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The following points I consider already known to my readers: a) Asadiz 'llah Hän Oülib's biography and his position in the external history of Urdu Literature.) b) The general background of classical Muslim poetry, with its stock-in-trade of more or less conventional images and symbols.) Otherwise, an introductory study on both those subjects would make this already long paper too prolix, with the risk, moreover, of repeating well-known facts. What follows is therefore no more than an analysis of those stylistic peculiarities of 6-alib's poetry, "which make "hfm one of the most significant poets of the· Indian literature of the "classical" school, and, at the same time, a link between that school and the modern tendencies; Notwithstanding Grälib's great importance, no European islamist, as far as I know, has studied him and his poetical style. The reader is kindly requested to bear in mind this "pioneering" position of mine, and to excuse the shortcomings connected "with the difficulty of such a task. The editions of (Sralib's works I have used for this study are: a) Kulllyat-i Oälib. Lucknow, Nawalkishore, 1925. It contains the Persian "complete works" of (Sralib, i.e. qiPas (pp. 11— -̂53), strophicalpoems (pp. 53—68), eleven short ma&navls (pp. 69—160), sixty-four qasldas (pp. 161—329), gazalsandrte&a^s (pp. 330—515). (Abbr.: KulUyat)

The Position of Ġālib (1796-1869) in the History of Urdu and Indo-Persian Poetry