Ghalib: conquering, superior, most excellent

Mirza Asadullah Beg Khan -- known to posterity as Ghalib, a `nom de plume' he adopted in the tradition of all classical Urdu poets, was born in the city of Agra, of parents with Turkish aristocratic ancestry, probably on December 27th, 1797. As to the precise date, Imtiyaz Ali Arshi has conjectured, on the basis of Ghalib's horoscope, that the poet might have been born a month later, in January 1798.

The death of his father and uncle during his youth left Ghalib with no male-dominant figures. He then moved to Delhi.

Ghalib's early education has always been a matter of confusion. There are no known records of his formal education, although it was known that his circle of friends in Delhi were some of the most intelligent minds of the time.

Around 1810, he was married into a family of nobles, at the age of thirteen. He had seven children, none of whom survived (this pain has found its echo in some of Ghalib's ghazals). There are conflicting reports regarding his relationship with his wife. She was considered to be pious, conservative and God-fearing while Ghalib was carefree, unconventional without any scruples, and arguably not very religious, in the strict sense of the word.

Ghalib was very fond of drinking and gambling (in this respect, he himself admitted he was not quite a strict "Muslim"). Gambling used to be an offence in Delhi at that time and he was even apprehended once for having indulged in it in his own backyard. Ghalib also had an affair with a courtesan who quite admired his poetry. There still exists the First Information Report filed against Ghalib in Kotwali ( "Police Station" is a more convenient term in modern (English) language), Daryaganj, New Delhi that relates his rivalry with the then Kotwal when it came to the courtesan.



Ghalib never worked as such for a livelihood but lived on either state patronage, credit or generosity of his friends. His fame came to him posthumously. He had himself remarked during his lifetime that although his age ignored his greatness, it would be recognized by later generations. History has vindicated his claim. He also is arguably the most "written about" among Urdu poets.

He died in Delhi on February 15th, 1869.


[edit] Contemporaries and disciples
Ghalib's closest rival was poet Zauq, tutor of Bahadur Shah Zafar II, the then emperor of India with his seat in Delhi. There are some amusing anecdotes of the competition between Ghalib and Zauq and exchange of jibes between them. However, there was mutual respect for each other's talent. Both also admired and acknowledged the supremacy of Meer Taqi Meer, a towering figure of Urdu Poetry of 18th century. Another poet Momin, whose ghazals had a distinctly lyrical flavor, was also a famous contemporary of Ghalib.


Ghalib's poetry
Although Ghalib wrote in Persian as well, he is more famous for his ghazals written in Urdu. It is believed he wrote most of his very popular ghazals by the age of nineteen. His ghazals, unlike those of Meer Taqi Meer, contain highly Persianized Urdu, and are therefore not easily understood or appreciated by a vast majority of people without some extra effort. Before Ghalib, ghazal was primarily an expression of anguished love but he expressed philosophy, the travails of life and many such subjects, thus vastly expanding the scope of ghazal. This, together with his many masterpieces, will forever remain his paramount contribution to Urdu Poetry and Literature.

In keeping with the conventions of the classical ghazal, in most of Ghalib's verses, the identity and the gender of the beloved is indeterminate. The beloved could be a beautiful woman, or a beautiful boy, or even God. As the renowned critic/poet/writer Shamsur Rahman Faruqui explains, since the convention of having the "idea" of a lover or beloved instead of an actual lover/beloved freed the poet-protagonist-lover from the demands of "realism", love poetry in Urdu from the last quarter of the seventeenth century onwards consists mostly of "poems about love" and not "love poems" in the Western sense of the term. Ghalib's poetry is a fine illustration of this. Ghalib also excels in deeply introspective and philosophical verses.

The first complete English translation of Ghalib's love poems (ghazals) was written by Dr. Sarfaraz K. Niazi(http://www.ghalib.org) and published by Rupa & Co in India and Ferozsons in Pakistan. The title of this book is Love Sonnets of Ghalib and it contains complete roman transliteration, explication and an extensive lexicon.


His Letters
Not only Urdu poetry but the prose is also indebted to Mirza Ghalib. His letters gave foundation to easy and popular Urdu. Before Ghalib, letter writing in Urdu was highly ornamental. He made his letters "talk" by using words and sentences as if he were conversing with the reader. According to him "sau kos say ba-zabaan-e-qalam baatein kiya karo aur hijr mein visaal kay ma-zay liya karo" [ from hundred of miles talk with the tongue of the pen and enjoy the joy of meeting even when you are separated] His letters were very informal, some times he would just write the name of the person and start the letter. He himself was very humorous and also made his letter very interesting. He said "main koshish karta hoon keh koi aisi baat likhoon jo pa-rhay khoosh ho jaaye" [ I want to write the lines that whoever reads those should enjoy it] When the third wife of one of his friends died, he wrote... "Allah allah aik woh log hain jo teen teen dafah iss qaid say chhoot chu-kain hain aur aik hum hain keh aik ag-lay pachas baras say jo phansi ka phanda ga-lay mein parha hai to nah phanda hi tut-ta hai nah dum hi nikalta hai" [Allah Allah, there are some among us who have been freed from this prison three times and I have for the past 50 years this rope around my neck; neither this rope breaks nor it takes my life] Some scholars says that Ghalib would have the same place in Urdu literature if only on the basis of his letters.They have been beautifully translated into English by Ralph Russell, The Oxford Ghalib.





His Takhallus
His original Takhallus (pen-name) was Asad, drawn from his given name, Asadullah Khan. At some point early in his poetic career he also decided to adopt the taKhallus 'Ghalib' (meaning all conquering, superior, most excellent).

Popular legend has it that he changed his nom de plume to 'Ghalib' when he came across this sher (couplet) by another poet who used the taKhallus 'Asad':

Asad us jafaa par butoN say wafaa ki
mire sher shabaash rahmat Khudaa ki
(Asad worshipped idols after being betrayed.
my poems(thankyou)are, the mercy of GOD.
The legend says that upon hearing this couplet, Ghalib ruefully exclaimed, "whoever authored this couplet does indeed deserve the Lord's rahmat (mercy) (for having composed such a deplorable specimen of Urdu poetry). If I use the taKhallus Asad, then surely (people will mistake this couplet to be mine and) there will be much la'anat (curse) on me!" And, saying so, he changed his takhallus to 'Ghalib'.

However, this legend is little more than a figment of the legend-creator's imagination. Extensive research performed by commentators and scholars of Ghalib's works, notably Imtiaz Ali Arshi and Kalidas Gupta Raza, has succeeded in identifying the chronology of Ghalib's published work (sometimes down to the exact calendar day!). Although the taKhallus 'Asad' appears more infrequently in Ghalib's work than 'Ghalib', it appears that he did use both his noms de plume interchangeably throughout his career and did not seem to prefer either one over the other.

source:net,history books

Bitrates : how they affect music quality

In digital multimedia, bitrate represents the amount of information, or detail, that is stored per unit of time of a recording. The bitrate depends on several factors:

* the original material may be sampled at different frequencies
* the samples may use different numbers of bits
* the data may be encoded by different schemes
* the information may be digitally compressed by different algorithms or to different degrees

Generally, choices are made about the above factors in order to achieve the desired trade-off between minimizing the bitrate and maximizing the quality of the material when it is played.

If lossy data compression is used on audio or visual data, differences from the original signal will be introduced; if the compression is substantial, or lossy data is decompressed and recompressed, this may become noticeable in the form of compression artifacts. Whether these affect the perceived quality, and if so how much, depends on the compression scheme, encoder power, the characteristics of the input data, the listener’s perceptions, the listener's familiarity with artifacts, and the listening or viewing environment.

The bitrates in this section are approximately the minimum that the average listener in a typical listening or viewing environment, when using the best available compression, would perceive as not significantly worse than the reference standard:

[edit] Audio (MP3)

* 32 kbit/s — MW (AM) quality
* 96 kbit/s — FM quality
* 128–160 kbit/s — Standard Bitrate quality; difference can sometimes be obvious (e.g. bass quality)
* 192 kbit/s — DAB (Digital Audio Broadcasting) quality. Quickly becoming the new 'standard' bitrate for MP3 music; difference can be heard by few people.
* 224–320 kbit/s — Near CD quality. Sound is nearly indistinguishable from most CDs.

[edit] Other audio

* 800 bit/s — minimum necessary for recognizable speech (using special-purpose FS-1015 speech codecs)
* 8 kbit/s — telephone quality (using speech codecs)
* 500 kbit/s–1 Mbit/s — lossless audio as used in formats such as FLAC, WavPack or Monkey's Audio
* 1411 kbit/s — PCM sound format of Compact Disc Digital Audio

[edit] Video (MPEG2)

* 16 kbit/s — videophone quality (minimum necessary for a consumer-acceptable "talking head" picture)
* 128 – 384 kbit/s — business-oriented videoconferencing system quality
* 1.25 Mbit/s — VCD quality
* 5 Mbit/s — DVD quality
* 15 Mbit/s — HDTV quality
* 36 Mbit/s — HD DVD quality
* 54 Mbit/s — Blu-ray Disc quality


data source wiki

New Exam pattern in India(Revised):

New Exam pattern in India(Revised):


1. General students - Answer ALL questions.

2. OBC - WRITE ANY one question.

3. SC - ONLY READ questions.
4. ST - THANKS FOR COMING..

AND.

5. Gujjars- THANKS FOR ALLOWING OTHERS TO ATTEND THE EXAMINATION .. !!

slapgate controversy

Guys this was inevitable.
it all started when the media started glorifying the ugly behavior onfield by some cricketers. it was termed as fire for fire or AGGRESSION.
aggression is not abusing others or there families.it is all about bowling wicket taking deliveries one after the another like yesteryears west indian pacemen used to do,
they never abused anyone but batsmen were terrified just by there aggressive bowling, and the world still loves them.
our very own Anil Kumble ,he is the highest wicket taker for the country,doest abuse anyone ,opponents respect him and they say he is the most aggressive bowler India has ever produced.Ajit Agarkar media says guy lacks attitude just because he doesn't abuse any one,but still he got close to 300 scalps in ODI cricket.The examples are endless.
your performances should speak for you,one should convey his messages with on field performances,not by abusing or uttering nonsense.
in recent past barring the last test vs RSA nobody remembers when Harbhajan performed above average,what he is doing consistently is bowling flatter on the legs and abusing others,and SreeSanth has done nothing to write home in his career so far but one good spell in Johannesburg test.
barring some rare instances nobody has abused Sachin,Rahul or Anil ,the world respect them for there behavior onfield and as they carry themselves off it.



It all started in Ganguly era,when he tookoff his shirt at Lords or made Steve Waugh wait at the toss, the media showed him as the best thing to have happened, and the BCCI(then headed by Ganguly's godfather Jagmohan Dalmia) didn't took any action.
if action was taken at that time, the thing would have been nipped in the bud, and the great game of Cricket wouldn't have reached the rock bottom it has reached today.

if we want to be world champions we should emulate 70s-80s West Indies,
we should aspire to be like Roger Federer or Michel Schumacher the champions respected & loved by everyone and not like the present Australian side or John McEnroe or the cry baby Fernando Alonso, people respect there achievements but not them.

frog in firefox

there is a picture sharing site
http://photoshack.us/
accessing with Firefox it does not show pics rather a frog
to remove the frog and see pics do the following:

On the firefox browsers address bar type 'about:config'

then on that page on filter type in 'network.http.sendRefererHeader'

double click on the 'network.http.sendRefererHeader' and change the value to 0 (zero).

(Wall as Captain)-Rahul Dravid- the skipper

this is with reference to all the news channels in India terming the Dravid's stint as captain unsuccessful and a failure.there may be some failures but the successes count are more. to name a few.
world record of consecutive chases
winning in West Indies after 1971
winning in england after 1985
first ever test victory in RSA

victories against Pakistan(though not that great with current pak squad and conditions)
the so called successful captain according to Indian media is Saurav Ganguly.

well Ganguly the so called most successful captain did took the tean to tours of England and West Indies but he couldn't win there.he also toured RSA but was unsuccessful.
they say Ganguly took India to the final of the world cup(though due to Sachin's Brilliance) but credited to Ganguly,what I say is the runner up is the best of the losers and the looser is the looser.it may be best of the losers or worst of the losers.

well in the end i would like to say that Dravid was not as bad with the captaincy as projected by media and one should look at the facts before reporting.

What is the difference between men and women?

What is the difference between men and women?

1. A successful man is one who makes more money than his wife can spend. A successful woman is one who can find such a man.

2. Men wake up as good-looking as when they went to bed. Women somehow deteriorate during the night.

3. A man will pay $2 for a $1 item he wants. A woman will pay $1 for a $2 item that she doesn't want.

4. A woman marries a man expecting he will change, but he doesn't. A man marries a woman expecting that she won't change, and she does.

5. There are two times when a man doesn't understand a woman- before and after marriage.

6. A woman worries about the future until she gets a husband. A man never worries about the future until he gets a wife.

7. To be happy with a man, you must understand him a lot and love him a little. To be happy with a woman, you must love her a lot and not try to understand her at all.

8. Any married man should forget his mistakes. There's no use in two people remembering the same thing!

9. A woman has the last word in any argument. Anything a man says after that is the beginning of a new argument.

10. Women look at a wedding as the beginning of romance, while men look at a wedding as the ending of romance.


these lines are not mine i came across these on net and posting for you, i dont know who originally posted these but i dont take any credit for it.