his word is Ghalib, as God is my witness,
      • I tell you the truth as lie I do not.

This is the original sehra written by Ghalib for Mirza Jawan Bakht:

      • Khush ho ai baKht ke hai aaj tere sar sehraabaa
      • Ndh shahazada Javaa.N baKht ke sar par seharaa
      • [baKht = luck; pun on Groom’s name]
      • kyaa hii is chaaNd se mukhaDe pe bhalaa lagataa hai
      • hai tere husn-e-dil_afroz kaa zevar sehraa
      • [husn-e-dil_afroz = beauty that lights up the heart]
      • sar pe chaDhnaa tujhe phabataa hai par ai tarf-e-kulaah
      • mujhko Dar hai ke na chhiine tera lambar sehraa
      • [phabataa = suits]
      • nav bhar kar hii piroye gaye honge motii
      • varnaa kyun laaye hain kishtii mein lagaakar sehraa
      • saat dariyaa ke faraaham kiye honge motii
      • tab banaa hogaa is andaaz kaa gaz bhar sehraa
      • ruKh pe dulhaa ke jo garmii se pasiinaa Tapakaa
      • hai rag-e-abr-e-guharabaar saraasar sehraa
      • ye bhii ik be’adabii thii ke qabaa se baDh jaaye
      • rah gayaa aan ke daaman ke baraabar sehraa
      • jii me.n itaraaye.N na motii ke hamii.n hai.n ik chiiz
      • chaahiye phuulon ko bhii ek mukarrar sehraa
      • jab ke apane mein samaave’n na Khushii mein maare
      • guu.Ndhe phuulon kaa bhalaa phir koii kyuu.Nkar sehraa
      • ruKh-e-raushan kii damak gauhar-e-Galtaa kii chamak
      • kyuN na dikhalaaye faroG-e-maah-o-aKhtar sehraa
      • taar resham kaa nahii.n hai ye rag-e-abr-e-bahaar
      • laayegaa taab-e-giraa.Nbaari-e-gauhar sehraa
      • ham suKhan_faham hain “Ghalib” ke tarafadaar nahii.n
      • dekhe.n is sehare se kah de koii ba.Dhakar sehraa
      • [suKhan_faham = patron of poetry]
      • Zauq’s sehra
      • Ai Javaan Bakht mubarak tujhe sar par sehra
      • Aaj hai Yaman wa Sada’t ka tere sar sehra
      • Aaj woh din hai ke laaye durr e anjum se falak
      • Kashti e zar mah e nau ke lagakar sehra
      • Tabish husn se manind shua e khursheed
      • Rukh e pur noor pe hai tere munawwar sehra
      • Woh kahe Salle Alay eh kahe SubhanAllah
      • Dekhe mukhade pe jot ere mah o akhtar sehra
      • Taa banni aur banne mein rahe ikhlas baham
      • Goondhiye sura e ikhlas padhkar sehra
      • Dhoom hai gulshan e afaaq mein is sehre ki
      • Gaaye’n marghaan e nava sanj na kyunkar sehra
      • Ru e farkh pe jo hain tere baraste anwar
      • Taar e barish se bana ek sarasar sehra
      • Ek ko ek pe tazai’n hai dam e araaish
      • Sir pe dastar hai, dastar ke oopar sehra
      • Ek gauhar bhi nahin sadgaan e gauhar mein choda
      • Tera banwaaya hai le leke jo gauhar sehra
      • Phirti khushboo se hai itraayi huyi baad e bahaar
      • Allah Allah re phoolo’n se moatta’r sehraa
      • Sar pe turra hai muzaiyyan to gale mein baddhi
      • Kangana haath mein zeba hai to munh par sehra
      • Runumayi mein tujhe de mah o khurshid o falak
      • Khol de munh ko jot u munh se uthakar sehra
      • Kasrat e taar e nazar se hai tamaashiyo’n ke
      • Dam e nazara tere ru e niko par sehra
      • Durr e khush aab e mazameen se banakar laaya
      • Waaste tere tera Zauq sanagar sehra
      • Jis ko daawa hai suKhan ka yeh sunaa de usko
      • Dekh is taraH se kehte haiN suKhanwar sehra

 

(This article first appeared on the author’s blog.)

source: http://www.dailyo.in / Daily O / Home> Arts & Culture / by Rana Safvi  @iamrana / December 27th, 2017