Shree Ganesh written in Urdu
The Confluence of Faith and Verse
As the festive chants of Ganpati Bappa Morya echo across India during Ganesh Chaturthi, the deity of wisdom and the remover of obstacles is remembered not only through rituals and processions but also through poetry.
While Ganesha has been the subject of countless Sanskrit, Marathi, and Hindi compositions, his presence in Urdu poetry — especially in the verses of 18th-century poet Nazeer Akbarabadi — offers a remarkable glimpse into India’s pluralistic traditions of devotion.
Urdu poets, transcending religious boundaries, have composed verses that celebrate Ganesha as Vighnaharta (remover of obstacles), as the scribe of the Mahabharata, and as the bestower of wisdom and fortune. Among them, Nazeer Akbarabadi (1735–1830) stands out, having penned one of the most elaborate stutis (hymns of praise) dedicated to Lord Ganesh in Urdu. His verses, blending popular imagery with devotional fervor, remind us of the syncretic cultural fabric of the subcontinent.
Ganesha in Urdu Verse: Beyond Religious Boundaries
In the Islamic cultural milieu of North India, the inclusion of Ganesha in Urdu poetry may seem unusual at first glance. Yet, poets like Nazeer Akbarabadi saw no contradiction in celebrating a Hindu deity in a language deeply associated with Muslim literary expression. This was not mere poetic experimentation, but an affirmation of the shared spiritual life of the time.
In his Ganesh Ji Ki Stuti, Nazeer begins with a call to inward worship:
“Avval to dil mein keejie poojan Ganesh Ji,
Stuti bhi phir bakhaniye dhan-dhan Ganesh Ji,
Bhakton ko apne dete hain darshan Ganesh Ji,
Vardan bakshte hain jo devan Ganesh Ji.”
(First of all, worship Ganesh Ji in your heart. Then praise him, for blessed is Ganesh Ji. He gives his devotees a vision, he bestows divine blessings.)
This blending of devotional imagery with Urdu’s lyrical expression highlights how faith often transcends the lines of creed, enabling poets to celebrate deities as symbols of universal virtues — wisdom, compassion, and guidance.
The Themes of Nazeer’s Stuti
Akbarabadi’s tribute weaves together nearly every motif associated with Ganesh:
•Remover of Obstacles: Repeatedly invoking him as Vighnaharta, Nazeer emphasizes how the deity eases the troubles of devotees.
•Embodiment of Wisdom: He calls Ganesh “ilm-o-hunar mein ek hain aur buddhi ke nidhan” (the one unrivalled in knowledge and the treasure of wisdom).
•Mahabharata’s Scribe: The allusion to Ganesh as Vyasa’s scribe during the composition of the epic underscores his intellectual stature.
•Son of Shiva and Parvati: His familial roots are celebrated with reverence, situating him within the larger Hindu pantheon.
•Gentle Yet Powerful: From his single tusk (ek dant) to his elephantine face (gajmukh), each feature is celebrated with affectionate awe.
One of the most vivid passages praises his elephant head:
“Gajmukh ko dekh hota hai sukh ur mein aan-aan,
Dil shaad-shaad hota hai main kya karoon bakhaan,
Ilmo hunar mein ek hain aur buddhi ke nidhan,
Sab kaam chhod pyare rakh man mein yahi aan.”
(On seeing the elephant-faced one, joy fills the heart. He is one in knowledge and skill, the treasure of wisdom. Leave aside all else, and keep him in your heart, O beloved.)
Ganesh Chaturthi and the Cultural Context
Ganesh Chaturthi, revitalized as a public festival by Bal Gangadhar Tilak in the late 19th century, has grown into one of the largest community celebrations in India, especially in Maharashtra. Yet, even before Tilak transformed it into a symbol of unity against colonial rule, devotion to Ganesh was widespread across linguistic, regional, and even religious boundaries.
In Urdu poetry, this devotion found a distinct voice. Nazeer Akbarabadi’s hymn is believed to have been composed for Anant Chaturdashi, the concluding day of Ganesh Chaturthi celebrations.
By placing Ganesh within his poetic canvas, Nazeer was not only honoring a deity but also affirming the composite culture of India, where poets could sing of Krishna, Ram, Ali, or Ganesh in the same literary breath.
The Poetics of Inclusivity
What makes Nazeer Akbarabadi’s Ganesh stuti unique is not just its devotional fervor, but its accessibility. Written in simple, direct Urdu, the verses were designed for public recitation, making them accessible to ordinary listeners rather than only elite literary circles.
Consider his description of Ganesh’s mount, the humble mouse (mooshak):
“Moosa savaari ko hai ajab khoob benazir,
Kya khoob kaan panje hain aur dum hai dil pajeer,
Khaate hain motee choor ki chanchal bada shareer,
Dukh dard ko hare hain to dil ko badhaaven dheer.”
(The mouse as a mount is indeed unique and peerless. What lovely ears, claws, and tail! He relishes sweet offerings, his playful body vibrant. He removes sorrows and gives the heart solace.)
Here, the divine and the everyday mingle effortlessly — Ganesh is exalted but also endearingly human, a deity close to the lives of ordinary people.
A Festival Across Languages
Today, Ganesh Chaturthi is celebrated in countless tongues — from Sanskrit aarti hymns and Marathi bhajans to Hindi devotional songs and Tamil kirtanais. Yet, the Urdu verses of poets like Nazeer Akbarabadi remind us that devotion is not confined by language. Urdu, often narrowly associated with Islamic culture, here becomes a vessel for Hindu devotion, blurring boundaries in ways only poetry can.
The imagery of Nazeer’s poem mirrors rituals still observed today: devotees applying vermilion, offering sweets like modak or moti choor, and reciting prayers for wisdom and prosperity.
“Ghee mein mila ke koi jo chadhaata hai aa sindoor,
Sab paap uske daalta kar dam ke beech choor,
Phool aur viranch sheesh pai deepak ko rakh kapoor,
Jo man mein hove ichchha to phir kya hai usse door.”
(Whoever offers vermilion mixed with ghee, all his sins are crushed in a breath. With flowers and camphor lit in a lamp upon his head, whatever desire is in the heart, nothing remains distant.)
Ganesh in the Syncretic Tradition
Nazeer Akbarabadi was not alone in extending his poetic canvas to Hindu themes. Urdu poets across centuries — from Wali Dakhni to Raskhan (though writing in Braj Bhasha but associated with Indo-Muslim literary traditions) — celebrated Hindu gods and festivals. Nazeer, however, was distinctive in his ability to turn such praise into hymns that were deeply devotional yet linguistically universal.
By composing a stuti in Urdu, Nazeer not only affirmed Ganesh’s place in the hearts of Hindu devotees but also created a literary bridge across communities. His verses continue to resonate as a testament to India’s cultural pluralism, where devotion is not bound by dogma but elevated by shared reverence.
The Final Benediction
The closing verses of Nazeer’s hymn encapsulate his message of surrender and faith:
“Jo jo sharan mein aaya hai keenha use sanaath,
Bhav sindhu se utaara hai dam mein pakad ke haath,
Yah dil mein thaan apne aur chhod sabka saath,
Tu bhi ‘Nazeer’ charanon mein apna jhuka ke maath.”
(Whoever has come into his refuge, he has made them his own. He has carried them across the ocean of existence by holding their hand. Make this resolve in your heart, leaving all else. You too, Nazeer, bow your head at his feet.)
In these lines, the poet himself becomes the devotee, offering his surrender to the deity. The universality of the sentiment is striking: whether Hindu, Muslim, or of any faith, the image of surrender to a higher power resonates with all who seek guidance and solace.
Poetry as Prayer
In today’s climate of division, Nazeer Akbarabadi’s Ganesh Ji Ki Stuti reads like a gentle reminder of the syncretic heritage that defines India. Through the medium of Urdu — a language of ghazals, marsiyas, and naats — he crafted a hymn of praise for Ganesh, affirming that devotion belongs to no single tradition.
As Ganesh Chaturthi is celebrated across India with music, color, and prayer, it is worth remembering that the deity who removes obstacles was once invoked in Urdu couplets, echoing across the bylanes of Agra where Nazeer lived. His verses remind us that poetry itself can be prayer, and that in the shared rhythms of devotion, boundaries blur, leaving only the music of faith.
~Hasnain Naqvi is a former member of the history faculty at St. Xavier’s College, Mumbai….
The opinions expressed here are solely those of the author.
