Abstract Urdu literature written in the second half of the nineteenth century in North India has often been characterised in terms of rupture, reshaping, and loss of the legacies of the past. In this essay, I argue that such literary-historical framing not only limits our understanding of thriving Urdu aesthetic production in colonial North India, but also misrepresents a vibrant literary culture that continued to resist the colonial aesthetic valuations by drawing on the legacies of the past much more aggressively. To demonstrate this, I examine here Munshī Gobind Prasād Faẓā’s striking Urdu retelling of Niz̤āmī Ganjavī’s Persian poem, Ḳhusrau o Shīrīn, in the larger context of the colonial aesthetic politics. Through examining Faẓā’s maṡnavī (a poem in rhyming couplets) in the framework of anti-colonial resistance, I argue that Urdu maṡnavī writers engaged the notion of temporality through drawing on the deep memory of the Persianate past in the form of the maṡnavī and presented it as a counter-narrative to the poetics of orphaned newness that were becoming a gold standard in other literary forms at the time. In this essay, I highlight the unique cultural work that the form of Urdu maṡnavī did in addressing, and even overcoming, the proverbial death of a literary culture that remained thriving till deep into the twentieth century.
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